TRACK REVIEW: Ruben - Sad Face

TRACK REVIEW:

 

Ruben

 

 

Sad Face

9.4/10

Sade Face is available at:

https://www.youtube.com/watch?v=8aZB7T8_7J8

RELEASED: 12^th November, 2016

GENRES: Pop

ORIGIN:

Surrey/London, U.K.

The E.P., Only the Young, is available at:

https://soundcloud.com/user-560953367/sets/only-the-young-ep

______________________

ONE of the things that grinds my gears is how many genuinely new and…

innovative musicians struggle hard to get their voices noticed. I will start with that point as it is something that really gets to me. I hear a lot of bands and solo artists emerge who offer nothing fresh and worth talking about. Too often, these artists get raised to giddy heights and elevated above their peers. It may sound like a personal rant but it is meant to get people thinking and changing their attitudes. I know we all have our personal tastes but there are artists who are struggling to get the acclaim they deserve. My featured artist is one such musician who has a solid following but should be getting more people into his tent. It is not just his attitude and organisation skills that make me think that - the music itself is finer and more stunning than a lot out there. Going back to the original point and I have seen so many different acts get to the mainstream only to fade away. It seems those who work hardest – and take longest to get to the critical precipice – are the best music has on show. The reason I raise this point is because many musicians are quitting before they get their dues. Waiting for someone to give them a break – or get their crack at the big leagues – it is disheartening seeing wonderful musicians have to call time. If you think about it; how many great artists do you know have ended their career because they are struggling for recognition. This is not meant to be a morbid foreshadowing for Ruben but he is someone who will continue to strike and impress. Deserving of serious acclaim and proper respect: I know he will keep pressing and transcend to the mainstream in years to come. Before I raise a couple of new topics, let me introduce Ruben to you:

“Ruben is a London based singer songwriter creating his own electronic pop music.

He has a degree in Film Production and it is his love of cinema that influences his music, taking on a cinematic tone that is often whimsical and also haunting.

He released his debut EP "Only The Young" in November 2016 and gained radio play with the lead single (of the same name) from Eagle3 radio.

Ruben has performed his songs live in numerous venues including Cafe 1001 in Brick Lane, Trinity Bar in Harrow and The Island Queen in Islington.

He notes artists such as Lana Del Rey, The Killers, The Pet Shop Boys and The Smiths as his influences”.

Looking at Ruben and he is already making big strides to ensuring survival and growth. Before I come to look at Pop and the music he plays, it is worth applauding the attitude and approach he has to music. There are few new artists as disciplined and hard-working as him. If you look at his official website (link at the bottom of this review) it is informative, easy to navigate and impressive. I have lambasted some musicians who feel it unnecessary to have an official website – often relying on the listener to scrape together the social media pages (of the artists) and only get a little insight into them. Ruben keeps his biography clear and concise: providing some reveal into his heroes and the music he plays; where he has come from and where he might be headed. That is what you need from a musician in this day and age. There is no needless loquaciousness and filler; you get all the information you need and his links. Also, and if by serendipitous magic, you get photos and images of Ruben. I still see too many artists throwing together some (rather poor) live shots and the odd Smartphone-generated images and that is about it. If you want to succeed and get people invested you have to do better than that. I am not suggesting each new act have a shiny and dazzling website with lots of photos and music – just something that gives the new fan what they want and keeps them hooked. In Ruben’s case, there are some fantastic images and all his social media links on the site; his social media pages are updated regularly and full; he keeps his fans informed and updated. This might sound like an uninteresting topic but essential for any musician reading. With Ruben, here is someone who knows what it takes to succeed and is making big strides. I, as a reviewer, have all I need at my fingertips and do not struggle for information. As 2017 approaches, we are looking to the future and the artists that will start making moves. Given Ruben’s organisation and assured social media pages: it gives him a great chance of catching prominent ears; getting his music to the hands of some big labels. I am not sure what his plans are for the coming year but he is capable of creating lasting impressions.

I shall come to Ruben’s current (and past) sounds in a minute, but for now, it is worth looking at Pop as a genre. Again, this is a path I have trodden before but felt sage to revisit. I know ‘Pop’ has a reputation as being somewhat inferior and predictable. The same way Rock music cannot be easily defined and predicted: Pop is even harder to narrow and get a sense of. Many people (quite wrongly) assume Pop is what we hear in the charts and on the lesser radio stations – because it is ‘popular music’. That is a rather subjective definition of music: just because a lot of people listen to stations like Capital’ and Radio 1 does not mean it is any good – I shall leave my argument and personal tastes aside. I feel Ruben could get played on those stations but is much more suited to the suave and cool side of the dial – making his way to ‘6 Music, perhaps. I know a lot of artists that make it onto that station and will reach a much broader and discerning demographic – those who know their music and have finer tastes. Whether he favours the sounds and route of local radio – again, something I detest – or has a love of the likes of ‘6 Music; that will be interesting to see. What I mean, and circling it back, is his music has that adaptable nature and quality inherent. Pop gets a bad rap because of cheesy artists and mass-produced bands. If you listen to Ruben’s music you get cinema and widescreen beauty; sweeping scenes and something emotive and grand. If you listen to the likes of Lana Del Rey then you get a sense of what Ruben is about. Whilst not exactly the same; Del Rey’s music has that quality and class that her peers lack – able to cross boundaries and appeal to a huge number of people. I feel Rock has become stagnated whereas Pop continues to evolve and mutate.

I am not sure what it is but Pop artists are a lot more agile than we give credit for. It seems like there is more room to work and campaign compared with other genres. If you throw in Electronic shades or fancy something more Folk: Pop allows you that freedom and opportunity. Looking at Ruben and you get romanticism and honesty; there are electronic elements but a leaning towards something immediate and honest – an artist that puts his soul out there and wraps I in some of the most affecting sounds I have heard in a while. It is challenging sticking with a musician who is going to go the whole way, but with Ruben, the first steps are very promising. I opened by complaining about those who get undeserved attention – this applies to Ruben indirectly. Is social media numbers are not as high as you’d like and he should have more people in his camp. Such is the quality and originality of his music you feel many people are missing out. Ruben himself is campaigning and working hard but the media/stations should be doing more to assist. I know next year will see the bigger stations pay attention and his stock will rise considerably. Were he performing run-of-the-mill Pop and addressing the same old themes – broken hearts and cheating exs – then I would not pay such mind to his work. As it stands, Ruben is one of the mist mature and intelligent Pop acts I have heard in a long while and bringing a sense of occasion and innovation to the genre. This all comes out in new work like Sad Face and Only the Young. His new E.P. (Only the Young) is catching attention and being lauded by his fans. You never get a sense of a man primed for the charts and making music for committees and labels. There’s that individuality and personality that is very much his own; songs that appeal to wide sectors and the lasting impression is of someone that knows where he wants to head.

Only the Young is a four-track E.P. that brings together a range of different themes and subjects. I have investigated the title track previously and its themes – something serious, thought-provoking and deep. In the remainder of the E.P. one gets insights into love and young regret; you have loneliness and sallow countenance – a human looking for answers and affected by the harshness of the world. That is not to say the E.P. is negative and dark: there is a mixture of emotions and plenty of light to be found. Even in the most introspective numbers you get rousing instrumentation and sounds; a voice that continues to seduce and buckle the knees. I usually spend this section comparing an artist’s current work against their older stuff. Only the Young is the debut E.P. from Ruben and the first taste of the young Pop artist. I cannot compare Ruben’s old and new stuff but, on the basis of the E.P., can already hear immense confidence and assuredness. You get no nerves and rough edges: every song races and explodes with authority and professionalism. It sounds like Ruben has been recording for years and this is his third or fourth E.P. The production is quite polished - but never overly so - and you get so many nuances across the four tracks. The title track is, perhaps, the most memorable and accomplished but Valentina and Lonely City ensure the E.P. finishes with two fantastic songs. It (Only the Young) is tight and focused but leaves you wanting more. Throughout, you hear a young artist in his element and inspiring throughout. The songs are not your average heartbroken-moan-and-made-for-the-charts song that once heard is instantly forgotten. Instead, one received a song that channels deep and compels you to keep coming back and listening. A full, stunning and memorable E.P. from an artist that has a long future ahead.

Sad Face is the current single from the E.P. and a song I was keen to jump on. The opening notes have a lullaby/music box charm to them. You get plinking, balletic notes that pirouette and dance gracefully around the stage. Gentle and pure; you get caught in the beauty and tenderness that unfolds. I was not expecting such a slight and mesmeric sound to open the song – maybe something more rousing and bracing. That is a wonderful thing: being subverted and hearing something really unexpected. So many other Pop artists would go for hard and hitting electronics and phat beats – negating subtlety and shoving the song down your throat. Rather than go to fourth base and overlook seduction: Ruben flirts with the listener and does not go racing straight in – I’ll drop that analogy now! In essence, Sad Face perfectly ascribes and defines itself without a word being sung. There is a somberness and tear-stained sound to the introduction but you get romance and immense beauty. Ruben comes to the microphone with little composition adornment and layering. His voice is sonorous and serious but has a smoothness and purity to it. Our hero wonders whether (his sweetheart) misses him and what went wrong. You wonder who is being ascribed and the reasons behind the break-up. It is another unexpected turn and something that keeps the song fresh and mobile. The E.P. (Only the Young) has promotional shots of Ruben throwing Polaroids into a canyon – dispensing with past memories and eradicating the past. This is something that runs throughout Sad Face. You have a young man that is bravely asking questions; perhaps afraid of what the answer might be. Asking his lover if he’s missed and thought about – maybe answers will never come. Rather than succumb to cliché and trope, you have a song much more bespoke and personal than the predictable fare of his peers. In the opening stages, you can almost hear and see the backstory and relationship - where the two came from and the machinations of the love.

Maybe the truth is not straight-forward but the questions very much are. I was intrigued whether there was another person responsible for the break-up or whether things just ran their course. Perhaps that is the meaning of the song: never revealing the full truth and allowing the listener a chance to interpret. As beats start to chomp and canter into the song; the hero investigates his naivety and wonders whether he was foolhardy. Walking crowds he is always imagining his former love – faces that look the same but aren’t; always shocking and upsetting. It is a feeling many heartbroken people get after a relationship ends: they always see their former lover in other people or want to see them; yearning for reconciliation and missing them hugely. That comes through in the song and your heart goes out to the hero. As the lyrics progress, Ruben asks whether he has been naïve and a little short-sighted. Thinking the relationship would last; there is that aftershock now it has ended. Many musicians attest broken love but do so without necessary gravitas and originality. Not only are the lyrics more interesting and personal than you’d expect: the vocal is out front and has a candour and emotional nakedness you do not get from a lot of artists. The chorus is the most immediate part of the song and will get you singing along instantly. “This is what a sad face looks like” it is said. Ruben is picking the pieces from the broken bond and trying to piece the puzzle back together again. Almost mocking and taunting his former lover: getting them to look at his face and the emotions you can see.

PHOTO CREDIT: Jacek Davis

Despite the near-jokiness of the words – jabbing at the former partner and the result of the heartlessness – the sentiment and delivery comes directly from the heart. You never sense a man making light of his lot: always hitting hard and letting the listener into his heart. Despite weighted words and serious subject matter; the composition is rousing, light and delicate. The percussion continues to pound but you get tender notes and elliptical sides – keeping the song uplifted and energised. That is what Ruben does so well: he can balance dark and light but keeps the song concise and focused. Sad Face has charm and memorability but is one of the most affecting and personal songs from Ruben. The hero wants to give things another chance but that might not be possible. They are off in the city and making moves; perhaps hooking up with other guys and not thinking twice about things. Ruben is sitting at home and wondering how to make things right: whether his former love is thinking of him and thinking of reconciliation. It is that sense of mediation and solution that makes the song so appealing. Ruben never casts blame and goes on the attack: he is looking for repair and wants things back how they were. That is quite a refreshing attitude to a post-break-up song – not being accusatory and showing some maturity about things. It is heartbreaking and open; tragic but hopeful – you feel like they could get back together. The chorus comes back in and seems more relevant and revealing the second time around. It is never rush-delivered and fast; paced so the words can be heard and resonate. You let the words wash over you as you picture the scenes unfolding. Ruben is at home thinking things over whilst his love, in a city undisclosed, is going about their life and living their day. It is agonising to think they might not be paying as much mind to the break-up as Ruben – just going through their day without a care. That seems unlikely but it is worth mentioning. That chorus comes back and keeps riding: the mantra and business statement that becomes heavier and more relevant each time. By the end, you wonder whether the duo ever got back together or at least affected some sort of conversation – opened the channels of communication at least. If Sad Face is a break-up song that sifts through the ashes; there is hope things can go back to how they were – Ruben always imbues light into his songs. Sad Face is a stunning song – and one of the highlights of the E.P. – that is hard to forget and compels you to listen to over again.

There are not many artists out there like Ruben. I have been following his music for a little while now and watching him grow and strengthen. Sad Face is his latest song and one that you know will capture many hearts. I mentioned radio stations like ‘6 Music and how Ruben could get some airplay there. Sad Face has a sound that will not only appeal to their listenership but get into the hearts of the Pop purists. You get energy, youthfulness and vibrancy with Ruben but, as the song shows, plenty of maturity, insight and soulfulness. I know he has just released an E.P. but one wonders how 2017 will unfold. I could imagine Ruben bringing an album out and something full-length. Such is the momentum and inspiration he has now it will be interesting to see. In terms of gigs, he is performing across London at the moment and making sure the capital knows what he is about. Playing smaller venues and open mic. nights: more of the same for the coming years. With the likes of Fabric reopening; there are chances for Ruben to play and there is more hope and faith in the London music scene – more than there was when Fabric was closed. As we stagger into the New Year, many will want positivity and happiness to reign – given the crappy year we have just gone through. In that respect, musicians will be stepping up and ensuring the listener is given something nourishing and comforting. Ruben has made big strides this year and improved from his earliest days. A confident young man who has a well-stocked social media portfolio and a professional website. He knows music is as much about business and image as it is music and personality. If you have a professional-looking website and seem serious then more people will come to you.

Before I wrap things up, I will look at the initial points and why Ruben is someone we should all look out for. Not only is Sad Face a stunning new cut but it results from months of preparation and hard work. I have seen few artists that put the grind in and are constantly on the move. Modern music is defined by tireless campaigning and long hours; getting your name out across the nation and really having to graft. Ruben is someone ready for the task and challenge: he has that passion and love for music. Nobody can deny him of resting on his laurels as he continues to record and perform. I mentioned how many musicians do not have a great set of websites and are ignorant to that side of things. If you are trying to discover a musician then you instantly go to the Internet. If you rock up on someone’s Facebook page and there is nothing there – how likely are you to stick around and be impressed? Many bands/artists have a couple of snaps and the odd link – that is pretty much it. It is disheartening and something that puts me off investigating further. I am not saying this is the reason artists fail but it is part of the reason at least. Ruben knows he has to be visible in order to attract and has created accessible and informative sites – his official page is one of the best out there. Couple this with music that gets inside the soul and compels you to listen more and you have a modern-day artist that has what it takes to go all the way. Pop is a genre that is always subject to discrimination and snobbiness: something that is starting to be redressed this year to an extent. Depending on your tastes and preferences; you have so many different options in modern Pop. It is not all chart music and generic-sounding fluff. Pop is becoming much more serious and provided with huge options and range. Ruben straddles other genres and splices Electro. candour with the gentleness and purity of Soul; cinematic energy and something quite exciting – mix this into the pot and you have a very spicy and exciting recipe.

I know the young man will have his own goals but I would like to see Ruben take his music across the country. London is a vital market – and given his proximity to the capital that is understandable – but there are towns and cities that would welcome Ruben in. I know the larger areas – Manchester, Leeds and Liverpool – would take him to heart and opportunities even further north. Maybe financial constraints are a factor but one cannot deny the popularity Ruben could achieve. So far, London is falling under his spell but there are lands and markets yet to conquer. Sad Face – and the Only the Young E.P. – bursts with quality, excitement and passion. You have a musician that has the ammunition and personality to challenge the standing order and make his name heard loud. I have grown weary of many of the so-called ‘future’ of Pop music. Too many rely on Auto-Tune and armies of writers to pen their music. If you look at who is top of the album charts – Little Mix at the moment – and you have a band that has little musical skill and hordes of writers behind them – not the most gifted in terms of vocals. I love girl bands – the legends like Destiny’s Child and En Vogue – but feel too many of today’s crop lack the bite, talent and appeal of the 1990s’ giants. Little Mix are indicative of so many Pop artists making their way through. You get those that are more edgy, interesting and appealing but they are becoming fewer. Ruben is a breath of fresh air against this tide. A unique talent who takes control of his material and does not need ranks of producers/writers to make him sound like him. In an X Factor world, he is providing sober spotlight to those who lack talent – Ruben is showing how it should be done and how good he is.

Before I close, let’s consider his current sounds and where Ruben could head. I mentioned the possibility of touring but I could see Ruben being celebrated in nations like the U.S. I know I say it about so many review subjects but it holds true here. The U.S. is sending their musicians here – a cultural exchange programme in a way – but they have a love and affection for our finest talent. Ruben could get a few dates over there and really carve out a name for himself. Maybe finance is a factor but demand surely won’t be. There are those out there that would love to see him: if that is fulfilled, who knows how far Ruben can go? The U.K. is taking Ruben to heart and he is reciprocating with fantastic music. The coming year will be an exciting and busy one for the young talent and a chance for him to ascend to the giddy heights of the mainstream. If he does get there – or takes a couple more years – Ruben can be an ambassador for Pop and just what can be achieved; the importance of taking control and not shelling out music to other writers and producers. Sad Face is invariably a personal song that comes from a young man both open and intriguing. There is enigma and mystery with Ruben but a man who opens his soul and wants to bring the listener in. I implore people to immerse themselves in the Only the Young E.P. – it is available on SoundCloud – and one of the best E.P.s I have heard in the last few months. Solid, refined and expert; loose, exciting and multi-layered – so many different strands and themes; a singular artist that you are damned to ignore. Congratulations to Ruben and his fantastic year: let’s hope this continues into 2017. Sad Face is the latest revelation from a sensational artist that has a great future ahead. Many artists have a very uncertain future but Ruben has a bright and prosperous one ahead…

THAT is for sure.

[youtube https://www.youtube.com/watch?v=8aZB7T8_7J8&w=560&h=315]

___________________

Follow Ruben

 

Official:

http://www.ruben-music.com/

Facebook:

https://www.facebook.com/rubenofficialmusic/

Twitter:

https://twitter.com/Ruben_Official_

Instagram:

https://www.instagram.com/ruben_official_music/

SoundCloud:

https://soundcloud.com/user-560953367

YouTube:

https://www.youtube.com/channel/UCXwmo4Df69SyJfr46aUs0oA

FEATURE: The Ones to Watch 2017: Part One

FEATURE:

 

The Ones to Watch 2017: Part One

_____________________

WE are heading into the New Year with a candid mix of…

hopefulness and anxiety. There has been some music-related heartache and loss; we have witnessed some incredible albums and truly awesome moments – quite a balance from one of the most memorable years in recent memory. New musicians and talent are exciting and showing just what the future holds in store. With other publications and sites collating their ‘Ones to Watch 2017’ I thought I’d pitch in. In this first part, I put together some of the bands, artists and D.J.s I feel will be having a productive and accomplished next year – those we should all be keeping an eye out for.

__________________

D.J.s and Producers

 

Carly Wilford – D.J./Entrepreneur, London

[soundcloud url="https://api.soundcloud.com/tracks/284758455" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

https://carlywilford.com/

Roxi Yung – Singer/Musician/D.J., London

[soundcloud url="https://api.soundcloud.com/tracks/290786246" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

PHOTO CREDIT: @nathalietheryphotog

Siggy Smalls – D.J.

[mixcloud https://www.mixcloud.com/MEATtransMISSION/full-swing-with-siggy-smalls-081115/ width=100% height=120 hide_cover=1 light=1]

https://www.facebook.com/siggysmalls0/?fref=ts

Musicians

PHOTO CREDIT: Zoe Etter

Elena Ramona – Pop/Dance/EDM, Surrey, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/264076178" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

CASSI – Dance/House/E.D.M./Trance, Surrey, U.K.

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

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

INDIYA – Pop/Soul, London, U.K.

[youtube https://www.youtube.com/watch?v=e3MBgv1Q3UM&w=560&h=315]

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

Michelle O Faith – Soul/Pop/Alternative, London, U.K.

[youtube https://www.youtube.com/watch?v=AD9G9TUObgk&w=560&h=315]

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

King No-One – Indie-Rock, York, U.K.

[youtube https://www.youtube.com/watch?v=CLnIaG3VI-Q&w=560&h=315]

http://www.kingno-one.com/

Next State – E.D.M./House/Electronic, Surrey, U.K.

[youtube https://www.youtube.com/watch?v=r1wJ57_efK8&w=560&h=315]

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

Boston Building – Pop/Alternative, London, U.K.

[youtube https://www.youtube.com/watch?v=W4FSnFUwC6s&w=560&h=315]

https://www.facebook.com/bostonbuilding/

SIIGHTS – Pop, Ireland/Scotland, U.K.

[youtube https://www.youtube.com/watch?v=n2TcInBvPpU&w=560&h=315]

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

 

Signal – Rap/Hip-Hop, Basingstoke, U.K.

[youtube https://www.youtube.com/watch?v=51qP6nTKWYI&w=560&h=315]

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

Saints Patience – Classic-Rock, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/253140605" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.saintspatience.co.uk/

Ellie Rose – Pop, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/291809288" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.ellierose.co.uk/

Chess Galea – Pop/Soul, Surrey/London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/257937959" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.chessgalea.com/

PHOTO CREDIT: Emilia Buggins

Catherine Okada – Pop/Alternative, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/276466060" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

https://www.facebook.com/catherineokadamusic/

Chenai Zinyuku – Soul/Pop/Electronic, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/176390087" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.chenaimusic.com/

Majik – Electronic/Chill, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/289686554" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.majiklondon.com/

Emily Mac – Blues-Rock, Toronto, Canada

[youtube https://www.youtube.com/watch?v=SHaQA-_O0_A&w=560&h=315]

http://www.emilymacmusic.com/

PHOTO CREDIT: @aaron_f_arteaga

Snoh Aalegra – Romantic-Soul, L.A., U.S.A.

[soundcloud url="https://api.soundcloud.com/tracks/294032931" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

Lola Coca – Hip-Hop/Ska/Pop, London, U.K.

[youtube https://www.youtube.com/watch?v=5R65e8TD1KQ&w=560&h=315]

http://www.lolacoca.com/

 

PHOTO CREDIT: Robin Clewley

XamVolo – Soul, Liverpool/London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/292437144" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

https://www.facebook.com/Xamvolo/

Bee – Pop, Indie, London/Surrey, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/173303068" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

PHOTO CREDIT: Timothy Ward

Jen Armstrong – Pop/Soul – London/Leeds, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/257485565" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://jenarmstrong.tv/official/Home.html

PHOTO CREDIT: @boringlandscapes

Miles Glyphers – Rap/Hip-Hop, Sydney, Australia

[soundcloud url="https://api.soundcloud.com/tracks/293611167" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

PHOTO CREDIT: www.nickkentphtography.com

Rews – Alternative-Rock/Pop, London, U.K.

[youtube https://www.youtube.com/watch?v=GSkBS8J_qhk&w=560&h=315]

https://rewsmusic1.wordpress.com/

Ruben – Pop, Surrey/London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/289707904" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.ruben-music.com/

IDLES – Post-Punk/New Wave, Bristol, U.K.

[youtube https://www.youtube.com/watch?v=7Oxqf_15k0w&w=560&h=315]

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

Lulu James – Soul, South Shields, U.K.

[youtube https://www.youtube.com/watch?v=Mw4l0NOOWTA&w=560&h=315]

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

PHOTO CREDIT: You Magazine

Earl – Soul/Blues, Alaska, U.S.A., London, U.K.

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

https://www.facebook.com/earlmusic.official/?fref=ts

Diamond White Riots – Indie/Alternative, Doncaster, U.K.

[youtube https://www.youtube.com/watch?v=U5m-41KNg1A&w=560&h=315]

https://www.facebook.com/diamondwhiteriotsDWR/

Duke of Wolves – Rock/Alternative, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/293996381" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

 

Laura Saggers – Buckinghamshire, U.K. /Los Angeles, U.S.A.

[soundcloud url="https://api.soundcloud.com/tracks/288730525" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.laurasaggers.com/

Words & Noises – Alternative-Rock, London/Manchester, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/282245514" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.wordsandnoises.com/

Lewis Fieldhouse – Americana-Pop, London, U.K.

[youtube https://www.youtube.com/watch?v=UfUpihwnH6w&w=560&h=315]

http://www.lewisfieldhouse.com/

Lánre – African-Folk/Soul/Root, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/259183267" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.lanreworld.com/

I Am Willow – Pop/Cinematic, Valetta, Malta/London, U.K.

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

https://www.facebook.com/iamwillowmusic/

Yotam Mahler – Pop/R&B/Soul, Tel Aviv, Israel

[soundcloud url="https://api.soundcloud.com/tracks/281605400" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

Toothless – Indie/Alternative, London, U.K.

[soundcloud url="https://api.soundcloud.com/tracks/292479333" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.toothlessband.com/

PHOTO CREDIT: Guy Haviv

ADI – Tel Aviv, Israel

[soundcloud url="https://api.soundcloud.com/tracks/293650169" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

http://www.adiulmansky.com/

FEATURE: The November Playlist: Vol. 3

FEATURE:

 

The November Playlist: Vol. 3

__________________

IT is inevitable more Christmas songs will start to creep into…

these pages as we close in on ‘the big day’. I have dispensed with them near the top of this edition but included plenty of non-festive music. In addition to new singles and album tracks; I have collated some of the songs of 2016; some of my favourite album tracks of the year and some gems that need to be heard – including a classic Queen cut (Freddie Mercury died twenty-five years ago his week). It is a quieter week for new music but let’s hope that picks up in the next few weeks. There are some goodies to be found and plenty to satisfy the hungry music listener. Unravel an early Christmas present in another edition of The November Playlist.

__________________

The Killers – I’ll be Home for Christmas

[youtube https://www.youtube.com/watch?v=BR3cG3C2g0Y&w=560&h=315]

Jim James – Here in Spirit

[youtube https://www.youtube.com/watch?v=h-5JUqv8LcY&w=560&h=315]

Toothless – Sisyphis

[soundcloud url="https://api.soundcloud.com/tracks/292479333" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Clouds Nothing – Internal World

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

Michelle O Faith – Lemonade

[youtube https://www.youtube.com/watch?v=AD9G9TUObgk&w=560&h=315]

Tasseomancy – Missoula

[youtube https://www.youtube.com/watch?v=CGFeZY8Fkzk&w=560&h=315]

Hannah Georgas - Evelyn

[youtube https://www.youtube.com/watch?v=QRE5qlvlFVs&w=560&h=315]

Kadhja Bonet – Miss You

[youtube https://www.youtube.com/watch?v=EE-GhXS0xfQ&w=560&h=315]

Leonard Cohen – Steer You Way

[youtube https://www.youtube.com/watch?v=qM71N3TchfQ&w=560&h=315]

Nick Cave and the Bad Seeds –Skeleton Tree

[youtube https://www.youtube.com/watch?v=O7tfTBtpR0E&w=560&h=315]

Beyoncé – Formation

[youtube https://www.youtube.com/watch?v=wMea1UNtdI8&w=560&h=315]

David Bowie – Dollar Days

[youtube https://www.youtube.com/watch?v=qqW-kvU5cLg&w=560&h=315]

Wild Beasts – Celestial Creatures

[youtube https://www.youtube.com/watch?v=WNy54uzxR2I&w=560&h=315]

Yellow Days – People

[soundcloud url="https://api.soundcloud.com/tracks/293467036" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Lola Coca – Ego

[youtube https://www.youtube.com/watch?v=5R65e8TD1KQ&w=560&h=315]

Anne-Marie – Peak (Stripped)

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

Happyness – Falling Down

[youtube https://www.youtube.com/watch?v=F6sONfnMWfE&w=560&h=315]

Formation – Powerful People

[youtube https://www.youtube.com/watch?v=BRadZghXBz8&w=560&h=315]

Raf Rundell – Carried Away

[youtube https://www.youtube.com/watch?v=WJHG3m_d2Fo&w=560&h=315]

Angel Haze – Resurrection

[youtube https://www.youtube.com/watch?v=6RrTxr5wyVg&w=560&h=315]

Father John Misty – Holy Hell

[youtube https://www.youtube.com/watch?v=VkBHBsSf4qA&w=560&h=315]

Queen – One Vision

[youtube https://www.youtube.com/watch?v=0_1IMZmJe-U&w=560&h=315]

Solange – Cranes in the Sky

[youtube https://www.youtube.com/watch?v=S0qrinhNnOM&w=560&h=315]

Kate Tempest – Ketamine for Breakfast

[youtube https://www.youtube.com/watch?v=ym3iGD7uNn8&w=560&h=315]

Justice (ft. Ollie King) – The Concept of Fire

[youtube https://www.youtube.com/watch?v=bRc9EU8eLMA&w=560&h=315]

Best Coast – Christmas and Everyday

[soundcloud url="https://api.soundcloud.com/tracks/291446929" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Alexandra Savior – Mystery Girl

[youtube https://www.youtube.com/watch?v=gPjUeu7ugf4&w=560&h=315]

Emmy the Great – Rapids

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

ALA.NI – One Heart

[youtube https://www.youtube.com/watch?v=tpdl6_iEXec&w=560&h=315]

Kate Bush – And Dream of Sheep (Live)

[youtube https://www.youtube.com/watch?v=_256xd9N27o&w=560&h=315]

Jorja Smith – Something in the Way

[soundcloud url="https://api.soundcloud.com/tracks/293116291" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Bibi Bourelly - Flowers

[youtube https://www.youtube.com/watch?v=86JkzImGs34&w=560&h=315]

Blvck Delorean - Time Waves

[youtube https://www.youtube.com/watch?v=D9rOvMTwtrA&w=560&h=315]

Rich Homie Quan (ft. Angel) - Her

[youtube https://www.youtube.com/watch?v=jdk3Lkh_4lc&w=560&h=315]

Hare Squead - Herside Story

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

Elephant Stone – Love is Like a Spinning Wheel

[youtube https://www.youtube.com/watch?v=y0k-AO5bBJ8&w=560&h=315]

Babes in Toyland – Vomit Heart

[youtube https://www.youtube.com/watch?v=YRa3CWi5UaM&w=560&h=315]

The Rolling Stones – Hate to See You Go

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

Noah Cyrus (ft. Labrinth) - Make Me (Cry)

[youtube https://www.youtube.com/watch?v=uwX4wrYLwfU&w=560&h=315]

Sean Paul (ft. Tory Lanez) - Tek Weh Yuh Heart

[youtube https://www.youtube.com/watch?v=lyH5Jji6ou4&w=560&h=315]

The Weeknd – Party Animal

[youtube https://www.youtube.com/watch?v=Jr6rGfumZJI&w=560&h=315]

G-Eazy ft. (Danny Seth) - Bone Marrow

[youtube https://www.youtube.com/watch?v=uFuq-8Wf9NE&w=560&h=315]

John Legend – Love Me Now

[youtube https://www.youtube.com/watch?v=NmCFY1oYDeM&w=560&h=315]

Rhianna – Work

[youtube https://www.youtube.com/watch?v=HL1UzIK-flA&w=560&h=315]

Chance the Rapper – All Night

[youtube https://www.youtube.com/watch?v=lkIUnRRH6l4&w=560&h=315]

The 1975 – Somebody Else

[youtube https://www.youtube.com/watch?v=Bimd2nZirT4&w=560&h=315]

Iggy Pop – Gardenia

[youtube https://www.youtube.com/watch?v=1m8TmlS20ZA&w=560&h=315]

Christine and the Queens – Titled

[youtube https://www.youtube.com/watch?v=9RBzsjga73s&w=560&h=315]

As we go into December, there will be some Christmas songs (sorry!) and plenty more music – artists having a final throw of the 2016 dice. It is interesting looking back at the year and the fantastic songs/albums that have come – reflecting on a wonderful year for music. Who knows what next week’s instalment brings, but one thing is certain, it will be bumper-full of interesting songs from some fantastic artists.

TRACK REVIEW: King No-One - Alcatraz

TRACK REVIEW:

 

King No-One

 

 

Alcatraz

9.5/10

Alcatraz is available at:

https://www.youtube.com/watch?v=CLnIaG3VI-Q

RELEASED: 

4^th November, 2016

GENRES: Indie-Rock

ORIGIN:

York, U.K.

_________________________

EACH time I encounter a new band, one of the first things I do...

is give them a good going-over. The clothes are ruffled and the hair inspected; the boots investigated and a quick interview conducted – checking whether the group is genuine and worth further regard. That might sound like I’m part of the judging panel at Crufts: I mean it metaphorically, you’ll appreciate. I have revealed my scepticism with regards bands in recent posts. I feel too many are proffered to Messiah-like heights after a song or two – critics vacillating and drooling without any good reason to. It is no coincidence the finest albums of this year – bar a couple here and there – have been created by solo artists – many of them already established and proven. I adore bands and feel they are the bedrock of the music industry. The trouble with the modern age is the pressure and expectation put on young shoulders. It is the fault of the media – myself to an extent – we celebrate and give acclaim to bands – hoping they will keep the quality high and provide originality and longevity. Before I go on to look at – common themes for me – original and different shades of Rock; Yorkshire coming back into prominence and the way to gain acclaim – it is worth continuing my point. I am not sure what has happened with the modern scene but the public see-saw has tipped the way of solo artists. Whether the band seat is too emaciated and slight; the solo side fatted and succulently full – I am not really sure. What I DO know is new bands are struggling harder to gain less acclaim. There was a time, after the explosion of Britpop and bands like Oasis, where you heard nothing but new bands come through. Right up until a couple of years ago, there was a heavy prevalence and focus on groups. Sorry to resurrect this discussion point but is an equation that has yet to be allocated a solution. I guess the mainstream directly correlates to, and inherently influences, the underground. If there is a bumper crop of mainstream groups flexing their muscles: new bands will find confidence and motivation; critics and the press will be more receptive and attune to the latest bands emerging? The last couple of years has been a bit slow for great band-made albums. It has been a while since mainstays like Foo Fighters have released material and answer me this: how many albums of this year – that were created by bands – spring to mind? Hmmm. It is a difficult one and I can only really name a couple, to be brutally honest.

I feel solo artists and duos are becoming more prominent and, as a direct result, attention is focusing their ways. The-next-big-thing-type bands like Blossoms fell short of the mark; Hooton Tennis Club’s latest album did not get the celebration it deserves – the solo star has been enjoying the choice picks from the critical banquet table. Against the (seeming) tsunami and slagheap of glass-half-empty philosophy and cloudy optimism – I am actually quite hopeful of the underground. The reason I bring up this point, about bands being under-valued, is not because of numbers but quality. There are hordes of groups out there but so many merge into one another – an indeterminate, beige sludge of copycat anti-rebels; the sort of lemonade variety that creates a short-term buzz but leaves little to no aftertaste. Those groups that dare to be different – to put their own personalities and vision into music – and those that succeed and rectify the imbalance we are seeing. Maybe the answer is as simple as that: bands are struggling because there are not that many standing out front. It is a rather cynical world-view but some truth remains. Fortunately – otherwise this review would be hyper-awkward – my featured artists are not only pretty special but have a sound that is all theirs. Sure, there are some influences embroidered onto the sleeves, but, on the whole, there is native energy and inspiration from boys who owe a debt to nobody. Before I carry on my point, and invariably raise a few new, let me bring the band to your attention:

“The energetic four-piece has been blowing away audiences the length and breadth of the UK playing multiple O2 Academy tours, headlining Club NME at KOKO in London and performing at a multitude of festivals including both Reading and Leeds, Dot to Dot, Live at Leeds, The Great Escape (BBC Introducing Stage) amongst others.

The band has also received previous support from the likes of Huw Stephens (BBC Radio 1), Dermot O'Leary (BBC Radio 2), Steve Lamacq (BBC 6 Music), Radio X, Gigslutz, Indie Current and got to Nr. 1 on the Hype Machine Twitter Charts”

Before I look at keys to success, the variations within Rock and the future for King No-One – it is back to the distinct and varied landscapes of Yorkshire. Last time out, when looking at a Yorkshire-based band, I was crestfallen and scarlet at the lack of search engine information. Not on the band for themselves but contemporaries emerging from Leeds – one of music’s most fertile locales and a veritable carnival of colourful and exceptional musicians. It has left me a bit jaded but, luckily, when it comes to the city of York, there is more information and support online. The King No-One boys, like fellow Yorkshire bands, prove what a huge and vital county it is. If one considers York’s bygone/established bands, there are plenty of options. Shed Seven and The Seahorses call/called York home – as do relative newcomers like Glamour of the Kill and Asking Alexandria. It is the new and hopeful crop of York bands that are getting critics excited – King No-One sit right near the top. If one evaluates their local peers: there are so many different types of bands to get the teeth into. Louder than War - http://louderthanwar.com/top-ten-york-bands/ - gave their review of the York-based bands that will be making waves this/next year. Whilst there are so many wonderful musicians coming out of York; there are so few magazines and websites collating the best and brightest (I wonder why this is?!). The Carnival Rejects are a Hardcore-Punk outfit of immense magnitude and magnetic allure – a live act that has overwhelmed and exhausted plenty of people. Naked Six, by contrasting virtue, provide a more settled, sentient sound – Blues-cum-Rock blends that have been compared to Led Zeppelin and The Rolling Stones. If that is enough to get the mouth watering; consider the noisy clatter of long-time York legends, Soma Crew. Drone-laden and hypnotic: the band are rightfully considered one of the finest bands playing around York. Surf Sluts – one does not envisage a Jazz-rock trio when reading that name – combines Surf-Rock sunshine with the pint-of-beer-down-the-pants kick of Proto-Punk. That California-meets-Castleford paramour would seem inorganic and ill-fitting in lesser hands – the fact Surfer Sluts have been playing since 1999 shows just how masterful and assured they are. Fat Spatula – again: can’t fault that name! – effortlessly splice Post-Punk and Garage shades; laid-back but urgency and embracing. They are another live fixture around the city and have been tipped as mainstays of the future. Sam Forrest Band, with his Silverchair-sounding charm and skill, has melancholia but plenty of hopefulness and beauty. One of those slow-release bombs of music that has already impressed York locals – someone who has the ammunition and musicianship to resonate with a much wider thoroughfare.

York is a city that is synonymous with its musical diversity: King No-One have the energy and raw vibrancy of their Punk comrades but offers spades of light, space and flavour – teasing sweetness and kick together with love and world-weariness. Previous cuts have looked at the realities of relationships and bonds; the power play that occurs behind bedroom walls – they have familiarity to add unique insight into well-worn subjects. Not only have King No-One created excitement in York: they have managed to make their way to the privileged earlobes of radio’s biggest tastemakers. I’ll come to looking at Indie-Rock and its true meaning but, with the King No-One band in the spotlight, it is worth applauding their success. The regal anonymity of the name seems ironic juxtaposed against the popularity accrued so far. As you can see from the band’s scant biography: they have caught the ear of national radio and lauded by some of this country’s most influential publications. Not only are they familiar with O2 Academy tours and played across the capital’s finest venues – B.B.C. D.J.s like Huw Stephens, Dermott O’Leary and Steve Lamacq have nodded to the boys  covering the wide-ranging demographics of Radios 1, 2 and ‘6 (Music). The grand young dukes of York have climbed the musical ladder not because of good looks (they are fine-looking chaps, mind), hype machines and chart-fodder sounds – they have got there because of a diligent, smart work ethic; brain-buzzing, heart-nourishing sounds and a chemistry that feeds into their studio and live performances.

I have, in the last few reviews, lambasted acts that neglect their social media pages and provide scant information for the new follower – I shall overlook King No-One on this occasion. While they have a few good photos up: it would be nice learning more about the individual members and how they formed; where they are heading and who influences them. It is a malady of many new acts: they are unwilling to reveal too much and overlook areas such as personal facts and fleshy biography. It is rather naïve in an industry where many musicians enjoy such short and stagnated careers. I hope they get their acts together and not only put more thought into this side of things – they are at the stage where they should have a more informative and information-heavy official website up. I know the band have their hands full and already done sterling work so far – they can find many more fans were they to expend some time towards these demands. If one were to explain the reason King No-One have got into the mindset of the nation’s radio mega-titans – it is because of their songs and how fresh they sound. In a year where there has been music tragedy and a cessation of fine (mainstream) bands – no wonder the York clan have such a following.

The guys call themselves ‘Indie-Rock’ but I feel that is more to do with tradition than truth. Many would assume - when faced with a band like King No-One - they are an Indie-Rock group. The trouble is, when we hear those words, there is a clear viewpoint of what sounds one can expect. Too many new Indie-Rock bands are stale, generic and stadium-lusting. Too many needlessly big choruses and little in the way of subtlety, depth and intelligence. I shall not name particular bands but there have been plenty of culpable participants – not just in the mainstream but new acts emerging. I feel King No-One bring genres like Alternative, Pop and Blues into their work. I feel we need to stop freely labelling musicians and pigeon-holing them. The risks run are tantamount to career homicide. If you define artists like King No-One as purely Indie-Rock, then many will have clear-set opinions and may pass them by. Whether this transgression is down to their label/the band themselves, I am not too sure. It would do them a disservice by narrowing their sound. King No-One, like some of their city-mate bands I mentioned earlier, combine myriad elements into something bursting with emotion, excitement and nuance. The boys have that instantaneousness and vibrancy but are equipped with maturity and experienced hearts; imaginative songbooks and a brotherly bond. I am unsure how you would define their music: it is exceptional and authoritative, however you look at it. Serendipity and fluke are not the reasons King No-One have reached the W1A postcode and the discerning ears of Lamacq.

PHOTO CREDIT: SODIUM

It has been an interesting career for King No-One over the past few months. If one looks at previous tracks from the band: you will see a development and rise from their earliest work to now. Alcatraz is the finest and most immediate song from the group. They are hitting their stride and really creating mainstream-worthy music. Say My Name – not the Destiny’s Child song – is a Reggae-influenced track that swaggers and moves about. It is a loose and nimble jam that bounces with energy and glee. The chorus is big and gets inside the brain. The hero’s vocals are stylish, emotional and memorable: hovering and holding words and delivering them with maximum consideration and skill. You get little hints of The Libertines’ Carl Barat. There is a bit of drool and that rasp but one hears a singer truly unique and determined; resonating in the senses. The origins and truth of the song leave you speculating: maybe regarding relationships and imbalance or something less personal. Say My Name will have each listener with their own views and taking something new away. Halo is one of their most recent songs and begins with rush and freshness. Like Say My Name, the song has a blend of Indie, Alternative and Reggae but is lighter than and not as bold as its predecessor. It is a track clearer and more decipherable than Say My Name. The vocals are more intelligible and the hero sees a girl wandering from the block; gun in hand, his feelings are being kept in. At the very first stages, you are curious and start to imagine the scenes unfolding. It is the energy and fun the band brings to the song that stays with you. The high-pitched, chorused backing vocals add to the foreground and elicit summer and sunshine. The lyrics look at regret and mess being made; fun had along the way and curious players. You wonder whether it is two lovers going through the motions and succumbing to the moment and being reckless. It is a fascinating song and one you immerse yourself in. Such is the strength of performance and shine of the song it is impossible to ignore. Halo improves from the band’s earliest work and is the most accessible and nuanced track they have come up with. Alcatraz adds to that and shows a band that are really creating original music and proving they are ready for the big leagues.

Those unfamiliar with King No-One are led in rather wonderfully. You do not need to familiar with their back catalogue to get a grip of what they are about. The hero is watching seasons pass “on the floor” and determined to be at the girl’s door – five years down the time he will be there. The opening notes of the song are funky, divine and spirited. If the band calls themselves Alternative-Rock or Indie, they are doing themselves a disservice. King No-One creates another exhilarating, exceptional and memorable. The bass bounces, springs and pirouettes whilst the band comes into the frame with alacrity and commitment. The percussion, subtle at this point, adds needed crackle and kick whereas the guitars shimmer and skim with lustrousness and adore. Like other songs from the Bristol band; you are never 100% sure what the song refers to and its true origins. The lyrics are more original and literary than most and do not go for easy clichés and stereotyped expressions. In the initial verse, I feel a love story is unfolding and being documented. The boy is pining for the girl and knows he will be thinking of her years down the line. The hero’s heart is in Alcatraz and he is feeling imprisoned and repressed by a feeling. Whether it is as simple as heartache and not being able to keep the girl – you start to speculate and conspire. The bass continues to pine and appeal; it does a lot of the work and projects an audible tension and heartbeat.

The rest of the band create something colourful and detailed around the vocals – different tones and pitches give the song a rounded and deep sound; one that brings different things from the lyrics. It is those lyrics that provoke the strongest reaction. Once again, the vocal performance mixes theatricality and heartfelt supplication. The words, at times, are held and elongated; others they are studied and precise. At every stage, the maximum degree of emotion is wrung from the song. It might be a ‘harsh’ thing to say – depending on your T.V. viewing decisions – but Alcatraz is a song that could score a scene from Made in Chelsea. I am culpable of watching the show – it has that addictive, voyeuristic pull – and I can see the song sound-tracking a scene from the show. Not only does it have commercial appeal but it is resolutely the sound of a group unlike any other. As the lines and song unfold, there is more clarity and direction. The hero’s heart is in a penitentiary and desirous of liberation. Maybe the girl has cast her spell and caused a lot of love to stir – that has been revoked and the fall-out is causing pain and regret. Maybe I am short-sighted, but I feel a man who is in turmoil and holding back his true emotions. Perhaps too painful to unleash the myriad anger in his soul – keeping it all down in case the breaking dam breaks him.

The track never relents its compositional bonhomie and perseverance. The electric notes have a child-like lack of discipline and lace the song with high-pitched fuses and delirious twirling. King No-One are a band who do not create sombre and black-velvet expressions; they always keep things light and above the water. They could easily fit alongside many of their finest contemporaries – you get embers of The 1975 and their latest album – and can make heartache and loss sound fresh and exciting. I was trying to dig to the core of the song and just what surrounds its inspiration. Maybe there has been a fight or the two have broken up years ago. There is that sense of being held back and not being able to reclaim that pure love. The listener is always committed to investigating the words and drawing their own mind to the meaning. Maybe I am off the mark but don’t want to be corrected: every great song begs for a unique take. The composition is not straight-forward and has such detail and enigma. Even if the sound comes across simplistic and optimistic; you have to give it time and it will evoke different reactions and feelings the more you hear it. Bands that overlook the necessary for complexity will never have long-term regard. I was invested in the song throughout and fell for Alcatraz. Every element and layer of the song works wonderfully and gets into the head. Broken fairytales are being reviewed – our man’s heart is in Alcatraz – and it seems like his soul has been claimed – “You got me good”. Our lead is “slowly dying” and going through some perilous times. You never get the sense of someone who is giving up and looking back. There is that steely determination to get back what is his and not surrender the fight.

One-half of yourself is dancing and merry against the composition whilst the other stands still and unravels the words. You picture two lovers in different places and the scenes unfurling – again, there is a ‘Chelsea-esque sentiment and feel to the lyrics. Not to undermine and cheapen the quality and sincerity of the story: it has a very modern feel and will be relatable to many people. Those who prefer their music a little more intelligent and soulful will be able to enjoy a lot. Alcatraz has maturity and never succumbs to infantile blame and immaturity. You have a song that puts its heart out there and looks for answers – perhaps knowing that is never wholly possible. That desire to be set free is paramount of evident: you want to see the lead escape the rhapsody of pain and cast the shackles of hurt. The most emotive and striking moment comes with a late repeat of the chorus: the vocal holds and rises to the ceiling with huge force and passion. It is enough to catch you off guard and really hit the heart. That is followed by explosions of colour and energy as the band is not keen to settle too long in dark and murky waters. By the end, you have witnessed so much and heard a lot. It takes a while to settle in but (Alcatraz) is a song you keep coming back to for many different reasons – always hunting for the truth and obsessed by the true meaning of it.

I was due to review (previous single) Halo. The fact I am reviewing Alcatraz is because, A) I had other reviews to do first; making Halo a bit outdated and, B) Alcatraz is a sharper and more immediate song. I know the chaps are busy promoting their music and getting out there. They hail from York but are perfectly familiar with London and the venues down this way. Not only have their got their foot in the door but have strode in and making themselves at home. It is encouraging seeing a young band make in-roads so soon. The tight performances and everyman songs have struck a chord across the capital and ensured the band have a permanent home here. That bring me to a new point – before I circle back to my original discussions – concerning their next year and futures. I have reviewed a lot of artists that have enjoyed the same accolades – the B.B.C. C.V.s and rarified acclaim – but few have quite the same dynamic and artistry as King No-One. It is the sheer confidence and majesty the boys expend that put them above the hustling throng of modern bands. They have an enduring lack of pretension and the sort of band you can find down the pub – perhaps buy them a pint and swap stories and banter with. Alcatraz takes no prisoners but, rather appropriately, is very difficult to escape from. Nominal authenticity means the single imprisons you and bolts the door shut; puts barbed wire on the walls and German police dogs patrolling the parameters. Unlike the former high-security San Francisco jail: The British band incarcerate you in a perfectly focused and economical song that sets out to seduce and strike and does so ably. It follows on from Halo but does not repeat that song. Halo looks at the realities and daily commonality of relationships and the tribulations that are faced. Alcatraz does not repeat that theme, but instead, sticks to relationship parameters but explores different territory. Put those two songs back-to-back and you see consistency and evolution. Over the course of a short period of time – there are only a couple of months between the releases of both – King No-One have crafted too essential, if different, songs that burrow into the hindbrain and evoke all manner of positive expressions and passionate smiles.

It gets me thinking about 2017 and how King No-One slot into the agenda. It would be great to hear an E.P. from them – no sure whether one has been mooted for next year – but one imagines it will not be too long. Such is the momentum and backing behind them: many will yearn to get a hold of a new E.P. from the lads. I can see Halo and Alcatraz being a swift one-two that kicks proceedings off with recognisable songs and plenty of energy – maybe mutating to two numbers more level-headed and emotional. The exact details and musical specifications will be known to the band but I am excited to see where they go. Alcatraz proves the band can live up to expectations and deliver a song of the highest order. Ignoring my gallows humour and pun-laden (attempts at) wit: the song is a solid and impressive release that stands above the multitude of rather average songs heard this year. What King No-One do is provide music one can escape to but immersive themselves in. I have speculated where the band might head and how they will grow into 2017. I predict they will have a successful next year and build their fanbase in this country. Take that further and the guys have the potential to cross into Europe and claim some territory there; maybe a stint in the U.S. and a chance to get their name heard there – that will be a big coup if they can get out there. In terms of the music they are making now: it is their most impressive and tight; sounds that have won the hearts of D.J.s and stations (and the wider world).

Before I close things down, I want to circle back to York-based music and band resurgence/state – a little bit of an ass-kicking repeat – and a bit about Rock/Indie-Rock. The venture capitalists of Indie-Rock: the York boys are providing hope and energy in a market that is lacking in consistent quality and sustainability. I know media eyes are predominantly focused towards London but York is an area that cannot be overlooked. If you think about the bands making waves in the city (above) it is clear there are some big acts playing there – just waiting to get their break and ascend to the mainstream. The city is among the country’s most upcoming and fascinating (in terms of new music) and should be heralded. Yorkshire is a county that continues to provide wonderful, interesting and original music. The creative juices flowing through York are starting to capture the imaginations of the press and King No-One are a band emphasising just what York is capable of. Not all cities/towns of Britain have active music scenes but York is an exception.

I am not sure whether King No-One are going to remain in York or whether they are moving down to London – they seem to have the best of both worlds at the moment. I have been a little critical – over the course of some reviews – about the Indie-Rock market and what is out there. If you look hard enough there are plenty of acts providing credibility and depth to the genre – still enough bands really not hitting the standard required. Sure, the overall quality has dipped over the past few years – solo artists coming up strong – but that is not to say Rock/Indie is dead – far from it. What we have are bands/acts mutating and evolving what we consider to be ‘Indie-Rock’. More Pop/Electronic elements are being introduced and the subject matters are changing – less about defiance and celebration; more concerned with relations and love. There was a time (in the 1990s and early-‘00s) when a more jubilant, optimistic mood pervaded – that is not quite as evident in 2016. Given the way things have changed, many have simply written off Indie-Rock and some bands are being irrelevant and weak. King No-One are ensuring such easy prejudices are left where they should be: their music elevates and motivates; gets people involved and happy. I hope the lads work on their official website and get their social media in order - more information and photos for journalists; a better range of options for new fans. Their music does a lot of the talking but it would be good to hear them do some, too. I’ll leave them be but end by congratulating the band on a solid and sharp song: another typically assured and insightful song that is impossible to throw off. Let King No-One into your life and…

WATCH them soar throughout 2017.

[youtube https://www.youtube.com/watch?v=CLnIaG3VI-Q&w=560&h=315]

_____________________

Follow King No-One

 

Official:

http://www.kingno-one.com/

Facebook:

www.facebook.com/knomusicuk

Twitter:

www.twitter.com/knomusicuk

SoundCloud:

www.soundcloud.com/knomusicuk

YouTube:

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

INTERVIEW: Miles Glyphers

INTERVIEW:

 

 

Miles Glyphers

____________________

WHEN one discovers new musicians their backstory and ambitions are…

hardly the stuff of originality and wonder. That is very different when you consider Miles Glyphers. Born in the Ivory Coast; Glyphers was lucky to get out of the country alive – escaping a torn and divided nation ravaged by conflict. Making his way to Australia, the Sydney-based Hip-Hop star still holds the scars and is feeling the effects of a turbulent and tumultuous childhood. Luckily, in some way, that vivid and unique story is filtered into his music – rich with story, candour and emotion. Dollar and a Dream is a song that espouses hopefulness one can get from having very little: having to battle and overcome obstacles and hard situations. It has been interesting talking to Glyphers about the new single and forthcoming record, Third World Child. There are few artists are fresh, unexpected and honest: that raw, humble and dogged determination comes through hard. Glyphers talks about his upbringing and idols; the musicians he feels strongly about and an insight into his current creativity.

_____________________

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

Hey hey. I’m tired but doing well. My week’s been a little wild with late nights and things. But now the songs out, it's all worth it.

For those unfamiliar with your music: can you introduce yourself, please?

Well. My name is Miles Glyphers. I am from Down Under - trying to come up right now.

I am unlike Hip-Hop artists - if there’s anything such as that. I dropped my debut mixtape - Twisted Youth - a year and a bit ago but I been doing music for a while now and things got serious (I’ll say) three years ago.

[soundcloud url="https://api.soundcloud.com/tracks/293611167" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Dollar and a Dream is your latest single. Can you tell us about the inspiration behind it?

Yeah. Dollar and a Dream is a real personal one - especially the first verse. When I was growing up, I didn’t have anybody around to look after me properly so I was always in the streets. When I came to Australia it was the same issue. In high school, my rap was pretty much a joke to everybody around me. I grew up in a real poor family we never had anything. I left home when I was like fourteen - trying to make something out of life. It gets deep but I guess that sums my inspiration behind Dollar and a Dream.

The track addresses alienation and lack of identity. It seems to, in a wider sense, address the state of the modern world. Were events like Trump’s election and ongoing issues in the world part of the song’s influence?

‘Alienation’ is definitely the key word. Since I was like eight years old I was always on my own: I was really that kid sitting quietly in the corner or somewhere in the dark over-thinking - so I can relate to other young people in the same position. Dollar and a Dream was really about me telling you that no matter the problem or issue you’re going through, you can make it and become whatever you want to be - so it’s not so much influenced by America; more the state of the world for all young people. We are all connected now and are sharing our experiences through the internet. I think whatever you put your mind to you can become with hard work and dedication. No matter what others think of you, you’re actually a somebody.

You were born in the Ivory Coast but live in Sydney. What compelled the move and do you ever get a chance to return to the Ivory Coast?

I remember Ivory Coast was really crazy in terms of struggle and our living condition wasn’t great. Life was real and yet again the streets were where I found myself around the wrong crowds. To be honest, I am lucky to be alive right now. We had to leave because of war we ended up and a nearby country called Guinea - where we stayed at a refugee camp. And, somehow, we were lucky enough to come to Australia. I honestly don’t want to go back with nothing: I want to go back like "Look what I’ve become!"

Sydney has a huge and varied music scene. What is life like there for a musician and who are the local artists you are tipping for success?

Sydney is really on some serious stuff right now. I reckon this city is next.

Diffusely, my good friend Sampa the Great - she is special and does her own thing – is all about empowering people through poetry and music. Ones to watch are also my good friends of Veeno and Maverick.

Listening to your music, it seems you have a definite niche and unique sound. Is it hard to get opportunities in Australia or is the music community there quite supportive? 

Yeah. I am really trying to be myself and have my own vibe going. Right now, It’s something that’s a bit hard for Australians to get their head around as they are not used to it. Some are starting to accept it, though. As for opportunities, you have to make them yourself here: the Hip-Hop scene is still growing, but its early days. As long as I am getting support from you guys, and whoever else feeling the music, then I am good. That’s all that matters: the love and support from the ones that feel it.

Third World Child is where Dollar and a Dream will feature. What can you reveal about the E.P.’s themes and what we can expect from it?

Third World Child is based on life and experiences. Expect anything and everything as there are no restrictions. I don’t really want to say much about it at this point - I really want to show people, A: what I am about and B: this is what I live for and am out here doing whatever it takes.

[youtube https://www.youtube.com/watch?v=EMUQ38G6HW8&w=560&h=315]

It has been over a year since you released your debut mixtape, Twisted Youth. How would you say you’ve developed as an artist since then? What changes and new elements have you incorporated into your music?

Yeah, it’s been a crazy period where I had to stay strong; put my head in and stay focus despite everything going on around me.

I worked and focused more on my melodies because that’s my favourite thing right now. I am just trying to get better and better every day as I feel like I am ready for the world and what it has to offer in terms of music.

You have been supported by the likes of Complex, Sampa the Great and i-D. How does that acclaim feel and is it quite daunting at such an early stage?

Not really, no. It’s what I’ve always wanted so it’s just been a great start to what is just the beginning of my story. I really appreciate the love and support from them and everyone. Sampa' is mad-cool and complex and i-D are just too awesome to not be happy when they say something good about you.

Big thanks to all of them.

I know many here in the U.K. would love to see you play. Any plans to come over here and experience our wonderful (translate: cold and wet) winter?

Coming to the U.K. has been in my plans for some time now. It will happen but when the timing is right - so maybe early next year.

I can’t wait to do something over there: as long as you guys out there keep giving me support. I don’t think we’re far off from something coming to the U.K.

I can imagine your upbringing saw you exposed to a wide range of sounds and artists. Who were the musicians you idolised growing up?

When I was a bit younger we used to go to church where we would sing all the time. Growing up, I was mainly used to the African drum sounds and music. I actually got into Hip-Hop music late because I only heard them on the radio back home and I didn’t know what the genre was, ahaha. But, yeah, when I came to Australia that started changing. Discovered Snoop Dog and Ice Cube through a magazine from a local newsagent - I found the fashion and style real interesting; started digging into the whole West Coast culture thing - and that was it for me.

Are you quite an ambitious musician? Are there places you have yet to perform in and goals as-yet-unachieved? 

Ambitious is me all day, every day - even when I perform at bigger venues; I feel like that isn’t enough.

I am always thinking there’s more we can do better and I don’t think my mindset will ever change.

Looking ahead to 2017: what plans do you have and can we expect to see you tour in the coming months?

Well. I have a new project in Third World Child. I might drop some singles and other things in-between. A tour is definitely something I am looking forward to - and one is in the process.

Christmas is coming up. Are you spending it at home and what is top of your Christmas wish-list?

I am not so excited for Christmas right now because last year I spent all my Christmas and New Year in the studio finishing off Twisted Youth. By the looks of things, I am about to be stuck in the same situation with what I am trying to do with Third World Child. Hopefully, I can get some chill and travel somewhere nice to take my mind off it for a bit. But right now I have no major plans for the break other than making music.

For anyone looking to follow in your footsteps: what advice would you offer up to them?

My best advice is that nothing is impossible. the way I see it you can do anything you put your mind too. Never give up and also keep pushing and when things get tough as life does - take it as a motivation.

Stay humble and also give anything and everything your best. Most important thing is to know why you’re doing what you do in the first place.

Finally, and for being a good sport, you can select any song and I’ll play it here (not one of your own as I’ll include that).

Run by Baby Veeno and Maverick.

[youtube https://www.youtube.com/watch?v=q0CHJbbHT5E&w=560&h=315]

____________________

Follow Miles Glypher 

Facebook:

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

Twitter:

https://twitter.com/MilesGlyphers

Instagram:

https://www.instagram.com/milesglyphers/

SoundCloud:

https://soundcloud.com/milesglyphers

YouTube:

https://www.youtube.com/channel/UC-Qo8hJuY_B5FCEVFf2zpeA

INTERVIEW: Silver Rose

INTERVIEW:

 

Silver Rose

___________________

HOW often do we really castigate any limitations and false expectations we have…

PHOTO CREDIT: Michelle Rubio

HEADER PHOTO CREDIT: Fernando Omede

of music and succumb to curiosity, common sense and wanderlust? Carla Sariñana is not just one of Mexico’s most prominent and hard-working musicians: her alter ego, Silver Rose, is someone you will want to affiliate yourself with. Not just a purveyor of mind-nourishing, fantastic music – an intelligent and inspirational human who is aiming to put Mexican musician on the map. When we think of nations like Mexico, we have perceptions and misconceptions. The fact is this: allow that to cloud your senses and you miss out on a world of great music. In that spirit, my interview with Silver Rose touches on the Mexican music scene and reappropriation measures; how her career got started and what we can expect from her new E.P. We also look at the new single, Take Me Home and what the coming year holds for Silver Rose’s Sariñana.

____________________

Hi Silver Rose. How are you? How has your week been?

Great thank you! How are you?

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

I´m Carla Sariñana: a singer/bass player from Mexico City. I just released my first solo E.P. as Silver Rose - my new Shoegaze/Dream-Pop band mainly influenced by The Jesus and Mary Chain, Tamaryn; The Black Ryder and Mazzy Star.

I´m also co-founder and bass player of an all-girl Rock band here in Mexico called Ruido Rosa. We´ve been around in the Independent Rock scene for about ten years: touring around Mexico, California and opening for bands such as Kiss, Maroon 5 and Queens of the Stone Age.

I do not often come across Mexican musicians. What is the music scene like there and how do you think it differs to that in other parts of the world?

The music scene here is small but very important to the whole Latin Rock scene. I love it. We are one big, big family; bands really come together over here.

The scene has changed and grown so much in the last 10 years. There are really great and interesting bands right now; so many new and different proposals that make the Mexican scene extremely important in Latin America - and the whole world should start listening to more Mexican bands.

PHOTO CREDIT: Rolling Stone

Do you think we assume Mexican music is going to be quite stereotyped? Do you feel people are unaware of the depth and variety of music in the country?

Yes, of course. I think even Mexicans are like that.

Everyone is used to hearing Folk and traditional Mexican music: musicians use their heritage and traditional sounds to inspire themselves musically and that’s beautiful. But for me, and many others around the world, it came differently: I was way more into Rock and Roll and that whole scene. I guess I identified with that type of music and what it said a little bit more - but that happens everywhere in the world.

I think it’s wrong to think that Mexico only has certain types of music. There is such a variety of sounds around the world that nobody should really be surprised that different sounds come out of certain countries.

We live in a digital era where all types of music can influence anyone no matter where they come from.

Take Me Home is your new single. It has a great Rock sound and lush, atmospheric vocals. What inspired the song and did it take a long time to come together?

It actually came together really quickly. I was listening to a band I love called The Black Ryder. They have big loud songs that are extremely epic and beautiful.

I started with really just two notes and a bass groove and was focusing on having a sweet but seductive melody on top of it. It came together really quickly. I remember starting to compose it and how incredibly happy and excited I was about it.

I later worked on it with The Wallburds which is a band with whom I played bass for a while in L.A. and then with Javier Blake and Steve Mungarro - we took it to a whole bigger thing which we all fell in love with. I especially remember recording the last part and putting the bass line behind the outro; we were so excited with the final result. It’s a song that will always bring back great memories.

The song is seen as a soundtrack to a love affair and quite doom-laden. Was it quite cathartic recording it and was there a particular man/person in mind when you wrote it?

I wrote it all by myself at home but later worked on it with The Wallburds, Javier Blake and Steve Mungarro. I don´t think I could´ve had the same final result without them: they were so important to the whole recording process. It’s for anyone who’s ever spent time on their own or gone on an adventure into the unknown. It’s a journey to the sunny side of hope.

[youtube https://www.youtube.com/watch?v=84SnhePoOY0&w=560&h=315]

The video is quite grainy and vintage; it sees you in various shots around L.A. What was it like shooting the video and how was Los Angeles to film in?

It was the first video I recorded as Silver Rose: me being by myself for the first time, so I was nervous during the whole process. L.A. is great to film in. There are soooo many places to film at; it's so beautiful you end up with way too much great material.

Reviewers have compared to you a host of legendary names. Has it been quite humbling hearing the feedback or is it quite intimidating?

Humbling? I never really thought anybody would like my music or even pay attention to it.

It makes me extremely happy to read good or even bad reviews from anybody.

If people take the time to talk about you and what you are doing; maybe you are doing something right. It motivates me to keep going, work harder and make more and better music, so… thank you!

[soundcloud url="https://api.soundcloud.com/tracks/290311620" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

You have been writing songs and playing bass with Ruido Rosa for eleven years now. How do you become involved with the group and do you still perform regularly?

We perform every once in a while but its funny: more and more people come to every show. I love playing with Ruido Rosa - it’s my baby; I started and worked all my life around that band, in many ways it made me who I am, I think. We´re currently finishing the new E.P. to release next year so I´m going to be very busy musically which I am incredibly happy about.  I just learned how to balance the two projects… it's not easy, but it can be done and I’m doing it.

I know you have performed in bars and venues around L.A. and Mexico City. What have been the most memorable performances and what are the biggest lessons you have learned from those gigs?

I think the first show of Silver Rose in L.A. was extremely memorable for me. The first time I sang in front of an audience. I´ve had many memorable shows with Ruido Rosa as well and all I know from both projects is to pour your heart out on stage and try not to think too hard about what is happening - just feel it and enjoy it.  The shows where I´ve been able to do that are the most memorable and (obviously) experiences opening for bands like KISS and Queens of the Stone Age.

Your music is evocative and recalls the 1970s a great deal. Which artists did you grow up listening to? Do you feel few artists nod to the past and are too stuck in the present?

I grew up listening to a bit of everything but my dad showed me bands like Led Zeppelin, Black Sabbath; The Who, Crosby, Stills, Nash & Young; The Beatles, Queen and stuff like that - but I always listened to everything that was happening then musically as well.

I feel every artist nods to the past in some way because every band in the present has to be influenced by the past; it’s just the way it is, there is no way to avoid it.

The sounds of today are because of the sounds of the past. Many are probably not aware they are doing it, but they are. I just love to be very aware of it because people forget how incredible those sounds were and are.

Your eponymous E.P. is out. Was it exciting recording it and what kind of themes and songs can we expect?

It was very exciting to record: a completely new process for me: one of the best challenges of my life. The songs are about love, falling in and out of it and sound extremely colourful and dark at the same time.

PHOTO CREDIT: Ben Cope Photography

On that, you worked alongside Javier Blake (from Mexican Punk-Pop band División Minúscula). How do you think the musicians you worked with elevated the music and how important was their role in the E.P.’s creation?

Javier has always been an extremely important person in this E.P. He helped me know which idea was worthwhile and which were still in the process of being something. I guess thanks to him I learned how to make a real song by myself. Everyone who helped in recording the E.P. was extremely important. There is not one single person who didn´t make a difference to making this E.P. the best it could be for me.

The six-track E.P. is sung in Spanish and English. Was it important to you to retain your native tongue and how important was it not to abandon your Mexican roots?

It was extremely important to me since I´ve always spoken both languages at home. My mum´s family is from the British community here in Mexico City and so it all came naturally.

I never really fought the language in which I felt the song in; I feel some in English and the others just sound in Spanish in my head. I don´t know how to explain it.

Spanish is such a romantic language to sing in. You can fall for a song without understanding what is being said. What are the main differences – when it comes to music and sound – between the two languages?

English is easier to write in without sounding too corny; Spanish has many words that can take you to something that sounds not as natural. It was harder for me to finish the songs in Spanish than in English because of that. I really took care of the phrases and words I used.

PHOTO CREDIT: Michelle Rubio

What can we expect going into 2017? What plan do you have as a musician?

Play as many shows and festivals as I can around Mexico, Latin America. I’d love to get to the U.S. and Europe. I´m also going to release another single and start focusing on new material for the next album.

Christmas is almost here. How will you both be spending it? What is top of your Christmas present/wish-list?

I´ll be spending it with my family here in Mexico - my husband and new baby girl.

My top wish list is work, work, work; shows, shows, shows. That´s what I want.

Is there any advice you’d like to offer any upcoming musicians looking to follow in your footsteps?

Work hard; know your business; care about every single aspect of your music and band and to not give up. If this makes you happy and you´re professional and passionate about it - something good will always come out of it.  Always remember to enjoy the process.

Finally, and for being a good sport, you can each select any song you like (not yours as I’ll include that) and I’ll play it here.

That´s a hard one. I love New Song from Warpaint´s new album, Heads Up.

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

___________________

Follow Silver Rose

Official:

http://www.silverrose.mx/

Facebook:

https://www.facebook.com/silverrosemusic

Twitter:

https://twitter.com/silverrosemusic

Instagram:

https://www.instagram.com/silverrosemusic/

SoundCloud:

https://soundcloud.com/silverrosemusic

YouTube:

https://www.youtube.com/channel/UC5USnF267k-4FCa7DW7GFqQ

INTERVIEW: Ivy Mode

INTERVIEW:

  

Ivy Mode

____________________

GENUINE spirit and personality are not as common as…

one would imagine. Music has its fair share of fakes and posers: finding an artist that is The Real Deal is a very pleasant surprise. Ivy Mode is a twenty-one-year-old singer inspired by the likes of Chet Faker, James Blake and Flume – providing hard-hitting music with emotional undercurrents. Based in Belgium, she has appeared on the country’s version of The Voice – where she released a cover of Jeff Buckley’s Everybody Here Wants You – and found her way to the attentions of W!G Music. Money Can’t Buy is her new single and signals good times ahead. I ask her about the song and the music scene in Belgium; whether modern music is defined by a lack of fun and how her heritage – she has Filipino roots – has influenced her as a musician and woman.

___________________

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

Hi. My week has been pretty fun so far. It was the release of my first debut single so I was really excited about sharing it with the world - and I was also excited about what the reactions would be. But I'm happy with all the responses I got!

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

My name IVY MODE. I’m a twenty-one-year-old singer living in Antwerp. My passions are music and fashion hence the name ‘MODE’ which is the Dutch translation for ‘fashion’. The music I make is Indie-Electronic Pop. I try to make music with an edge but also try to make it catchy.

Money Can’t Buy is your debut single. What compelled you to come into music and release a song?

It’s always been my dream to become a singer. I always wanted to perform on stage and make my own music.

I’m just so happy and excited to be able to set it as my main goal now.

[soundcloud url="https://api.soundcloud.com/tracks/293443270" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Can you tell us what the song is about and the sort of themes explored?

It’s about putting your career first and neglecting a relationship. You put all your efforts into becoming as successful as you can, and during this process, you lose the one you love. When you get to that point of success you realise you have no one to share it with. You regret giving up this relationship and would do anything to get this back.

James Lowland is the single's producer. What was it like working with him?

It was really easy-going and fun! What I love about working with James is that he translates the music I try to describe in words and turns it into sounds. James listens to all types of music but when he works with an artist he really tries to have the same mindset as the artist he’s working with. This is really important to be happy with the result.

Your music is catchy, Indie-Pop and fun. Do you think too many modern musicians are too serious and lack necessary uplift and energy?

I think that a lot of musicians focus a bit too much on being extremely successful which makes it more serious because you have a goal in mind.

Yet, I believe that if you just make music you like and would like others to hear you’ll enjoy the process a lot more. I also believe it to be a more sincere way of making music.

You were a contestant on The Voice (Belgium) in 2013. What was the experience like and what was the reaction like from the judges when you performed?

I had a lot of positive reactions after my blind audition and even heard a lot of people saying I was one of the favourites to win. This, unfortunately, gave me a lot of stress because I felt too much pressure. I kind of forgot to enjoy the adventure. The Voice is for a singer who is used to only sing in the shower or when she’s alone at home.

Cover songs have been part of your repertoire until now. You have covered everyone from Ed Sheeran to Red Hot Chili Peppers. Is there a song/artist that has been especially meaningful to cover?

I think it would definitely be the cover I sang during my blind audition. It was the song A-Team by Ed Sheeran. It’s just the feeling I get every time I hear it: it reminds me of those days. It was the first time I actually shared my voice with a larger group of people. I felt extremely fragile about the responses I’d get. That’s why this cover is very meaningful to me.

There are not many Belgian artists making their voices heard – or ascending to the attention of many British ears. How does the Belgian music scene differ to that over here?

The Belgian music scene is a lot smaller here in Belgium, I think. Even in Belgium, it’s hard to get heard.

So for me, as a Belgian artist, it’s difficult to dream bigger than the borders around Belgium.  I think a lot of Belgians try to get heard, but it’s just a hard struggle to reach that goal.

Are there any Belgian artists we should be checking out?

Tsar B is a new female Belgian singer who’s doing really well outside of Belgium. She has a dark Electronic sound to her which is pretty cool. Also, I totally love Oscar  and the Wolf - they are really popular here in Belgium and I love their unique sound and sense of fashion.

With your Filipino roots and Belgian upbringing: how influential were your parents and the music they played with regards your decision to take up music? What kind of artists did you hear growing up?

Well, my mom is from the Philippines and I’m pretty sure you already know (but) Asians loooooooove their karaoke. So, every gathering I’d go to where there were Filipinos there would be a karaoke machine and my mom would not stop nagging until I’d sing a song for everybody. So, singing was a part of my life from an early age.

I grew up listening to the typical hit songs sung by the best singers such as Celine Dion, Mariah Carey; Whitney Houston, Michael Jackson….

W!G Music is the label you are with. Do they allow you a lot of creative freedom or is there a sense of being directed to an extent? How much freedom of expression do you have?

What I love about W!G Music is that this label gives you all the freedom you want in making music. If they believe in you as an artist they support your music, vision and style. So, even if it’s a little weird or extraordinary who cares? It could be pretty cool as well!

A lot of artists are inspired by love and relationships when it comes writing songs. How important and relevant have past relationships and current love been with regards your songwriting?

Well. When you want to write a song about love it’s easier to describe it in a song when you’ve experienced love yourself.

Sure, you can get your inspiration from romantic movies but it’s different when you’ve experienced it yourself. So, for me, I get a lot of inspiration out of my previous relationships.

Looking into 2017: can we expect to see an E.P. or more singles perhaps?

We are currently planning to release my second single (probably in February), Body Next to You. Depending on how fast the writing process goes we hope to have an E.P. ready for the end of 2017. I’ve been working a lot in the studio to make new music so there is definitely more to come!

It would be great to see you perform in London soon. Are there plans to come play in the U.K.?

Yes. We are actually working on performing abroad as well but there’s no exact date yet - but we’ll definitely keep you posted!

Christmas is coming up. How will you be spending it and what is top of your present list?

I will be spending it with family just like every year.

I’m pretty sure this sounds corny but I just want to enjoy everybody’s company with a great meal (as a big plus).

It’s not easy getting a big family all together during the year so I’m happy it’s possible during Christmas. I don’t really have a list of presents I’d like to have but I’m a sucker for terrible funny gifts – like, for example, an ugly Christmas sweater or ugly socks or such.

Is there any advice you’d like to offer any upcoming musicians looking to follow in your footsteps?

Just to make music they love to perform and hear themselves.

Finally, and for being a good sport, you can select any song you like (not yours as I’ll include that) and I’ll play it here.

I discovered a new song a couple of days ago and I must say I love the chorus a lot. Great sound - This Girl by Muto (Ft. M. Maggie)

[youtube https://www.youtube.com/watch?v=hum1STb21fU&w=560&h=315]

____________________

Follow Ivy Mode

Official:

http://www.ivymodemusic.com/

Facebook:

https://www.facebook.com/Ivymodemusic/

Twitter:

https://twitter.com/ivymodemusic

SoundCloud:

https://soundcloud.com/ivymodemusic

YouTube:

https://www.youtube.com/channel/UCmza8oof9zJYdPufIde8z5g

INTERVIEW: Taylor Noelle

INTERVIEW:

 

Taylor Noelle

___________________

TAKING that leap and moving from somewhere quite romantic and idyllic…

to a different, polemic part of a country has been much-documented in films and literature. In terms of music, the emigration from Los Angeles to Nashville is not as rare as one would imagine – becoming more popular with hopeful, ambitious artists. The sense of community and opportunity Nashville offers is attracting so many musicians. Taylor Noelle is one such musician who has been seduced by the lure and familial vibe of the Tennessee city. Inspired by the likes of Fleetwood Mac, HAIM and Michel Jackson; I ask her about her idols and growing up; the benefits of a Nashville lifestyle and the thoughts and impressions about her forthcoming E.P., Out of My System.

____________________

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

Hello! I’m doing great. I’m so excited to share my music with the world soon. My week has been busy and fantastic!  Thank you for asking.

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

Hey! My name is Taylor. I write music to deal with what my brain and my heart - can’t really keep a hold of by themselves. Sonically, I think I fall in the realm of organic-sounding Pop.

I’m really inspired by the sounds of artists like Fleetwood Mac, Adele; Tori Kelly, Sara Bareilles; HAIM and Alabama Shakes.

I also love to dance to Bruno Mars and Michael Jackson.

There are a lot of young, hopeful musicians coming through at the moment. How would you say you differentiate from the rest of the crowd?

That’s the question, isn’t it? I think I write very honest lyrics. They’re extremely personal, but I think that they are related to emotions and experiences that everyone goes through. So, my aim is that my songs can connect to people very deeply and sincerely. I want someone to hear a song of mine and think: ‘How does she know what’s in my head right now? How does this song describe what I’m feeling?’ Because that’s the feeling I get about my favorite music.

You were born and raised in L.A. What is it like in the city for an inspiring musician?

Well, I was raised in the San Fernando Valley which is more in the suburbs. And yes, that is ‘the valley’, so I suppose you could say that I’m a ‘valley girl’. But, honestly, I didn’t do much to actively pursue a career while I lived there. I was just growing up. But I did develop my love of music there.

My dad taught me chords on piano when I was in elementary school and I was a part of choir in middle school. I started truly writing my own music when I was around fourteen or fifteen.

I would perform in school talent shows and the like. But I never pursued anything professionally. And I’m very happy to have had a normal childhood there.

Now you have moved to Nashville. What are the differences you have noticed and which area do you prefer – which provides most opportunities?

I absolutely love Nashville. It’s a really amazing place to grow as a musician. I think the biggest difference that I immediately recognised was how strong the community is here. It’s very tightly knit. Everyone knows someone who knows someone - and so on. So, finding a network of very talented and creative people happened very quickly - especially once I started attending Belmont University. The concentration of talent in this little town is really unbelievable. On top of that, there’s so much collaboration and support going on that to a certain extent it really feels like everyone is rooting for each other to be their absolute best. It’s awesome. Being here, I’ve gotten to write and play and record with some of the best musicians I’ve ever met. I would love to go back to Los Angeles one day, but right now, Nashville is the place for me.

It seems like you have naturally bonded with Nashville. Can you distill what it is that makes it so special in terms of music? What are your favourite places to place in Nashville?

As I said before, I really think the community here is what makes Nashville so special.

Musical collaboration can be so amazing and wonderful. Here in Nashville, I’ve had the chance to play at some really awesome venues – Café Coco, The Country; 3^rd and Lindsley; The High Watt, The Listening Room…but the most special was probably the world-famous Bluebird Café. It’s such an intimate, beautiful little space with so much history. I actually spent most of last summer working there waitressing which gave me the opportunity to get to listen to so much incredible music while working. So, playing there was very special for me because I really understood the level of talent that plays there on a normal basis.  In the future, my absolute dream would be to headline a show at The Ryman. It’s right in the centre of downtown Nashville and again is imbued with such a history of talent that every show there feels utterly magical.

[soundcloud url="https://api.soundcloud.com/tracks/293593847" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Out of My System is out on 25^th. Are you excited about the release and how long have you been ruminating/recording the material?

I AM SO EXCITED! WOW! So, I started officially working on recording the E.P. in late-September after connecting with my incredible producer Andrew Conner - who I cannot say enough nice things about. He is truly the best. The songs were written very separately – one as recent as this past summer, a couple over the course of last year and one almost four years ago. The recording process was so much fun. It was so incredible to get to hear my songs brought to life by some of the best musicians I know.

I believe the E.P.’s title refers to a need to get the songs out – those that have been building for a while. Can you tell us about the songs’ themes and what we can expect?

Yes! I’ve had these songs – some for a very long time – that I’ve been able to play out for people with just me on my guitar but have never been able to give their full due. They’re all very special to me in their own ways and I hope and think that there are people out there that will be able to relate to things that I have felt or have gone through.

I think a range of emotions is represented on the E.P. The songs range from self-confident and sassy to desperate and longing; to warm and content and in love.

No one is ever stagnantly living in one emotion: everyone goes through different experiences and has different reactions to those experiences. I think that the E.P. really explores that truth. I may not be in a sad or angry place anymore but the songs carrying those emotions preserve how I processed those emotions in that moment. And I think that’s valuable! So, yes, I am extremely happy to get these songs ‘out of my system’.

After you showcase the E.P. in Nashville (4^th December) you have plans to come to London. Will this be your first time in the city?

First off, I am SO excited for my release show! It’s going to be a great time. And, actually, the last time I was in London I was just a tiny little toddler! So, I guess you could say that I’m excited to be back in the country with full cognitive development! But, seriously, I’m so thrilled to be able to come live in London for the spring.

Have you got any plans to do more dates in the U.K. and stay here longer?

I don’t have any specific plans right now but I would love the chance to get to play for some new audiences!

I suppose we’ll just see what happens.

Tell me about your childhood and musical influences. Which artists were playing on your parents’ stereo and caught your ear?

I remember that when I was very young, my parents gave me this compilation C.D. called Ultimate Divas. It was 100% total girl power: Diana Ross and the Supremes, Whitney Houston; Mariah Carey, Gladys Knight and so on. So, I was walking around the house yelling power ballads throughout elementary school. I also grew up on classics like The Beach Boys and The Beatles - and other amazing songwriters like Carole King and Ben Folds. I also really loved Classic musicals. I really didn’t listen to much Top 40 (music) until I was around fourteen or so.

Are there any musicians, locally or nationally, you think we should check out?

YES! One of my really close friends is an artist called estef (yes, that’s all lowercase). She is unlike any other artist I know right now. Her songs are so utterly soulful. We also wrote Too Good off of the E.P. together! Another awesome artist is my friend Ashley Leone. She’s a fantastic Pop artist who writes some of the catchiest hooks I’ve heard. We also wrote Covers Me off the E.P. together!

PHOTO CREDIT: Mark Wilson

2016 has been a busy one for you but 2017 is not far away. What plans have you got for the year ahead?

As I said, I am so excited to come spend the spring in London and hopefully do a fair bit of traveling around Europe during my time there!

Music-wise, I want to do my best to share my E.P. with as many listeners and I can as well as continue writing! I would love to possibly collaborate with writers and musicians in London while I’m there. Other than that, I am very happy to just let life happen and do my very best at everything I do along the way.

Music can be a challenging and exhausting career. How do you like to spend your downtime or does music tend to consume most of your time?

Well, I am a full-time student at Belmont University in Nashville right now. So, I take classes and everything that comes along with being a student. But, really, I am so thankful to be here. Majoring in Music Business, I have learned so much about the music industry and I feel very prepared to face a career. I’ve also met so many wonderful and talented and kind people here and made some of my very best friends. Outside of school and music, I love going on hikes (my favourite around here is Radnor Lake), I love watching The Office (the American one, sorry…); I adore thrift shopping and I have the best time going to concerts around town. The most recent concert I went to was LANY at Mercy Lounge. They were unreal.

Is there any advice you’d like to offer any upcoming musicians looking to follow in your footsteps?

Well, first off, I would be completely honoured if anyone thought that I was worth following.

I suppose the biggest piece of advice I would give is to always, always be authentic - people can smell insincerity from a mile away.

The best songs come from moments of utter truth and honesty.

Finally, and for being a good sport, you can select any song you like (not yours as I’ll include that) and I’ll play it here.

Any time is a great time for some Stevie Nicks. Let’s listen to Dreams by Fleetwood Mac.

[youtube https://www.youtube.com/watch?v=JJ9EDUClEyo&w=560&h=315]

_____________________

Follow Taylor Noelle

 

Facebook:

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

Twitter:

https://twitter.com/tay__noelle

Instagram:

https://www.instagram.com/taylornoelle/

SoundCloud:

https://soundcloud.com/taylor-noelle-music

YouTube:

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

TRACK REVIEW: Next State - This Kind of Love

TRACK REVIEW:

 

Next State

 

 

This Kind of Love

9.6/10

This Kind of Love is available at:

https://www.youtube.com/watch?v=r1wJ57_efK8

RELEASED: 15^th November, 2016

GENRES: Electronic; Dance; EDM; House

ORIGIN:

Surrey, U.K.

_________________________

IT is not often I get to review music that has its heart in...

House and Dance avenues. Most of my reviews (with some exceptions) revolve around artists who make sounds for the mainstream - aiming to get their music featured on this country’s most popular stations. That might be an over-simplification; it is just nice to focus on an artist who is making his first moves; creating songs destined for (the nation’s) clubs and dancefloors - someone who brings together elements of modern Dance/House with old-skool R&B/Hip-Hop flavours. The dominion and confidence he gives the music (more on that later) is impressive from someone this young. Before I get to my featured artist, it is worth at the realities/construction of music today; how producers/studio owners are helping young artists - the evolving and changing face of Dance/House music. Those who do not make music - consumers and the public in general - often scoff at the complaints of musicians. Disbelieving how hard it is and the sheer effort required to make a song. I think we assume musicians have an endless flow of cash and resources: simply rock up into a studio and slam the money down; a few hours later: their latest smash is born. The reality and truth is a lot more detailed, harsh and eye-opening. One of the reasons so many musicians call time, or are overcome with doubts and anxieties, is the sheer effort and cost required to record music. Those who have passion and determination will plug regardless: finding ways to fulfil their dreams and fund their music. More and more people are both embracing technology and shunning it - finding a balance to ensure their creations are cost-effective and obtainable. In previous reviews, I have lauded D.I.Y. artists who produce music via iPads (other tablets are available!) and other such forms of technology. Purists might call it ‘cheating’ (forsaking real instruments) but technology is making music more accessible and affordable. Whether seeking a true beat; looking for compositional inspiration: modern technology is a very useful asset for new musicians. I am always fascinated dissecting music and learning how songs are created: de-compartmentalising its organism and rebuilding it, piece-by-piece. Knowing Next State’s creator, and how he coalesces and builds his music, it is a pertinent case study. Whether lyrical or musical: that initial germ of creative arrives; the spark that sets the song in motion. New-born, whether named or as-yet-untitled, the wheels start rolling. Getting the composition built, whatever genre you play in, tablets and laptops are an invaluable tool for sound effects and instruments; helping build an aural collage and offering the songwriter near-limitless possibilities and options. Whether using technology or keeping it pure: the artist can tinker and modify the score as they go along. Before long, the lyrics start to flow. It might start as a concept (a passionate love song or a hard-hitting put-down; whatever is in mind) and gets bigger and more life-like - eventually fusing with the composition. After that, the vocal is built on top: thus, a song is born.

It might seem like an axiomatic description: the sheer effort and reality of producing each layer of a song can be arduous and challenging. Next State is someone to watch very closely. Whether recording a sound effect for a track, often involving traditional, lo-fi forms of resonance; he is a musician that is always working and pushing himself; ensuring his music is the best it can be. I have followed his career and gained a closer, more direct insight into the songwriting process - something that has helped and educated me as a reviewer. The sheer dedication and talent required to make a song - some might (foolhardily) think basic and elemental - is astonishing. Before I carry on this point, and, invariably, raise a fresh one, let me introduce Next State to you:

“DJ, Producer and Artist originally from East Sussex now living and working in the Guildford area. Currently studying Electronic Music Production and building on my music career.

Inspirations for my music come from my time living abroad within the Spanish Islands and gaining my love for House music in Ibiza”.

On paper, it may seem like Next State has been living the dream. The envy of many: he has lived in Spain and ensconced himself in the club culture and 18-30 lifestyle; mingling with contemporaries and basking in the clement, sun-soaked atmosphere. Having studied at the Academy of Contemporary Music - after moving from East Sussex - he has put his all into the pursuit of music and songwriting. Someone who is deeply passionate about Electronic/House music, Next State is studying to gain a better insight the genres. Out of this drive and study comes new music in the form of This Kind of Love. Although he is in the infancy - laying down his first tracks; getting a feel for the market - his experience and intuition are making impressions. This Kind of Love is a song that will take Next State to the masses: destined to collect radio-play and focus; translate to the club floors and busy bars. A utilitarian, across-the-borders song, it is representative of the modern-day Dance/House artist. Before getting to Next State’s latest track, having a look at the back catalogue, too, I wanted to touch on House and Dance: how it has changed and developed through the years.

Being born in the ’80s - I won’t reveal the year; lest I reveal my true fuddy-duddy-ness - I grew up listening to the forerunners of the ‘90s Dance scene. When I was hitting school; Soul II Soul’s peerless Club Classics Vol. One was released (in 1988). At a time American Urban bands were cloning predictable sources: Soul II Soul provided a creative, cross-genre alternative. Blending Soul, African influences and Hip-Hop together: the likes of Chic can be heard in the album. Backed by Caron Wheeler’s expressive, soulful voice: tracks like Keep on Movin’ and Back to Life (However Do You Want Me) - featured on the re-release rather than the original - brought British Dance to the forefront. In Europe, early-‘90s acts like Deee-Lite made their mark. 1990’s World Clique remains one of the most kaleidoscopic, fun and influential albums of that period. Even from the late-‘80s/early-‘90s, Europe was not only leading Dance/House direction - they were fusing styles and vocalists to create a rich and multi-cultural sound. Next State is an ancestor of the earliest incarnations: the music (of Next State) nods to Hip-Hop/House of the ‘80s/’90s; evokes shades of those masters. As the ‘90s swung into view, Dance music hit its zenith - a Parnassus that has yet to be bested. Spin-Gods Fatboy Slim came into music with a bang. The Big-Beats majesty of You’ve Come a Long Way, Baby boasted turns, imagination and huge beats - catchy bangers and modern anthems. Rivalling the best of the genre, The Chemical Brothers’ Dig Your Own Hole was a like-minded, seminal album, Big Beats-Dance-House crossovers were becoming more popularised and defined - without becoming gentrified and distilled. In the swirl of 1990s productivity, when music hit is peak, The Prodigy offered a sweatier, sharper and more acid-laced (psychotropic and dark) form of music. Music for the Jilted Generation, the band’s 1994 masterpiece, slammed hard and heavier. Helmed by super-producer Liam Howlett, the L.P. was a terrorist-bomb of Rave/Acid-House attack. Break-Beat magic and viper-bite slams (songs that rattled around the head for weeks). All of this D.N.A. and heritage can be heard in Next State’s lineage - music that would evolve into the late-‘90s/today.

One-off/lesser-heard purveyors Darude (and their epic hit, Sandstorm), Spiller (Groovejet (If This Ain’t Love) and Kinobe (Slip into Something More Comfortable) - in very different ways - showed the flexibility and malleability of House/Dance music. ATB (9 PM- Till I Come especially), Groove Armada and Orbital (among others) made their mark. Throw it ahead to today: acts like Flume, Disclosure; Sigala and Rudimental have updated and enhanced the genres; giving the music juvenile abandon with plenty of focus and nuance. Whilst it lacks the across-the-generations genius and timelessness: it is more urgent and edgy- aimed at a generation who demand (club music) with consumable ease and instantaneousness. Next State is an act who have grown up listening and House and Dance; how it started and progressed; utilising other genres- how progressive and diverse the genres are becoming. He is someone who dips into Hip-Hop/R&B - the smoothness and sensuality of the later; the raw edges of the former - transforming into something multi-layered, uplifting and intelligent. Given the way House, Dance and Deep-House have changed, I am surprised there is such focus, consistency and quality among its makers. Next State has plenty more coming and will have one eye on the clubs of Ibiza; but he is not rushing - making sure the music he puts out is of the highest order.

In order to get an assessment of Next State’s development; it is pertinent investigating the chronology- seeing how the new music (For You) stacks up against older recordings. A year ago; Next State released his first couple of singles. Collaborating with Alec Mugnaini, You Make Me has desire and passion on its sleeve: sentiments and intentions that leave little room for imagination. Right from the offset you get cutting vocals: snippety and fragmented to create a nervy, juddering energy and pulsating percussion. The vocal refrain hovers and echoes: like a thought that keeps nagging the mind; an obsession that gets into the brain and will not desist. Befitting of the song’s subject matter: that chorus/coda prods; hunts and questions; seeks a sense of closure (if that is even a possibility in any situation) and satisfaction. The purging, curious electronic core - when fused with the hissing percussion - soon opens up and kicks up a stage. When the piano comes in; one gets the first taste of the classical-contemporary seduction. A proprietary blend that seems to take your mind to the club floors of the ‘90s - I was instantly transported to a time when Black Box ruled the scene. That evocative piano line is replaced with a rambunctious and swaggering electronic shout: it lifts the track up and brings the composition to the ceiling. The chorus is instant and effective.

It is kept simple to ensure it can be easily extrapolated by the club masses. A song that is comfortable in the local nightclubs and beach-side tavernas - able to unite the late-night revellers and sunshine-seeking sea-dwellers. The insightful music listener detects so many details, colours and emotions. Next State expended a lot of time (clearly) making sure the composition is not too one-minded and basic - yet never too cluttered and busy to speak to everyone. Upon first listen, You Make Me has anthemic stature and gets the body moving. Keeping the vocal simple (if heady); it is a hugely effective and galvanising song. Sophisticated, luminous pianos have romantic tenderness; juxtaposed against the raw and sweaty foreground, it is a song that is deeper and more complex than one would imagine. It is the dichotomies, contradictions and imbalances that make the song a triumph: an accomplished and peremptory release from someone making their first moves into music.

My Love solidifies Next State’s inimitable concoction of classic Dance/House with of-the-minute effects. Once more, and perhaps a subconscious nod, there are elements of Ride on Time - Black Box’s peerless club filler. Backed by air raid siren swirl and a distinct tightness: anxiety and accelerating heartbeats rule the early stages. That close-to-total-explosion suffocation demure, briefly before pummeling forward - a noble charge that is impervious to sanity and discipline. The need for satisfaction - giving into temptation - is palpable and undeniable. Another huge, effective chorus: a hallmark of Next State’s first two singles means it is another for-the-masses banger. It appears, as the song’s heroine lets her voice rise, there’s imbalance and injustices in love; the need for détente and resolution. The heart is going through the game; it needs to escape: obliqueness and mystery sitswith (one first imagines) simple confession. Bringing ‘80s/’90s House alongside 2010s Deep-House/Trance: R&B-cum-Soul sprinklings give My Love a rich flavor and sumptuous bouquet. Staunch, imperious electronics do not stifle the vocals. It is a perfect canvas to allow the lyrics to spring to life; paint wonderful, big-as-life pictures. Keeping the beat intense and focused: the vocal’s fluidity and lustrousness beings the instrumentation strands together; giving My Love fresh nuance and depth. Familiar, critically-approved lyrical themes - romance and desire are staples that have made music what it is - make My Love’s distinct personality and sound ubiquitous and impossible to dislike. There is no insouciance or disregard: just passion, urgency and spine-tingling moments a-plenty.

Over the first two singles, when you link it to This Kind of Love, you can see consistency in addition to progression. Exceptional producing and values mean the songs burst and explode with life. They are never too intense or lacking focus: a perfect balance that makes every note and line essential and addictive. This Kind of Love is (in my view) Next State’s finest release. A song that builds from the first singles - and that exceptional gauntlet laid down - and ups the confidence and quality to new highs. Given how indelible and thrilling the songs are; there is a lot of control, focus and attention to detail; heuristic guidance and poise. You Make Me, My Love and This Kind of Love can be seen as a trilogy, in essence. The songs’ titles are economical: they let you know exactly what the song contains; what its mission statement is. You Make Me and My Love, when sitting together, look at impassioned pleas and inner turmoil; a blend of emotions that (in lesser hands) would be clumsy and pedestrian. Next State’s expertise and talents make each song sound exceptional. Given the rise and steps forward - each new song showcasing an artist really hitting its stride - it all bodes well for the future. Three singles are under the belt: they would make a wonderful; winter-ready E.P. Whether Next State has plans for a quick release, or is thinking about an E.P. further down the tracks, he has three stunning songs at his disposal. This Kind of Love is his latest, and most astonishing, release to date.

Knowing Next State’s previous work, and having expectations already cemented, I was pleasantly subverted and surprised. The initial seconds of the track find the music come in hard and passionate. Fuzzed, vibrating electronic pulses give the song vintage charm but keep it in the present. I have opinioned Next State tying ‘90s Dance classics with current energy – that is all firm and present within the first few seconds. Never too hard and aggressive; never slight and generic – just the right mixture to get the voice primed and the body involved. The female vocalist – not sure who performs on the track – has a perfect voice to back the composition. Again, you get embers of bygone club classics: a song that is rooted in 2016 but harks back to the finer days of Dance and Trance. There is a romanticism and subtlety but plenty of power coming through in the voice. Rather than gravitate to the crotch and loins: there more tenderness; imbued with fire and panache. The power vocal mandates the sweetheart give her his love. I am not sure what has propelled this demand to the fore – perhaps a general hunger or inattentive lover. One imagines a sweaty, enraptured couple working on the dancefloor; powerless and empowered by rare love. The song’s title implies something singular and special: an unbroken love that is causing all manner of trembling and lust. The heroine rides the electronic wave with aplomb: navigating its complexities and style with a performance that blends class with an unfettered desire for satisfaction. This romance is heating and inflamed. You get a real sense of physicality and directness with the composition and vocal. In the back, the temperature rises and more emotions come into play. Next State keeps things energised and exciting but weaves some complex shades and strands into the song. Nuance and depth linger within a raw coda – one that supports a beautiful and sweeping vocal. Most vocal collaborators that work on songs like this are either too overpowering or samey. Here, you get a range of different colours and possibilities. Such an interesting and wide-ranging voice that has the potential to work across other genres and with other artists.

As the song progresses, the rhythm kicks up and you feel something pressing working in the undergrowth. Vocally, there is the repetition of the song’s title. It seems like this kind of love – both unique and relatable – doesn’t come for free. Maybe the guy has to work for things and not just assume it will come to him. Showing determination, resolve and dignity: the heroine keeps her mindset and will not surrender easily. In the opening lines, there was that need (for the man) to succumb and give in to the passion – the opinion and motivation might have changed. Whilst it is important this love keeps burning: it cannot be achieved cheaply and is not something that is short-term. The girl wants this thing to last – despite the allure and electricity in the voice – and wants respect paid. Before you get too engrossed in the track: the composition ramps right up before unveiling its full spectrum of colours and ideas. Like a spring uncoiled: you witness explosion, dance and hypnotic sway. It is hard to define and decompose the sounds and possibilities of that moment – something very primal, exciting and pure. Sometimes the vocal does lose a little decipherability – a few of the lyrics get weighed under the composition – and might have favoured being placed higher in the mix. It is hard balancing the two elements and ensuring both get a proper airing. I find, if the the vocal were a little higher and clear it would not distill the composition but add to the emotion and energy. That said, and by having the voice placed where it is, you get a sense of desperation and hurt – a voice that is fighting to be heard and determined to make it prescience know. Whether a deliberate decision by Next State; it works well and you are always gripped by the words and the song’s progression. Like a lot of memorable Dance songs: This Kind of Love is built around simplicity and repetition. Whilst the composition has detail and the vocal multi-layered – the words are repeated and ensure they burrow into the brain. It is the simplicity of the directive – wanting love and succumbing to the moment – that drives the song and will resonate with people. Not just reserved to 18-30 club-goers or acolytes of the genres – a mandate that will cross boundaries and strike a chord with many.

The composition gets sturdier and edgier; the electronics sharpen and plink; the voice starts to rise and float in the atmosphere. There is a funkiness that comes into This Kind of Love. As the chorus rises and you feel yourself enveloped in the song’s heat and lust – you pay attention and notice all the little details unfolding. If the lyrics are pragmatic, dogmatic and forthright: the vocal twists and mutates the words; providing so much atmosphere, hope and desire. Captivating as the vocals are; you are always hooked into the composition and what is happening there. Some jumpy, funky hops sit with fizzing, Molotov electronics and groove-laden, sweet-leaf undercurrent. The compositional representation of love and sexuality – Next State has created a song that fuses clear passion with something more complicated and deep. The song could easily have ranked alongside the prices of the 1990s: those classics that got the floors jumping and remain classics to this day. What you do notice – between the ‘90s gems and This Kind of Love – is modern production and newer technology. Never polished or too precise – you can hear the accomplished producing and the technological elements that make the song as epic and layered as it is. Towards the final stages, that chorus keeps coming back while the background grows more heady and immersive.

Blending the warp and precise electronic elements of songs like Don’t Give Me Your Life (Alex Party Classic Mix) by Alex Party; the shady and city-lights rush of the current titans of House/Dance – one gets a generational commingling that works wonderfully. Kudos has to go to the vocal performance – I shall find the name out! – and what it delivers. Not just a female voice to score a track (as you get with many tracks) it adds so much and almost steals the show. It is impossible to refute the sensuality, power and desire that drips from every syllable – a veritable tongue-tying voice that ensures the words explode with desire and heat. Next State, as opposed to his earlier cuts, has really grown into his own skin and is beholden to nobody. Perhaps earlier songs had some influences on sleeves but here he has really blossomed out of his chrysalis. Perhaps it is his studies and musical education; working with the likes of Mania – or something else – but it is clear Next State is making some impressive steps. This Kind of Love is not just a fantastic track but surely gives its creator the confidence to get back into the studio. I hear the song as an opening track: maybe a three/four-track E.P. that explores different sides and stories of love in the modern age? Love and relations are key themes for Next State but he gives (the tired and over-represented) subject fresh insight and distinct personality. Let’s hope he can exploit this in a forthcoming release. I, for one, would love to see Next State more from the young talent.

I have waxed lyrical about Next State and This Kind of Love. The first real and personal statement from the Surrey-based artist – it is one that is ready-made for radio but universal enough to introduce new listeners to the genres (Deep-House and House). That is the mark of a great song/artist: someone who does not make music for a distinct sect; casts their horizons to a larger audience - involves everyone and brings people together. This Kind of Love is a glimpse into Next State’s future machinations. There are likely to be more songs but Next State has worked hard and overcome a lot. Despite some setbacks and creative delays: he is very much here now and establishing himself as one of the freshest and most distinct producers/writers around. Adding new zest, energy and emotion to House/Electronic genres – he is someone you need to keep your eyes on. Here is an artist on the cusp of his potential: growing, learning and searching as he makes his creations known. I know there are plans for an E.P. down the line. Next State wants to release singles first: gauge the mood and prepare his next move. He enters the market at a perfect time. There is a lot of fatigue and shoulder-shrugging towards the mainstream. Fairly recently, artists like Jake Bugg - a self-proclaimed originator and generational voice - produced a rather lacklustre album. Negating co-writers/producers: his self-tuned album, On My One, was met with derisory feedback and below-par reviews. Bugg claims anyone can get a number one album these days: such is the nature of modern music. A few thousand sales can get an album to the top spot. Among the jewels of 2016 - I have mentioned them enough not to reintroduce them - there are plenty of rough diamonds and dodgy forgeries. Away from the stolid and dull sounds of Pop - Adele and Coldplay’s current albums were hardly the most fascinating - listeners are going elsewhere; exploring new genres - something harder, bigger and bolder. I mentioned the likes of Sigala and Disclosure: there are plenty of club-filling, arms-in-the-air merchants- providing an interesting alternative to the drudge of Pop.

As Next State proves, with This Kind of Love a perfect example, technology and old-fashioned inspiration can come together in new, beautiful ways. Even those who do not know/love the genres will be able to bond and connect with the music. It brings optimism, fever and electricity: anyone in a bad mood can be lifted; imbued with such energy, drama and depth. It is not a straight-ahead, bare-knuckled House track- from artists that lack real quality and egalitarian consideration - but something deep, detailed and emotional. You can hear and feel the conviction coming through - that will resound with crowds and get inside the veins; ensure bodies and jumping and voices are singing. On that subject, where Next State will take the music, there exists a real opportunity. His knowledge of club demands - enforced by his time in Spain - together with his music education and expertise sets him in good stead. Music-making is not the only thing on Next State’s agenda. Right now, and available on Kane 103.7F.M., he is working alongside Mania - bringing their knowledge and passion for Dance/House music together; well worth some investigation and time. I am not sure whether self-promotion is allowed - sneak a bit of Next State in there on the odd occasion - but that D.J. experience will only drive and enforce his creativity and determination. Seeing where he can go - playing established artists who are making waves - gives that surge of inspiration and clarity.

This Kind of Love is a big step from a young artist who shows bags of heart, promise and ability. It is an assured statement from Next State. So much music today lacks the necessary components to linger in the mind: compel the listener and change their views on music. I have been a slight dilettante when it comes to genres (and sub-genres) like Deep-House and R&B - not really pushing beyond my comfort zone; reluctant to dip my toes in the water. Next State has compelled me to dig deep: not only check his music out; look at like-minded peers and what they are producing. He should be ordering business cards and getting photos lined-up; keep busy with radio and look to the future. He is someone who has definite goals; a musician that wants to remain on the scene for a lot long. As musical aftertastes go, This Kind of Love is a pretty heady one. The nights are closing in and the (typically capricious) British weather is anything but pleasant. Anyone want their spirits raised and the blood boiling; the soul invigorated and the smile put on their face? Let me tell you, I know a man…

WHO has the solution.

[youtube https://www.youtube.com/watch?v=r1wJ57_efK8&w=560&h=315]

_______________________

Follow Next State

 

Facebook:

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

Twitter:

https://twitter.com/NextState_

SoundCloud:

https://soundcloud.com/nextstateofficial

YouTube:

https://www.youtube.com/channel/UCR3POaaA67vLc9J2bBA9fPg 

INTERVIEW: Boston Building

INTERVIEW:

  

Boston Building

____________________

TONIGHT, the world of music rejoices following the news of…

Fabric reopening its doors – after a last-minute appeal saved the much-adored venue. It is a major step forward and relief for London’s (dwindling) live scene. I have been worried about the country's musicians since Fabric’s ‘closure’ – luckily, the party can be begin and lessons can be learned. Boston Building is a tantilising, stunning artist based in the capital and someone who has released two fantastic songs in the past couple of weeks – Rule the World and Feels Like Gold. The former has been highlighted and celebrated by Metro and gaining a lot of love. Boston Building’s latest E.P., Feels Like Gold, was written quickly and captures the emotions and intensities in life; covering so many different emotions and possibilities. I talk to James – the man behind Boston Building – about his new material and the inspiration for Rule the World; what the E.P. recording process was like and the main differences between Glasgow (where he was raised) and London.

______________________

Hello. How are you? How has your week been?

Great, thanks.

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

My name is James. Boston Building is an alter-ego under which I’ve released some songs; co-written with some amazing friends and collaborators.

[youtube https://www.youtube.com/watch?v=W4FSnFUwC6s&w=560&h=315]

Rule the World is your latest single. What can you tell us about the sounds and inspirations?

It’s an uplifting sort of track. I was inspired by some good weather, but it’s cold now.

The title gets me thinking about the recent victory of Donald Trump and the happenings across the U.S. What are your views on what has been unfolding there?

I suppose all sorts of people want to rule the world. It’s not just Donald Trump. I hope he’ll calm down a bit now.

Rule the World mixes Dance and Electronic music; it pairs untraditional sounds with abstract noises. Your music is very flexible and diverse. Do you think Dance music has become too predictable and rigid or is it a genre still capable of surprising and confounding?

It’s absolutely capable of surprising and confusing. It has so many diverse subgenres and original stuff comes out all the time.

But it’s good to remember Dance music’s original purpose which is the background to dancing and having a great time. On one level, that’s all it needs to do.

Some tunes can get people up on the dancefloor predictably every single time - which is the best sort of predictable.

Can you tell me about your influences and upbringing? What types of music were you raised on and influenced by as a youngster?

As a teenager, all I listened to was Classic Rock: Beatles, Bowie; Hendrix, Zeppelin and Queen. My tastes have now expanded massively but it was a great starting-point.

[soundcloud url="https://api.soundcloud.com/tracks/292368870" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Are there any new artists that have particularly caught your ear?

There’s a lady called Chiara Hunter coming out of London who I definitely rate as one for the future.

The incredible vocalists I’m working with on Boston Building as well – Captain Backfire, Iago; Craig Webb, Charlotte Austen and Lux Lisbon.

Feels Like Gold is the latest E.P. Can you give me a little insight into the subjects that influenced the songs and what it was like writing?

I wrote it quickly. I’m trying to do things more quickly at the moment as it can keep things fresh and not overwrought. Two of the songs are lighthearted and one deals with adversity. I guess that gives you an idea of how I was feeling at the time.

Iago collaborates on vocal duties throughout the E.P. How did you two meet and what was the working relationship like?

We met through his girlfriend, Lorin - who is also an up-and-coming vocalist. Great working relationship; very easy sessions.

When he talks he’s got a full-on Welsh accent: then he sings and it sounds like Michael Jackson.

ARTWORK: Sprankenstein PHOTOGRAPHY: Maximilian Hetherington Photography

You are collaborating with a few different people on the E.P. Can you tell us about the artists you have worked with and who was the most memorable?

Most memorable is this guy Captain Backfire. Every session he’s up in my grill the whole time trying to throw me off with his rubbish jokes - he’s like an annoying little brother.  It’s just his nature. It’s funny, though; we have a good laugh.

Feels Like Gold follows from your debut (in March) and you have already been lauded by some of the biggest tastemakers in the country. How has this year been and what have been your highlights?

Incredible year. This project started off in a modest way: just to put down some songs that I had in my head along with some songs that others brought to the table. The reaction has been massive and pretty instant so I’m focusing more attention on it now.

You draw inspiration from producers like Mark Ronson and Paul Epworth. What is it about those guys that really speak to you?

Mostly that they are strong songwriters first and great producers second. They write in several genres but their songs hang together as a body of work. I really respect that.

ARTWORK: Sprankenstei PHOTOGRAPHY: Maximilian Hetherington Photography

I know you were raised in Glasgow but reside in Deptford. What is the main difference between the two places in terms of the music scene?

London is the centre of music in the U.K. so it’s got everything. Glasgow’s scene is pretty vibrant for a few types of music.

It certainly punches above its weight - so there were plenty of gigs to go to as a teenager.

London seems like a city readymade for you. What has it been like living in the city and, with the closure of so many music venues, do you feel like there are fewer opportunities to be heard?

I know venues have been closed, but actually, you can put on a gig anywhere if you organise it yourself - so there’s still opportunities. I think bands should do that more and not rely on promoters.  It’s a lot of work but not as hard as people make out.

If you had to select the three albums that have meant the most to you: what would they be and why do they resonate so?

Too hard – there’s about twenty albums I’d have to put.

Looking into 2017: what are your plans and aims as a musician?

Just write and release as many songs as possible.

Christmas is coming up shortly. Are you having some downtime? What are your plans for this Christmas?

Yeah. I’ll take a week back in Glasgow. It’ll be freezing.

Could you provide any inspiration or advice for new musicians coming through?

Concentrate on writing songs rather than other distractions.

If you have a decent song people will like your act.

Finally, and for being a good sport, you can select any song you wish (not yours as I’ll include that) and I’ll play it here.

Diana Ross – I’m Still Waiting

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

___________________

Follow Boston Building

 

ARTWORK: Sprankenstei PHOTOGRAPHY: Maximilian Hetherington Photography

Facebook:

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

Twitter:

https://twitter.com/bostonbuilding

SoundCloud:

https://soundcloud.com/bostonbuilding

YouTube:

https://www.youtube.com/channel/UCWoxqX5t6U40ISqLPRU4cbg

INTERVIEW: Bree Taylor

INTERVIEW:

 

 

Bree Taylor

_________________________

IT is an established fact – by me at least – that Canada is one of the most…

undervalued and underappreciated areas for music in the world. One hardly hears the nation promoted and heralded as much as the U.S. and U.K. That is a shame because Canada is teeming with sensational, bright musicians who have that sound and personality nobody else possesses. In the course of the last few years, I have featured many Canadian artists so was excited to know more about Bree Taylor. She is recording her debut E.P. in L.A. (but was born in Canada). Broken Dreams is the new single and documents a relationship break-up – one where she did nothing wrong. In addition to learning more of that song; Taylor talks about Canadian music and hopes for 2017; artists we should check out and the importance of YouTube to her – and many artists out there.

_____________________

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

I’m great! My week has been busy - as it usually is. I like to keep myself busy with projects. I am always working on something music or YouTube-related and this week is no different -  but I love it!

For those fresh to your work: can you introduce yourself, please?

I’m a Pop singer from Toronto, Canada. Songwriting is my passion, my therapy - without it, I don’t know where I’d be. Music keeps me breathing. I write honest, real lyrics and about things that are close to my heart and I think that’s what makes my music so relatable.

[youtube https://www.youtube.com/watch?v=LSPk-mW3l2k&w=560&h=315]

Broken Dreams is your latest single. What can you tell us about the inspirations and influences behind the lyrics?

Broken Dreams was inspired by a breakup I went through where a guy I dated; didn’t know what he wanted so he broke up with me in a text message.

Nothing was wrong in the relationship: it just ended suddenly and abruptly and resulted in heartbreak - as all broken relationships do. As an artist, I turned to music and writing and poured all my emotions into a song; that’s how Broken Dreams came to be. The lyrics came from my heart and the raw emotions I was going through during the healing process of the breakup - which is why I think the song is so relatable. He just let what we had go with no real reason or explanation: all his promises were broken; everything he said turned into lies and all I was left with were memories and broken dreams of a relationship - that ended before it really got started (which I think came across really well visually in the music video).

The video is quite steamy and memorable. Are videos something that better help visualise your music? How important are they to you as an artist?

Thank you! YES! I am an extremely visual person and I love powerful imagery, especially lyrically and video is such a great form of expression. Visualisation is so powerful in all areas of life; musically I turn to visualisation to create music. I usually get inspired and close my eyes and visualise and hear the song in my head and it all starts to flow. I have always been obsessed with music videos because it combined my two favourite things - music and acting. I think music videos are such great entertainment and you get to see the songs come to life!

You are a Canadian-based musician. Canada is a nation that gets overlooked – it has a huge amount of wonderful artists. What is it like performing in Canada? Are there a lot of chances for young artists to get exposure?

Canada is such an amazing country. We have so much incredible talent here and hopefully the world gets to hear and experience more of us!

Live music in Canada is awesome - there are so many places to catch live music and for artists to get the opportunity to perform - whether it’s local pubs/bars or club venues. There are a lot of Open Mic nights in cities all over the GTA that are great ways for artists to practise and be heard and reach new audiences.

Which Canadian artists do you think we should keep our eyes out for?

I recently found Olivia Penalva on ReverbNation and love her sound! Her song, Skyline, is very catchy and I think she is definitely someone to look out for. I also love the Canadian Country music scene and think Madeline Merlo is incredibly talented. I love her honest lyrics and powerful voice - her song, War Paint, is my jam!

Your lyrics are very powerful and honest. Which musicians were you brought up listening to? Which songwriters are you currently inspired by?

Thank you so much. I am so glad you hear that in my lyrics - I try to be open and honest in all areas of my life, especially in my music. I think my music is the most personal I get and I definitely relate that to growing up listening to such a diverse group of artists/bands. I would listen to my dad’s old albums: Stevie Nicks, Eagles; Elton John, Aerosmith; Fleetwood Mac etc. I also grew up listening to the following: Bryan Adams, Shania Twain; Amanda Marshall, Michelle Branch; Gwen Stefani, Christina Aguilera; Alanis Morissette…the list goes on! I listened to everything from Classic Rock, Pop; Punk, Country - I even had a Hard Rock/Metal phase.

My musical tastes haven’t changed much. I still love all those same artists and listen to various genres. Some artists I am loving and am inspired by right now: Jonas Blue, Daya; Birdy, Charlie Puth; Zara Larsson, Tove Lo; I LOVE Halsey - she is so talented.

Away from music, you have a YouTube beauty channel and have a popular book review series (Books with Bree). What is it like balancing those disparate interests? What compelled you to start both projects and what has the reaction been like online?

I have always been a singer-songwriter - and that has been my dream since I was a little girl - but I have also had a passion for literature and beauty. I got involved in YouTube several years ago: started posting videos about things I loved or was inspired by and things just took off from there. It’s kind of been the opposite in that my viewers were used to me posting about beauty/books and have over the past couple years become insanely supportive of my music - as I have begun pursuing it full-time.

YouTube has been a great outlet for me creatively but balancing it with everything else has definitely been a challenge. I try to post a new video every week if I can and would love to do more - but balancing everything in my life makes that difficult.

I love what I do though so it’s always fun interacting and connecting with my viewers on a more personal level (is a huge highlight).

How do literature and beauty connect with your music? Does great literature and self-expression feature prominently in your music?

I think literature has always inspired me musically in that it’s helped me find my voice in being able to tell a story with my music. I always had my head in books growing up and loved writing so it’s helped me grow lyrically with my music for sure! I am a huge lyric person - I connect emotionally through the written word and lyrics can be so powerful.

Looking at your biography, you come across very accessible and charming - a little klutzy at times (dropping the mic. After a performance) with your partner-in-crime (the dog), Aria. A lot of modern artists are rather stale, P.R.-driven and fake. Do you think the fact you are so down-to-earth and fascinating helps people connect with what you do?

O.M.G. yes! (I don’t actually drop the mic after performing - that’s an inside joke with a friend who wrote my facts on my website). However, I do believe that my down-to-earth personality shows that I am very real and relatable and definitely helps people connect with me and what I am doing as an entertainer.

I’m just me. What you see is what you get. I have always been very open and honest with my viewers on YouTube and with people in my daily life - which is what makes me very approachable and trustworthy.

I think that comes across in my music and performances and definitely in my content on my YouTube channel. I love sharing my experiences with people in order to not only express myself but to connect with other people. My goal has always been to reach as many people as possible through my music and to be able to help someone through whatever they may be going through in their lives.

I see you have a diploma in P.R/social media – that is quite fascinating. Does that help you with regards to your various videos and music? Do you take care of your own P.R or would be interested in representing others?

I did go to school and graduated three years ago. I got a Degree (B.A.) in Media Studies and Diploma in Media Communications - specialising in P.R. It has definitely helped a lot in terms of managing my own career and publicity for my music and my YouTube channel - which was my motivating factor in choosing my program and specialisation in university. The skills I learned have helped me better understand the industry and the tools/skills needed/necessary in order to succeed and thrive in this digital age - which has been a valuable asset to me as an entertainer and social media influencer. In terms of representing others, I honestly don’t have the time.

Covering my own career is a full-time job in itself and I don’t dedicate or have as much time as I would like to get as much as I want done. Representing anyone else would just cause me to neglect my own career. I do give advice to friends who are aspiring artists and make YouTube advice videos on occasion as well. I highly recommend other artists educate themselves as much as possible in order to help themselves manage their careers and understand the industry they are getting into.

Back to your music . Broken Dreams feels like it could be the start of an E.P. are there plans for more music next year?

YES! I spent last year recording/producing the start of my E.P. (including Broken Dreams) out in Los Angeles, California and plan on releasing more music in 2017. I will definitely have my E.P. out in the New Year - date to be announced.

I am hoping to get a couple more tracks done to add to my repertoire so I have been writing a lot and trying to decide on what will best suit the E.P. - to go with what I already have done.

I will be posting updates on my website and social media pages. I am obsessed with Snapchat so that’s my daily method of connecting with/updating everyone on the goings on.

I can imagine you’d go over a storm in the U.K. Have you ever played here or have plans to do so in the future?

Thank you! That is so great to hear! I would LOVE to perform in the U.K. I currently don’t have any plans to visit or perform out there but if the opportunity came up I wouldn’t hesitate, that’s for sure.

Looking ahead to the coming year: what do you hope to achieve as a musician and YouTuber?

Well...

So far I am really happy with how well Broken Dreams has been received and am glad everyone is loving it.

In the upcoming year, I definitely want to release my E.P. and start performing my new music. I would love to start hearing my songs on local radio too - Broken Dreams just played on a radio station in a town called Peterborough recently; that was so exciting!

I also LOVE writing and recording/producing so I plan to work on new music this upcoming year as well. I also want to film another music video for one of my songs that will be on my E.P. - I love being in front of the camera; acting and working with a team. I would love to grow my audience on my YouTube channel and post more exciting content (to connect and interact with my viewers). I pretty much just want to continue doing what I love and be able to do more of it full-time and dedicate more time to everything.

Christmas is coming up. How will you be spending it and what is top of your present list?

I will be spending Christmas with my family. Family is so important and mine has been so incredibly supportive of me and my dreams. I have a big family and we are all very close so I spread my time out between everyone - especially during the holidays.

I don’t really have anything I want for Christmas. I currently have everything I could wish and hope for - my health, my family and friends; my music. All I want is for everyone I love’s health and happiness and to continue to have the opportunity do what I love - which is to make music, entertain and create content people love to watch on my YouTube channel - www.youtube.com/c/breetaylor. If I HAD to pick something I guess it would be to get everyone reading this to subscribe to my channel ;)

Is there any advice you’d like to offer any upcoming musicians looking to follow in your footsteps?

My advice is to believe in yourself and keep going no matter what anyone thinks or tells you - or what that voice of doubt in the back of your head might say. If this is truly your dream and you want it more than anything - don’t give up.

Perseverance and a positive attitude are key. Don’t let anyone deter you from your dream, not even yourself.

This is a long and hard journey but it is worth it if you love what you do and keep a positive attitude no matter what challenges life throws your way.

Finally, and for being a good sport, you can select any song you like (not yours as I’ll include that) and I’ll play it here.

I am OBSESSED (like most of the world) with Closer by the Chainsmokers (ft. Halsey) and am even more obsessed with the music video.

[youtube https://www.youtube.com/watch?v=PT2_F-1esPk&w=560&h=315]

________________________

Follow Bree Taylor

 

Official:

http://breetaylor.com/

Facebook:

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

Twitter:

https://twitter.com/thebreetaylor

Instagram:

https://www.instagram.com/breetaylorofficial/

SoundCloud:

https://soundcloud.com/bree-taylor-4

YouTube:

https://www.youtube.com/c/breetaylor

TRACK REVIEW: Diamond White Riots - Wall Part One

TRACK REVIEW:

 

Diamond White Riots

 

 

Wall Part One

9.4/10

Wall Part One is available at:

https://www.youtube.com/watch?v=U5m-41KNg1A

RELEASED: 8^th October, 2016

GENRES: Alternative

ORIGIN: Doncaster, U.K.

The E.P., Diamond White Riots, is available at:

https://play.spotify.com/album/5AbeFPqsnHPlyW2o5smlKC _______________________

BEFORE I come to say a lot of positive things about my featured band…

I wanted to (ever-so-slightly) kick their arses in the opening stage – got it to rhyme and everything! James Bull, Dan Sweed; Brandon Clark and Harry Phillipson are among the tightest and most interesting musicians around – they form the mighty Diamond White Riots. I shall come on to looking at Doncaster bands (and Yorkshire); the themes groups address and the ‘classic formation’ for bands – but I wanted to get back to my original ‘threat’. I have seen so many bands pack a meaty punch and come into music armed with some scintillating songs. It is all good and well arriving with plenty of confidence and talent: if you are not visible enough that is going to cause a problem. Diamond White Riots have plenty of coverage across social media but no central hub. They would benefit a homepage and a place to put all their music, links and photos in one spot. Their Facebook page is solid enough but has no biography and background for the band. I typed in ‘Diamond White Riots’ into a search engine and thought there was a Wikipedia entry – when clicking on it seemed to be blank.

What I could glean – from the search result – is the guys were formed last year and are based out of Doncaster. It is always good knowing how a band ticks and what their influences are; where they have played and all they have achieved. Diamond White Riots have a record label behind them and have produced a wonderful E.P. so far. These may be the baby steps but you have to go in hard and fierce. This is something I mention when reviewing new acts: getting your face out there and being as exposed as you can. It is never a bad thing being open and transparent – so long as you do not take all the mystery out. Diamond White Riots would suit a professional and full homepage: put all their social media links together; a few photoshoots and a biography about the group. That way, potential venues, bookers and fans have all the information they need and are more likely to book the band. That said, the lads have their name across all social media platforms and the main music-sharing websites – that is the most important thing. The trouble is, you have to search for them one-by-one – stick them all in Facebook (at least) and it makes my job easier anyway. The final point – shall go easy on them after this – is the photos and images. There are a few on Facebook but the boys are pretty dapper and handsome; they have cool fashion and are a genuine group. It would be nice to see more images and get a little more visual representing. Maybe finances are tightening the photoshoot budget but I’d like to think that is on their ‘2017 list’: getting some snaps taken and being a bit more outward. The music is, as I always state, the king and his majesty is sitting proud and safe – a band that are certainly not slacking; getting their name to the forefront. Their social media ranks might still be growing but they are making big strides and crafting instant, universal songs for the masses.

I have brought Yorkshire back into the forefront the last few weeks. Not only have I been expounding the virtues and beauty of Ripon songbird Billie Marten – one or two rather tasty bands emanating from the county. Yorkshire is, as it is said, God’s County: the nature, landscapes and people all seem to be a league ahead of their local rivals. There is something instantly assured, prosperous and fascinating about Yorkshire. It is a county that is not about rolling fields and yawning, epic scenery. It is such a diverse and characterful county. You cannot easily compare Leeds with Ripon; Sheffield with Doncaster. The Diamond White Riots boys come from Doncaster and one of the most fascinating bands from the town. In terms of the local competition, there is not a lot of visibility across social media and search engines. I have said this when looking at bands across Sheffield and Leeds – not enough polls and sites dedicated to unearthing the best of the bunch. Doncaster is a bit of enigma but it does have a crop of agile and nimble bands that are capable of transcending to the mainstream. There are cover/party bands like Warning Tones, Pop Revolution and Street Cardinals – who are around Doncaster/Sheffield. It is annoying when you try and look for the best bands around Yorkshire and how little there is out there. I know for a fact Doncaster is a fertile and hot spot for new talent. In the course of my reviews, I get to listen to a range of artists from Doncaster and just what is coming out. Vibing from the energy and variation of the county: it is hard to overlook all the strength and variegation coming through. Diamond White Riots are certainly one of the finest groups from Doncaster – possibly the best – but sit in a county that is, in my view, ahead of the U.K.’s rest.

London leads the way when it comes to solo artists but for bands: I feel Yorkshire is leading the way. Historically, the likes of Arctic Monkeys, Pulp and Pulled Apart by Horses hail from here. If you look at cities/areas that have fostered the best bands you might naturally spring to Manchester. Given the titans that have emerged here – The Smiths, Oasis and Joy Division are three examples – it is a safe bet. Yorkshire and Doncaster are exceptional with regards new bands. I feel Manchester and London have fine examples of the moment but is not as strong and diverse as Yorkshire. The county has always defined what it is to be original, fresh and unexpected. Polishing and proffering bygone genres – Swing being shone and fused with Electronica – you get Hokum, classic Pop and Neo-Soul; Indie, Alternative and Jazz sitting side-by-side without a care in the world. Diamond White Riots will do something rather important. Not only are they one of Yorkshire’s best and brightest new bands; they will provide greater weight to the argument that Yorkshire’s musicians cannot be beaten. Let’s hope (the county) gets more exposure and attention in the next few years. My point remains about Doncaster’s validity and merits. It is an area that has always provided exceptional music but deserves more acclaim and backing.

I shall get to the boys’ new single (and E.P.) soon but wanted to talk about lyrical themes and the formation of bands. Starting with the latter and you get a sense of history and tradition with Diamond White Riots. Since the dawn of musical time, the all-male quartet has been a backbone of the musical landscape. Everyone from Arctic Monkeys and The Beatles has stuck with this tried-and-tested formation. It keeps a group tight and has the perfect number of bodies in the mix. Sure; the likes of Pulp (five) and Oasis (five) have that extra member and benefit from it – one feels they would not have suffered were they to drop the weakest link. The quartet seems like the perfect balance of security and numbers; it is never too crowded and allows vocal-drum-guitar-bass formations to solidify and come together. If you had three members, you could get away with – the lead would need to play guitar and the sound would not be as full and rich. A fifth member risks putting too much in and being slightly expendable. It is not random I raise this point. I have seen a lot of bands emerging that are sticking with that quartet line-up. I am not sure whether it is the perfect chemical balance or whether it is tradition – it seems to be working wonders. Duos like Royal Blood prove you can make a holy noise with a couple of people but, for my money, you cannot deny the legacy and strengths of the four-piece. The subjects the Diamond White Riots boys investigate revolve around their life and what is happening around them. You get plenty of sex, drugs, Rock ‘n’ Roll; there are spade-loads of break-ups and romance quandaries – just what the modern consumer can relate to. I raise this too because so many new bands are getting fixated with insular concerns and heartache. Love and relationships are important to assess but they are not the only thing you should be talking about. The same goes for introspection and self-analysis: that is valid and relevant but only when contrasted against other subjects. Diamond White Riots – in their cider-named chaos – create classic Rock and Indie mayhem; they have composure and discipline bit drag you into an after-hours world of shut-ins and rowdy boozing; exciting, near-the-knuckle revelry and evading the alluring kick of the law. It is a shame there is not more known about bands around Doncaster because, as my featured band show, there is some fantastic music coming out of the area. I know many groups look at youth and modern life but few as naturally as the Doncaster-formed band. They have that zeal, spirit and effectiveness that is not faked at all – it is exactly who they are and where they want to be.

Diamond White Riots have a lot of pages across social media and music-sharing websites so you can find what you need from them. In terms of their past moves, there are not many other examples out there. I feel they should put their E.P. on SoundCloud as it would provide a chance for users to find them there. Spotify can be problematic - and has denied me the chance to review the whole E.P. – and every band/musician should put music across SoundCloud. It is the most accessible and popular music-sharing platform and one that should be utilised. I know the boys will want to generate profits from their music so should ensure they keep going with iTunes and platforms like that. They can get money for their work but need to make it as accessible to those who do not want to pay. For me, SoundCloud is the most important site and one they will use a lot more in the future. The guys have a couple of demo tracks on there and have put their first E.P. single (Lady in Blood) on there. On YouTube, you can find their latest video (for Wall Part One) and their Pink Floyd-truncated nod is causing a lot of excitement and acclaim. I know the band will be making more music so it will give a better view of how they progress and change. The early steps are the most important (and nervous) and can make-or-break a band, but Diamond White Riots should fear not. Their first two songs show they are not only consistent but varied. The tracks – Lady in Blood and Wall Part One – have that distinct core and band sound but cannot be easily compared. It shows originality and endeavor from a group that is impossible to tie down and easily define. Wall Part One, for me, is a stronger cut than Lady in Blood but both songs are really solid, driving and exciting. They form the basis of the eponymous E.P. and show the bands has plenty of motivation, ambition and passion for what they do.

The opening licks of Wall Part One have that concrete, Garage-Rock sound that is all grit and smoke with some sexual swagger and bones protruding. Saucy and explicit; calm and swaggering – most bands do not come out of the gates as firm and appealing. The early riff puts you in mind of bands like The White Stripes but has heavier overtones and is as cool as Jack White’s most assured riffs. The guys play on a basis of Rock ‘n’ Roll themes – sex and booze – but have plenty of command and discipline to their work. They do not lazily throw some strings together and hope for the best – always authoritative and mature in everything they do. The introduction puts you in a bar or down an alley as people spoil and scrap in the darkness. It is a dangerous and teeth-baring sound that has alcohol-drenched boots and a cigarette dangling from the lips. Not just a one-dimensional beast: it bonds with percussion and has plenty of mobility and adventure to it. Dipping and diving; swaying and pounding – quite an intoxicating and bracing opening. When the lyrics and vocals come in, they are delivered with a syncopated, original dynamic. Our hero’s nose is bleeding but he is not leading; he is being fed a poisonous sentiment and has been in this situation before. Diamond White Riots do not go for traditional couplets and cliché lyrics; a standard presentation and follow the herd. On Wall Part One, you get a stunning and new delivery that gets the lyrics into the head straight away. I have mooted Diamond White Riots looks at sex and booze – and that is suggested and tipped in both their E.P. songs released so far – but Wall Part One looks more at a rotten bond and a toxic partnership. The guys have all been around the block and have seen plenty of relationships dissolve – not saying they are useless in that regard but it is the way of the world. The hero is with the girl who is remiss and worried; her man is on the brink and about to implode, it seems. The initial words see the lead spitting blood and veiled in a familiar feeling – suffocated and poisoned by something rather unsettling and unwelcomed. Whether a relationship has hit the bricks or there are arguments unfolding: it is not something that is being promoted and celebrated. The band provide some interesting lyrics but do not cast blame and reveal truths this early. If the music and spirit cast its tongue firmly between legs; its lyrics and story put the tongue firmly in cheek.

There is a sense of the hero holding words back and the lead not letting out his emotions. The same familiar feelings are being felt; the same fate and situations are presenting themselves. I get the sense of sweethearts who have not been on firm footing for a while and are going through a series of civil wars and spats. The composition remains intense and bold and gets your mind conspiring. I mentioned it is a rather lewd and sexual affair: the guy that prowls the bars and picks up the girls; flashing the cash and getting his end away by the night’s end. It has Blues at heart but is a good, raw Rock sound that adds weight and impetus to the song. You always feel involved and gripped; unwilling to walk away from the song and put your focus anywhere else. Keeping a sense of familiarity to the song – the lyrics repeat themselves and build a mantra – you are always wondering just what is being referenced. What Diamond White Riots do so well is give that live sound a real airing. The song has lo-fi charm and is not over-produced – like so many of their peers and their music. It is as though you are in the room with them and listening to them that close and personal. Once or twice the vocal is outweighed by guitar but it is a minor lapse in the production.

The composition is always relevant and strong but never intrudes or gets too carried away. Commanding and brash throughout; a perfect accompaniment to a song that deals with heavy blows and bitter battles. At one point, guitar steps forward and creates a scintillating, lightning-strike riff. It not only showcases some impressive chops but is the punctuation point at the end of a lengthy sentence. Firm, fiery and crackling: adding story to the drama and providing plenty of emotion. The bass and percussion are always involved and strong and add huge amounts of force and colour to the music. Our lead’s voice has that cockiness and coolness but there is pain lingering beneath the surface. Some might note some comparisons with Arctic Monkeys – not too far down the road from Diamond White Riots – but that is the result of natural accent rather than an attempt to replicate the Sheffield band. The hero lets it be known he was not the one who had the “key to heartbreak”. It is clear there is a tussle in a relationship and the rubble is being climbed over. I know this is a staple of many bands/songs but Diamond White Riots make their mandates of blame and guilt a lot sexier and elemental than most. Gone are the stereotyped lines and predictable exchanges: replaced with something a lot more original and exciting. The composition is one of the most exciting and appealing facets; something that twists and turns like a viper.

The strange and tense romantic domesticity is going through the motions and the newly-split pair is finding common ground on which to attack and castigate. What distinguishes the Doncaster bands from the slew of like-minded peers is their intelligence and compositional originality. You are always moved and surprised by the sound and how it evolves and subverts – always keeping you on your toes and intrigued. The vocal remains firm and passionate but does not descend into sarcasm, laziness and the routine. Always angry, appealing and, strangely, alluring – you get enraptured by the sense of casualness that comes through in some of the notes. It is clear the girl is at fault and causing damage and scars.  Before the foursome gets into head-banging, body-rocking mode: the lyrics paint more pictures and reveal more of the story. The heroine has a strange way of being unfaithful – gets the mind working – and whether sexually unique or not quite traditional – you do wonder what that refers to. At every stage, you imagine sexual indiscretion but it seems something more bizarre is unfolding. It is interesting but not something you dwell on as the band unveil a concrete, boot-stomping riff that adds more pummel and emotion to the song – underlining the lyrics that went before in the process. The hero is battling an unhappy heart and is trying to deal with everything going on. By the end, you wonder whether there is any chance of salvation for the two and just what has caused the split. I guess there is another man involved but that is never fully captured. Oblique and mysterious at times; you can guess and interpret the song whatever way you like but get that abiding sense of two lovers who are not entirely through. There are lingering feelings but it seems like a very hard time is ahead of them. Wall Part One is a fascinating and accomplished song that is full of confidence and power. Few new bands can create something as instant and professional this early and resonate so hard. It is a stunning song whose composition, vocal and lyrics each play their part and have their own strengths. The final seconds of the track are dedicated to fully exploiting the band’s composition and instrumental talents – exceptional performances and some rather delicious sounds unveiled. Not just the star and standout from their eponymous debut E.P. – the guys have crafted a song that has the ability to get airplay across the biggest national radio stations and be taken to heart by hundreds of new fans.

Let’s hope those who overlook great bands/areas will get their acts in order and rectify things in the next year. I opened by looking at Doncaster and how many great bands are coming from this part of the world. Yorkshire, as has always been the case, is at the very summit of wonderful, original music. You cannot overlook the depth of variety and quality that comes from the county. This is something I’m keen to investigate more in the coming months, but for the moment, getting back Diamond White Riots. The boys put together topics of indiscretion, lack of judgement and a certain recklessness but never in an immature or cliché way. What you get from their eponymous E.P. is something mature, considered and intelligent. The themes switch and the songs each have their own character and skin. It is a collection I urge you to seek out – issues with Spotify mean I cannot look at the entire work – but have heard enough to know the boys will go a long way. Lady in Blood was the first taster of the E.P. and showed just what Diamond White Riots contained. Wall Part One, if anything, is a stronger and more assured cut that pushes their sound and proves just what a tasty prospect they are. Many reviewers have looked at the E.P. and laid their opinions down. I have been listening to the first two singles from it and know just what a sensational sound the band makes. Before I assess the band and distill their essence into a few sentences; it is worth getting back to my original themes on Yorkshire, lyric topics and social media.

I do hope the band think more about their catalogue and image and look at expanding and augmenting it as much as they can. If they can get an official website together: that would bring more people in and showcase everything they are about. Their fanbase is climbing – but could be even bigger – and it is only a matter of time before they translate across counties and countries – get more people in and starting going places. They have the ammunition and desire to exceed so some photoshoots and organisation will benefit them a lot. As it is, you can find everything Diamond White Riots if you search and they make sure they get their name across all the necessary platforms. I have, rather pleasingly, come back to Yorkshire to discover a band that are going to have a few years ahead of them and show just what quality comes from the county. There was a time – a year or so back – where I could not shift Yorkshire and its musicians. Its allure and scent bring me back and it is rather hard to ignore. I opinioned you cannot define Yorkshire as it is so different and large. Sheffield and Leeds have their own sound whereas Doncaster does too. It is rather worrying more ears and eyes are not focused on Yorkshire as it is the country’s strongest county and fostering some future stars. That is for another day and something that might not have an easy fix. I am fascinated by Diamond White Riots as they have that traditional, classic line-up. I am always eager for bands to bring mixes of gender and race into their ranks – music needs more equality and less homogenisation – but you cannot argue against the male four-piece. It is a solid unit and one that has formed the basis of some of the world’s greatest bands.

It is nice hearing a band strip away the doe-eyed and moody façade so many tend to favour now. There are some times of revelation and sensitivity but the boys are masterful when it comes to something less discrete and more exciting. You transpose yourself into their world and get taken into their minds and imagination. Such is the power and honesty of their music you get carried away and immerse the body and brain in the songs. It is going to be interesting seeing where the boys head and what they have in mind for next year. Their self-titled E.P. is a confident and rounded effort that has a perfect blend of rawness and professionalism; a cavalcade of fascinating sights and consistently tight and stunning performances from the four. You find yourself exhausted by the end but always willing to come back and reinvestigate the songs. There is that all-important nuance: few Rock/Alternative bands have enough subtlety and depth to provoke multiple listens and long-term appeal. You can judge Diamond White Riots on your own terms but it is a very dependable and assured E.P. from a new band. It gives me hope the guys will push on and build on this promise. The next year is going to be one of the most exciting and relevant one for music. After a tragedy-filled and eventful 2016: many will react to this and ensure 2017 is full of love, wonderful music and positivity. That provides a platform for music’s best to get involved and create sounds of the highest order. Where Diamond White Riots fit in is yet to be seen but they are forceful and memorable enough to etch their names into the ledger. I feel the band will look to perform across the country and get their names heard down London and the south.

The capital is suited for their type of music and there are venues and spots they could thrive. Pull that out further and there are plenty of other areas of the U.K. the band have chances. I am not sure how familiar they are with Liverpool, Manchester and Bristol – big places they could get their work heard and appreciated. Yorkshire is a huge county and they have made in-roads and impressions with their native crowds. The trouble is, as my opening statements mooted, there is little focus paid to Yorkshire and regions that deserve acclaim and love. When reviewing and featuring Billie Marten, one of her quotes stood out: “(London) is where everything is”. Even if you live somewhere with a strong music scene, there are no guarantees and many will gravitate towards the capital. That is something for the guys to think about – in terms of performance – but they are situated in one of the finest parts of the country. I’ll wrap things up by recommending you seek out their new E.P. and let is charms and edges get into the blood; the tight and exciting performances move the body – get seduced by the amazing songs and fine details. It is going to be an exciting next few months as the quartet get the E.P. into live settings and cast their attentions to the year coming. They are capable of gaining huge numbers and making themselves know to vital tastemakers and radio stations. Their eponymous E.P. is a bold call and focused work that puts Alternative/Indie bands back into the fore and shows the band market/genres are not spent and irrelevant. Get involved with the quartet and let their music do its work. This year has been busy and productive, and if momentum is to be believed, the boys will have…

AN even busier 2017.

[youtube https://www.youtube.com/watch?v=U5m-41KNg1A&w=560&h=315]

__________________________

Follow Diamond White Riots

Facebook:

https://www.facebook.com/diamondwhiteriotsDWR/

Twitter:

https://twitter.com/officialdwrband

Instagram:

https://www.instagram.com/diamondwhiteriots/?hl=en

SoundCloud:

https://soundcloud.com/user-113779338

YouTube:

https://www.youtube.com/channel/UC_BgAZRKzKe76uIkCo1xd3g

FEATURE: The November Playlist: Vol. 2

FEATURE:

 

The November Playlist: Vol. 2

__________________

I realise I did not publish a November Playlist…

last week - and for good reason. There were not that many singles released so it is lucky the past few days have seen scores of wonderful music drop. I have been collating all the latest singles and album tracks; new videos and the best chart-bound sounds. I also look at Kate Bush – who is interviewed on ‘6 Music tomorrow (1pm) to promote her live album, Before the Dawn – and Jeff Buckley – who would have turned fifty (last Friday). Included is an R.E.M. classic – the album Out of Time is getting a twenty-fifth-anniversary release – and, as part of my ten favourite albums of the year feature, I take songs from five artists who have made a big impact this year.

__________________

Jeff Buckley – So Real

[youtube https://www.youtube.com/watch?v=EcaxrqhUJ4c&w=560&h=315]

R.E.M. – Half a World Away

[youtube https://www.youtube.com/watch?v=Bn4pBPSbqgc&w=560&h=315]

A Tribe Called Quest – We the People…

[youtube https://www.youtube.com/watch?v=vO2Su3erRIA&w=560&h=315]

Michael Kiwanuka – Rule the World

[youtube https://www.youtube.com/watch?v=97_wGuIYXTE&w=560&h=315]

Jorja Smith – Something in the Way

[youtube https://www.youtube.com/watch?v=z4uzS6G8B1E&w=560&h=315]

Gold Panda – Your Good Times Are Just Beginning

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

Martha Wainwright – Goodnight City

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

Hudson Mohwake – Play N Go

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

Spring King – City

[youtube https://www.youtube.com/watch?v=Cgwm9wrbL7Y&w=560&h=315]

Alex Izenberg – To Move On

[youtube https://www.youtube.com/watch?v=Q8LfW-_iQW0&w=560&h=315]

Courtney Marie Andrews – Put the Fire Out

[youtube https://www.youtube.com/watch?v=gl2mWYQyf3s&w=560&h=315]

John Legend (ft. Chance the Rapper) - Penthouse Floor

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

Julia Jacklin – Coming of Age

[youtube https://www.youtube.com/watch?v=WkF_d3f2MJo&w=560&h=315]

James Blake (ft. Bon Iver) – I Need a Forest Fire

[youtube https://www.youtube.com/watch?v=sAJgs1P-uUE&w=560&h=315]

Naughty Boy (ft. Kyla & Popcaan) - Should've Been Me

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

Xiu Xiu – Wondering

[youtube https://www.youtube.com/watch?v=rj2gin8iSsw&w=560&h=315]

MØ - Drum

[youtube https://www.youtube.com/watch?v=-cO43nfWxMA&w=560&h=315]

Penthox (ft. Madcon & Julimar Santos) - Cigarette

[youtube https://www.youtube.com/watch?v=39ZvoV8AxSU&w=560&h=315]

Soulwax – Transient Program for Drums and Machinery

[youtube https://www.youtube.com/watch?v=crD34sIkuS8&w=560&h=315]

Pulled Apart by Horses – The Big What If

[youtube https://www.youtube.com/watch?v=I1D5fDJB24c&w=560&h=315]

Violet Days – O.D. on You

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

Minor Victories – Give up the Ghost (Orchestral Variation)

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

Little Mix – Power

[youtube https://www.youtube.com/watch?v=DD0xahKEqMY&w=560&h=315]

Radiohead – Daydreaming

[youtube https://www.youtube.com/watch?v=TTAU7lLDZYU&w=560&h=315]

Britney Spears (ft. Tinashe) - Slumber Party

[youtube https://www.youtube.com/watch?v=2RRY3OVqtwc&w=560&h=315]

Cory Hanson – Ordinary People

[youtube https://www.youtube.com/watch?v=g3BOboSpmlQ&w=560&h=315]

Animal Collective – Mountain Games

[youtube https://www.youtube.com/watch?v=9mDpPPBL51s&w=560&h=315]

Jimmy Eat World – Sure and Certain

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

Billie Marten – Teeth (Mahogany Session)

[youtube https://www.youtube.com/watch?v=4egOO_lspa8&w=560&h=315]

Sundara Karma – Flame

[youtube https://www.youtube.com/watch?v=77-LEYGdOcE&w=560&h=315]

Beans on Toast – We Made it to the Waterfall

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

lIv – Dream Awake

[youtube https://www.youtube.com/watch?v=_S6YEJu5HGw&w=560&h=315]

Sia (ft. Miguel & Queen Latifah) - Satisfied

[youtube https://www.youtube.com/watch?v=LlMQ38ha5oc&w=560&h=315]

Alex Clare - Tell Me What You Need

[youtube https://www.youtube.com/watch?v=9SEo4Ke9rSM&w=560&h=315]

Animals as Leaders – The Glass Bridge

[youtube https://www.youtube.com/watch?v=ybVC6pDDZfI&w=560&h=315]

Tinashe – Nightride

[youtube https://www.youtube.com/watch?v=yVmZmQChVj4&w=560&h=315]

Alicia Keys – Holy War

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

Ariana and the Rose - Supercool 

[youtube https://www.youtube.com/watch?v=z96ro-C4x6c&w=560&h=315]

Jeff Buckley – Dream Brother (Live from the Bataclan)

[youtube https://www.youtube.com/watch?v=ey2GcPlFdXc&w=560&h=315]

Childish Gambino - Me and Your Mama

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

BETSY – Wanted More

[youtube https://www.youtube.com/watch?v=T3kBKWaXCZ4&w=560&h=315]

Gnash (ft. Johnny Yukon) – Home

[youtube https://www.youtube.com/watch?v=KezxeO1zIBo&w=560&h=315]

Laura Mvula - Ready or Not

[youtube https://www.youtube.com/watch?v=82rFHswS9qw&w=560&h=315]

MK (ft. A*M*E) - My Love 4 U

[youtube https://www.youtube.com/watch?v=PquKZGoLfB4&w=560&h=315]

Nick Murphy – Stop Me (Stop You)

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

Emeli Sandé – Breathing Underwater

[youtube https://www.youtube.com/watch?v=ye-3d2QCz2o&w=560&h=315]

Noonie Bao - Sorry Not Sorry

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

Pnau – Chameleon

[youtube https://www.youtube.com/watch?v=s2pp_ZAk6Uw&w=560&h=315]

Sigma (ft. Birdy) - Find Me

[youtube https://www.youtube.com/watch?v=Ec92Wa8zJs8&w=560&h=315]

Justice – Alakazam!

[youtube https://www.youtube.com/watch?v=oAJzF8QIlQQ&w=560&h=315]

Ariana Grande (ft. Stevie Wonder) - Faith 

[youtube https://www.youtube.com/watch?v=VGJpmrbz5H8&w=560&h=315]

Pond – 30000 Megatons

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

Metallica – Murder One

[youtube https://www.youtube.com/watch?v=2Mkq6GFLIsk&w=560&h=315]

Jamie T – Tescoland

[youtube https://www.youtube.com/watch?v=VAOORzCqRa4&w=560&h=315]

Frightened Rabbit – I Wish I Was Sober

[youtube https://www.youtube.com/watch?v=Ki2FdTDhx7E&w=560&h=315]

Rumer - What the World Needs Now Is Love

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

Dawn Richards – Vines

[youtube https://www.youtube.com/watch?v=0iw2OYvzaik&w=560&h=315]

The Last Shadow Puppets – Les Cactus

[youtube https://www.youtube.com/watch?v=xf5apyds8Xk&w=560&h=315]

Sharon Jones & the Dap-Kings - Stranger to My Happiness

[youtube https://www.youtube.com/watch?v=IlPE1rEdAdI&w=560&h=315]

Kate Bush – And Dream of Sheep

[youtube https://www.youtube.com/watch?v=CMn0PrIcy7Y&w=560&h=315]

You can agree there are some fantastic songs on this list. From throwaway Pop to stone-cold classics; legendary cuts and new stunners – enough for the pickiest of music lovers to get their teeth into. As we head towards the end of this year; lots of artists are getting music out in time for Christmas. This can only mean a rush of new albums and treats – that is the hope anyway! Keep in touch and see just what next week’s instalment of The November Playlist holds.

TRACK REVIEW: Three Kings High - Nowhere Fast

TRACK REVIEW:

 

Three Kings High

 

PHOTO CREDIT: Sean Strong

 

Nowhere Fast

 

9.5/10

Nowhere Fast is available at:

https://www.youtube.com/watch?v=Gar-CQ699NM

RELEASED: 

16^th September, 2016

GENRES: Rock; Funk; Alternative

ORIGIN:

Bristol, U.K.

The album, They Think They're People, is available here:

https://itunes.apple.com/us/album/they-think-theyre-people/id1133145824

_______________________

THE past few weeks have seen me look at bands and the...

value they hold in the modern scene. When reviewing solo artists – and the great ones coming through – I have looked at bands and how inferior some are. It seems like solo artists are grabbing more attention and much more diverse, consistent and original – the group hegemony starting to wane. That said, bands like my featured artists are making huge efforts to reverse that trend. Before I come to them, I want to look (again) at bands and the importance of originality; groups that take things back-to-basics whilst remaining populist – having a peak back at Bristol-based musicians and their merits. If I have been a bit dismissive of modern bands it is because of a certain type: those thin-hipped Indie boys that seem to be bash off vague Arctic Monkeys-esque songs without any originality and meaning. You also get a lot of Electronic-based groups that are incapable of enticing or appealing – just trying to fit into a mould straining heavy with like-minded beigeness.

Those bands that provide something fist-pumping, dirty and captivating are a rare stock – we should be proffering them and making sure they get the respect deserved. What is quite galling is the so-called ‘next best thing’ label the media attributes to any young group with a modicum of energy and noise. It is not good enough simply throwing some random, chart-seeking sounds together and thinking that is sufficient. The most enduring and long-lasting examples go deeper and create something a lot more startling and memorable. I know it is hard coming into music and making an impression; doing something instant and unexpected. The instinct of most bands is to portray a little bit of their heroes’ sound whilst putting themselves into the gaps. The trouble remains this: there is a real issue with originality and a lack of distinction. In terms of the mainstream artists; I cannot remember the last time I got excited about a band. Hooton Tennis Club and Warpaint are exciting and inventive, but to my mind, they are in the minority. There seems to be a general fear – among new bands coming into the big leagues – of being overlooked or not standing out. If you want to discover the freshest bands around, you need to delve into the underground – looking at those acts unsigned and free from commercial/label pressures. Undeterred by market trends and tight schedules: they are free and relaxed to create music at their own pace; the sound they want to produce.

PHOTO CREDIT: Aaron Thompson

Three Kings High have a booking and press manager but have no record deal at the moment. The Bristol-based boys play Indie-Rock but do not cause me to shiver and balk – as do a lot of groups that play in that genre. I have grown weary of many Indie-Rock groups and how tired they seem. Three Kings High have plenty of Funk and sleaziness; thrown into the music – guaranteed to slosh alcohol around the place and kick over a few chairs. The guys have built a reputation around legendary live sets and music that pulls down the trousers and kicks you square in the cheeks. Thinking about them – and the acclaim they have gathered – is in no small part due to their dynamics and basic outlay. They are A Band: pure and simple without fancy baubles and needless sheen. Raw, stripped and completely engrossing: the personification of what a modern band should be about. There is no pretence or desire for mainstream appeal; they do not need to the nod of talent show judges or the beard-stroking nods of the stuffiest music critics – a group that has a rebellious streak and an enormous amount of honesty. A real and relatable band that make music for the feet and body. Too many bands seem to go for the soul: music that soothes and comforts but rarely gets the listener active and engaged. There is a risk turning things around and going straight for the gut – a lack of sophistication, depth and appealing. I still hear so many bands that turn the volume up and forget to write a tune. Such is the lack of musicality and quality it comes off jarring and jagged.

Three Kings High have been described as writing black Funk: the sort of music that recalls the Soul/Funk kings of old but has that modern skin. It is no surprise they  have caught the attention of the likes of Craig Charles – someone who knows a damn good funky tune when he hears it! Not only that: the band have been hailed by some of the biggest stations and reviewers around. I would think (Three Kings High’s) uncomplicated and blistering sound is the reason behind it. The guys have been working hard and touring a lot – honing their sound and growing strong with time. It is a disservice to call the band ‘Indie-Rock’ but it best explains their role I guess. There is ample Funk, Soul and Alternative threads within the music of Three Kings High to stands them above their contemporaries. So many bands of the minute are desperate to either fit into holes or be needlessly complicated. It is not easy taking all the clothing and layers away and presenting something basic but incredibly alluring. Three Kings High are masterful at getting into the head but registering nuance and memories long after the music has stopped. Both explosive and slowing-releasing music – that is a very difficult thing to achieve. Knowing similar bands like Saints Patience – a London-based Funk-Rock band – this sound is something a lot of other musicians would do well to follow. The results, the incredible music, really do speak for themselves.

PHOTO CREDIT: Aaron Thompson

Before coming to the new music of Three Kings High: I wanted to talk about Bristol and how the city has shaped and redefined music. Back in the 1990s, it was impossible to ignore the relevance and influence of Bristol. Bands like Portishead and Massive Attack put the city firmly on the map and were the leaders of British Trip/Hip-Hop.  More obscure and lesser-celebrated bands such as Kosheen and The Pop Scene have helped put Bristol into the forefront. This year, there have been a few bands (from Bristol) shaking it up and making their mark. Foreign Affairs made some big steps in 2015 and are a Rock-Folk trio who mix American and British sounds together – already catching the ear of the press and radio stations. The Jacques are two sets of brothers who spar cockney guitar music with early-‘00s New York – quite a heady and irresistible call. If cello, beautiful female vocals and enriched, vibrant choruses are your bag, then Elder Island should be top of the musical shopping list. The trio is primed for bigger things and should be on everyone’s radar. It is not just bands that are making themselves known in Bristol. Fenne Lily is reminiscent of Daughter and Laura Marling: gentle-plucked strings with soothing, riparian tones; a passion and wistfulness combination that evokes something stunning. Ema Sierrra tells wonderful stories and packs a wonderful soulful, laid-back vocal style – hovering over droning guitars and dark velvet palettes.

If the sound and genres being proffered have changed (since the 1990s) then the quality and variation has not. We often celebrate London and Manchester as the cities to watch – continuing to produce world-class music and incredible acts. Over the past few decades, the cities have been unrivalled in terms of consistency and excellence. Bristol enjoyed exposure and attention during the reign of Massive Attack and Portishead but we assume that is all there is to the city. If you look closer, you will find so many wonderful musicians and a wealth of creative genius. It is hard to ignore Bristol’s strengths and variations: so many different artists all making an impression. I have ensconced myself in London and often focus too heavily on the musicians there – ignoring treasures like Bristol, for instance. It is a little remiss because, since the heydey and golden period for the city, there are so many wonderful musicians emerging. It is hard to say just how many of them will ascend to the mainstream but Three Kings High seem almost certain. They take wealth and knowledge from Bristol’s past and fuse it with the immediacy of the present.

PHOTO CREDIT: Sean Strong

Look back at previous Three Kings High releases and you get a sense of where they have come from. Hail is an album flowing with funky grooves and uplifting harmonies. Crow and the Dove boats male-female vocals and races and jives it way through the gears. A rousing and blistering song that gets you up and moving – a typical track from that. It’s stop-start; fast-slow dynamic keeps things unexpected and unpredictable while Nothing Left to Lose is more straightforward but no less affecting. It is a song that has a funky/Rock core but spends more time fleshing out ball-busting solos and the band’s interplay. You get caught in the notes and flow with the song. Blending Rap and Hip-Hop into the song it is another addictive jam. What once notices, and differentiates their current material from older, is the sense of development and confidence. Hail is a record full of great moments and plenty of wonderful takeaways. They Think They’re People picks up from that without having to add too much to the palette. You get all the reliable groundwork and senses but, on their latest album, there is more depth and variation. The production sound is more solid and polished without losing its grittiness and natural freshness – it still sounds like you are listening to a live performance. They Think’ and its harder moments really resonates but so too do the funky cuts and soulful investigations. I have mentioned how unleashed and unchained the band is – a sentient unit that has a huge feel for subject matter and knows how to evoke reactions. Nowhere Fast is the perfect tributary of their multiple talents and ideas. You have all the fantastic vocals (of their early days) with some new-found inspiration and strength. The songwriting – on the song and album – seems at its peak and more original and startling than before. Maybe it is the touring and abilities they have picked up on the road; the press and push from the media have given them new impetus – all of this comes out resolutely and burning bright.

PHOTO CREDIT: Pete Stone

I wanted to focus on opener Nowhere Fast as not only is it the album introduction but the most immediate and nuanced song from They Think They’re People. The song rips from the gates and has that instant, catchy vibe. It is a track that spares no prisoners and contains that infectious glee and racing heartbeat. The composition is fairly simple but it is something few other bands have come up with this year. 2016 has been defined by some very serious music and a lot of artists trying to do something fun and frivolous – many fall short of the mark. Nowhere Fast has an ironic title given that accelerated start and ties together the ragged and loose sensation of a classic Rock band and something quirkier like The B-52’s. The hero comes to the microphone but he seems to be in rather gruff and unhappy mood.

PHOTO CREDIT: Sean Strong

Life has been spiralling out of control and perhaps not reaping the rewards it should. You sense unfairness and injustice are ruling the creative mind. With many casting the net of blame over love and its tremulous daggers – Three Kings High’s lead is looking at the wider world and its lack of humility, humanity and jurisprudence. No matter what he does he cannot catch a break; there is that salt in the wound and a real degree of disenfranchisement and jadedness. No doubt there are some brutal truths to explain this cosmic bullying but you are too enveloped in the sheer sense of abandonment and ease in which the song unravels. I was caught by the percussive and strings melting; the way they wrap around one another and kick each other on. The entire band propels their fellow members and has that intuitive bond. The composition perfectly documents and illustrates the song and all it stands for – adding colour and imagination in addition to myriad emotions and possibilities. Our man is wiping nose on the back of his sleeve and getting “nothing done”. It is interesting to see whether – this lack of productivity – is the result of ill fortune or people hindering the lead. One feels dispensation and remuneration are in order: the fact the hero is being hindered if causing a lot of anxiety. Most bands – who would assess the same kind of thing – would bury the song in cloying sentimentality and morbid introversion. What you find with Three Kings High, as with their other releases, is an implacable verve and dynamic drive.

PHOTO CREDIT: Pete Stone

The song swaggers and dances its way around the room as you take in words of fatigue and dissatisfaction. When listening to the song, if the band would not take offence, you get a bit of The Specials, Sex Pistols and The Stranglers – maybe a little bit of Joy Division in the mix too. While other names do fly to the mind, you never think of anyone else. Nowhere Fast is that classic track of ambition against reality: fighting realness and natural expectations against inner-desires and widescreen hopes. Whether our lead just wants to progress in life and find his way; desires something rather spectacular and precious – nothing seems to be going his way. The song’s germination, because of that, need not have stemmed from one event or an extensive creative retreat – it is a sentiment and topic everyone can relate to. The hero is too “busy being busy” and seems wrapped up in a whirlwind or routine, work and rigmarole – never getting chance to cut loose and experience something pure. No matter how many pains and negatives are being thrown the way of the lead: nothing is changing and there is never an opportunity for relaxation and realisation. Nowhere Fast is an intriguing song whose language is direct and simple yet its truth is far from it. You wonder just how/what has compelled this discourse and (whether a figure) has sparked this musical fire. The language and lyrics are clear which means every line can be heard, appreciated and understood. Many bands bury their lines and lack that necessary decipherability. Three Kings High make their songs resonate with clarity and get straight into the head. Our man has his pockets rattling and being cemented in quicksand. How can he make his way and achieve his goals, one asks. “I’m getting nothing done” seems to be the central mantra of the song: the nub of the track. Many of us go through life not doing what we need to do and finding little time for ourselves. Maybe rising and new domesticity and demands have rendered personal time irrelevant; perhaps there are fewer moments to catch a breath. Whatever has unfolded is causing its fair share of heartache and pain.

PHOTO CREDIT: Pete Stone

Repeated, chorused words – uttering the song’s title – gives the song a real boldness and aggression – it is never off-putting or hard but captivating and strategy alluring. The vocals are layered and the chorus really starts to shine. That said, the band is hardly second-fiddle. The bass guides and steers the song: keeps all the strands and ideas connected and propels the other members along. The guitars swell, cut and stutter: not only creative a typical funkiness but eliciting emotions as wide-ranging as anger and humour. Percussion-wise, it is quite subtle but powerful enough to give the track a sturdy backbone and a real authority. The need to think fast (or “die slow”) is there: the hero is sinking beneath the sand and is collecting dust. Some may think it melodrama and exaggeration but you cannot say that without knowing the truth and seriousness and reality – that is kept to the band and never fully exploited. Nowhere Fast is open for everyone and is vague and oblique enough so everybody has their own views. I feel (the song) looks at personal ambitions coming against the unforgiving demands of the modern world. Perhaps ensconced in a nine-five existence and perpetual repetition – always experiencing the same day and never breaking from its straight jacket.

PHOTO CREDIT: Sean Strong

Whatever lies beneath the skin is up to you – you are always caught by the infectiousness of the composition and the strong vocals. The band are completely in-step and provide one of their most astonishing and together performances. Having listened to most of their material – enough to gain a sense of evolution and chronological improvement – I can see just how bonded and together they are. Few bands have that spirit and gel – you get that in spades with Three Kings High. Like fellow Funk-Rock-Soul band Saints Patience – who created a similar song in Break of Dawn – there is that swaying and mobile vocal (full of dance and movement) with an insanely catchy and instant chorus. The band rides the song into the final stages with as much commitment and energy as they opened. Joe Eden and Samuel Otis provide the vocal allure (Otis on guitar) whilst some production and keys skills from Tom Lingham are firm and proud. Luke Wookash is the percussion master and provides that effusive and racing beat; Rowan Ensoll gives those liquid bass notes and unifying embers whereas Elo Colliou backs up the vocals with some sturdy and atmospheric rhythm guitar sounds. Nowhere Fast is, to my mind, the finest and truest song from Three Kings High. It is They Think They’re People’s highlight and a song that is sure to go down a storm in the live setting – impossible not to dance to and sing along with. Let’s hope the Bristol band is unsigned and undiscovered no longer. They have already caught the ear of some big names so it cannot be too long until they get the full credit deserved.

It is never wise proclaiming a band/artist as ‘ones to watch’. It can be a risky venture that seems exaggerated or a little pressuring. Bands feel they have to live up to that hype and it can be galling and intimidating. With regards Three Kings High, I will not laden them with any expectations or hyperbole. They have already gained applause from a range of magazines, sites and radio stations. I mentioned how Craig Charles has lauded them: ‘6 Music have featured their music and noted just how fresh and alive the band are. Other media sources have tried to describe their sound: like being in a bar and seeing a young, hungry band bring the funk. You might have your own interpretations but everyone will take something aware from the listening experience. I always search for groups that have that endurance and can keep on making music years down the track. So many current groups – in the mainstream at least – have that temporary feel and you wonder how long they will remain. Perhaps it is a matter of originality and sound or maybe it is a sign of the times – not to affront Three Kings High. There is a lot of talent in the upper reaches of music but our minds either turn to established, historic musicians or those making their first moves. It is quite hard arriving in the mainstream and trying to forge a successful career. In past reviews, I have lambasted bands that copy others and come into music with rather timid sounds. The way to get listeners hooked and remaining is something unique: that special touch that no other artist possesses. In terms of the band market of today: energy and nuance are more in-demand than anything else. Too many bands either go in heavy-handed (lacking sophistication) or too vague and weak. Three Kings High have something different about them. You hear their album They Think They’re People and get an octet of tracks brimming with live-sounding jams and a wealth of stories, emotions and standouts. It is hard for me to fully explain the album – which is why I rarely do album reviews – but Nowhere Fast is a perfect opening salvo.

PHOTO CREDIT: Sean Strong

Right from that track; everything else makes sense: you have an idea of Three Kings High and fall under their spell. Take a look at some sample reviews:

"A band at the peak of their powers!"

 - TOM ROBINSON, RADIO 6

“Three Kings High build their songs from strong guitar riffs and memorable choruses, their indie attitude wilfully refuses to let them follow any of the signposts pointing to the obvious route”

– CLASSIC ROCK MAGAZINE

“It is a creation which shimmers with excitement and temptation. If one were to close one’s eyes when one has this disc on, one is in a sweaty little basement club, surrounded by beer and fag fumes”

– IS THIS MUSIC

“Three Kings High are just white boys doing dirty, black men funk rawk and they're making it fun and they're making it impossible to take the piss out of them”

– UNPEELED

“It’s an addictive track, it’s just finished and I’ve got to have another blast of it. Like it a lot”

– BAUER MEDIA

It is clear the media and national radio are very much on board with the Bristol clan. That sort of brings me to the future and what the band can achieve. Short into their career and they have garnered big plaudit and some fantastic feedback. Not only have they cemented a solid fanbase but have ensured the hippest and most influential tastemakers of this country are on board. I feel the lads could well make a name for themselves in other nations. I keep mentioning the likes of the U.S.A. and Australia. These two nations as influential and important as the U.K. America is a nation that not only has L.A. and New York – two sides of the nation that provide ample and different opportunities – but have waves of towns, cities and states that could entertain the boys. They could embark on a mini-tour of locations in the U.S. Finance might be a hindrance but it is something to think about. There has always been a bond and special musical relationship between the U.K. and U.S. – plenty of opportunity for the band to get their music heard over there. I can imagine cities like New York and Seattle would best suit their sound but who knows how far they could go. Australia, too, is a country awash with fabulous musical areas. Melbourne and Sydney are obvious hotspots but Brisbane is perhaps the jewel in the crown – that part few think about but contains the finest musicians. It will be exciting discovering what the band do next year and where they choose to tour. They have a lot of demand in this country so could well find themselves tied up here. I can imagine the likes of Craig Charles are dancing and getting down to They Think They’re People and all it has to offer.

PHOTO CREDIT: Aaron Thompson

Too detailed, colourful and exciting to do justice to in the space of this review – Nowhere Fast is the (in my view) finest example of what the album is all about. The simplicity and fun; the energy and band connection; memorable and instantaneous nature of the song – that is all there and firm. Explore the L.P. and you are treated to an intoxicating and brilliant world: one where the senses are inflamed, seduced and awed. Make sure you get the album and let it do its work. Not only is the music instant and sharp but it has that necessary nuance to it. Whether a song is more direct and hard or takes time to work its magic – you will always come back to it and reinvestigate. I opened by looking at Bristol and how vital it is; the importance of originality in music and how the band market is taking a bit of a kicking. With the likes of Three Kings High ruling large: one will always find an act capable of revitalising flagging corners of the band industry. The sort of predictable Indie acts have had their day and are being superseded by a superior, more intriguing replacement. Three Kings High have touches of Funk and Punk; they have some Rock edges and Indie middles. Never unfocused or far-reaching – a band that can tread into various genres and make everything sound completely natural and sensational. It is left for me to highlight the importance of cities like Bristol – an area that has lost a bit of attention since its regency in the ‘90s. With such an original, fresh and exciting band like Three Kings High coming through: can we overlook such a place any longer? As I have shown (at the top of this review), Bristol has a lot of great solo artists and bands staking their claim. You can toss Three Kings High into the hat. They Think They’re People is a perfect example of a group vibing from backing and media appreciation. That confidence and faith go into incredible material that is gathering universal acclaim. If you want to discover a band that not only separates themselves from the crowds but has the impetus and potential to last for years – you should head the way of Three Kings High. Where they go from here is anyone’s guess, but if you ask me, they…

PHOTO CREDIT: Pete Stone

WILL not be slowing down soon.

[youtube https://www.youtube.com/watch?v=Gar-CQ699NM&w=560&h=315]

_________________________

Follow Three Kings High

 

PHOTO CREDIT: Sean Strong

Official:

http://threekingshigh.com

Facebook:

https://www.facebook.com/ThreeKingsHigh/

Twitter:

https://twitter.com/threekingshigh

Instagram:

https://www.instagram.com/threekingshigh/

SoundCloud:

https://soundcloud.com/threekingshigh

YouTube:

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

INTERVIEW: IDLES

INTERVIEW:

 

IDLES

______________________

IT was quite challenging pinning down the guys from…

IDLES – caught in a touring whirl and busy on the road. Joe Talbot, Mark Bowen and Lee Kiernan; Adam Devonshire and Jon Beavis make up the five-piece. The chaps set some time aside to chat about their latest single, Well Done. I ask them about the support they have received – ‘6 Music especially instrumental – and the inspiration behind their current track. The Punk maestros have been inflaming and thrilling crowds (across the world) for a long time and are gearing up to record their debut album, Brutalism – it will be out next year. With that in mind: the chaps discuss the recording process and what we can expect; how they have progressed since their early days and what it is like being compared with giants like Fat White Family. It is great to hear the guys in self-deprecating, spirited and acerbic mood.

_______________________

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

We're good thanks. Just on the road to Cambridge to play a gig thing. Our week has been sh*t-hot. We've been playing shows and sleeping in the van which has brought us closer as friends and lovers.

For those new to the band: can you introduce yourself, please?

We are IDLES.

Bobo on shitar and pleb dance, Joe on singing; Jon on drummings, Dev on pasties and Lee hasn't got a fuc*ing clue.

What was it that brought you guys together? Have you known each other for years or did the band sort of fall together?

We've known each other for many years and the want to make music brought us together and has subsequently killed our friendships.

You have been championed by Steve Lamacq and Tom Robinson on BBC Radio 6 Music. Is that a station you listen to a lot and what was it like hearing praise from those D.J.s?

BBC Radio 6’ is collectively our favourite station - so to be played by those bays was a fuc*ing dream.

God bless the good Lord Lammo.

There are elements of Fat White Family and Sleaford Mods to your work but your individual personalities and words stand out. There aren’t a lot of Punk bands that mix sly humour and poetry. Do you think music would be richer if there were?

I think music is rich enough to enjoy the sh*t that's out at the moment but could definitely do with more diversity in terms of new music being played to the masses. There is no need or want for more of any particular music in our camp - just new ideas and violent sounds from any voice or genre is welcome.

Welcome was your debut E.P.; followed by Meat in 2015. What is, would you say, the biggest difference between the E.P.s in terms of sound and lyrical themes?

Bowen: Sound-wise there was a clear progression. Welcome contains a lot of influences we had at the time and we were still trying to find our feet.

Meat has Lee on it and sounds more like us. I wouldn't listen to Welcome - it's a bit beige for my tastes.

Joe: Content-wise; I've always focused on similar themes of grief and anger/fear - but I reckon my writing has more confidence in Meat which has materialised in the conciseness of my writing.

[youtube https://www.youtube.com/watch?v=7Oxqf_15k0w&w=560&h=315]

Well Done is your latest single. What inspired the song and do you remember who came up with the idea?

I was listening to Fire in the Booth in the kitchen - I was working in at the time - and I was thinking about how Grime uses repetition of a word or phrase - as, not only the hook but also a way of adding gravity to the theme written about. The rest was us doing the do.

The song name-checks Mary Berry. You guys don’t strike me as fans or watchers of The Great British Bake-Off. Is it a guilty pleasure of yours?

The Great British Bake-Off is not a guilty pleasure of mine, no. The song is laced with spite.

I think Jon watches it, though - he loves cake.

I can imagine you have been performing live a lot the past year. Can we expect to see Idles in the studio – making an album or E.P. – anytime soon?

We have recorded our first album called Brutalism. It's out next year.

I have mentioned bands like Fat White Family. Which artists, either mainstream or underground, are impressing you right now?

Current artist impressing us right now: Show Me the Body, Traams; Crows, Scarlet Rascal; Oliver Wilde, Milo's Planes; Lice, Rhain; Spectres, Fenne Lily and Plastic Mermaids

One imagines you guys grew up listening to a lot of Punk and Rock as children. What albums and artists were common in your households?

Punk-Rock was not common in my house: my old dear loved Simply Red and Otis Redding. Bowen's dad was in a punk band called The Shops - by all accounts The Shops were sh*t.

You have a lot of tour dates (the rest of) through November and December. Which dates are you looking forward to especially?

I'm sorry, we're late responding to this - we prepared for Iceland with lots of layers but if you're thinking of going save up some serious cash money as it ain't cheap; no sir! Our set was the same as it always is: different every time and fuck*ng radicalz.

Many people have images and ideals of what life on the road is like for a young Punk-Rock band – lots of beer, trouble and late-night turbulence. What is the reality like and is touring something you all enjoy?

Touring is like going on holiday only you're traveling with people you hate.

Your hotel is a van; the beer is warm; the reps. are similar and you really look forward to work.

[soundcloud url="https://api.soundcloud.com/tracks/225956513" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Looking at your promotional photos and there is some awesome hair/facial hair going on. Is there any ‘hair envy’ in the band and who would you say boasts the best hair?

Dev has hair envy as he's bald and often dreams of his now-ghosted locks. Bowen has the best hair because it's thick and grows quickly. Lee's is thinning but it hanging on for dear life. I've been balding since I was 10 and balance this out by cry-wanking.

What of the next year or so? Any plans or ambitions you have as a band for 2017?

2017 is the year we release an album, record a second and tour lots.

For the new bands that want to follow in your footsteps: what advice would you offer to them?

My advice to new bands is practice, practice, practice - write and practice.

Finally, and for being good sports, you can each name a song of your choice (not one of your own as I’ll include that) and I’ll play it here.

Taos Humm – RC

[youtube https://www.youtube.com/watch?v=RNNeWa2TsYc&w=560&h=315]

Traams - Swimming Pool

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

Of Montreal - Heimdalsgate Like a Promethean Curse

[youtube https://www.youtube.com/watch?v=5VeIL7juFE0&w=560&h=315]

Negative - A Frames

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

Danny Brown - When it Rain

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

________________________

Follow IDLES

 

Official:

http://www.idlesband.com/

Facebook:

https://www.facebook.com/idlesband/

Twitter:

https://twitter.com/idlesband

Instagram:

https://www.instagram.com/idlesband/

SoundCloud:

https://soundcloud.com/idles

YouTube:

https://www.youtube.com/user/Idlesband/videos

TRACK REVIEW: Bear Feathers - My Baby Too

TRACK REVIEW:

 

Bear Feathers

 

My Baby Too

9.4/10

My Baby Too is available at:

https://www.youtube.com/watch?v=-NFxnyHxaYs

RELEASED: 

2^nd July, 2016

GENRES: Electronic; Synthwave; House; Singer-Songwriter; Shoegaze; Indie; Dream-Pop

ORIGIN:

Brighton, U.K.

The E.P., Hold Down the Feel, is available at:

https://itunes.apple.com/gb/album/hold-down-the-feel-ep/id1127085270 _______________________

BEFORE I come to looking at my featured artist…

it is worth raising a few points – revisiting one I mentioned yesterday. I will start with that one because it seems to be happening with a lot of groups/solo artists. Bear Feathers, like a lot of his contemporaries, is making sure he has an impressive social media outlay but neglecting the relevance of photos and images. I am intrigued by Bear Feathers but there is little in the way of photography: giving you a look at the face and voice behind the music. It may not seem like a big deal but, in the future, journalists and media sources will come calling and look to connect with them. Photos are almost important as music videos – a way of bringing a musician to life and getting them into the mind. Society is obsessed by photos and images – with Instagram and selfies taking over – so it is something every new artist needs to consider. I will not bang on about that point but it is something for Bear Feathers to mull over. I wanted to look at Brighton-based acts – where Bear Feathers hail – Electronic/genre blends and the importance of local acclaim and support. Bear Feather is the creation of Neil Durrant who has been pitching his stall around East Sussex for the past few years. Having recently played in Worthing (West Sussex): it seems like there is a great support down south for Bear Feathers. In addition to splitting time between the Sussex counties: it is certain more opportunities around London and larger cities will become available. I have looked at quite a few acts around Brighton and it seems like an area that is proffering some of the more interesting and intense musicians around. Of course, Royal Blood is an act that is synonymous with the area – even if they have not been exactly prolific in the past couple of years. If the duo ever decides to record an album again – let’s hope they get on it soon – then that will be much anticipated and celebrated. The Wytches are another cracking Brighton band that keep things heavy and hard. That is a big point that has come to mind: those artists that play on the raw side of music. Spending a lot of time in London; I am not hearing too many bands that are tougher and more accelerated. There is a tendency to perform Electronic/Indie sounds and keep it quite introspective and acclaim – not quite as rousing and spirited as one would hope.

Over the past few years, artists like Blood Red Shoes, The Kooks; The Go! Team and Rizzle Kicks have put Brighton firmly on the map. Between them you get plenty of colour, energy and fascination for sure. There are quite a few Brighton bands that have made an impression this year and will continue to do so into 2017. Fragile Creatures play around Brighton and are desperate to put British guitar music back into the fore. Bear Feathers matches clever lyrics and Beatle-esque sounds to create something both ‘60s-nodding and current. Shoegaze-cum-Indie guys Black Honey have been making strides and always wanted to remain secret – that is not going to be a reality into next year. Fear of Men are a darker alternative to many of their local peers. They write songs about mental illness and themes that might carry a stigma – a sort of modern-day Smiths with a bit of Joy Division. Their guitars and compositions recalls the 1980s Manchester bands while their lyrics tap into a common vein – subjects that need to be addressed. That is the wonderful thing about areas like Brighton: the band market is very much alive and well. I have mooted, in recent posts, how hard it is to find a ‘Best London Bands of 2016’ result on search engines. If you try typing that in you have to navigate a labyrinth of insufficient and unrelated articles to get to something vaguely relevant. Throw in names like White Room and Golding and you already have a steady spine of bands that can be mainstays of the future. I have bemoaned the lack of notable new bands – being overtaken by solo artists – and that holds true for London. There are a few coming through but not being exposed the way they should be. Brighton is a different affair and much more notable with regards its groups. In the absence of the likes of Royal Blood; Bear Feathers fill the void very nicely and are starting to gain ground. Before I carry on, let me introduce my featured act to you:

“During the last three years Bear Feathers (Neil Durrant) has fronted a Garage Punk band, Produced Deep House, Synthwave and remixed various upcoming acts. These tracks have featured on BBC 6 Music, Radio 2 and Amazing Radio - gaining support from Super Star DJ Dave Pearce, Jeff Wooton (Gorillaz) and Lo-Fi genius James Yuill. Bear Feathers is where many influences fuse together in an original combination of melody, vintage electronics and blistering guitars”.

Bear Feathers is hard to pin down in terms of the styles and genres played. There is a lot of Electronic and synth. stylings but that is paired with Rock, House and Shoegaze elements. It is very much indicative of the variation and characteristics of the city. I know people who live Brighton way and always extoll the virtues of the musicians that play down there. I am not sure if there is something in the air but (the artists there) are much more nimble and fascinating than their London peers. It might be the people and the sights of the city; maybe the calmer lifestyle but it is seeing some terrific acts emerge. Bear Feathers has that granite core and scintillating guitars; there are nods to older House artists and some fresh and zesty Electronic strands. Tying it in with my last point: the support of local stations and outlets is vital. Bear Feathers just played Recreations (Worthing) and performed alongside some tremendous bands. Organised by Sam Duckworth (formerly of Get Cape. Wear Cape. Fly) – it was a successful gig for the Bear Feathers. Aside from that, there has been some support and backing from local stations but it is the crowds and opportunities around Worthing and Brighton that have ensured continued performance and success. Many bands and artists flock to London because they get few chances to shine where they live – the local media is rather scares and sparse. That is quite a worrying trend: the cities are filling and towns are being deserted by musicians.

Brighton is a different kettle of fish; a place where there are some great venues and influential stations. Watching Bear Feathers come through; you would imagine there isn’t the temptation to come to London – ample chances for exposure and acclaim down in Brighton. Durrant has been pounding the local circuit and celebrated because of their direct and spritz-laden music. Tying in my points of genre blending and local acclaim: the two go hand-in-hand and are not coincidental. Bear Feathers has evolved and developed since the early days and have reached a point where he/they are being tipped as one of those acts to watch closely. Into 2017, there will be more gigs and one feels a lot more support from local stations and tastemakers. Why so many solo artists are being favoured is because of the lack of restraints and singularity. They do not have to reach a consensus and argue with other voices: they have their own ideas and can take their music wherever they please. Bands seem more rigid and structured which is seeing some worrying trends. Many are still entertaining the possibilities British guitar music is dying and not long for this world. That might seem like an over-reaction but we’re seeing fewer guitar bands come to prominence and been taken to heart. I am not sure what the reason is behind this but it may be due to changing tastes and new demands – perhaps the proliferation of solo artists and difficulties getting anything new from Rock. Bear Feathers has done things right and are made the best of it. Durrant has that solid and dependable guitar core but take the music in all sort of directions. There is that Shoegaze side and nods to baggy-shirted bands of Manchester – the likes of Stone Roses and Happy Mondays. There is – keeping the Manchester themes firm – nods to Oasis and The Smiths but you get attacking salvos the likes of Royal Blood, Muse and Queens of the Stone Age would be proud. Toss in some Electronic subtlety and beauty; House elements and some Pop colours into the mix – quite a heady brew and wonderful cocktail. It is this adaptability and bold sense of creation that resonates with a wide number of people and keeps the music fresh and agile. Bear Feathers is capable of producing songs that are resolutely his but can fuse different genres. Guitar bands of the past have been too beholden to purity and replicating their idols – not putting enough of themselves in there and stretching the music. Bear Feathers is one of the most focused acts around but one of the most variegated.

If you are new to Bear Feathers then you might want to go back and see where they came from. As you glean from the Facebook biography: it was Neil Durrant who started the project and created it with the intention of making an impression – distinguished and separated from the raft of other acts out there. Hold Down the Feel is the most complete and solid work from Bear Feathers but not the first steps. There has been other material and it is well worth investigating and listening to. Disconnection was released a couple of years ago and does differ to their modern material. You can hear some of the spacey, robotic electronics across the E.P. but it is rarer. Hints of Kraftwerk come out in the song: it is a modern equivalent of their music and you get transported into a strange and distinct universe. The processed vocals and rushing compositions are engaging and flowing – something not a lot of modern bands are trying. If you look forward, there is a definite change of sound. I explained how Bear Feathers have retained some of that Electronica and processed sound but is embracing guitars and Indie a lot more too. There are more House elements and some Disco too. What is great about Bear Feathers is the modern material does not forget Electronic and synth. sounds in favour of a more one-dimensional Rock core. There is a heavy proliferation of warm electronics and fizzing keys; some tempestuous percussion and a celebratory mood. You get little touches of Maximo Park and like-minded musicians but it is very hard comparing Bear Feathers with anyone else. The E.P.’s closing track is as energetic and explosive as anything they have created and sums up the E.P. as a whole. Sure, there are some more reflective and calmer moments but you find (across the four tracks) the need to engage with the audience through energy and force. There are so few bands that can seamlessly blend guitars and electronics and make their music original and appealing. You either find there are some rather predictable Rock bands or Electronic artists that are a little flighty, weightless and disconnected. Bear Feathers not only overcomes possible hurdles but is much more detailed and complex than you would imagine. So many different genres and sounds in the music make it a treat for the ears and senses. The confidence and commitment you hear on Hold Down the Feel is very pleasing. That can only improve and expand over the years and see Durrant really hit a peak. You can imagine Bear Feathers being a festival favourite – very soon and taking their music around the world.

The start of My Baby Too gives you an idea of what the song is about. If you watch the accompanying video; you will find lads arguing in the pub with Wood in the middle – by the time the introduction is over she is on the floor, writhing. The opening synths. and electronics go between Synth.-Pop and Dub-Step within a few seconds. It begins teasing, skipping and static before lowering and unleashing a spectral, low-down moan. Not only does that set the scene but it gets the listener ready and hooked. I am not sure whether the song was inspired by a real-life romantic struggle – perhaps Durrant finding competition and unwanted affection towards his girl. The heroine is being fought over and is an unwanted chattel as it were. She is a commodity rather than a person and is having to get involved in a Mexican stand-off. Maybe the other guy was not aware she was taken and there is a bit of flirtation from the heroine. That miscommunication and misunderstanding gets heated rather soon and finds confrontation and aggression take over. The hero has to be “that guy” and make the truth known. It is odd finding an apologetic tone but that gives new possibility to the song. It is unclear whether the girl belongs to the hero or the other guy in the picture. Maybe there is that history and old romance that died – the two split but the affections run deep. Perhaps it is simpler and there are other men swarming around the girl. It is understandable – watching the video – with regards the appeal and allure of the heroine. She is a flame-haired woman that has that instant beauty and attraction. You envisage yourself in a local (Brighton) pub and the two lovers minding their own business. Maybe a guy has come in and is trying his luck – pitching up to the girl and laying down his cheesiest chat. That unwarranted come-on has caught the eye and causing some unction. You can feel the tension and sense something rather explosive is about to unfold. The composition remains frantic and energised. The synths. are consistently racing and get straight into the brain. There is certain weightlessness and fatigue to the vocal but plenty of underlying urgency and stress too.

It is a fraught scene that one jumps inside and tries to referee. Bear Feather is effectively a solo project of Durrant but has that band feel – hence the reference to them as a band – but Wood’s role should not be diminished. Not playing a musical role in Bear Feathers: she is an unofficial member whose is the ‘face’ of the E.P. and appears in the music video – the inspiration behind the song. You see them as a partnership and musical couple despite the fact Bear Feather is Durrant alone. The song’s chorus repeats the title and really gets into the brain. An addictive and effective mantra that enforces the truth and keeps the intrigue flowing. Hearing the song you get impressions of the ‘80s synth. masters and something classical and epic. Durrant lets it be known it takes “three to tango” and things are not that simple. I get more intrigued by the origins and reality of the situation – whether there is a tussle over a relationship or something more complicated. You get the feeling the heroine/Wood is being courted by both men but not necessarily involved with either. My Baby Too is an inscrutable and mysterious song that does not readily reveal its truth and keeps the listener guessing. Even before the guitars come in, you can hear the building eruption and explosion. The hero is keeping his eye on the girl and ensuring she is not lead astray. You get hooked in the teasing and hard beats and warm, rushing electronics. That combination is pulsating and dangerous; grabbed and sucked into that whirlpool of sound and invention. Durrant sounds more and more anxious as the song unfolds. In the video, Wood acts as the Muse and gyrates and gesticulates with sexual indiscretion. Losing inhabitations and modesty: she is alarmingly bold; perhaps not shocking she is catching the gaze of fellow pub patrons. The song’s middle section gets more nervy and tense and provides an atmospheric break. The scene has been laid and you get another piece of the puzzle. I mentioned and referred to Bear Feathers as a guitar-based act as it is that instrument that is the most effective and notable part of the song. It acts as a contradiction and polemic of the rousing and colourful electronics. Before then, the hero reverts to the chorus and tries to make his voice heard. The hero has had his heart broken and was left – making things clearer – and has been complacent in the past. That seems to be the nub and origin of the song.

The girl was part of Durrant’s life but something happened to end the relationship. Now a new man is in the frame, there is a bit of jealous and regret emerging. At times, there is something quite unnerving about the sense of scene – a girl being put in the middle and two men both vying for her affections. Wood, as the video’s heroine, is a femme fatale that has captured the affections of a new beau but is in the mind of her former love – that sense of loss and unhappiness is evident. I mentioned guitars and how effective they are to Bear Feathers: it is a side of the music that should come out more. The final seconds are the most heated and inflamed across the song. The incredible squall and fire emanating from Durrant’s guitar is stunning. Not only do you get a scintillating and bracing riff but the most passionate moment of the song. After the consistent and familiar electronics that unfolded: the scene changes and becomes a lot more stormy and violent. The teeth are out and that electronic snarl blends with the synthesisers; they create a heady and suffocating mood that makes My Baby Too more stormy, swaggering and tense. You cannot escape that lust and roar that bursts from the electronic strings. It takes the song down and ensures the listener gets a swift kick. I would like to see the electric guitar come out more as, here and on the E.P., its incorporation is the most strident and memorable element. By the end, you have to take everything in and will still hear echoes of the chorus and guitar ringing in the ear. It is not just a perfect representation of the E.P. but the finest song on the disc – one that perfectly concludes it and shows what Bear Feathers is made of.

Having recently played as part of Duckworth’s seaside festival: Bear Feathers has reached new audiences and has been given the nod by one of our most original and impressive British musicians of the past few years. That is just the start of things: with Hold Down the Feel, you get a four-track E.P. that bursts with life and personality; so many different stories and ideas – that core energy and effusiveness that defines My Baby Too. I was compelled to focus on that track as it is out in the public ether and already gaining a lot of respect and reviews. It is the swansong to an E.P. that not only is the best work from the Brighton act but a sign of things to come. It might be impossible to nail Bear Feathers in terms of genre – he has Disco elements and all manner of sounds in the boiling pot. I know Durrant will be planning new material and ideas in 2017 but it will be fascinating seeing what form that takes. Whether there is another E.P. in the mind of a series of singles – whatever it is, many people will jump on it and be very excited. Over the past couple of years; you can really hear the improvement and change in the music. My Baby Too is the most instant and stunning song so far and the perfect way to end a stunning E.P. Filled with imagination, tight performances and incredible songs – one everyone should be aware of. Before I get to the conclusion and see where Bear Feathers is headed: it is worth looking at my original points and what I raised at the top. It would be good to know more about Durrant's creation and how it came together and changed. With Wood as the ‘face’ of the E.P. and inspiration behind My Baby Too – not listed in the biography on Facebook – it would benefit knowing how she joined with Durrant and the time they got together. In her, they not only have someone making a vital impact musically, but there is that visual allure. She adorns the E.P. cover and is a Florence Welch-cum-Tori Amos red-haired figure that can get hearts skipping beats. Perhaps not relevant to the music: she holds fascination and speculation without saying a word or playing a note. Regardless of my predilections and requests; Bear Feathers should be thinking of getting some more snaps taken and some professional shots. After a run of gigs and some rather impressive tracks under his belt – Bear Feathers should entertain the possibility of greater exposure and success next year. Already played by ‘6 Music and some of the most influential stations in Britain – not long until there are some high-profile gigs.

That brings me to the points about multiple genres and Brighton in general. There is still that proliferation and zeal towards London bands – something that will wane very soon. I cannot find that many great London bands this year or any polls that indicate a huge explosion. That demand and request is almost Google-proof where Brighton does not suffer that fate. The small venues and clubs are not as vulnerable and endangered as those in London. Stalwarts such as Green Door Store are rising and premiering some of the hottest talent in the country. Not only building their reputation and core: there are a lot of great venues around the city available for the new musician. In addition, the radio stations there have their ear to the ground and it is easier to make a living as a musician – no need to flee to London and try your luck there. Not only does Bear Feathers have that support on the doorstep; there are some like-minded contemporaries that can drive Durrant's act and are available for backing. Not only (do Bear Feather) have the chance to approach the hottest Brighton bands coming through – they are part of a local scene that is putting emphasis on bands and actively seeking the best of the breed. Bear Feathers impress me with the sheer ambition and appeal of the music. You get that sturdy and captivating Rock but so many other colours in the spectrum. Compelled by a range of genres and artists: Durrant started the group on these foundations and does not want to see Bear Feathers restrained, honed and singular. Hold Down the Feel is a terrific E.P. that captures all the layers and ideas like a huge net collecting butterflies. I urge people to get down to Hold Down the Feel and investigate everything it has to offer. It is an E.P. that registers the first time you hear it but keeps eliciting response and reaction every time you hear it. That is the mark of a great act - that sense of nuance and repeatability is something I am seeing less of.

It is only left to wrap things up and see where Bear Feathers might be headed. Durrant has been performing locally but one feels there will be a more wide-ranging and long-traveling itinerary unfolding throughout 2017.  I could easily see him performing throughout the country and taking their music far and wide. Bear Feathers is not an act that is niche and unlikely to connect with the wider world. They have that everyman, universal sound that will strike a chord with so many people. Let’s hope Durrant can push the songs as far as possible and get those gigs – one of the acts you want to see live and hope they succeed. I am sure Bear Feathers will not struggle in the future and is going to be releasing a lot more material. The latest E.P. is awash with strange chemistry, memorable moments and incredible compositions; fresh and emotive vocals and a compendium of sounds to boot. I would like to see them in London next year and bringing their music to the masses here. Brighton is a very hospitable and welcoming city – Bear Feathers will find many opportunities and fans in London. I cannot wait to see where he will go and just how far he can progress. It seems likely the next year will find them transition to the outside mainstream and get within touching distance of the festival scene. Among an ultra-competitive industry with so many different bands/acts vying for huge success; it is with no uncertain proclamations I predict Bear Feathers…

HAS what it takes to go all the way.

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

__________________________

Follow Bear Feathers

 

Facebook:

https://www.facebook.com/bearfeathersmusic/

Twitter:

https://twitter.com/Bear_Feathers

SoundCloud:

https://soundcloud.com/bearfeathers

YouTube:

https://www.youtube.com/channel/UCYB6p5hp2oufJX_HIZtYuiQ 

FEATURE: Kate Bush: Before the Dawn

FEATURE:

 

Kate Bush: Before the Dawn

____________________

FOR anyone who likes their Christmases filled with music, surprise and…

emotion – there are fewer better gifts than an album like Before the Dawn. The three-disc collection collates the best moments from Kate Bush’s twenty-two sold-out shows at London’s Hammersmith Apollo in 2014. The album is out on November 25^th and shows why so many people wanted to see Bush in the flesh – each of the shows was sold out within fifteen minutes of going online. The shows were not just spellbinding and quintessentially Bush-esque: people who were there came away aghast and bewitched; seduced by the magic and the energy on the night. Make sure you get the collection and immerse yourself in the beauty of her music, stage presence and charisma. In honour of the impending release: I have been compelled to collate the finest Kate Bush songs; the best interview clips from her and assess why she is so special.

_________________

What Makes Kate Bush So Special?

There is nobody quite like Kate Bush out there. Listening to interview with her – more on that later – and you hear an articulate, witty and warm woman who is always teaching something new. Listening to her speak is an experience like no other – you always come away seduced and smiling. Even interviews conducted in the early part of her career (around 1979) are fantastic to watch. Even at a young age; Bush knew what she wanted to do and had complete confidence in her music. There were some shyness and modesty but you could tell, even in the late-’70, a future star was being proffered. Fast-forward to today and she seems ageless and the same woman she was back then. It is not just her conversational style and accessible nature that makes her so peerless – it is the music that stands the test of time. Having created such a sensational debut (The Kick Inside) as a teenager: many of her contemporaries would struggle to keep producing music of that calibre. The debut splits some critics – where it falls in the chronological pecking order – but it remains a fantastic and unique introduction. No other singer could have created a song like Wuthering Heights or The Man with the Child in His Eyes.

Not only did that 1978 debut resonate with critics and herald a rare talent: it propelled Bush to bigger and grander work. That eccentricity and beauty remained but what did come into play – before the release of Hounds of Love – was that cinematic scope and grand designs. Even at its most intimate and tender: Kate Bush’s music always possessed that swelling, tremulous quality. By the time of Hounds of Love; her music had reached its peak and capitulated her to international audiences. That album ranks as many people’s favourite (myself included) and it is not hard to see why. Even the ‘lesser’ albums – The Red Shoes and the debut – have so many fantastic moments. Few musicians have that consistency and evolving sound; the distinct and fantastic personality – a voice that carries everything and makes each word sound utterly essential. Too many of today’s like-minded artists go in too directly and possess little subtlety, nuance and grace – the components that made Kate Bush so special. Not only do they lack the necessary vocal dexterity/beauty and songwriting maturity – there is none of that warmth, wisdom and intelligence. That is not the case with all solo stars growing in her shadow – there are one or two newcomers that I am very excited about – but nobody quite like her. It is heartening to see her still performing and talking; getting her music to the people and willing to captivate the crowds – long may she reign.

What defines Kate Bush for me is that fastidious fascination with music itself. In interviews, she explains how she still works with the technology of past days – not willing to completely upgrade and dispense with the charming and sturdy methods she grew up with. Among the facelessness of modern recording and technology: here is someone willing to subvert expectations and retain devotion of past-days methodology. She is an honest and pure recording artist who balances family life and musical demands without making a fuss about it. It is a combination of everything to be fair: that inimitable lure and allure that has buckled knees and hooked souls since 1978. It is a testament to her enduring music and work ethic she remains relevant and celebrated. Critics are always looking for that next Kate Bush experience – what form it will take, we shall see.

The Kate Bush Playlist – Her Fifteen Finest Songs

 

Wuthering Heights (The Kick Inside)

[youtube https://www.youtube.com/watch?v=fVDRq_0zCJk&w=560&h=315]

The Man with the Child in His Eyes (The Kick Inside)

[youtube https://www.youtube.com/watch?v=NAj8suae3WY&w=560&h=315]

Them Heavy People (The Kick Inside)

[youtube https://www.youtube.com/watch?v=qfNtPbHkp0U&w=560&h=315]

Wow (Lionheart)

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

Babooshka (Never for Ever)

[youtube https://www.youtube.com/watch?v=6xckBwPdo1c&w=560&h=315]

Army Dreamers (Never for Ever)

 

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

Get Out of My House (The Dreaming)

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

Running Up That Hill (A Deal with God) (Hounds of Love)

[youtube https://www.youtube.com/watch?v=wp43OdtAAkM&w=560&h=315]

Cloudbusting (Hounds of Love)

[youtube https://www.youtube.com/watch?v=pllRW9wETzw&w=560&h=315]

This Woman’s Work (The Sensual World)

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

 

Rubberband Girl (The Red Shoes)

[youtube https://www.youtube.com/watch?v=85wZw1O83aE&w=560&h=315]

King of the Mountain (Ariel)

[youtube https://www.youtube.com/watch?v=F8xk_AkeP5c&w=560&h=315]

Mrs. Bartolozzi (Ariel)

 

[youtube https://www.youtube.com/watch?v=GZnA4jHuyzs&w=560&h=315]

Moments of Pleasure (Director’s Cut)

[youtube https://www.youtube.com/watch?v=YXKLWStu9iw&w=560&h=315]

Wild Man (50 Words for Snow)

[youtube https://www.youtube.com/watch?v=Mk-52lJXc0I&w=560&h=315]

 

The Albums: From Worst to Finest

10. The Red Shoes (1993)

 

The seventh studio album is considered one of her weakest. Its standout single, Rubberband Girl, is as elastic and intriguing as its title – a Reggae-cum-Rock workout that recalled her earliest work. Aside from that, there was quite a bit of filler and some forgettable moments. Even so, the album peaked at number two on the U.K. charts and was certified Platinum. A tour was mooted to coincide with the album – but never materialised – and there was some tension and upset in the creation of the album. Long-term collaborator Del Palmer left his bass and departed the fold; her mother, Hannah, died a year before the album’s release – some hard experiences for Bush. That being the case, you can understand some fracture and fragmentation.

Standout Track: Rubberband Girl

9. Director’s Cut (2011)

 

Few expected a Kate Bush album in 2011: let alone two of them! This release found Bush looking over old recordings and giving them new light. Composed of songs from The Sensual World and The Red Shoes – the latter saw some of its lesser efforts improved and provided fresh paint. Critics were fascinated and enthralled by the album and keen to lend praise and paen. Some were confused by its release and necessary but those who understood it noted the energy and passion emanating from Bush – someone in love with music and still compelled by what she foes. Bush’s perfectionist tendencies mean the songs are utterly crafted and honed – never a loose edge or insincere sentiment. Perhaps not nestling in the upper echelons of her grand catalogue – it is a wonderful album and one that demonstrates twenty-first-century Kate Bush is intoxicating as her ‘70s self.

Standout Track: Moments of Pleasure

8. The Sensual World (1989)

The title was taken from James Joyce’s Ulysses and Bush references literature and heroes throughout the album. More importantly, she created her own world and an utterly sensual and beautiful album. It is not just the vocals that hold court throughout the record. From wild and swaying pipes – on the title track – to the mesmeric lyrics – a complete and rounded album that departs from her earlier work and breaks new ground. Proving how keen to evolve she was: The Sensual World retains little of her best albums and goes in fresh directions. This Woman’s Work is the standout track and sees the heroine struggling to balance domesticity and demands in life – regrets, sorrow and harrowing thoughts racing around her head. Looking at gender imbalance, maternal servitude and struggle – one of the most affecting and enduring songs from Bush’s entire career. In the list of Kate Bush albums, it is one that gets to me – even if it does not elicit the same sensations and reactions from her best albums.

Standout Track: This Woman’s Work

7. Ariel (2005)

 

There was a time when many assumed we had seen everything from Kate Bush – twelve years after The Red Shoes; Ariel was introduced to the world. Her only double-album: it reached number three in the U.K. charts and sold more than 90,000 copies. Award-nominated and hugely rated by critics – not just a welcome return but one of the best Kate Bush albums ever. More cohesive, focused and consistent than The Red Shoes: Ariel is awash with everyday characters, mysticism and contradictions. From washing machine-laden heroines to kings and mountains; esoteric smells and transcendent sights. Bush’s voice sounds as strong and beautiful as ever – making the record not so much a rebirth but a continuation.

Standout Track: Mrs. Bartolozzi

6. Lionheart (1978)

 

Released shortly after her debut: Lionheart was the second album to be released from Kate Bush in 1978. It reached number six in the charts and is a bolder and more ‘grown-up’ effort than The Kick Inside. Bush adorned a lion’s costume for the cover and seemed keen to throw off any ideals she was ingénue and naïve – someone embracing music, dance and the self. The album spent thirty-six weeks on the charts and is seen as one of most underrated albums. While there is not the sheer magic and highpoints evident in Hounds of Love – there are some fantastic numbers that rank alongside her best. Wow is the one we associate with the album: the insight into an actor’s life and the rather overdramatic nature of the craft. Bush embarked on her first tour around this time and had little time for rest. The fact Lionheart was so rushed after The Kick Inside explains some minor tracks and little real development – something Bush would rectify shortly.

 Standout Track: Wow

5. 50 Words for Snow (2011)

 

Kate Bush’s tenth studio album was the second to be released off her own label, Fish People. The first new studio release since Ariel: the first time since 1978 she had released two albums in a year. Wild Man is the album’s lone single and demonstrates the same sort of verve, oddities and mystique as Ariel. The album was a narrative set against the background of snow – almost a concept album in a lot of ways. Stephen Fry lends his voice to the title track – essentially reading a list of words for snow; across multiple languages – while the remainder of the songs are still, wintery and tender. Bush, since her wilder works of the 1980s, sounded completely comfortable a more restrained and contemplative singer. A woman that prioritises personal demands over that of professional expectations: 50 Words for Snow is someone unconcerned with chart positions and radio-play; making mystic that sounds right and earnest. The snowy backdrops are augmented and defined by lush strings and stunning instrumentations – an album that grows more impressive and spectacular every time you play it.

Standout Track: Wild Man

4. The Kick Inside (1978)

 

It is my personal favourite Kate Buh but not necessarily her best. For me, it is so special because it came first – this was an unknown quantity coming into music and making her sapling steps. Such is the command, confidence and command you forget Bush was still a teenager when the album was released. Some of the tracks were penned when Bush was thirteen (The Man with the Child in His Eyes) and most of the tracks were solely written by Bush herself. Such was the aftereffect and reception for Wuthering Heights; it propelled Bush onto the world stage. Recognised as a special and transcendent talent by many: nobody like her had ever come into music; few have since. Bush was accompanied by an orchestra on some tracks – she claims to have been nervous when recording – which gives the cinematic songs more shiver, soul and grandeur.

Standout Track: The Man with the Child in His Eyes

3. Never for Ever (1980)

Following her 1979 tour – to promote Lionheart – Bush sojourned to the studio aided by Lionheart engineer, Jon Kelly. Never for Ever was a more personal album, and because of that, one Bush felt happier with – following the dissatisfaction with Lionheart. Whereas her first two albums were defined by lush orchestration and romantic simplicity – Never for Ever was more diverse and genre-hopping. Rockers like Violin were uncharted territory; Army Dreamers a more waltz-like affair; synthesisers and drum machines started to come into the music. Themes switched from doomed love and doomed army recruits; a governess scared by the feelings she has for a young male charge (The Infant Kiss). Like any Kate Bush works: there was plenty of literature and characterisation evident throughout the album. Songs like Babooshka were big hits and helped get the album (and Bush) to a wider audience. The author herself was satisfied – feeling it was her strongest album yet – and that shows throughout.

Standout Track: Babooshka

2. The Dreaming (1982)

 

The 1980s was a busy decade for Kate Bush. Not long after the dust had settled on albums The Kick Inside, Lionheart and Never for Ever – The Dreaming was in the public forum. Bush decided to produce this album by herself and take control of the music. Employing digital synthesisers more: quite an about-face from her first couple of albums. Bush also worked with a variety of producers and started to gain a lot more confidence – still in her twenties; a young woman who knew what she wanted and was more determined and ambitious than ever. Not a lot of convention and tradition can be found on the album. At the time, some critics found (The Dreaming) a little divisive, weird and quirky. That experimental and bold nature was always part of Bush’s work so it is no surprise she would augment and emphasise it. Few who heard The Kick Inside would expect a song as demented and overt as Get Out of My House – just another indication Bush was keen to not sit still and able to confound and amaze.

Standout Track: Get Out of My House

1. Hounds of Love (1985)

 

It could only be this one, couldn’t it?! The undisputed masterpiece and watermark of Kate Bush’s career arrived with 1985’s Hounds of Love. After disappointing sales figures of The Dreaming – executives at the label were concerned about how long it took to produce albums. In today’s scene, that notion would be absurd – many bands take years between mediocre records. Bush was busy touring and found herself at a loose end afterwards. She did not write for four or five months and took a summer out – so she could be inspired and find new influence. By 1983, Bush built a multi-track studio behind her family home and began work. Critics were instantly awed and knocked back by the album labelling it romantic, dramatic and genius. The fear and dread of The Dreaming were replaced by romantic longing and something more positive. Split into two halves – the first more traditional singles-led; the second a suite of songs – the sheer ambition, scope and sound of the record took many by surprise. It remains a staggering work from an artist in need of a kick and ignition spark. She certainly found that in Hounds of Love: one of the finest albums of the 1980s.

Standout Track: Running Up That Hill (A Deal with God)

The Kate Bush Interviews

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

[youtube https://www.youtube.com/watch?v=MSCdqI-5Qh4&w=560&h=315]

[youtube https://www.youtube.com/watch?v=WO_vHki95cc&w=560&h=315]

[youtube https://www.youtube.com/watch?v=uSQ6ispjgnU&w=560&h=315]

[youtube https://www.youtube.com/watch?v=d7NeDujngDI&w=560&h=315]

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

[youtube https://www.youtube.com/watch?v=xo4MZ8_clao&w=560&h=315]

Where Does She Go Now?

It was not long ago we were wondering whether Kate Bush would ever record another record. Since 2011, she has been busy and keeping her music out there. Before the Dawn was not only one of the most in-demanded and stunning set of concerts in modern music history – it showed what affection there remains for Bush’s music. She will be speaking with ‘6 Music’s Matt Everitt and, having heard a few clips, it is very much the same old Kate. She sounds completely comfortable and warm; convivial and witty – it does get the mind thinking. You know there must be another album coming in the next few years but what form that takes, who can really say? Bush will always be writing and making music so we should never rule out the possibility of more studio albums. Musical legends like Leonard Cohen show you can work into your 80s and still keep the crowds flocking – Bush might not want to go that long but it is an intriguing possibility. Before the Dawn captures some of her more-recent songs in a giant and spectacular setting. It is a timely reminder that shows what a sensational, once-in-a-lifetime talent Kate Bush is. I cannot wait to hear where she goes from here. You can hear some of Bush’s chat with Everitt here - http://www.bbc.co.uk/programmes/p04fr9cv?ns_mchannel=social&ns_campaign=bbc_radio_6_music&ns_source=facebook&ns_linkname=radio_and_music – and get a taste of the upcoming interview. I, for one, cannot wait to see what the coming years hold for the remarkable Kate Bush.

Before the Dawn: The Live Album

Information taken from http://katebush.com/news/kate-release-live-album-dawn

What the critics said about ‘Before The Dawn’:

"The most influential and respected British female artist of the last 40 years – ‘Before The Dawn’ is remarkable". - The Guardian

"Bush’s return to the stage is a staggering triumph" - Metro

"British music’s most significant female artist." - Evening Standard

"Some powerful magic has restored Kate Bush to us." - Observer

"A triumphant return by one of our greatest, most original and influential music stars." - The Sun

"Stunning, undoubtedly the most ambitious and genuinely moving piece of theatrical pop ever seen on a British stage". - The Independent

"This visionary performance is worlds apart" - The Times

The full CD tracklisting is as follows -

CD1:

Lily

Hounds of Love

Joanni

Top of the City

Never Be Mine

Running Up That Hill

King of the Mountain

CD2:

Astronomer's Call (Spoken monologue)

And Dream of Sheep

Under Ice

Waking the Witch

Watching Them Without Her (dialogue)

Watching You Without Me

Little Light

Jig of Life

Hello Earth

The Morning Fog

CD3:

Prelude

Prologue

An Architect's Dream

The Painter's Link

Sunset

Aerial Tal

Somewhere In Between

Tawny Moon

Nocturn

Aerial

Among Angels

Cloudbusting

The full 4x Vinyl tracklisting is as follows -

Vinyl 1: Side A

Lily

Hounds of Love

Joanni

Top of the City

Vinyl 1: Side B

Never Be Mine

Running Up That Hill

King of the Mountain

Vinyl 2: Side A

Astronomer’s Call

And Dream of Sheep

Under Ice

Waking The Witch

Watching Them Without Her

Watching You Without Me

Vinyl 2: Side B

Little Light

Jig of Life

Hello Earth

The Morning Fog

Vinyl 3: Side A

Prelude

Prologue

An Architect’s Dream

The Painter’s Link

Vinyl 3: Side B

Sunset

Aerial Tal

Somewhere In Between

Tawny Moon

Vinyl 4: Side A

Nocturn

Aerial

Vinyl 4: Side B

Among Angels

Cloudbusting

FEATURE: The Ten Best Albums of 2016 (So Far)

FEATURE:

 

The Ten Best Albums of 2016 (So Far)

______________________

WITH all the fantastic music his year has provided…

it seems appropriate to look back at the past eleven months and the fantastic albums that have been created. Many have (rightly) seen 2016 as a bumper crop and one of the most productive and consistent years for music – a vast improvement on previous years. With big legends and established bands creating their finest works; some wonderful debut and sophomore record unveiled: what better time than assess the best of the rest; those albums that have defined this year and prove what an amazing time for music it is. I collate my ten favourite L.P.s from the year: those albums that have meant the most and made the biggest impressions.

__________________

 Beyoncé – Lemonade

Few that witnessed her self-titled 2013 album could have predicted the shifts and explosions of Lemonade. Beyoncé has always been known for her electric performances and raw passion – Lemonade took that to rare and supernatural heights. Speculation exists as to the songs’ origins – addressing possible infidelity from Jay Z – but you cannot deny the quality and consistency. The finest album from Beyoncé’s solo cannon: politics, love and self-affirmation are all addressed across the record. Don’t Hurt Yourself (Jack White comes into the fold) is expletive-ridden, cathartic and angered whilst Daddy Lessons finds Beyoncé recall the advice her father gave – essentially, shooting cheaters and those who deceive (whether literally or metaphorically). Formation is the biggest political statement and finds Beyoncé not only rally her supporters but unifying the listening world – laying vital, humanitarian messages down. Although there are quite a few writers and producers in the mix: it is Beyoncé’s passion, talent and voice that ring loudest. It is a huge leap for Beyoncé and one that proves she is among the most inspirational and important artists of her time.

[youtube https://www.youtube.com/watch?v=PeonBmeFR8o&w=560&h=315]

James Blake – The Colour in Anything

This is an album I was certain would be nominated for a Mercury Prize. Whilst Skepta’s Konnichiwa would make my top-twenty of this year – alongside the likes of Bat for Lashes, Ed Harcourt; Sunflower Bean and Laura Mvula – but I feel The Colour in Anything deserved a Mercury nod. The sheer spectrum of colours, compositional touches and diversions is staggering. Across seventeen tracks – most of which Blake wrote alone – shows what a singular talent he is. There are few that have such a commanding and unique songwriting style as James Blake. That sonorous, captivating voice makes songs like Radio Silence and Modern Soul so engrossing and alive. The fact he was called to work on Beyoncé’s Lemonade shows what a cachet he has – an artist legends are clamoring to work with. If the production and sound are sometimes dystopian and mind-altered – a man wrestling with deeper issues – the lyrics speak of positivity, happiness and the quest for betterment. That might seem like a counter-intuitive approach to modern music but one that led to a spectacular, life-affirming record. The strongest of Blake’s trio of albums: The Colour in Anything points at what could come from the London songwriter.

[youtube https://www.youtube.com/watch?v=TTglDb7qjvQ&w=560&h=315]

David Bowie – Blackstar

Leonard Cohen’s recent death put into perspective how many music legends have been lost this year. Few are as notable and chasm-shaped as David Bowie. Few could have predicted his death when hearing Blackstar but it is impossible to listen to the album and not think about it. An honest, stark and beautiful work from a man who knew his fate was sealed. The seven-track release is more concise than previous albums like The Next Day and more compelling. Those looking for shades of early-career Bowie were surprised by the complex compositions, eccentricities and sonic leaps of Blackstar. Never an album that catered for radio stations: Bowie is at once oblique and mysterious and bare-naked the next; always gorgeous, memorable and graceful. Not only are the songs tighter and more nuanced but so too are the vocals. Bowie’s voice has always been lauded but on Blackstar he hit his peak – more shades, sides and emotions than ever before.  It is a tragedy that we will never see another David Bowie album: Blackstar acts as a wonderful epitaph and demonstration of a true icon undeterred and affected by imposing mortality.

[youtube https://www.youtube.com/watch?v=y-JqH1M4Ya8&w=560&h=315]

Nick Cave & the Bad Seeds - Skeleton Tree

If you want to talk about emotional albums from musical icons – one more to come in this piece – then you cannot ignore Nick Cave’s latest album. Following the death of his son Arthur: Skeleton Tree gained a dark and harrowing notoriety. One can feel and hear Cave calling across the heavens to his departed child – desperate, confused and harrowed. Profundity sits with anguish across an album that offers a stark and open insight into bereavement. That is not to say Skeleton Tree is a suffocating and off-putting album. It is beautiful, mesmeric and engaging from first note to last breath. Jesus Alone boasts warped electronics and byzantine lyrics; Girl in Amber one of the most beautiful pieces of the band’s entire career – by the title track (the eighth and final) you yearn for more, oddly. It is seen as the unimpeachable album of the year by many critics and is hard to argue against. It is unlikely Nick Cave & the Bad Seeds will ever top Skeleton Tree and one wonders if they will continue at all. Such is the emotional, exhaustion and sadness one gets from the performances – can the Australian group ever come back from it?

[youtube https://www.youtube.com/watch?v=xKq39e7SBOE&w=560&h=315]

Leonard Cohen – You Want It Darker

The inclusion of Leonard Cohen’s final album is not a reaction to his death but acknowledging a truly astonishing work. In the way Bowie was coming to terms with his impending demise: so too was Leonard Cohen. You can hear a man not long for the world tackle the subject head on – he even told The New Yorker he was ready to die. Cohen sang from a medically-designed chair – suffering from a back injury – whilst his son Adam produced. Cohen’s voice is at its graveled and smoky best; the lyrics as sharp, poetic and profound as any of his career – the songs as unforgettable as any he has ever produced. Leaving the Table finds Cohen look at things surplus to requirement – “I’m leaving the table/I’m out of the game”. Folk, Gypsy roots and Blues bring together his older work (Various Positions especially) and You Want It Darker is one of the most eclectic works of Cohen’s career. Treaty sees synths., strings and choirs fuse while Traveling Light places bouzokis and drum loops together. It is an intoxicating and immense work from one of the greatest songwriters to have lived. Few could have known – like Bowie’s Blackstar – the creator would die so soon after – giving You Want It Darker extra levels, poignancy and relevance. One feels Cohen – having created that title and shuffled the mortal coil – will be shooting a sly grin from his throne in Heaven.

[youtube https://www.youtube.com/watch?v=v0nmHymgM7Y&w=560&h=315]

Julia Jacklin - Don’t Let the Kids Win

Not an album many would expect to see on an end-of-year list but it is there for a good reason. In a sea of solo artists laying down their songs and trying to impress – few make such a mark as Julia Jacklin. The Australian newcomer wrote the album in response to those around her growing-up and developing in life. Whether buying a home or moving abroad: Jacklin felt grounded and rootless by comparison. The songs address the need to make changes and the issue of age. The catchy single Coming of Age finds Jacklin tackling premature middle-age (Jacklin is twenty-five) and the necessity of making the most of time. The rest of Don’t Let the Kids Win is complex and diverse. The compositions are constantly agile, rich and unexpected – not what you’d expect from a debut album from someone entering the Indie-Rock milieu. Eccentric, charming and witty at times – various moments find Zach Braff cast as Jacklin’s dad and Catherine Deneuve as her mum – the shining star of the album is Jacklin’s voice. Quirky at various moments yet always heartfelt, spirited and beautiful. 2016 has seen many debuts and new artists emerge but few are as memorable as Julia Jacklin. The media and international radio have fallen for her music and no wonder: Don’t Let the Kids Win is a sensational album that deserves big love.

[youtube https://www.youtube.com/watch?v=fua9nrkUYew&w=560&h=315]

Michael Kiwanuka – Love & Hate

Home Again was the debut from Michael Kiwanuka and was well-received by many. Love & Hate seems like a quantum leap and true summation of Kiwanuka. Many have noted how busy and full Love & Hate is. More diverse, sprawling and ambitious than his debut – an album that never sits still and is always mobile, surprising and accomplished. Kiwanuka’s soulful, divine vocals make every song stand out and resonate hugely. At times introspective and investigative; others political and angered – a young man coming into his own and addressing the world around him. Black Man in a White World is about isolation and racial imbalance while Cold Little Heart shows its scars and burdens – a ten-minute masterpiece that has been described as Homeric and orchestral. Although many of the tracks are long and lush, they are never self-indulgent and unfocused – Love & Hate is consistently measured, disciplined and accessible. Kiwanuka can be punchy and funky when needed – One More Night is a classic Soul workout – but candid and revelatory when needed. The fact Love & Hate did not win the Mercury Prize is no disservice to Kiwanuka and his multiple talents – he will be winning many awards in the years to come.

[youtube https://www.youtube.com/watch?v=1Sw2JJ5nSbM&w=560&h=315]

Billie Marten – Writing of Blues and Yellows

The seventeen-year-old Ripon native entered music less with a bang and more a mellifluous, spine-tingling call. Writing of Blues and Yellows is a vastly mature work from a singer not only tender in years but making her debut statement. Poetic, literary-referencing and brutally honest – Billie Marten is a singer that gets into the head and is impossible to shift. Album standout Heavy Weather is a vivid and picturesque song replete with pattered beats and tender finger-picking; seductive (chorus) vocals and one of the most pin-sharp performances across the record - you envisage yourself battling the "English winter" with the heroine. Bird and Emily are utterly beguiling while Teeth addresses mental illness and is one of the most personal songs across Writing of Blues and Yellows. It is easy to find comparisons between Marten and her musical icons Nick Drake, John Martyn and Kate Bush. You command, talent and Folk wonder of Marten and Drake (within Marten); the age-appropriate lineage and immense voice of Kate Bush – Marten reminds me a lot of Kate Bush and (Marten) has the same potential and career looming. Critical consensus remains thus: a four-star beauty that showcases a rare and wonderful young talent. Make sure you keep your eyes trained on a musician that has a bright and varied career ahead.

[youtube https://www.youtube.com/watch?v=zy6e1D4yDEQ&w=560&h=315]

Radiohead- A Moon Shaped Pool

I am a devoted fan of the Oxford band and was not expecting something as immense as A Moon Shaped Pool. The King of Limbs (their 2011 predecessor) was a fantastic album but not up to the peak of their early work. When A Moon Shaped Pool dropped, there was a bit of trepidation and fear – all of those nerves were quelled and eradicated within a few bars of lead-off single Burn the Witch. Looking at scaremongering, scapegoating politicians; a society that is keen to turn people away – one of the finest and most instant singles from the band. The rest of the album is tenderer, calmer affair – sharing a sonic palette with The King of Limbs. If there were not many guitar moments and traditional Radiohead songs: what one received was a more mature, deep and thoughtful album from a band showing why they are so revered. Thom Yorke’s voice is consistently beautiful, heartbreaking and gripping; the compositions grandiose, elusive and haunting. Ful Stop is a glitch, jittery jam whereas Daydreaming is somnambulistic, cinematic and affecting. Radiohead proved how varied they are whilst not losing focus and identity. Let’s hope there are more albums from the band because they remain one of the world’s finest groups – in a place where they are, in their own words, happy and contented.

[youtube https://www.youtube.com/watch?v=yI2oS2hoL0k&w=560&h=315]

Wild Beasts – Boy King

Wild Beasts are one of the most consistent bands in this country and have enjoyed near-perfect critical acclaim and support. Boy King is the sound of a band living up to their name: dispensing with the nuance and going straight for the bone; raw, sexual and snarling animals. This description might put off soon but it was the Kendall band embracing their debut album – returning to the prurient boys and the need to get satisfaction. Career standouts Smother, Two Dancer and Present Tense were lauded because of their intricacies, subtleties and complex arrangements – that cut to the heart and enriched the soul. Boy King is less sophisticated but more immediate than any of the band’s previous albums. Big Cat finds the man on top whereas Alpha Female reverses the roles; Get My Bang and Tough Guy gritty and cocksure. Despite the band addressing modern-day masculinity and embracing a heavier-orientated sound: songs like Celestial Creatures and Dreamliners are among the most beautiful and stunning songs from Wild Beasts. Recorded by John Congleton in Dallas, Texas – an engrossing and important album that seems ever-relevant for the times in which we live.

[youtube https://www.youtube.com/watch?v=SRFtHO180tg&w=560&h=315]

TRACK REVIEW: I.V - Silence Is Violence

TRACK REVIEW:

 

I.V

 

Silence Is Violence

9.1/10

Silence Is Violence is available at:

https://soundcloud.com/ivmusicuk/silence-is-violence

RELEASED: October 2016

GENRES: Alternative-Rock

ORIGIN:

London, U.K. _______________________

IT might seem like I am covering old ground in...

this review but some points bear repeating. I will say a few words about my featured act soon, but at the moment, it is worth looking at Indie-Rock bands of London and what they sound like; the quality and originality of bands and visibility and exposure on social media. One of the things that annoy me most about search engines is how completely basic and unfit-for-purpose they are. If you want to search for something like ‘best London bands 2016’ and hit that through Google – your options are limited. I tried that and got some old articles; some that wouldn’t load and most were out-of-date. There are no music sites that collect important polls and articles together that will help music fans and journalists. It might sound like a minor concern but it is a big problem. I am sure writers have collated lists of greatest bands – where does one find them?! What do you type in Google to get the information you need?! It is appalling it is so hard finding relevant information and getting what you need. The only other explanation – why I can’t find many band lists – is the lack of pages dedicated to this side of things. Given the amount of new bands emerging; why are there not more articles available? Search engines are flawed and frustrating but there seems to be a slowing of exposure and proliferation. People like me want to discover hot bands emerging and it would be good to find some sites and lists that make that easier. Of course, I could write one myself but there are thousands of journalists out there. If I want to collate a list of promising London bands then where do I go? I am not sure whether there is apathy and fewer journalists interested in this side of things but it is jeopardising the future of the music scene. It is challenging discovering great acts if you are based out of the city – even then it can be tough – so it is great finding lists and pieces that throw some great name our way. Unless, like me, you’re in the position where you get sent reviews and music – the task of unearthing promising musicians is a rather fraught one. It brings me, rather stumbling, to my point about London bands. Despite there being more focus on solo artists and other genres – there is a general decline in numbers and standard of Rock bands – that side of the market is still highly valuable and sought after. Indie-Rock is one of the most populous genres and one that shows huge diversification and variation.

London is always going to be a spiritual home for new bands of the moment. It has that lure and community that attracts hungry artists. Indie-Rock is seeing a lot of interesting examples bloom and present their stuff. As much as I bemoaned the lack of end-of-year polls and collation of ‘ones to watch’ – there is plenty of quality and sustainability in the band market. In terms of London; I am finding bands – even those who call themselves ‘Indie-Rock’ – incorporate other elements and genres into the music. In order for music – and the band market – to thrive and continue; we need to start organising things and bringing the very best together more clearly. This week has seen U.S. political hysteria and the death of a musical legend – making people reflect and yearn for something safe and better. Music has that innate ability to transcend time and situations and provide warmth and reassurance. I am not sure what we will do with regards the (lack of) visibility for great acts – whether there should be a bespoke site set up to expose great music or something else. I have tossed the idea about – setting a site like this up – but it might take a while to get going. Whether journalists do more to get the best bands to our ears is also to be seen, but for now, those like I.V are definitely worth time and affection. I am new to the band so have been looking into the origins and thinking where they came from. All that is listed across Facebook, in terms of biography are the names – Victoria San, Oliver Finch; Matt Nicholls, Polly Shields and Austin Danson – and the band’s mission statement: “Some kind of high-powered mutant, never even considered for mass production". It is an intriguing, if brief, summation of the guys and what they do. I have looked at new artists and how much they disseminate across social media. In order to get people in and journalists/fans latching onto the music – it is vital there is quite a bit of information and detail. I know new music is a vast and populous arena: it can be impossible sifting through the wave of participants, regardless of how much information they provide. Those that make the biggest initial steps are those that reveal a bit about themselves and give the audience something to see. I.V will have a definite future but I would like to know more about the members and where they came from; a few more band snaps and more media – some interviews and videos they have recorded/conducted. It is not a point I will bring up too vividly but it is harder now to succeed than ever. Those acts that have a clear talent and originality – like I.V – deserve more respect and longevity than those who merely turn up and put in the minimum. I am not sure whether the band has photo-shoots organized and will be putting longer biography out but there are many that would like to hear more about them and what they do – who influences them and what makes them tick. Perhaps this secretive, modest unveiling is to keep enigma firm and ensure the music reveals the most. That is commendable but one feels next year will be a busier, fuller one for them. Having made some impressive steps thus far; they are a bold and electric act that certainly make an impression.

Before getting into specifics about I.V and their music; it is worth talking about – and putting the band in this context – the benefits and importance music holds to us. I am writing this in the wake of Leonard Cohen’s death, and while not directly connected with I.V and their music – he raises a bigger point that needs to be addressed. A lot of the sadness and tragedy that has originated this year has concerned the – unfair and untimely – deaths of our greatest musicians. From David Bowie and Cohen through to Lemmy – it has been a rather cruel and unsubtle year from The Grim Reaper. No conspiracy, greater plan or heavenly scheme – just an unfortunate and sad year for us all. While 2016 (luckily) makes its final fits and fades into a new calendar year – there is that hopefulness for a better time in addition to reflection on the past few months. Given the passing of such legends: music has shown just how important and universal it is. Whether you have respect and fondness for the music of Leonard Cohen and David Bowie – you cannot argue at the fact they were hugely influential. That unequivocal relevance is never going to end. In response to such sad news and poor fortune; people like me are looking at musicians coming through to fill the gaps. Whatever your preferences with regards new music; there is plenty out there for everyone and some very promising acts. As we all step into winter’s icy depths: the mind and body crave something nourishing and fiery; colourful, interesting and different. Luckily, when it comes to I.V, you get that in spades. A terrific young band that is entering music at a very competitive time. I feel sorry for musicians coming in now and the realities of what is in front of them. They are stepping into an industry where perspiration outweighs perseverance. It is admirable (so many artists) go in hot and have that determination and single-minded passion. Those that overcome the perils and realities of music ensure their music is as sharp, defined and bold as it can be straight away. There is little modesty and time for tenderness for I.V. The guys make sure they get into the head and create nuance and memories. Let’s hope the band keeps strong and determined – they could make a real impact in London and rank as one of the most promising acts around the capital. Tracks such as Silence Is Violence show they differ from the norm. and have their unique brand of song – one that has not often been heard.

I.V are fairly new out the traps but have already shown they are an inventive and hungry band. If you look at their SoundCloud account – you will see some demo. songs and covers. Listening to contrasting offerings like Imagine (their John Lennon cover) and What It Takes to Be Yours (a demo.) and you can hear their range and variation. The former is quite dreamy and hazy: the vocal swoons in the background and it is an entranced version of the classic song. The latter is more pressing but still has some restraint. If you forward a few months and new song Entropy is a lot harder and sturdier. Employing more Punk shades and a harder noise – lo-fi and pretty raw. That shows how much I.V have progressed and altered over the space of a year. Entropy has similar shades to Silence Is Violence and the two songs are a nice companion piece. They would go well on an E.P. and one feels a three/four-track release would be imminent. I would like to see those two tracks side-by-side and forming the basis of an I.V E.P. Entropy is a song you should check out as it chugs, burns and snarls through the gears. Silence Is Violence is a track I was compelled to investigate as it is their finest song and shows where they are now – that sound and flair you can hear bursting through. I imagine the band will keep this sound and mix firm for future releases. They have changed a little from their earliest cuts and feel they have actually cemented their sound now.

Silence Is Violence opens with churning, propulsive strings that have edginess and attitude to them. I get embers of Doolittle-era Pixies in the way they burst through. In fact, there is a little bit of Where Is My Mind? (Surfer Rosa) in its blend of delicacy and power. Again, mixing Punk and Alternative embers together: it is an immediate and impassioned start that finds the heroine contemplating a relationship issue. Her man is by her and saying the words ‘I love you’. She is happy to hear it, but one feels, there is insincerity and hostility inside those sentiments. The sweetheart is cruel and spitting these words like an insult and taunt. Maybe they are side-by-side in bed together and going through the motions. The guy is saying those words but his heart is not in it – maybe being sarcastic or childish in the way he delivers it. The heroine has to deal with this and is seeing her life changed and perceptions of love altered. The silence and awkwardness that unfolds are causing pain and distress for her. Buried under a wave of twisted notes and energy; the vocal does get a little drowned but it underlines the desperation and despair that is being felt. You get the sense of a young woman battling to keep a relationship together and trying to get her man on the level. It may have started well but the two have drifted apart and want different things. One wonders why the man is in the bond and what he is getting from it. Maybe a controller and playing games: someone toying with the heroine and messing her about. When it gets to the chorus, there is a certain lightness and relief among the harsh words. The song’s title is chanted like a mantra but the vocal has an accessibility and sense of sweetness that keeps things from being too jagged and sour. The listener is lured by the tight band performance and incredible performances. I.V are tight but have a looseness to them – like you are hearing the song live. It is beautifully mixed but could afford to put the vocal higher/clearer in the mix. Having heard the band’s cover of Imagine and some of the older songs in the repertoire – they bring these together for Silence Is Violence. The softness and somnambulism of Imagine with spikier edges of their current material is seamless blended to create something full, layered and nuanced. Despite the song being heavy and hard: you will come back to it and discover new ideas and pleasures every time.

As the song progresses, my view changed and there is another side to the tale. Whereas I was thinking the man was at fault – it seems like it is not that clear-cut. The next verse finds the heroine being cruel and prodding the guy. Her words are barbed and her heart cold to the touch. She, for whatever reason, is being a little unkind and urging her man to scream and let his emotions out. In a sense, the song is an assessment of a relationship where pacificism and introspection is leading to muted feelings and an unfair balance. If the heroine is being a bit too callous and severe at times; the man is holding things back and not letting his unhappiness known. Maybe he is too afraid to let it out or part of the cat-and-mouse game that is unfolding. The silence that they share is the most destructive element. Maybe the outpouring and anger – from the heroine – is a reaction to the inattentiveness and silence of her man. Perhaps he is not being communicative and causing her to be alone in the relationship. It is hard to say but things have reached a boiling point. They go to sleep and lay awake not speaking – perhaps she is trying to talk – and there is that desire for something from the man. Even if he screams or shouts, that is okay – at least he will be contributing and letting his feelings be heard. It is a fascinating take on a relationship dynamic and not one you hear too often. I find a lot of accusatory songs that point the finger at the man without any real reason. Here, it seems like the gender roles are reversed and there is some blame on the girl. At the very least, the two are as culpable as one another. In order to assuage her guilt and hard skin: our heroine is trying to reason with the man and find out what is going on.

The band utilise their instruments as emotions and physical progressions. The guitars cut and jab like punches and verbal outbursts whereas bass and drums are pulsating, attacking and unsettled. When everything comes together you have a visceral explosion and representation of the relationship. I was impressed by the guitars and the amount of different sounds and notes thrown together. It is disciplined but ragged; stylish and simple – you get all these contradictions in a wonderful performance. The entire band are terrific and keep the song alive and flaming until its final moments. With the heroine pouring her heart out and unsure of what the future holds; her musical comrades provide impressive support and bring light and life to the words. Such is the connection between them you start to picture the song unfolding and what is actually being revealed. By the closing moments, one feels there is no real way back and the lovers have come too far. Silence Is Violence is a sub-three-minute gem that has some ‘70s Punk strands and shades of Pixies; some modern incorporations and unique chemistry. The chorus is especially pleasing and one that you will be singing along to soon enough. I was looking for clarity and truth by the end and was curious how the duo worked out. It seems like, whatever the outcome of that relationship, there are some lessons learned and both will not make the same mistake again. If silence is a destructive and ruinous thing to possess then overtness is a cleanser. Usually, when it comes to love songs, it is the arguments and fights that are assessed and cause the wounds. Here, if the heroine is being direct and fierce at times, the guy has his own brand of cruelty. I am always looking to point the blame finger at the man but perhaps it is more one-sided and simple. That is one of the great things about the song. It is a complicated insight into a relationship and one everyone will interpret their own way. Whether you are hooked by the swaggering, emotive compositional performance or the heartfelt, soulful vocal then you will come back to hear the song time again. It will strike you first time but keeps giving you something else each time you visit it. That is a hard trick when it comes to Alternative-Rock: nuance and repeatability is not always something that can be achieved. A stunning song from a band that are finding their way but have made an impressive step in Silence Is Violence.

I am excited to see where I.V can head and what the next year holds for them. I say that about all artists that arrive to me, but to be fair, that is the point of this blog. I am not here to review everyone that comes to my attention and mark certain artists for success – everyone I hear has that potential to go a long way and do great work. Despite narrow biography and some mystique; the guys have personality, strength and quality music in front of them. Whether that is enough for journalists and fans is hard to say – at the moment, they are building their foundations and testing the water. Silence Is Violence, if that is to define their sound, shows there is potential for the London band. The song might not hit you first time around but will register its layers and pleasures the more you get into it. That is not only the mark of a great band but fantastic music – unveiling its true beauty and complexities across time and loyalty. Before I predict the future and next year of I.V, it is worth tapping back into the initial vein – looking at London, Indie-Rock and getting your name out there. Over the past few years, I have been noting a change of scent in the musical wind. There was a time when the band market was the most sought-after and prolific in the world. Perhaps vibing and inspired by the remnants of the 1990s legends and ‘00s follow-ons – solo artists barely got a shout and were less notable by comparison. That is not the case over the past few years: there has been a shift towards solo artists and fewer ears trained the way of groups. I feel the reason behind this is the dependence on, and the decline of, traditional Rock and Indie blends. Maybe it is harder to inject anything fresh into the genres – I am seeing fewer standout bands at the moment. Because of this, it is scary coming into music if you are a band. The media has not helped with regards this trepidation. Keen to proffer any half-assed band that sounds vaguely interesting: too much focus on the weaker end of music is taking its toll. Whilst I have more appreciation and fascination for solo acts: my mind and heart is always going to be drawn to bands of the U.K.

London was not always the natural epicenter of great music. Around the time (of the) wave of fantastic bands was an attention towards other parts of Britain – Liverpool and Manchester still resonating hard. It is only the past, maybe three or four years, that has seen a dominance for London. If you are looking for a fantastic band that could be a mainstream proposition in years to come – it is only natural you set your sights to London. As the city becomes fuller and more diverse; in turn, there is a more eclectic scene and greater choice. I have cast some black-hewn seeds regarding Indie-Rock and its validity. While it is not as favoured and popular as once was: it is become more variegated, expansive and mobile. Artists – who play in this genre – are fusing other sounds together and making (Indie-Rock) less homogenised. I.V are proving this – whether they would traditionally refer to themselves as ‘Indie-Rock’. I feel bands are not quite as surprising and fresh as you would hope – it is down to the established artists to really show how it is done. Maybe that is an over-simplification but there are still a crop of young bands that have the possibility and promise at heart. I.V are little-known right now but, if they keep grinding and producing like they, can carve out some real estate about the capital. London is that inscrutable majesty that has a vast bosom and accommodating scene – conversely crowded, capricious and cold when it feels. Because of that, many young musicians are being put off and finding a home in other places – high rent prices and closing venues hardly helps the plight. It is not a dilemma or pandemic: London is still, in spite of its problems and limitations, the natural place for any musician who wants to succeed. You only have to do a cursory scan of London acts of 2016 and you will find so many different and varied examples. I opened by complaining about the lack of polls and end-of-year polls. Once was the time you’d have complete and regular lists about the London bands of the moment – that is becoming rare for those who want to keep informed. Because of this, I fear so many young acts – unfairly it seems – will struggle to get the respect and fan-baser they deserve. I might come across quite doom-laden but am merely being pragmatic and realistic. Against these potential black ice patches is a lot of warm sunshine and light. Even if Indie-Rock is slowing and not as popular as once was – the finest of the genre are showing we should not give up hope.

Silence Is Violence is one of a couple of new tracks from the London collective – a statement from a fine band that has ambitions to play bigger stages. I know they will be performing around the capital and cleaning up on the toilet circuit – the smaller clubs and venues; getting their music to the people. From there, and into 2017, one has to look farther afield and see where the band can head. I am finding a lot of bands finding opportunities and finding a living doing regular gigs around London alone. I feel I.V will want to remain in London but get themselves out to the wider public. I can imagine them in the U.S. and Europe – their music will translate well there and find plenty of support. I hope I.V put a bit of themselves on social media and ensure they have the best chance of survival and success. My favourite review subjects are those that have a full biography, a good selection of images and plenty of links – not just to social media but music-sharing sites. It is not a coincidence those that have the best music will also have the most impressive social media pages. I.V have an impressive amount of fans but can reach a lot more out there. In spite of bands not being as precious as once was: more of them are coming into music by the year. It is left to conclude things with a bit about I.V and what they can do in 2017. I know they have had a busy year but it seems like the one ahead will be busier and more packed. I have not heard word whether an E.P. or album is planned but I’d like to think so. They have momentum and are producing some terrific work - connecting with people and striking a chord to many. There is such chemistry and solidity in the band; they are one of those acts you know will be sticking together for years. It appears they have some thinking to do and just where they want to head. If they keep producing songs as strong as SilenceIs Violence then there will be demands from many parts of the country. I hear lesser bands being celebrated and promoted – it cannot be too long until the I.V chaps are enjoying some mainstream radio nods. They can get their social media stock fleshed and fuller; think about an E.P. and ally themselves with local radio and more press outlets – getting their music as far as possible. They are doing a lot of that already and you feel 2017 will be the year they start to really making a killing. This year has been such a tragic and dark one in many respects: we need music and new musicians to come out strong and bring positivity and love to the people. If Silence Is Violence does not seem like a balm then think of it as a necessary jolt and rush that we all need. The cobwebs are forming, the darkness drawing in and moods starting to turn a little sour. I.V ensure smiles are on faces at the very least – even if it is quite ironic at times. A band that knows how to get into the head and register something quite fantastic. It cannot be too long until they start making their way to major labels and radio stations. Let’s hope the band get a Twitter account too as they might be denying themselves a lot of fans and chances. In this age you need to be as widespread as possible – getting onto YouTube too. Those are things they will consider but the music is out there and making its presence known. They are a band that are starting strong and already capturing the critical imagination. Because of that, make sure you…

FIND them before they hit the big leagues.

[soundcloud url="https://api.soundcloud.com/tracks/283473750" 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 I.V

 

Facebook:

https://www.facebook.com/ivmusicuk/

SoundCloud:

https://soundcloud.com/ivmusicuk

INTERVIEW: Adam & Elvis

INTERVIEW:

 

Adam & Elvis

_________________________

ONE of the tasks that has been keeping me busy throughout this year…

has been following – and trying to keep on top of – the assorted bands playing around London. It might be fruitless – getting a grip on it and hearing them all – but the best are certainly starting to prove their worth. I have been talking with the curiously-named Adam & Elvis. They are preparing the official release of their single Hanging Tree: a song that addresses those who lose their heads when faced with all-consuming, logic-screwing love. Pat and Tom (the band’s brothers) discuss their latest single and plans for an album; they pitch a couple of rather peculiar, but well-worth-a-punt titles. They also open about how they got together and the differences between Berkshire and London (the boys grew up in Berkshire) and reflect on the sad news of Leonard Cohen’s death. Being huge fans of his work, and inspired by his poetry, I was keen to learn more about their influences and how this year has been going.

_______________________

Hello, guys. How are you? How has your week been?

Tom: Not bad cheers. Well, actually, I have just read that Leonard Cohen has died which is very sad to hear. He was a massive influence on us and genuinely one of the greatest songwriters of all time. Obviously, everyone is going on about Donald Trump - as if the world was a glorious place before that election.

Pat: It's not that surprising, really. There was no attempt to sway Trump's fans in the Clinton camp. It didn't need to be anything racist or sexist. Maybe if she tried (just) ditching the celebrity endorsements for an hour or two and try to communicate with some scared and confused Americans.

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

Pat: We're a five-piece that try and create moving Pop music that is  intellectually stimulating to a relatively sad and socially static class of people.

That band name strikes a chord. I know you must have been asked this before but what motivated the choice of moniker?

Pat: I thought it up at university whilst studying The Bible and there was there the big push for gay marriage - and thought it would be a homo-erotic, Rock & Roll subversion of Adam & Eve.

We don't really like the name now, to be honest.

Tom: Someone once thought we were a covers band - that performed only Adam Ant and Elvis covers.

Pat and Tom: being brothers, was there any competition between you two as youngsters? When did the two of you decide music was your calling, as it were?

Tom: Outside of the band, I don’t think we’ve ever had any real competition or rivalry. Inside the band, we have definitely had our fair-share of arguments and fall-outs - but they are usually about nothing of any real importance and fueled by too much alcohol. We are usually on the same wavelength.

Pat: I know you are inspired by writers Leonard Cohen and Charles Bukowski. What is it about them that appeal to you? What are your views on Cohen’s latest album?

Pat: Leonard Cohen and Charles Bukowski are both matter-of-fact and (both) magic - none of that metaphor nonsense.

Don't get me wrong; I can read something like Virginia Woolf very slowly and the writing is transcendental - and it makes you want to move life slowly and watch everything with slow motion precision. Bukowski and Cohen are like friends. Sometimes, Bukowski's writing is lazy and boring but it's always like he's in the room typing away at his typewriter.

Tom: your basslines are impressively dirty and seductive. I hear a bit of Pixies’ Kim Deal and others in there. Who are your bass heroes and how did you mould that particular approach to the instrument?

Tom: I only started playing bass because our old bassist left, and instead of replacing him I thought I’ll have a go at that. I was listening to a lot of ‘Stranglers at the time and just loved that metallic dirty sound they had. It cuts through nicely.

[soundcloud url="https://api.soundcloud.com/tracks/285996336" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Hanging Tree is out on December 2nd and already being met with speculation and buzz. What can you reveal about the song and what inspired it?

Pat: It was inspired by a conversation I had with a perfectly rational and very smart individual who was losing their mind over a love interest. They were able to move through life with confidence and a level head - but romance was too much. The song is basically about smart people becoming stupid for love.

Tom: I’ve cut about fifteen different mixes for this song- it has driven me crazy. I would also like to say that there are no female voices in the song, as one review has said. It's my masculine voice doing the backing singing.

The song’s video was shot at U.K. Live Sound (Reading) and certainly captures the eye. What was it like shooting the video and is video-making something you’d like to do more?

Tom: I work at the studio which gave us a bit of freedom to mess about. It also helped having some great guys who knew their sh*t doing the filming and editing for us.

We mainly drank a lot and tried not to feel too foolish jumping about the place. I would definitely like to make some real freaky videos in the future.

Pat: We like videos but we don't want to be in them anymore. We'd love to have some interesting filmmakers interpret our songs in their own way and create their own thing out of our song. In fact, we are already talking to a cool actor/filmmaker about our next video.

Your music has been compared with everyone from Pixies and The Teardrop Explodes. There are big singalongs and memorable hooks. What bands and artists did you boys grow up listening to?

Pat: I remember my dad playing Edison Lighthouse's Love Grows (Where My Rosemary Goes). We don't think there is anything as beautiful as a catchy chorus like that. Don't get me wrong: we are picky. Coldplay, Embrace and that stadium chorus stuff just doesn't do it -has to be a bit silly.

Tom: A lot of Pulp.

You have been performing some intimate gigs around London lately. What has the reception been like?

Pat: Really good. Lots of people have been complimenting the energy and songs which does disgusting amounts of good for our egos.

Steve Wraight (vocals/percussion),  Juliet Styles (synths/saxophone) and Dan Robershaw (guitar) complete the band line-up. How did you meet those guys and what is it like performing alongside them?

Tom: I’ve known Steve for years. In fact, I’ve been very good friends with him since the beginning of secondary school. He’s a crazy fuc**r who used to work in a brewery and is  completely obsessed with all types of beer. He walks around town drinking beers from small, colourful  cans and people thinks he’s just necking a Fanta.

Pat: I met Dan working at some dirty little bar in Reading and later on he came to a show of ours and asked to join. We tried him out and turned out he was a great lead guitarist and that was that.

Hailing from Berkshire – and catching the ear of local media – you have shared the bill with the likes of Fat White Family and The Zombies. What have been your favourite memories in music so far?

Pat: Mine is probably the moments in the studio working on songs. I love the feeling on the songs coming alive - it's good stuff.

Tom: The gigging is fun but I think my favourite moment was when we laid all the demos down for our album and realised: This sounds pretty good, actually!

Is there a marked difference between the music scenes in Berkshire and London. Are there any local heroes (London or Berkshire) you recommend we investigate?

Pat: Yeah. In Berkshire, the bands don't take themselves too seriously. In London, there's lots of impressive and original stuff to compete with. That's why we moved: to up our game.

Tom: The quality in London is usually quite a lot better. The bands are usually more out-there and a bit more freaky. About 70% of music from Reading just sounds like a bad Britpop knock-off.

A lot of our favorite bands from the Reading area aren’t actually going anymore. One of our favorite current bands is Teleman. They actually say they are from London but we went to the same school as they did so we know their dirty little secret.

I hear there is an album planned for early next year. Can you reveal a title or any songs that might feature on it?

Pat: It will either be called Dead Cinema or Upgrade to Curly Fries for 50p. What do you think is best?

Tom: Patrick has named it about fifteen times now. Not sure where we are currently at. There is definitely a tune on it called The Ballad of Britney Spears, though.

There must be some real characters in the Adam & Elvis ranks. Is there a band member that likes a good joke or is not especially punctual? Any secrets about the band you can reveal?

Pat: Band members who are not punctual are fired and middle-of-the- road sense of humour is frowned upon. J. Coatzee writes a bit about how he loves the art but hates bohemians: skipping on the rent and adapting to the latest scene. We fuc**ng hate people like that. So, what are classically known as characters or loudmouths don't really fit in with us. Band secret is: freaky=good; cool=sh*t.

Tom: Dan genuinely doesn't know if he's ever eaten broccoli. It's not really a secret, but it's a shocker.

Christmas is coming up shortly. Are you having some downtime? What are your plans for this Christmas?

Pat: We're going to release a Christmas song online this year...

Tom: …and finish mixing and mastering our album.

Could you provide any inspiration or advice for new musicians coming through?

Pat: Write about the parts of your character you can't talk about in public.

You can say all sorts of muck to a good tune - the kind of stuff they would hang you for saying in the light of day. What an opportunity!

Finally, and for being a good sport, you can select any song you wish (not yours as I’ll include that) and I’ll play it here.

Pat: Wesley Gonzalez’s Come Through and See Me. Saw him live at the Rough Trade at Green Man. Best thing of 2016.

Tom: Yeah. He was incredible at Green Man.

[youtube https://www.youtube.com/watch?v=uPja2fnYozU&w=560&h=315]

_____________________

Follow Adam & Elvis

 

Facebook:

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

Twitter:

https://twitter.com/Adamandelvis

SoundCloud:

https://soundcloud.com/adam-74

YouTube:

https://www.youtube.com/user/adamandelvis/videos