INTERVIEW: Helene Greenwood

INTERVIEW:

 

 

Helene Greenwood

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MUSIC is always at its richest and most promising when those with…

true personality, spirit, and originality come through and are unearthed. Helene Greenwood is an artist that stands in her own mould – you will struggle to hear anyone quite like to her. Not only is Greenwood assuredly grounded and wonderfully bright – her music has a blend of quirky compositions and resonant, soulful vocals. Bringing bare and emotive to beguiling and unearthly: if you can pull that off then you are sure to stand apart from every other musician. Helene Greenwood’s bright and engaging personality goes into her wonderful, rich music – packed with imagination, strange characters and stories. I was lucky to have some time to interview Greenwood and ask her about influences, the lure of Camden and her new album, Exquisitely Hopeless.

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

September is one of my favourite months. I like that going back to school feeling and the excitement and trepidation of new beginning - fresh exercise books and hazy autumn sunshine!

For those new to your music: can you introduce yourself, please?

I started my musical life as a composer and see myself as a singer and composer.

I fell into writing songs as it sets up such great limitations, which can be very freeing expressively.

The aim of verse and chorus is a good framework even though I rarely get round to writing a song with such a straight structure. I love the way words have their own musicality and rhythms - they are like another instrument the way they can pull a song into a whole new direction and feel.

I believe Camden is your home right now. That is quite a bold and characterful part of the capital. What is daily life like there for a creative?

I’m on the Belsize Park fringes of Camden but always gravitate to Camden Town for yoga, vintage shopping and (I) appreciate the mix of people. It feels more relaxed than the other parts of London, which can feel more of a rat race. I love the solitude of walking around Primrose Hill and Regent's Park nearby and thinking about new songs.

 

You hail from Dover. What are the differences you have found between the two areas – in terms of the music scene and opportunities – and does London inspire you as a songwriter?

I grew up in Dover and was composing contemporary music. I remember the last thing I wrote was for a women’s choir called Sea Oracle. When you are by the sea, the air is amazing for your lungs and vocal chords. It is also a place where you can enter deep inside of yourself and respond to the elements.

London, to me, feels extremely sociable and has its own energy from all the communities. I feel it’s a place where you can communicate and tell your story.

That’s what I love about writing songs and gigging them: it’s an opportunity to tell my own story.

How big a role did music play in your childhood and when was the moment you realised this (music) is your passion and goal?

Sorry, I just realised that there are quite a few more questions so I will make my answers shorter!  My music teacher, Rosemary Dunn, who sadly passed away in August, was a huge influence in encouraging me to compose. She was into creative self-expression of any kind, and would bring in books on The Tibetan Book of the Dead and Jung to inspire me. She is one of the voices in my head who reminds me you should always keep searching a bit further.

Your released your debut album Collectable You in 2013. How do you think you have progressed and changed as an artist in the last few years?

The songs from Collectable You were composed at the piano and are more of a tighter structure with more harmonies. With Exquisitely Hopeless, I was lucky to be able to spend a lot of time working out the atmosphere of each song, and some of them started from an initial idea jammed through in the studio. I worked in a dusty studio in Richmond with James Hallawell as producer. I use an old ‘80s Oberheim synth. that would take a while to warm up. Sometimes, it would create this wobbly, cranky sound which was perfect as we were hoping to find some happy accidents. It helped create some of the distorted, unsettling sounds inspired by horror movies, like The Others and Hitchcock films. So, this album has had a lot more contemplation given to the productions side. I also feel my vocal has a more narrative, spoken feel to and I’m very into mystery. I’ve been inspired by Julia Holter and this trance-like quality.

 

[youtube https://www.youtube.com/watch?v=gz7sax6lBWA&w=560&h=315]

 

Exquisitely Hopeless is your forthcoming album. The album title suggests contradictions and personal searching and examining the nature of self. What can you tell us about the album’s themes and what inspired it?

I think it’s the hopeless moments that can be challenging but also help you to understand yourself a bit better and help you to notice that life is truly exquisite and mysterious too.

This Is the News Today, the latest single, looks at a missing figure. Was there a person that compelled you to write that or was it taken from imagination?

The lyric This Is the News Today came from a studio session jam, and I felt like it was a line taken from a radio news report. I always try to mix experiences from my life and mix it with texts that I connect with. I love Murakami and his novel IQ84. There is a character that goes missing and some of the scenes from the book inspired the rest of the lyrics.

In terms of childhood music and the artists you grew up to: which were most important with regards your musical and vocal direction?

I used to pretend I was on stage and sing along to Kate Bush and my parent would play The Rolling Stones at parties. I also toured around cathedrals singing Evensong with my school choir singing Renaissance choral music. I have also listened to a lot of contemporary composers and think my musical listening has always been extremely mixed. In my vocal direction, I can be inspired by some actresses that have beautiful speaking voices like Sissey Spacek in Badlands, as well as singers. I love Joanna Newsom’s voice and her narration at the beginning of Inherent Vice and I’m writing a song about astrology based on that at the moment.

 

 [youtube https://www.youtube.com/watch?v=MrtnZplnlM4&w=560&h=315]

 

Your compositions and musical blends are exotic – Japanese soundscape and tango flair – whilst the vocals and lyrics hint at more intimate and homebound dynamics. Was this a conscious decision or a sound that came about through time and experimentation?

I love that description! With my lyrics, it can often depend on what I’m reading or a film I’ve watched. To Live in the Moon was based on an ee cummings poem. My song Flat Roof House was influenced by a text by the artist Pipolotti Rist as she describes an installation she created of a flat-roofed house.

I suppose I’m always interested in subverting the domestic scene and finding new ways of thinking about it.

The album Exquisitely Hopeless follows a journey from the house and wanders out into nature in cosmic wonder.  I love the way there might be Japanese scales, blues harmonies, and sub-bass as part of the texture as it moves forward.

Which current artists are you listening to at the moment?

I’m listening to Bat for LashesThe Bride at the moment and love some of the stripped-down production in some of the songs. Her voice has an elemental earthy quality which really communicates.

Away from music and its demands: what keeps you busy and where can we see Helene Greenwood on a day off?  

I’ve just had a couple of days catching up with films I wanted to see and watched Julieta, Café Society and The Secret Life of Pets. I loved working out which animal reminded me of my friends or family! Some of the pets had some very dark drives: they were the unleashed ones who didn’t want to become too domesticated as they had been treated badly by past owners.

The rest of the year: what kind of things are in store with regards tour dates and promotion?

I have been working on a couple of posters with Max Ammo, my animator. Her artwork for the album is so beautiful and I thought it interesting to weave lyrics around it.

I have a gig at Proud on 17th September and will be releasing it in St Pancras Clock Tower on 7th October.  There are more details for this on my website. I will then be gigging the album and would love to tour to places like Liverpool and Manchester.

It may sound like a job interview trope but bear with me. As an artist, what would you like to achieve in the next few years?

For the next stage, I would like to concentrate on performing and finding out about new communities through gigging and find more singers and producers to collaborate with. It would be great to be able to carry on with learning more of the production side so I begin to do more editing and producing myself.

Can you provide any advice for those looking to follow you into music?

I think those people that decide to go into music or the arts do it for the reward it gives them above doing it to make a living.

I think it’s the activity of creating something and practicing an art that becomes precious enough.

Finally - and for being a good egg - you can name any song you like (not yours as I’ll include one) and I’ll play it here…  

Happy to be a good egg :) ….The Fog by Kate Bush

 

[youtube https://www.youtube.com/watch?v=nKO68DD2DeI&w=560&h=315]

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Follow Helene Greenwood

 

Official:

http://www.helenegreenwood.com/

Facebook:

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

Twitter:

https://twitter.com/HeleneGreenwood

YouTube:

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

SoundCloud:

https://soundcloud.com/helene-greenwood

 

FEATURE: London's Ten Best Music Venues

FEATURE:

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London’s Ten Best Music Venues

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AFTER the controversial and sad close of fabric in Farringdon: there have been many voices calling out for enquiry and justice – making sure it is not closed for good. Whatever happens – and whether it is ever reopened - it has got people thinking about the great clubs and venues in London and how important they are. We mustn’t forget how many great venues still remain, so in that spirit, I look at ten of the best music venues in London – and a little bit of information on each…

Izzy Bizu plays KOKO on Wednesday night

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Ronnie Scott’s

Image result for ronnie scott's

Starting off with one of the capital’s most-famous and notable venues: the grand and legendary Ronnie Scott’s. Few musicians worth their salt are ignorant of the venue – most want to play there and have that on their C.V. Hardly surprising when you step inside and let the music, magic and atmosphere wash over you. Just a little bit of history on Ronnie Scott’s (from Wikipedia):

Zoot Sims was the club's first transatlantic visitor in 1962, and was succeeded by many others (often saxophonists whom Scott and King, tenor saxophonists themselves, admired, such as Johnny Griffin, Lee Konitz, Sonny Rollins and Sonny Stitt) in the years that followed. Many UK jazz musicians were also regularly featured, including Tubby Hayes and Dick Morrissey who would both drop in for jam sessions with the visiting stars. In the mid-1960s, Ernest Ranglin was the house guitarist. The club's house pianist until 1967 was Stan Tracey. For nearly 30 years it was home of a Christmas residency to George Melly and John Chilton's Feetwarmers. In 1978, the club established the label Ronnie Scott's Jazz House, which issued both live performances from the club and new recordings.

Scott regularly acted as the club's Master of Ceremonies, and was (in)famous for his repertoire of jokes, asides and one-liners. After Scott's death in 1996, King continued to run the club for a further nine years, before selling the club to theatre impresario Sally Greene and philanthropist Michael Watt in June 2005. Managing Director Simon Cooke joined in April 2008.

In 2009 Ronnie Scott's was named by the Brecon Jazz Festival as one of 12 venues that had made the most important contributions to jazz music in the United Kingdom,[1] and finished third in the voting for the initial award”.

Upstairs @ Ronnie's is upstairs at Ronnie Scott’s Jazz Club and is a 140-capacity bar and live music venue (separate to the main club). There is live music every night of the week ranging from Acoustic-Jazz to Cuban bands, Jazz/Funk D.J.s; Indie, Jive nights, poetry slams, Soul/R&B, jams, Samba - they cater to all tastes in the arts! We open at 6pm every evening until 3am most nights with bar, table service, fabulous food and an award winning cocktail list!

Who’s On?

Friday 16th:

Main Show

Incognito – SOLD OUT

Late Show

Carl Orr Quartet

Upstairs @ Ronnie’s

VIVA CUBA! (Live Cuban bands & DJs / £5 from 7pm, £12 after 8pm)

Saturday 17th:

Main Show

Incognito – SOLD OUT

Late Show

Carl Orr Quartet

Upstairs @ Ronnie’s

FUNKY NATION! (Live DJs- Jazz/Funk/Soul/House)

Sunday 18th:

Main Show

Ronnie Scott’s Blues Explosion

Upstairs @ Ronnie’s

SUNDAY LIVE MUSIC SESSIONS: ROY'S BIG SMOKE FAMILY

Sunday Lunch:

DEBBIE SLEDGE with the NIELS LAN DOKY TRIO

Address: 47 Frith St, London, W1D 4HT

Website: http://www.ronniescotts.co.uk/

Google Reviews:

Correy Hammond

3 weeks ago

7pm on a saturday night. That is how I know this place. Lovely atmosphere. One of the finest jazz entertainers in town. Great place to chill after a stressful week. Visit and fall in love with jazz.

Pete Statham

3 months ago

Great jazz, good atmosphere, friendly staff. Drinks and food aren't cheap, but are good quality.

Tom Griffiths

A week ago

Great atmosphere. Upstairs is relaxed but not scruffy, then lively when the music starts.Visually it's perfect for what it is. Speaking as a sound engineer and musician I'd say that the sound system is certainly good enough, and thankfully wasn't too loud.

[youtube https://www.youtube.com/watch?v=pR4WoXDTZa0&w=560&h=315]

100 Club

Photo credit: Andreia Lemos / http://sy-hm.tumblr.com/

One of those venues that is respected and celebrated among music fans but might be unknown to some – you can hardly miss it on Oxford Street. In the words of the venue itself:

London’s iconic 100 Club has been trading under the same name since 1964 and has put on live music since 1942 as the Feldman Jazz Club amongst other names, earning it the title of the oldest independent venue world wide.

Through out the decades the venue has championed all manors of ground breaking scenes including the blues of Muddy Waters and BB King as well as mod stylings of The Who and The Kinks in the 60s; the birth of punk with the Sex Pistols, The Clash and Siouxsie & The Banshees plus regular reggae sessions from Eddie Grant and The Mighty Diamonds in the 70s; the first ever Northern Soul All Nighter in the 80s; the indie explosion with early shows from Oasis and Suede in the 90s as well as key shows for artists such as The Horrors, Gallows and Kings Of Leon in the 00s.

Despite its historic reputation the venue still continues to showcase some of the most exciting new music in London with recent shows from artists such as Blood Orange, The Fat White Family, Dean Blunt, Parquet Courts, Jake Bugg, Kindness, Joey Bada$$, Pulled Apart By Horses, The Smith Westerns, The Orwells, Radkey and A$AP Ferg across it’s programming of regular events and hosting of NME Awards Shows, Converse Gigs and other series.

Who’s On?

Saturday 17th:

Anarchy! McLaren Westwood Gang

6.00pm - 8.30pm

£8.00 Adv + Bf

Tuesday 20th:

100 Club Punk Special 40th – Spizzenergi

7.30pm - 11.00pm

£15.00 adv + bf

Address: 100 Oxford St, London, W1D 1LL

Website:http://www.the100club.co.uk/

Google Reviews:

Russtafa B

5 months ago

Been going to the 100 club for many years and saw a lot of the punk bands up there. Later on seen many rock acts and in general this is a totally brilliant venue, one of an increasingly disappearing "species' I am afraid. ...MoreBeen going to the 100 club for many years and saw a lot of the punk bands up there. Later on seen many rock acts and in general this is a totally brilliant venue, one of an increasingly disappearing "species' I am afraid.For me the most memorable occasion there was when a brilliant blues musician called Son House played there in 1970. Being a total out and out blues fanatic this was a bit of a serious moment in my life. Remember seeing John Peel there in the audience. Had the great fortune to talk to Al "blind owl" Wilson from the famed band Canned Heat. He was kind of a bit of an introverted chap but someone I had great respect for too. Really talented musician and a very humble person.If only I had a modern video camera, what a memorable occasion, but I had plenty of those during that era.

Deanne Jones

A month ago

A great wee venue. I saw The Amazing Darts play. Beers pricey but they have a good choice.

Henry

2 weeks ago

Iconic london venue. Might not be the cheapest inside but worth every penny.

[youtube https://www.youtube.com/watch?v=wR8KEHWqHEs&w=560&h=315]

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Under the Bridge

One of the newest kids on the block: Under the Bridge’s building a reputation as one of London’s must-visit venues due to its warm staff welcome, unique location – right near Stamford Bridge – and the musicians flocking to play there. The venue’s official website sums up their history and appeal:

Under the Bridge is a uniquely stylish west London music venue, purpose-built with the highest attention to detail, and featuring stunning, state-of-the-art sound and lighting.

Designed in homage to the legendary venues in London’s rock history and the greats of British Isles music, it’s a new club that feels like it’s been around forever.

This inspiring venue, holding up to 550 people, is perfect for gigs, press calls, showcases, fashion shoots, live broadcasts, warm-ups, after-parties, comedy nights, corporate events and much more”.

Who’s On?

Michael Rother

7:00 pm - Doors Open

29-09-2016

Under the Bridge presents MICHAEL ROTHER PLAYS NEU! & HARMONIA & SOLO WORKS with DJ Rusty Egan {Visage Blitz Club} DJ set Revered multi-instrumentalist Michael Rother returns to Under the Bridge

Leonid Fedorov

7:00 pm - Doors Open

30-09-2016

Сольный концерт Леонида Федорова — ни с чем не сравнимый опыт, который необходимо пережить каждому поклоннику «АукцЫона». Поэтому мы приглашаем всех друзей на единственное выступление музыканта в Лондоне 30 сентября.

THE TUBES

7:00 pm - Doors Open

07-10-2016

AGMP.co.uk presents an evening with THE TUBES featuring Fee Waybill After opening up for Led Zeppelin, Iggy Pop & the New York Dolls in the early 1970s,.

Address: Stamford Bridge, Fulham Rd, London, SW6 1HS

Website:http://underthebridge.co.uk/

Google Reviews:

Toby Dawson

5 months ago

Such a great gig venue! Not overcrowded, it's wide and shallow which i like and plenty of staff so no massive wait for drinks. Great view of the stage from all angles. p.s. Great toilets! You'll understand when you go!

Michaela GB

3 months ago

Great venue!! I highly recommend checking it out a show here. It feels really intimate. ...MoreGreat venue!! I highly recommend checking it out a show here. It feels really intimate.

There are a couple of bars, and I barely had to wait for drinks which was fab. I'll be looking out for more shows here for sure.

Nik Bradbrook

3 months ago

Awesome venue so exclusive and great vibe saw Toyah and sat so close you could touch her great bar and photos too

 [youtube https://www.youtube.com/watch?v=jf7KzqZ6m5Y&w=560&h=315]

Roundhouse

There are few venues in the U.K. that hold the prestige and weight of Camden’s Roundhouse. Its honorifics, effusive reviews and solid legacy is built on a core of consistently brilliant music and wonderful hospitality – set in one of the most colourful and cosmopolitan parts of London. It is best to let Roundhouse themselves sum it all up:

Create to transform

The Roundhouse is a hub of inspiration where artists and emerging talent create extraordinary work and where young people can grow creatively as individuals. We believe in the power of creativity to change lives. By giving young people the chance to engage with the arts through our music, media and performance projects, we inspire them to reach further, dream bigger, and achieve more.

We do this because we believe creativity gives us freedom, hope and has the power to transform.

So we’re here to transform. To create, agitate and excite. To shake things up

Each year, we give thousands of 11–25-year-olds the chance to develop their skills and confidence through creativity – in music, media or the performing arts. We help them find new perspectives and new directions. Whether it’s helping someone get into education, or out of a rut. Or supporting their early career in the arts. Whatever the spark, we nurture it into a flame that can change everything.

Creativity drives change drives creativity drives change drives…

The Roundhouse is one of the most incredible live performance spaces in the world where the biggest names in music, theatre, circus and spoken word take to the stage every day. A former railway engine repair shed, the Grade II* listed building was transformed into a groundbreaking performing arts venue 50 years ago, and we have welcomed legendary artists from all over the world to perform in our unique spaces.

Who’s On?

Elton John

Sunday 18th September

The 1975

Monday 19th September

Alicia Keys

Tuesday 20th September

Address: Chalk Farm Rd, London, NW1 8EH

Website:http://www.roundhouse.org.uk/

Google Reviews:

Neil Kite

A month ago

Great and unique venue with an interesting history. The layout lends itself perfectly to live perfomance, and they always have a great line up and exciting shows on offer. During the summertime they also host Camden Beach on their roof, which is a great spot for on sunny day.

Ben Harris

3 months ago

Great venue for concerts. I've been a few times and have never left disappointed. Try and get standing and get into the center circle as this is where I've found the sound quality/atmosphere is the best. Queues for beers can be a little long but the same with most music venues these days.

Daniel Doherty

A week ago

Amazing venue for life music, an absolute must visit place. Go to the 1st floor and see all the posters/art of the famous bands, acts and historic figures who have graced this original venue. Also in the summer they sometimes turn the roof into "Camden beach"...

[youtube https://www.youtube.com/watch?v=iA0cz5rijT4&w=560&h=315]

XOYO

Image result for XOYO

Image result for XOYO

Like 100 Club: one of those venues that does not instantly spring to mind when compiling a list of London’s finest music venues. There is not a lot of history and background on the venue’s website but plenty of information about upcoming acts and D.J.s playing there. Situated near Old Street, and with Shoreditch on its doorstep, it is right at the beating heart of London – fast gaining a reputation of excellence because of its club nights. It is, as you will see below, a nightclub but will expand and develop in years to come – its name and legacy will only grow larger with time.

"Live music and DJ club nights across 2 floors in refurbished nightclub in Shoreditch, East London, with street art aesthetic. XOYO is first and foremost a nightclub with focus set on a consistent music policy headed by global names (as well as upcomers), their ethos is locked into delivering London an unrivalled weekendsoundtrack".

Who’s On?

Bugged Out! with Julio Bashmore + Mosca + Guest tba

Friday 30 September 21:00 - 04:00

XOYO Loves: François K + Late Nite Tuff Guy + Red Greg

Saturday 01 October 21:00 - 04:00

Jackmaster & Numbers Present: Mastermix

Sunday 02 October 16:00 - 01:00

Website:http://xoyo.co.uk/

Address: 32-37 Cowper St, London, EC2A 4AP

Google Reviews:

Ciara Walsh

2 weeks ago

This place is killing it with their line ups. £5 early bird tickets to see DJ Harvey, bloody fantastic. Drinks prices are pretty standard for London. Door staff are very friendly also, which makes a nice change from other bars in the area. ...MoreThis place is killing it with their line ups. £5 early bird tickets to see DJ Harvey, bloody fantastic. Drinks prices are pretty standard for London. Door staff are very friendly also, which makes a nice change from other bars in the area. Can get a bit busy but victim of it's own popularity I guess. Looking forward to Heidis Jackathon residency!

Stephen Phillips

A week ago

Saw Harvey there who was great and there was a good atmosphere there too. Feel compelled to leave a review, however, as some of the security staff were rude and clearly on the classic bouncer power trip. The smoking area is a horrible ...MoreSaw Harvey there who was great and there was a good atmosphere there too. Feel compelled to leave a review, however, as some of the security staff were rude and clearly on the classic bouncer power trip. The smoking area is a horrible experience, you're basically put into a smoking queue and constantly harassed to keep moving along the queue. They really need to sort this out as for a lot of people (myself included), the smoking area is a chance to get a break from the mayhem of the dance floor, get some fresh air and actually have a conversation.

Gabriele Drago

2 weeks ago

Great lineups, great music, hosting Mount Kimbie is not for everyone for exercise but there is more. Drinks are served both at ground floor and downstairs.

[youtube https://www.youtube.com/watch?v=0d9KuiwdrdU&w=560&h=315]

The Dublin Castle

Image result for the dublin castle camden

It seems like, if you want to grab the crowds and put your name in the spotlight, a music venue needs to be situated within easy walking distance of Camden. The Dublin Castle has the vibrant borough a mere 2 miles away – one of the reasons it has garnered a terrific name and is incontestably one of the finest venues in the U.K. The guys say themselves:

 “The Dublin Castle is a legendary pub and music venue located 2 minutes away from Camden Town tube station. It has been ran by the same family for over 28 years and features 4 live bands every night as well as a great selection of beers, ciders and wines. There’s DJs after the bands on Fridays, Saturdays and Sundays and a fabulous jukebox in the front bar if you’re after a more relaxed atmosphere. But what is it that makes the Dublin Castle the long-standing centre of the indie rock universe? Is it because it’s Madness’ birthplace? Because its stage has been graced by everyone from Blur, through Coldplay, Supergrass, The Killers, The Arctic Monkeys, Billy Bragg, etc? Is it because it was no surprise to see Amy Winehouse behind the bar serving costumers? Or Suggs? (who, mind you, tended to ignore costumers and serve himself) Or is it because far from being just another Camden venue it has established itself as an indie rock institution? The answer is that it’s not only because of its musical heritage that people come to the Dublin Castle, it’s because whilst you enjoy a pint, play some tunes on the jukebox, check out the live bands, get your dancing shoes on for our DJs, chat to our friendly staff or even stage-invade a little, you’re inadvertently being part of this movement the Dublin Castle leads, this cultural legacy. Expect no castle battlements. Just pure rock and roll royalty”.

Who’s On?

Fri, 16 Sep 2016

Little Green Men Lazy Pilgrims Pretty Visitors Tokyo SexWail The Second Sons

Doors 7.45 £7/£5 on the door

Sat, 17 Sep 2016

Reece Percudani Group Evyltyde

Website:http://thedublincastle.com/

Address: 94 Parkway, London, NW1 7AN

Google Reviews:

Andy Eggleden

A month ago

Scruffy and original venue that I'm surprised still exists in London, long live Dublin Castle. Good prices for beer and a sweaty little venue out back of the pub. TV's for sports up on the walls too.

Stephen Bradshaw

A month ago

Great staff really friendly and helpful defo coming back

Luke Micallef

A month ago

Bit spit and sawdust but had some good beer on for decent prices and great music.

[youtube https://www.youtube.com/watch?v=WvnnU-5T-cU&w=560&h=315]

KOKO

Newcomers like Izzy Bizu will pass through KOKO’s doors in the next few days: a natural stomping ground for the best and brightest musicians looking to get their sounds heard by the coolest and most discerning crowds. KOKO’s website is one of the most colourful, informative and eye-catching you can find – the venue is one of the greatest in London and another located in Camden. If you want a history on the venue; Wikipedia puts it best:

By 2004 the Camden Palace was rundown and in a state of disuse. That year the theatre was purchased by Oliver Bengough and his company Mint Entertainment. Bengough saw the potential of the theatre and embarked on a multimillion-pound restoration process lasting more than six months.[2][12] The restoration process included all new technical facilities, enabling the scope of operations to be broadened to include live concert performances, club nights, corporate events and television production.[20]The Daily Telegraph described the modern interior amenities and the building's historic facade as "lend[ing] a sense of grandeur to any gig"

Since restoration, KOKO’s commitment to sustainability has been recognised with an award for Environmental Excellence in Camden Organisations (EECO), for Innovation in Waste Management and Recycling.[22] The venue has been praised for ‘the continued exceptional effort by staff to achieve a 95% recycling rate in the difficult events and entertainment industry, and for the use of recycled materials within the building in order to close the recycling loop.’[23]

The key points in KOKO’s innovative recycling and waste management strategy include:

  • Recycling paper and cardboards (including flyers), as well as approximately 30,960 glass bottles, 20,088 aluminum cans and 77,166 plastic cups every month;

  • Replacing 982 light bulbs with GLOWB low energy light bulbs;

  • Reducing emissions, by working with ‘The Carbon Trust' and ‘Better Climate for Camden’: by switching to a green energy supplier, KOKO aims to prevent the release into the atmosphere of 520 tonnes of CO2 over the next 12 months;

  • as KOKO currently produces approximately 310.809 tonnes of CO2 per annum, they have teamed up with Solar Aid who supply Solar Lanterns to under-developed countries to help offset this.

Since restoration, the club has attracted well known musicians including Al Murray, Irfan Latif, Don Broco, Red Hot Chili Peppers, Madonna, Christina Aguilera, Prince, Coldplay, Tori Kelly, Katy B, My Chemical Romance, Emma Marrone, Oasis, Bruno Mars, Thom Yorke, Amy Winehouse, La Roux, Skrillex, Lady Gaga, The Killers, Kanye West, Katy Perry, Lily Allen, Demi Lovato, Usher, Noel Gallagher, Swedish House Mafia and many others”.

Who’s On?

Friday 16 September 2016

WILEY - ON STAGE 8PM

Friday 16 September 2016

Club NME: KING NO-ONE

Saturday 17 September 2016

SANKEYS LOVES 338

Website:http://www.koko.uk.com/

Address: 1A Camden High St, London, NW1 7JE

Google Reviews:

Jesús García Salinas

In the last week

Huge disco of 4 floors with a balcony to smoke. The inside is pretty similar to a theatre or an opera so it's really impressive. The music is good and not too loud. It's very well located 1 minute walking from Mornington Crescent tube (Northern line). Before 22.30 is usually free but after that it costs 20 pounds.

Alistair Burns

In the last week

Very similar to Shepherd's Bush Empire with a very different feel to it and great balconies for those who can't hack the ground floor. Extremely stylish.

Brianna Krauser

A month ago

Events are kind of pricey, but so much fun! Good dubby music the night we went. Getting a drink wasn't too difficult & drink prices are pretty average for a big club (6 euro for a jaegerbomb)

[youtube https://www.youtube.com/watch?v=lA3KQ6ZY6fU&w=560&h=315]

Union Chapel

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Whereas a lot of London’s most-celebrated venues have a quirkiness and contemporary vibe: Union Chapel is lovingly pure and historic. It does not need a paint job or conform with other venues – its strengths and character are all there and does not need to change an iota. Because of this, and the fact it is such a wonderful setting, so many artists and fans flock there. Their calendar is packed up until the end of the year and you need to get yourself down there. Union Chapel in their own words:

Union Chapel is an amazing space. It is an architectural treasure that’s home to a working church, an award winning venue, a unique organ and The Margins Project for those homeless and in crisis in London.

It’s a rich community where people come to revel, to worship, to listen to wonderful music, to volunteer and to find help when they need it most.

Over the past 25 years the Chapel has gone from facing demolition to being Grade 1 listed and from being virtually abandoned to welcoming tens of thousands of visitors a year.

Union Chapel is now a vibrant hub of activity with a huge amount going on. There are six main groups based here all united by a love for this space and our desire to welcome people to it – we hope to see you here soon.

Since 1991, Union Chapel has been hosting concerts and events – this has grown over the years and we now have hundreds of events a year. Readers of Time Out have voted us London’s Favourite Venue an amazing three times.

London’s Favourite Music Venue 2002, 2012 & 2014!

Runners up 2015

We are proud to say that our venue is a little bit different. We have pews, amazing acoustics, sublime Victorian Gothic architecture and some really great gigs.

Our busy Bar and Kiosk serve thirsty gig goers at most events – so you can enjoy the show with a mug of tea in hand or head up to the Bar and have a beer. And all the money raised goes to the restoration of the building.

We also have a wonderful team of staff and volunteers who work at all the gigs and events so say hello when you come along!

Who’s On?

Saturday 17th:

10am: Open House, London

12pm: Daylight Music 232: Michele Stodart + Alright Gandi + Alev Lenz + Joli Blon

Sunday 18th:

Sunday Service – Guest Speaker

Website:http://www.unionchapel.org.uk/

Address: Union Chapel, Compton Terrace, London, N1 2UN

Google Reviews:

Greg Clough

2 months ago

It's a church... it's a gig venue... it's a community space. The Union Chapel is a fantastic resource for Islington, it's not full of stuffy "Church People". There are a lot of well known acts, as well as some great up and coming bands ...MoreIt's a church... it's a gig venue... it's a community space. The Union Chapel is a fantastic resource for Islington, it's not full of stuffy "Church People". There are a lot of well known acts, as well as some great up and coming bands that play here... so I can only suggest that you check our their calendar and head over to the Chapel.

Malcolm Brady

4 months ago

London has plenty of great concert venues though few, if any, match The Union Chapel. The audience sits on pews (first in grabs the best) all focussed in the alter/stage so there's no bad seats, really, other than those front and side. The ...MoreLondon has plenty of great concert venues though few, if any, match The Union Chapel. The audience sits on pews (first in grabs the best) all focussed in the alter/stage so there's no bad seats, really, other than those front and side. The acoustics are great so rock sounds as good as acoustic. The bar is in the back, a pretty cool place to relax before & after the gig, though drinks aren't allowed in the chapel, other than tea...go figure, but go there.

Phil Exon

2 months ago

Great venue, with superb acoustics. Come a bit early for food. There is also a bar. Profits support the church.

[youtube https://www.youtube.com/watch?v=oo8vU2D67So&w=560&h=315]

The Lexington

A multi-level venue that blends a flavour of the U.S. with the comforts of Britain. There are scant few venues where one can enjoy some good beer and grub downstairs before heading up to a gig – you are usually restricted to a single floor or have to bustle and shove your way through crowds. The Lexington has an easy-going charm and is one of the most welcoming joints in London. As they say themselves:

The Lexington is a classic London boozer turned lounge bar, with a hint of Kentucky charm and lashings of rock & roll excess. Enjoy award winning food served up with our favourite American craft beers or just lounge around in our baroque mezzanine exploring the best bourbon selection in London. If you like it a little bit louder, head upstairs for the latest and greatest bands in our live venue. Then dance the night away with our family of music loving DJs, playing everything from ‘20s jazz to the newest indie through the sea of counter-cultural sounds into the wee small hours.

Who’s On?

16th:

8:00 pm- 11:00 pm Lawrence Arabia, James Canty - White Heat presents

11:00 pm - 4:00 am White Heat

17th:

8:00 pm- 11:00 pm Louis Barabbas And The Bedlam Six

11:00 pm - 4:00 Dumb Disco Ideas: A party is a statistical inevitability

Website:http://thelexington.co.uk/

Address: 96-98 Pentonville Rd, London, N1 9JB

Google Reviews:

Alay paun

A month ago

Old pub with cool decor, good music, good beer and table footie. Only downside is the surprising lack of a good cider. Strongbow? Come on Lex, sort it out.

Paul Dawes

3 months ago

Amazing venue with excellent acoustics. Up stairs is a great venue, which always has a wide selection of acts. Downstairs bar has a great selection of beers with a real chilled out indie atmosphere. Rough Trade host a quiz night on Mondays.

[youtube https://www.youtube.com/watch?v=q9Mhnp8du7w&w=560&h=315]

Scala

“Scala is a beautiful multi-purpose venue in the regenerated King’s Cross area, on the north side of central London. The building incorporates four main floors and accommodates events for just over 1000 people.

There are three bars, two dance floors and a large stage for live performances. We do not assign seats to tickets. There is limited seating on each floor.

Main Room & Stage

The main room is spread across a series of terraces with a low dancefloor and low stage. There’s a long balcony on one side of the room accessed from the mezzanine level. This balcony can function as a VIP space when needed. As there is no bar in this space it works well for more acoustic performances.

Foyer Bar

The Foyer Bar is a large room with a beautiful terrazzo floor and a high vaulted ceiling. It has two staircases on either side leading into to the main room. You’ll also find a small lounge with a low ceiling called the Foyer Den. There’s a DJ booth which functions as a merchandising booth too.

Glass Bar

The Glass Bar is on our mezzanine level. We have a number of comfy sofas beside large windows overlooking the main room. You can get to this bar from the main room or Balcony Bar. The Glass Bar sometimes functions as a VIP bar.

Balcony Bar

The balcony bar is a large square shaped room on the top floor, with a wide balcony overlooking the main floor. There are a number of booths with seats and a DJ Booth. We have a temporary wall and stage system we install when there is a DJ or live performance in this space. The kitchen is also on this level behind the bar”.

Fri 16th September

El Grande

Salsa, Latin and Afro-Latin

Sat 17th September

Earthdance London

Tue 20th September

Yuna plus Mahalia & Jarell Perry

Website:http://scala.co.uk/

Address: 275 Pentonville Rd, London, N1 9NL

Google Review:

Daniel Wajda

5 months ago

The venue has a nice distinctive look but the layout is not the best - some parts have a poor view and leaving the main room to get to the bar and having to climb a couple flights of stairs to get to the toilets is annoying. Question marks ...MoreThe venue has a nice distinctive look but the layout is not the best - some parts have a poor view and leaving the main room to get to the bar and having to climb a couple flights of stairs to get to the toilets is annoying. Question marks over the security too. I have been to some good gigs here but the sound is sometimes not as good as some of its rivals - I damaged my hearing for a few days after one particularly distorted reggae set.

[youtube https://www.youtube.com/watch?v=AM6qvmkkC_c&w=560&h=315]

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FEATURE: The September Playlist: Vol. 2

FEATURE:

 

MUSICMUSINGSANDSUCH the september playlist VOL. 2

 

The September Playlist: Vol. 2

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IT is always hard trying to get on top of all the excellent snippets…

Image result for sleaford mods of joy: the music world offers up with nary a blade of warning and prediction. Each day, it seems like a fresh and ripe track is out – out of nowhere and completely out of space. That has been the case the last week and drinking it all in has been a challenge. I have been looking at the singles and songs out this week – either standalone or taken from corresponding albums. I also peek ahead to albums a bit further down the month – including a track that will appear on Billie Marten’s debut – and  what to expect…

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Massive Attack (ft. Hope Sandoval)The Spoils

 

[youtube https://www.youtube.com/watch?v=8r31DFrFs5A&w=560&h=315]

 

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PixiesTenement Song

 

[youtube https://www.youtube.com/watch?v=-SLgXBLQA2M&w=560&h=315]

 

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Sløtface - Take Me Dancing

 

[youtube https://www.youtube.com/watch?v=CvUGS47EoBM&w=560&h=315]

 

 

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JAWSRight in Front of Me

 

[youtube https://www.youtube.com/watch?v=S0mFLt-X9fs&w=560&h=315]

 

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White LiesCome On

 

[youtube https://www.youtube.com/watch?v=1tjFV8NhJbo&w=560&h=315]

 

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El Perro Del MarDing Sum

 

[youtube https://www.youtube.com/watch?v=M9AXfA6ogog&w=560&h=315]

 

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Young GunsMad World

 

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

 

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Sia (ft. Kendrick Lamar)The Greatest

 

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

 

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Nick Cave and the Bad SeedsI Need You

 

[youtube https://www.youtube.com/watch?v=BAMZYpZi_M4&w=560&h=315]

 

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Die AntwoordWe Have Candy

 

[youtube https://www.youtube.com/watch?v=XkmiDwp_HC4&w=560&h=315]

 

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KT Tunstall Maybe It’s a Good Thing

 

[youtube https://www.youtube.com/watch?v=OLTi_Eu5mtM&w=560&h=315]

 

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Kings of LeonWaste a Moment

 

[youtube https://www.youtube.com/watch?v=QAhJoXUeJ08&w=560&h=315]

 

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TOYI’m Still Believing

 

[soundcloud url="https://api.soundcloud.com/tracks/281467090" 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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SlavesTake Control

 

[youtube https://www.youtube.com/watch?v=1GROt_rQ9Jo&w=560&h=315]

 

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Red Hot Chili PeppersGo Robot

 

[youtube https://www.youtube.com/watch?v=lvG5_AUDh4o&w=560&h=315]

 

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Prince Buster  Enjoy Yourself

 

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

 

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CRXWays to Fake It

 

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

 

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Regina SpektorBlack and White

 

[youtube https://www.youtube.com/watch?v=AZW4kZKDfow&w=560&h=315]

 

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Twin AtlanticNo Sleep

 

[youtube https://www.youtube.com/watch?v=wcqeM4KLqok&w=560&h=315]

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Rat BoyGet Over It

 

[youtube https://www.youtube.com/watch?v=5o1QrgjGMZQ&w=560&h=315]

 

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WilcoIf Ever I Was a Child

 

[youtube https://www.youtube.com/watch?v=R9WyJMgz9dw&w=560&h=315]

 

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Beauty SleepLiving Right

 

[soundcloud url="https://api.soundcloud.com/tracks/276245234" 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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AlunaGeorgeMediator

 

[youtube https://www.youtube.com/watch?v=7wsPpBprasI&w=560&h=315]

 

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GrouploveWelcome to Your Life

 

[youtube https://www.youtube.com/watch?v=ng8cDzyktEY&w=560&h=315]

 

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Billie Marten Bird

 

[youtube https://www.youtube.com/watch?v=smX6xCPDbrE&w=560&h=315]

 

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Elephant Stone - Andromeda

 

[youtube https://www.youtube.com/watch?v=mW24-oDNGGs&w=560&h=315]

 

 

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M.I.A. Go Off

 

[youtube https://www.youtube.com/watch?v=kGDhHxgY6uo&w=560&h=315]

 

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Zach de la RochaDigging for Windows

 

[youtube https://www.youtube.com/watch?v=VT1G7lRZQ6U&w=560&h=315]

 

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Sleaford Mods - TCR

 

[youtube https://www.youtube.com/watch?v=KT2mLi7ldew&w=560&h=315]

 

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It seems like September may well top August with regards fantastic songs and unexpected treats – and we’re only a couple of weeks into the month! Looking ahead and there are some truly fantastic albums and songs approaching – Bruce Springsteen among them. Have a listen to the above and check out the corresponding albums and artists making big moves throughout September.

FEATURE: The Ten Best Vocal Performances from Freddie Mercury

FEATURE:

 

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The Ten Best Vocal Performances from Freddie Mercury

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TOMORROW would have marked the 70th birthday…

Freddie in Munich working on his first solo album, Mr Bad Guy

Picture (and photos underneath song titles, except Barcelona and Radio Ga Ga) taken from the book, FREDDIE MERCURY: The Great Pretender

 

of Queen legend Freddie Mercury. The Zanzibar-born, British-based titan of music died on 24th November 1991 from an AIDS-related death – and with it, one of music’s greatest ever vocalists left us. Say what you want about Queen – and most people do – but you cannot deny the peerless genius of Freddie Mercury. Whilst his band played on the camp side of music – the songs rarely defined by composure or subtlety – everything was made to sound essential and affirmative by Mercury’s wonderful, planet-destroying voice. Whether entranced by his once-in-a-lifetime perfomance at Live Aid in 1985; the lung-busting power of Somebody to Love or the heartbreaking curtain call, The Show Must Go On. In honour of the icon’s birthday: I have whittled down his ten finest vocal turns for your delectation…

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Barcelona (ft. Montserrat Caballé)Barcelona

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Montserrat Caballé provided the beauty and grace whereas Mercury produced a performance of sublime power and absolute intensity. After Barcelona was selected to host the 1992 Summer Olympics: Mercury was approached to write a theme song. Caballé was a hero of Mercury and he leapt at the opportunity to sing with her – the two would go on to make an album (Barcelona) that was met with mixed reviews. The title track shows what Freddie Mercury is all about: theatre, grandeur, and above all, immense passion.

 

[youtube https://www.youtube.com/watch?v=o8Eg-mWdDLc&w=560&h=315]

 

Under Pressure (ft. David Bowie)Hot Space

Freddie backstage at the Rainbow Theatre, London in November 1974

Recorded for the 1982 album Hot Space and featuring the sadly-departed David Bowie: another incredible duet where Mercury, matched with an exceptional singer, steals the show. Hot Space possessed few standout tracks – a malady of Queen’s early-‘80s work – but this song has endured and continues to stun. If you isolate Mercury’s vocal you can see the detail, drama and technique involved. Seemingly effortless and another day at the studio: a sublime, unstoppable performance few of his peers could even conceptualise, let alone match.

 

[youtube https://www.youtube.com/watch?v=a01QQZyl-_I&w=560&h=315]

 

Bohemian RhapsodyA Night at the Opera

Freddie at a photoshoot in Primrose Hill in north London in September 1974

It is hard to mention one of the greatest songs ever (according to most critics) are ignore the voice that scores it – even though Mercury’s is not the only voice on the track. Aside from the multi-layered, technology-pushing ambition of the vocal tracks: it is Mercury’s singular performance that defines the track. Starting seductive and affected in the opening verses: it mutates into a hot-blooded belt before coming down to land in the final seconds. It is impossible to truly decompartmentalise and deconstruct the elements of that single vocal: such is its complexities, skill and nuanced. Another world class turn from a vocal giant.

 

[youtube https://www.youtube.com/watch?v=fJ9rUzIMcZQ&w=560&h=315]

 

Crazy Little Thing Called LoveThe Game

Images taken by Freddie's bandmate Brian May using a stereo camera. 'I almost always carried a stereo camera with us on tour, and there are many pictures of us on-stage and off in this medium,' says May. 'These pictures can be viewed by the 'magic eye' technique, relaxing the eye so the two images form one, but the best way is to use a stereo viewer. The result is a 3D image, which is very lifelike.'

Reportedly written in the bath by Mercury (you can picture the scene!) it is one of the most surprising and un-Queen songs in their cannon. Mixing ‘50s Rockabilly with Doo-Wop: it is infectious, finger-snapping joy one cannot help sing along to. Given its insatiable cool and tease is Mercury, who proves he is just as mesmeric and sensational when taking the power levels down – one of the most focused and natural performances from his career. Not all Queen songs compel you to come back time and again and just lay back: Crazy Little Thing Called Love is an infectious and head-spinning joy because of Mercury’s suaveness and ice-cold authority.

 

[youtube https://www.youtube.com/watch?v=zO6D_BAuYCI&w=560&h=315]

 

Somebody to Love A Day at the Races

Freddie with his parents Jer and Bomi Bulsara on a visit to his Kensington flat

This is when Mercury searched his soul and regretted his lack of love life and romance. What followed was a look inside his psyche and a transcendent revelation: Somebody to Love is a stunning investigation of faith, passion and fulfilment – Mercury’s voice interweaved into a Gospel tapestry that has been ranked among the greatest vocal performances of all time. Not only one of Queen’s most famous and celebrated songs: its vocal must surely be considered one of Mercury’s most impressive and wide-ranging. Sing along at your peril: there are few singers that have the lung capacity and range to pull it off!

 

[youtube https://www.youtube.com/watch?v=kijpcUv-b8M&w=560&h=315]

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Another One Bites the Dust - The Game

Performing in red leather trousers and crepe bandages

The Grammy-nominated, chart-riding smash Another One Bites the Dust was one of Queen’s most successful and commercial tracks. Released in 1980 for The Game – it was actually composed by the band’s bass player John Deacon. This is Mercury on the attack and standing tall: few have the panache and personality to bring every note and emotion from the song with such conviction. Those who define Freddie Mercury’s vocals always use the same three words: power, soul and passion. All of these come together but are joined by venom, grit and panache – showing just how many sides Mercury had to his vocal armoury.

 

[youtube https://www.youtube.com/watch?v=rY0WxgSXdEE&w=560&h=315]

 

Radio Ga Ga Live Aid

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Maybe it was the occasion or the crowd was in a unified spirit: Queen’s legendary performance got everyone singing and utterly hypntoised. The band mesmerised from start to finish: it was the moment Freddie Mercury proved he was one of the greatest voices music has ever seen. Perhaps the most memorable moment of the set was Radio Ga Ga. A little indirect and unemotional on the original album (The Works): here, it was turned into something life-affirming and biblical. Getting the crowds clapping, singing and in one another’s arms: surely one of the finest live performances of any time period.

 

[youtube https://www.youtube.com/watch?v=5xXny7VDjpY&w=560&h=315]

 

Living on My Own Mr. Nice Guy (solo album)

At Freddie's 39th birthday party at Mrs Henderson's in Munich, Germany. He invited his close friends to cross-dress then filmed them for a video for his solo single, 'Living on my own'. His record company banned the video. The full version wasn't seen until the re-release of the track in 1993. This is one of the tamer shots of the evening.

Wanting to move away from the band and take a break from Queen: Mercury released his first solo album in 1985. It was not hugely well received but proved he could exist outside the band and stretch his wings. Living on My Own is classic Mercury all the way through - vocal affectations and changing pace; sexuality, flair and vivacity in spades. Another Freddie Mercury song where confidence and authority are in no short supply. Remixed in 1993 and hitting the number one spot in the U.K.: the first number one of Mercury’s career.

 

[youtube https://www.youtube.com/watch?v=gYDWCe6n2_M&w=560&h=315]

 

Love of My Life A Night at the Opera

Freddie studied at Ealing Art College, where his contemporaries included Peter Townshend and Ronnie Wood. It was here that he started thinking about pursuing a career in music. In his final year of college, he joined Ibex. Here he relaxes with other members of the band in Kensington.

On an album that contained the bombast and majesty of Bohemian Rhapsody: few bands would be able to put a song like Love of My Life alongside it and see it flourish. If anything, the song is an equal par due to Mercury’s tender and heartfelt performance. Written for his then-girlfriend Mary Austin, and one of the purest songs in the Queen back catalogue, it became such a fan favourite Mercury often had to stop singing and let the crowd take over. It shows the song resonated and connected with the masses: one of the key reasons is a knee-buckling, soul-kissing vocal turn from Mercury.

 

[youtube https://www.youtube.com/watch?v=7hFeER3_ZRQ&w=560&h=315]

 

The Show Must Go On Innuendo

Performing in New York during the A Night at the Opera tour. Freddie loved the city, for a time he owned a flat there. He told friends that in New York he felt he could behave more like an 'ordinary person'.

Featured on the twelfth and final Queen album: The Show Must Go On is unarguably the greatest example of Mercury’s insane abilities. Recorded whilst ailing and near-death, it is a testament to the resilience and determination of the singer. Brian May challenged him at the studio and asked whether Mercury could perform (whilst so frail). Mercury exchanged a coy smile (vodka in hand) and simply said “I’ll fucking do it, darling” and slammed his vodka down. Recorded in a single take; he lacerated the vocal and the rest, as they say, is history. Few vocalists could get within touching distance in full health: pale and ill Mercury put everyone to shame and helped create the Queen frontman’s fitting epitaph. Not one to let things get him down or be defeated by life: it is a bold and phenomenal statement of intent and defiance. Listen to and try and battle back to the tears: it shows Freddie Mercury is very much alive and inside all of us.

 

[youtube https://www.youtube.com/watch?v=t99KH0TR-J4&w=560&h=315]

 

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[youtube https://www.youtube.com/watch?v=V4XgdWDhvQw&w=560&h=315]

 

Even if you are not a Queen fan – almost having to defend a terrific band against needless criticism – but nobody can deny or ignore Freddie Mercury and what he gave to music. Not only one of the most charming, quixotic and charismatic personalities even to walk the Earth – surely the biggest and most sensational vocal talent we have ever seen. It seems unlikely we will ever see another singer approach Mercury’s talents and passion – a true one-of-a-kind. You imagine he’d still be singing had he lived and who knows what he could have accomplished? In his relatively short, but highly sparkling career, Freddie Mercury established himself an absolute…

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GIANT of music.

INTERVIEW: Josh Michaels

Interview:

 

 

Josh Michaels

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I have had the chance to interview a few Opera-Pop/Rock crossover artists, but…

none quite like American Josh Michaels. He is one of the most talked-about and respectable crossover artists emerging from the U.S. – his music is among the most arresting and passionate you will hear this year.

Josh was born in New York in August 1990 and began singing at a young age. He is trained in Italian opera. Josh writes from the heart and uses his operatic qualities within his pop/rock music. Michaels’ music has been featured on various radio stations throughout Europe and the United States. Performance wise, Josh has performed throughout the world, but prefers his hometown venue where legends before him have started, The Bitter End. Most recently Josh has received much placement with his tracks, including short films. MTV’s Catfish (The TV Show) has placed Josh’s track Awaken Now”.

I was keen to catch up with Michaels and see how his year has been and his plans for months ahead. With the E.P. Out of the Deep Blue forthcoming: a perfect time to ask about the influences and subjects that have gone into it.

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

This week I have been very focused on promoting my new E.P. Out of the Deep Blue. Alongside my P.R. help, I enjoy being hands-on with my own releases. I am an independent artist; I do not have any labels (helping) backing me. I have been very focused on my marketing as well as my craft. These past few months I have been writing with other artists. I have some great collaborations in the works, which I am greatly looking forward to announcing.

Awaken Now is your song that implores friends – going through bad relations and hard times – there is a light ahead. Were there any particular people who inspired the song and can you remember the moment you wrote it – what emotions were you feeling?

Awaken Now is a track I wrote for people stuck in bad friendships, relationships - anything holding them down.

This song is meant to remind them of the light ahead and the need to let go of what’s keeping them back. We all deserve to awaken into freedom and have peace of mind.

I wrote this song based off of an experience I viewed. I had a friend who was verbally abused by her boyfriend for many years. I taught her what she is worth and to let go of him and find the light.

 

[youtube https://www.youtube.com/watch?v=Rc_4lqMmf3U&w=560&h=315]

 

Your E.P., Out of the Deep Blue, will follow. What can we expect from it in terms of themes and sounds?

Out of the Deep Blue was written based off life experiences to help others with their own life experience. Each song is meant to open all hearts and minds. I write based off of that universal message and for all people to link on. Sound-related - I personally never like to stick with one sound; each song holds a different flavour.

Are there any local artists you would recommend to us?

Two local artists that I would recommend to you and your readers are Kristin Hoffmann and Premik Russell Tubbs. They are both based out of New York. I have known them for several years. Kristin has a voice that will forever leave you wanting to hear more of her. She writes about world peace and unity; she is full of truth and healing. Premik is a brilliant saxophonist who has played with the best in the business, including someone I look up to very much, Carlos Santana.

In the U.S., the biggest musicians tend to play out of New York and L.A. What is it about New York musicians that give the state such an incredible reputation?

I have lived in New York my entire life. Many people tell me I should be living in Los Angeles because of the music scene and the belief that you need to be there to 'make it'. That is a false belief.

I have many friends who have moved there thinking that they need to be there for their music success. I know from experience that it is not the place you live, it is the work that you put into your music and your network.

You were born in 1990 so must have grown up on a combination of pre-'90s and '90s music. Were you parents influential with regards your musical love and which artists were important to you growing up?

My parents’ taste in music has most definitely influenced me. I grew up listening to my dad's favorites, The Beatles and The Rolling Stones. To this day, these two bands are my favorite as well.

As a trained opera singer: how do you apply your talents and vocal style to Pop and Rock? Is it quite an easy transition?

I enjoy using my operatic tones within my Pop/Rock music.

I don't think enough artists are using their true voices within the music they are making.

Many labels today are controlling the way many artists sound. They induce fear into many artists and make them think that one way is the right way. Whether it be in making music or not, I create my own path and believe that everyone should be doing the same. It may be easier to follow the crowd, but making your own path is much closer to your truth and destiny.

What defines music for you? Exactly what does it mean to you?

Music to me is when I hear a lyric that stays with me forever. When I can apply that lyric to any situation I'm in to help me get through that moment of time. This is how I write. Beautiful voices are gifts. Not one of them should stay silent. Sing your hearts out.

 

[youtube https://www.youtube.com/watch?v=ZjSbM5Fbte8&w=560&h=315]

 

You have performed far and wide and met a lot of new faces. Are there any dates or performances that stand out in your mind?

Not a place or performance stands out to me. What stands out are the connections I make with people from all over the world through my music. I enjoy meeting people from all ends of the planet and realise one thing: we are all able to connect through music. Music is the answer. A universal language.

Your manager Steven has worked with names we all love. Ozzy Osbourne, Leonard Cohen, Seal (to name a few). Which of these artists do you admire the most?

Seal is an all-time-favorite of mine. His voice to his lyrics are brilliant and are songs I listen to every day of my life.

Have you any advice for any other musicians coming through looking to follow in your footsteps?

My best advice is to keep going. Hold on to your visions. Never give up. Don’t let fear become your worst enemy. Face your fears and always listen to your heart.

Finally, and for being good sports, you can select any song (other than your own) and I’ll play it here…

R. Kelly, I Believe I Can Fly

 

[youtube https://www.youtube.com/watch?v=GIQn8pab8Vc&w=560&h=315]

_________________

Follow Josh Michaels

 

Official:

http://www.joshmichaelsmusic.com/

Facebook:

https://www.facebook.com/officialJoshMichaels/?pnref=lhc

SoundCloud:

https://soundcloud.com/user-427547948

Purchase Josh Michaels' E.P. Out of the Deep Blue here:

http://itunes.apple.com/album/id1152278451?ls=1&app=itunes

 

E.P. REVIEW: Words & Noises - The Collector

E.P. REVIEW:

 

Words & Noises

 

 

The Collector

 

9.5/10

 

 

The Collector is available at:

https://itunes.apple.com/gb/album/the-collector-ep/id1143535153

RELEASED: 12th August 2016

GENRES: Pop-Rock

ORIGIN:

London, U.K.

TRACK LISTING:

Desperation - 9.5

Play Your Cards - 9.6

The Morning After - 9.5

Rewind - 9.6

DOWNLOAD:

Play Your Cards; The Morning After; Rewind

STANDOUT TRACK:

Play Your Cards

______________________________

Lyrics & music © Chris Selman 2016 all rights reserved. Recorded, mixed & produced by Tim Thomas at Blueprint Studio One, Manchester, April 2016. Mastered by Andy Walter at Abbey Road Studios, London, May 2016. Words & Noises are Chris Selman (vocals, guitars, keys) and Simon Williams (drums, percussion). Additional performers: Rory McDonnell (backing vocals) and Ewart Hodge (viola).

______________________________

TODAY I have been thinking about the small venues and clubs…

in this country and what their survival rate is going to be like in the coming years. Writing a piece for Impakter: it gets me thinking about the venues around the country and how vital they are helping foster our brilliant music industry. Before I come to my featured act, I wanted to look at that topic; acts that have come from Manchester to London (and the best our there) in addition to the art of quirky and unique songwriting. It is lamentable thinking the music industry will shrink and fragment because of the unpredictable fate of the clubs and small venues. We look around and hear stories of clubs like fabric shutting down and subjected to controversy and threat – will they ever see their doors open again? It is not just confined to London: the problem extends across the nation and is very worrying. Maybe there is a north-south divide but one wonders how we can stem the problem – make sure we preserve our very best venues so bands have somewhere to play. That is the reason for bringing up that side of things: how the best bands around started out playing these clubs. In order to transcend to the mainstream and cut your teeth appropriately; you need to go through the ‘toilet circuit’ and bond with the loyal, small venues crowds. What happens if we rob musicians the constitutional right to play clubs and venues? It is hard to imagine how music can survive were the club scene to shrink and musicians had to rely on larger venues and Internet-based promotion. It is quite shocking seeing so many places go out of business, and one wonders the reasons why. Perhaps there is a financial component and instability; maybe a lack of demand given high living costs or the fact more people are choosing to stay in to socialise. Whatever the reason behind the uncertainty; it is making many new artists very nervous and unsure. The reason I bring this up is because Words & Noises’ Chris Selman and Simon Williams rely on such venues in order to get their music out there. Perhaps not visiting many of the ‘basic’ venues around: the only way Words & Noises have arrived at your ears is because of the small clubs and venues.

Their new E.P. is out and one wonders whether it would have been made were it not for the opportunities and gigs they have been afforded – a chance to get live experience and connect with the audience. Before I raise a new point, it is worth meeting the London-based band:

Words & Noises is an English pop band. It is the brainchild of London-based singer/songwriter Chris Selman, who works collaboratively with Manchester-based percussionist Simon Williams; together with a number of guest musicians they create a unique brand of piano-pop music. Following on from the 2013 EP Beating Heart and the 2014 EP Loaded Gun, Chris and Simon released their new EP, The Collector, on 12th August 2016. It was preceded by a single, Play Your Cards.

The new EP was recorded, mixed and produced by Tim Thomas at Manchester’s renowned Blueprint Studio One in April 2016. It was mastered by Andy Walter at the legendary Abbey Road Studios in London during May 2016. Chris and Simon previewed the EP in its entirety at a one-off acoustic show in Manchester during the May bank holiday weekend. During July and August 2016 they played a trio of shows in London, Manchester and Liverpool, alongside numerous press interviews and TV and radio appearances to promote the new EP”.

I know the future of Words & Noises is secure but they still rely on small venues (at the moment) to promote their music and make a living. In time, the boys will be playing large festivals and arenas, but for now, they must depend on the honest and staple club scene. It is there for a reason and must not be sacrificed for any reason – we cannot lose our music scene or see it suffer. It is a point I wanted to make and something I will explore more at another time. Thinking of Words & Noises and one sees a duo that has a very bright and sturdy career ahead. They are based in London now but have come from Manchester. It is axiomatic to say Manchester is one of those cities that not only keep producing terrific bands and artists – it has helped shaped the modern music scenes and brought us legends of the future. The Gramotones, The Watchmakers, and PINS are a trio of Manchester acts I would recommend that show the variation and quality emanating from the city. Modern chart acts like Blossoms have put the city (or Greater Manchester) on the map and follow on from legends like The Smiths, The Stone Roses and Oasis (among many others). It is impossible distilling Manchester’s music and brilliance into a short space – suffice to say the city is one of the greater areas for fantastic music. In unison with my musing about the club scene in the U.K.: the small venues in Manchester and the North are more assured and secure than their southern counterparts it seems. It appears a lot of Manchester bands are coming further south and settling in the capital. Despite the reputation for a certain coldness, expensiveness and anxiety: many musicians are favouring the relaxation and quiet of the towns and coming to London. Despite Manchester being a prosperous and wonderful city for music; the boys of Words & Noises are in London and taking the bull by the horns. Of course, they will be playing gigs in Manchester and connecting with the city; but it is interesting to see so many artists come to London. The opportunities are there and a rich community: many are undeterred by the negatives and struggles and discovering it is the place to be.

Words & Noises are ones to watch not only because of their links to Manchester and London but because of the wonderful blend of sounds they possess. Many reviews have all said the same thing about the duo: what a special and entertaining act they are; tasty tunes and a clear bond that makes their songs unforgettable and universal. It is rare to find an act that differs that much from the crowd and puts so much of themselves in the music. Against a lot of formulaic and familiar sounds, it is always wonderful discovering musicians that have that distinct quality and creates their own sub-genre. Words & Noises mix Pop and Rock but you are loathed to compare them readily with any other act – there are not many that instantly spring to the mind. I cannot wait to see how their future unfolds as it’s clear they have a lot more left to say. The Collector is their four-track E.P. and one that runs over with sensational moments and memorable choruses. All welded and bonded by fantastic performances and assured songwriting – a duo you have to seek out and follow. I have speculated just how many great duos there are around and how they differ to bands. In order to succeed and continue, the two players have that have a solid friendship as they cannot hide behind other players and fade into the background. If the duo has a strained relation then the music cannot hold up and their lifespan is finite. It is clear Selman and Williams have a brother-like bond and at the peak of their form. Long may this continue.

Before I get to grips with The Collector, I am compelled looking back at the band’s catalogue and how they have changed over the years. Beating Heart was released in 2013 and a confident, glimmering E.P. from a duo still finding their way into music. Having played together a lot before and performed locally: the E.P. has ample authority and is not the sound of two new musicians with no idea what they are doing. Words & Noises’ sound comes to the fore straight away and they demonstrated (back in 2013) how variegated and multi-layered they are. In the early days, perhaps trying to capture public attention and get into the spotlight, the duo penned and recorded the songs quite quickly in a D.I.Y. manner – getting the music out there and no relying on studios and gloss. It is understandable why the duo took this approach and could not afford to procrastinate and labour too hard. If you are a brand-new artist coming into the market, it is important to make your music heard quickly. That is not to say you should rush music out and negate the considerations of quality and focus. Beating Heart is a very solid and nuanced work that shows care and attention have gone in – an E.P. that has plenty of soul and instant classics. The boys showed how they differ from their peers and each song has a distinctly Words & Noises sound – you cannot compare it with other acts out there. Loaded Gun built on Beating Heart and boasted more weight and insight. The sound was familiar similar but, to my mind, the songs are more instant and enduring; that extra little something can be heard and the songwriting that much sharper and deeper. Like its predecessor, the E.P. has that lo-fi quality to it and is another release that boasts a D.I.Y. aesthetic. Perhaps trying to capture the mood and follow on from their previous work quickly – it was quickly put out (again) and ensures the duo remained in the public mindset. After those E.P.s and accompanying touring, things are changed. The boys’ reputation was solidified and radio stations started to throw huge love and praise their way. Having that fanbase behind them, there was less of a need to rush The Collector and that shows. Songs are more polished and refined and have been worked on repeatedly to get the sound and feeling just so. No weak moment or any half-hearted sentiments: the duo has taken care, in every stage, to make sure the songs are as they envisaged them and taken a studio-based approach. This change in dynamic and writing has not changed their music for the worse. All the components and qualities of Beating Heart and Loaded Gun are there but The Collector takes it on a step and is their finest work yet. More mature, reflective and accomplished than anything they have ever done.

Already, The Collector has gained effusive reviews and being spoken about with huge passion – guess I am a little late to put my opinion into the mix. Desperation starts with jubilance and grandiose gallop and shines with alacrity and sunshine. Given the song’s title, it was unlikely the lyrics would reflect such an optimism and hopefulness. Our hero approaches the microphone and (with cheery abandon) state there is a “whiff of desperation in the room”. Selman’s lyrics and vocals look at something “quite contrary” and surprising. The youths come to drink  and wipe away their problems: you envisage a club scene or setting and a general feeling of hopelessness. Whether Selman is referring to nightlife and the people who are “quite ordinary” I am not sure. It seems like the lyrics could apply to a wider suggestion and look at those who think they are everything and get consumed by their ego. You can apply the logical to relationships and workplaces; the music scene and social gatherings – the words have an adaptable and amenable nature; every listener can attribute them to their own imaginations and opinions. In my mind, I got thinking about an egotist and showman that thinks he is the business but slightly disillusioned.  Selman’s voice has quirky nature that brings rare emotions and colours from the lyrics. He is sympathetic but in no mood to celebrate a central figure and that way of life. Becoming more intriguing and fascinating with each new thought – one wonders whether it is a friend of the duo or known acquaintance. You can picture scenes where the guy rocks up expecting to be celebrated and acclaimed but is being shunned and overlooked. Maybe referencing a general type of human or a known target – a fascinating song that provides plenty of mystery to The Collector. The anti-hero hangs in dingy clubs with teenager and seems like a sad figure – kidding himself and trying to be cool for no reason at all. Looking at the nature of fitting in with wrong crowds and being disillusioned: boasting the very human and witty observations Words & Noises are famed for.

 

[soundcloud url="https://api.soundcloud.com/tracks/264082977" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

 

Following the sparkling, almost Christmas-like chime of Desperation: Play Your Cards follows and keeps the momentum going. A single that has picked up a lot of attention and airplay already; it is perhaps the key cut from the E.P. Looking at the unpredictability and gamble of love (hence the title): it looks at relations and passions with new insight and objectives. The composition is tenser and tighter than the opening track and has more melody and singalong charm. Carrying itself on a gleeful wave of charm and pristine composition notes: Williams provides lust, colour and character to the song whilst Selman’s distinct vocal stylings push the lyrics forward and provide rush and excitement. Not ever trying to fit in with any other act: it is a distinctly Words & Noises song and mixes positivity and negative perfectly. Another assured and delightful composition – kudos to Williams’ performance – they are matched by Selman’s lyrics and graceful voice. Looking at protectors and those who want to ‘collect’ his heart – referencing the E.P.’s title here – he is a gambler who is stepping into relations not knowing how they will develop. Swooning, graceful vocals give the song gravitas and beauty but there is anxiety underpinning it. Our man is laying his cards on the table and his heart is on the line. What could come off as cliché and trope is given plenty of distinction and personality because of Selman’s delivery and insights – Williams injection so many different layers and nuances into the composition. Wordless vocals provide a ‘60s-Pop shine and there is a consistent drive and intensity to the song – never suffocating; the song is always light and agile. Having been castigated and disappointed in the past: our hero is hesitant putting his soul out there and risk being fooled. Like the rest of The Collector: you are addicted and seduced by the gleefulness of the composition and the wisdom and story of the lyrics. Play Your Cards is an instant favourite that not only get you singing ad moving in time with the song but compels repeated listening – just so you get to the bottom of the words and all their truths.

The Morning After might have obvious suggestions and ideas but is not quite as simple as that. The hero is trying to distil his Rock ‘n’ Roll spirt and perhaps recapture some of his better days. The Collector, as Selman has stated, is a more mature and reflective work. Perhaps a nod back to his 20s and clubbing days – perhaps it is harder fitting into that mould when you’re in your 30s. Not just looking at casual sex and the walk of shame: it is a wider and deeper investigation of growing up and not being that person anymore. Selman walks outside and may “be some time” it seems: collecting his keys and heading out to have some fun. Maybe (Selman) is not looking to self-destruct or rekindle his youth but looking for answers and truths. It is a song that makes you investigate away from obvious conclusions and get thinking. Once more, and like Words & Noises’ other tracks, the seriousness of the foreground is balanced with a composition that has spring, skip and Pop flavours. That blend does not distill The Morning After and its words: instead, it makes it more accessible and endeavouring; more rounded and complete. An unexpected and much-needed spark of electric guitar comes past the half-way mark and adds new dimensions and compositional elements. Emotive, swinging and gritty: it catches you unaware and provides a lot of regret, heartache and anger. It is clear the hero is not who he was and no longer natural in that morning after role – he seems to be going out and drinking for sake of things. Maybe wanting to meet a man but not have anything permanent: a very ‘teenage’ way of life is being documented – for someone in their 30s. Squandering his youth and regretting choices he has made; you cannot help but empathise with the hero and that sense of confusion. Words & Noises ensure the song goes right through the deck of cards – maybe the joker is being played too many times.

Image result for words and noises rewind

Completing the E.P. is Rewind. Whereas previous songs have sprung from the traps and won you with energy and effusiveness – there is a more casual, serious and reflective sound being put out. Earlier tracks of youth, love and gambling have all looked at age and the need for maturity and wise decisions. Rewind seems to be the aural equivalent of revelation and sobering up: waking in a haze and realising changes need to be made (little lyric in there for you!). That is all revealed in a vocal that is more tender and pure than anything. Gone are the more playful edges and youthful spring to be replaced by man who is sizing things up and looking at the nature of love. Having fallen for others in the past: it seems a pattern if emerging. The song is still enjoyable but there is a more serious sentiment that adds a new layer and side to the duo. Whoever is being represented in the song might be a player. It seems like our hero is not sure whether the affection is pure and whether it is a trap. Perhaps cynical but you feel the reticence and hesitation comes from a sane voice – one that has found too much heartbreak and disappointment in the past. Stately strings and shoulder-supporting percussion ensure the song has necessary emotion and sadness but not too tired – plenty of beauty and gracefulness come through in the composition. Selman shows his knack of conversational brilliance in the lyrics – never one to succumb to cliché and lacking inspiration. The lovers are keen to start anew (the word “dear” seems like a charming and anachronistic term of endearment) and not make the same mistakes. In the midst of such a situation: Selman’s voice remains dignified and composed; never showing too much emotion or being insincere. Words & Noises show how they can shift moods and sounds whilst keeping their distinct personality firm. Many bands and acts, the very best out there, can switch like this and (Rewind) provides an emotive and heartfelt finale. “Are we falling apart?” is a question that has rarely sounded so meaningful and affecting as here. Perhaps the sweethearts have a history and it is a complicated situation. Our hero swims in his own head and is looking for clarity know it might never come. It is clear things will take time to resolve themselves and you are always wondering whether hearts will be broken or happiness will emerge. Towards the closing stages of the song, that earlier question is emphaised and the necessity to rewind is paramount – going back to the start and picking things up fresh. A wonderful song that demonstrates how the duo have progressed. Rewind could never have exited on their first two E.P.s and benefits from studio treatment and polish; ensuring every line and sentiment gets straight into he heart. It completes a wonderful four-track E.P. and a fascinating, consistent creation that is their crowning achievement to date.

The Collector is a stunning work that is tight, focused and awash with imagination, fantastic songs and distinct edges. The boys do not copy their contemporaries or come off as a second-rate version of someone else. One of the most varied and individual duo you are likely to hear in years: the fantastic reviews and hype they have received is justified and appropriate. I am not sure what the rest of 2016 holds for them but I know there will be tour dates and chances to get their new E.P. to the crowds. Let’s hope there are plenty of venues out there for the guys – coming back to my early point – and the audiences are warm and receptive. The feedback and acclaim they have received suggests they are incredible live and an act I will have to see. The next time they play London I’ll have to get myself involved and witness their music first-hand. Before wrapping this up, it is prudent not only looking at the duo’s future but see how they have come on. I mentioned early on how their latest work is more polished and assured than previous E.P.s and that speaks volumes. Clearly there is a lot of confidence and faith in the group and they are not musicians that want to stand still and repeat themselves. Embracing a cleaner and more studio-set sound: it still has D.I.Y. touches but it more accessible and polished without losing the common touch.  The Collector signals a new phase for the duo and sees them preparing themselves for mainstream life. I am not sure whether they have any plans for the future with regards new material and albums but it seems only a matter of time before they join contemporaries like The 1975 and Everything Everything.

Those two bands are ones the band tip as idols and define the Manchester scene. The city will always be the spiritual home for Words & Noises (Selman especially) and runs in the blood. Aside from current favourites Blossoms and Guy Garvey – showing how nimble and consistent he is when stepping aside from Elbow – the bands who made the city what it is today never forget their roots. Words & Noises are based in London but always remind you of Manchester’s finest – a little bit of fellow norther acts Artic Monkeys and The Beatles. It is likely the boys will keep things lo-key for the rest of 2016 and prime themselves for new material and chances. On The Collector; they have taken a step forward and are working with professionals who have contributed to material by Radiohead and David Bowie. I know Selman would like the chance to perform alongside Paul McCartney and Noel Gallagher and you wouldn’t bet against that. Words & Noises are a utilitarian act that have won many hearts and are only going to grow stronger and bigger. Do not overlook just how important it is to promote and investigate acts like Words & Noises. On the surface, you may assume them to be another act that sounds like so-and-so and will not really stand aside. That is a naïve assumption but perhaps excusable. We get bombarded with so many artists who are tipped as the next big things and it can murk the waters. The artists that are truly unique and wonderful often toil in anonymity and struggle to get appropriate dues. I still find the young guitar band gets too much focus and is the default go-to ‘hero’. We need to shift our thinking and celebrate musicians on merit rather than history and market trends. If you factor out all the media narrowmindedness and predictability and there are still many willing to open their ears and bring us the very finest acts – 6 Music are among the champions of Words & Noises. The Collector is a wonderful E.P. that arrives from a duo who improves and expands with every new release. If you require music original, accomplished and characterful then embrace the boys and take them to heart. Manchester has produced so many wonderful acts the past few decades: it is no exaggeration to suggest Words & Noises…

DESERVE to be mentioned alongside them.

 

[soundcloud url="https://api.soundcloud.com/tracks/273347144" 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 Words & Noises

 

Official:

http://wordsandnoises.com/

Facebook:

https://www.facebook.com/WordsAndNoises/

Twitter:

https://twitter.com/wordsandnoises

SoundCloud:

https://soundcloud.com/wordsandnoises

YouTube:

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

FEATURE: The September Playlist: Vol. 1

FEATURE:

 

THE SEPTEMBER PLAYLIST ANDSUCH MUSICMUSINGS VOL. 1

 

The September Playlist: Vol. 1

______________________

ONLY a few days into the month and there is ample evidence…

Image result for jamie t 2016

to suggest September will be overflowing and awash with fantastic music and notable albums. It is worth collating the singles and songs from the first week of the month – the music that is defining the early-September buzz. I have been having a search around and bring the best from the bunch.

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Image result for nick cave and the bad seeds

Nick Cave and the Bad SeedsJesus Alone

 

[youtube https://www.youtube.com/watch?v=9iGxoJnygW8&w=560&h=315]

 

Image result for psychic twin

Psychic TwinHopeless

 

[youtube https://www.youtube.com/watch?v=KSFkkA71n3s&w=560&h=315]

 

Twin Atlantic – The Chaser

 

[youtube https://www.youtube.com/watch?v=hpA6JOWpiEY&w=560&h=315]

 

Image result for sleigh bells

Sleigh BellsIt’s Just Us Now

 

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

 

Image result for the head and the heart

The Head and the HeartLibrary Magic

 

[youtube https://www.youtube.com/watch?v=Pg4VCNyzI2I&w=560&h=315]

 

Image result for soft hair lying has to stop

Soft HairLying Has to Stop

 

[youtube https://www.youtube.com/watch?v=eFkAjX0Gz8Y&w=560&h=315]

 

Image result for local natives

Local Natives Coins

 

[youtube https://www.youtube.com/watch?v=N2kYC4H-70k&w=560&h=315]

 

Image result for goldlink

GoldLinkFall In Love

 

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

 

Image result for jamie t

Jamie TDrone Strike

 

[youtube https://www.youtube.com/watch?v=3fLEkq39SYc&w=560&h=315]

 

Image result for bastille

BastilleSend Them Off!

 

[youtube https://www.youtube.com/watch?v=4yhuSy7_frw&w=560&h=315]

 

Image result for teenage fanclub

Teenage Fanclub - Thin Air

 

[youtube https://www.youtube.com/watch?v=wjAl8jqdMjg&w=560&h=315]

 

Image result for wilco

WilcoSomeone to Lose

 

[youtube https://www.youtube.com/watch?v=ICacxeEUa90&w=560&h=315]

 

Image result for james blake

James Blake (ft. Vince Staples)Timeless

 

[youtube https://www.youtube.com/watch?v=JO1L2R3oQ6Q&w=560&h=315]

 

Image result for rebecca ferguson singer

Rebecca Ferguson Bones

 

[youtube https://www.youtube.com/watch?v=WaicRZoHO6Q&w=560&h=315]

 

Angel OlsenSister

 

[youtube https://www.youtube.com/watch?v=-mIA1r2ZELU&w=560&h=315]

 

Image result for july talk

July TalkPush + Pull

 

[youtube https://www.youtube.com/watch?v=YWywb9i-z7Y&w=560&h=315]

 

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A Day to RememberExposed

 

[youtube https://www.youtube.com/watch?v=S_qef2tsh6U&w=560&h=315]

 

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Zara LarssonAin’t My Fault

 

[youtube https://www.youtube.com/watch?v=RP4W9rp5zVY&w=560&h=315]

 

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Fetty WapMake You Feel Good

 

[youtube https://www.youtube.com/watch?v=fB8OZLLDIgY&w=560&h=315]

 

Image result for M.I.A.

M.I.A. (ft. ZAYN)Freedun

 

[youtube https://www.youtube.com/watch?v=x_Nc1FdTD10&w=560&h=315]

 

Image result for devin townsend project

Devin Townsend ProjectSecret Sciences

 

[youtube https://www.youtube.com/watch?v=Wy7uQ4evb8g&w=560&h=315]

 

Image result for jack white 2016

Jack White Carolina Drama (Acoustic Mix)

 

[youtube https://www.youtube.com/watch?v=CUKcChH7sbo&w=560&h=315]

 

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All Sons & DaughtersI Surrender

 

[youtube https://www.youtube.com/watch?v=7j2IRgLYQ4o&w=560&h=315]

 

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The Divine ComedyHow Can You Leave Me On My Own

 

[youtube https://www.youtube.com/watch?v=Ehxil2jZiok&w=560&h=315]

 

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Izzy BizuMad Behaviour

 

[youtube https://www.youtube.com/watch?v=OA_E6udchlM&w=560&h=315]

 

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Kaia KaterRising Down

 

[youtube https://www.youtube.com/watch?v=JuG9Xh5FUw8&w=560&h=315]

 

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Ward ThomasGuilty Flowers

 

[youtube https://www.youtube.com/watch?v=Y3fk_CL4AXs&w=560&h=315]

 

 Image result for king creosote

King CreosoteYou Just Want

 

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

 

Image result for sophie ellis bextor 2016

Sophie Ellis-BextorCome With Us

 

[youtube https://www.youtube.com/watch?v=-F8mEQsXVkQ&w=560&h=315]

 

 

I have had to stop myself as there is a raft of great songs still left to put out there – I shall leave it for future editions. There are another four parts to go, so lots of chance to hear September's’s best songs from brand-new albums. If you are feeling low by the shorter days and moody weather: stick on this playlist and have a smile put on your face.

Image result for izzy bizu

TRACK REVIEW: Cocoa Futures - The Blue

TRACK REVIEW:

 

Cocoa Futures

 

 

The Blue

 

9.6/10

The Blue is available at:

https://soundcloud.com/cocoafutures/the-blue

RELEASE DATE:

August 2016 (SoundCloud)

GENRES:

Funk; Pop

ORIGIN:

London, U.K.

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WITH this year starting to get darker and colder…

it is worth looking at music that gets the spirit warmed and the body moving. I have heard a lot of bands and artists who have a pretty great sound – it tends not to stick in the mind and you go off looking for something else. My feature act is setting themselves aside and already (so early in the career) gathering some great reviews and hype. Before I come to them, it is worth looking at addictive music and its importance; the fusion of Pop and Funk and the London-based bands forging forward in 2016. It may seem like a minor point, but you cannot underestimate the strength of a catchy song – one that gets your feet moving and the body dancing. There is a lot of seriousness and po-faced music going around: every now and then, the listener yearns for something more rousing, danceable and funky. So many of the brand-new bands/acts emerging still lack the necessary rhythmic freedom and positivity – still confined and limited. Some of the most instant and enduring songs I have come across this year have been noted for their catchiness and incredible sense of energy. M83’s Go is one of those songs that creates dance and merriment: an unashamedly giddy song that, once heard, rattles around the brain and compels you to listen again and again. Cocoa Futures take that core and expand it to create music full of nuance, infectiousness, and ambition. When reading reviews for Cocoa Futures, that word ‘infectious’ keeps coming back and standing out. It might sound like an odd word to apply to music but one I do not see often enough. So many new songs are okay on first listen but you move on and do not really feel the need to return. In order to survive in the modern age, the songs you perform have to have to go deeper and ensure the consumer is hooked and entranced. I have a great love for musicians that try something new and genuinely push themselves.

On the other side of the argument: there are those that think catchy and infectious music is shallow and lacks any real emotional clout and authority. The artists that create upbeat/repeatable songs and get you thinking are quite a rare breed. I agree there are a few bands/musicians that can pen an addictive song but it lacks any real intelligence and wisdom. Cocoa Futures are one of those propositions that have been gaining rave reviews and rightfully so. Penning music that hits all the senses and gets the brain sizzling, engaged and provoked: a genuinely exciting act that are going to be around for a very long time. I shall raise a couple of new points, but for now, it is worth introducing you to my featured act:

Greg, Dave, Jack, and Zoe

Our ethos is pretty simple – to be ambitious about making music we’re proud of. And to have a nice time.” Greg, Cocoa Futures

Scotland-bred and London-based, Cocoa Futures are the brainchild of frontman Greg (vocals/bass). They specialise in pristine pop harmonics crossed with a taste for the unexpected. Greg assembled a band including Dave (drums), Zoe (keys) and Jack (guitar) and first came to prominence in 2014 through the self-released upbeat singles ‘Do Something’ and ‘Scotland’, while commanding distinguished reviews for their select live shows, which included the Great Escape and Camden Crawl festivals. This early promise served as a staging post for the band to determine their musical direction and decamp to the studio to write. And write. Crafting and developing manifold demos became a daily pastime for Greg and when he sent a batch of these over to producer Marc Withasee (Micachu & the Shapes), he received a wordless reply that contained an amazing first draft of what would evolve into ‘The Blue’. Withasee and Cocoa Futures bonded over a love of ‘messed up’ pop and the producer was instrumental in setting tempos, tweaking arrangements and bringing out the band’s penchant for building tracks around loops and effects as they collaborated on the four-song ‘Blue’ EP, completed in early 2016. When Greg shared the results with Lost In The Manor Records, the label wasted no time in offering the band a contract and the EP’s release will coincide with a number of key London launch dates. ‘Blue’, mixed by Max Taylor and mastered by Jason Mitchell, is immediate yet intriguing, a collection of fantastic pop moments wrapped up in music of great depth, and its release seems set to propel Cocoa Futures to the frontline of UK pop’s key innovators”.

This year has been a bit of a mixed one for new acts. It has been more consistent and impressive than 2015 but I still find too many artists who do not resonate and linger at all. So many artists are temporary and transitory and have not really cemented something original enough to keep them in the consciousness. Cocoa Futures hail from Scotland but have moved to London and found inspiration there. It hasn’t been easy but the cosmopolitanism, variation, and colour feed right into their single, The Blue. It is not just the city and people that have brought about such a terrific song – the mixing of genres is not to be underestimated. Pop and Soul go alongside Funk and Alternative without seeming disorientated and over-stuffed. I love Rock music and harder-edged bands but something with a bit of slinkiness and movement. I mentioned how a lot of bands are getting too serious and that is something that is becoming more prolific and widespread. You can sing about love and the unpredictableness of romance and still make songs that have some optimism and variegation. What Cocoa Futures provide are Prince-like guitar squalls and histrionics with rump-shaking memorability and hook. The quartet has come from Scotland and ensconced themselves in the capital now. Scotland is, as I have stated in other reviews, one of the most prolific and prodigious nations when it comes to great music. We overlook artists there in favour of England and forget just how many terrific acts are based there. The difference there, as opposed to London, is the sense of freedom and lack of anxiety evident. What I find with Scottish music is a sense of heritage and community. A lot of bands and acts vibe from their past heroes without replicating them. You get touches of the finest Scottish artists ever; fed through a very modern-sounding and fresh prism. A few people assume music in Scotland is going to be samey and hard-nosed but there are rafts of acts that know how to inject plenty of fun and Funk into the mix. It is not fair to assume London has been solely responsible for Cocoa Future’s success and direction. They have stated, in a recent interview, how it took a while to assimilate to London life and find a niche – now they have; the music is mutating and growing with the beat and flair of the city. In The Blue; you can hear a stunning mix of Scottish traditional and singular sound with the expanse and daring of London – together with little flavours of the U.S. Comparisons have been made with Prince – the stunning falsetto do not do anything to deter that thought – and it looks like things are moving forward for the intrepid four-piece.

London is a city that has always been synonymous with its wonderful music – the natural British centre for the best and brightest. I can see the appeal of going to London and pursuing the music dream. Few opportunities are to be found in a lot of towns around the country so more and more musicians are emigrating in order to get their music heard. In the case of Cocoa Futures: the guys are still new but already being tipped for great things and success. They have a few gigs lined up – a chance to sort their material and try different things – and it is all very exciting right now. It is a very tough and competitive market (especially in London) so you need a very special sound to get people talking and ensure longevity. So many waltz into the city with something cliché and regular and assume there is room for them and success will come – rather stunned and overwhelmed by the reality check that awaits them. Cocoa Futures have taken care to hone their music and work on it rigorously. Despite the fact they’re hip-swiveling and insatiable: that sort of freedom, sass, and quality has not been lazily tossed off and blagged. Among the most hard-working and determined acts around the country: one feels that dedication and work ethic will see them rewarded and celebrated. London is showing just how many great artists are in their midst and what variegation and choice is available. It is understandable coming to the city and being fearful and anxious – not quite sure whether survival and prosperity is going to be assured. No such concerns with Cocoa Futures who have a great management team behind them and some important dates lined – London crowds starting to turn on to a wonderful act who make music for the masses.

At this point, I normally look at a band/musician’s past and compare their past work with their current. That is tricky in the case of Cocoa Futures who are just beginning and in the early stages. When they unveil their E.P., it will afford a chance to see how the songs different and the range of sounds they have in their locker. At this juncture, it is down to The Blue with regards defining the London band. It already sounds completely fully-formed and confident: hardly natural for a band so new and fresh. Of course, the individual members have been around for a while and performed before – they sound like they have been gigging for years and recording just as long. You never get a sense, throughout The Blue, that there are any hesitations and room for improvements. The band has released other songs in the past – Do Something and Scotland were released in 2014 – but are hard to get your hands on. Essentially, their 2016-work is what matters and what the band is putting out to the ether. They are bonded by a love of messed-up Pop and that fascination with hooks and samples – tweaking them and seeing just what can be achieved through music. Quite an unorthodox and experimental group that differs from the pack – those who will compel others and innovate the scene. So many of today’s ‘best’ bands lack necessary malleability and originality making one wonder why they were tipped in the first place. Cocoa Future’s gorgeous harmonies and Funk-kicking guitar lines stand out on their own – there is so much more when you dig deep. Just consider what Blue will contain: an E.P. sure to be noted for its dexterity and peerless quality. The critics and reviews that have seen the band live are already talking about them as one of those acts that will change music. A lot of press attention is coming their way so that all bodes well for them. Hopefully, their future E.P. will be praised as heartedly as their single. If that is the case, and one would assume that, then the future is very much safe and assured for them.

The Blue starts out in a mesh of industrial beats and electronics. With the same sort of flair and sound as Word Up – it has that kind of Cameo ‘80s R&B. to it – and you are instantly braced and surprised. I have not heard a song come out the blocks so authoritatively without huge guitars and noise. The band has kept things restrained but managed to create such an atmosphere and gravity with simple components. As I said a little bit earlier: they love to tweak beats and sounds and love a good loop/hook. That is all evident right from the off and there is no time for gradual build and surprise. The Tottenham group are on the same page and ensure The Blue gets into the head right away. Perhaps looking at relationships and two lovers with different views – the early lines are quite intriguing. Imploring (the girl) not to fight it and the listener will come to their own conclusions. A good time to “feel low” and words explaining how experience matters – perhaps the rituals of humiliation and misunderstanding are being laid out. I got the impression of the duo in a relationship but being separated by personality clash. They want different things from life and it seems like the bond is about to break. The band has not explained the true origin of the song but I was thinking of a general fall-out between people who have lost that love and affection. The hero’s voice is falsetto-sharp and pure but carries a sadness and weight to it. Some of the words have intelligibility issues – a bit too low in the mix perhaps – but the vocal beauty and heartfelt delivery pave over those cracks. The composition, equal to the foreground, provides so much joy and fascination. It is hard to explain what goes into the sound and how it was crafted. You get sturdy beats and definite funkiness. Calypso percussion and tropical vibes sit with jagged, robot-like electronics and the overall sensation is quite hard to take in. Few bands are as original when it comes to compositions so The Blue is a song that demands a few spins so you can appreciate it. Our man wants to take a holiday from feeling low and just get away from things. At this point, one wonders whether it is just relationships that are getting him down. There is a wider possibility that life in general is causing issues and not quite as he hoped. I am not sure, but that openness and possibility exists. In terms of the vocals and production sound: it is a very modern and cutting-edge sound and one that puts your mind in 2016. The compositions recall more of the ‘80s and mixes influences as wide as Talking Heads and Madonna. There is a bit of La Roux and contemporaries, but for the most part, you are taking back to the past.

Everyone will get their own view of the truths and origins, but for me, there is that desire to be somewhere else and escape from a harsh bond – perhaps start again or take a break. Vivid, oblique lyrics about car crashes and helicopters take the imagination elsewhere. Take the weekend out the city, our man states. The ideas of franticness, busy streets and exhaustion start to emerge and I was getting ideas of fleeing the city and finding some solace and reflection. It is interesting hearing the song unfold and the way your opinions change according to the narrative. The central figure (the girl) is being cut down and caught up with; there is a definite sense of strain and emotion but the lyrics never truly reveal their truth. It is the images and ideas being sung about that form their own story rather than literal revelation and backstory. I am not sure whether Greg has explained the song – and I may be off the mark – but The Blue is something that will be taken to heart by the listener. Greg did explain how there is a general sadness that goes into the song: it is okay to feel that way and there are fun ways to avoid the depression. That is a nice way of looking at things and the city, key in my mind, is a perfect example of both sides. It can be a harrowing and lonely existence being inside a busy city but there are so many distractions and entertainment – capable of feeling together, as one and fulfilled. Modern life is so hectic and unpredictable: most of us get caught in a bad rut and there is that need to overcome the blues and reclaim the soul. Various reviewers have put names like David Bowie and Hot Chip together with The Blue, and that is understandable. The band has a wide range of idols and you get a little bit of each in there. Bowie’s Let’s Dance work is evident in the driving, Funk-heavy composition and the same can be said of Prince. There is a definite impression of the sadly-departed legend in the falsetto vocal and delivery. When it all comes to it, you get a band that is very much separate of others and merely bring other musicians in as leads and guide. It is the insatiable and determined stomp (with the pulsating bass line) that not only gets you dancing and jiving along but will go down well in the live setting. Perhaps there is a summertime flair to the song but it is something that will translate into autumn and winter – a track that is uplifting and wonderful in any season. By the closing notes, you have taken a lot in and heard from the hero. Those blues and stresses are heavy on his mind but there is the chance to get away for a couple of days and unwind. Whatever you take from the song and however you view its lyrics, one thing is evident: that catchiness and addictiveness reign from every note. The mind and soul will be nourished by the lyrics and the contrasts of blues and escapism. The body and bones will react to the busy, multicoloured composition that is impossible to deconstruct and explain. It is such a quirky and perfect setting for the song and differs from everything out there. Bands who play in a similar style often keep the composition a bit basic and predictable I find. Cocoa Futures lace together various genres, sounds, and hooks together in a splendid way. All of this together signals a group that has a lot of years ahead of them and let’s hope they keep the quality this high. If their E.P. contains the same gems and standard as The Blue then critics will go wild. That comes out on December 2nd so make sure you keep your eyes open and prepare for something quite wonderful. London is used to producing and supporting some tremendous acts – Cocoa Futures definitely rank alongside the finest in the city right now.

The Blue is the latest single from Cocoa Futures and, as said previously, a song that is getting plenty of buzz, love and wonderful feedback. I know the guys have an E.P. (Blue) in the pipeline and that will be exciting to see. Being taken care of by Lost in the Manor (London) and filled with promise and determination – keep your eyes on the band. Let’s hope they have time aside to add more to their social media as it would be great to hear about where they came from. I know interviews are the best way to learn about musicians, but a little biography and insight help new listeners and fans learn about an artist. The guys play Lost in the Manor’s Blogtober – which I am part of – and that will give them a chance to nestle alongside some great acts and get their music to a new crowd at The Finsbury. I hope the band gets some more promotional images out there and up as it would be good to see – this review has a few images but not many. Looking at social media and you would think it is a one-man act: leaving quite a lot of mystery and questions towards Cocoa Futures. That might come with more exposure and demand but I am sure fans and followers would like to see more visual insight from the group – some photos that put faces to names and show them on the road. I know the group (Greg and Dave at least) began in Edinburgh and relocated from the city – finding it a little boring and stifling as musicians. London has opened up its arms, but of course, there is work to be done and more music on the horizon. The Blue E.P. will be interesting and one wonders whether the template will follow the lead of The Blue. The track is, quite rightly, defining the band and the temptation would be to produce another 3 or 4 versions of that song. Many bands and artists do this and that can lead to problems. If you become homogenised and predictable that early then critics have you figured out. I know Cocoa Futures have a long list of influences and styles that inspire them. I am confident we will see that come to fruition on the E.P. – a wide range of different genres and themes being explored. Until then, they are getting on the road and picking up that all-important live experience.

Before concluding things, it is worth looking at the earlier points and seeing where Cocoa Futures are heading. Greg is very much out front for the band, but his crew and bandmates are not to be overlooked and underestimated – making sure the music is fleshed-out and vivacious; the connection and understanding between the members is incredible. Perhaps the Edinburgh-based lead has found more prosperity down south but you can hear elements and strands of Scotland and the musicians there within Cocoa Futures. I wonder whether various well-established musical cities are going to suffer in the future. A lot of acts are decamping and finding more excitement and popularity away from home so it gets you wondering what of the fate (of the other areas). Edinburgh has always produced exceptional musicians but a lot of the new generation are leaving, and with it, taking wonderful music away with them. London, as a result, is becoming more crowded but that is good for the music economy – so much choice for the consumer. Cocoa Futures have arrived with plenty of heart and determined spirit and found themselves a loyal and faithful management team – willing to support the music and get them gigs. I would urge you to see the band play if you get the chance and find out why they are being lauded by so many critics. It is early days still but the propulsion and push The Blue has given them will lead to some great things. Few new musicians are taking their mind away from heartbroken and serious love songs and understanding how vital energy and addictiveness are to music. It is not cheap and easy creating something catchy and dance-able so long as the lyrics have a bit of seriousness and soul to them. There are those acts that can provide catchy songs but often lack any depth and intelligence – it can become cloying and frustrating the more you hear them. Cocoa Futures have shown just what can be achieved from a blend of wisdom, Funk and emotiveness. The bond between the members ensures every note strikes from the speakers and gets the feet and backside moving and involved. It is going to be wonderful seeing the group flourish and discover London in all its delights. Cocoa Futures play Ryan’s Bar on the 16th; they head to The Finsbury for Blogtober and then to Sebright Arms in December. More dates are likely to follow in 2017. I am looking forward to charting a group who are just beginning their careers and have plenty of potential and scope. When their E.P. is released, I know there will be wider demands and they will have touring demands across the U.K. Until that moment, and whilst they plan their future, you should keep in touch with Cocoa Futures and just where they are heading. Surely they will be one of those acts…

CAPABLE of some very big things.

 

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Follow Cocoa Futures

 

Facebook:

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

Twitter:

https://twitter.com/cocoafuture

SoundCloud:

https://soundcloud.com/cocoafutures

INTERVIEW: Jasmine Rodgers

INTERVIEW:

 

  

 

Jasmine Rodgers

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WHEN a critic labels a musician ‘special’ or ‘original’ you always have to…

PHOTO CREDIT (AND PROFILE PHOTO): Maria Aragon

 

take that sentiment with a pinch of salt and appropriate cynicism. Often hyperbole-driven and too-eager-off-the-block-effusive: there is no such quibble or debate with regards Jasmine Rodgers. Growing up on everyone from Led Zeppelin to Hip-Hop (Free frontman Paul Rodgers is her father): it was a varied and expansive musical upbringing.

An Alternative-Rock artist with a Japanese poet mother: it is hard to think of anyone quite as individual and fascinating as Rodgers.

Blood Red Sun is released on October 28th and a self-released, 11-track album from Rodgers. It shows the breadth, depth, and beauty of her voice; her stunning, evocative songwriting and heartfelt performances. Having experienced such a whirlwind and fascinating 2016; I was keen to catch up with her and see what was in store – the themes and stories that influenced Blood Red Sun.

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Underwater will appear on Jasmine Rodgers' forthcoming album, Blood Red Sun

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Hi Jasmine. How are you? How has your week been?

Hiya. Very well thanks: just spent a week in California with the flu but I’m sunburnt so it’s all good.

For those new to your music and influences: who were the artists that compelled you as a child?

Led Zeppelin, Ella Fitzgerald, Nick Drak; Inxs, Prince, Aretha; Miles Davis, Plenty…. these were some of the ones that were on repeat when I was little.

Of course, being the daughter of Free’s Paul Rodgers, you must have had quite an unorthodox and memorable upbringing. Was it quite unconventional and are there any particular memories that stand in the mind?

That’s the thing, you only realise that it might have been unconventional as you get older. Dad was away a lot but when he was around then the house was filled with music and musicians. Ahmet Ertegun was a regular visitor and I loved the smell of his cigars. Lovely man.

Your household was obviously very artistic and creative. Do you think you would have become a musician were it not for your parents’ influence?

Maybe not. I’m equally drawn to writing and painting, but also to zoology and I did pursue that quite seriously; but music is the one for me that allows me the greatest room for my kind of expression and I look at everything with music in my mind. For me, life without music would be colourless.

You are based in London at the moment. How does the city and its people inspire you as a songwriter and woman?

I like London people. I love the sense of humour and actual helpfulness. You only need to ask and people will help. I think we get a reputation for being cold but a good joke or authentic interaction and we’re right there. We’re mixed and I love that. As a woman, that’s great too. It is hard to live here in that it’s fast-paced and expensive and there are so many people that I think people can get a bit lost but in terms of inspiration there are so many stories being played out every day.

 

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

 

Icicles and Sense formed part a double A-side. What compelled you to write those two songs and were you surprised by the huge reaction they received?

Both have really different reasons for being written. Icicles was done in one go and it was kind of a prayer for resolution; but also, whenever I sing it I see huge waterfalls and beautiful scenes. Sense was about not being heard/understood and how crazy it made me. I always imagine singing that one to the dark. I was touched by how well they have been received but I love them too.

A lot of artists tend to focus heavily on love and heartache. Your music looks more at nature, the land and the world around us. Do you feel too many musicians too refined with their music and ignoring the simpler, tranquil side of life?

I think I do focus on love and heartache too but I draw relief from nature and the things I see around me, so in the end, I always end up cheering myself up.

like people who are refined in that way - I think as a listener that I tend to seek out certain types of music that I can release to; so Jeff Buckley is great if I want to throw myself into feeling blue for a while.  

Do you set time aside to write or is it quite a spontaneous thing? How does the city/people around you feed into your  songwriting?

It’s quite spontaneous really. Sometimes, things play around in my head before I commit them to a song. Sometimes, I didn’t even realise the themes that were there until I do. People are always inspiring to me. I love that they are.

PHOTO CREDIT: Anne Campbell

 

You have an album out in late-October. What can you tell us about it and the sort of songs/themes that will be contained within?

All of the above. Some are about love and relationships, some are about the landscape and some came out of my head when I wasn’t expecting them. All have stories behind them and are part of the greater story. 

How has the songwriting process been for the album compared to your previous material? Any notable high/low points along the way?

Honestly, it’s been fun. They’ve been brewing for a while so it’s been quite easy. Collaborating has been fantastic too, I’ve enjoyed hearing the songs with all of the musicians on them and seeing the songs grow bigger than what I imagined.

Music is a very stressful and demanding thing. How do you unwind and given the attention heading your way; is it possible to detach from that spotlight?

It’s all good so far. The music itself, and the performing, are an absolute joy.

PHOTO CREDIT: Maria Aragon

 

Looking back at your career so far: which gigs or achievements have you been especially proud of?

The latest ones that I’ve done with the band have been achievements for me. The more that we play together the better it’s sounding. Having said that, performing at the Royal Albert Hall was amazing. Very intimate even though there was a big audience.

Aside from the album coming out: what does the rest of 2016 hold for you?

I’ll be supporting Bad Company in October in Cardiff, Leeds, Nottingham and Birmingham so I’m getting ready for that!

In terms of new musician or mainstream artists at the minute: who are you listening to and would recommend?

Peaches. As the years go by I like her more and more.

PHOTO CREDIT: Maria Aragon

 

Would you offer any advice to young musicians/bands coming through looking to make it big?

Keep going.

For being such a great sport you can select any song - not your own: I’ll pick one of those - and I’ll play it here.

Rag’n’Bone Man –Healed

 

[youtube https://www.youtube.com/watch?v=HvQYgNUZu98&w=560&h=315]

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Follow Jasmine Rodgers

 

PHOTO CREDIT: Anne Campbell

 

Official:

http://jasminerodgers.com/

Facebook:

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

Twitter:

https://twitter.com/JRodgersmusic

YouTube:

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

SoundCloud:

https://soundcloud.com/jasminerodgersmusic

 

FEATURE: Electric Vinyl: The First Steps

FEATURE:

 

Electric Vinyl:

 

 

 

The First Steps

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I have mooted the concept and idea of a new interview show…

Image result for vinyl djs

 

called Electric Vinyl. In the original pitch - https://musicmusingsandsuch.wordpress.com/2016/08/26/feature-electric-vinyl/ - I introduced what the series would look like and the format it would take.

There are very few (if any) modern equivalents that bring together musicians and people who work in the industry: not as a promotional opportunity but the chance to discuss important issues and explain the music and artists that have inspired them.

The one-hour episodes/editions will unite two, perhaps disparate figures, who will be able to share tales, chat, and songs – against the backdrop of the ‘Electric Vinyl’ bar. Before it goes to Kickstarter level, and the pitch begins, I have been thinking about the first show: the camera/style employed; the locations that would best suit it – the two guests I hope will kick things off…

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FILMING EQUIPMENT:

The series will be shot in London and have a bar setting: either a real-life one or designed equivalent. Most of the filming will be fairly low-key and the guests will be sat down for the most part. That said; there will be some action shots and fast-paced craning and actions shots. Because of this, the cameras have to be right for the specifications and affordable too. Because budget will be a big issue (limited early on) the cameras will be fairly basic but able to a sense of modern cutting-edge style and clarity. I mentioned, jokingly but with some relevance, how Made in Chelsea is a reference point. That clean, filmic and modern look needs to come across but there needs to be fluidity and the opportunity for different styles – black-and-white in addition to colour shots. The cameras might need to be hired but up to the task – assembled are the three cameras (it will be a three-camera show) that I have in mind.

CAMERA: Sony HXR-MC2500E Camcorder-1080 pixels

WEBSITE/SPECIFICATIONS: http://www.sony.co.uk/pro/product/broadcast-products-camcorders-nxcam-avchd/hxr-mc2500/specifications/

CAMERA: Canon Legria HF G25 Wide Angle High Definition 3.5 inch Touchscreen LCD Camcorder

WEBSITE/SPECIFICATIONS: http://www.canon.co.uk/for_home/product_finder/camcorders/high_definition_hd/legria_hf_g25/

CAMERA: Action Camera, Waterproof Sports Camera Action Cam Gizcam GZ10

WEBSITE/SPECIFICATIONS: https://www.amazon.co.uk/Waterproof-Gizcam-Camcorder-Batteries-Accessories/dp/B01E6TSP7A

Image result for shoreditch

LOCATION:

Before coming to guests, the location is an important and vital consideration. It might be expensive to rent a studio or warehouse and design a set – making it look like a London cocktail bar. For authenticity, an actual bar is probably going to be the best way of going forward. I feel hiring/using an existing bar is the easiest route. Because the series has a cocktail bar theme – whilst being fairly trendy and Hoxton-esque – I have a particular set design in mind – the bar will be the backdrop and location rather than what the finished set will look like. I want to bring in my own seating and props in addition to extras. In terms of the location – useful to guests coming in and to get a feel of the look of the series – I have narrowed down to three possible destinations.

FIRST CHOICE: Nightjar

ADDRESS: 129 City Road, London, EC1V 1JB

WEBSITE: https://barnightjar.com/

Image result for nightjar bar

Image result for nightjar bar

Image result for nightjar bar

SECOND CHOICE: Looking Glass Cocktail Club

ADDRESS: 49 Hackney Rd, London E2 7NX

WEBSITE: www.lookingglasslondon.co.uk

Image result for looking glass cocktail club

Image result for looking glass cocktail club

Image result for looking glass cocktail club

THIRD CHOICE: NOLA

ADDRESS: 1st Floor, 68 Rivington Street, London, EC2A 3AY

WEBSITE: http://nola-london.com/

Image result for NOLA london

Image result for NOLA london

Image result for NOLA london

GUESTS:

In the 10-part first series: I want to bring together a wide range of creatives and musicians together. In terms of episodes/editions 2-10, I am looking and bands, solo artists, and duos; D.J.s, music venue employees and website designers; club owners and P.R. people – ensuring every avenue and side of music is represented early on. On the first show, I want to bring together RKZ and Carly Wilford. Two people who work in different areas of the industry. RKZ is musician and poet and spokesperson for mental health charity CALM. Carly is a D.J., businesswoman, and creator of I Am Music and SISTER. I am not sure they have ever met (wouldn’t imagine they have) but would be a perfect pairing – and their choice of music will be fascinating. I have a short-list of other names; keen to have the two open proceedings and provide insight and window into their respective roles.

IN THIS PHOTO: RKZ
HEADER PHOTO CREDIT: Kabilan Raviraj-Photography

 

IN THIS PHOTO: Carly Wilford

 

I will launch the crowd-funding campaign in the coming weeks but am determined to get a general impression of popularity and potential. I have all the basics figured and know where I would like to film and the type of series it will be. In coming posts, I will be revealing different aspects and sides to the show: the set and design with a little bit on the title sequence and future guests. Keep a track of all the developments and…

Image result for nightjar cocktail club

WATCH this space.

 

TRACK REVIEW: Kamikaze Girls - Ladyfuzz

TRACK REVIEW:

 

Kamikaze Girls

 

Meet Kamikaze Girls, A Riot Grrrl Band You’re Going to Love  

Ladyfuzz

 

9.3/10

 

Ladyfuzz is available at:

https://www.youtube.com/watch?v=uFVg5Lr7Do0

RELEASED: 20th August, 2016

GENRES: Riot Grrrl/Alternative

ORIGIN:

Leeds/London, U.K.

The E.P. Sad is available on 2nd September via:

http://kamikazegirls.limitedrun.com/

TRACK LISTING:

Hexes 

Stitches 

I Hate Funerals

Ladyfuzz 

Black Coffee 

Tonic Youth  (Bonus Track)

______________________________

THERE are not many acts out there...

that are made quite like Kamikaze Girls. Before I come to the duo, I wanted to look at acts addressing deeper issues through their music; rare influences and pushing music forward; looking at musicians that seemed primed for the mainstream and how they have achieved it. The first point is one that I always look forward to raising. A lot of music is defined by selfishness, or in a less severe way, a fixation with love and relationships. This debate issue is a trope of mine (so I shall not bore you too much) but it is always pertinent. I suppose it is easy and personal talking about love and seems to be something we can all relate to. That need to be relatable and relevant is causing music to be a little homogsenised. Whilst sounds and genres and cross-pollinated: the lyrics are a little samey and tend to talk about the same thing in a number of different ways. Relationship splits are always sad but it is like the old adage: if you’ve heard one you’ve heard them all. For that reason, I am always willing to provide spotlight to musicians that move away from weary cliché and challenge something fresh and original. Kamikaze Girls address mental health and anxiety in their new E.P., Sad. It is a brave move creating music that not only moves away from common ground but addresses something hard-hitting, sensitive and stigamtised. The fact mental health is such a taboo topic (even in 2016) speaks volumes about society and an unwillingness to discuss something that affects most of us at some point. Away from charities and forums: how many musicians are using their songs to challenge and tackle the subject; go deeper and rebel against stuffy attitudes and ignorance? Music is a platform that reaches billions of people and it is a shame so many people squander their chances. It might be easier writing about love and personal woes but it is much more meaningful moving away from that and looking at issues like mental health.

If you open up about subjects like mental health it is not only a way to unburden yourself and be open with your audience but it will inspire others to follow suit and discuss their problems without fear of recrimination and judgement. Before I move on, and tie this in with my featured duo, let me introduce Kamikaze Girls to you:

Lucinda Livingstone – Guitar & Vocals

Connor Dawson - Drums

What makes this pair tick? First and foremost, Kamikaze Girls want you to know that it’s okay to be sad. Since 2014 the Riot Grrrl duo, consisting of vocalist and guitarist Lucinda Livingstone and drummer Conor Dawson, have used music as a means to challenge attitudes and taboos surrounding mental health. Their aim has always been to show their strength and solidarity to other young people in the same position, through their vitriolic fuzz-rock and to work alongside other bands in the scene to help stamp out gender stereotypes in music for good. KG’s sound is an amalgamation of their own pop sensibilities and 90s Riot Grrrl, citing the likes of Bikini Kill, L7 and Sleater Kinney as their main inspiration. The band’s raw live shows have become synonymous with the DIY/punk scene and since the release of their first single - ‘Tonic Youth’ last year - they have played shows across mainland Europe, America and the UK with the likes of Muncie Girls, Pup, The Menzingers, Me Without You, Modern Baseball, Moose Blood, Lemuria, Petrol Girls, Personal Best, Great Cynics, The Winter Passing, Nai Harvest, The World Is A Beautiful Place… and Woahnows, to name just a few”.

Kamikaze Girls, and Lucinda Livingstone especially, used to feel uncertain and hesitant discussing her mental health issues and when she was surrounded by guys (in fuller band territory) it was hard to bring up the subject. Maybe it is sheer numbers of the all-male dynamic: perhaps not as supportive and understanding as female peers. It is only since she has got better and sought help that talking about mental health has become easier. Livingstone knows the D.I.Y./Punk scene is established to help those that go through mental health problems and is much more open and understanding than other areas of music. One of the reasons you go into such genres and scenes is because of the larger understanding and brother/sisterhood of the musicians. It is always wonderful hearing about musicians that have gone through bad times but feel more secure – healthy and happy enough to talk candidly. Livingstone feels touring is a great way of not only addressing mental health through music but finding comfort and support – the rush and rawness of playing to crowds is a natural and blood-rushing way of finding release and kinship. With crowds behind you and the euphoric feeling of the live arena: something that helps her feel less alone. Away from Kamikaze Girls, and there are a few bands and artists that are not only addressing mental health but political concerns and lesser-discussed subjects like transgenderism and racism. It is not good enough pretending these kinds of things don’t exist or assume they are resigned to the individual alone. Mental health is everyone’s concern and we will have exposure to it through varying degrees of separation. When musicians push away from convention and expectation and actually talk about something real; it is going to lead to evolution and more people feeling they are not on their own – their musical heroes actually understand what they are going through and they are cared about. Kamikaze Girls are going to inspire others to follow suit and have no doubt helped a lot of people in their lives.

Kamikaze Girls take in Bikini Kill, La Tigre and Riot Grrrl-influenced bands as guidance and heroes. It is unusual finding too many bands/duos that are inspired by the Riot Grrrl genre/movement. The movement began in the early-1990s and started in Washington State and the Pacific Northwest as a way of combining feminist consciousness and the style/politics of Punk. Even for Punk and Alternative bands, I feel there are too few that actually surprise you with their choice of influences. Perhaps The Ramones, Sex Pistols, and their contemporaries are obvious choices but those that have probably been done to death. Hearing Bikini Kill and Riot Grrrl-themed artists in the mix is always going to capture the imagination and soul. There are other bands that blend these styles/bands but few in the same way as Kamikaze Girls. Tie this together with subjects of fear, mental health problems and anxieties and you have a duo that has very few equals. One of the deepest and most conscientious acts playing in the U.K. – they deserve a lot of support and success going forward. Their stunning sounds and blend of Punk, Pop, and Alternative/D.I.Y. make them an intriguing and long-lasting prospect. They have not quite hit the mainstream radar yet but surely that is just around the corner. It will be exciting seeing how they grow and how their unique pairing of sounds and styles reflects with the mainstream critics. I mentioned how very few musicians actually mix things up with regards their lyrics and subjects: the same can be applied to compositions and genres. It is always quite shoulder-sagging hearing a new band tipped and hyped: when you discover they are pretty run-of-the-mill and average you wonder why they are so proclaimed and celebrated. Normally, these acts that are heralded, fit into a commercial mould and have that consumer appeal and profitable sound. It does not mean they are daring, original or fresh. Kamikaze Girls are a genuine duo that should be lauded and set aside as genuine innovators. Not only combining Punk and Pop of the ‘70s and ‘90s: they have a very modern aesthetic and sensibility that makes them a beguiling and fascinating act.

Before moving on to their past music and present endeavours: one is compelled to see how far they have come and why they are in the position they’re in. One of the reasons they have gained thousands of fans and struck a nerve is their stunning sound and relentless touring. Sad is their first full release but previous singles have been toured extensively around the world. Not just confined to the U.K., the duo has appeared in the U.S., Canada, and Europe – the two have given up viable careers for music and have put their all into their passion. It may seem like a risky venture but this complete focus and unyielding attention has seen crowds and fans flock to their shores. It is their live energy and interaction that has helped them gain a solid fanbase and they are one of the most scintillating and memorable live acts in the country. One of the most obvious and notable reasons behind their success and reputation is the blend of organisation/professionalism and strangeness. In terms of their careers and output: they have management and P.R. bodies behind them but take control of their social media and output. They are keen to speak with their fans and keep them updated. Photos, statues, and interviews are published: informative and of-the-minute news for those following Kamikaze Girls. Their official website is full and well-designed while their social media pages are packed with information, photos and wonderful insights. Too many musicians rock into music and do not provide attention to websites and their social media. They assume the music alone will take care of things and negate the importance of giving fans easy access to biography, photographs, and links for the group/act. If you have to struggle to find out about the artist then you are likely to become frustrated and bored. Those that take time to provide a full and varied portfolio are those that understand are going to succeed and last longer than those who don’t. Kamikaze Girls have some unusual but wonderful influences and it seems odd and unusual against the raft of predictable artists. The duo takes time with regards their music videos and ensur they are as vivid and memorable as possible. Cover art and designs are also eye-catching and this is the case for their E.P., Sad. The cover’s heroine (recognise the face but can’t think of a name) is beautiful and alluring but has a sense of enigma, sadness, and vulnerability – everything that goes into the E.P. itself.

The duo performs in Manchester on August 27th (The Star & Garter) whilst heading to D.I.Y. Space for London on 23rd September. Leeds and Portsmouth will be on the docket and chances for the E.P. to get to a wide crowd and span several counties. To be fair, the reaction to Sad will be huge and it is likely to bring plenty of new fans and followers to Kamikaze Girls. Sad is their first full work but follows on from singles likes Records & Coffee (released two years ago). Most of Sad’s material is in the ether and the duo shows how they have developed over the last couple of years. Their recent work is their most confident and compelling and shows how touring has sharpened and heightened their attack. Earlier work and initial singles showed what a talent and proposition they are but I feel they have improved and come along wonderfully since then. After touring abroad and various crowds: this exposure and performance experience has fed directly into their E.P.; know what the crowds react to and how they like their music. The subject matter is more personal and affecting and shows Kamikaze Girls are in a space they feel they can discuss their illnesses and addictions. Not really shying away or suppressing it: Sad is a catharsis and revelation that will give them confidence to address such topics in future work and inspire other acts to follow suit.

I wanted to focus on Ladyfuzz as it is their latest single and one of the most entrancing cuts from Sad. The song begins with a happiness-inducing and spirited introduction that brings together elements of Punk but has a semblance of The Strokes and The Libertines – two of the most influential bands of the past twenty years. It is the performance and composition that strikes me most about the song. It is one of the most determined, vitriolic and anguished deliveries of their career. Under the pain, weight and gravity of emotion: you can hear so much come from Livingstone’s voice. The song’s video looks at addiction and pill-swallowing. A cavalcade of medication, numbing and fear. Being left out in the “cold of night” and the rain: it might be a metaphor for depression and anxiety but there is such a vivid and physical aspect to the lines. Pills are being crushed and booze swallowed down: perhaps as a coping mechanism or a way to forget about life’s negativities. When the chorus comes in (you wonder what the song title refers to) the full force and anger come out – a blood-curdling scream that emphasises just what pains and agony is at heart. Maybe looking at the cycle of prescription medication and depression: the ways of getting through the day and having to bare the cross of depression - a song where every listener can come to their own conclusions. It is not a surprise that some of the lines get buried down under the ferocity and intensity which might see a few of the puzzle pieces missing. What you get from the song’s early stages is a young woman trying to make sense of things and get some sense of perspective. From the first half of the song, which looks at inner-pains and anxiety, the second half sees the vocal calm and mutate into wordlessness and refrain. The composition remains sparked and spiked but does start to come down in the final minute.

What one notices about the track is how primed and appropriate it is for the live crowds. Like a lot of Kamikaze Girls’ previous material (and that on Sad) the songs are perfect for mosh-pits or those who just want to lose themselves. Such energy, force, and rage come through but there are subtleties, genre-balance and plenty of sweetness to be found. The music is always complex and never as straightforward and basic as you’d imagine. Ladyfuzz’s video gives you a true sense of the song’s cycle and story. We see a vinyl spinning with medication on it: a bottle of Bombay Sapphire and fast-moving camera work and blur. It might be a metaphor for the haziness of life and that routine of medication, destruction and getting by. Kamikaze Girls address addictions and mental health in their music and you feel Ladyfuzz is the most rounded and truest sense of all their themes, concerns, and strands – distilled and mixed in an explosive and dynamic song that has Punk heart and a deep soul. You will want to hear it several times just to get to the root of it and let its primal abandon and savage moments hit you. As I said with regards their music: it has depths and multiple sides to it and you should never think you have it all figured out. The duo said they feel discouragement and abuse – Livingstone has faced Internet trolls before – and the way to react to that is impressive. Livingstone is a woman in a male-dominated industry and music is a way of showing how important her voice is and she should not be ignored. Ladyfuzz is not just a song that deals with harsh and personal insights but is a bold and defiant offering from a singer/guitarist who is one of the most exciting and impressive musicians out there. Together with Dawson’s incredible percussion and pummel; the duo should be watched very carefully. Not many artists touch on sensitive and harrowing sides but it has taken a while for that to be a reality for Kamikaze Girls. Ladyfuzz, as with the other songs on Sad, is their way of reaching out to people and showing how important it is to talk about issues like bullying, addiction, and depression: this will give other people (going through it) comfort and should motivate other musicians to suppress obvious inspirations for music and touch on something a lot more important and serious. We need pioneers and duos like Kamikaze Girls on the scene as they have the promise to affect real change.

It has been great discovering Kamikaze Girls and their world. Reading interviews they have done recently, you get a peek into two very special musicians that are very different from their contemporaries. Away from the shallow and faceless artists we all know and avoid: Kamikaze Girls are deep, meaningful and hugely impressive. They are brave enough to challenge convention and stigma and ensure their music addresses important subjects and breaks taboo. Mental health, addiction, and anxieties are not subjects we hear a lot in music – that should change and is not something we should hide. Seemingly clandestine and resigned to the shadows: Kamikaze Girls will give impetus and inspiration to other acts to talk about these things and feel less alone. If you listen to Sad and the songs throughout; you get a glimpse into the duo’s psyche and what they have faced. Livingstone especially has faced mental health problems and addiction: someone who is starting to recover and improve but still affected by depression and anxiety. The songs, as a result of this, bare scars and were hard exercises in self-acceptance and honesty. Hexes begins with clattering and eeriness. Like a nighttime stillness – where there are just odd noises in the air – it opens into explosive, bellicose territory. Yowling and elongating guitars and rampant percussions give the song a shot of danger and nervousness. Before long, a head-banging riff and huge energy come through and you are under the spell of the track. The riff reminds me of Nirvana’s Breed in the way it is so addictive and familiar yet you cannot help but throw your body in its way. Kamikaze Girls have taken influence from a range of sources but remain singular and personal throughout. The ‘90s Grunge sound comes through to look at psychosis, mental anguish, and torment. The heroine’s head is being messed with and she is unable to escape the dread and torture of her captor. Vocals slightly traumatised and fatigued: there is an anger and stiffness that suggests she has reached a plateau – no longer willing to cope with this miasma and fear. Whilst psychosis is asleep in bed: she is there pulling her eyelashes out; being kept awake by the demon of ill mental health. The song has a very raw and lo-fi sound and one that puts you into live territory – you can practically feel the moshing and smell of beer flying through the air. Combining rampant and avalanche percussion with heartbroken, animalistic and intense vocals and it is a song you cannot forget in a hurry.

Stitches and I Hate Funerals keep the momentum going. The former has a constant drive and purging energy that will make it a live favourite and get a great response at gigs. The duo is tight and assured throughout and whilst some of the lyrics do get buried by the composition – a little hard to decipher against the purity and intensity of the emotion – is a song more synonymous with feeling and attitude as opposed to what is being said. The sentiments and revelations of the song get into the head but it is the duo’s kinship, musicianship and vocal brilliance that make it what it is. I Hate Funerals lurches and stomps into view and has plenty of attitudes. Mantra-like and petulant to an extent; it is a slower-pitched song that whilst not funeral, has a certain weariness. The composition is among the most intense and fiery on the E.P., mind, whilst the vocal has a definite sense of aggravation and boredom. Once more, you feel the heroine is trying to crack a smile and not a fan of those around her. Maybe wanted to run away or get out of the situation: you try and envisage what is being sung and where we find herself. I Hate Funerals has that lo-fi quality which does make intelligibility a bit of a concern, but once again, you are hooked into the song and affected by the mood, performances, and rawness that emerges. Black Coffee is one of the clearer and less heavy-surging songs and has a mix of Pop and Punk sensibility. More melodic and restrained than previous numbers: it has a certain catchiness and accessibility to it. The duo shows their flexibility and variation; able to switch between genres, sounds, and ideas. Here, our heroine is being kept awake by addiction:  “I found the cure for these aching bones / I’ll breathe you when I just can’t hold it up”. You can visualise the drugs and drink; the need to escape a depression and numb that pain. Unable to get to sleep and shackled by a harsh addiction: it is one of the most heartbreaking and soul-baring songs on the E.P. It is possible those past days are gone for good but they still burn and ache badly. The vocal has a definite helplessness and anguish that seems in need of balm and comfort. Tonic Youth is a B-side and bonus track that finds the heroine feeling alive and up: maybe a side-effect of youth or a drunken haze. It is a song that deals with contradictions as you have that vivaciousness and sensation of energy but self-destruction and illness. Stomach and headaches are keeping her inside (when she wants to be out) and again, you start to speculate what is causing this pain.

Sad is an E.P. as complex and simple as its title. On face value, there are a lot of harsh emotions and depression unearthed and evaluated. It is the abiding take-away from the lyrics and does look at anxieties and mental health. Sad is more complicated and investigates addictions and subjects many musicians do not touch. That title might be a dig at people who underestimate and simplify depression as just being ‘sad’. The music shows just how wrong they are: it is a minefield and deeply personal thing and should not be undervalued and overlooked. The music and sound Kamikaze Girls is among the most bracing and electric you’ll find in modern music. The Leeds/London duo have a very clear bond and the songs are incredibly tight, nuanced and will go down terrifically with the live audiences. Some of the lines get mixed down too much or a bit hard to understand but overall you hear what you need to – Livingstone’s voice is consistently exciting, raw and emotional and makes sure the music connects and gets straight into the head. Riffs and electric lines that are gritty, catchy and dirty: adding atmosphere, contours, and vivacity to the music. Connor Dawson ensures the percussive backbone is strong and granite-like. You are always at his mercy and he is not a mere backing player. Always intensely focused and skillful: so many different sides to his armoury and wonderful moments.  Sad is not just an E.P. for fans of Kamikaze but those going through the same experiences as the group. Both suffering ill mental health and struggling issues like addiction: it is a personal and hard E.P. that shows bravery in spades. Unlike the tough subjects and tense emotions it explore: with regards to Sad, you will…

NOT be afraid to embrace it.

 

[youtube https://www.youtube.com/watch?v=uFVg5Lr7Do0&w=560&h=315]

__________________________________

Follow Kamikaze Girls

 

Official:

http://kamikazegirls.limitedrun.com/

Facebook:

https://www.facebook.com/kamikazegirlsuk

Twitter:

https://twitter.com/kamikazegirls_

Instagram:

https://www.instagram.com/kamikazegirls_/

SoundCloud:

https://soundcloud.com/kamikazegirls

FEATURE: The British Music Venue: The fabric of Society

FEATURE:

 

The British Music Venue:

  

 The fabric of Society

____________________

IN a digital age where music is commonly available through a variety of…

PHOTO COURTESY OF NICK ENSING

 

platforms and sites: what places for the physical side of music? Vinyl is seeing a revival but in an ironic sense. Most people I know (who buy vinyl) never play them and keep them as memorabilia and artwork – how many D.J.s still use vinyl as part of their sets today? I am buoyed to learn C.D.s are starting to gain a foothold against the digital download market. It is a shame to think we are losing what music is all about: something physical, tangible and real. Given the change in the method we buy music, something troubling is happening in our high streets. At the beginning of this year, an Independent article revealed 27 U.K. pubs are closing each week. Alongside our bars, there is a similarly alarming thing happening with music bars and clubs. Is this a sign of things to come and what can we do?

_____________________

 I am committed to using the influence of my office to overcome the numerous challenges facing the night time economy. However, it is important to note that City Hall does not have the power to intervene in licensing cases like the current situation with Fabric.”

The following was a statement by Mayor of London Sadiq Khan following the closure of the nightclub fabric. At present, at the time of this feature, the petition to save fabric had reached 94,609 supporters – 55,391 more signatories needed so the issue can be debated in parliament. You can put your name to the petition here. It is worrying to see an icon and institution of the London club scene threatened and targeted: not only denying loyal patrons and new faces the chance to revel in its environment but jeopardise the economy of the local area. It is unsurprising the club drew criticism following drug-related deaths at the venue in recent months. Mayor Khan went on to say:

My team have spoken to all involved in the current situation and I am urging them to find a common sense solution that ensures the club remains open while protecting the safety of those who want to enjoy London’s clubbing scene”.

the British music venue tHE FABRIC X  Society

As part of his plan for the capital: Mayor Khan plays on appointing a ‘Night Czar’ who would be a champion and voice responsible for not only promoting the wonderful nightclub and music scene in London – helping to preserve clubs whose safety and existence is in danger. In response to the incidents at the club; a spokesperson from fabric explained in a statement:

"The safety of all our customers has always been at the core of what we do, so right now we’re working with the relevant authorities and looking at everything we can to make sure that we can continue to operate after the 6th September”.

Farringdon itself (where fabric is located) is one of the most varied and popular areas for nightlife in the capital. Wine bar Vinoteca reappraises the stuffy image we all have and offers the customer over 275 different wines at very affordable prices. Pubs such as The Jerusalem Tavern and Café Kick are just the tip of the iceberg. Fabric hardly sits outside the sphere; conversely, it is at the beating heart; part of the tapestry of Farringdon and London. It is always tragic and regrettable when you see drug-related deaths or similar incidents at any club or pub. Whilst part of modern life (unfortunately) there has to be awareness raised and repercussions. It seems like fabric has been a sacrificial lamb: not given a fighting chance and tarred with a bad reputation. If you look on search engines and type in the words ‘Incidents at fabric nightclub’ the results returned pertain to the two deaths there. It is not like the club is a problem child who has not rehabilitated and is a constant burden of the community. I have heard of pubs near me who have seen drug-related deaths and continue to trade – a fine might be levied or a stern slap on the wrist. If there were a fire or safety breach at the club then a temporary closure would be appropriate – to ensure they get their act together and comply with legislation.

PHOTO COURTESY OF NICK ENSING

 

Unless you frisk everyone who goes through the door and watch them with eagle eyes: how are you going to prevent this sort of thing?

The deaths that occurred are apparitions and are not the norm. of the club and London night scene.

The government is becoming a middle-aged, finger-wagging parent who sees a couple of bad boys throwing punches in the street and decides (their son/daughter) is so precious and fragile they should not be left outside. What does it say, in 2016, when fabric’s closure is seen as acceptable and justified? The club did not allow a mass fight to erupt and it is not violating noise abatement protocols (or polluting Farringdon). It is an established and legendary spot that has seen musicians, D.J.s and public figures come out in force to save its doors – making sure it is not closed for good.

An article on the BBC last year highlighted how 40% of London’s small venues have closed in the year (prior to that report). It is startling to think this is a sign of things to come but is not a London-centric issue. Nottingham student favourite The Forum is to close according to the Nottingham Post. How harrowing it is to find so many venues going out of business by the week. The small clubs and music venues are a vital part of the British economy and responsible for £3.5 billion in revenue. A recent article in The Independent cut to the core of the debate:

It isn’t just about the artists, either. These venues provide jobs for hundreds of thousands of people, from bar staff to promoters and technicians. To snatch away the livelihoods of so many for the benefit of some bourgeois group of property developers is a disgrace at a time when unemployment and poverty levels are so high. In fact, spaces for live music and culture can be great community adhesives in times of socioeconomic hardship”.

The only way for musicians and new artists to get their work heard is for these venues and clubs to continue. If we lose our club culture and small venues then we threaten the security and liberty of the music industry. Can you picture a scenario where bands and acts are forced to premiere their wares via YouTube or town halls? The large arenas and venues continue to thrive but the smaller localities are looking over their shoulders. They are the staple of the music industry and the platform on which the hottest and hungriest musicians enthrall crowds and lay down their gauntlets. The legendary, unforgettable gig is a shared experience and right-of-passage. A new generation faces approaching adolescence without access to these venues. What of their future?

Large parts of London are becoming gentrified which is part of the problems. In tandem to the public need for cleaner, brighter and more refined surroundings: the small music venues and clubs do not fit with the facelift and want to remain authentic and pure. If you start putting wine bars and coffee shops into the entrance to fabric, then what the hell will music become? Perhaps there are sectors of London who want to turn everything middle-class and trendy but there is a fervent and loyal group of music-lovers who share no such view. If we overhaul venues in order to appease the gentrification crowds and, not offend the eye, then we are denying music-goers the fundamental right to live music and freedom. There are plenty of bars and venues who experience fights and aggravation on a nightly basis: why are they not open to criticism, reprimand, and controversy? Fabric is a sacrificial lamb that has not caused any major sin or crime. As I said earlier: this is not a London problem and is happening all around the country.

Living in an area with easy access and proximity to venues like Boileroom (Guildford) and Green Door Store (Brighton): I can see what great work they do and how important they are to the local communities. It is not just live music that brings people through the doors. Small music venues and clubs work to engage the community and public and are often multi-denominational and multi-tier. Norfolk’s The Owl Sanctuary ran the Norwich Soup Movement – a D.I.Y., not-for-profit incentive that provided food and shelter for the city’s homeless. A lot of ignorant people assume music venues are about trouble, drugs, and loud music: they cause trouble and offend the ear; no conscience or maturity. The truth couldn’t be further from that assumption. Most small venues and clubs run programmes and incentives for charity and underprivileged sectors. These places engage with charities and the lesser-off and have a deep-rooted sense of mortality and activism – helping multiple sectors through the pulpit and universality of music. Deny the public of these places – this is starting to sound like Charlie Chaplin’s famous speech from The Great Dictator – and you threaten the very fabric of our society – an apt choice of words given the fate of London’s current whipping boy. Politicians and authority figures are not the ones who rely on these places and understand the wider implications. They sit in their offices and three-piece suits and are ignorant and clueless with regards these places – I doubt they have even been within 500 feet of any of them. If you are never more than 6ft from a rat (not sure if that is an urban legend) then you know a politician is more than 500 feet from a small music venue. They are so closed-off from the public and real life and this has to stop.

PHOTO COURTESY OF DANNY SEATON

 

It may sound like I am having a rant but my views and substantiated and supported by the majority. Every county of the U.K. is fearful and there are no guarantees in the modern climate. When you close a club or music venue you do not just create cultural and social dents – the economic ramifications are significant. Clubs employ a lot of people and the trickle-down effects of their unemployment cannot be underestimated. Shine the spotlight out at a 90-degree angle and what of the musician who relies on these venues as their bread and butter? You rob them of a live setting and you threaten their very existence.

Take it out another 90 degrees and the state of modern music will be harshly affected. In the same way as the death of cassette and vinyl is a product of the modern age: is the dying away of the small clubs and music venues a natural evolution and after-effect?

We cannot sit by idly and allow this to happen: will we ever see fabric’s doors reopen and stay open? Make sure you sign the petition and ensure it is not another casualty of the overly-protective and hysterical nature of British politics. Mayor Khan is someone who understands the importance of the London music scene and nightlife but you feel there is a certain sense of inevitability and helplessness. Our nation is synonymous with its wonderful, rich and indefatigable music scene. Music brings people together and bonds communities: this is exemplified and evident in our clubs and minor venues. Without these stalwarts and bastions of live music then future stars and mainstream acts will take years to hit their strides. Artists like Foals, Wolf Alice and Coldplay (a trio among thousands) who began their careers playing the charming and wonderful clubs around the country – many of whom have closed since. We need to act and ensure our wonderful music scene...

Image result for fabric london outside

PHOTO COURTESY OF GOOGLE STREET VIEW

 

IS not threatened and damaged forever…

TRACK REVIEW: CASSI (ft. Luna Ward) - That High

TRACK REVIEW:

 

CASSI (ft. Luna Ward)

 

  

That High

 

9.5/10

 

That High is available at:

https://www.youtube.com/watch?v=Pi8P34IRBQQ&feature=share

RELEASE DATE:

29th August, 2016

GENRE:

Drum and Bass

ORIGIN:

Surrey, U.K.

____________________

EVERY time a new musician or artist comes my way it...

provides an opportunity to look at new genres and considerations. Such is the case today with my featured artist - but before I come to her - I wanted to look at Drum and Bass (the genre CASSI plays in); young, upcoming artists/producers and the true power of music and creativity. I feel, when we hear the words ‘Drum’ and ‘Bass’, a certain misconception come crop up. We all, not me though, feel a certain heaviness and lack of tactility to the music – compositions and vocals that suffer a surfeit of necessary restraint and are primarily geared to the late-night club revelers. Whilst Drum and Bass does have that tribal power and is intended to unify the dance-floor revelers: it is a more sophisticated and multi-layered genre and is as accessible and variegated as any other you care to mention. Having grown up lionising the Dance music of the late-‘80s and early-‘90s – where Snap! and Culture Beat were considered quite hip – I have seen it mutate, evolve and mature in a way I couldn’t have predicted back then. Perhaps the '90s Dance/Trance music was a bit more esteemed and long-lasting than a lot of contemporary equivalencies: that is not to say some future-classic artists are not playing in our midst. Drum and Bass has the unerring power to get the listener hooked, baited and entranced in a world of fantastical beats, stridulating electronics and a psychotropic mood – far too heady for the senses to resist. One of the reasons (among many) I open my mind to music’s power is just what we choose to ignore – like a child turning their nose up at food they’ve never tried. You cannot approach a genre and think you have it figured out. If you have heard a rather savage and violent song: that does not represent and embody the true sound of Drum and Bass. The same goes for the likes of Metal, Country, and Soul – there is no such thing as a ‘typical sound’. What Drum and Bass provides, that is not as immediately true of other sounds, is how developed and complicated it is. We all assume, because it's technology-based and digitally-formed, it is a case of pressing a few buttons and twiddling faders – something of that sort anyway. An awful lot of care, thought and consideration go into the genre: it is reserved for those with true passion, expertise, and patience. It would be all-too-easy to fuse together some vaguely pleasing strands and think the club-dwelling public will lap it up – those with a lack of discernment might. The same with regards any style of music: you rush into it and you can create something messy, hurried and wanton.

2015 Drum and Bass classics like Diversified (Tantrum Desire), Next Generation’s Bensley and City of Gold by The Prototypes have been lauded and cannonised by the likes of Drum and Bass HQ. A cursory exploration of those albums shows you just how much emotion, skill, and talent is required. A lot of the time – but not always – the music has to rely on composition alone: modern-day Classical arias that have to win the crowd without a single word sung. My general point is that there are too many stuffy-nose-turners that balk at Drum and Bass because they have clichéd definitions – without investigating it sufficiently. Still regarded as a niche genre and something largely confined to clubs and bars: it will not be long until it receives greater representation in the mainstream. We are seeing acts like Sigma, Noisia and Chase & Status well-regarded and received by many of the mainstream’s best stations and publications. In terms of the new crop coming through: there is much promise and fascination on display. CASSI is the moniker of Surrey-based producer Louise Vineeta. That High is the debut offering from CASSI and shows what a force she is: just how prosperous the future will be. It is hard to truly predict an artist’s trajectory from a single cut but the signs are all very positive – a young talent who is highly capable of making waves in the mainstream (in years to come). Before I continue to another point; let me fully introduce CASSI to you (in her own words):

CASSI is a thought-provoking and assured producer/artist who is proving why we should not be so beholden to chart-approved music. As I stated a little while back: write-off or overlook Drum and Bass and you are liable to miss out on so much. Away from the tribalism; overly-hedonistic producers that can come off one-minded: CASSI is an example of someone who can create accessibility and intelligent music whilst remaining true to the demands of the Drum and Bass aficionados. That is no mean feat and not something that has arrived through serendipity and dumb luck. Upcoming Drum and Bass/Dance producers Mania and Next State are contemporaries of CASSI: similarly ambitious and assured producers who are, in their own campaigns and ways, likely to put their stamp on music down the line. Drum and Bass, like other genres, is not confined to the cities: it has popularity and patrons around the world and is one of the most amendable, transportable and wide-ranging forms of music in the world. CASSI is based in Surrey and is in the heart of a busy and vibrant music community. In a town (Guildford) that houses A.C.M. (The Academy of Contemporary Music) Boileroom and G. Live: it is not a shock that the conviviality, creativity, and variegation of Surrey (Guildford especially) has affected CASSI. With music become more expensive and less attainable for bright-eyed hopefuls: more and more producers and artists are turning to bedroom-made, D.I.Y. sounds. You do not need a lavish studio and exclusive technology to create music of the highest order – the spark of inspiration, discipline and passion are the most important tools (and free from charge). So much attention is paid to mainstream bands and critical favourites: those acts that preen and pout from magazine spreads with needless hubris and self-assurance. Producers like CASSI are true artists that do not seek glamour, column inches or the nods of record executives – she is someone who burns with the desire to create fine music and get her passion onto the page. Vibing and conspiring with the creative community and peers: it has provided a basis for CASSI and her debut, That High. Knowing her, and the work that went into the song, it is a singular triumph from a producer who has consecrated so much time and energy to music – ensuring it as good as it can be before dissemination to public ears. That quality control and patience has paid dividends and ensured That High is a banger: a song that is sure to find affection and support beyond the realms of social media and music-sharing platforms.

Knowing CASSI’s creative process and what songs might be released in the future: it got me thinking about inspirations behind music. Drums and Bass, again there is a stereotype, is not just concerned with excess, sweat, and libidinous, prurient obsessions. Even the compositions, as hard-edged and pulsating as they are, are a lot more nuanced and deep than that – never simple-minded and basic. That High is a mantra-like, head-swimming song whose chorus line builds a number of possibilities and origins – a simple paen to a lover or feeling of something else. Unlike other genres: Drum and Bass artists address deeper concerns and societal problems. I have seen artists (in Drum and Bass) document class imbalance, urban squalor and political tyranny – the stress and disenfranchisement that the young feel today. Expand that out, and everything from mental health struggles and tragedy has been represented through the lens of Drum and Bass. If one educates oneself more about genres like this: you find it is much more complicated and perspicacious than is perceived. CASSI is a producer who will go on to prove that point and use her platform as a chance to address issues away from love and euphoria: common themes that many of her peers document. That High is her debut song and an accessible and anthemic slice that announces a special talent – one who intends on making music for a long time to come.

It is at this point of a review I usually compare an artist’s previous work with current: charting their evolution and deciphering whether any changes have occurred. Of course, this being CASSI’s opening salvo; it makes that a little harder. What I can say and do know – without giving anything away – is that more music will come and is likely to be met with acclaim and huge affection. Few artists and producers charge out the gate as hot and assured – even those in Drum and Bass. I have reviewed a lot of debut-era acts that are kitten-like and anxious on their first track. Some impress and create a sense of personality: it can be tough deciding which artists will make it and which won’t. Luckily, it seems CASSI is fully ready for the demands of music and ensures her debut track is instant and addictive. It will be interesting to see what the next few months hold in store and how she develops. I know CASSI is releasing an E.P. soon that is going to contain another version of That High - other snapshots into her creative mind. Momentum, impression, and intention have been laid down, and with it, an insight into a fresh and hungry producer who can add her unique voice and artistry into the Drum and Bass oeuvre.

Ghostly, balletic high-noted electronics open That High up. Part-cosmic, part-mystical: it is an eerie and earth-orbiting sound that prepares the listener and builds fascination right away. Oddly, there is something romantic and seductive to be found in the opening seconds. Rather than rushing in hard or needlessly build up: That High has instant effectiveness but does so with subtlety and the things it does not say – allowing the listener to come to their own impressions and look between the notes. Befitting of a film score: one that could open a tense and nervy flick: there is a certain sense of danger and rush that is lingering. You sense something big is about to happen and the tension and sweat is almost palpable. As I say: there is a counterbalance of affection and gentility in the opening passage; ensuring it is hard to second-guess and come to easy predictions. By the 10-second mark, a far-off, spectral vocal floats and echoes in the background. “That high” is delivered almost as a coda or truth: it does not need any fleshing-out and seems to be a complete thought; a truth that is yet to be revealed. Any thoughts That High would remain calming and relaxed is erased within a few seconds. Warping, growling electronics add darkness, shade, and teeth to the song: it is not too vicious but a definite authority and jeopardy is introduced. The beats get harder and demonic – like a bad vision that keeps coming to the mind – but when joined with the vocal the song takes on a new light. Rather than being hardened and attacking (that remains) but a sensuality, heat, and sexiness comes out. Given the song’s title and the possibilities of the words: your perspectives change to ideas of romance, coming-together, and a certain recklessness. Whether a free-from-shackles celebration or declaration of a pure love: with every mounting projection (of the words “That high”) the song grows fuller and more meaningful. Few producers or artists are able to repeat and reintroduce a vocal line or chorus whilst keeping it engaging, fresh and unpredictable. Part of your mind is fixed on the composition which creates its own gravity and colours; the other looks at the vocal which is lost in a state of delirium and trance. Coming together; the overall effect is quite something.

Organically and freely, That High starts to accelerate and smooth out. The foreboding and dark-hewn electronics subside and the beats start to race and trot; the vocal comes fully into the light and it is almost like waking from a dream – or perhaps a nightmare, depending on your take. “It’s all about that high” is a line that, one would imagine, has quite obvious and carnal origins. Provided what has come before and the inscrutable nature of the song so far – you do wonder if it is obvious as that. Of course, CASSI knows the true inspiration behind the lyrics but one still suspects that a) something positive and affirmative is being exposed and b) it is either based in the heart or the club – submitting to the serotonin-release bliss of the music or the knee-bucking touch of a lover. Whichever camp your mind is in so far: it does not quite prepare you for the unleash and release that is to follow. Just after the one-minute mark, once again, That High starts to shift up another gear and accelerate. Ward’s vocal remains concentrated and focused on that single thought – you wonder who/what is being sung about and imagine all sorts of possibilities and variations. In my mind, however near the mark it might be, I was looking at two sweethearts/friends in the club and bonded by the music. Surrounded by others yet joined in one another’s arms: something free and liberating. With that being considered, there is the suspicion something deeper and purer is being described. It might be cheating, but CASSI herself states it is (the inspiration) the pure pleasure and nourishment of music that is in her mind – the listener is free to decide upon their own interpretation. That reflection and revelation become clearer as the song progresses and the composition-vocal combination more spiraled and tangled. The vocal is peppering, stuttered and intoxicating; the composition introduces every proceeding variation into a dizzying whole. Rather than focusing purely on a physical unity or a club-set throng: it becomes less physical and more spiritual.  That High works because of the mix of simplicity and complexity. The lyrics are simple and centered around that gravity: the power and vitality music provides; the undeniable high and satisfaction it gives the soul. Most singers might look at the page and not be able to eek necessary nuance, range, and emotion from those words. Credit to Ward (and CASSI’s production notes) that the vocal finds new space and possibilities; brings new life and spirit from the words. Ward’s vocals are never too intense or insincere: able to perfectly deliver that message of devotion and affirmation whilst projecting ample sexiness, rawness, and soul. CASSI does not needlessly distill or process the vocal and keeps it natural and unblemished: simply tweaking and repeating it; creating a rollercoaster (sure there is a better word) of emotions – perhaps embodying the unpredictability of music’s essence and how it affects different parts of the body. Not content to simply ride it out to the finish: CASSI ensures fascination and attention is held to the very end. Rather than fading down or keeping the same pace: That High starts to calm and restrain. That is perhaps indicative or a lack of energy – music has had that very physical effect – but you sense the pull and allure of music have completely ravaged and obsessed the heart and soul – this is the result of it.

That High is not simply about the pure joy of music but the release and freedom music-making have provided CASSI. She has faced trials and stresses and had some uncertain times in life – music has been a way to help channel fears into something positive and productive. Often, we can get buried under life’s strains and demands: never quite know how to cope and portion the burden out without harming ourselves. Music is a forum that anyone can turn to and asks for nothing but dedication in return. The possibilities, avenues and potential one can get from music is limitless – that determination to exploit every nook and hook is infectious and all-consuming. That High also looks at life’s highs and the satisfaction and safety from a true love and solid friendships. Knowing the people around CASSI – her boyfriend Mania is a D.J. and producer; Next State is a close friend – that can help make life a lot more positive and easy. All of these thanks, considerations and positives go into That High - that will connect and be understood by the listener. Few producers or artists concentrate on pleasures and the positivity of music/life. A lot of songs/artists focus on relationship perils and break-up; self-negativity and something quite angry - it is unusual discovering someone who wants to embrace and pay tribute to the powers and spiritual nature of music, life and love. Future CASSI work is likely to mix in some negative and darker elements in but that is natural for all artists. By starting out upbeat, positive and uplifted: That High is a song that wins you over on many fronts – not least the important and relevance the lyrics have on its author. A stunning and compelling song from a producer who has plenty of inspiration and stories: she has come into the music with a huge and strong statement that will win many fans.

I, for one, have never been too sure just which artists will emerge victorious and prominent from this year. It may say strange for a journalist to confess such a thing but it is understandable. We are exposed to so much music and that is a good thing. It is always brilliant having easy access to all kind of bands, sounds, and genres. The issue arises when trying to make predictions about the future. You might discover an artist that seems like they have the tools to succeed and the energy to keep pressing on – before long they have fallen or fatigued. Perhaps it is the demands of music or false promise: either way, it is a tricky thing predicting longevity and those who will reign in years to come. On the other hand, there are enough musicians and artists you just know who have the legs, talent, and originality to take it all the way. CASSI is a brand-new name to music and ensuring the Drum and Bass world – beyond the local borders – knows about it. Of course, we can race ahead and make proclamations but she will want to stay focused and grounded. It is all-too-easy promulgating an artist and putting a burden of expectation on their shoulder. CASSI has proven on That High she is a producer and artist to be taken seriously - she is fully committed to music. It is rare, although maybe not in the underground, to see a female Drum and Bass producer emerge. It may be a sign of imbalance or not enough ready exposure: many still see certain types of music as gender-exclusive. There is little ostracism or prejudice in Drum and Bass but we often associate the genre with men. That is an attitude and perception that should and needs to be changed. When you look at the end-of-year lists from Drum and Bass magazines and sites: a lot of their top-10s or whatever (seem) to be male-dominated. Perhaps it is just a quality decision but one feels like the women of Drum and Bass are not being represented as fervently as they should. It is foolhardy pointing fingers or creating accusations but a sense of familiarity and laziness has crept in. One feels the likes of CASSI will not only bring about reappropriation and discussion but help to promote the fantastic female producers that help make the genre as strong, varied and exceptional as it is.

That High is a song that can convert undecided voters and fence-dwellers who would otherwise skim the surface of Drum and Bass without dipping their toes in. I know there is still a lot of work to be done ensuring the genre is on a level plain with Pop and Rock for instance. That rebalance does not occur overnight but I am starting to see positive changes and reapportionment occurring. Away from mainstream stars like Chase & Status, there is a vanguard of nimble and exceptional producers that are gathering acclaim and praise. The sun is out and it is hot out: there is a time and place for the gentler side of music but one yearns for something that reflects the season. The summer is not through, so woe betide anyone who speaks idly of autumn and shorter days. We used to go to Rock musicians for excitement and those scintillating jams. I feel the tide has shifted and too many bands are becoming sanitised and tame. Step forward those who understand how important forceful, body-moving music is – an elemental and primeval desire that has been coded into D.N.A. since the dawning of time. Artists, producers, and musicians that are capable of creating bangers and jams – songs that unify crowds and eradicate bad moods – should be applauded. That High is a tsunami of joy that is fully able to get the clubs bouncing and sweating but that would be doing the song a disservice. It goes back to my early point of easy labeling in Drum and Bass. The finest and most promising producers expend time and huge energy ensuring their songs are appropriately nuanced and deep – not just one-dimensional songs that are easily disposable. My early points looked at young producers and how Drum and Bass is not centralised to the cities – it is inherent in any town or place that has a nightclub; throughout bars and venues across the land. Given the popularity and necessity to embrace a more cost-effective form of recording: we are going to see genres like Drum and Bass rise in popularity. CASSI has spent a long time working on her debut song and you can hear that dedication and tireless pursuit come out in every note. A head-rush that gets into the brain and rearranges the senses – the body and limbs unable to resist movement; the voice ringing and singing along to the song’s chorus. Kudos must go to Luna Ward who brings gravel, guts and power to That High. At times spectral and distant; at others up-front and intense: a passionate and perfect performance that brings every possible emotion and shade from the lyrics and composition. Let’s hope CASSI and Ward collaborates in future as it seems like a very natural and promising partnership. I will end by looking at CASSI’s future and how she will slot into the market.

It has been wonderful not only hearing an incredible debut song but learning more about Drum and Bass – a genre I have not spend a lot of time around. CASSI resides in Surrey and has a prestigious and impressive musical network around her - about to enter A.C.M. very soon. She has the support and backing of friends, peers, and musicians but That High is a singular vision and unique perspective from a producer we should follow closely. There are few things harder and more nerve-wracking than taking your first steps into music and finding your feet – it can be an excruciating experience that has seen many quit. CASSI has that inborn love of music and it will not be too long before we get to see her debut E.P. - that will be exciting to see. Free from nerves, weak moments or any loose ends: That High has been leant a lot of consideration and focus: the results are obvious and immediate. Ensure you take time out to listen to CASSI and see just where she is heading. On the evidence of debut track That High shows: she has…

PLENTY more to say.

 

[youtube https://www.youtube.com/watch?v=Pi8P34IRBQQ&w=560&h=315]

__________________________

Follow CASSI

 

Facebook:

https://www.facebook.com/cassiofficial/?__mref=message_bubble

Instagram:

https://www.instagram.com/cassi.official/?hl=en

SoundCloud:

https://soundcloud.com/user-188189449

YouTube:

https://www.youtube.com/channel/UCNeAvsX4c_nhIM0314JZuPg

 

INTERVIEW: Katie Buxton

INTERVIEW:

 

 
PHOTO CREDIT: Sam Polonsky

 

 Katie Buxton 

____________________________

A few days ago, Nashville-based Indie-Folk artist Katie Buxton…

PHOTO CREDIT: Liz Burley

 

released the video for her latest track, You Flew. The song’s gorgeous vocals and heartbreaking lyrics make it one of her very finest tracks. Written on a snowy January day in Nashville: a wonderful, hugely evocative song that takes you away with it. I have been a fan of Buxton for a little while and am excited to see just how far she can go. Eager to find out whether she has future plans (for new music) and how Nashville is treating her: I caught up to discuss her childhood influences and whether we can expect her in the U.K. any time soon.

________________________________

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

Hey! I’m doing great. my week has been crazy but the good kind.

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

Of course! I’m a twenty-year-old Indie-Folk singer/songwriter living in Tennessee. My songs are pretty mellow with intentional and reflective lyrics - everything I write has some sort of conscious intention behind it.

 

PHOTO CREDIT: Linda James Parrott

 

You are based out of Nashville. What prompted the move from Philadelphia to Nashville?

I moved to Nashville a little over two years ago to start college there. I study songwriting at Belmont University, and when I was looking at different universities to apply to, Belmont was one of only a few in the States that had a commercial songwriting program. I also had been to Nashville a few times before and loved the laid-back but lively feel of the city, and just how central music is there.

In terms of comparative music scenes: are there more opportunities and a richer music culture in Nashville?

I’d say definitely - the really cool thing about Nashville is that everyone assumes it’s mostly Country when in reality there is a little bit of everything. There’s a huge Indie scene, as well as Pop, Rock, and even Reggae.

Since the town is made up of mostly people working in the music industry, it’s so much easier to make connections here than it is almost anywhere else - especially since most are pretty open to helping up and coming musicians.

Your first songwriting experience was at the age of 12. Did you grow up in a musical household and when was the moment you realised you wanted to become a musician?

The funny thing about my background is that the only person I shared a household with growing up was my mother and she’s absolutely tone deaf (sorry mom)! Besides an uncle who plays guitar, the rest of my family has never been musical; I grew up in a school that placed a lot of importance on their music classes and training us vocally from the time we were four-years-old. I think that was a huge part of it. I’ve sort of always known that music is meant to be a part of my life, but I never knew in what capacity until around a year ago when I had a pretty sudden and intense realisation that being an artist is something I want more than I’ve ever wanted anything.

 

 [soundcloud url="https://api.soundcloud.com/tracks/252520386" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

 

Who were the artists and bands you fell in love with as a child?

Oh man! This is going to be embarrassing. When I was super-young I was really into Play, Hilary Duff, Aly &AJ; Evanescence, artists like that. Aly & AJ were actually the reason I started playing guitar! It’s so funny to me. As I got a little older I went to my first concert when I was nine, which was the Country duo Big & Rich (I know...I know). It was so random and unexpected but for some reason, I just loved them from that moment on, probably for way too long.

What was it like being selected as a finalist for the 2016 American Songwriting Awards? What was the inspiration behind Painted Hearts (the song that got you there)?

The funny part about this was I didn’t even realise I had submitted a song to be considered until I was told I was a finalist. I just had totally forgotten but it was an awesome surprise!

The song I submitted, Painted Hearts, is written from the perspective of a Native American chief. A few years ago I was attending a summer music program in Boston, Massachusetts when I heard a Native American chant performed live. I’ve always had a really deep and unexplainable connection to the culture, so it immediately resonated with me (and just stuck with me).

About a year-and-a-half later I was sitting in my room and for whatever reason, that chant was just playing over and over in my head when I thought: “what if I write a song around this chant?” I think the whole song came out in ten minutes. It felt effortless and like it came from a very special and sacred place. It’s a really important song for me and has opened so many doors.

 

Your debut E.P. From Songbirds was released in March.  What has the reaction been like from critics and social media? What sort of events and experiences defined the E.P. for you?

Since releasing From Songbirds, the response I’ve gotten has been really encouraging and heartfelt. To hear from people that my E.P. is what’s playing when they turn on their car is the most special thing. When I was putting those songs together I wanted to focus on creating a project that had a purpose, songs that were reflective and would bring light to others. Each song focuses on something totally different, from sending love to those who hurt you, to letting go of control and embracing wherever it is life is taking you.

You Flew, the current single, is about caring for someone who is not ready to love. Did the song arrive from a fictional viewpoint or was there a particular inspiration?

There was definitely real inspiration for this song. It’s actually not about one person in particular but came from a couple very similar experiences I’ve had with different people: most recently right before I wrote the song. I think the fact that I’ve experienced this more than once honestly allowed me to put more emotion behind the lyrics because it was such a familiar feeling.

The song has a very gentle sound; your voice beautiful and aching. Was that sound/dynamic enforced by the strong Country scene in Nashville? Any particular singers helped to shape your vocal style

Thank you so much! I didn’t consciously take any influence from the Country sound - Country is not something I ever listen to, even here in Nashville. But as far as influence from other singers go I really love Liz Longley - her vocals are always so emotive and strong but delicate. I also really love more soulful singers like Lianne La Havas and Matt Corby and the way they use dynamics to add feeling to their lyrics. I really try to emulate this kind of style, because I think the way in which the vocals in a song are delivered is one of the most important things, and it’s what really allows the listener to connect to the lyrics.

PHOTO CREDIT: Linda James Parrott

 

Can fans here in the U.K. expect to see you soon? Any plans to tour Europe and the U.K.?

I would absolutely love to tour Europe and the U.K.! It’s something I’ve been talking about lately and I’m hoping to start planning a leg for next summer. So yes, hopefully very soon!

You often write messages to your fans and motivational messages. They, in turn, throw a lot of love your way. How important are your followers on social media and how important with regards to your energy and passion for music?

I truly appreciate every single person that follows me and shows even the smallest amount of support, so much more than I can say. It is such a gift when someone chooses to follow my journey and take the time to listen to what I have to say. It’s something I don’t take for granted and knowing I have the ability to positively influence even just one person gives me purpose and drive.

I know you have just released an E.P. but are there any plans for more music this year? How does the rest of 2016 pan out so far

Looking forward to the remainder of 2016 I don’t have any releases planned yet but I’m hoping to get back in the studio really soon. I would love to have another single out by November. Right now I’m in the process of getting a band together so that I can start playing full band shows, and I’m looking forward to a couple festivals I’m playing in September, one of which my favorite artist, Trevor Hall is headlining, so it’s very exciting and pretty surreal.

You must see a lot of great local artists around Nashville. Are there any you would recommend to people? Which mainstream artists have excited you this year?

So many! I have a ton of favorites because there is so much talent here but a few of them are Suzy Jones, Addison Mills, and Stephen Day. As far as mainstream artists go, this year I’ve really gotten into Allen Stone, as well as Jon Bellion after his newest release this May. I think the way he writes is genius and his songs are the kind that makes me wish I wrote them.

Having had such a varied and busy career so far: which times and moments have been the most precious and important?

The moments that have stuck with me the most are the ones where people have told me how much of an impact my music has had on them.

To hear that what I create and put out there is leaving a significant and lasting impression on someone is so surreal to me because that’s always my goal, but to know it’s actually happening is the most encouraging and humbling thing.

What advice would you give to anyone looking to follow in your footsteps?

I think one of the most important things as an artist is to find what makes you different than everyone else and really use it to your advantage. It’s something that’s allowed me to really connect with listeners, like with Painted Hearts for example - the song is really unique (and possibly pretty out there to some) but it’s made people pay attention because it doesn’t sound like anything they’ve heard before, including the concept itself. I think it’s easy for artists to fall into the trap of trying to sound like other musicians they look up to - I’m guilty of this too - because they figure it must mean success. In reality, though, all of the greatest artists got to where they are because they were the ones who did what everyone else wasn’t.

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

Does You Flew count? :)

[youtube https://www.youtube.com/watch?v=wL6NVR7Nj8A&w=560&h=315]

________________________

Follow Katie Buxton

 

PHOTO CREDIT: Sam Polonsky

 

Facebook:

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

Official:

http://www.katiebuxton.com/

Twitter:

https://twitter.com/ktbuxton

YouTube:

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

Instagram:

https://www.instagram.com/katiebux/

SoundCloud:

https://soundcloud.com/katiebuxton

FEATURE: The August Playlist: Vol. 5: Rarities and Round-Up

FEATURE:

 

The August Playlist: 

 THE AUGUST PLAYLIST: VOL. 5: rarities and round-up MUSICMUSINGSANDSUCH

 

Vol. 5: Rarities and Round-Up

______________________

I sort of guessed there might be another installment…

Image result for tove lo in this series, and if has proved to be the case. It is always great hearing new songs and unexpected singles: so many of the best albums from this month have not made their way to mainstream papers and websites. Having a dig through Metacritic and their list of albums has shown me what is hiding away from the spotlight of the music big-players. Some charming tracks and wonderful artists: musicians that deserve a lot more attention. I compile them here and - because it is 22-years-old today - a track from Oasis’ seminal debut, Definitely Maybe.

_____________________

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Bon Iver33 “GOD”

 

[youtube https://www.youtube.com/watch?v=6C5sB6AqJkM&w=560&h=315]

 

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Cold PumasOpen Mouth at Dusk

 

[bandcamp width=350 height=470 album=1173078228 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=2503530674]

 

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Dead RingersLion Killer

 

[bandcamp width=350 height=470 album=2607214935 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=797322162]

 

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The Pineapple ThiefNo Man’s Land

 

[youtube https://www.youtube.com/watch?v=qxYFXw5I45A&w=560&h=315]

 

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Thee Oh SeesTicklish Warrior

 

[youtube https://www.youtube.com/watch?v=k_HsWX23Flo&w=560&h=315]

 

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PalmistryLifted

 

[youtube https://www.youtube.com/watch?v=udLiwGJvd5A&w=560&h=315]

 

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Black DylanHey Stranger

 

[youtube https://www.youtube.com/watch?v=0yD6EGeUzBg&w=560&h=315]

 

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BaysideNot Fair

 

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

 

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Dolly PartonPure and Simple

 

[youtube https://www.youtube.com/watch?v=VVc07KydYSI&w=560&h=315]

 

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Lisa Hannigan - Ora

 

[youtube https://www.youtube.com/watch?v=iK0iTE-kwpc&w=560&h=315]

 

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Sam CoomesStride On

 

[youtube https://www.youtube.com/watch?v=N8XkoSz-XG8&w=560&h=315]

 

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Banks & SteelzAnything But Words

 

[youtube https://www.youtube.com/watch?v=V3zTRDisnUY&w=560&h=315]

 

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The Album LeafNew Soul

 

[youtube https://www.youtube.com/watch?v=e90d_dr-FwI&w=560&h=315]

 

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The ParrotsLet’s Do It Again

 

[youtube https://www.youtube.com/watch?v=9BUG_h8auXY&w=560&h=315]

 

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The HunnaSycamore Tree

 

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

 

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Blue PillsI Feel a Change

 

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

 

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Against Me!Haunting, Haunted, Haunts

 

[youtube https://www.youtube.com/watch?v=h-9KBDsfbLs&w=560&h=315]

 

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GrouploveDo You Love Someone

 

[youtube https://www.youtube.com/watch?v=i4jYyUCqUOk&w=560&h=315]

 

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The Wytches C-Side

 

[soundcloud url="https://api.soundcloud.com/playlists/248573988" 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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GrimesMedieval Warfare

 

[youtube https://www.youtube.com/watch?v=OXor30_XZMY&w=560&h=315]

 

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Kate NashGood Summer

 

[youtube https://www.youtube.com/watch?v=DO8-2kU6Yms&w=560&h=315]

 

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Tove LoCool Girl

 

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

 

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OasisCigarettes & Alcohol

 

[youtube https://www.youtube.com/watch?v=UJDK8X5K9mw&w=420&h=315]

 

That is it for August: September is a few days away. Unless something great appears in the next few days: it is on with September and the songs/albums being teased and speculated. It is impossible representing all the great tracks from August’s albums and artists but I hope the 5-part feature has brought most of them to you guys. Enjoy the music and see you (for this feature) in a few days.

Image result for bon iver

TRACK REVIEW: Tamu Massif - OK

TRACK REVIEW:

 

Tamu Massif

 

 

Ok

 

9.4/10

OK is available via:

https://www.youtube.com/watch?v=FYD0LxE4MxA

GENRE:

Alternative

ORIGINS:

Weston-super-Mare, U.K.

RELEASE DATE:

July 2016

__________________________

SCANNING about the wave of solo artists emerging right now…

and there is, it goes without saying, enough variation for everyone. I feel today’s music is a confusion battleground where we are only really exposed to a small percentage of artists out there. In order to establish who the very finest out there are: radio and the Internet are the best two options; it can be tough getting on top of it all and keeping track. I am an ardent fan of 6 Music and find their proffered artists are among the best in the world – I do wonder how many artists they miss out on, though. It is impossible playing every fantastic artist out there but I guess that is the good side of doing a blog: you get to see another side of the music world that escapes a lot of radio stations and press outlets. Before I come to investigating my featured artist: I wanted to talk about emotion through music; artists from less-known counties of the U.K. and inspirations for song subjects. We all love a musician that digs deep and presents something emotional and introspective. So long as the music is not too heavy and draining: getting a glimpse into an artist’s soul is one of the finest aspects of music. Too many artists write about love dislocation and inner-searching but hide it behind heavy beats and electronics – it can distill the true emotions of the song and come off somewhat cheap and insincere. One of the problems about being truly open and tender is losing people’s attention. It is a hard balance to assess something raw and harrowing whilst keeping the focus of the public. As such, a lot of new artists coming through are changing their pens away from deeply personal (and harrowing) subject matter and concentrating on other concerns. It is a shame but I guess having lyrical diversity is only a good thing. If we go back to the theme and seeing what the solution is: new artists like James Blake (although he’s been around for a few years) is a good example of how it should be done. Take his current album, The Colour in Anything, and it is rife with deep and textured songs that are among the finest this year. Previous Blake albums have been more maudlin and romance-based – assessing damaged love and trying to piece it together. Never one for direct lyrics and obvious storylines: metaphors and oblique touches are sat aside tremulous, atmospheric vocals. The Colour in Anything yearns for happiness and self-improvement; spaciousness and drama run throughout but above all is sheer beauty and majestic shimmer. He is one of those musicians that not only takes control of his songs, and does not let scores of producers tamper with them, but is able to pour his heart onto the page and keep the listener entranced. For those musicians that want to balk against acoustic guitar-led sounds and a one-dimensional approach: Blake has shown what can be achieved with compositional variation and intelligence. I bring up this (rather lofty) aspect up because of my featured artist, Tamu Massif. That name is actually a moniker of Weston-super-Mare artist Dave Dixon and he has got me thinking more about music and standing out from the crowd. His latest track, OK, recalls a rather upsetting time – more on that later – but the way he puts that on the page goes beyond the routine and predictable. Not quite putting as many elements into the mix as James Blake: he manages to elicit a range of ideas and possibilities through the composition; mixing sound effects and harder sides with elliptical, light-seeking moments.

OK casts its inspiration to a dwindling friendship and fractious time for our hero. Relationship break-ups are common concerns for musicians but usually centre around love – friendship erosion is not as widely covered as you’d imagine. We all experience times when treasured acquaintances and mates drift away or there is an argument. I feel too few songwriters do not cover these kinds of topics because they fear it is too personal – damaging a friendship beyond repair perhaps. If a relationship ends, you are not looking to get back with that person – so it is okay to put it down in a song. Maybe trying the same with a friendship drama is risky business? I am not sure but Massif has shown bravery and insight but capturing a stressful and fraught time, and in the process, bringing something new to the realms of break-up and split. What stuns me about a lot of modern artists is how rigid they are lyrically: often going for lowest-common-denominators and easy answers. We all have busy and complicated lives so one would imagine there is enough food for thought? Of course, love is important and we all can relate but that is not to say the consumer wants to hear about it all the time. You do not need to look too far away or reinvent the wheel: just take the time to concentrate on something less expected; something nobody else is covering. Those musicians that stick in my mind are the ones who introduce you to fresh horizons and rebel against formulaic topics. Massif has looked at love in the past, but as his latest single proves, he is an artist that captures of-the-moment events and places them on the page. The only way music will push forward and inspire future generations if we become less rigid and defined. It is an area I want to go into more depth about but it might have to wait for another time.

It is good finding a musician that comes from outside of London. I love London but have focused quite heavily on the city the last few months. Massif will be playing a lot of London shows in the future but his base and home is Weston-super-Mare in Somerset. I have reviewed acts from around the U.K. but is has been a while since I have stepped outside of London and its environs. When we think of upcoming artists, perhaps Somerset is not top of our considerations. I feel we often get too obsessed with the big cities and forget there is a whole world of towns and villages with fantastic musicians in. Historically, there are not a lot of legendary musicians that hail from Somerset – I might be wrong but I am struggling to think. The likes of Tamu Massif will not only help put Somerset in the mind but raises a good point. Music is not exclusive to the cities and London and we all need to realise the full scope of British music. I said early on how difficult it is to discover all brilliant new musicians coming through but one imagines a little dexterity and flexibility will go a long way. I had never really thought about Weston-super-Mare for music but am compelled to look more and see what other musicians come from there. Further than that: I will look at other less-represented musical counties and discover what is out there. It is vital we support artists from all over the country and ensure we do not overlook areas outside of the city. I feel one of the reasons we get obsessed with cities like London and Manchester is that is where so many musicians end up. Personally, I know a lot of musicians who flee to London due to the lack of opportunities where they live. Maybe there are not enough platforms or too few people: how realistic is it remaining in villages and towns if you are an artist? Naturally, the more people that pack into cities the harder it is to find opportunities: the cities become compacted and it leads to musicians being squeezed out and suffocated. It is difficult making it in the industry so can appreciate the lure and attraction of the city. Tamu Massif records at his Weston-super-Mare studio but gigs in London too: seemingly striking a wonderful blend and not too overwhelmed by the rush of the city; finding inspiration and creative outlet at home. I am digressing but it is another point that we need to address: providing more money to towns so musicians do not have to move out; easing the burden in the big cities to ensure musicians there have chances.

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Looking back on Massif’s work and you can see how far he has come in the last couple of years. Azora was released just over two years ago but showed a promising young talent and someone who differentiated themselves from the mass of artists out there. The composition is quite sparse but the racing beats and delicate piano notes create a lot of emotion and story on their vocal. When listening to the vocal, you are hard pressed to compare it with another singer, and instead, are introduced to a soulful and emotion croon. A singer that is capable of delicacy and power in the same breath: Azora is a song that gets into the head and has so many different layers and sides to it. Perfect for contemplative times or a solitary drive during sunset: it has that self-assessing mood and tranquility to it but enough energy and spirit to stand up to repeated plays. An impressive song no doubt. More recent work like Holding Back has shown how adaptable Tamu Massif is. A more traditional, acoustic-based number: its emotional resonance and gorgeous vocal get the hairs standing up. Despite a certain pastoral mood: Massif injects fizzling electronics and colours into the song to ensure it never becomes sonorous, boring or unengaging. The song draws processed, hypnotic female vocals in and warped sounds: juxtaposing against the reverent beauty of the opening; Holding Back grows into something complex, busy and spectacular. Listening to the opening minute and you assume you have the song figured out. Each line and verse find Holding Back grow and expand; taking in new sounds and ideas and demonstrates what a talent he is. OK takes that a step further and is, in my viewpoint, the best song Massif has created so far. It has strands of Holding Back’s D.N.A. and is a new phase for the artist. Alba was wonderfully received last year but I feel the 2016 output from Tamu Massif is stronger, bolder and more arresting. I am not sure if certain influences and experiences have led to this evolution – you can definitely hear a slight improvement and new inspiration. I am sure the upcoming E.P. will contain similar songs to Holding Back and OK and be up to that level. Early on, I mentioned James Blake and you can detect that as an influence in Holding Back and OK. The Electronic/Alternative/Post-Dubstep musician is compelling a lot of new artists and that is to be commended. Tamu Massif does not replicate Blake’s themes and sounds: using him as a bit of a guide; he creates his own version of that foregrounded Post-Dubstep sound and put his own stamp on it.

OK is the latest song from Tamu Massif and recalls the closing phases of a fading friendship. While visiting friends in Naples (last New Year’s Eve); that is when inspiration struck. Hearing and watching the fireworks burst from his balcony: he got thinking and ensured he captured the sounds and explosions of the night. Rather than dwell on the pain and loss; it has gone into a song that is mature and intelligent. Massif (or Dave Dixon, I should say) knows relationships and friendships can be temporary and unpredictable at the best of times. OK begins with oddly child-like, processed vocals that make you think straight away. Perhaps the sound or sample of the friend in question (it is a female voice) is a weird and machine-processed opening that gives you an insight into OK’s mindset. Distorted, hazy and confused: such an instancy and urgency can be discovered straight off. There is little time to reflect and predict as the song comes straight to life. Subtle but powerful electronics create a brewing storm whilst the beats crackle without becoming too heavy and insistent. That vocal opening seems like the other side of a conversation of a voicemail being played – not quite real but very relevant to Massif. When approaching the microphone, the voice is typically emotive and powerful – power and strength seem to define the work of Tamu Massif. Although some of the early vocals suffer some intelligibility issues – slightly drawled which means it can be hard to pick up on the lyrics – it is the fervency and passion of the vocals that matters most. A stunning voice that has ample beauty and grace to it: our hero does not want to settle down and rush in life. You get thinking about the dynamic of that friendship and what has caused this drifting apart. I am not sure whether our hero’s friend is male or female but one senses it is a female. The two used to be close but have not been in touch for a while now. It is not necessarily anyone’s fault and perhaps they are different stages of life. I sense the bond was quite important and perhaps has romantic possibility. It seems like the two were serious at one point, but now, they are reduced to scant conversations and the odd communication. Our man might not have been that smart and a bit lackluster; maybe remiss and ignoring the importance of the friendship. “Is it okay?” our hero asks if he doesn’t settle down: it gives you impressions of romantic domesticity or a shared agreement. Perhaps the two had plans or she was getting a bit too firm – perhaps wanting him to commit to a way of life or spend a lot of time together. Massif is a free and creative young man that is dedicated to music and this might have been a breaking point. Unable to commit to a time and place and predict the future: it seems like differing interest has found them separated and on barely-speaking-terms.

Image result for tamu massif band

OK has two distinct halves to it. The first is reflecting on what has happened and asking pertinent questions (whether they can start over again); trying to piece things together and wondering what went wrong. The lyrics, those that are clear and come through, sort of offers apologies and explanation but seems confused and lost – it was a pure friendship but has just drifted away out of control.  The vocal and lyrics are placed in focus and our hero wonders if he is becoming sentimental and over-thinking perhaps. The second phase of the song places more emphasis on the composition: perhaps our hero is spent and too emotional to carry on; steps away from the microphone. After the first couple of minutes, we learn a little about how the friendship broke down. There is a regret but no real answer as to what happened. It just seemed like the two were on different pages but there is that desire to rekindle things and regain that closeness and connection. Knowing it is beyond repair or slipping away: the second half of OK lets the music speak. Electronics trip and persists; they trip and swoon and shimmer – occasional beats add a little spark but keep in the shadows for the most part. A song that has sensuality and loneliness to it: you imagine the time that inspired the song and what Tamu Massif was thinking about. After the pitch-shifted vocals and melancholy of the opening: it all develops and changes. There is chaos and celebration in the street, but on the balcony, a sense of twilight eeriness and thoughtfulness. You transpose yourself into the song and are stood alongside the hero – looking down from the balcony and lost in his own thoughts. Towards the closing stages; that New Year’s Eve celebration and rapture comes more into the song. Before that, there are twinkling and odd electronic notes: they ping and twinge; quite a strange but inviting sound that makes you wonder what influenced them. Oddly, you get a flavor of Japan and Asia in some of the composition: as though you were walking through a Tokyo night and the local sounds, strangeness and beauty of the city. Against that, some more defined and sturdy beats come in and OK gains new light and traction. It is difficult creating a song that is composition-heavy and pulling it off. So many modern musicians lack necessary inventiveness and intellect to captivate the listener. Tamu Massif presents a composition that has so many different stages and elements together but retains a singularity and focus. Into the final minute, the hero comes back to the microphone and seems like he needs answers still. Maybe his friend was kinder and purer; their paths never meant to continue together but it seems painful none-the-less. Despite the fact there are decipherability issues to some of the vocals, that is part of the appeal. The sheer emotion and weariness are more potent and memorable than anything: our man aghast and tired in the night; weighed down by the heartache and emotion on his shoulders. OK ends things with firework samples and crackling: those Italian firecrackers provide a suitably authority and appropriate finale. You have to sit back and take it all in when the song ends and might take a while to listen to it again. It is a personal and important song for Tamu Massif and one that will surely strike a chord with listeners who have gone through the same sort of experience. The finest and most compelling song in the Tamu Massif catalogue: let’s hope it features prominently on the new E.P. It is commendable pulling away from relationship dilemmas and concerning something else. OK is a fascinating number and one that will see Tamu Massif exposed to a wider audience and gain lots of new supporters and radio attention. Already, the song has picked up some great reviews and that will give it creator heart and inspiration. Mixed by Youth Lagoon & Perfume Genius associate Ali Chant (produced by Tamu Massif): OK is a stunning song that announced a very fine talent.

Tamu Massif has already achieved quite a lot in his career to date. Having been tipped by NME and enjoyed airtime on 6Music and Radio 1: not many new musicians can claim that. It is hard to get recognition and exposure on the nationwide stations so when it happens that honorific should not be underestimated. Massif will be doing no such thing and capatilsing on that momentum and patronage. There is an E.P. out soon and plenty of excitement and expectation surrounds it. Following his well-received E.P. Alba, I am sure his upcoming E.P. will build on that early promise and show new inspiration and influences. OK shows Massif is not a musician that stands still and is always developing his work. Supporting the likes of C. Duncan and The Japanese House live; there will be headline dates and key gigs in his calendar. All exciting times for the young artist. Dave Dixon’s alias is an intelligent, emotional character whose music has registered with a lot of people already. I feel Massif is deserving of more attention and followers. His social media numbers are solid and building but, when compared with some artists, one wonders whether his forthcoming E.P. will redress this. I see a lot of lesser artists with thousands of supporters and they do not deserve it. Perhaps they are image-heavy or get more focus on radio: Massif is a more honest and hard-working musician and I am sure his talent and graft will be richly rewarded. He will not quibble over social media numbers and such concerns: the demand and appreciation he is receiving prove how much love and support there is. OK is a fascinating glimpse into a wonderful musician who has taken a harrowing deterioration and turned it into something strangely gorgeous and inspiring. OK is not just a simple, acoustic-based song where the hero pours emotion out and is tear-stained and wracked. Massif understands this approach is likely to appeal to a certain listener, and because of this, consideration, intelligence and innovation have gone into his latest single – ensuring it registers and appeals to a wide range of music fans. It is a brilliant window into the as-yet-untitled E.P. and is certain to put Massif firmly in the musical forefront. He has already had his music played on our most influential stations but I have the sense he will grow even bigger and be afforded more chances further afield.

One feels Tamu Massif has an audience waiting internationally and is capable of breaking into new countries and continents. I am sure he will want to focus his attention in the U.K. for now: finance might be an issue and it is not practical jaunting abroad and performing around the globe. That said, one gets the impression it will not take too long before fortunes change and international gigs are going to be a reality. I say this with a lot of British musicians but there are U.S. opportunities and audiences who are latching onto our best acts. Looking about social media; I have seen a lot of British artists put their songs out and get heady praise from U.S. listeners. Perhaps there are quite a few British musicians playing across the U.S. but I am wary not as many as there should be. Again, perhaps another discussion for another day. It is hard to sum up Tamu Massif as there is a lot of mystery and intrigue about his music. That nom de plume is the name of a dormant subaquatic volcano: it gives you an insight into the emotional blend and dichotomy of his music. You have that beauty and safety but always feel like there could be an explosion at any moment. Thinking about the volcano, and where it is situated, it seems like a very apt name for OK’s author. He splits his time between Weston-super-Mare and London and is one of those artists you know is going to be playing for years to come. It is hard to stand out in the industry as there are so many like-minded musicians aiming for the same goals. Tamu Massif seems stress-less and relaxed against the pressures of the modern age. Although OK looks at a friendship on the rocks: you feel, away from the studio, Davie Dixon has a plan and knows where he wants to head. I urge people to go see Tamu Massif live and be brought into a very magical and entrancing world. The reviews he has already accrued speak for themselves. I have talked about cliché and predictable subjects in music and I feel it is a problem that will blight a lot of new music. We have all heard the Pop star talking about bad love and these tropes are putting people off – many of us want something new and less obvious. Tamu Massif has gone through relationship quandaries and knows it is important to assess that. OK stands out because it moves away from that and addresses a unique and idiosyncratic event. Not only does the originality stand out but the way it is delivered. Not just confining himself to vocal-and-guitar easiness: sound effects, bass, and electronics are weaved together to create a tangible and evocative number. If you have grown weary of the unsophisticated and simple musician that is incapable of connecting with the heart and soul then you should definitely spend some time with Tamu Massif. The dormant-volcano-under-the-water-cum-Somerset-innovator is a curious blend and incredible young talent. OK will lead to an E.P. and that E.P. is going to mutate to future releases. It is a good time for Tamu Massif: his latest single is…

THE start of some very big things.

 

[youtube https://www.youtube.com/watch?v=FYD0LxE4MxA&w=560&h=315]

_______________________________

Follow Tamu Massif

 

Official:

http://www.tamumassif.co.uk/

Facebook:

https://www.facebook.com/tamumassif/#_=_

Twitter:

https://twitter.com/tmassif

Instagram:

https://www.instagram.com/tamumassif/

SoundCloud:

https://soundcloud.com/tamumassif

FEATURE: When Music Ruled the World: 14 Essential Albums from 1994

FEATURE:

 

 When Music Ruled the World:

 

 Image result for oasis band 1994

 

14 Essential Albums from 1994

______________________________

DEPENDING on when you were born will often determine…

Image result for portishead 1994

which albums and artists mean most to you. I was born in 1980-something (let’s just say Duran Duran were big back then) and grew up on a combination of ‘60s master like The Beatles and The Rolling Stones with plenty of Steely Dan, T-Rex and sounds of the day – running through New Romantic darlings and pop kings such as Michael Jackson. I feel I was born in the absolute pinnacle time: when the ‘90s hit I was 6-years-old. When 1994 started to throw up some truly wondrous albums I was 10, and just the right age to let music seduce and conquer my soul. The 1980s, by and large, was a little variable but there were some stunning albums from the time. The ‘90s, unlike any other decade, seemed unstoppable and completely beyond reproach. Sure, there were bad albums and songs like any other time but in terms of sheer quality: can you think of any other decade that gave us so many classic albums? I am not sure what was in the water and how influential the 1980s was: musicians were producing new genres and pushing boundaries; helping to create movements (Britpop among them) and change the face of music.

Image result for blur 1994

I have covered the topic before - https://musicmusingsandsuch.wordpress.com/2014/02/09/feature-a-love-song-to-1994-the-year-that-changed-everything/ - but felt compelled to revisit – plus, I included The Bends on the list despite the fact it was released in 1995 (close enough, eh?!). That being said; Radiohead were working on The Bends and just about to release their (in my view) finest album ever. They were the outsiders of the Britpop move but an essential band who contributed so much. It is hard to distill a phenomenal year into 14 L.P.s, and it might be an arbitrary number, but a way of showcasing just what variation and quality came along that year. If you prefer today’s music or the bands of the’60s: few can deny just how astonishing and peerless 1994 was. No single year has produced so many world-class albums and game-changing creations. Sit back and let the 22-year-old time of wonder flood back: a collection of the albums and songs that shaped 1994.

 

Jeff Buckley Grace

 Image result for jeff buckley grace

Jeff Buckley did not arrive out of nowhere by the time of his debut, Grace. A celebrated fixture of New York’s café/bar scene: he had a loyal and awe-struck following fully aware of what he could create. Released on August 23rd, 1994: Grace remains (sadly) Buckley’s only completed studio album – he died three years later. Only reaching 149 in the U.S. charts and suffering poor sales figures – a record that gained huge popularity after Buckley’s death. Critics were not aware at the time but Grace remains one of the most impressive albums by any singer-songwriter and the introduction of a truly peerless talent and golden voice.

 

Download: Grace, Last Goodbye, Lover, You Should’ve Come Over, Dream Brother

 

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

 

Manic Street Preachers The Holy Bible

 Image result for manic street preachers the holy bible

Manic Street Preachers were well under the critical radar by the time The Holy Bible arrived. The group’s third album was the last to feature lyricist and rhythm guitarist Richey Edwards. Fighting severe depression and self-harm: the enigmatic figure would disappear soon after the album’s release – Everything Must Go was the first album after that not to feature Edwards. Perhaps the album’s subjects of anorexia nervosa, depression and anger were a cry for help from a young man suffering the weights of the world. In musical terms, it is a stunning album whose lyrics and stories draw you into a strange and dark world – compelling and utterly engrossing some 22 years after its release.

 

Download: She Is Suffering, 4st 7lbs, Mausoleum, P.C.P.

 

[youtube https://www.youtube.com/watch?v=rl2Jv4dzFqg&w=560&h=315] 

Hole Live Through This

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The sophomore album from American Alt.-Rock band Hole: the record was released a week after the death of Courtney Love’s boyfriend, Kurt Cobain. With Grunge’s godfather departed (Hole’s bassist Kristen Pfaff died two months after the album’s release), it was a difficult time for Hole’s lead. Live Through This is not hardcore, hard-hitting and unrefined – the band’s debut album played very much in this aesthetic. Instead, there is polish, refinement, and thoughtful song structures. Love, infatuated by notions and ideals of beauty, turns her pen to subjects of motherhood, anti-elitism, and domestic violence. Despite the tragedy that would befall her after Live Through This was released: the album itself remains a beautiful, beguiling and one-of-a-kind offering from a tremendous songwriter.

 

Download:  Violet, Asking for It, Doll Part, Softer, Softest

 

[youtube https://www.youtube.com/watch?v=mS1Ckczz0LQ&w=420&h=315]

 

Green Day Dookie

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Still going strong and about to release their album Revolution Radio: it hardly seems like the boys have changed at all. Dookie, although some might agree, remains their finest creation and a Punk-Rock classic. This was the album that put Green Day into the public forum and truly elevated them to superstardom. It would reach number 2 on the U.S. Billboard 200 and helped put Punk-Rock firmly in the mainstream. Dookie has since exceeded 10 million copies and, even in a year like 1994, topped many critics’ end-of-year polls. Listen to songs like Welcome to Paradise, Longview and album-highlight Basket Case and it is not hard to see why. Electric, intense performances, and complete conviction from a band with plenty of attitude and anger – all brought together a truly remarkable album.

 

Download: Longview, Welcome to Paradise, When I Come Around

 

[youtube https://www.youtube.com/watch?v=NUTGr5t3MoY&w=420&h=315]

 

Suede Dog Man Star

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Another one of those bands that perhaps were slightly outside the Britpop movement happening in 1994. Whilst contemporaries Blur and Oasis were releasing their career-defining albums – and embroiled in spats and rivalry – Suede sat outside of that and got on with their own thing. The sophomore album from the Alternative-Rock legends: this was the last album to feature guitarist Bernard Butler. Tensions between him and frontman Brett Anderson reached untenable levels – you can hear on the album – and Dog Man Star’s themes, not a shock, were dark and juxtaposed the optimism of Britpop – bringing influences like David Bowie and The Smiths together. Suede would make more harmonious albums but none better than this.

 

Download: We Are the Pigs, New Generation, This Hollywood Life, The Asphalt World

 

[youtube https://www.youtube.com/watch?v=zJYbovI6abc&w=420&h=315]

 

Pavement – Crooked Rain, Crooked Rain

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What is striking about this compilation (unintentionally I might add) is how many sophomore albums appear on the list. New York’s Pavement followed from their equally-brilliant debut Slanted and Enchanted with Crooked Rain, Crooked Rain. This, unlike their debut, was a more accessible fare and less lo-fi – their debut was more ragged, raw and undisciplined. Going on to sell more than 500,000 copies: it was a critical success but did not achieve high chart placings and sales. Showing how irrelevant show considerations can be: Crooked Rain, Crooked Rain is one of the ‘90s’ greatest albums and a bold statement from a band who helped redefine the scene at the time, and with it, influenced scores of upcoming bands. A priceless and treasured album from a band whose relevance and genius should not be undervalued.

 

Download: Cut Your Hair, Haunt Me Down, Gold Soundz, Filmore Drive

 

[youtube https://www.youtube.com/watch?v=1VVj1zqbWpU&w=420&h=315]

 

Weezer Weezer

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Not a sophomore album this time but a (defiant) debut from Rock band Weezer. Released in May 1994 it entered music at a busy and competitive time yet remains one of the year’s best albums. Produced by Ric Ocasek (front-man of Cars) and recorded at the legendary Electric Lady Studios, N.Y.C.: the album saw Undone – The Sweater Song, Buddy Holly and Say It Ain’t So as singles. Buddy Holly’s innovative, groundbreaking video helped put the album into the history books but the band’s slice-of-life tales and witty suburban conversations – the fine pen of Rivers Cuomo – helped it to be a chart success and set the band aside from their peers. Their similar-minded, ‘70s-Rock-aping contemporaries went for obvious influences whereas Weezer favoured Bubblegum Power-Pop acts like Cheap Trick. Geekdom has never sounded so divine and universal.

 

Download: My Name Is Jonas, Undone – The Sweater Song, Only In Dreams

 

 

[youtube https://www.youtube.com/watch?v=kemivUKb4f4&w=420&h=315]

 

Portishead Dummy

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Portishead came into music with an emphatic album in Dummy. Released in August and released by Go! Beat: the album went on to win the 1995 Mercury Music Prize. Not only did it single-handedly help to popularise and promulgate British Trip-Hop but it stands as one of the landmark albums of the 1990s. Although Dummy was certified gold in 1997 and sold millions of copies: when it was released, it enjoyed modest chart success. What we can discover from this list is how slow the public of 1994 was to embrace stunning albums. Perhaps too forward-thinking or unusual: thankfully, subsequent years and generations have been far fairer. Of course, we all know where Portishead would go and the effect they have had on music. Massive Attack – another Trip-Hop band that helped shape music – would bring their brand of dark and dramatic elements to the genre – Dummy is an album that helped launch Portishead’s career and is often seen as one of the essential albums of any genres and year.

 

Download: Sour Times, Numb, Roads

 

[youtube https://www.youtube.com/watch?v=4qQyUi4zfDs&w=560&h=315]

 

 

Nirvana Unplugged in New York

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Unplugged in New York was released following Kurt Cobain’s death and one of the final recordings he ever undertook. Acoustic versions of classic Nirvana cuts were interspersed alongside band favourites and legendary Blues songs. Unlike other Unplugged shows; Nirvana went for a lesser-known set-list that put mood, emotion, and variation ahead of hits and radio-friendly gems. Going on to win the Grammy Award for Best Alternative Music Album in 1996: it is regarded as one of the greatest live albums in history. You are mesmerised by the band’s performances (Cobain especially) and the reaction from the audience – alternately delirious or awe-struck by what they were seeing. Cobain’s death might have put a tragic dimension on the album but nothing can distill or dampen its legacy and brilliance.

 

Download: About a Girl, Jesus Don’t Want Me for a Sunbeam, The Man Who Sold the World, All Apologies

 

[youtube https://www.youtube.com/watch?v=gOZKz_sPM6U&w=420&h=315]

 

Blur Parklife

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Blur’s third and most exceptional album: Parklife was released the same year as the equally-amazing Definitely Maybe. With Blur and Oasis entrenched in competition and civil war: you were even in Camp Blur or Camp Oasis. Oasis’ northern influences and songs of youthful optimism and Rock ‘n’ Roll excess were contrasted by Blur’s southern suburbia and more emotional insights into love and domesticity. In truth, both bands help define Britpop for very different reasons. After Modern Life Is Rubbish’s disappointing sales the previous year: Parklife was the rebuttal that showed just what Blur were capable of. Over five million copies have been sold and, alongside Definitely Maybe, it places Britpop/Cool Britannia on the map.

 

Download: Girls & Boys, End of a Century, Parklife, To the End

 

[youtube https://www.youtube.com/watch?v=SD8gO8TAr4s&w=560&h=315]

 

SoundgardenSuperunknown

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Superuknown was Soundgarden’s fourth album and their greatest achievements. Few bands hit their stride that late in their career but hardly surprising given its background – especially the death of Kurt Cobain. Grunge’s leader was gone and Nirvana contemporaries Soundgarden reflected the mood of pessimism and fear in the music industry. Employing a greater range of influences and sounds than before. Although Cobain died a month after Superunknown was released there was something in the musical air: a sense that the troubled genius was not long for the world. Songs about suicide, depression and turmoil are not often easily digestible. Soundgarden’s incredible performances and exceptional songwriter – Chris Cornell’s planet-straddling voice at its most raw and unshaven – turned the album into a strangely uplifting and hopeful experience.

 

Download: Fell on Black Days, Spoonman, Limo Wreck, The Day I Tried to Live

 

[youtube https://www.youtube.com/watch?v=3mbBbFH9fAg&w=420&h=315]

 

The Prodigy Music for the Jilted Generation

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By 1994, the rave scene in Britain was becoming corrupted and ruined: Music for the Jilted Generation was a vivid and angry reaction that. The Criminal Justice and Public Order Act 1994 criminalised raves and put the kibosh on a lot of clubs at the time. Fueled and incensed by this insanity: The Prodigy reacted with a blitzkrieg record that rebelled against the stupidity and ignorance of the establishment. Lead songwriter/producer Liam Howlett has gone on to disassociate himself with the idea (Music for the Jilted Generation) was political – he hated the title and felt it petulant and misleading. Raw, dark and carnivorous from start to end: Music for the Jilted Generation is seen as a Big Beat/Rave masterpiece.

 

Download: Poison, No Good (Start the Dance), One Love

 

[youtube https://www.youtube.com/watch?v=YV78vobCyIo&w=420&h=315]

 

Beastie Boys - Ill Communication

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Following the genius of Paul’s Boutique (1989) and Check Your Head (1992): pressure was on to repeat the trick on Beastie Boys’ fourth album. Ill Communication responded with a typically assured, mesmeric and cross-pollinating set of songs from New York’s finest. Perhaps not up to the lofty heights of Paul’s Boutique and License to Ill: there is plenty to recommend about the album. The rhymes – one of the elements pushed back in previous albums – was hard and firm in the mix. Renewed with a confidence boost and fresh intention: Ill Communication’s sharp lyrics were all present and correct. If the album as a whole doesn’t quite match their best work; you cannot argue or call the album a failure. In fact, it is one of the best albums from 1994 and boasts plenty of standout moments – not less the sensational Sabotage.

 

Download: Sure Shot, Root Down, Get It Together, Shambala

 

[youtube https://www.youtube.com/watch?v=z5rRZdiu1UE&w=420&h=315]

 

Oasis Definitely Maybe

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Few band’s since Oasis have created a debut album as confident and world-class as this. Definitely Maybe took everyone by surprise and helped to revive British guitar music – making it super-cool in the process. Alongside Blur’s Parklife: Definitely Maybe scored 1994 and proved British music was some of the finest in the world. More optimistic, celebratory and excess-reveling than some of more dour, hopeless and moody U.S. albums – Grunge and Alternative-Rock bands culpable – it was just what the public needed. Live Forever has been listed as one of the best songs ever for good reason. That optimism and hope; the simple message to live while you can and make anything possible – few bands or artists have penned a song like it since. Oasis would go onto split not long after 2008’s Dig Out Your Soul but they never sounded as fresh, inspiration and together than on Definitely Maybe. No doubt about it: one of those albums that should be in every record collection.

 

Download: Rock ‘n’ Roll Star, Shakemaker, Cigarettes & Alcohol, Slide Away

 

[youtube https://www.youtube.com/watch?v=i_2mWhfOhGU&w=420&h=315]

 

It is clear just how truly spine-tingling albums arrived out of 1994 and I cannot fathom why. Perhaps one of those inexplicable years or just a general feeling running through music - when its best artists really stepped up and shone. I would love to hear of suggestions and albums people think should be on this list. What a joy re-discovering some of the best albums of my formative years. It may be 22 years ago, but the finest albums of 1994...

Image result for nirvana unplugged

ARE still inspiring to this very day.

TRACK REVIEW: Gold Phoenix - Oh So Hard

TRACK REVIEW:

 

Gold Phoenix

 

 

 

Oh So Hard

 

9.5/10

 

Image result for gold phoenix oh so hard

Oh So Hard is available via:

https://soundcloud.com/gold-phoenix-1/oh-so-hard-single/s-obcsl

GENRES:

Garage-Rock

ORIGINS:

Surrey, U.K.

RELEASE DATE:

8th August 2016

Recorded at Rockfield Studios

Lyrics and Music by Gold Phoenix

Produced by Nick Brine

Engineered by Jon Constantine

Mastered by Pete Maher

________________

I have been meaning to review Gold Phoenix...

for a while now and for good reason. I shall introduce the boys soon, but at the moment, they bring up topic around real Rock; characters and personality in music and the difficulty in squeezing life from certain other bands. Many have been debating whether Rock and all its sub-genres, really has any life left and is as good as it was. I feel there are a lot of bands coming through but you have to wonder how many actually have the guts and glory needed to give Rock a good name? Many play Alterative-cum-Indie sound which is an excuse for crowd-pleasing choruses and songs about love and heartbreak. That is all very well, and we all need that, but you yearn for a bit more grit and power in the music. I admire bands that can whip up some meaty riffs and 10,000 volt charges but ensuring there is melody, emotion, and discipline in the music. There may be a lot of those bands around, but for my two-cents-worth, they are few and far between. I suppose there have been so many Rock bands through the ages; it is challenging doing something new and differentiating from what has come before. Bands think too literally when they approach Rock and decide what their music will sound like. They get it into their heads that audiences want it loud and sweaty without much nuance and intelligence. The modern consumer is more intelligent and discerning and demands something a little more layered and structured. That, as a band, gives you more breathing room and chance for maneuver. Indie and Blues-Rock are ways of taking a solid template and adding new shades and sounds into the mix. One of the reasons some say Rock is dead is due to the one-dimensional nature of some groups. They are too rigid and defined and do not understand what can be achieved by pushing the genre slightly and mixing other elements together. With so many new artists entering the fray: we are seeing a turn away from Rock and Alternative bands (as the majority) and welcoming a lot more solo musicians in.

Perhaps there is more to be found in other genres or (bands in general) are less stable and long-lasting than they used to be. I have seen so many groups call time due to the demands of the modern industry – the strain on the relationships becomes too much and they have to break up. It would be foolhardy to assume Rock and bands are a dying commodity as that is not the truth. The fact of the matter is, and why critics raise that heated question, is a watered-down, safe approach to Rock music. So many artists lack that necessary spark and fire which is sad to see. My featured act understands this and is responding by bringing Rock back to its roots. They are not just an un-distilled, straight-ahead Rock band, but instead, lace Blues into their work and come up with something popular but unique – packed with vitriolic riffs and exceptional performances.

I will continue – and raise a new point – soon, but for now, it is worth getting an insight into the awesome Gold Phoenix:

Jamie - Guitar – Vocals

Fred – Bass

Ed – Drums

Surrey’s Gold Phoenix expresses large doses of raw, riff heavy Garage-Rock. The trio release their upcoming single, Oh So Hard, on August 8th with a video to accompany it, filmed by Joe Parker, at Full Tang Visual. The band were contacted by Producer Nick Brine (The Darkness,Oasis, Ash,Thunder) which followed in the recording of the single at the legendary Rockfield Studios in Wales, and mastered by Pete Maher (Jack White, U2, The Rolling Stones). Musically, Oh So Hard pays a powerful homage to the bands that have influenced their sound, with flicker of Queens Of The Stone Age, Placebo and She Wants Revenge, the seemingly dark lyrics pray amongst a heavy fuzz fuelled bassline that drives the song through its powerful mapped out arrangement. Oh So Hard is the follow up to the bands debut self titled EP which gained great reviews, airplay and recognition. The single Back To You was played on shows including BBC Introducing South’s saturday show, and Belgium’s Equinoxe FM.

Following the successful response of Gold Phoenix’s debut self titled EP in late 2014, the band spent the year playing shows around the UK. This included shows with international touring bands such as The Weeks and Thomas Truax, a London show supporting WWE Legend X-Pac and they supported UK upcoming bands Dolomite Minor, Eva Plays Dead and Armchair Committee. The band also toured the UK in August 2015 playing prestigious venues including The Jacaranda Club in Liverpool, Bannermans in Edinburgh and The Boileroom in Guildford”.

One of the reasons some of mooting Rock’s future is the bands/artists that are representing the genre. In a social media age you have to wonder: how easy it for personality to shine through? We hide behind screens and communicate electronically; it makes it hard to forge any sort of human identity and that can affect the music. One of the best things about a truly great band is the characters and personalities of the members. It is not sufficient to make your music connect: the people making it are expected to stand in the mind and connect with their audiences. Social media is a mixed blessing and double-edged sword with regards that side of things. Many musicians assume they can get away with a lack of character because they are speaking behind an electronic platform. So many bands put minimal information and biography on Facebook and Twitter; they do not give you a glimpse into their influences and, when it comes to the live setting, have a weak connection with the crowds. I am not suggesting all bands should be happy-go-lucky, in-your-face types that proactively throw themselves into the spotlight. There used to be a time, perhaps towards the Britpop/’90s era, when you got some truly exceptional bands – those whose members were as interesting as the music. In the last couple of decades, there are fewer and fewer band that get into the mind and can charm you with their personnel – perhaps the Internet is to blame or maybe it is sheer numbers. Music is becoming packed and crowded so it can be hard truly defining yourself and getting into the memory. Gold Phoenix have shown you do not need an army-sized P.R. campaign to register in the imagination. The three musketeers or Blues-Rock are hirsute, down-to-earth and funny: their personalities shine and they are as real and genuine as one would expect. Not hiding behind egos or letting other people speak for them: the boys captivate with their humour and true Rock spirit. They have a, as their Facebook page attests, a fondness for goats and cowbells – who doesn’t, I say! The boys are almost a trio you can see coming out the Deep South of the U.S. They have that façade and demeanor: good ‘ol boys who live the simple life; drink merrily and raise havoc – ensuring their music is a ball-kicking, groove-laden and in the impure side of things. You see what I mean about personality coming through - they have created these personas, to an extent, that makes them a fascinating prospect. When playing live, they connect with the audience and do not just bluster through the songs: keeping things light and upbeat; a good rapport with the audience. It goes a long way when putting your music and brand out there. If you can make the prospective fan smile and spike their curiosity then you have already won half the battle.

The other half of the fight concerns influences and the overall sound. Few bands/artist come into music and are completely original. There are a few, but for the most part, you can always hear a little bit of someone in their work. Everyone, whether you are a musician or fan, is inspired by other artists and takes them to heart. When embarking on a music career, you are always going to have them in your back pocket. So long as you do not replicate them or water them down enough – and are essentially ripping them off – then it can make the music cross-generational and wonderful. Everyone yearns to discover music that is fresh but has some familiar, legendary elements to it. Gold Phoenix are a trio that prefers their music hard-hitting and Blues-inspired. As such, they have a gamut of bands and artists that they could bring to mind. Unsurprisingly, it is the American heavyweights Queens of the Stone Age and The White Stripes that leave the lasting impression. I have discovered so many bands, local colleagues Gelato among them, who use Q.O.T.S.A. as a guiding point. To my mind, Gelato are a little too close to Queens’ and that sort of begs the question: if you duplicate another band then how original and distinct are you going to be? Gold Phoenix, like me, are fascinated by the band. One of my favourite albums is Rated R (an underrated Queens of the Stone Age gem) and I have plenty of time for Songs for the Deaf – I even love the much-unappreciated Era Vulgaris. Josh Homme’s crew always bring the goods and are among the most innovative, macho and talented bands of our generation. The White Stripes, sadly defunct, are another of my all-time favourite bands. I cannot imagine my record collection with Elephant and White Blood Cells nestling in there. Gold Phoenix must have been drooling in tandem: listening to these titans and being in awe of their majesty and musicianship. As such, it would be understandable to copy the bands to the letter. Given how many other bands are influenced by Queens of the Stone Age and The White Stripes: Gold Phoenix know there is not a lot of mileage left in that particular tank and are not a band who want to toss off some sub-Queens’ sounds. They use the boys as a starting block and then take it out: putting themselves into the music and ensuring they are not a covers band.

Starting off with a military step and sense of authority: Oh So Hard begins life quite light and rhythmic. The percussion patters and rolls and provides instant gratification and appeal; the listener hooked by the catchy drumroll and kick. Not going for a simple riff and adding too much energy straight on - instead, you get restraint but enough intrigue and fascination too. Just then, a buzzing, hacksaw fuzz emerges to add lightning to the thunder. Juxtaposed against the dignified and imperious percussion: the guitar and bass swing in without much seduction and restraint – they aim straight for the throat but ensures the song does not get too heavy-handed and loud. Oh So Hard has drawn comparisons with Smashing Pumpkins and you can hear a little bit of Bullet with Butterfly Wings/Mellon Collie and the Infinite Sadness in there. That is not meant to contradict my early points or do a disservice to the band. It is great hearing something that emotional, dark and grand. It brings together ‘70s Heavy Metal with Blues into a rictus of avalanche and harsh weather. Without a word being sung, you are in the kung fu grip and helpless to shake it off. The first minute-or-so is designed for the live crowds and seems like a set closer. You can play the E.P. tracks and they know what to expect – stunners that are familiar and they can sing along to. As Oh So Hard is new, it takes time to bed-in and register. For that reason, open with an appealing and head-banging riff that does not require sing-along and chorusing. For a glorious minute, you are caught in a riptide of strings and percussion. The drum smacks and keeps firm whilst the guitar spirals, snakes and stings its way through the undergrowth – bass keeping the song moving, together and fluid. You never get bored or think you have heard it before: a stone-cold sizzler that packs punch and groove in equal measures. Once you have surrendered to the balkanised attack of the introduction: you prepare yourself for what is to come in the first verse. Our hero steps up to the microphone and ensures his vocal hits the mark without delay. The song’s subject, whether a friend or foe, is strung-out and abandoned – perhaps overwhelmed by a situation and unable to keep their head together. I often jump to themes of love and romantic untangling when I approach any new song. Here, it seems like a friendship is being attested: the fall-out and struggle one person is facing at the moment.

Photo: Joe Parker

Given the song’s artwork – the black lipstick dripping down against a pink-and-yellow background – a femme fatale seems a likely explanation. Her “black heart” and red lips are firmly in the mind. If the crimson-coated lips have been telling lies and deceiving: her coal-dark, murky heart has been causing pain and upset. Not your average, idealised heroine: here is someone undesirable but strangely alluring at the same time. The anti-heroine is not a fairytale queen but a bit of a double-crossing vixen. Oddly, our man seems to find common ground or some sympathy with his subject. Maybe the two have a backstory that is hard to ignore. You wonder, given the song’s lyrics, whether an old romance is being described or a friendship. There is never too much negativity or bile; strangely, you get a sense of relaxation and seductiveness in the vocal performance. With the other two players stepping back slightly – to allow the voice to be high in the mix – it is a dramatic and confident without losing intensity and focus. Most songs of this kind would sharpen the vocal and polish it: putting it right in the centre and putting it on level terms with the instruments. Here, the voice (whilst high in the mix) does have a bit of a somnambulist quality and slight weariness. It is like our lead is fighting against the composition and battling to be understood. Maybe a conscious move by the band or a note from the producer: by putting the vocal where it is and delivering a certain way; it gives Oh So Hard a wonderfully delirious tone and wins you with its unique delivery. Our man is struggling against his thoughts and instincts. It is hard to walk away and move from this woman. She is clearly quite toxic but perhaps not intentionally so. If you look back (or up) to the song’s artwork; it gives a little glimpse into her looks and fashion. She is a sexy and eye-catching woman but someone who has some poison on her lips and acid on her tongue. Whether a shake-up against conventionality and boredom or a rather addictive love: it is not easy getting (the muse) out of the head and making a clean break. I may be overreaching and looking too hard but that’s what I get from the song.

Oh So Hard is the new single and one that did not appear on their eponymous E.P. Perhaps (the new track) is the signal another E.P. is coming: perhaps just a one-off track to keep fans happy and show how the trio has evolved. Look at the Gold Phoenix E.P. and you witness some stunning riffs and lightning-strike performances. Anyone thinking they are the sum of their influences needs to listen carefully and realise how original the boys are. You get nods to U.S. Blues-Rock and Desert-Rock bands but it is never too obvious or strong in scent. Gold Phoenix’s songs sound like live jams and have that loose and ragged appeal. Complete with solid and professional production sound and it is quite an intoxicating and heady blend. Oh So Hard, as opposed to tracks like Mortal Man and Where Did You Go, say, is the change of sound. The trio has moved slightly away from the Queens of the Stone Age-cum-intense blend and moved towards (a song) that brings more depth and darkness into the agenda – perhaps artists like Placebo and Smashing Pumpkins are more evident. As I say with regards influence: they are just spices and flavouring rather than the majority; the trio knows the importance of originality. Oh So Hard has the same straight-ahead attack of their E.P. work but goes through stages and seems more developed. The song shows how much their live experience has fed into their recording. Completely engrossing and packed with details, lovely little asides and nuance: the sound of three musicians hitting their peak and stepping up. Their E.P. was a terrific five-song work that has a variety of lyrical inspirations and colourful riffs: plenty of fantastic performances and wonder. Oh So Hard could easily sit on the E.P. but sounds like it is Gold Phoenix 2.0. It could be the sign of a new stage for them and fresh influences in their sound. Whatever the trio has planned, it is great to hear them productive and not standing still. Not content to just continue what they did on their E.P.: Oh So Hard proves how amenable and malleable Gold Phoenix are. Throwing another biblical riff into the mix: the band manages to emphasis the harsh emotions and stress with one of their most compelling instrumentals yet. It is though the strings represent the tangled and painful feelings inside; the stress headaches and racing heartbeats. Guitars yowl and strain; they stretch and race – so many different sides that bring life to the song and keeps the listener hooked and imagining. Not your simple, knuckle-dragging riff: Gold Phoenix have expended time and thought and come up with something quite special and multi-layered. Oh So Hard is just shy of six minutes, and as such, some might see it as over-ambitious and long. That would be the case were the band not up to the tasks and the lyrics were too vague and stereotyped. In fact, the track is instrumental-heavy and spends a lot of time telling story with strings and percussion. After the intriguing and curious first verse: the boys open up the taps and go on the charge. You are dragged into the performance and the impressive kinship of the trio. Guitars are fierce but agile; bass leading and tying each element together; percussion sturdy and meaty.

PHOTO CREDIT: Brennan Woollands

It may be a bar-set song or a date: our lead comes back in and reveals more pieces of the puzzle. The girl is drinking red wine (or both) and caught in each other’s web. Furtive glances and sly smiles are coming out. “Your place or mine?” is the question posed and you can feel the heat rising. Maybe it is an ill-advised ‘liaison’ about to occur but one that our hero is not refuting. It is hard resisting such a woman and something we can all relate to. It seems like mistakes have occurred in the past and the two have gone through the doldrums. Maybe that bond and connection between them is so strong they fall back into bed. It seems we “burn gasoline” as it’s said. That can be taken one of two ways. The combustibility and unstable nature creates possibilities of fire and explosion- harming others and ravaging everything around them. That suggests a rather flammable and harsh relationship that does not seem to benefit anyone – just scold and affect those outside of the lovers. On the other hand, gasoline propels the internal combustion engine and creates well-timed sparks in an engine – me being a motoring bore. Because of that, it seems like this love is productive, necessary and life-enhancing. You cannot listen to Oh So Hard without thinking of sex and a hungry desire. The title itself suggests engorged double-entendre and raw passion. Lyrics are kept quite simple and honest but get the listener wondering and guessing. Each line seemingly has double-meaning and does not reveal itself too easily. The hero is the ghost in a machine and almost like he’s having an outer-body experience. I mentioned how the vocal seems quite faded down in the chorus but that adds to the effect of the song. Were the song title to be delivered too sharp and angrily then it would not be as effective. By leaving it quite drugged and tired it emphasises the pure confusion and pain our man feels. Like the conclusion of verse 1: the next verse is followed by another gritty riff that keeps the story going. The verses suggest sex and imminent togetherness but never fully revealed and exploited. The composition goes for the gut (or bone) and is the sonic representation of the passion and flirtations. By the end, you wonder how things worked out between the two and if they got into things too deep. It is clear there is past and history that has caused scars and torment. Unable to resist and listen to his mind: our man is following his gut and embarking on something quite dangerous and compelling. Gold Phoenix keep things simple and intriguing in the lyrics whilst creating a composition that has complexities and multiple shades. The trio has crafted another stunning song and one that is sure to get the live crowds jumping and together. Oh So Hard would suit a larger venue and one imagines thousands moving and singing along to the chorus.

It has been long-overdue coming to Gold Phoenix, so I am glad I finally got there. Being a local band, there is no real excuse to overlook them and there are many reasons why they will become a mainstream proposition. In a sea of Rock-inspired bands: you are always looking for that act that shines above and distinguishes themselves. The trio has been travelling the nation and bringing their music to a variety of audiences. The future is looking assured by they know the graft they have to put in. Every modern band, unless you are in the mainstream, tirelessly works and gets themselves out there. It is impossible to arrive in music, release a few songs and has a record deal fall in your lap – unless you are biblically good. As such, the promotional side of things can take over from the creative one. Touring and the demands of the road have swallowed so many bands. It is a harsh and severe industry that demands its players be resolute, thick-skinned and fit. If you arrive and assume the odd gig will get you into the public consciousness then you are in for a shock. Gold Phoenix know the demands in front of them and are responding with plenty of spirit and ammunition. Gigging across the U.K.; there is no stopping their juggernaut right now. The fans and crowds are responding and there is a great buzz surrounding the trio. Of course, it is a tiring and draining process and the guys need their downtime and relaxation. Oh So Hard is going down well and getting a lot of love right now. Hardly shocking when you hear the song: that gives them another live gem in their treasure chest. Where do the lads go from here, then? Well, there is going to be more touring throughout 2016 and they want to capitalise on their recent form and reception – getting as many gigs as they can. As the year ticks to a close, they will be looking at what 2017 has in store. I have not heard any rumours of an album but you feel the boys have an L.P. in them. Knowing the work that has come before – including their eponymous E.P. – one feels the lads might look at another E.P. next year. Perhaps a full-length record might be too costly and there are not enough new songs to put on there. Oh So Hard would be a great lead-off track to any E.P., so it has to get you thinking. That will be down to them but exciting to see what next year holds for them. In their career so far they have played some great gigs and conquered quite a lot of ground.

PHOTO CREDIT: Brennan Woollands

There is a lot of brotherly love and bond in the Gold Phoenix camp so you know they will go the distance and last many more years (often a curse but I can feel it). That desire and hunger has already seen them accrue a solid fan-base and talked-about in fond tones. Although they are inspired by the likes of Queens of the Stone Age, Placebo and The White Stripes: it is their individual, gold brand that stands in the mind. They work hard on their music and have exceptional musicians in their ranks. It would be encouraging to think they can go onto to get international dates and carve some influence across the U.S. and Australia. Maybe it is money that is the issue as I feel there’s definite demand and audiences that would eat their music up. For now, their touring is a bit more modest and they are making sure they put their songs out in the ether and pick up invaluable live experience. I opened the piece by looking at Rock and whether it is on life support. There are a good many bands that try to write hooks and riffs and, finding they have nothing, copy someone else’s. Those bands that are adding fuel to the debate – and those who think Rock is dead – are muddying the water and doing a disservice to the genuinely great bands that are keeping the spirit alive. Of course, Rock is not dead and has plenty of life left in it. I feel the real issue is the lack of originality and the easy temptation to copy a band in order for vicarious success and fandom. We often underestimate how difficult it is writing a hook or coming up with a compelling three-minute jam. Bands that have true talent and guts have patience and know the moment will come: they do not rush their music and have a resilience and faith in what they do. Too much fear and impatience rules modern music. Perhaps the consumer is too impatient and fickle and will abandon an act if they do not keep cranking out great songs. It is a hard debate to settle and one for another day. I just know the drama and swagger of Rock is not dead but definitely needs to proffer its finest examples. Gold Phoenix are one of those bona fide bands that have started promisingly and have many years ahead of them. Battling and slogging it out to get their music heard: their sheer work-rate and passion for what they do will find them rewards and mass appreciation. Oh So Hard is a typically impressive cut from the boys of the Deep South (of Surrey). Aside from their cowbell-appreciating, cider-swigging, pig-tipping (maybe me going to the hillbilly cliché well) antics: plenty of music will arrive from the trio. What form that takes is up to them but many eyes are on them right now. Given the fact bands like Royal Blood are working on new material: there is a hunger and zeal to hear like-minded, similarly hard acts fill the (temporary) void. If you have not discovered the beardy brilliance of Gold Phoenix then you owe yourself to get involved and latch on. Building a solid local reputation: they are not going to be confined for long; their legacy and abilities will resonate across the country and abroad. Oh So Hard is a song-title with many meaning, but at its heart, the raw energy and powerful aftershocks stand out – just how intense and commanding the trio is. If you think Rock is under palliative care…

I know a three-piece that can bring the genre empathically back to health.

 

[soundcloud url="https://api.soundcloud.com/tracks/274532205" 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 Gold Phoenix

 

Official:

http://www.goldphoenixband.com/

Facebook:

https://www.facebook.com/goldphoenixband/

Twitter:

https://twitter.com/goldphoenixband

Instagram:

https://www.instagram.com/goldphoenixband/

SoundCloud:

https://soundcloud.com/gold-phoenix-1

FEATURE: Inside Lark Recordings

FEATURE:

 

 

Inside Lark Recordings

________________________________

 MANY people assume, when thinking about new music, that the best...

and most worthy artists are exclusive to the city. We forget how many great artists and studios are available locally - supporting some wonderful music and stars of the future. One such studio is Lark Recordings. Based in Surrey: I was afforded the opportunity to visit them and gain an insight into the work they do - meeting the people that produce the music and support the artists (that record there). I was fortunate to chat to Producer/Owner Andy and  Marketing Assistant Elena - and the fantastic Jacqui Brown.

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ABOUT LARK RECORDINGS

Lark is a digital content company that produces audio and video products for global distribution via all major digital music and video outlets including iTunes, Amazon, Spotify and YouTube.

We own a portfolio of digital labels that specialise in curating albums and playlists by combining new recordings with strong catalogue material across Pop, Rock, Classical, Jazz and New Age genres. We also operate Lark Studios, a high quality audio and video recording facility in Surrey.

Founded in 2007, our team has over thirty years experience in the recording, production, music and entertainment business. Our team are experienced in all aspects of sound engineering and music production from recording intimate acoustic sets with bands such as The Stereophonics, Nick Heyward, Everything But The Girl, The Manic Street Preachers and Squeeze to classical recordings and staging and recording ‘Party in the Park’ over a period of many years.

We feel very lucky to have an experienced team of engineers and producers who have worked with renowned artists across a wide spectrum of musical tastes but are equally passionate about working with the fantastic array of local talented community and youth groups.

 

Landa at Lark

A HISTORY AND LOOK INSIDE LARK RECORDINGS

I got the opportunity to chat to studio Producer/Owner Andy about how Lark Recordings got started. He explained how the studio has been running for eight years; three years in its current location in Artington.

Helping to builds careers up; Lark Recordings help artists “gain a following” as Andy explained; a way for talent young stars to gain a foothold and get valuable experience. With regards the range of recordings/genres that have been laid down in the studio - everything from Classical recordings to Pop has been recorded at Lark.

Andy explained how much great local talent there is throughout Guildford and Surrey - Lark Recordings is a way of promoting them and ensuring they have recording facilities and expertise available at their disposal. It is not just a case of artists coming into the studio, recording their music and going off into the world. The guys at Lark Recordings help musicians get their songs just right, but it doesn’t stop there. It is expensive to rent in Guilford, as Andy explained, which can put artists and people off - the reality of living and performing can be a daunting balancing act. Lark Recordings is an affordable and supportive space: Andy, Jacqui and Elena (who I will introduce later).

EQUIPMENT

Our studio is based around a 24 channel analogue Allen and Heath (GS-R24M) desk with a selection of analogue outboard equipment including:

Microphones: Nuemann U87, SE Z5600 Valve, ElectroVoice RE20, Avantone CV-12, SM57s, SM58s, Sontronics Halo, Shure Beta 52, SE GM10, Shure PG48s, matched pair Oktava MK012, SE X1.

Pre-amps: Trident Series 80B, dbx286, Focusrite Liquid Saffire, Allen & Heath.

Analogue Outboard: Urei LA4 Compressors, Thermionic Culture Phoenix Valve Dual Channel Compressor, TC Electronic Finaliser, DBX channel strip, TL Audio 5013 Ivory Dual Channel Valve EQ, FMR RNC1773, Joe Meek MC2.

We run both Logic X and Pro Tools 10 and our plugins include: Melodyne, Waves Gold Bundle, PSP Vintage Warmer and Old Timer, Slate Digital Virtual Channel, Isotope Ozone 5 & 6, RX 3, Nectar 2 and Stutter Edit.

In addition to our studio, we have a 24-track digital mobile rig for recording in any venue”.

Chelsea Hart

ARTISTS RECORDING AT LARK

When at the studio; Andy gave me an insight into the musicians that come through the doors. I was curious to know whether it was unfair areas like Guildford get overlooked when it comes to great musicians - as opposed to the larger cities.

Andy stated how the A.C.M. (The Academy of Contemporary Music) and the University of Surrey are producing so many great young musicians - those that can more than rival the best the cities provide. In conjunction with high rent prices (and cost of living) is the comparative lack of local venues - there are a few, Andy pointed out, but not a hugely thriving scene.

Bars like The Star Inn and the legendary Boileroom provide a platform but there not a huge amount. I got a chance to listen to one local artist, Meg Birch, and a couple of songs she had performed at the studio. The single Feel Alive has Country vibes and a real flair of Nashville: one of the slickest, catchiest and most impassioned Country track I have heard all year. If you have not heard her music: she is an artist that is well worth a look. Her E.P. is out in October but will be proceeded by a single release next month. A huge, soulful voice - that recalls Adele and Amy Winehouse - she is one of the most exciting musicians playing locally.

Meg Birch has recorded at Lark as a solo artist and as part of Megana

Karizma Duo is another top act that has recorded at Lark. They have a terrific repertoire of songs and turn tracks inside out. Andy explained how songs can be saturated and how hard it can be to successful cover a song. Karizma Duo reinvents songs and gives such a new spin on them- making them sound fresh and original.

Image result for karizma duo

Karizma Duo

Chelsea Hart, Chris Snelling and Alice Lamb are a trio of names Andy tipped to me: to be honest; there is a long list of fantastic young musicians that have recorded at Lark; all demonstrating what a variation of talent is performing across Surrey. Other stunning upcoming acts like Elena Ramona, Max Tanner and Chess Galea have recorded at the studio and created some of the finest moments there.

 Alice Lamb is a young artist to watch very closely

 

ALWAYS THE SUN

Lark Recordings are involved with the inaugural Always the Sun festival in Stoke Park, Guildford.

Lark Recordings is thrilled to sponsor a buskers’ stage for up and coming local acoustic artists at the Always The Sun, Guildford’s first Community Music and Arts Festival to take place on Stoke Park on 10th -11th September”.

Andy explained how (the benefit of the festival) is that it is “what musical festivals for the communities should be about”.

Always the Sun will bring together established acts like Mystery Jets and Tusks but provide exposure for local talent. The Buskers’ Stage is a way for Lark to become directly involved; promulgate and showcase artists they have worked with; some of the best musicians performing in the county. It is an affordable festival set up for the community and those who live in the area.

COSTS AND SERVICES

Studio Hire with Engineer

Studio and Live Room with mirrored wall suitable for up to 8 musicians

From £50 per hour.  Daily rate from £250.

Dry Hire

From £25 per hour.

Rehearsal Space

During non-peak times – £35 per session of up to 4 hours.

Peak times – £25 per hour.

Mixing/ Mastering

Have your track mixed through our outboard analogue EQs and compressors

From £50 but please get in touch for a more detailed quote.

Custom produced backing tracks

We can tailor a package to meet your needs and budget.

Chris Snelling is a regular face at Lark Recordings

YouTube video studio

Our live room is set up for video production including green screen, lighting, cameras and director from £25 per hour.

All prices plus VAT at 20%

Discounts available to students and non-profit organisations

Music Production

We’re able to offer access to a range of music producers who can work with you to produce recordings ready for distribution and sale. Our aim is to get an understanding of your music, direction and ambitions and then introduce you to a suitable producer who can help you capture your sound.

Musicians and Backing Tracks

We have a team of musicians we can call upon if you don’t have your own band and would like professional accompaniment or a backing track, from a single guitarist to a full band in any style.

CD/Digital Packages

We can provide a full 360-degree recording/distribution/publishing package. We are able to take care of recording, mixing, mastering, album artwork, assigning ISRC and barcodes, digital distribution to all major download and streaming services, registering your works with collection societies and publishing.

Soundtracks and Music for YouTube Videos

"We have an extensive catalogue of fully cleared production music including specially composed repertoire. Our albums of material include Dance, Chill out, Documentary, Classical and many more.

We can also produce bespoke compositions for all your needs: whether its background/mood music for a television programme, youtube video or film, advertising, social media activity or location music such as specially curated and composed playlists for your workplace or business".

In this photo: Elena Ramona

BEYOND THE MICROPHONE: MARKETING AND PROMOTION

After speaking with Andy and getting a rare chance to listen to recordings; an insight into the daily life at Lark - I got the opportunity to speak with Marketing Assistant, Elena Ramona. She has not only recorded at Lark but she works at the studio and helps market artists - she has been there for almost two years now. In addition to working at Lark; Elena works in retail and brings those customer skills to the role. She has a lot of passion for her work and talks keenly about some of the acts that have come through Lark. Elena told me how Josh Franklin (one of the artists to record at the studio) has had a couple of tracks appear on Love Island. Name-checking Meg Birch and Karizma Duo: Elena has edited videos for the acts and talked fondly about the artists.

Elena became involved via A.C.M. - she found Lark via the A.C.M. Industry Link (when she was a recording artist in the studio at A.C.M.). Elena was able to come to Lark and tie together her experience in music and retail. She is very much a people person and finds the job a “good challenge”. In the future, Elena is keen to expand and work more in marketing - working at Lark is a great experience and has, in her words, “helped me with my own promotion; seeing from different perspectives how you can promote your own stuff”.

Always the Sun will see Elena promote the competition and work closely with the artists (appearing on The Buskers’ Stage).

 Chess Galea has recorded several times at Lark

 

THE LARK PLAYLIST: ARTISTS WHO HAVE PERFORMED AT THE STUDIO

[youtube https://www.youtube.com/watch?v=c0g6tXfgsvw&w=560&h=315]

 

[youtube https://www.youtube.com/watch?v=OdXZ2V_otAQ&w=560&h=315]

 

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

 

[youtube https://www.youtube.com/watch?v=y8QJqlurQj8&w=560&h=315]

 

[youtube https://www.youtube.com/watch?v=c_jZLjkGi8Q&w=560&h=315]

 

[youtube https://www.youtube.com/watch?v=-XsuW7x9s4o&w=560&h=315]

 

[youtube https://www.youtube.com/watch?v=xatwvK0Q-U4&w=560&h=315]

 

THE FUTURE: GOING FORWARD

Andy, Elena and Jacqui are excited about the future for Lark Recordings and the musicians coming through. It is a studio space filled with charm and distinction - a comfortable, affordable and hospitable space. There is a warm, supportive vibe at Lark and a real passion for discovering new talent.

I got to speak with Managing Director Jacqui, who has great enthusiasm and passion for the studio and the musicians that have recorded there. We get too obsessed with the big cities and the musicians there and forget what a chest of local talent is available.

Visiting Lark Recordings has not only given me an insight into the range and depth of musicians around Surrey - it has provided the opportunity to discover how a studio works and what is involved with recording/promoting an artist. It is well worth keeping your eyes on the artists that come through here - some big names to watch for the future. The team who work there are filled with enthusiasm and dedication for what they do - this is evident the moment you walk in. My time there was invaluable and gave greater insight into the workings and energy that goes into a recording studio. Against the backdrop of expensive, city-set recording facilities; it is wonderful discovering somewhere charming...

 NESTLED in the heart of Surrey.

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FURTHER LINKS

Official:

http://larkrecordings.com/

Facebook:

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

Twitter:

https://twitter.com/larkrecordings

YouTube:

https://www.youtube.com/channel/UC3lGArTLjp25ytI3teRu55A

Spotify:

https://play.spotify.com/user/larkrecordings?play=true&utm_source=open.spotify.com&utm_medium=open

TRACK REVIEW: The Trend - Going Under

TRACK REVIEW:

 

The Trend

 

 

Going Under

 

9.2/10

 

Going Under is available via:

https://www.youtube.com/watch?v=9dB1Nz4rge8&app=desktop

ORIGINS:

Glasgow, U.K.

GENRES:

Rock; Indie; Alternative

RELEASE DATE:

17th January 2016

The E.P. Something to Shout About is available at:

https://soundcloud.com/somethingtoshoutaboutep

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ONCE more, and without resorting to a mock Scottish accent, I…

am looking at a much-rated Glasgow band. I will come to the band themselves anon but it is prudent to reflect on the great music that has emanated from Glasgow; the difficulty of creating Indie/Alternative songs with originality; a bit about expansion with regards music tastes and areas that are burgeoning. As I am back into Glasgow; it is prudent reflecting on all the fantastic music that has come from the Scottish city.  I guess, when we look at Scottish music, we often think of Glasgow and Edinburgh: forget that there are a lot of other wonderful towns/cities with terrific musicians. It is not down to laziness that we herald Glasgow and its music – just taking a gaze back to history makes you realise how many of the best British bands of the last few decades came from here. Franz Ferdinand – if they are still making music? – call Glasgow home and perhaps are one of the best examples of a great Post-punk/Indie band with an arty, slightly pretentious twist. There is something both common and elitist about the group. One of those ‘00s bands that swept you away with anthemic songs but got you thinking – a lot deeper and more compelling than most of their peers. Orange Juice, a bit older but same sort of aesthetic, are another terrific Glasgow band. Many, particularly of my generation, pass them by but you cannot underestimate how vital and influential albums like You Can’t Hide Your Love Forever (their debut) were. Leader Edwyn Collins remains one of the most consistent, unique and intelligent songwriters of his generation. Primal Scream, one of the titans of the ‘80s and ‘90s. Their sophomore album, Screamadelica is a classic creation that has influenced so many bands and remains one of the greatest albums from any period. You can add Deacon Blue to the list of great Glasgow bands. Not quite as bracing and experimental as other Glaswegian groups: they had a knack for crafting accessible Pop with huge choruses and heart – songs Real Gone Kid and Chocolate Girl are familiar to all. Other Glasgow legends like Simple Minds, Marmalade and Belle and Sebastian are definite stalwarts – among the finest bands from the past twenty years.

It is not just established bands that have made Glasgow such a wonderful city for music. The Yawns, been playing for years but still relevant, are a group that created bedroom-made, D.I.Y. albums and showed you did not need industry cash to make music happen. 1990s are led by John McKeown, have plenty of hooks, wit and native narrative at their disposal – a group that are distinctly Glaswegian yet have a universality and everyman quality to them. Like the aforementioned, and not brand-new-new, The Delgados  were/are an intellectual band with a bookish edge. A band who put huge imagination and intellect into their music – they went on to establish their own record label. The Deathcats put Glasgow in the consciousness with their head-spinning, electric saw riffs and reverb-heavy gems. Instant, urgent and laced with plenty of attitude: another band that shows the variation and multiple sides to Glasgow. Perhaps the likes of Happy Meals and Catholic Action are more relevant. The former fuse minimalistic Disco vibes with French vocals of Suzzane Rodden – alluring and sexy but instilled with groove, dance and beauty. Catholic Action, aside from their awesome name, are masters of the hook: capable of dragging the listener in and seducing them without breaking into a sweat. That is just the tip of things really.  Neon Waltz are an upcoming six-piece who have ties to Glasgow but have toured throughout Scotland. Honeyblood, Paws, and Strange are a Glasgow trio worth money, time and focus – all capable of being mainstream propositions for years to come.

The Trend fit into Glasgow pretty easily and have a distinctly local, read: anthemic, sound to them. I have listed quite a few bands: one wonders how many of them featured in the band members’ thoughts as youngsters. We often see a band/artist and what genres they play in and think we have them pegged. If they are an all-male Indie band they are all going to sound the same, for instance. It is narrow-minded to think every group will be predictable and lack necessary originality. I agree, there are so many groups that replicate one another or come across uninspired and predictable – sticking too closely to their idols or incapable of crafting songs with hooks, kick or any electricity. The Trend have a lot of similar bands playing near them so have had to work hard to forge their own path and stand out from the crowd. The boys have ample energy and passion which means their songs have anthem status and come swinging with instant hooks and sizzling guitar work. Our Glasgow band call for other bands to do something useful and meaningful with their platform: get up and say something new and purposeful. The boys can knock simple songs together but go deep when the mood calls for it – not your average one-dimensional band. Whether you are a fan of Indie, Alternative and Rock in general: you will be impressed and affected by the band’s musicianship and compelling connection. The music comes across as fresh and enlivening but has enough emotion and vulnerability at times – even the most crowd-pleasing and anthemic numbers do not merely reproduce what has gone before. It would be naïve to suggest the band have redesigned the wheel and are completely unexpected. Part of their appeal and popularity hinges on some familiar edges and embers of other bands. Comparisons have been made (among others) to Oasis at times. The same way the Manchester band could get crowds together and singing loud: The Trends are a group that pen universal songs that demand you get together and sing along. Memorability and catchiness are important commodities but can be cheapened by copy-catting your idols. The Trend take a sprinkling of some heavyweight artists but ensure their most prominent trait is a new and original sound – something that is distinctly theirs. In genres that have been accused or stagnation and homogenisation: it is pleasing finding a band that understand the need for originality and respond accordingly.

I will get to the Glasgow band’s work in a minute but wanted to look suggest people get out of preconceived comfort zones. I feel most of us, I am culpable, get used to certain artists and cities; do not stray beyond those walls and get into our own little rut. It is definitely worth getting behind home-based artists and supporting the local music community. Naturally, London gets a lot of exposure and is, as I see things, the British epicenter for music – the finest acts and biggest hitters reside here. Manchester and Liverpool get attention (not as much as they deserve) but our adventurousness and energy levels stop there – we often do not spend too much time digging any deeper. It is impossible to cover every town and city in Britain let alone the world – we have to be rational and sensible about this. I just mean there are some very obvious areas that are being ignored by large sections. I would argue Edinburgh should be on the list; Oxford and Bristol are productive and interesting; Glasgow certainly should be there. Often, our tastes and recommendations come from radio: following the tips and teasers they put our way. It might be like pulling Excalibur from a stone: one day we’ll get a website together that compartmentalises music by town/county but encourages users to spend time and find some genuinely unexpected music – from parts of the country/world we had not thought about before. Until that time comes (if ever it does) it is worth being a bit bolder and accepting the likes of The Trend are worth your time – imploring you to seek out more of Glasgow’s musicians.

Something to Shout About is their new E.P., and you get a full impression of where they came from, it is worth looking back at their earlier stuff. The E.P., as I will look at in more detail later, has great hooks and plenty of arena-primed songs designed for maximum impact and getting the crowds roused and lifted. Going Under has bristling, stabbing riffs and a swaggering mood. Reminding you of Artic Monkeys to an extent: something modern and Alternative-based; bringing together influenced from the north and Scotland – whilst keeping a distinct character and sense of self. You can hear those sorts of mixes in songs like Act of God. A warping, spacey opening leads to a racing arpeggio. The song tumbles and spoils out the gate and unleashes something fiery and determined. The kind of people that don’t know they’re born, as the lead attests, there is trouble brewing and something happening. The band ensures the song is provided maximum energy and electricity with a tight and commanding performance. Departing from your average Indie/Alternative fare: the lyrics go deep and you wonder what influenced them. Our hero looks at cynicism and problems around and wonders how things got that way. Whether directed to a government or ruling class; an individual that is blind to what is going on around them – a track that hits on multiple plains and gets you fascinated and addicted.

Falling Apart, recorded about 3 years ago, has that gritty and gravel slam to it. A fast-paced, Punk-influenced song: it was cut around the time of Act of God but does not stick too closely to it. Proving they have variation and different sides to their game: The Trend creates something fiercer that aims to hit the gut. Perhaps attesting domestic drama and a relationship falling apart: a song that swings and throws around but is controlled and nuanced. Every song The Trend plays is defined by their chemistry and incredible bond. The vocals are gutsy and intense – some of the lyrics get lost under the composition – but you get carried away by the sheer energy and catchiness of the song. Falling Apart is a song designed and aimed, once more, at festival crowds and for live audiences. It is hard to ignore them as a band because each track carries so such conviction, weight, and invigoration. Here, they have bits of Oasis to their sound but never come across too similar to them – merely employing them as an influence. Other songs like Free and Beauty Queen, recorded during the same time period, once more push their boundaries whilst retaining that core sound. Elements of ‘60s Power-Pop and Punk; Alternative and Indie: you get so many different shades and sides to the band. What stands out then, as it does now, is how different they are and gripping. I have mentioned that word but it seems very apt. So many modern bands are slight and weak when it comes to sound. The Trend burst from the speakers and grip you by the collar – bringing you into their world and taking you off their feet. Songs move the bones and get the voice singing proud. Having started so strongly, it would be foolish to suggest the band step it up and improve their game. Tactically, the guys have created (with Going Under) have improved on their foundations and sound at their very peak. In terms of sound, there has not been a huge leap nor did there need to be. What you notice is the production is slightly crisper and cleaner whilst the performances are sharper and more engaging. Perhaps extensive touring or new inspiration but the boys are intoxicating and expert; sounding like a group that has been gigging for decades now. Going Under is the centerpiece to their E.P. – and why I wanted to focus on it – as it assesses where they are now and what they are about. I wonder, given the material was recorded a little while ago now; if there will be anything new by the end of the year. You can hear the passion and energy in the ranks and just know they will keep building, crafting and producing exceptional songs.

I want to concentrate on Going Under as it seems like the truest and concentrated example of the E.P.’s themes, sounds, and shades. It has been released as a single, and has a video, so the boys have a lot of faith in the song. That faith is not blind and it is a song that signifies its dominance without much hesitation or foreplay. The bass and percussion unite once more and show what natural partners they are. Few bands lead like this and certainly never put the bass out front in their music – it is often left to work in the background and rarely gets the exposure it deserves. A tense and nervy start: The Trend keep it light but there is a definite element of danger and caution in the opening moments. Teasing, testing percussion gives anxiety and nerviness to the song; the bass adds to that environment and, without overloading the song and being too heavy, you feel the emotion build. Before long, the riffs break out and The Trend crack out their scintillating jams. It is hard to describe and define the riff but it has that definite classic quality and recalls the likes of Artic Monkeys and Paul Weller. Vibing from the spirit and essence of those stalwarts: The Trend create something instant and captivating. Before a single word has been sung: the music has said so much and the feet are moving; the brain is ready and the body is already invested in the music. Just after the percussion crackles and smacks again: you are primed for the first vocal offerings and just what direction the song will take. Our man is heading into the night (away from the light) and slipping away. You wonder what is being sung about as the lyrics have quite an oblique quality early on. Perhaps emotions have got the better or a romance has fallen away – maybe just a general feeling of losing control and not being who he thought he was. Ensuring the voice has plenty of meaning and conviction: it never runs away but remains focused and direct; ensuring each word can be heard and understood. Early songs from the band have suffered a little from clarity but here it is very clear and concise: the production values mean every note is understandable and not lost in the mix.

With any great band/song, there is that mystique and indirect charm to the song. You are left to come to your own conclusions early and draw your own impressions. The band joins their voices in the chorus and you are curious (once more) just what the song is looking at. Of course, there is a lot of fear and uncertainty from our hero – not sure if he is going to be okay and what the future holds. I was imagining a general malaise and struggle against the pressures of life. Not necessarily defined by creative or romantic abnormalities: it is a song that brings home the obstacles and realities of the modern-day existence. He is feeling the pinch and needs some relief and space; get away from the hurly-burly and find some comfort and quiet. I may be off the mark but that is what Going Under does: registers different interpretations in the listener and has a broad lyrical basis. At the point “of no return” and aware of his situation: the fascination builds and you cannot help empathise with the lead. Despite the vocal never being sad or affected – you just know that need for answers and salvation is burning. Before you get too invested; the band step in with that opening riff and give the song a break and chance for the band to come together. Whereas other tracks on Something to Shout About (title track for instance) are specific and make their intentions very clear: Going Under is always an enigma and casts its net pretty wide.

The hero is moving on and looking at thought racing away; at the back of the mind and niggling him. Nobody is “safe anymore” and you feel the song is looking at general society and a building danger. With the way things are going – the general state of affairs – few of us are truly safe and secure in our lives. Perhaps Going Under reflects that dread; the lead is staying in the hole and is struggling to come out. Despite the negativity and repressed lyrics and sense of dread: the song is never bogged down or a hard listen. The sheer spirit and resilience of the band keep it light, defiant and engaging throughout. Like classic Punk and Rock bands: they are in a crap situation but are damned if it going to define them. The Trend’s determined spirit and combustible performance puts the song in your head and compels you to sing along – or move your feet at the very least! Working around the central riff and all its alcohol-fueled, swaggering assuredness – the band lace in some lovely touches and riffs. With the percussion and bass continue to drive the song and give it an accelerated heartbeat: guitars allow some colour, vibrancy, and sexiness to strut through. Towards the end, the song has an optimism and sense of hope to it. The hero is finding his way home and seems to be in a better place. Perhaps disconnected from home and somewhere he is unsafe: that desire and endless spirit is in the mind and you are with him all the way. Going Under has a simplicity to it which will make it easy for fans to sing along and makes it accessible and direct. The words, despite their oblique touches, get you thinking and everyone will have their different views. The Trend are a band who always bring exceptional compositions to the fore and here is no exception. So many details come out and the central riffs are exceptional. If you want to be cheered and find a song that will put the smile on your face: Going Under does that and introduces one of Glasgow’s finest young bands in the process.

It has been good discovering another great Glasgow band. I am sure the city has plenty of incredible solo artists but it seems like the bands rule the roost. Few cities are synonymous when it comes to band concentration. That is not to say Glasgow is narrow and limited: if you look closely; there are plenty of solo musicians (duos etc.) that are making their presence known. It just seems Glasgow are well-stocked for bands and there is a lot of variability and choice. If you prefer your music band-made then you need to spend more time investigating what the city has to offer. The Trend are certainly one of the most exciting and hard-working; grabbing the attention of critics and fans – signaling themselves as potential mainstream stars of the future. It will be interesting seeing how they develop and what their plans are for the coming years. I have looked, at the top of the review, at the great artists that have come out of Glasgow. It is easy to be fixated with the likes of London (and what it has given us) but Glasgow’s legends cannot be understated. I am not sure what it is that differentiates Glasgow from the rest of the U.K. Perhaps a sense of community or a different way of life: greater performance opportunities for its musicians or a feeling of freedom and support. Whatever it is; many new artists are adding to a very solid and impressive foundation. Indie and Alternative are words thrown around a lot when describing a fresh band. I mentioned how those genres gained a reputation for rigidity and a sense of weariness – musicians perhaps not as original and impressive as they should be. There is some truth in that, but we shouldn’t assume every new Indie/Alternative band suffers that fate. It is a hard style to truly redesign and shine in - one of the most popular and defined by a particular sound and lyrical style. Luckily, The Trend manage to make something (potentially forgettable) stand in the mind and brim with personality and addictiveness. Critics and fans have pointed out what a proposition they are live: their studio prowess can be found throughout their E.P., Something to Shout About.

Something to Shout About has gained some great reviews and clearly strikes a public chord. The title track is a spiraling mesh of riffs and strings; it howls and burst with intention and spares no time in making an impact. It “don’t flow through our veins no more” and you know the band are talking about their contemporaries - bands that are not saying anything new and making an effort. They are afraid to say what’s on their mind and are playing things safe. Carried under the wave of anger and passion: the band is at their most together and meaningful. They are looking for something to shout about and a band they can rely on.  Drug-free and lacking Rock spirit: there is tepidness and fear among groups; nobody is going out their way to create something special and brave – not saying what is on their mind. The Trend attack with venom and show, ironically in the song, they are something to shout about. The composition is detailed and emotive. Bass shines and provides melody, grumble, and emotion; the riffs sparkle and bristle; psychedelic and explosive. Percussion notes pummel and make sure the song beats hard. Not your predictable or average track: it dies down and comes back up; there are diversions and asides; change of course and subversions of expectations. A classic call-for-action and rallying cry from the group. By the final notes, you are left with a smile but also compelled to think. Complete with wordless chants and a classic feel-good vibe: a perfect insight into the band’s mindset and artistry. Take Me Away is bellicose and avalanche right from the off. That percussion comes through and gets straight into the brain. Building with the guitar and bass: Take Me Away has a sense of smile and sunshine early on. Bright-hued and vibrant; little elements of ‘60s Pop, The Libertines, and other bands – whilst keeping The Trend’s definite sound solid and sharp. “I’ll never understand a word that you say” leads you to believe there is another look at society or other bands. Our lead wants to be taken where the skies are clear and wants to get away. If it is looking at a relationship or romance, then you can hear the boredom and dissatisfaction. The same conversations and routines unfolding; that desire to go somewhere better and different – escape the dull days and not return. It is an intriguing song that reigns clear and gets into the heart. The band, once more, shows their malleability and is less foreboding and intense than the title track. “Don’t want to see it anymore” declares our man: you speculate what is being referenced but just know he is not going to stick around.

Tonight begins, as one might hope, with an intriguing compositional build. The percussion spatters and patters, while a growing, groaning riff starts to stomp and make its impressions felt. An odd combination that works well for the song. In terms of sounds, you get the sense of early-career Oasis and their anthemic tracks. Guitars and vocals have an element of the Manchester band but the lyrics very much play into The Trend’s camp. Unlike other tracks, there is a sense of romance and hope and you get affected by the purity and desire in the performance. The soul is being nourished and the blood is rushing: the hero is embracing Rock and music; feeling alright and pushing on. Others say he is out of his depth and battling the waves – curious to find out why that is – but that sense of defiance and rebellion comes out. Music is the focal muse and perhaps the salvation against a backdrop of uncertainty and struggle. His life is falling apart but he has music and surrendering to Rock and all its beauty. It is a subject matter that has been covered but not quite the same way as here. A perfect way to complete Something to Shout About. It is a song that will definitely resonate with audiences and you can see people chanting it and joining together in celebration. Tonight is not a dead-ahead and one-dimensional song. Going through stages and having a sense of evolution running through it: you are kept on your toes and always surprised; the band is masterful when it comes to throwing curveballs. Something to Shout About lives up to the title track’s desires and necessities. That song looks at bands who say nothing new and do not get the mind engaged – too timid and cautious when it comes to subject matter. By addressing that subject head-on, the Glasgow band show they are not like them. Never sticking with romance themes and everyday tropes: the E.P. covers more important subjects and hits you much deeper. The title track makes you think and makes a point. It could be arrogant to write a song like that and would be a disaster if The Trend do not live up to their lyrics and differ from their peers – luckily they do and make their point know. The entire E.P. is packed with gems and potential future anthems. I know the songs have been played live and imagine the crowds are lapping them up. One of those bands that tie together some familiar bands – Oasis for one – but never copies them; merely lace in some of their magic; they are one of the freshest and most distinct groups of the moment. Exceptional musicianship and comradery break through and every song has its own voice and will stick in the head for a long time. I know the boys have been touring hard and getting out there. Those dates, with a terrific E.P. under their belt, is just…

THE start of many great gigs.

 

[youtube https://www.youtube.com/watch?v=9dB1Nz4rge8&w=560&h=315]

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