TRACK REVIEW: 40 Shillings on the Drum - Everyman

TRACK REVIEW:

 

40 Shillings on the Drum

 

 

Everyman

9.6/10

 

Everyman is available at:

https://www.youtube.com/watch?v=-TNvIFP4ijU

RELEASED: 16^th December, 2016

GENRES: Folk-Rock; Punk; Gaelic-Folk

ORIGIN:

Brighton, U.K.

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IT is hard coming up with new angles to describe bands but, luckily, Brighton’s...

40 Shillings on the Drum provide enough inspiration and personality to compel original aperture. I will get to them in a second but, knowing their influences and type of sound, it gets me thinking about older artists; more about the sheer breadth of Brighton acts and facets missing from contemporary music. A lot of modern bands – and other musical denominations – source their sound from ‘newer’ musicians. I have been following some hot and talented bands this year: by and large, you hear influences from the ’90s – present day – a range of bands from Arctic Monkeys to Oasis, for instance. It is understandable this should occur: they are among the most popular and influential acts we have seen this generation; many have been compelled to start bands and follow in their footsteps. I am interested why certain acts/time periods inspire certain artists. It may be too complex for this short space – lest I forget the reason I am writing a review – but I am finding a lot of bands doubling-up and melting into one another. I can see the lure of, say, having Oasis and The Libertines as guidance: two youthful, pride-against-the-tide bands that took themes of Britishness and modern life and gave it a hopeful, optimistic bent – albeit with their distinct blends of swagger, wit and defiance. There is a validity in admiring such artists; taking their music to heart and creating your own version. The trouble is, too many new bands are either indistinguishable from their heroes or too bland to really spark any sort of interest. I feel, as time progresses, attention spans will become shorter and modern music – in the band market at least – will be very narrow and homogenous. Whilst it is wonderful discovering new groups and the energy they possess: I yearn to find those who cast their minds further back. Often I have mentioned a band (from the ‘60s and ‘70s) and been met with blank-eyed gormlessness.

Many reply with the illogical and clichéd: “That was before my time!”  Reassuming you have no access to the Internet, radio or conversation that would wash: the fact that is not the case means such a phrase is inexcusable and stupid. It sounds like a diatribe unfolding but too many people’s musical imaginations begin and end in the last couple of decades. Fortunately, there are some artists breaking through who have grown up with savvy parents and developed a keen taste for music of older decades. Whatever your age or music tastes, it is vital for one, in order to become more rounded and cultured, look back at music’s full spectrum and genealogy. I was brought up listening to the likes of T. Rex, Steely Dan and The Rolling Stones. Being a ’80s child – but preferring ‘90s sounds – I was introduced to the cream of (the previous couple of decades) and actually getting to hear great music of the 1940s and ‘50s. Now, that passion and retrospection have fostered a deeper and more varied musical collection. Was I stubborn and content to stick with the best of the 1980s – perhaps a misnomer and contradiction in terms to most – that would mean denying myself a world of wonderful music. To the same extent, I feel bands that blow second-hand musical smoke is robbing future generations of older artists. This all ties in neatly (or loquaciously) to the Brighton-based band, 40 Shillings on the Drum. The band love modern music but one hears, when digging into their music, shades of The Clash and Elvis Costello – two names very few modern-day bands source. I shall expand on this, but for the minute, let’s learn a bit about the band of the hour:

“After over a year’s preparation, ’40 Shillings On The Drum’ launched online in July 2016 and performed their first gig on Wednesday 27th July as part of Churchill Square’s Busk Stop event in Brighton. Attracting the largest turnout of all the acts to perform, the band subsequently went on to win the competition and recorded a song and music video in famous local studio, Brighton Electric, in September 2016 as a result. As well as the competition, the band have established themselves on the local scene with shows at The Hub, The Marwood and the prestigious Prince Albert. They also appeared at the Brightona Bike Festival (the largest motorcycle festival in Europe) and Oxjam Festival Lewes, along with interviews on national station Heart FM. The band shall be seeing 2016 out with a final performance and single launch show at the Latest Music Bar in Brighton on 21/12/16 where they will also be showcasing their music to the founder of End of the Trail Records.

40 Shillings On The Drum are armed to the teeth with an array of songs about life, love, friendship, and getting smashed out of your brain, and are ready to take on the world, one town at time.

 ‘Great recordings. Love the distortion, violin and your guitarist. You've got a great Brit pop style of vox too!’ Bobby Banjo, Beans On Toast

‘I love the energy on these recordings, it's something that I think is really missing from contemporary music. There is obviously an Irish influence, but I hear shades of The Clash (at their best), Thin Lizzy, Boomtown Rats, Elvis Costello. You've really managed to capture the feeling that you are reflecting real people on the street.’ Mark Flannery, Engineer/Producer (U2, Black Sabbath, Depeche Mode)

‘Opener Ode To Old Reilly set the tone of a band big on musicianship and melody — and intelligent lyrics with both a meaning and enough hooks to get under the skin of even the most hardened music lover.’ The Brighton Magazine, brighton.co.uk

‘Ain’t too many acts have mixed Gaelic folk and rock successfully. Great musicianship, catchy songs, I think you deserve to do really well. I can hear it stands head and shoulders above most of the new stuff I hear.’ Alex McNamara, The Australian Pink Floyd Show (The world’s biggest selling tribute act)”.

PHOTO CREDIT: Kris James Photography

Critical snapshots show keen ears detect some mighty musicians in the songs of 40 Shillings on the Drum. The band’s name itself seems born from the 1970s – how many modern bands have a name as long, interesting and forgoing a preposition (at the start of their name)? The East Sussex crew have, I would imagine, enjoyed a rich and qualitative childhood consisting fine vinyl and their parents’ record collections. Either that or the guys have forgone the worst instinct of their peers and expanded their mind past the 1990s. Before addressing a new topic, I wanted to carry on with the idea of influences. There is a cogent and wonderful blend of 1970s/’80s Punk and Thin Lizzy-esque energy to 40 Shillings on the Drum. It might be doing the band a disservice but you can hear their inspirations blazing on their sleeves. Rather than merely replicate lesser-included influences, they use them as a springboard and provide their inimitable sense of identity, character and delivery. Not only do we you hear some fantastic artists in the music of 40 Shillings’ but that will obviously inspire their peers to be bolder and more original with their sounds. I will go into more depth in the conclusion, but I am excited to hear another Brighton band come to view. Talitha Rise was the last act I reviewed from the city (they are based nearby in Lewes) but it is hard to connect dots from them and 40 Shillings on the Drum. What one gets from the guys is a blend of relatable songwriting tropes – relations, friendships and the bonds that tie us – with a healthy dose of kebab-festooned, beer-scented belch. It would be rather humdrum were (the band) another group of teary-eyed youths toiling under the lash of doomed love. 40 Shillings on the Drum, despite hints to monetary units and older-days whimsy, are capable of staggering into town and vigorously urinating on the nearest lamppost – perhaps it is unsurprising they have been branded with the same iron as The Clash.

Ever since the downward arc of bands like The Libertines and The Strokes; I have been lusting after a group of boys (keep going…) that have that leather-clad, who-gives-a-f%ck attitude but keeps things intelligent, mature and intriguing. Back down on the East Sussex coast, I can talk about Brighton and just what a cornucopia of talent lurks down there. With reputable venues such as Green Door Store on their doorstep, the guys have ample opportunities to cut their teeth and find the perfect canvas for their artistic blend of (young and rowdy) Expressionism and (British, rebellious) Dadaism. Normally, I am ensconced in London and pre-occupied with all the music coming from there. The last few weeks have given me a chance to look at Brighton and what is happening there. It is not a surprise the city should be back in the forefront – it has always been a terrific area for creativity and excellence. There is something about the community, vibes and landscape that inspires so many musicians to do terrific things. More diverse and colourful than many northern enclaves; less suffocating and quasi-homicidal than London’s bustle: Brighton provides a comparable safe haven and vibrant melting pot many are being attracted by.

The band have got a lot of positive reviews and vibes from their current single, Everyman. Looking back, we are still at the early stage of 40 Shillings on the Drum’s career. The boys have released the track Brighton Belle – one that differs from Everyman but is no less alluring, striking and immediate. Brighton Belle begins with explosions – that recall, rather futuristically Jamie T’s Tescoland (from Trick) – and has that smell of the city. You can hear the late-night unpredictability and the sunshine of the day – the contrasts and shades that make Brighton what it is. The song’s heroine, perhaps in the seaside city or somewhere else, grabs a latte and accentuates her figure – flirtatious, fulsome and fun. You are helpless to resist the sheer bonhomie and chanting vocals from the band. The Combat Rock-era Clash comparisons are not so short-sighted. There is that mix of Reggae, Rock and Punk; shades of Folk and some Alternative undertones. Following the story, you get impressions of a rather alluring girl who defines the city and has the hero spellbound. Squalling, flurried guitars and determined percussion is the soundtrack to a one-night dream: a chance to get with the divine heroine. At every stage, there is that sense of abandon and carefree attitude – that flies against the tendency to produce something anxious, heartbroken and sorrowful. It is small wonder the song has captivated so many and provided so important. It will be very well-received in the live environment and surely get the crowds singing along and enraptured. The fiddle/violin inclusion that occurs near the song’s end has been lauded and highlighted. It shows the band can mix Gaelic Folk threads and bond that with something resolutely English, swaggering and spitting. Few bands can pull off such an odd and two-sides-of-the-tracks marriage. The fact they make it work so wonderfully shows how assured and talented they are.

40 Shillings on the Drum have original songs in their arsenal such as Ode to Old Reilly – which was, and several other tracks were, played at Busk Stop at Brighton’s Churchill Square Shopping Centre (back in July). One imagines these recordings will find their way onto a future E.P. but, as they explain to interviewers and YouTube commentators, they are full of spirit and looking to make some big moves in 2017. One can hear where the band have come from and how their material has developed. Brighton Belle, when it was performed in July, was hugely popular with local shoppers and has been compared to bands like The Waterboys. It is interesting to see which other groups commentators compare the Brighton band with. The Levellers have been mentioned as have Frank Turner and the Sleeping Souls. Dan Scully, Steven Cobley and Seb Cole; Barry Bloye, Sue Buckler and Danny Woodford make up the intrepid gang and have grown more confident and assured with every new song. When Scully travelled from Miami to the Bahamas, in search of inspiration, that is what he got. Having played in other bands and other genres: the exposure to tropical seas and island breeze directly compelled a new direction – 40 Shillings on the Drum and their Folk-Rock mantras. Not only is it (Folk-Rock) a place Scully could express his feelings and stories organically and openly – he could expand his imagination with a large and supportive band; there are fewer limitations in terms of sonic ambitions and personnel numbers. All that has come before – and Everyman among us – it appears the group have a proper set of songs and definite vision. It would be nice to see their previous numbers like Ode to Old Reilly and Brighton Belle included: put some newer moments in there and really throw their all into it. Just how far they can go is anyone’s guess: do not bet against them being one of the hottest-tipped acts of 2017.

There is psychogeography and flâneur mixture that greets Everyman. In that sense, there is the impression of floating around urban conurbations and spectral in a city; on the other hand, a certain casualness and romantic stroll – it is rather exciting, contradictory and unpredictable. Those wanting a Brighton Belle-like bull out of the (Folk) gate will be rather taken aback. Conversely, Everyman opens with plaintive, elegant pianos. You get flecks of the Irish countryside and a rogue figure traversing the craggy heath: the wind in his hair and the bare, twilight horizon in the middle-distance. The band’s idiomatic beauty and tenderness make the song less a Folk classic and more a sweeping, shivering epic. If the composition is spine-tingling, full and heart-warming: the scenes and images it provokes are peripatetic and fast-moving. Anybody who can predict what comes next is prescient and clairvoyant. The guys, in the video, plug in their gear and take the song in another direction. The guitars and plugged – the amps go up to twelve – and the strings and pianos sharpen; percussion tight and fierce; the bass strong and resolute. Again, you get a Clash-esque burst mixed with The Undertones, Levellers and The Jam. Sure, there are ‘70s Punk-Rock suggestions but the band are completely separate from any influences. None of the band mentioned would start so sweetly and graceful. At the beginning, you feel we’re bedding-in for a song about heartbreak and confusion: one where the hero would bemoan his lack of luck and survey the ruins in which he stands. The fact Everyman turns into an after-hours lock-in is to be commended. It certainly catches the most astute ears by surprise and destroys images of literary alpha males wiping the rain from their brows. In fact, you get a clean-shaven drunk wiping the cigarette ash from their teeth.

One of the minor, if completely understandable, criticisms is the sheer pace of the delivery. It means the words can overlaps and create run-on sentences: you might be a few seconds behind and trying to piece the song together with little success at the start. It is not a big issue because it is the song’s energy and dance that resonates and impresses most. One can glean thoughts of the hero avoiding a licking fire and remaining above the heat; other succumbing to a certain fatefulness and limitation. Maturity is investigated and the hero does not want to be (like his counterpart). Whether endless drinking sessions and a lack of responsibility are compelling our man; the need to taunt risk and keep his life interesting and changeable – you interpret the song and try to get to the bottom of it. In terms of genres/sounds, you can hear 1970s inspiration but there is a bit of the ‘80s in there as well. The big arena bands of the decade are all in there so too are the more credible Punk artists. Everyman is such a standout track that no other band is attempting. Vintage, classic compositional tones melt with modern, relevant lyrics that we can all relate to. The performances from all are exceptional and tight. As the song races along, the band keep up with things and ensure proceedings do not get undisciplined, rambunctious and needlessly sprawling. It is, at this juncture, you can hear a continuation of Brighton Belle: that same knees-up festivity and lack of future plans. The hero is taking advantage of his age and lack of commitments; he is embracing what it is to be regular and ‘normal’. That is what I got from the song: a parable of a soul who will not submit the boredom and nine-to-five attitudes that surround him. That is one of the strong points of Everyman: it can be taken a number of ways and will mean different things to different people.

Our man is trying to be tied down and defined: neutered and brainwashed into being Just Another Human. The song’s fierce, rousing and brothers-in-arms fizz makes it an insatiable, moreish cocktail of sharp spirits and cooling cocktail fruits. Crunching, head-nodding and a real swinging beast: another song that will get the audiences diving, jiving and lost in a sea of sweat and hoarse chorusing. Given that misleading, if utterly beautiful, introduction, you have a lot of catching up to do. The fact the song is neither too intense nor too slight makes it nuanced and repeatable. You come back to experience that moment: the one where Classical pianos give way to pissed-up strings. It is that intoxicated, fingers-up-to-the-authorities jailbreak that sounds like a superhero theme. In a way, that is what Everyman is: an epic, bracing song that could score a sort of twenty-first-century super adventure – one where domesticity, maturity and responsibility are favoured over superpowers, arch villains and saving the brave citizens. The hero does not want to be a man “like you” – perhaps someone who is too buttoned-up and safe. Our man gives no quarter to such overly-safe attitudes and wants to revel in his crapulence; embrace something much less advisable and ‘adult’. Again, I might be overlooking something more pure and contrasting. I hear these themes and concerns being raised; something that matches the trouser-kick rowdiness of the performance. With Rock and modern Alternative bands too mannered, watered-down and riskless: what place have artists like 40 Shillings on the Drum in the modern scene? Well, the answer is very obvious: they are more needed and necessary than ever before. Everyman is a song whose title tells you all you need to know. It is a song for the masses that speaks for them – even if the overall desires and electioneering is a little teenage and destructive. The band deals with heartaches and love but love to ladle lashings of gin, rum and lager.

In fact, the band name suggests shanties about seaside rumpus and oiled blokes spilling into the street. One hears strings ache in the distance; the bass cutting in and driving the song; the percussion cracks and gives punch and pugnaciousness to the lyrics. It is the shredding and axe work that makes the biggest impression. The fire-handed arpeggios and sheer epicness of the delivery puts a smile on the face. I have mentioned superheroes and dramatic themes songs. Everyman could score a film or an awesome, action-packed scene. The guitars are scintillating and the heavens open with cosmic ballet, impending invasion and spiralling winds. The hero is trying to make it where he can and grab opportunities that come his way. He is, after all, honest and real – perhaps something that is holding him back. Into the final moments, the band throws it all together in an awesome way. Strings strike with Classic beauty; the bass, piano and percussion create their own weather systems and emotions – the guitar continues to ignite, explode; uttering fireworks and expletive wherever it chooses to roam. You are left giddy with excitement and energy: always grabbing onto the composition like a raft in the tormented seas. Everyman is another stunning song that shows Brighton Belle is no one-off fluke. That is quite reassuring and pleasurable: the band has that inbred talent and natural affinity for what they do. How this develops, with talk of a rumoured debut album afoot, will be wonderful to see. The blossoming, blooming marvellous boys (and girl) are going to be one hell of an exciting band to see in 2017.

In terms of the mainstream artists making moves through 2016: there have been so many great albums produced and it all looks really promising for next year. I am keen to see how 2017 plays out for the established artists but more so for those just starting out. The musicians making their initial steps are competing for longevity and future acclaim. It is always encouraging finding an act that seems ready and prepared for all music will throw their way. 40 Shillings on the Drum not only have the live experience and zeal to succeed but a special sound that belong to them alone. I started by looking at themes like older influences and what is missing from a lot of musicians – I shall return to those topics before I finish off. Everyman is a confident and terrific track from a Brighton band already being recognised and proffered. It is not just the local press that is seeing what they’re capable of. The group are getting respect further afield which brings me to their nationwide potential and international accessibility. Every time I review an artist, I am seeing where they can head and who they’d most likely appeal to. 40 Shillings on the Drum are not just reserved to those who like a bit of Rock or prefer their bands looking a certain way. There is a chameleon-like ability to the boys that bleeds into their music. It is hard to define what genres they play and they seem to cover a wide spectrum of emotions and sounds. At its heart, you have a group that look at common issues but never make it sound too serious and morbid – something many can take note of. That originality and flair are being lauded in Brighton but I feel there are bigger opportunities for the band. I know London has plenty of venues and fans waiting; there will be other cities primed and oiled (waiting for the boys). In terms of non-U.K. gigs, I would expect 40 Shillings on the Drum to look around Europe and the U.S. Even though the majority of our people seem content to abandon the E.U. – that is not the case with regards our musical talent. If budget and time allow such adventurousness: I can picture the group performing a few gigs on the continent and enjoying success there. Given their fondness for loose beer taps, loose tongues and loose morals: who knows what carnage and chaos they can bring?! That does them down but they do have that youthful energy and ambition that should not be faulted.

If this year has proved anything it is how the landscape is changing and what is currently being favoured. By that, I mean there is a definite desire for music infused with urgency and truth. There are acts/bands who talk of romance and their experiences finding success – mainly, it is those acts who focus on other areas that are being afforded the biggest slice of the critical cake. I have tried to explain why 2016 has differed from previous years in terms of its success, consistency and themes. A lot of the top albums of this year has been defined by a certain energy and defiance: a need to hit against oppression and address important issues. I am not sure whether this will continue into 2017 or whether there is going to be a change. It is always hard predicting which artists are going to impress critics at any given time: I am sure 40 Shillings on the Drum are going to get their share of acclaim and create some rather special memories. I would love to see an E.P. from them – I think they may be planning an album next year – and more songs like Everyman. They have a great sound and attitude to music that is reflected in their songs. In addition, they have that live reputation and a collection of solid reviews. It is the location, dynamic and attitude of the band that really excites me. Were they based in London they might feel a little suffocated and struggle to get the acclaim they hoped for – with so many other artists playing in the city. Sure, they would be successful but there would be a sense of anxiety and stress. The fact they are in Brighton not only provides more space and breathing room but a different (perhaps easier) way of life is proving conducive to fantastic music. The city has some great venues and is starting to take some attention away from London – bands such as The Wytches have made sure of that.

I know the 40 Shillings on the Drum armada will be travelling around the country next year but have a good and reputable base in Brighton. It is, unlike many smaller towns, somewhere they’ll always be opportunities and willing audiences. The group manage to balance a relatable core of love and relations with their own lyrical bent. You never feel bored or uninspired listening to Everyman: it has some familiar lines and ideas but is one of the more original and interesting songs I have heard this year. The guys are young and living life: they have had their hearts broken but are resolute and defiant. As they state quite flatly: they like a beer and night out and do not want to grow old gracefully. That spirit and youthfulness are already seducing the media and pulling in a loyal core of fans. Let’s hope they keep the juggernaut steaming ahead and continue to provide the same wonderful music they have ended this year with. It is not just the brilliant songwriting and tight performances that define Everyman: any influences you hear are quite unexpected and add a certain something to the song. It might sound odd but one grows tired of the same bands employing the same influences. I won’t name names (on either side of the coin) but you know the type of thing I mean. There are a lot of modern sounds being reinterpreted by modern bands – you do not get many older acts coming in. Perhaps it is not a huge issue but it is refreshing finding a young band who cast their mind and attention back to the legends of the 1970s. I mentioned elements of The Clash, which other reviewers have alluded to, and bits of Elvis Costello. There are faint hints but it is always pleasing finding this type of musician inspiring the new crop. All of these considerations, elements and strands put together have led to a band worth watching next year. It is the sort of time those eager and forward-thinking start to look at those artists they feel will define 2017. I will start making lists (the ones to watch 2017) and will add 40 Shillings on the Drum to that. The band are hungry and know what they want to achieve: they are looking for success and expand their fanbase. If they continue to work as they have, and provide incredible music to the people, that will be...

A reality very soon.

[youtube https://www.youtube.com/watch?v=-TNvIFP4ijU&w=560&h=315]

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Follow 40 Shillings on the Drum

 

Official:

http://40shillingsonthedrum.uk/

Facebook:

https://www.facebook.com/40ShillingsOnTheDrum/?fref=ts

Twitter:

https://twitter.com/40shillings

Instagram:

https://www.instagram.com/40shillingsonthedrum/

SoundCloud:

https://soundcloud.com/scullzz

YouTube:

https://www.youtube.com/channel/UCsHOB0XHK0W_MQeq3I2ZKCg

INTERVIEW: The Artisans

INTERVIEW:

 

 

The Artisans

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MUSIC is defined by many different things but rarely does one…

experience musicians who do something truly noble. Robert Woodside and Brian Lawlor are The Artisans. Their latest project is called Trilogy of the Somme: a beautiful, dramatic Rock piece/suite that helps to raise money for Erskine Home, Help for Heroes and the Royal British Legion. The guys wanted to highlight the wastefulness of war and commemorate the 100^th anniversary of the Battle of the Somme. In addition to planning new material for next year, the chaps have been busy on the interview circuit in Scotland – getting the message out there and raising awareness for their project. It is a worthy and impressive feat from men who know the true cost of war and have paid tribute (to the men who died) through music. It was, therefore, an honour to speak to Robert and Brian about Trilogy of the Somme and the inspiration behind it. The guys talk about 2017 plans and how they are spending this Christmas.

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

Hi Sam. We are absolutely fine: had a busy week just coming up to Xmas - same as everyone else

Robert and Brian, you are The Artisans. What was the reason behind the name and how did you two get together in the first place?

Robert: I came up with the name The Artisans because I thought it meant ‘workmen’. It’s also an anagram of ‘Sinatra’….which is no bad thing!

Myself (Rab) and Brian played in several club/cover bands in the ‘80s/’90s. We were the rhythm section for many a band but decided to do some of our own stuff, rather than covers!

You are from Hamilton (Scotland). What is the music scene like there and was there a lot of local support for The Artisans?

Robert: We are both from Bellshill, Lanarkshire. There’s always been a healthy music scene in Bellshill and the people there have always been supportive of any bands or artists.

[youtube https://www.youtube.com/watch?v=46Mc0ikLRN4&w=560&h=315]

Trilogy of the Somme is your new project – it commemorates the 100^th anniversary of the Battle of the Somme. What is it about that battle that resonates and compelled you to mark it?

I wrote Trilogy of the Somme to commemorate the 100^th anniversary of the battle.

Did you chaps have relatives involved in that battle?

My own grandfather took part in the battle. He was an orphan so if he never survived the Somme my family would never have existed!

I also wanted to highlight the waste in lives - on both sides - which affected every city, town or village from Land’s End to John O’Groats. The C.D. was getting some airplay coming up to Remembrance Day - and hopefully every future Remembrance Day.

The project raised funds for Help for Heroes, Erkisne Home and Royal British Legion. Are those important charities to you and will you continue to work with them into next year?

Trilogy’ was set up to raise money for the Erskine Home, Help for Heroes and the Royal British Legion.  Hopefully, it will carry on into the future, on each future Remembrance Day.

You have toured radio stations and spoken to a lot of people about Trilogy of the Somme. What has been your favourite experience over the last few weeks?

We were recently over at East Coast F.M. interviewed by Dave Knight and it was a total blast! A great time had by all concerned.

Not a lot of people are doing anything similar to this. Is it quite frustrating knowing – excuse the wordplay – you are in the trenches fighting alone?

Yeah, that’s right, Sam: not too many people involved in this type of thing. Given the fact that the battle itself was a hundred years ago that’s totally understandable.

 

I believe you are heading back into the studio to record new material – helping to raise funds for R.A.F.A. What will that involve and can you reveal what you will be releasing?

Yes. We’re going back into the studio to record a charity single for the R.A.F.A. (Royal Air Force Association). It’s going to be called The Finest Hour (super marine) and will be out in time for the R.A.F.’s 100^th birthday on April 1^st, 2018.

I’m hoping to sample the sound of the spitfires’ engine, (The Rolls Royce Merlin), and also the voice of Winston Churchill on the single!

What does the rest of this year hold for you in terms of music/promotion?

Myself and Brian have been to several radio stations in 2016 and hope to continue to visit new stations in 2017! Catherine arranged all of those visits and has been amazing throughout the year. She really has pushed hard to promote Trilogy of the Somme.

Looking ahead to 2017: is there a temptation for The Artisans to release an album or E.P.?

We’re hoping to record The Finest Hour in January 2017 and then work on an album (of mainly Rock stuff, Reggae and a few ballads). So, yes, an album is on the cards.

It is almost Christmas. Any plans for the big day and how will you be spending it?

Xmas Day is always a family affair and is the only day I have an ice-cold glass of Champagne whilst sitting in a very hot bath and watching telly!

Is there a message you’d give to the people out there? Maybe those you are raising money for?

I would like to thank the staff at Erskine Home who are just incredible and made our visit there earlier this year so welcoming.

Finally, and for being good chaps, you can each request a song and I’ll include it here (not one of your own as I’ll sort that out).

Robert:  Lady Antebellum - Need You Now

[youtube https://www.youtube.com/watch?v=eM213aMKTHg&w=560&h=315]

Brian: ­ Toto - Africa

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

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Follow The Artisans

Official:

http://theartisanproject.co.uk/index.html

Facebook:

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

Twitter:

https://twitter.com/Scots_Artisans

FEATURE: 2016: The Tragedy and the Triumph

FEATURE:

 2016: 

The Tragedy and the Triumph

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THE one thing people keep saying about this year is...

how much heartache and loss have defined it. Every time you switch on the news we are reminded of the conflict and hatred that is pervading society. Whether it is the continuing – slowing but still occurring – disruption and bloodshed in Aleppo; the strange rise of the bloated demagogue Donald Trump or the upset we see reported on the news- nary a day elapses without something sobering unfolding that reminds us how fragile and capricious humanity is. That is true of music that has seen its Grim Reaper equivalent be especially cruel and elitist. Many are saying there’s conspiracy afoot and a bad aura: the fact is, people die and it is a bad year. When musicians get to a certain age, there is always the risk they will die; diseases like cancer are still rife and take no prisoners when selecting its subjects. I am not sure why 2016 has been so ill-balanced and sadness-heavy but the one thing we can take from it is that 2017 will be a lot smoother and less fraught – that is the intention anyway. In terms of politics and separation; we have seen the worst of it this year; I cannot imagine a year quite as spectacular and world-changing as 2016 happening for a very long time. The reason I wanted to write this was to document the loss we have suffered in the music world whilst balancing it with the joy and pleasures.

I’ll start with the ‘bad’ side of thing: The Devil that has been hovering on the shoulders of the divine and making sure things are not as smooth and happy as they should be. Of course, we all remember how badly this year started. It is almost a year since David Bowie died: perhaps the starkest event that has afflicted music in 2016. I remember waking up to the news and not being able to comprehend or understand it at all – he wasn’t reported as being ill so how does he just die?! We all know the truth now – the fact Bowie was keeping his cancer fate hidden from the media – so it kind of seems explicable and rationale. Nobody expected David Bowie to leave us for a couple more decades at least so it seems like we have been robbed of many more years of music. Luckily, Blackstar was released days before his death and, many would argue, the biggest and most ambitious album of his career. Arriving from a man who knew there was nothing he could do to prolong his life: Blackstar is surprisingly brave, focused and accomplished – few of us, in the same situation, would retain the strength and fortitude to produce music; let alone anything as stunning. The album was recognised for a Mercury Prize and was met with huge critical acclaim. There has not been a Bowie album, since his last golden period of the 1980s, when there was such universal consensus: a work of genius and a startling insight into a human ailing and tackling mortality. The fact Bowie has gone should not cause sadness but remind us of what an artist we have – someone who, nearly a year after his death, has more music in the vaults for us.

Following Bowie’s death, nobody would have expected Prince to be the nex big musician to die. That news was perhaps even more of a shock: the fact Prince’s death was self-inflicted (albeit accidental) made it extra poignant and unexpected. Dying alone at his Paisley Park ranch/studio; overdosing on pain medication in a lift – such a harrowing and upsetting image. Again, we were delivered the news without warning and were forced to face a future without new Prince music. Like Bowie, Prince has delivered such an extraordinary body of work that will live in infamy. We must not ignore the influence and affect Prince has had on modern music. I’d say he is even more influential than Bowie when it comes to inspiring the new generation and leaving a mark. Despite not being a huge fan of either musician, I recognise their status and excellence: I have been retrospectively falling in love with their finest songs and realising, a bit too late, what mavericks and peerless leaders they were. Prince, like Bowie, was/is a hugely innovative and staggering musician that cannot be compared with any one human and created shockwaves around the world. It was not just David Bowie and Prince who died this year but Leonard Cohen too. In my view, the second-best songwriter the world has seen (behind Dylan) was also someone who kind of suspected he would not live too long. His final studio album, You Want It Darker, hints are death and mortality with unfiltered frankness and wit. Cohen knew he was in his final moments and, like the great Bowie, funnelled this into a career-high record. I will not speculate as to why this correlation occurs: it is no accident Leonard Cohen and David Bowie threw everything into their final word; impending demise focuses the mind in an alarming way, creatively. Cohen’s 2016 album is full of poetic brilliance and wonderful rich scenes. Being Leonard Cohen, there is humour and pathos in the same marriage bed; quotable lines and that gravelled, rich voice that will echo through the ages. With only a few days of this year remaining, let’s hope there will be no more casualties to add to the list of legends we have lost this year. Glenn Frey and Lemmy have gone; other, lesser artists – but no less important – and it has been such a cruel year for the industry.

Against the tragedy of 2016 has been a coexisting, paralleled triumphalism. Music has outstripped every other art form in terms of excellence and inspiration – maybe a biased view but no film, play or work of art can rival what the best of music has provided. There is a lot of debate surrounding this year’s biggest album: many critics opt for Beyoncé’s firecracker, Lemonade, whilst many plump for the likes of Frank Ocean and Bon Iver. The mainstream has been rather prolific and sensational this year I must admit. The past few years have seen some great albums but not the variation and mass one would hope. It is not just the ‘established’ and well-trodden artists that have produced immense work. New bands like Car Seat Headrest and Hooton Tennis Club have turned up the heat; age-old gods Paul Simon and Nick Cave and the Bad Seeds have provided us immense albums – I shall address the latter soon. New, vibrant artists Anderson Paak, Angel Olsen and Jenny Hval are all among 2016’s best: Frank Ocean, Solange and James Blake have to be in anyone’s top-twenty list; The 1975 and Chance the Rapper deserve the hearty nods the media are providing them. Even if once-reputable sources like NME have gone off the boil at the moment  – 1975 are good but absolutely do not deserve to receive the Album of the Year accolade – is a minor kink. More lucid and sage sources seem to boil the best five albums down to Beyoncé’s Lemonade and Solange’s A Seat at the Table; David Bowe’s Blackstar and Frank Ocean’s Blonde – Radiohead’s A Moon Shaped Pool and Chance the Rapper’s Coloring Book usually get the fifth place. Of course, there have been many more terrific albums created. Two things I am noticing is the dominance of female artists and more politically-minded records being established.

From Kate Tempest’s Let Them Eat Chaos – an album that should be on everyone’s list of 2016 greats – and Anohni’s Hopelessness; the male equivalents in the form of Skepta’s Konnichiwa and Kano’s Made in the Manor – two Grime albums that documented the realities of the street and the true state of modern Britain. The fact Skepta won the Mercury Prize not only shows how far genres like Grime and Hip-Hop (British) are assimilating into the mainstream: it is good to see black artists being given such respect. It may seem strange but against the tide of racism and discrimination in the wider world: music’s cosmopolitan, arms-together sensibilities are being seen. Sure, there is still racism and some discrimination in music but less than current years. Beyoncé and Solange (Rhianna and Laura Mvula too) have shown just how strong and inspiring they are - two black musicians that have crafted sublime albums. Kano and Skepta have put black British music firmly in the public consciousness whilst Frank Ocean and Kanye West have unleashed some of this year’s best albums – I would say, in a typical top-ten list, 40-50% of the albums included are from black artists. The boys of mainstream music have done well but it is their female equivalents that are making biggest leaps. Aside from the bold and brilliant artists like Solange and Beyoncé: more considered, more nuanced artists like Jenny Hval, Angel Olsen and Julia Jacklin should not be ignored. Jacklin’s Don’t Let the Kids Win ranks as one of my favourite albums of this year and pairs wonderful, heart-melting vocals with deep and mature lyricism into an album that begs for multiple listens. In addition to Anohni’s debut album and an especially satisfying album from PJ Harvey (The Hope Six Demolition Project); I feel female artists have outstripped their male counterparts – in terms of quality, boldness and range.

Not only has it been the upbeat and defiant albums that have struck a chord: the more reflective, solemn and stately records have played their part in 2016. The fact the tastemakers have accrued their end-of-year polls to reflect an optimist, energetic and hopeful sensibility: we mustn’t downplay the importance of albums whose heart beats slower and soul sings louder. I have mentioned David Bowie’s Blackstar and Leonard Cohen’s You Want It Darker but there is a third one to be added to the list: Nick Cave and the Bad Seeds’ Skeleton Tree. Like Bowie and Cohen: Nick Cave is one of those stalwarts who has been creating fine music for decades. Like his British-Canadian brothers, the Australian’s latest album was affected by personal tragedy and death. Skeleton Tree, for the most part, was inspired by the death of (Cave’s) young son, Arthur – who fell from a cliff in a tragic accident whilst out playing. The teenager’s passing occurred at a time when Cave was conceiving and recording the album. That shocking news not only shook the songwriter but changed the course/sound of the new L.P. Take Skeleton Tree on face value and you are awed by its potency and beauty; the incredibly gripping and immersive vocals in addition to the detailed, dark songwriting. A stunning album hard to define and distill in few words: Skeleton Tree is not just one of 2016’s finest albums but one of the best from Nick Cave and the Bad Seeds. Not only have 2016’s experienced artists provided beautiful record but some brand-new artists are making their voices heard. Julia Jacklin, as explained, brought us the divine Don’t Let the Kids Win whilst our own Billie Marten, and my album of the year, gave us Writing of Blues and Yellows.

Vaults are another new group who defy expectations and worst instincts – a band that has their music used in a John Lewis Christmas campaign are usually written off – with Caught in Still Life. BBC has compiled their list of ones to watch next year – including Cabbage, Jorja Smith and The Amazons (photoed above). Whilst the BBC are not the most reliable divining rods for new artists: it should be treated with success and there are plenty of acts on their longlist who have the potential to make big noises in 2017. The abiding takeaway is that this year has seen upset and loss but is largely remembered for its extraordinary music and hopes for next year. The best albums of this year, as decided by the wise elders and collected voices, is a fine bunch whilst my ten best of 2016 – largely consistent with consensus – has a couple of outsiders in the high positions. I have not seen a year quite as exciting and memorable as 2016. So many wonderful albums and great new artists poking through. I always get depressed when, no huge offence to them, acts like Adele and Coldplay get awards and regarded as the best of the best. Even the least fussy and discriminating music connoisseurs would not include those two in the best of the year – to me, rather bland and mediocre. What this year has shown is tastes and changing as grittier, more realistic sounds are being proffered. Urban acts and street-wise prophets are finding leverage; bands that stray from the predictable and deliver something sharp and original; acts who are addressing the concerns of the people and turning away from avenues of love and self-obsession – tides are turning and there is a detectable rise in quality. Who knows what next year holds but we all hope for a smoother, less morbid year than the one just past. I am sure that will be true but I know music will continue to grow and burgeon. Those newly-tipped musicians will start laying down their debut albums and others will gain strength and focus from the acclaim they have received in 2016. I cannot wait to see how 2017 pans out and the artists who will shine and intrigue. No matter what, few can deny just how unusual and anomalistic 2016 has been. Against the sense of loss and displacement many have felt, music has played its role and shown just how…

PHOTO CREDIT: Jimmy King

MUCH beauty and wonder there is in the world.

TRACK REVIEW: The Federal Empire - Bad Habits

TRACK REVIEW:

 

The Federal Empire

 

 

Bad Habits

9.2/10

Bad Habits is available at:

https://soundcloud.com/thefederalempire/bad-habits

GENRES:

Pop; Alternative-Rock

ORIGIN:

Los Angeles, U.S.A.

The E.P., The American Dream, is available at:

https://soundcloud.com/thefederalempire/sets/the_american_dream_ep

RELEASED:

October 2016

________________________

BECAUSE I will not be assessing too many bands before the end of…

this year; it is worth concentering on one that is already making people listen and stand to attention. I have mentioned all the great bands coming out of London: L.A. is also another area that is producing some rather excellent acts. Before I come to the band in question, I want to return to L.A. music and who will be making it big in 2017; the bands who, in America especially, will be attuning to a new way of life given Trump’s presidency and the reason why we should all pay closer attention to the best groups coming through. That initial point – L.A. musicians and their merits – is something I have been extolling most of this year. You do not need to know your music to know how many great groups have come from Los Angeles. The same could be said of New York and London: Los Angeles is one of the most important and relevant areas of music in history. Not to mention the likes of Metallica, Red Hot Chili Peppers and Rage Against the Machine; newer bands like Warpaint and icons such as The Doors and Gun N’ Roses – hardly slacking when it comes to producing fantastic offspring. I feel a lot of us here (the U.K.) only really hear about L.A. music through radio and the media. It seems, like many people out there, we are not that adventurous and do not really make a concerted effort to seek bands out. I, as part of my job, keep my eyes peeled and always keen to see which bands/acts are being talked about in the U.S. New York is, perhaps, better when it comes to solo artists and genres like Rap and Hip-Hop: L.A. seems peerless when considering harder genres like Rock and Alternative – a few of the names I have listed are testament to that. This year, the likes of Los Angeles Police Department – who released their eponymous debut E.P. in 2014 – have been developing and building on their early success. Bones, and his unique gothic raps, have been intriguing critics and showing just what he is made of. Throw in Death Valley Girls and you have an all-terrain-ready assault of Punk, fuzz and rebellion. They are a unit that has been making marks – one suspects to stages across the U.S. – this year and will be looking to build on that in 2017.

MRK is one of the most individual and unique artists you will find in the U.S. – these tips have come from L.A. Weekly. She has been compared with Kate Bush but has elements of stripped-down Pop and digital facets to her music – not to mention videos like River of Blood certainly stick in the mind. Powers are a suave, cool and sensual duo that have written for mainstream giants like Kylie Minogue but are not neglecting their own material: ensuring they are slinky, sexy and hot as Hell. That is really an overview of the L.A. artists who have been impressing critics this year. Of course, there are many more and we should all be more wary of the talent that is out there. If we look ahead and there is a big opportunity for L.A. musicians to strike and effect. There have not been too many (if any) polls conducted this year recommending the Los Angeles musicians worth investigating next year – the same goes with London and a certain lack of foresight from the media. If you are looking for a band relevant and urgent, you cannot go far wrong with The Federal Empire. Chad Wolf, Keith Varon and McKay Stevens complete the trio and have just released (in October) their E.P. It seems like a very apt and ironic title given the political unfolding in the U.S. – I will come to that a bit later. The boys have been performing for a while but seem, now, at their most solid and extraordinary. The E.P., I shall pick apart later in this review, has been amazing fans and getting new ears pointing in their direction. It is all encouraging and, before I come to some good points, want to urge the lads to get their websites sorted out. This is a point I labour and exhaust beyond words but feel The Federal Empire would benefit more biography and insight.

Their official website points to their social media/music-sharing sites but gives scant detail about who they are and where they came from; the kind of acts that inspired them and their views on Trump. Of course, social media helps a bit (and they update regularly) but too many artists are neglecting their biography and forcing the listener to guess and fill in blanks. That is okay to an extent – and it is good letting the music take focus –but it would make bands like The Federal Empire more fleshed-out and appealing were we to know more of them; have a few interviews laid out there and glean more about the fellas. No matter because there are bigger nuts to crack. I opened by saying I’d look at L.A. bands making it big in 2017 and The Federal Empire can be added to that list. The tastemakers have been a little slow off the blocks this year and I am sure, in the next few weeks, the first polls and lists unveiled. I am excited to see who will be included and whether they (the lists) will be band or solo-heavy. In the past, L.A. was celebrated because of its solo acts and what they produce: I feel bands are becoming more relevant and vital in the current landscape. Although The Federal Empire are not, strictly speaking, a political band: they are performing in a time where there is a lot of anger and confusion wafting around America. In fact, looking at their E.P. track Never Saw It Coming: that song title could be written about the election result and what is happening in America now. L.A. is, as I showed with a few of the classic acts, synonymous with its Rock bands and those who address societal issues. Rage Against the Machine are one of the most political and an act you wouldn’t bet against mounting a revival and getting back out there – I know Tom Morello and Zack de la Rocha will not be sitting idly and accepting what is happening in The White House. My general point is the fact bands are going to become more important and motivated in 2017 America. Were Hilary Clinton elected then there would be calmer people; I feel there’d be fewer protest songs and disgruntled musicians. As it stands, there is a large faction of pissed off musicians that are shell-shocked and angry. The tone of music will change and there is going to be a lot of frustration channelled into songs. The Federal Empire, on their latest E.P., look more at personal issues and friends; relationships and the sort of subjects most artists document. I imagine, if another E.P. were to arrive next year, it might be more focused on how the country is changing and addressing the imbalance and insanity.

PHOTO CREDIT: @bttags

It is still hard to believe how the election played out but there must be a reason (other than stupidity) people voted for Trump – maybe those who voted for him wanted someone straight-talking and confident? It is going to be interesting seeing how Trump and musicians transition in the next few months and what happens. Being Democrat territory; L.A. must be especially unctuous and aghast the result. The Federal Empire’s music sounds more urgent and compelling given the unfolding events and I suspect the band will be looking to incorporate more political themes into their music next year. We should be looking at bands next year as I feel they are going to be the most relevant type of musician playing. Solo artists will be creating sensational music but I feel, given general malaise and unrest, it is groups that will be striking hardest. It is going to be exciting seeing how The Federal Empire develop and just what they can come up with next. I know the trio takes great pride in The American Dream (as they should) but its title takes on a new, rather ironic twist given the recent happenings. Next year will be busy for them and they are going to capitalise on their momentum and support. If previous years have seen celebration and acclaim provided to solo artists – that is going to change now I feel. The Federal Empire, with their name alone, strike you as a unit and political party: a rebel alliance that has the potential to galvanise and unify people and inspire others. The American Dream is a wonderful start and an E.P. that shows just what an emphatic and impressive force they are.

It is hard to compare The American Dream with anything else as this is the first offering from the L.A. trio. The E.P. is stunning and packed with plenty of energy and huge vocals; some more refined Pop moments and hypnotic tracks. The guys have created a buzz over the last two months and the E.P.’s lead-off single, I Never Liked Your Friends, reached number eight on Hype Machine’s trending list – the E.P.’s title track was added to Spotify’s New Music Friday playlist. L.A. sources like All Things Go, Ones to Watch and The Daily Listening have lauded the band and the guys have been playing some of the finest venues around the city – touring with Dandy Warhols and Lindsey Stirling. Whilst it is hard comparing their material one can get a sense of where they have come from and where they are going. The guys formed after a publisher requested their write songs for acts like The Chainsmokers and David Guetta. It was only after a couple of tracks were penned the boys realised the chemistry and bond were impossible to ignore. This realisation has led to a band that provides classic Americana songwriting with Electronic strands and the sort of gang vocals that are much-needed and desired in the modern landscape. The guys will be vibing off the acclaim they have received and the respect they have accrued from local media. Into 2017, they will look at recording new material and getting more out there; expanding on what they have already done and making a bigger name for themselves.

PHOTO CREDIT: @bttags

I wanted to focus on Bad Habits not just because of its title – that gets me thinking of The Last Shadow Puppets – but where it sits in the E.P. line-up. The opening track is the excitement of new love with a bit of an unpredictable twist. The girl comes along and turns the hero’s heart upside-down. That bond and passion are huge and you get a tangible feeling or lovers that could be bonded for ages. The third track sees the heroine (whether the same one) castigated and sleeping with another man; at her friends’ place and self-destructing – a group of friends that have been a bad influence and very unwise in their attitudes and decisions. In a way, Bad Habits is an explanation and insight into the downfall; the black box that explains how things manage to change from perfect to horrific. It is a vital track that not only transforms the direction and attitudes of the E.P. but is the strongest cut from the set. The song, rather than blame the heroine or investigate her follies, looks at the heroes and his ‘quirks’. The track opens with island-vibe and sunny strings; there's a definite rush and a typical serotonin burst from the L.A. faction. The guys bring the track up and expend enough energy in the introduction so the listener is enticed in and gets some chance for guessing. When the lyrics do arrive, there are some rather colourful and standout images. Our guy is a chain-smoking, tattoo-heavy chap that chases the curvaceous and satisfying. Among that sybaritic rider is cigarettes and poker; late nights and a party lifestyle. In a way, hearing the track unfold, reassess my views of the follow-on track and the title slice for that reason. The American Dream looks at figures who embrace the cheap and shallow way of life: the band deliver it in such a way that suggest that is the face of America and something that should be purged. The fact the hero seems to fit into this mould (a little) makes you wonder about the sincerity and angle of the song – whether it (the title song) is an attack on those types of a confession that many people fall into that way of living naturally.

Again, I look at the third track and the fall-out – where the heroine is staying at friends and sleeping about a bit. It might not be surprising she fell for the guy (given the similarities and the allure of someone a bit rebellious and rough around the edges) but she has immersed herself in that life and embraced all its heady and dangerous sides. Getting back to the song and you are struck by this new-found truth and look at the song differently. In a sense, the hero should be blamed a little as he seems to have led the girl astray and caused a lot of the issues. This is something he admits to an extent – the line “That I’m one (bad habit)…no good for you” – seems to be his disclaimer and way of distancing himself from responsibility. The song, in a way, is something that could have been set in the time of James Dean and the leather-clad film idols. Acting like a companion piece to Lana Del Rey’s Born to Die and Honeymoon albums – where Lizzie Grant fell for tattooed hunks and revelled in the top-down, trousers-down sweat of the open road – and casts its mind around the ‘50s and ‘60s. If The Federal Empire do not have the lush orchestration and smoky vocals of Lana Del Rey: their music is more focused, modern and masculine. There is a laddishness to the song, especially when the vocals unite and practically shout, and one can hear a bit of Imagine Dragons in that sense. The song has a split of emotions and dynamics which appeals to different parts of the body. The lyrics and confessions beg for a more regretful and contemplative delivery but what we get is something unapologetic, defiant and drunken.

It is a song that has a certain shallowness but it is intended as honesty and openness. The hero knows he is not perfect but he fits into that idea of The American Dream: the pursuit of the cheap and accessible; surrendering to an inevitable decline. You sort of sympathise with the lead and the fact he is just a product of the American system – a Californian ‘ideal’ that many subscribe to. At every stage, the spirit is there and there is no letup in the West Coast hoe-down. Our hero sees the girl look at him and wonders if she’s lying to herself. He knows he is a bad habit (a strange addiction) but she is tempted to that for a reason. There is a psychology at play and it is not as simple as sexual attraction and escapism. Why would a girl, who, at this point, is undefined and seems pure, be swayed by someone who has a Devil nagging on his shoulder? Not only does it provide tantalising backstory but explains some of the actions and results that occur later in the E.P. Bad Habits is a resounded success from the band and song impossible to dislike. Yeah, it deals with a central figure who has fewer good points than bad but he is admitting that. He is, as it goes in the song, human and we all have these proclivities and addictions. Few will walk away feeling any guilt or dislike for the hero: you are left satisfied and recruited into The Federal Empire and more than happy to dedicate yourself to their mission – one that involves losing yourself once in a while and having fun.

Before concluding things, and going into a bit more depth of the E.P.’s remaining tracks, it is worth going back to my original points and looking at the boys’ future. The Federal Empire released their debut E.P. in October at a time when the U.S. was uncertain and very fearful. Although they are not directly concerned with political messages and the type of band that write about that sort of thing: no musician in the country could ignore what was happening and how their nation was changing. That transformation will become more defined and alarm into 2017 and will motivate many artists to say something about it. Never has there been such a feeling of disgust and unrest in the U.S. (not for a while at least) and I expect music to become a lot sharper and more urgent next year. I stated how solo artists have been grabbing headlines and the most attention. That will shift and I cannot wait to see the bands that will emerge strong very shortly. The Federal Empire sit in a city (at a time) where there is a great opportunity to make impressions and big strides. There are very few bands in the mainstream I have been impressed by and stand in the memory for too long – the solo acts have made the biggest impact in 2016. It is going to be interesting discovering the bands making waves and I know The Federal Empire will be among them. Los Angeles is that epicentre of history, culture and musical excellence: a place that has seen some of music’s true titans grow and conquer. I looked at some of the Rock acts that call L.A. home but there is enough variation and range to satisfy any musical taste. L.A. is a fascinating area and a natural Mecca for musicians. I have been bowled over by the sheer confidence and talent of the artists playing out of the city. The band, by comparison, have been a little quiet but I am starting to hear changes and seeing that shift occur. Groups, whether trios, quartets or larger, have always been relevant and we should not assume solo artists are the biggest draw in music. Even if acts like Beyoncé have been topping end-of-year lists and getting critics hot: the next year is going to see many more bands rise and create stunning albums.

If The Federal Empire can get their social media sorted out a bit – I only learned about their past through their P.R./management – then more fans would be enticed and it would provide much more scope and clarity. As things stand, the guys are making their music do the talking and a good job of it too. I am not suggesting they overhaul everything and redesign their websites: in a modern, competitive age, there is no real excuse for being a little slack in these areas. The guys are striking hot and they should be added to the list of ones to watch in 2017. Whether we will see a paradigm shift and huge revolution in music I am not sure. I hope artists around the world do not get caught up in petulance and anger and focus those emotions into something more creative and inspiring. Out of the horror and disappointment of the U.S. election result, here is a time where musicians can speak louder and become more relevant than ever before. I know there will be a lot of people trying to erase the memories of 2016 but we can learn a lot and take heart from it. In musical terms, this year has been fantastic and a lot of future stars are starting to make their move. I love The Federal Empire and the way they work. Their story and creation is natural and charming: the guys have that affection for one another and that comes through in their music clearly. I hope the boys get over to Europe and come and play the U.K. very soon. I know there will be a lot of attention and respect for them over here. I have seen a few U.S. bands come over here in 2016 – city-mates The Vim Dicta had a long residency over here – and I can imagine The Federal Empire afforded the same hospitality and affection. I know London will produce a kind and opportunistic house: lots of venues waiting for them and a city similar to L.A. in terms of variegation, talent and energy.

Never Saw It Coming opens with spirit and hand-claps; light strings and an overall bounce and uplift. The hero sings about being lost and in a place that was confusing and rather strange. Perhaps it was a predictable and safe life but one that was lacking that spark and excitement. Soon enough, a girl came along and changed all that. Turning life upside down; there is that inexplicable and invisible force that gets into the heart and makes life so much better. Although the song does not address new themes or provide too much originality; it is the way the guys write the song and deliver their words that make the song so impressive. They do not overwhelm the song with electronics and processed sounds – everything is very natural and honest. The song looks at the heroine as an addiction and sugar. She is sweet and hot; she’s alluring and deceptive – captivating the mind and intoxicating the senses. Our hero never saw things coming and could not predict life would work out like it has. The guys write a song that has charm and plenty of energy coming in. The chorus brings more force and verve in; the vocals chant and the composition throws colours and flavours together. It is a song that contains nuance, in spite of its urgency and simplicity, and a song you will come back to for a sense of release and encouragement. Its spirit lacks cynicism and is perfectly attuned to the desires of 2016 – a song that puts a smile on the face. Similarly, I Never Liked Your Friends makes you grin but for a different reason. “I wished you well/even though you’re sleeping with somebody else” is a sentiment that could have been delivered with spite and sarcasm. The band almost delivers it tongue-in-cheek and matter-of-fact. The track looks at regrets and the heroine making mistakes. You can see The American Dream as a concept album on love, honesty and relationships. If songs like Never Saw It Coming is the prelude and first chapter; the moment it all clicks and the romance blooms – this is the time when cracks are showing and deception reigns. At every stage, the song remains dignified and strong: the composition has that fizzing, vibrant and non-stop movement.

The girl is keeping bad company and hanging around people (the hero) was wary of and not happy about. She is strung-out and falling; she is down the bottom of a hole and there is no way out. I am not sure what caused the infidelity and relationship break-up – one suspects a differing worldview and too many arguments – but there seems to be little resentment and blame. The hero is concerned about his former love and seeing the place she is in right now. The anger and accusation are aimed at friends and not the heroine. Perhaps they are the ones who have been pulling the strings and showing very little conscience. The sheer vitality and explosion one feels during the chorus – with those gang vocals  and huge weight – is tremendous. The boys never cheapen things by throwing it all into the mix and hoping something sticks; they do not bring down the mood but still deliver an important message. You know they have written for some of Pop’s best names and you can hear that commercial edge and radio-friendly flair. Usually I am not too enamoured of chart-ready music and the sort of songs that are designed for a particular demographic – predominantly teens and those who do not really know quality music. The Federal Empire are a lot more credible and strong and transcend easy criticism with their infectiousness, songwriting quality and consistency. Skilled writers who know how to deliver a song and get people singing: The American Dream is rife with bangers and tracks that get the body moving. In spite of the acid and vivid scenes that unfold throughout I Never Liked Your Friends; you remember it for its catchiness and deliriousness in addition to the earnestness of the performances. The title track has already gained a lot of respect and it is not hard seeing why. It is the most original song and one that gives new light to the E.P. title. The American Dream, as seen here, has a teenage edge and a certain sloth-like attitude.

PHOTO CREDIT: @bttags

Smoking weed in a “Netflix nation” (almost the kind of line Green Day would deliver) there is a mixture of apathy and commentary. The burger-eating, supersized person; the type that yearns for apple pie, fast food and faster pleasures – being given a certain undressing thorough. The message of the song seems to be this: people want what they want and not what they need. The song’s hero, whether the frontman or a visualisation of a typical American, just wants fast cars and mansions; they want to get head, go to bed and party until the small hours. It seems, given the Republican movement, that way of life has transferred into government. Trump seems like the type who would recommend and patronise that sort of immaturity and recklessness – presuming the party-goers were white and not of Mexican origin! The song, like all the rest on the E.P., has a rousing coda and infectious chorus; the boys come together and give it stomp and spit. The lyrics are enticing and interesting as there is that judgmental edge but you wonder whether they (or their peers) embrace this lifestyle without irony. It is a song that gets you thinking but stick in the memory too.

Those L.A.-like dream ideals – shallow girls and the kind of poser that should be eradicated from the landscape – paints a picture of America – one that has been proffered by musicians, artists and tourist boards for decades. The reality of Los Angeles, and America too is somewhere more dignified, substantial and intelligent. The Federal Empire leave some doubts – how much of this way of life do they take in and ignore – which is a perfect way to end things. The entire E.P. seems to breeze by and you are longing for more at the very end. Each of the four songs gets right into the mind and impresses with its solid songwriter and variation of themes. I keep playing the songs and caught by the energy and passion the band throws in every second. Not just another Pop/Rock band who are aimed at the charts with little in the way of grit and credibility – the guys are a strong and hungry band that have the authority and sound to mix it with the best bands coming through right now. Make sure you check the E.P. out and discover music that not only gives us a glimpse into 2017 but…

LIFTS the mood and appeals to all of the senses.

[soundcloud url="https://api.soundcloud.com/tracks/286665944" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

___________________

Follow The Federal Empire

 

Official:

http://www.thefederalempire.com/

Facebook:

https://www.facebook.com/thefederalempire

Twitter:

https://twitter.com/FederalEmpire

Instagram:

https://www.instagram.com/thefederalempire/

SoundCloud:

https://soundcloud.com/thefederalempire

YouTube:

https://www.youtube.com/channel/UCpAQkhzFi0CpjKUkHVjN6CA

FEATURE: The December Playlist: New Songs and Christmas Classics

FEATURE:

 

The December Playlist: New Songs and Christmas Classics

______________________

GIVEN the fact it is a week or so until the big day…

I felt obliged to throw a selection of Christmas classics into the list. There is some cheese and crackers; some real gifts and some rather unwanted pair of socks. Among the bulk-load of Christmas ‘cheer’ there are some typically reliable downbeat and introspective track from the finest current music has to offer. That is not fair: there are plenty of rousing and spirited tracks among the pile. Among videos from Elbow and Bastille are songs from Years and Years and Crystal Fighters. Take some time to sift through the new music collection and take a dip into the Christmas honeypot. If you get fatigued, save it for another day and rejoice. At any rate; plenty to keep everyone amused until the big day – when I’m sure we won’t hear any more Christmas songs again!

__________________

Bastille – Blame

[youtube https://www.youtube.com/watch?v=Iys9IHmDJ1w&w=560&h=315]

Vanessa Forero - A Song for Christmas

[youtube https://www.youtube.com/watch?v=A4PvD7-Kzu4&w=560&h=315]

SIIGHTS – At Christmas

[soundcloud url="https://api.soundcloud.com/tracks/298264467" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Surfer Blood – Matter of Time

[youtube https://www.youtube.com/watch?v=Om8TAKK6ai8&w=560&h=315]

PHOTO CREDIT: Paul Husband

Elbow – Magnificent (She Says)

[youtube https://www.youtube.com/watch?v=XQl5KYiiFDI&w=560&h=315]

The Melvins – Carol of the Bells

[soundcloud url="https://api.soundcloud.com/tracks/294463785" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

PHOTO CREDIT: Greer Aylece Robinson

Talmont - Reach Out, I'll Be There (The Four Tops Cover) | Ont' Sofa Live at The Crypt Studios

[youtube https://www.youtube.com/watch?v=RzlrKgM1FD0&w=560&h=315]

The Flaming Lips – Sunrise (Eyes of the Young)

https://play.spotify.com/track/0zTMl6R69rqE8bvYT3RclL

Slaves – Hypnotised

[youtube https://www.youtube.com/watch?v=jEoQSDFRK8g&w=560&h=315]

PHOTO CREDIT: Katia Temkin

Maggie Rogers – Dog Years

[youtube https://www.youtube.com/watch?v=NgWC5oEuyjU&w=560&h=315]

Raleigh Ritchie – Sicko

[youtube https://www.youtube.com/watch?v=W-PYIr07DFc&w=560&h=315]

Lola Coca – Xmas Day 

https://play.spotify.com/track/0mDKUJzEL0Px7wJtzg5esu

Artificial Pleasure - I'll Make It Worth Your While

[youtube https://www.youtube.com/watch?v=D9oJL295r90&w=560&h=315]

J. Cole – Everybody Dies

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

Kylie - At Christmas

[youtube https://www.youtube.com/watch?v=8py8uqnYunI&w=560&h=315]

Gregory Porter - Don’t Lose Your Steam (Magic Radio Presents…)

[youtube https://www.youtube.com/watch?v=jyhaUYjYS9M&w=560&h=315]

De La Soul (ft. Estelle and Pete Rock) – Memory of…(Us)

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

Kacey Musgraves - Christmas Makes Me Cry

[youtube https://www.youtube.com/watch?v=wwhP9jZWTR8&w=560&h=315]

Gulp – Search for Your Love

[youtube https://www.youtube.com/watch?v=Rxw5D6vCqZo&w=560&h=315]

Banks and Steelz (ft. Florence Welch) – Wild Season

[youtube https://www.youtube.com/watch?v=9G1xvLveMCs&w=560&h=315]

She & Him – Christmas Memories

[youtube https://www.youtube.com/watch?v=FbOvwX9WtI8&w=560&h=315]

Connie Constance (ft. Jelani Blackman) - Clouds

[youtube https://www.youtube.com/watch?v=e-I78r65tbc&w=560&h=315]

Terry Wogan – The Floral Dance

[youtube https://www.youtube.com/watch?v=T3Y4HufJ1oE&w=560&h=315]

Frank Turner - Get Better (Lyric Video)

[youtube https://www.youtube.com/watch?v=tB4Avdlz3lk&w=560&h=315]

Sting – One Fine Day

[youtube https://www.youtube.com/watch?v=O1V1hiKGs74&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" /]

Catfish and the Bottlemen – Outside (From Castleford Bowl)

[youtube https://www.youtube.com/watch?v=wdFE7nUBApM&w=560&h=315]

Una Healy – The Waiting Game

[youtube https://www.youtube.com/watch?v=qZWXqN9IpeU&w=560&h=315]

Rag ‘N’ Bone Man – Human

[youtube https://www.youtube.com/watch?v=L3wKzyIN1yk&w=560&h=315]

Metronomy – Hang Me Out to Dry

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

Crystal Fighters – Good Girls

[youtube https://www.youtube.com/watch?v=-qb8V-PVD3A&w=560&h=315]

Low - Some Hearts (at Christmas Time)

[youtube https://www.youtube.com/watch?v=hv_XqW005-w&w=560&h=315]

Proclaimers Christmas Collective – Dance Tonight (It’s Christmas)

[youtube https://www.youtube.com/watch?v=uTJDyCxl0qM&w=560&h=315]

NERVO & Askery (ft. Brielle Von Hugel) - ALONE (Mesto Remix)

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

The London Hospices Choir and Paul Carrack – The Living Years

[youtube https://www.youtube.com/watch?v=XBLgZikvM3U&w=560&h=315]

Justin Timberlake and Anna Kendrick – True Colours

[youtube https://www.youtube.com/watch?v=la0-5QFLr14&w=560&h=315]

Friends of Jo Cox – You Can’t Always Get What You Want

[youtube https://www.youtube.com/watch?v=PvF2llqLzxA&w=560&h=315]

Galantis – Pillow Fight

[youtube https://www.youtube.com/watch?v=dr_SpQEGR4s&w=560&h=315]

James ‘Shinny’ Davenport – Christmas Number 1

[youtube https://www.youtube.com/watch?v=cZjpeuMjo1M&w=560&h=315]

Nathan Sykes - Have Yourself a Merry Little Christmas

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

Little Simz (ft. Tilla) – Poison Ivy

[youtube https://www.youtube.com/watch?v=GnCCLVlZ4RI&w=560&h=315]

Matt Redman (ft. Natasha Bedingfield) - Help from Heaven

[youtube https://www.youtube.com/watch?v=guyWNLTvOy4&w=560&h=315]

Sinead Harnett – Rather Be With You

[youtube https://www.youtube.com/watch?v=8h_9fsGku3c&w=560&h=315]

Years and Years – Both Sides Now

[youtube https://www.youtube.com/watch?v=sLry08EREoY&w=560&h=315]

Lucy Rose – Merry Christmas Everyone (Live at Maida Vale)

https://play.spotify.com/track/6jGuL4oTOw23yDzC58HRbw

Kate Tempest – Ketamine for Breakfast

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

Bon Iver – 666 ʇ

[youtube https://www.youtube.com/watch?v=96t0rlPmn2E&w=560&h=315]

Car Seat Headrest – Vincent

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

Radiohead (ft. CR78) – Present Tense

[youtube https://www.youtube.com/watch?v=6hgVihWjK2c&w=560&h=315]

Thee Oh Sees – The Axis

[youtube https://www.youtube.com/watch?v=W-Ac65av5t4&w=560&h=315]

Slade – Merry Christmas Everybody

[youtube https://www.youtube.com/watch?v=CI7gflX3J2k&w=560&h=315]

Wizard – I Wish It Could Be Christmas Everyday

[youtube https://www.youtube.com/watch?v=IM_H4CAAYxc&w=560&h=315]

The Ramones - Merry Christmas (I Don't Want To Fight Tonight)

[youtube https://www.youtube.com/watch?v=4Y5GtaTrPHM&w=560&h=315]

Destiny's Child - 8 Days of Christmas

[youtube https://www.youtube.com/watch?v=7tt6Ot_WEHI&w=560&h=315]

Mariah Carey - All I Want for Christmas Is You

[youtube https://www.youtube.com/watch?v=yXQViqx6GMY&w=560&h=315]

Chris Rea - Driving Home for Christmas

[youtube https://www.youtube.com/watch?v=EvDxSW8mzvU&w=560&h=315]

Bing Crosby – White Christmas

[youtube https://www.youtube.com/watch?v=GJSUT8Inl14&w=560&h=315]

Wham! – Last Christmas

[youtube https://www.youtube.com/watch?v=E8gmARGvPlI&w=560&h=315]

Cocteau Twins - Frosty the Snowman

[youtube https://www.youtube.com/watch?v=e874vKfYfuU&w=560&h=315]

Joni Mitchell – River

[youtube https://www.youtube.com/watch?v=nAK9Pj5-QXY&w=560&h=315]

The Ronettes - Sleigh Ride

[youtube https://www.youtube.com/watch?v=Y6rDA2Czz0E&w=560&h=315]

Bing Crosby and David Bowie - The Little Drummer Boy/Peace on Earth

[youtube https://www.youtube.com/watch?v=DiXjbI3kRus&w=560&h=315]

Louis Armstrong - Christmas in New Orleans

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

Aled Jones- Walking in the Air

[youtube https://www.youtube.com/watch?v=Aktgc7Irs8g&w=560&h=315]

John Lennon & Yoko Ono - Happy Xmas (War is Over)

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

Kings College Choir - Silent Night

[youtube https://www.youtube.com/watch?v=n036kBC1HEw&w=560&h=315]

Paul McCartney - Wonderful Christmas Time

[youtube https://www.youtube.com/watch?v=V9BZDpni56Y&w=560&h=315]

Band Aid - Do They Know It's Christmas (1984)

[youtube https://www.youtube.com/watch?v=WesKXdaWBq0&w=560&h=315]

Jackson 5 - Santa Claus Is Comin' to Town

[youtube https://www.youtube.com/watch?v=gmUW2pVAopc&w=560&h=315]

Andy Williams - It's the Most Wonderful Time of the Year

[youtube https://www.youtube.com/watch?v=gFtb3EtjEic&w=560&h=315]

Elvis Presley - Blue Christmas

[youtube https://www.youtube.com/watch?v=5I2f1UJjiAA&w=560&h=315]

The Pogues (ft. Kirsty MacColl) - Fairytale of New York

[youtube https://www.youtube.com/watch?v=j9jbdgZidu8&w=560&h=315]

 

All in all, you’ll agree there is quite a stocking’s worth of delight there – I’ll drop the Christmas analogies. The next week will see a few tracks released but not too many new singles. I will probably collate a collection of songs I feel will be important in 2017: that or current songs from bands, both mainstream and unsigned, I feel will be doing exceptional things. Who knows what will be contained within but it is something you will want to see. That will come before the New Year, but, until then, have a good Christmas!

TRACK REVIEW: The Old Pink House - Black Hole

TRACK REVIEW:

 

The Old Pink House

 

 

Black Hole

9.3/10

Black Hole is available at:

https://soundcloud.com/the-old-pink-house/black-hole

RELEASED: 3^rd December, 2016

GENRES: Cosmic-Pop

ORIGIN:

Newcastle, U.K.

________________________

MANY may have noted how I have somewhat…

bemoaned a lack of credible and attractive bands emerging this year. That is not to say the band market is bereft of quality and potential – that would be a foolish suggestion. I am just saying, when compared with solo artists, there are fewer genuine groups and those that stand out. Maybe that will all change next year but I have therorised why this is. There is that focus on talent and artists that are more concerned addressing social issues and more urgent themes. Bands, by and large, are more focused on other themes (relationships and personal issues) but still hold the majority share of the festival circuit. That, the band dollar, is always the most bankable and long-lasting – I feel when the festivals crank back up there will be more focus on them and a push away from solo acts. Maybe not but who can ever predict what will happen in music? Before I come to my featured artists, I wanted to look at northern bands (The Old Pink House are from Newcastle) and the importance of local gigs; how hard it is for bands to get under the lens of a manger and get promoted; a bit about influences and how new bands can survive longer. It is nearly Christmas time which means a lot of people are overwhelmed by ‘classic’ Christmas songs and general mush. There is less time spent on new music: many are waiting to see what next year brings and have already had their fill of new music. Before we get there, it would be remiss not looking at artists who are still playing and campaigning around the nation. The last few months have seen my settled around London and not really straying too far beyond that. It is good to be back up in the north: once the ancestral home of the most influential and awesome bands.

I know Manchester and Liverpool get the most press – with regards northern exposure – but we should not overlook areas like Newcastle. Looking at the ‘historical’; or established artists from Newcastle; there is plenty of variation and quality. Maximo Park, The Animals and Dubstar are just a few acts that call Newcastle home – you could not put a line through these acts and have it make sense. Looking at nearby Sunderland – I will probably get stick for daring to name Newcastle’s local rivals – but The Futureheads, Kenickie and Field Music have put the city of the map. Newcastle’s well-heeled and celebrated acts are, in most cases, years down the line and not really as fresh as one would hope. This is all going to change. Over the last few months or so; a few new bands have shown their wares and are impressing critics around the nation. Street Party in Soho – I am reading from http://www.gigwise.com/photos/106343/best-new-newcastle-bands-and-artists-2016---punk-indie-garage - are impressing with their sunshine blends and ethereal promise. The guys turn everyday situations and concerns into anthems and beautiful things. There is not the tendency to go for morbid and depress with a lack of energy: everything the trio touches is instilled with some sense of uplift and energy. SoShe mix grooves and beats and have garnered comparisons with London Grammar. Mouses are a duo I am well aware of and have been linked with The White Stripes. To be fair, they are a bit more straight-forward and simplistic than the Detroit duo. The Newcastle twosome have that festival-ready sound and already being tipped as breakaway stars for 2017. Post-Punk magic from Kobadelta is also not surprising. I reviewed the guys way back and was hooked by their fantastic, rings-in-the-ears magic. There is plenty of anger and aggression but it never boils over – always imbued with control, nuance and intelligence. In terms of young bands: they do not come much tenderer than Far Pacific. All teenagers (most of the members are sixteen or seventeen) the boys know how to put on a show and already crafted a set of lovable and indelible tracks. Deep.Sleep are also young and new but have that charm and rebellious streak that is impossible to overlook. That is just a collection of Newcastle bands that are already making a mark. It is fair to say the city is not exactly dormant when it comes to music.

It is not worth mentioning how fervent and fertile London is when it comes to new bands. Although the capital is, like most of the country, putting its solo artists further forward, there are plenty of new groups unwilling to play second-fiddle. That is the same with Newcastle. There are some great solo artists around the city but there is, as we have seen, more than a few epic bands that have all the components needed for success. The Old Pink House – in addition to that fantastic name – are more than capable of rubbing shoulders with the Geordie best. They are getting under the radar and looking to become more exposed and known in 2017. The way they are doing this (and gathering momentum) is by pounding the local scene. Whether embracing the toilet circuit or supporting better-known artists: the hungry boys have supported Let’s Eat Grandma and are being noted for their tight sets and engaging personalities. Although Black Hole (whether it should be capitalised I am not sure) is their second effort: there is no reason the guys will not be making more music in the coming months. Many bands – and solo artists too – are looking ahead right away to the big festivals and gaining the ear of B.B.C. I have seen some great London bands rely on the local venues in order to gain a foothold. Artists should not be jumping right for the big leagues and understand the necessity of gaining a live reputation. Getting your local peeps on board not only ensures you have a solid core but means you will always have gigs and demand. There are so few towns/cities with a great music scene: if there is one, keep hold of that and do not underestimate that. Even if your town/city has only a few venues: it is important getting as many dates booked and pounding hard as possible. I understand the excitement of dreaming and thinking what can be – that should not come at the expense of local gigs. The Old Pink House are benefitting from the great spots around Newcastle and pulling the punters in. It may be their earliest days but they are already making strides and showing they have what it takes to cut their teeth further south. If they manage to secure some gigs in own locations (Manchester, Leeds and London for example) that will do them a lot of good. I am pleased The Old Pink House are hitting the local circuit and making sure Newcastle knows their name. The likes of Mouses have got into the minds of mainstream press by doing just that: starting local and watching their music spread; tongues wagging over social media and everything sort of happening after that.

Before I come to the new single from The Old Pink House, I wanted to talk about the importance of management – how hard it can be securing a deal. This point was provoked by a recent conversation with Saints Patience guitarist, Spencer. Chatting with him, he explained that, although the band’s debut album was coming along nicely, getting gigs was proving challenging. Not because they lacked energy and the motivation: they had it in spades but were not getting any calls. In addition to dealing with all the recording/production side of things; the band are having to secure a lot of gigs themselves and becoming restless. It is a tragedy seeing a talented young band, full of vigour and potential, being denied opportunities to perform. Being based in London (or near enough), the guys are in the perfect spot to get those gigs – it is a lack of management that is causing such anxiety. Of course, it is great having P.R. bodies behind you getting those dates but it needs a one-man/woman army making calls and getting out there. The Old Pink House are doing well in Newcastle but will be looking at performing across the U.K. and Europe. If they had a manager calling venues and hooking the band up; it would not only provide The Old Pink House more gig experience but mean they were pulling in more money and spreading their music far and wide. I am not sure what is on the boys’ minds but I am sure they would love to perform across London and further south; get their music spun on ‘6 Music and get some notable support slots. That comes through hard work and great music but making sure the music is being pushed firmly. Of course, the band is promoting themselves but would benefit from a dedicated body campaigning and electioneering on their behalf. Their music, from one song alone, suggests there are fans waiting to find them. Maybe it is hard putting managers together with musicians. How many of them are out there and is it expensive/feasible having one? Maybe commissions – and giving a large slice to a manager – is putting people off or perhaps it assumed artists take care of all their own P.R. I would suggest the boys go hunting for a manager in the future: expand their arsenal and ensure their (terrific) music makes it far across the airwaves. That might be a future consideration but something to chew over. As I said, speaking with a musician looking for gigs and support: it can be frustrating not getting gigs and having to struggle for attention. I know Saints Patience will get those dates and acclaim - I shall ensure that - but they need those gigs now whilst they are hot and ambitious. The Old Pink House, even at this early stage, will be looking far ahead and wanting to see their music explode.

I was originally going to compare the band’s previous single, SO BAD (or ‘So Bad’). Given the work I have had to get through, it got to the stage where the guys had released Black Hole – so it makes more sense concentrating on that one. It is good as it gives me a chance to compare the two songs and detect similarities and patterns emerging. Max Middleton, Ollie Winn and Christopher Brown are the intrepid trio and create music that elevates mood and notably lifts the soul. This is ratified and codified within a few seconds of debut slice, SO BAD (I will capatilise it for now). The song opens with bright and cherry strings: bouncing, ripe and sunny. The optimistic and spirited compositions score lyrics that deal with anxiety and loss. Our hero is sleeping on the floor and facing a world without his girl. Maybe there has been a fight and the two have separated for a bit. That love was strong and definite: losing it has caused such a pain (in the heart) and sense of displacement. Our man is like a suburban nomad: squatting on sofas and hollow of energy; weighing up the past and present and speaking from the heart. Whoever the girl is, she has already made a huge impression and seduced the hero. The band keeps the background light without cheapening the mood. This is not their attempt at a Girlfriend in a Coma-esque juxtaposition:  there is a sincere desire to project a serious-and-hopeful blend without making anything jokey or diluted. As the song plays out; there are more revelations and story. Things aren’t working out and the hero is creeping out the door. Maybe there have been one too many disagreements and the two are on different pages. Whatever the reasons, it is clear the bond is no more. It is a rather rare and honest approach to a love song – one where the hero, admittedly, is being a bit of a coward. That sneaking out and evasion might not be the bravest approach but seems logical given the turbulence between the two. SO BAD keeps bouncing around the brain long after it has played and wins you with its blend of layers and simplicity. SO BAD has those beats – that have Hip-Hop and Indie strides – but throws all manner of sounds into the boiling pot. What you get is a vivid and colourful landscape never overly-cluttered and under-resourced. The band has penned a song that is instant and radio-worthy and one that can still exude merit months down the line. Black Hole deals with similarly weighty issues but presents things in a more sedate and temporised setting. There is still enough energy and SO BAD-esque shades to follow on but Black Hole is a very different song. It has a lot of maturity and sadness – understandable given its title – but is perhaps more nuanced and slow-burning than its counterpart. The song registers intent and impact upon the first play but you need to get your head around it one or two more times for all the different sides to coalesce and resonate. That is a hard trick to pull off but one the band does well. They could have penned a very similar song to SO BAD but haven’t. Instead, they subvert expectations and deliver a song with more candidness and heart; perhaps it lacks the bounce and rouse of their debut but both songs deal with weighty and serious issues. This range and compositional contrast mean any future release will be hotly received. The Old Pink House have shown they can move in various directions whilst retaining their singularity.

It was unlikely Black Hole would look at something hopeful and positive. That is not what is on the boys’ minds and not where their music is coming from. Rather than pen something insincere and needlessly peppy, the guys have crafted a song born from a very real and relatable place. If they do bring out an E.P. one hopes there will be more hopefulness and redemptive spirit there. As it is, Black Hole looks at a torturous time where the lead has a black hole in his chest. Wanting to be dragged back to the shore and rescued: one feels a love breakdown but it is not too clear in the opening seconds. Whereas SO BAD/So Bad was a confession of mismatched love against sparkling and bright backdrop: here, we have a more introverted and personal song whose support is more twilight and contoured. The strings, light and nimble in the first phases, sparkle like stars but never expend too much light and energy – they twinkle and implode before coming back again. The vocals switch between processed and dark to a more levelled and organic presentation. It gives the song depth and fascination. You are never put off by the rather bleak mood. The band do not go in with a mopey and resigned attitude; each stage of the song has a lot of hope but the lyrics are tackling some rather thorny and fiery situations. There seems to be that need for love and salvation. Whereas SO BAD was more an admission of past glories and current realities: Black Hole is the embodiment of the vacuum one feels when denied love’s fulfilment. The hero wants the heroine to give him her life/love; save him from a rather wretched and destitute alternative that is causing quite a lot of pain and discomfort.

The guys do not merely present their lyrics with basic elements and predictable guitars. You get little flashes and gurgles; lovely little interludes and physicality that not only embody what is being sung but throw in nice little details for the listener. Aside from some of the vocals (in the chorus) being treated: there are compositional touches that seem to express emotion and story. It is hard to explain but the song goes in all sort of directions and has that elastic composition. The lyrics are single-minded in their focus and intentions: the boy wants to be lifted from his miasma and win the girl. I am not sure whether the song’s heroine is the same we saw in the band’s debut single – maybe a prelude to that song – but it is a grand contrast to what was being expressed there. No creeping out and evasiveness; there is none that of that surrender and need for space. If anything, Black Hole is the polar opposite. Maybe past heartache and stress have caused huge damage to our hero. He is in a dark place and wants to find that light. Rather than wallow in torment and what-ifs, he is laying his heart on the line and sending a message out across the sky. Whether the girl is attached and feels the same way is not explained. The chorus never really references the song’s title but is more a plea to the girl – wanting her to give herself to him and save our man from a life of emptiness. Of course, I may be stretching when it comes to interpretations of love – although it seems quite simple and clear in that sense.

The band gives a performance that shows they are properly tight and innovative. The bass is constantly driving and guiding: pushing the song forward but providing its own rhythm and power. There is a nice and solid percussion tied to some experimental and raw guitar notes. Put it all together and you get a score that balances burning, hard emotions with something more relief-laden and hopeful. I mentioned Black Hole is not as light and positive as SO BAD. That is true but Black Hole ensures it is not caught in a web of misery and dejection. It is a track that has so much detail and depth it is impossible to ignore it or have it in the background. It demands a certain level of concentration and one imagines it will prove very popular in the live setting. The band has reached their second single and providing fans a couple of glimpses into what they’re about and where they’re going. Black Hole is a song that could be played across the most credible stations in the U.K. but also score a tense relationship drama too – it has that mobility and appeal. I am not sure where the band is heading next in terms of sound and songs but Black Hole is a fascinating glimpse into where they are now. You need to hear the song a few times as it does keep producing new meaning and possibility each time. Bands such as Car Seat Headrest have impressed me this year with their broad sonic palette and memorable songs – they are one of those bands everyone is tipping for 2017. The U.S. band have crafted one of 2016’s best albums in Teens of Denial and one of the most prolific acts in the music world – they seem to stamp out an album every year! I see bits of them in Old Pink House, but more importantly, a band like Car Seat Headrest provides inspiration and guidance the new breed. Bringing it back to the Newcastle clan and I see a bright future ahead. Black Hole is a terrific song from the trio and one that shows they have plenty of inspiration and talent in their ranks. It will be fascinating seeing how the band grows over the next few months.

Black Hole (sometimes in BOLD capitals) is the sophomore song from the Newcastle band. Although it is their second cut, there is plenty to suggest more music will come sooner rather than later. In previous reviews, I have stated how vital the first songs are with regards standing out. If you do not go in strong and hard you risk losing market share and being overlooked. Such is the fickleness and competitiveness of modern music: if you are not prepared and organised right from the off it can be hard coming back from that. I would expect the guys to produce an E.P. next year; a four or five-track collection that has Black Hole in its mix. I am not sure how much more material they have left but will surely vibe from the respect and appreciation they have gained live. Supporting Let’s Eat Grandma is no minor feat and something that makes their C.V. stand out. I opened by looking at local gigs and their importance; how Newcastle is often overlooked in favour of other cities. The local media are doing best to promote their artists but need the backing of mainstream and nationwide sources. I am sure The Old Pink House will gain that but are entering the market at a very busy and changeable time. As I stated, there are a lot of solo acts being proffered and tipped for 2017 success. Whether this sea change is as a result of thematic and lyrical tones – something more relevant and original – I am not sure. Too many bands have played it safe for too long. Concentrating on love and modern life without adding anything new to the recipe: artists like The Old Pink House are doing their best to provide fresh and engaging music. Black Hole, if it is the sound of where they are heading, is much-needed right now. I expect them to tour a lot after Christmas and promote their new single.

After that, things can get exciting – if a little tough and stressful. They have created a wonderful song but have to decide whether to keep on touring, and get a reputation around the U.K., or get back into the studio. Time recording can mean other bands get gig spots and focus heads their way. In the same vein, too much touring means the band can tire and start to show strain. It seems best, therefore, a fine balance is creating: one where there are enough solid tour dates but concrete plans to get some more music laid down. Next year will be an exciting one for music and one where bands will be making a lot of noise. If this year has been defined by some wonderful solo-made music – and many tipsters are featuring them heavily for next year – then bands have a chance to prove they are worthy of attention. I feel the reason solo artists are getting more love is because of the variety and nimbleness they bring to music. They are not hampered by festival demands and fitting into moulds. They have the potential to do whatever they want and the final vote is theirs – not having to debate with other members as to direction and schedules. When the dust of Christmas settles, I know The Old Pink House will be putting new stuff together and trying to get it under the noses of influential D.J.s and big stations. I have no reason to believe they will not achieve that: their latest single shows plenty of promise and sticks in the mind for a long while. Few bands have the savviness to embrace the local scene and keep busy touring. Too many are preoccupied with running before they can walk and being a bit impatient. That is understandable (considering how many other groups are out there) but you need the backing of your home crowds before you win the heart of the majority.

PHOTO CREDIT: Daniel Stark

I have talked about management and getting someone to get the music to the venue bosses; how important touring is and how Newcastle will come more into focus in the coming months. I alluded to influences – forgot to mention it at the top – but something that excites me about The Old Pink House. It is hard to label the band and fit them into traditional genres. Black Hole has psyched-out sounds and Hip-Hop-inspired rhythms. You get huge Pop hooks and plenty of sparks. In the live setting, the guys have already been compared to the likes of Foals and Unknown Mortal Orchestra. Those are two acts I do not hear come up too much. Foals, especially, are a band that have crafted some superb music but do not get the acclaim they deserve. Unknown Mortal Orchestra is another wonderful act that is more influential than you would think. Being linked to these artists, at such an early stage, is quite an accomplishment and not to be taken lightly. If you consider all the threads, sounds and genres the band splice; the acts they are being compared with – it all sounds very exciting and the recipe for success. I am not sure just what the boys want to achieve next year but they seem like the type of band who dream of big festival sets. When the weather improves, many established acts will be loading their vans with gear and travelling all over the place. The lure and romance of the road are attracting a lot of musicians and ensuring music is not short of passion and potential. I have not seen many ‘Ones to Watch’ lists that include bands. When we see these band-heavy lists that will give us an insight as to who the taste-makers are backing for success. It is not just local sources that will be supporting The Old Pink House and ranking them as a force to keep an eye out. The Newcastle lads have a fascinating and exciting sound that, one imagines, will be championed by stations like ‘6 Music and see a lot of London venues take notice. Black Hole is a song that does strike instantly but reveals more when you play it again. I keep mentioning the importance of nuance – rather ironically – because it is a word/subject that is being ignored by a lot of musicians. That is the one ‘asset’ that is common among the most-celebrated mainstream albums/acts this year. I know the trio of The Old Pink House will keep building and delivering quality songs into 2017. How they take flight will be exciting to see. However they choose to do it; the possibility of a debut E.P…

WILL delight many.

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Follow The Old Pink House

 

Official:

http://www.theoldpinkhouse.co.uk/

Facebook:

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

Twitter:

https://twitter.com/theoldpinkhouse

Instagram:

https://www.instagram.com/theoldpinkhouse/

SoundCloud:

https://soundcloud.com/the-old-pink-house

INTERVIEW: KEELS

INTERVIEW:

 

 

KEELS

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KEELS (or ‘Keels’) is one of the most talked-about songwriters around…

the U.K. and E.I.R.E. at the moment. As former member of the band Empire Divide, Niall Keels cemented his reputation around London as a name to watch. Stepping out alone, the single Surrender brings together embers of The National and Bon Iver. There will be more work coming – which is exciting indeed – so I was eager to talk to KEELS about the new material and how life solo compares to that in a band. Having toured with the likes of Augustines, Catfish and the Bottlemen and Young Rebel Set; working with established filmmakers Kim Roden and Alfie Biddle - many would be envious of that sort of C.V. Always humble and forward-thinking; KEELS has his sights set on 2017 and just what can be achieved.

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

I’m all good, thanks. Just trying to get everything done before the Christmas panic-shop. On the music front, I have been getting a few bits in place for the video (for the) next single Darkest Nights - and getting the live rehearsals going.

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

Sure. My name is Niall Keels. I am a singer/songwriter on a journey to live the dream! I have lots of new work to share which I’m very excited about. If you like The National, Bon Iver and Massive Attack you should give my music a listen.

I do not often get to interview Irish artists. Which part of the country do you hail and how does the music scene compare there (to England)?

(I have) A very Irish name and a very Irish dad but I was born and brought up in Surrey/Sussex.

I have a lot of friends and family over in Dublin and spend a fair bit of time there. My allegiances are with the men in green when it comes to sport.

This was drilled into me from a very early age from my dad and the rest of his mates down at London Irish Rugby Club in Sunbury. I played with the club all the way through ‘til I was about nineteen and it was there I had to quickly learn a good Dublin accent.

Based out of London, I can imagine the capital provides its fair share of inspiration and frustrations. What is it like for an aspiring musician living in London?

London is a great CITY but it is an expensive place to live! On the music scene, there are some brilliant venues to play for up-and-coming artists like the Lexington, The Sebright Arms and St. Pancras Old Church - where I’m playing in March of next year. It’s great that so much music is readily available and it certainly helps provide creative motivation. London is such a diverse, multicultural hotbed: you meet so many people from all walks of life which can only be a good thing in terms of creative inspiration - especially when you’ve worked as a waiter/landscaper/carpenter/brickie’s assistant.

Looking at reviews that have been paid to your music – you are being compared with the likes of The National and Bon Iver. So early in your career, is it quite daunting or humbling receiving that kind adulation?

It’s both! Very humbling as these, in particular, are two acts whose works I love. I have been to see The National live in London a few times and absolutely loved it. Epic songs delivered so well on the big stage: Slow Show and Hard to Find are two of my favourite tracks. Bon Iver has inspired so many people: just look at how many artists have covered Skinny Love! What a voice and what great songs.

You are a former member of Empire Divide. What was it like being part of the band and how does solo life compare?

Being part of a band is great. Working collectively on a track is an awesome experience. It’s not all that different now as Keels.

I still enjoy writing with old band members and I work closely in the studio with my producer and other writers - which means the creative process is similar. I just get to have the final say. Live, I will be playing with a band, so that shared performance/enjoyment of the music on stage won’t change all that much. I always work with musicians who are into the music and believe in the project, which is very important.

Surrender is your new single. What can you reveal about the origins of the song and what inspired it?

Hard to say. The chords and melody to the song came about when I playing at home on the piano. The lyric "Heart will surrender to nothing but The Devil’s play” came out of nowhere, almost immediately.

We have all lost someone at some point or another so once you have a starting point - the skeleton; chords, structure and lyrical idea - it’s just a matter of fleshing it out and building the track up - and retaining the theme of loss and regret which I did with a friend in the studio.

[youtube https://www.youtube.com/watch?v=Ns222Wo6uPc&w=560&h=315]

Was it a difficult song to get together or did it kind of flow when you got into the studio?

In terms of the body of the song it all came together pretty quickly but the production on the track has evolved. Building up the sounds/pads and vocal layering took time.

The video for the song is beautifully shot and conceived. Whose idea was the video and what was it like working with Kim Roden and Alfie Biddle (whose work includes V for Vendetta and Harry Potter)?

After putting together a mood board the video was storyboarded by Kim Roden and Alfie Biddle. Alfie is one of my best and oldest friends and he also happens to be one of the best up-and-coming cinematographers in the film business. He is immensely resourceful and generous with his time and I have been very lucky to work with his talented team. Alfie has worked on some huge films in differing capacities and his wealth of experience and knowledge plays a huge part in delivering such a powerful visual that works so well with the track. I couldn’t recommend a better team of people to work with and I think the video is sufficient evidence of this.

Can we expect an E.P. or album next year perhaps?

There will definitely be an E.P. first and hopefully an album at the end of 2017.

PHOTO CREDIT: @pedroalvesphotography

In terms of the musicians that have inspired your music: which would you rank as the most important and why?

Again, a very tough question to pinpoint as there are so many artists that have influenced my vocal delivery and songwriting.

I would say Johnny Cash/Roy Orbison/Elvis are three vocalists that I listened to more than any growing up. They all had an amazing ability to convey their message through a powerful and honest vocal delivery.

For me, honesty is the most important quality in delivering a message through a great melody.

Having toured with everyone from Young Rebel Set and Catfish and the Bottlemen you must have some fond memories. What has been your career highlight so far?

Young Rebel Set are a good bunch of lads with great songs and I am always surprised that they haven’t had more success. Berlin Nights is brilliant. Career high is hard but playing with Augustines to a sold out KOKO was pretty special. They’re another band I am amazed haven’t exploded and was very sad to see that they had called time. Another high was playing more recently out in Moscow in a sold-out Imagine Café - where my brother came and joined me for my set. We’re best mates so to have him with me for that show singing to a sold out venue was awesome.

Are there any new artists coming through you recommend we check out?

Amber Run are a new band coming through that I played with a little while back: nice guys with a good sound. Also, an Irish act called Picture This are definitely worth keeping an eye on.

PHOTO CREDIT: @der_ivanov

Is there any advice you’d offer to any new artists coming through?

Be determined/persistent. I have been grinding away for a long time now and it feels like things are starting to really come together.

Luck plays a huge part in music but you have to be in it to win it. Of course, be true to yourself as an artist and don’t rush. Look at Sia: her first number one came album in her late-30s.

It is almost Christmas. Any plans for this year? What have you put on your list to Santa?

Excited to spend Christmas with old friends and family: it’s the one and only time of the year some friends are about.

Also super-excited to get all the live performances going in the New Year and can’t wait to put more tracks out. I’d love to get on a few more shows overseas: always a great opportunity to see a new city/town.

I have asked Santa for a Christmas number one. I didn’t specify what year so we’ll have to wait and see!

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

Hard to Find - The National

[youtube https://www.youtube.com/watch?v=3mfpCQM92F8&w=560&h=315]

Thanks to you all and a very Merry Christmas. 

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Follow KEELS

 

Official:

http://www.keelsmusic.com/

Facebook:

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

Twitter:

https://twitter.com/keelsmusic

Instagram:

https://www.instagram.com/keelsmusic/

SoundCloud:

https://soundcloud.com/keelsmusic

YouTube:

https://www.youtube.com/channel/UCkfu8IoyAjGyODM-34aHx1g

INTERVIEW: The Peppersplum

INTERVIEW:

 

 

The Peppersplum

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THIS year, one of the nicest surprises was discovering…

Mexican sisters Marie and Sussie Fernandez. Known as The Peppersplum, they are heavily influenced by older English music and U.S. Rock; European Dance and more traditional Latin sounds. Songs like Take the Adventure of Love pulls all these disparate threads together and shows what passion and talent the duo has. Into next year, the girls will be looking at releasing new music. They discuss these plan alongside memories of the year so far; what type of music inspires them and how Is It Love? (their last album) came together. In addition to that, the girls are working on two new albums - which shows just how hard-working and determined The Peppersplum are. They chat about those releases and what they have planned for Christmas.

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

Sussie: Hi there. It is so nice to talk to you. Thanks for this time you take to talk about music. Also, we would like to thank you so much for the review you wrote: we really like it and enjoyed reading it.

Marie: Some parts are as if you had been there watching very close to what it was. Surprisingly accurate.

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

Together: We are The Peppersplum. (*smiling*)

Marie: We’re sisters…

Sussie: …and we do music.

You began your musical life 2006. What compelled you to start a duo and can you remember the first song you recorded?

Marie: Not only the first song we recorded but also the first song we wrote.

Sussie: Well, we always wanted to sing and express ourselves in an artistic way.

We can recall when we were very little: every time we saw a theatre play we tried to replay, in our house, all the roles by our own - all the singing, all the words and acts like it were a children’s game.

As sisters, what was the type of music you grew up listening to?

Sussie: We listen to a lot: all Rock and Roll; ‘50s, ‘60s; ‘70s, ‘80s and ‘90s music.

Marie: Yes, we like all the old music stuff.

What is the musical scene like in Mexico? Is there a lot of great indigenous music or (does the country) take in a lot of U.S. and British music?

Marie: Well, we can´t really say what's the scene (as we listen to all stuff) but Mexico does take lots of English music.

The Beatles still have a daily hour on one of the biggest radio stations.

Sussie: Yes, indeed. I think it is (as you have probably said) half local music whilst half of the population goes for English music.

You have won a collection of awards and accolades over the year. What has been the proudest achievement for The Peppersplum?

Sussie: Wow, well, every one of them. They are different and we like to think it is because of our fans and their love and amazing support.

Marie: Yes. All of them have a special place in our hearts, in our music; most of all, a big thanks to all the people involved: the ones who work alongside us and the fans; the prizes are them.

https://play.spotify.com/track/2XTh24LMfWj4FmLCmqdhcn

Can you tell us about the coming months? Any new music coming through or E.P.s in the pipeline?

Marie: No. In fact, we did a pause to answer this interview. We are recording the album. The album has been delayed for many reasons. Upcoming is two new singles - but totally different. The two albums will have twelve to fourteen songs on each one – so, if you count the two of them that will be at least twenty-six or so new songs. Their titles will be Fast Love Vol. I (Dance) and Fast Love Vol. II (Rock).

Sussie: Yes.

We are recording two albums - following the single format. This E.P. is, in fact, the first single from two different albums: one the Rock side and the other is a Dance album.

They are two singles from two different albums (but with the same name). We’ll hopefully finish recording the two albums next year.

Is It Love? composes eleven unreleased tracks and was your second studio album. What was the inspiration behind it and how does it differ from your debut work?

Marie: Guess we have to start by talking about our debut album and the difference (with that) and Is It Love? Yeah!, as it's called, was the first step to achieving our dream (to write music). When we finished it, we were like: “Can't wait for everybody to listen to it”. The second one we hid a bit so it stays a little longer - only for us alone. Is It Love? has lots of emotions. When we recorded, it was a tough time for the person not for the musician. We were having a real hard time recording. That album was what kept us going. In Life, for example, is about loss - but not to a love - but concerning our grandfather because he was like our dad - and then he passed away. Every one of the eleven songs is a story on its own. They are different. The only one thing permanent in all our songs and albums is genuineness.

Sussie: Yeah! was an affirmation: it was a "yes it's possible". We’d been told: "Girls in a Rock world? Only in more than ten years"; "Girls for Rock are not good". So Yeah was: “Look at us, we did it"! Is It Love? came together in a more accomplished way.

We wanted to write more about us and we added some more thoughts and emotions, as you said (which was very amazing for us, you figured it out). Words we really use, that are totally us, like: "I just can't believe..."  This is a phrase we used a lot (maybe we're not believers) (*smiling *). But we wanted to take away all the bad experiences we were living by singing.

What has been your favourite song to record? Which one has meant the most to you?

Marie: The new one we're working on in that moment is the favourite. All the others left a mark, of course, but they have gone.

Sussie: We like them all. They were part of us in a time and space, and when we listen to them again, it is like seeing an old friend.

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Do The Peppersplum have upcoming gigs or are you spending time in the studio?

Sussie: Well, as we said, we’re finishing recording these two albums - but we have signed with a new manager so we are eager to confirm some upcoming gigs.

Marie: Hey, she said it all (*smiling*). Some surprises soon.

You have a lot of love for the U.K. Can we expect to see you play in the country anytime soon?

Marie: We grew up listening lullabies like (*singing*) “Orange and lemons/say the bells of St. Clements”, so you can say that.

Sussie: “Oh, The Grand Old Duke of York...” (*again singing*). We love to play there. We hope with this new guidance (manager) we could play there very soon. As soon as we know we’ll share it with you as well as well as new stuff.

Marie: Yes. We are really curious about finding out your opinion on the new tunes.

Are there any local artists or artists you love you’d recommend we investigate?

Sussie: Oh God! We only listen to old music as we said. Wow, this is a hard one.

Marie: The Beatles and Elvis are so well known (joking) – sorry, we really don’t know who to name.

[youtube https://www.youtube.com/watch?v=3F4_ePEi2DI&w=560&h=315]

For any bands/musicians wanting to follow in your footsteps: what advice would you offer them?

Marie: Constancy! It's the only thing that would make you get your goal.

Sussie: Be patient and don't let down yourself.

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

Sussie: Always good sports and fair players so mmm… would be nice to listen to an old tune like E.L.O.’s Last Train to London.

[youtube https://www.youtube.com/watch?v=hpCBv1dO3eA&w=560&h=315]

Marie: Or we can go a little bit earlier and listen to House of the Rising Sun but we’ll leave it up to you. Thanks a lot for this interview; we were very glad answering it. Looking forward to your review of our next tunes.

[youtube https://www.youtube.com/watch?v=y2oKRKZnEoA&w=560&h=315]

Sussie: Thanks. It was so nice. Hoping to see you all of you at a gig.

__________________

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FEATURE: Track of the Year: Radiohead – Burn the Witch

FEATURE:

 

Track of the Year:

 

 

Radiohead – Burn the Witch

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YESTERDAY, I expounded the virtues of an album by a blonde-haired…

Yorkshire native – my favourite record from this year in music. Facing some hefty competition and long odds: the fantastic debut cut beat off all other competition to claim the honour of best album of 2016 (I am not mentioning her name as promised it would be the last time this year; you can check yesterday’s post if you are that curious). Today, I am looking at the track that, for me, stood out from the rest this year. Given the amount of songs unveiled throughout 2016, it is challenging narrowing it down to that one choice. There have been songs of all shapes, sizes and genres; from across the world and exploring all types of subjects. It is true; my longlist contains music from Hip-Hop, Electro.-Pop and Alternative. The one that actually takes home the gold it the lead-off track from Radiohead’s ninth studio album, A Moon Shaped Pool. There are quite a few reasons the album transcends all others and sticks in the memory largest. As 2016 came into view, there was the odd bit of press about Radiohead’s movements. Aside from Twitter-based tease and Instagram snapshots: few were really sure whether the Oxford band has an album in them. True, there was some hesitation and doubt after 2011’s The King of Limbs. That album contained the usual array of beauty, mystique and command. Following the near-career-defining In Rainbows: many were hoping for a similar album yet The King of Limbs traversed new ground. Not that their eight album was a disappointment: it just felt a bit short of In Rainbow’s majesty and quality. There was a fear, if 2016 was to produce a Radiohead album, it would be a run-on from The King of Limbs.

As it was: the doubters and fearful could rest easy. A Moon Shaped Pool took the purest and finest elements of The King of Limbs – the orchestral sways and attention to detail; the sense of refinement and purity – but cast the net wider and expanded the sound. Aside from some ‘older’ Radiohead songs – True Love Waits finally made an album appearance – there was plenty of nervous energy, atmosphere and life. Ful Stop, Deck’s Dark and Identikit cannot easily be compared to the more regent and introspective string-laden tracks. Say what you want about the album, one that cracked my top five; making it to the second-placed spot, but its first single cannot be questioned. I remember the moment (in May) it dropped to the world. This year has seen too much bloodshed, division and separation – as I type this I am reading another horrifying piece of Aleppo and failing ceasefire – and musicians have been responding this. Burn the Witch is a song that looks at the negative, accusatory and hateful elements of society. Whether you see it as a caution against groupthink or a general pervading scepticism: lyrics like "abandon all reason/avoid all eye contact/do not react/shoot the messengers/burn the witch” are as powerful and haunting as any committee to tape this year. Against the news stories of mass immigration and prevailing wars: Burn the Witch is Radiohead at their most relevant and unsettling. Not since How to Disappear Completely (from the profound and life-affirming Kid A) have they managed to marry that overwhelming beauty and creepy undertones so naturally.

The song’s promotional video was directed by Chris Hopewell, who helmed their stop-motion film for There There, and employs a similar technique to achieve its results. Rather than a lone Thom Yokre tripping through a woodland filled with miniature animals and strange Sylvanian Family-esque figures: this one incorporated elements of the 1960s T.V. show, Trumpton Trilogy. In addition to homages to The Wicker Man; the video sees an inspector looking around a quaint (if unnerving and disturbing) community – where a local fair is unfolding; complete with dripping blood and strange, Pagan dancing. At the end, the representative is imprisoned in a giant Wicker Man figure. An evocative and unforgettable way of representing the song’s themes of right-wing activism and polemic political rhetoric. It is not just the visual accompaniments and build-up that makes the song such a triumph. The entire band is completely in-check and awe-inspiring. There is Jonny Greenwood’s string articulation and genius – a man who knows how to score an incredibly moody and exciting set of players. The orchestral flavours are bolstered by fantastic and atmospheric performance; a production that is clean, crisp and astonishing. Thom Yorke’s vocals, as is the case with the album as a whole, is the emotional centre and most remarkable asset. Never has he sounded as seductive, spectral and beguiling. There is no vocalist capable of producing such spine-tingling and evocative vocal deliveries. Burn the Witch is Yorke at his very peak. Whether elongating or syncopating he is completely engrossing and spectacular. If you put all of these considerations and commendations together you have a song that is worthy of A Moon Shaped Pool’s acclaim and solid reputation. Even if other critics have placed the song scandalously low down their list (of the year’s best songs) that is their issue. Those who know their music at least place the song in their top twenty choices of 2016. Burn the Witch provided 2016’s music one of its biggest shocks and most dramatic moments. Radiohead took down their social media pages and created whispers and hushes of fevered excitement. Few could have predicted anything like Burn the Witch and its myriad wonders. Even seven months after its release it continues to yield answers, insight and questions. Some might say it was long-overdue from the legendary band; others wanted more (of Burn the Witch) across A Moon Shaped Pool. To the neutral observer – and those unconcerned with petty criticisms – recognise Burn the Witch as a rare marvel...

THAT made 2016 just that little bit more special and strange.

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

_______________

Follow Radiohead:

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TRACK REVIEW: Lewis Fieldhouse - Naked Psycopathic Blues

TRACK REVIEW:

 

Lewis Fieldhouse

 

PHOTO CREDIT: Ray Roberts

 

Naked Psycopathic Blues

9.5/10

Naked Psycopathic Blues is available at:

https://soundcloud.com/lewisfieldhouse/naked-psycopathic-blues

GENRES: Americana; Alternative-Pop

ORIGIN:

London, U.K.

The album, Theodor Washington and the Central Valley, is available at:

https://fieldhouse.bandcamp.com/

RELEASED:

2^nd December, 2016

________________________

NOT too many reviews left for this calendar year...

PHOTO CREDIT: Ray Roberts

but there is always time for a fantastic solo artist. I have included, in these pages, quite a few throughout 2016 but none that sound quite like Lewis Fieldhouse. Before I come to him, and look at his music, it is prudent investigating the male solo artist and those who source inspiration from unusual places; a little bit about original vocals and music that hits various parts of the body. Quite an odd compendium of subjects but all fitting when thinking of Fieldhouse. I have been assessing and featuring my favourite albums from this year (mainstream) and what defines them. Among my top ten, there are few inclusions from male solo acts – James Blake is a rare exception – with the majority either being band-made or female-created. There has been, as I have stated before, a move away from bands and their dominance and towards solo artists – I feel the female artists have been getting (long overdue) dues. There is nothing to suggest this proliferation and focus will halt in 2017 – that is something quite heartening and pleasing. I am casting my mind around the mainstream works from this year and trying to think how many – those great, titan albums – derived from the boys. Kanye West and Frank Ocean perhaps; James Blake and David Bowie. Just looking at The Guardian’s run-down of their selected ten from 2016 and the opening gambits are mostly female-led. Apart from Kanye West (number four) there is Christine and the Queens, Rhianna; Anohni and Solange in their list. Bands are getting critical nods but there seems to be a surfeit of solo males creating extraordinary works. In the underground, there is hope to suggest that will change in future years. It is fascinating seeing trends change and various dynamics unfold. There was a time, not too many years ago, the boys were ruling the landscape – that is all changing now, thankfully. I am, with no small gratitude, pleased there are some great new male acts coming along. The new musicians I have witnessed this year possess more mobility, hunger and variegation than a lot of the best of the best. Lewis Fieldhouse is an artist who seems ready-made for the demands and challenges of the mainstream. Not your average turn-up-sing-some-pretty-songs-bugger-off artist: his music and words go beyond the average and elicit beautiful images. Before I carry on my point, and get to the music behind the man, it is apt we learn more about Lewis Fieldhouse:

PHOTO CREDIT: Juliette Carton Photography

“London-based Lewis Fieldhouse creates unapologetic alternative pop, with the raw touch of the American south-west. A story-teller at heart, Lewis has a lyrical eye for the absurd and sincere, offering up snippets of life coupling humour with honesty. His music evokes the lush sound of The Beach Boys and Father John Misty, with acoustic flair and undeniable hooks. In the past couple of years, Lewis’ work has caused a positive stir amongst music blogs like the The 405 and The Vinyl District, with It’s All Indie crowning him “one of the most exciting singer-songwriters in London at the moment.” Originally from the north of England, Lewis arrived on the London circuit in 2013, by way of a number of “life affirming” road-trips in the US. Lewis is a self-professed ‘geography and Tolkien enthusiast’, with an impressive collection of colourful shirts. He describes his vibrant musical style as almost a rebellion against the darker, more hostile indie sounds he grew up with. In 2013 his debut single, The Water’s Fine, featured on the soundtrack to Emily Diana Ruth’s independent film of the same title. Glasswerk describe his first EP, Born Human, Raised Human, as Fieldhouse’s own “contemporary brand of infectious, sun-soaked acoustic alt-pop”. His tracks have spurred the attention of DJ’s at BBC London Introducing, Amazing Radio, as well as BBC2’s Janice Long. In 2015 Spreading the Seed called his latest single, Not Done Loving You “an acoustic pop masterpiece”, as Lewis continues to hone his combination of immediate hooks and flourishing guitar. Lewis is currently gigging in London and across the UK while working on his debut album. His next single, Goodbye, a nostalgic ode to summer love, will be aptly timed, hitting the airwaves in August 2015”.

PHOTO CREDIT: Ray Roberts

With Fieldhouse, you have a musician that stands in the mind instantly. In addition his suitcases of colourful shirts and his impressive social media platforms – lots of cool images and information – it is his stories and songbooks that get inside the head. Normally, when it comes to a lot of male artists, there is a dependence on relationship dramas and personal conflicts – maybe some inner-investigations and emotional outpourings. Essentially, there is little in the way of plot, progression and originality. Fieldhouse has, which is evident in his latest album, been influenced by the U.S. and his travels on the road. Not only going there to find himself and try to find answers: his songs reflect some unusual characters, weird landscapes and chance conversations. It is a travelogue of peculiar and charming adventures: like M.C. Esher and Picasso melting work, minds and thoughts – something twisted, bizarre utterly engrossing.  It is hard to get to the core of Fieldhouse’s work – in terms of defection and genres – so it is best to be heard and experienced. In a way, he reminds me of John Grant: another artist whose big personality and unique songwriting stands out from everything else around. Whilst the Iceland-based American is taking time out to record a new album; Fieldhouse is presenting his – I shall come to that a bit later. Essentially, the London-based musician stands out by being himself. There is no pandering to the media and fitting into holes; no run-of-the-mill songs and radio-ready cuts. Because of that, critics and fans have been celebrating his work and tipping him as one of 2017’s great hopes. Whilst my favourite albums from this year have had some ‘predictable’ subjects at their heart – songs about heartache and struggle; unearthing personal torment – it is the performances and music that really gets to me. With Fieldhouse, you get an extra layer of intrigue. There is that incredible voice and luscious, interesting music: you get tales and lyrics that fizz with imagination and humour; cut with their honesty and rawness – so many contrasting emotions and ideas.

PHOTO CREDIT: James Byrne

Before I summon the discipline to cut to the quick, as it were, it is worth noting Lewis Fieldhouse for his colourful and full-bodied music. I alluded to artists who put little effort into their compositions and overall sound. It is becoming quite common in music and something that needs to be controlled. It is encouraging hearing artists like Fieldhouse adding verve, character and fascination into music: let’s hope others hear his lead and follow suit. What is so fascinating is the way (Fieldhouse) keeps things quite calm and controlled yet manages to evoke serious weight and atmosphere. Reviewers have compared Lewis Fieldhouse’s work with the likes of Father John Misty and The Beach Boys – that is no exaggeration and hyperbole. You get the lusciousness and harmonies of The Beach Boys with the sincerity and urgency of Father John Misty. There are elements (of other singers) in Fieldhouse’s music but, when you drill down, it is the man himself who stands out. I have heard a lot of artists this year who have each offered their own sound and ideas – there are few as striking and assured as Lewis Fieldhouse. Many new artists provide music that gets into the heart, body or mind – finding those who achieve that rare triumvirate is a long and arduous process. Fieldhouse is that lesser-heard musician who produces heartfelt, gorgeous vocals with compositions that provoke energy, movement and involvement. It is the candid and novelistic tales throughout Theodor Washington and the Central Valley that seduce the mind and imagination. I mentioned early – how many musicians concentrate on love strains – but Fieldhouse assesses and documents his travels and the people he meets; observations about society and what is happening in the world. Of course, there is a bit of heartbreak and romantic misadventure in there: by and large, songs are more imaginative and ambitious; mesmerising with their individuality rather than their relatable edge. Naked Psycopathic Blues, as one can guess from the title, is not your average ballad about a disreputable lover. It is part of a fascinating and colourful album whose adventurousness and strange sights are anchored by heart, humour and a human core.

Previous Lewis Fieldhouse compositions have shown strength and merit: his new material is the strongest and richest yet. The Water’s Fine was released a few years ago and contains a typical blend of soothing harmonies and rousing acoustics. It is a descriptive, involving and immediate song that draws you into events and captures immediately. Refugee, from the E.P., Born Human, Raised Human, is another beautiful and scintillating track that frames that amazing voice and luxuriant harmonies. If we wind forward a few years – and come to the debut album – one can hear that development and growth. The same components are there – in terms of the harmonies and compositions – but the subject matter is more intriguing and imaginative. On that same note, on Thedor’, one can detect new-found inspiration and energy. I have stated how many of the songs (on the album) do not directly address love but there are the odd moments. In fact, the turmoil and unpredictability are explored throughout the record employing various compositional shades and vocal nuances. I have found, when comparing the new and older work, the production is glossier and fuller; the confidence is hard to ignore whilst the singing is more emotive and heartfelt than ever. I can see another album arriving in a short space: it seems Fieldhouse is at his most inspired and vibing from his adventures and U.S. expeditions. Maybe current events, such as the U.S. election catastrophe, will compel new songs and lines. Whatever happens, it is encouraging hearing a songwriter in full flight.

Theodor Washington and the Central Valley was launched two weeks ago and as a result of a successful Kickstarter campaign. The fans’ faith in the material has meant a lot to Lewis Fieldhouse. Had the money not been raised, it would have been tragic to watch the album sit on the shelf – perhaps not seeing the light of day for a long while. It is perfectly timed because 2016 is coming to a close: a year that has seen so many unwanted events and timely deaths. The music is comforting and makes you forget your troubles; at the same time, it provides so many wonderful images and scenes. The listener is helpless but to engage in the physicality and directness of each song. Naked Psychopathic Blues’ title provokes instant interpretation. One envisages a crazy and bare-naked man raving and ranting; a derelict that is on the rampage perhaps. Whatever views and ideas you have ahead of time are evaporated and mutated after the first few notes. The opening seconds are as hard and grizzled as any on the album. If other songs stray towards Country, Alternative and Folk territory: here, we get a full-out balls-to-the-wall swagger. The percussion is tight and steel-fisted whilst the guitars wail, bite and groove their way into the spotlight. At once, you are elevated and motivated by the composition; physically moved and curious as to what is coming next. There seems to be some biography and personal relevance to the song’s lines. Noting how “We got married eighteen months ago today” seems to mirror Fieldhouse’s own life – having just celebrated eighteen months with his love. The song is certainly raw and direct. You feel, when the hero describes the rain dissipating against the weight of passion, that the carnality and spectacle of the coming-together is immune to gravity, compromise and reason. Maybe I am misreading but one feels that unity and recklessness: the desire to throw off the pressures of future and embrace the necessity of now.

PHOTO CREDIT: Juliette Carton Photography

Perhaps (the song) is less direct and more theoretical; maybe there is a fictional component coming to play. It is hard to misread lines that speak of doubting relatives and struggling-against-the-rock love. Many people, including parents of the sweethearts, felt the bond would not last. Perhaps the two are mismatched or have very different personalities – whether this was the case with Fieldhouse’s relationship – but there is a sadness and anger in the vocal. Maybe the sceptics are casting their aspersions at Fieldhouse/the hero. The girl is seen as a “trophy wife” and someone beyond conceivable reach of such a boy. Again, it is remiss to attribute the words directly to Fieldhouse but the parallels seem to fit. It is intriguing unpicking a song and getting right to the heart of the matter. It is galling hearing such negative words from the sweetheart’s parents. In a way, it has the ring of a classic love story. In classic novels, you hear of the down-trodden man or the social inequality of the lovers; the untraditional nature of love and how it flies in the face of social mores. In a rather nineteenth-century backdrop is the guise and blood of modern love. These two humans have fallen for one another but are facing the clucking tongues of those they seek acceptance from. As the story progresses, the title becomes somewhat oblique and byzantine. You do wonder what inspired that choice and whether it is the distillation of a genuine emotion – the embodiment of the anger and disgust felt by the hero. In spite of the strain and stresses felt by the hero: the vocals rise and the song starts to kick up a few gears.

PHOTO CREDIT: Juliette Carton Photography

Those lush and pleasing harmonies come in as the composition loosens and takes the song into its next phase. Fieldhouse changes from the man casting his mind back and recounting the story to someone with more bitterness and spite at heart. Maybe, and playing devil’s advocate again, there is fictionalisation and third-person narrative – maybe the song is looking at someone similar to him. The immature mate that is alcohol plays it roles and has infected the body of the hero. Hitting out at the girl and, deliberately it seems, causing wounds gives the song a sourness and sharp punch. It is contrary to the hopeful romanticism and struggles one hears in the previous verse. There is never attack from the hero but frank confession. Maybe having to battle so many oppressive voices has caused him to self-destruct and embrace a darker side. This virulent tonic that is released is causing scars and burns. As the song carries on, there is a line about making someone’s day – his wife’s/love’s mother it appears. Whether this relates to a moment of indiscretion and lust or walking in when they are at their most fraught and destructive – it seems like a told-you-so attitude would prevail. Fieldhouse gets more aggressive and charged as the words come out. Not his favourite woman it seems (the matriarchal figure is being put in her place) it seems like our hero is The Devil incarnated. There is a lot of tension and hatred in the house and it is fascinating finding out where true blame lies. True, the wagging finger from the mother is unjustified but it appears the hero is maybe acting out and engaging in futile rebellion. It seems this fight back is necessitated by an inflexible and judgmental tone from his girl’s parents. Now they are eighteen months down the line it seems like all the doubters can go to Hell. Naked Psycopathic Blues is the third song on Theodor Washington and the Central Valley and seems like a moment where Fieldhouse has to leave home and go somewhere less tense and unwelcoming. The fact he stands up for love and is so stubborn against the spitefulness is to be applauded. The entire song sticks its middle finger up and does not give a damn for idiocy. By the end, you know the lovers will get their way and be together no matter what anyone else says. Against the companion tracks of Theodor Washington and the Central Valley; Naked Psycopathic Blues is the standouts. It does look at love but in a way few other artists would dare. There are no tropes and lazy clichés: you get a mixture of emotions and a blend of classical heroism and modern poverty – in terms of emotions and depression. We know how things worked out for the pair: happily together and finding (albeit it not perfect) acceptance from in-laws and those around them. Looking back to a time where this passion was taboo is quite an eye-opening experience. Thankfully the entrenched sweethearts dug in their heels and followed their hearts.

He Hath Made You Rich is one of the standouts from the album and begins with gentility and soothe. The strings are soft and light; the vocal at its exquisite best. In many ways, the track reminds me of U.S. Soul legends and harmony groups like Boyz II Men. The Boyz’ were renowned for their extraordinary, velvet tones and heart-stopping beauty. I can hear a little of that in the song: the vocal is so chocolate-like and sweet; it has a calm and reflective nature but is direct and hard. Perhaps looking at a lover or someone gone: one senses the hero is pauper-like and willing to try again; regretting past decisions and looking on from the window. Perhaps events have transpired that makes love impossible and unrealistic. Whatever the origins, it is a song that glistens and glides; it grabs the heart and gets into the mind instantly. Live So Fast, Kiss So Slow is on the “wrong side of the tracks” and “drinking ginger and rum”. The hero is taken home by the girl and, right from the off, you get images of U.S. roads and lights ahead. Some of the album’s smartest lyrics (the girl taking advantage of the hero’s XY chromosome is beautifully executed) are here as are some of the most spirited guitar lines. The song has an infectious bounce and itinerant jog. One is infused and lifted by the energy and panache of the song. Showing what contrast and range there is on the album: Fieldhouse unleashes one of his most vivid and fascinating songs. You follow the tale and the imbalance of unrequited love. It is less about the ill nature and poor fate of events; more concerning the details and landscapes; the humour and buzz that is audible throughout. Fieldhouse sounds at his most alive and adventurous here. The entire album emanated from a (rather less-than-happy) trip to the U.S. Fieldhouse had intended to discover himself and drink in the scenes and sights of America. Rocked by personal tragedy in the U.K. and strain in the U.S. – the album’s themes and emotions reflect this upheaval.

PHOTO CREDIT: James Byrne

Great White Hope seems to be an assessment of the struggle and tangle of home and America: that need to get straight and find feet once more. It is “too late for me” as the hero says; not too late for the song’s heroine. That need to get a job and evade the pollution (both social and vehicular) of the city. It is another buoyant and mobile song that mixes elements of Country and Alternative into another album standout. Megan, Are You Goin’ My Way? is our hero heading for San Francisco and looking to cadge a ride it seems. The girl might be going that way but is a bit more reluctant. The lead wants to get away from the urban sprawl and concrete anxieties. He is looking to the horizons and using supplication on the heroine – asking if she will come with him. Here you get a portmanteau and proprietary blend of cherry red and sharp white – a heady wine that swims in the senses and elicits a relaxing kiss but makes you think. In a way, the album is a concept piece that follows a story arc. Megan, Are You Goin’ My Way? was the lead-off – our boy heading for a new place and wondering what is ahead. Istanbul is that travel back home. Appropriately, the song is another restrained and delicate number that perfectly ends things. Maybe Istanbul would have been a nice destination: somewhere away from where he is and a lot more agreeable than where he is now - perhaps a nice dream but not to be. There is wistfulness and sense of pining that comes out in the song. Fieldhouse has a love in mind and carries her with him (whether physically or emotionally). That raw and unquenchable desire keeps protruding and niggling at the hero. Looking back at regrets and indiscretion: this is the chance to make things right and redress the balance of things. The erudition that is displayed in each of the ten tracks is as a result of a life-changing and eye-opening trip. That time in the U.S. was not as wasted and fraught as one would imagine. Fieldhouse met some odd characters and great barroom tales; wide roads and quixotic nature – the contrasts and complexities of the country. In essence, realisation and clarity were obtained. Theodor Washington and the Central Valley is a wonderful and vast album that takes you on the plane and down the road. You are an uncredited companion of Fieldhouse and looking through his eyes. Songs switch from emotional and vulnerable to rousing and intense. Fieldhouse’s voice is consistently sharp, divine and varied throughout. Able to make every line and verse sound essential and compelling: there are not many artists that achieve that.

PHOTO CREDIT: Juliette Carton Photography

There is not much too much time left to make a big impression on the yet Lewis Fieldhouse might have done that with his debut album. So full of treasure, life and appeal: it takes a long time for every song to truly unveil its beauty, truths and full potential. I admire a lyricist who can provide something interesting and thought-provoking. I will not exsanguinate the body of the argument – with regards lyrics and making them stand out – but this year’s finest albums/creations are defined by relevant/strong words. I have argued against those albums most critics select as their 2016 favourite – although their long-list is pretty spot on. Such a busy and quality-strewn year for music that has seen some of this decade’s best albums produced. I am sure 2017 will keep the momentum strong and inspire those musicians coming through at the minute. That is the dynamic we need to see fostered and funded: mainstream’s best providing impetus and energy to the newcomers. The most exciting thing about music is seeing great new artists make strides: start climbing their way to the giddy heights of mainstream’s apex. I predict Lewis Fieldhouse will get there as he is one of the most curious and interesting musicians around. Not just one of London’s finest: music that has spread across the country and will cross to other continents very soon. It is not often artists experiment with Americana, Folk and Alternative ideas – fewer still who pull it off with aplomb. I am interested to see where Fieldhouse goes in 2017. There is going to be more music (naturally) but what form that takes is down to him. It would be good seeing an E.P. down the line: a nice between-the-albums release that follows from Theodor Washington and the Central Valley and provides the same sorts of tales, tease and tribulations. It is hard, with all the best artists, to really distill Fieldhouse’s essence and describe such an album (as Theodor Washington and the Central Valley). Exciting times ahead for the London-based artist. Capping off a busy and vital musical year; Fieldhouse can relax (a little) over the next couple of weeks before deciding what his next move is. The days are ticking down and we are looking ahead to the musicians who will be doing good things next year. I have heard a lot of really great artists who have the mannerisms, ability and sight to reach the upper echelons and mingle alongside this year’s very finest. I have heard so many average acts come along and there are precious few that pull you in and overwhelm the senses. Lewis Fieldhouse is one such artist; someone who has a lot more left to say. He may be one of the standouts from the capital’s musicians. When it comes to musicians that provide a unique blend of travelogue-cum-characterful lyrics, gorgeous vocals and detailed compositions…

LET’S hope he isn’t the last!

https://play.spotify.com/track/2utNLDsPCktduEK4Bn9DXq

_____________________

Follow Lewis Fieldhouse

 

PHOTO CREDIT: Ray Roberts

Official:

http://www.lewisfieldhouse.com/

Facebook:

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

Twitter:

https://twitter.com/lewisfieldhouse

Instagram:

https://www.instagram.com/lewisfieldhouse/

SoundCloud:

https://soundcloud.com/lewisfieldhouse

YouTube:

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

FEATURE: Album of the Year: Billie Marten – Writing of Blues and Yellows

FEATURE:

 

Album of the Year:

  

Billie Marten – Writing of Blues and Yellows

___________________

THOSE keenly observing might have noticed one name appearing on my blog…

PHOTO CREDIT: Harvey Pearson

the last few months. I am not sure what the plans of Billie Marten are in 2017 but one suspects it will be a combination of studies – she still has to balance academia and music – and working on new material. I know Marten has just stepped into the studio with Scott Quinn (not sure what the result will be: likely to be magic and marvellous) but one suspects there will be E.P./album/possible songs arriving. Billie Marten is an artist that does not have recording deadlines and demands from record labels – like U.S. giants being pressured by the bosses to get an album out by a certain date.

She is a seventeen-year-old comfortable being by herself and writing when the mood strikes her - creating music when the time is right and it is not being forced.

It is, because of that, I was so awed by her debut cut: the hugely nuanced and beautiful Writing of Blues and Yellows. It might seem like a subjective choice – going against the popular opinion of tastemakers and poll-conducting sites – but there are good reasons for it. When I reviewed the album for The Metropolist (http://www.themetropolist.com/music/album-reviews/album-review-billie-marten-writing-blues-yellows/) I was not only one of the first allowed access to the album – I was struck by someone who was compared to many but sounds like nobody else. The invariable Laura Marling comparisons came in, I have been putting names like Kate Bush, Eva Cassidy and Nick Cave in the same sentence, but the Ripon girl is very much her own singer. Most critics, when it comes to their favourite album, have been seduced by Beyoncé’s Lemonade; some go for Solange – everyone from David Bowie, Frank Ocean and Chance the Rapper topping other end-of-year lists. I agree Beyoncé’s career-defining album is a superb work – few can refute the dominating performances, immense passion and sense of command from the U.S. legend. It is, in my view, a top-ten worthy inclusion but not my number one pick. The fact NONE (maybe some will come through) of the polls I have seen included Writing of Blues and Yellows in their list is a bit of a shock.

https://play.spotify.com/track/3IqSUhhlnTjWfbahlMxvKP

Marten may be young (and at the debut album stage) but inferior albums have been making it into top ten/fifty lists. For me, it is the consistency and nuance that really grabs me. I know ‘nuance’ seems to be my buzz word but I do not speak that word lightly or without knowledge. There are few albums that are as revealing and gets-better-each-time-you-hear-it as Writing of Blues and Yellows. When I reviewed it (for The Metropolist) I, rather stupidly, considered Emily a track that sounds too much like others – perhaps it could have sat a bit further down the album. It was only a few weeks later its true power, beauty and potential were unveiled. That song was pipped by Radiohead’s Burn the Witch in terms of my favourite songs from 2016: other tracks from Marten’s album could make their way into the same list (Green, Teeth and Untitled among them). Emily is a song that continues to amaze: not just because of the potent and majestic vocal performance but the mature and rich songwriting. One of the few tracks on the album without any other writing contribution: it is Marten at her most singular, focused and ambitious. Building, layering electric guitars; swelling, heart-aching strings and ghostly, lost-in-the-wind vocal interjections made it but eerie and spellbinding.

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

It is not just Emily that captured my heart but quite a few – pretty much all – tracks on the album. Heavy Weather remains my standout because of its unbeatable chorus and stunning imagery; La Lune is a song unlike any other: Green one of the more spright and energised performances on the record – even if its lyrics project anxiety and self-doubt. It’s  a Fine Day – one reviewer was foolish enough to label it pointless and expendable – shows how gripping Marten is when reducing technology to its bare bones – recorded on an app. one day as her dad mowed the lawn. Teeth is an honest and gut-wrenching testament from a young woman who lies through her teeth in order to keep the façade strong: she is suffering inside but does not want to let the world know.

I have stated Marten is beyond easy comparisons but naming her among her idols, even at these early junctions, is not rash.

Teeth, Untitled and Bird have various shades of Nick Drake – a combination of Bryter Layter and Pink Moon sounds – whereas Emily is a Marling-esque gem; Kate Bush and Joni Mitchell’s spirit can be detected in some of the vocal deliveries – bits of John Martyn in the finger-picking and authoritative acoustic stylings.

https://play.spotify.com/track/6li7eXyxXMOlXjc4ckoc1f

I have a lot of respect for other sites/magazine and the determinations they have made. I am not suggesting they should have Marten’s debut at the top of their lists: it is worthy of a place in their favourite twenty at the very least – in the top fifty, one would think?! Maybe Writing of Blues and Yellows is an album that will take a few more months before its true class and powers are realised; perhaps there is a leaning towards certain genres/types of music. Given the political unrest and mortality turbulence of this year – the passing of some music icons and racially-motivated, disturbing political decisions of ‘the people’ – musicians that tackle these concerns and provide escape are being celebrated. Marten’s future, as I started out by saying, is very much ahead of her – in the sense the best days are going to come in the next couple of years. Not to bring Laura Marling back into play but look at her trajectory: with each album new confidence and quality; a musician that grows stronger with each release and is one of the finest songwriters on the planet. If Marten keeps her passion and focus strong she could not only be producing a lot more albums but gain the same acclaim and reputation as a certain L.M.

As it stands, Writing of Blues and Yellows is not just an original, accomplished and gorgeous album from a bright and lovable songwriter: it emanates from someone unfazed and unaffected by the trappings of success; someone pure, honest and down-to-Earth.

One imagines Billie Marten ensconced in a quiet nook: pen in hand and mind adrift; conspiring and imagining the next song; lost in her own world and prisoner to the tease of thought and language.

[youtube https://www.youtube.com/watch?v=_oD9hGnZqgw&w=560&h=315]

All this is evident on her debut album and is the fuel that will continue to burn strong and hard into 2017. After releasing a cover of White Christmas (available across Spotify and SoundCloud) she will be enjoying Christmas and taking some time to recharge and relax. When 2017 kicks into view, one imagines she will be looking ahead. Whether that is gigs in France and a new E.P.; studying and a few new songs or a fully-fledged campaign to get a sophomore album out I am not sure. Whatever it is will be exciting and wonderful. Many argue an album like Lemonade or The Life of Pablo (Kanye West) addresses modern desires and provides relief, release and guidance. I argue, conversely and at the other end of the emotional spectrum, an album such as Writing of Blues and Yellows should receive equal acclaim, demand and attention. It is gentle, tender and thought-provoking; comforting, brave and soul-nourishing. Even if it did not crack your list of best albums this year: at the very least it should be afforded a chance to shine and reveal…

PHOTO CREDIT: Harvey Pearson

ALL of its wonderful beauty and power.

_______________________

Follow Billie Marten:

PHOTO CREDIT: Danny Payne

http://www.billiemarten.com/

Writing of Blues and Yellows can be purchased here:

https://itunes.apple.com/gb/album/writing-of-blues-and-yellows/id1133221077

TRACK REVIEW: Yearbook - Faster, But Slow

TRACK REVIEW:

 

Yearbook

 

 

Faster, But Slow

9.6/10

Faster, But Slow is available at:

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

RELEASED: 1^st December, 2016

GENRES: Alternative-Rock

ORIGIN:

Hampshire, U.K.

The album, I Stop Somewhere Waiting for You, can be purchased here:

https://musicglue.com/yearbook/

RELEASED:

2nd December, 2016

________________________

THIS is a review tinged with a bittersweet taste…

Not only is this, I Stop Somewhere Waiting for You, the first album from Yearbook – it will, effectively, be the last – as the band are looking to part. Before I get to the band and focus on one of the songs from the album, I wanted to look at bands and those that have made an impact this last year; the nature of the music industry in general and the importance of differentiating yourself from the crowd. Thinking about the Hampshire formed/based group has got me wondering about all the great new acts I have heard this year. As I have stated in (many) previous reviews: it seems this year has been dominated by solo artists and their albums. I defy you to open up a list of the ‘Best Albums of 2016’ and count how many band-created records are on there. I am willing to wager the majority of inclusions will be from solo artists. That is not to say bands are obsolete: it seems there is a leaning towards solo acts and what they are producing. Perhaps not surprising given the way music is developing. There seem to be more solo artists emerging and it is only natural they should be represented. Whereas your lone act has to shoulder the duties of myself by themselves; the band has a few members to share responsibilities. That said, the reasons why solo artists stop making music is often different to that of a band – I will touch on that more in a minute. I have loved reviewing all sorts of artists from the last twelve months and have been pleased by the great bands coming through. Even if poll-makers are preferring the sounds of the solo market, there are those fully engaged with the hottest and more resonating bands in the land. After all, the major festivals in this country rely on bands to headline their stages – that is the main reason people go to them. If the ‘mainstream’ festivals like Reading and Leeds have, rather predictably/boringly, chosen Muse to be their first headliners for 2017 – almost as obvious and uninspired as asking Foo Fighters to do it – then the lesser-known stages are going to be hosting some of our most promising young bands.

I mention this topic, not as an aside, but a relevant point pertaining to the Yearbook boys. Andrew Ian Halloway, Hamish Dickinson; Thomas Brooker and Louis Martin are the noble foursome that provides Yearbook its memories, colour and immense passion. I hope, were their current album to be the last recorded material as a group, they would at least consider a farewell festival. I know, as I will explain in the conclusion, a couple of dates set aside – it would be a tragedy to think they’d miss out on one or two summer dates next year. The boys have been playing together for a while now and in that time have cemented themselves as one of the most striking and immediate bands in the country. I have reviewed a lot of bands this year – few stick in the mind quite like the quartet. Being a fan of their Old Bones E.P. – which felt like digging up the past and surveying past memories – then their album is a documentation of the here and now. It is the freshest, most complete and stunning work produced: hard to think such a body of work could originate from a group on the verge of dissolution. Whilst it is sad to reflect on their premature departure; it provides one a moment to look at music and the challenges faced. It is true, modern music is defined by huge demands and a rather Herculean set of obstacles – tasks and practicalities one must navigate and conquer in order to succeed. I have seen too many great bands call time the last couple of years and it always creates the same impression: why is more not done to provide support to musicians? This is a question I posed in my last review and seems to hold firm in my consciousness. I have not quizzed the boys about the reason for their break-up but it seems to be, from a rather far-off vantage point, a mutual decision – free from acrimony and spite. In fact, the boys have just (if they’re not still there now), completed a tour of Europe and had a bit of a ball – including a rather misjudged/conversation-provoking status updated posted on Brooker’s Facebook page but a “funny” – read: I’m going to kick his arse – bandmate a few days ago. There is revelry and brotherhood in the ranks so it seems – and I will have to ask why they are calling time – there are other reasons why Yearbook are moving onto pastures new separately. Their band name reminds me of leaving school and having to go in different directions minus the friends formed and cherished at school – that fear and unhappiness that comes with facing a rather adult truth. Perhaps there is an issue with finance and demand; maybe the boys have different creative ideas or some members are less enamoured of the band life than they once were. I would not be labouring the point so fervently was I not so awed by the boys’ music and potential. When Old Bones arrived, I was certain the group would ascend to the peak of the new music mountain: future festival kings and those likely to be dropping into the studios of ‘6 Music to play a session for Steve Lamacq or Lauren Laverne. Alas, that is not to be, so it provokes a question in my mind: why are so many talented bands splitting up? Maybe there are ‘too many’ musicians coming through which can make it hard to A) get necessary gigs and regular spots and B) stand aside and persist. Yearbook has cemented a furious local following and a deep well of fans across Europe; they would have had the potential to transcend to the U.S. and take their music global. I just feel, in relation to them, there was so much they could have done and territory they could have carved. Today, and with the groundswell of new bodies emerging, it is harder to balance the realities of workaday life with the ambitions of being a musician. Venues are closing – and those well-established finding their foundations cracking – so it is with turbulence and uncertainty musicians are playing these days. Of course, this might be rendered moot were the explanation (behind the band’s end) to be something simple or unavoidable.

Whilst we mourn and debate the domesticity reality and capricious fate of modern music, we should never ignore the band in question and how they got to where they are now. So many bands are beholden to the legacy and sound of some rather obvious sources – Foo Fighters and Arctic Monkeys still the appetiser of choice for many young upstarts. Seeing how certain bands have climbed onto the festival circuit the natural instinct, of many bands, is to copy their sound in the hope of reciprocal attention. I have grown weary of the rather middling and spineless Indie bands whose subject book is filled with heartbroken clichés and clever-clever attempts at Turner-esque witticism. You know the kinds I am referring to: the clean-shaven lads with faux-attitude and the same sort of lines, impressions and snarl as Turner; guitars, bass and drum that are dedicated but hardly stand aside from the pack. Again, there are many that want to copycat the hirsute and chunky riffs of Dave Grohl’s gang: throwing together a collection of sub-Foo’ sounds with little imagination provided to originality and legitimacy. Those acts that have the intelligence, fortitude and ability to stamp out something unique and special should not be ignored. I feel too many of the former – the forgers and lazy – and being presented golden tickets and unwarranted airplay whereas the brave and strong are fighting too hard and becoming fatigued; tired having to get their voices heard above the parapet of the beige and average. Yearbook have a bit of Alternative and Rock but they incorporate so many different sounds and sub-genres into their psychotropic potions. The lads can muster up a Molotov cocktail of gnarly strings and bellicose beats; soul-infusing basslines and the sort of commanding vocals reserved for the most-celebrated bands around. Chuck in lyrics that rarely succumb to predictability, and are imbued with humour, savviness and literary intellect, and here is a band with all the components needed to triumph in the warfare of music. Alas, my protestations and supplications seem bereft of hope as Yearbook will be closing the doors and going their individual ways in a matter of weeks. It is sad to see such a strong and fine band separate but these things do happen. Against the 2016-appropriate sadness and tragedy we must not dwell on the negativities but celebrate the positives and goodness the band have left us. In terms of progeny: there are few finer than their L.P., I Stop Somewhere Waiting for You. The title alone beckons all sort of imaginative interpretations and speculation. The music, as I will explore in more depth, is as ripe, stunning and nuanced as you’d expect from the band. If this is, as it seems to be, their final statement: it is one hell of a legacy to leave.

Old Bones was rife with great tunes and promising moments but I feel the band have upped their game and created their finest work in I Stop Somewhere Waiting for You. I am sure they will admit the album is important and their best work yet. Old Bones is an amazing work and hard to believe it emanated from a band so young. In each song you hear so much detail and exceptional musicianship. More creative and inspired than their peers: this is emphasised through their debut album. In the eleven songs, the guys run through a variety of themes and concerns: each song sees them up the ante and turn the volume up. The band is not just noise-makers only concerned with force and aggression. They are a group who provide texture, beauty and refinement – counterbalancing the more assiduous fire and ensuring their songs are rife with nuance. That is something a lot of bands lack: the ingredient and kick that keeps the listener coming back for more; discovering each song in a new light and talking something new away. If I Stop Somewhere Waiting for You is to be the final thing we hear from the band then it is amazing finale. Let’s hope, somewhere down the line, they reunite and produce an E.P. at least. As they have shown, they grow stronger and more determined with each new release. It makes their album, not only an essential purchase, but a work that fully represents and defines what they are as an act.

Faster, But Slow is another catchy and intriguing title that warrants fond investigation. There are contradictions and quasi-philosophical impressions laid in the opening seconds of the song. It is a rather far-off and echoed introduction that sees the lead down in the mix and singing from a distant realm. Representing that feeling of confusion and dislocation: one imagines a confined vocal booth with very little space and light; such is the nature of the vocal performance. In terms of lyrics, we hear about life and death; defeat and success. The hero is, conversely, omnipresent and extinguished – almost like Schrödinger's cat – and provokes some rather vivid interpretations. It seems like something has caused this rather defeatist and somber mood. True, there is no overt cynicism and anger at the start: more a series of ponderings and oblique statements. Whether a romantic ruction has caused this or just a look at life around him: the listener is left wondering the genesis of the song. The band keeps the composition rather clean and causal as they score their companion in his quest. Mortality and ageing are subjects that have been addressed in previous Yearbook work – Old Bones’ archeological nominal provokes images of fossils and growing old – but here you get the most arresting assessment of the subject. The hero is growing old and his face can be seen in everyone around – also growing old and starting to slow down. It seems odd a bunch of twenty/thirty-something musicians should tease such a subject. Such thoughts are usually reserved for more ‘mature’ musicians of a different generation. I guess it is just the weight and imbalance of life that does mandate one thinks like that. Whereas other tracks across the album go in fast and burst from the lines: here, there is slow-burning smoke and a moodiness that is hard to shake. It is foggy and open; echoed and strange – all the components that sow seeds of curiosity and get the imagination and body prepared. Being a Yearbook song, there was never a doubt a volume shift would occur somewhere down the line. As it stands, that does not arrive until relatively late. In the opening moments, you get invested in the lyrics and the rather downbeat sound of the hero. One can interpret the song as an insight into the band’s mentality.

Some of the words can be attributed to their situation and what their mindset was like when recording. We often get carried away with interpretations of a song – look at issues of mortality when an artist has just died – and that can cloud the truth and individual feelings. It is interesting to note but you can apply some of Faster, But Slow’s revelations to the cracking façade of Yearbook. Whilst gilded and bonded in blood: the band knew they were going to come to an end and that must have weighed heavy. In other realms, one hears a young man growing older and seeing a world not as rosy-cheeked and innocent as it used to be. Given the growing threats and uncertainties around the globe; how many of us are as secure and safe as we once were? Maybe this is the truth of the matter but that is the beauty of the song: nothing is that obvious so one can scurry down all manner of different-sized rabbit holes looking for Wonderland. The band themselves have that knowledge but the listener is free to interpret. Just as you get comfortable in your thoughts and await the next verse: the band unleashes a Tyrannosaurus Rex – or Pachycephalosaurus maybe – that is stalking through the undergrowth and baying for a tiny little entrée. There is echo and reverb; there is an eerie silence and snarling guitars aplenty. You wonder what is coming next although you kind of realise the seduction and foreplay is done with. It is unprecedented just how exploding and bridled the revelation is. The staccato stabs and guttural bellows are greeted with multi-limbed percussion and insane bass work. The band step up to the plate and create a Mosher Symphony: a perfect soundtrack for those on-edge pit-dwellers to get their bodies flailing and their beer flying. I can imagine, when this is played live, there are some head nods and refinement from the crowds up until this point: that changes to an insatiable and floor-pounding stampede when those first guitar notes strike. By the end – providing you have not moshed across the room and lost yourself completely – there is more feedback at the end. The song has completed and the band are letting the instruments echo and buzz; giving just a little bit of reality and live presence to their songs. Whether, when/if this song is played in Brighton, instruments will be intact at the very end is hard to say. It is a song that provokes guitar-smashing defiance and like-minded rebellion from the capacity crowds. Faster, But Slow does what it says on the proverbial and delivers a jaw-smacking, body-juddering burst of heat and alcohol. It is drenched to the skin in flammable liquid before willingly lighting the match and racing around like a mobile barbeque. The hibachi-like nature of the song means it might take a few minutes before you embark on another listen. Anything thinking such a direct song lacks nuance will be sorely disappointed. It is a song of two halves and one that very much appeals to the senses as it does to the body. A perfect lead-off single from the album and perfect opener for I Stop Somewhere Waiting for You. The boys carpet-bomb the landscape and ensure every dwelling and citizen is immolated and crisp. You are helpless to resist the sheer force and pummel of the outpouring. The band show how tight and together they are. No performer misses a beat and you get a blitzkrieg of emotion and physicality. Faster, But Slow is, on reflection, just as advertised. Less a title for huge interpretation it is a spoiler and dynamic description. It starts slow and shows maturity and depth before downing some shots and deciding to destroy every stool and awning in the joint!

Before I wrap up – revisiting the points I made at the top of the review – it is prudent mentioning the merits of I Stop Somewhere Waiting for You. The Unreasonable Man, with its hero “washed away by the rain”, is a start-stop, quiet-loud beast that takes you by surprise and delivers a granite punch to the gut. It is one of the most rapturous and rollercoaster-like songs in the band’s cannon and instilled with gunpowder, blood and focus. I can hear the sweat flying from the walls and the unbreakable intuition and bond the boys share. It goes into a song, and the entire album, with effusiveness and undeniable authority. A majestic and festival-ready song that boasts one of the strongest vocals on the set – sad the song might not get an airing at a large venue. That said, the guys have played in Europe and I hope the track has been getting an airing out there. “That is not enough for me” is a niggling mantra running rampant through Holy Trinity. It is here you get more experimentation from the guys: the percussion and guitars seem more alive and rebellious; there are effects and fantastic little moments abound; a strong core and huge chorus that demands crowd unity and endless singalongs. A fiery and cracking mandate from a group completely in the groove – another album highlight that will see you replaying the song time again. All Dead provides, at first, more melodic and tranquil reflection. There is almost a contemplative element to the opening – and a rare appearance of female backing vocals – that marries beauty, tenderness and confusion in a strange and wonderful ménage à trois. Before long you get that rapture and primal scream from the lead; on the Yearbook Rorschach Test you wonder what has caused such furious discontent. There are loneliness and disconnections; a feeling of injustice and fear – deciphering and unpicking its origins is a fascinating task. One gets covered by a tidal wave of sound and irascible anger; a band that step up to the plate and provide their lead plenty of thunder, avalanche and electricity.

Only Love is one of the most real and conversational songs on the album. Stepping outside (“for the first time”) there is some confusion and questions being posed. Finding out what the hell is going on and what this is about: the hero implores with the girl not to listen to him; there seems to be some romantic disenfranchisement and strain. It is almost like a gritty and real episode of Made in Chelsea – minus the setup emotions and needlessly beautiful cinematography. The Yearbook boys can present relationship dilemmas and fraught emotions and concentrate it in a song that appeals for a number of reasons. Whilst it is another commanding and domineering band performance; the guitars stand out here. At once sterling, driving and gliding: they turn into bouncing, swaggering animals that register high on the fuc*-yeah-o-meter. This, like a couple of other tracks, seems destined for wider airing and one, I hope, will get a showing at their gig at Brighton’s Green Door Store. Wild Machine puts the focus on percussion and is almost Electronic/Electro.-Pop at times – reminding me of ‘80s Synth.-Pop and acts like New Order. The guys keep the electronic histrionics in the locker whilst the percussion and keys. As the foreground builds – and recriminations and self-doubt come in – that parabond of synths./keys and percussive hiss grows larger and more scintillating. Whilst Wild Machine seems dystopian and Lynchian in its manner and composition; the song has redemption and hopes against the tide. “Holding on” against the machine is the takeaway vibe: that central message that is the heartbeat inside the mechanism. That mechanical embodiment is represented by clanging pots and off-key metal; tender notes and all manner of surprises. The half-time substitution is a riot of hurricane guitars and percussion – rampant with impunity, indiscretion and engrossing ferocity. Props must be paid to the band who subvert expectations and deliver an amp-busting orgy that catches the breath and overwhelms the senses.

The Great Destroyer was never going to be a Keane-esque piano ballad. As it is, it’s a divine swansong from Yearbook. Starting strong, but never too hot and intense, the track starts to build and show signs of impending cacophony. A brief interlude of Funk – bit of slap bass on the side, perhaps – has a Red Hot Chili Peppers vibe; that evolves into a stringently austere and imperious delivery that blows away any romance and clouds – a stunning and angered vocal that gets into the mind. Not only does the song bounce around the brain (like an ill-mannered and impudent child) it staples itself to the testicles. I am not sure what the lads have in mind for their final set list – I can see The Great Destroyer being a set-closing grandstand; one that will get the moshing crowds, even more spirited and unified. It is a song that switches between harmony – some delicious multi-part harmonies – and utter chaos. It is a nose-bleeding fighter that screams (literally) its name and demands respect. A wonderful and epic way to end the album.  I Stop Somewhere Waiting for You is a spectacular, surprising and complete album from a band that sound at their very peak. Maybe, knowing the end was nigh, they threw it all into the blender but one suspects the decision to split arrived during recording – maybe I am wrong. You would not be able to tell here was a band considering ending their partnership. The songs are so urgent, together and focused: like a band who had been performing for years and had more ahead of them. I have selected a few to review but the truth is there are eleven gems to be discovered. No players steal the limelight; no player is anything less than incredible and indispensable. At times, the guitars and bass seem peerless whereas the vocals are always dramatic, full-bodied and utterly commanding. Percussion is the heartbeat and backbone that drives the song and gives the album is guts and raw edge. The songwriting is stronger than Old Bones and a step up from their E.P. Here, there is less reflection and more direction; much more confidence and range from a band that could never be accused of being average and sound-alike. They started off on very solid foundations but have built a veritable People’s Palace here. Unlike the Romanian one; the British bands have crafted something imperialistic but socialist – oh f*ck it, I’ll dispense with imagery and metaphor. The album is immense and amazing and a record that ends 2016 with a huge high. Totemic and beautiful at times; carnivorous and violent the next – how many albums can boast these sort of dichotomies and emotions?

The band plays Brighton’s Green Door Store on 22^nd. It will be a pre-Christmas present that is unwelcomed as a pair of grey socks. Nobody wants to consider the band splitting up but in a way it is the perfect venue to end things – for now at least. You can never truly close the door on music, and as many legendary acts have shown, the lure of demand is too heady at times. Whether Yearbook does a Libertines/Stone Roses act and re-ignite the spark years down the line; it will be fascinating to see where the members head in the meantime. I Stop Somewhere Waiting for You is a perfect goodbye and album that shows just what music will be missing – a veritable vacuum that others will struggle to fill. The Yearbook story has been one of anger and stress at times; happiness and unbridled liberation with some rather unforgettable memories put it. They have a scrapbook they can proudly look back on and have, whether they realise it or not, inspired other bands to follow in their wake. There are few bands as original, emphatic and popular as Yearbook so I can predict a few like-minded souls entering music in the next year or so. 2016 has been a pretty crap one for a lot of reasons: Yearbook announcing their split//hiatus can be added to the list. It is like Death has got bored this year and decided he is a bit cheery: discriminately picking off the finest out there; ensuring there is unhappiness all around. Let’s not end things with a tragic reflection on a band’s end but celebrate a marvellous album that ranks alongside my favourite of this year. Faster, But Slow is the highlight (in my view) but there are many more (songs) like it across the album. Bands have been getting rather muted acclaim this year but I feel that will change in 2017. Few real and genuine groups have emerged which might be part of the problem. The likes of Yearbook show there is spirit, invention and promise in the market and that is a good thing. Yearbook is composed of multi-talented musicians so I am sure each member will find success in other groups – or go solo should they fancy that life. Being based in Hampshire/Surrey/East Sussex; they are in the middle of creative hubs that will provide chances for them to perform and grow. I cannot wait to see where they each head in 2017. In fact, I am sure the guys will perform again, but for now, this is them and this has been I Stop Somewhere Waiting for You. It is a jam-packed stocking of treats that will not only delight their existing fan-base but entice and allure new followers to their ranks. If you can make the Green Door Store gig, then you will be in for a treat I am sure. It will be emotion, no doubt, but with such fine and enduring songs in their arsenal, it is also going to be…

A night where incredible memories will be made.

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

_____________________

Follow Yearbook

 

Official:

http://www.yearbook.band/

Facebook:

https://www.facebook.com/yearbookofficial/

Twitter:

https://twitter.com/yearbookband

SoundCloud:

https://soundcloud.com/yearbook-1

YouTube:

https://www.youtube.com/channel/UCOYb5j_VIBCgMh9ggJYBfng

FEATURE: The December Playlist: 'The Best and the Rest'

FEATURE:

 

The December Playlist: 'The Best and the Rest'

__________________

I have resisted the temptation to launch into...

a full-blown Christmas selection. True, there are a couple of Christmas covers in the list but the idea was to lay out the new tracks – either from new albums or standalone – and the best songs of 2016. I have unified the songs that, for me, were the best from this year; those that have had a particularly profound effect. I am looking ahead to next year but there is still plenty of opportunities for great music to arrive. It is hard to say what the next couple of weeks hold but there are sure to be some fantastic tracks. Keep your eyes peeled and be aware of that. For now, it is time to look at the best songs from this week and those that have defined this year in music.

________________

 

Katie Melua – Oh Holy Night

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

Billie Marten – White Christmas

https://play.spotify.com/track/6E6OI395lJ3uQnz9w8bqTD

Reggie N Bollie – Link Up

[youtube https://www.youtube.com/watch?v=DjC0xeZDlZ8&w=560&h=315]

Circa Waves – Wake Up

[youtube https://www.youtube.com/watch?v=Wk6ALqQLits&w=560&h=315]

Dec 99^th – Tall Sleeves

[youtube https://www.youtube.com/watch?v=n-eUUYASs0Y&w=560&h=315]

Toothless – Sisyphus

[youtube https://www.youtube.com/watch?v=Z8b2mekAWWI&w=560&h=315]

Hodgy – Barbell

[youtube https://www.youtube.com/watch?v=TZb2Gw01tp4&w=560&h=315]

Crystal Fairy – Chiseler

https://play.spotify.com/track/4Kditv9rPRZmbWfJxDmzAO

Tom Odell – Silhouette

[youtube https://www.youtube.com/watch?v=zIDPPzCT4Ew&w=560&h=315]

G-Eazy – Vengeance on My Mind

[youtube https://www.youtube.com/watch?v=S3p6GQxnspw&w=560&h=315]

At the Drive-In – Governed by Contagions

[youtube https://www.youtube.com/watch?v=1-NYWzd7JW8&w=560&h=315]

J. Cole – False Prophets

[youtube https://www.youtube.com/watch?v=wvFDXV0VBg4&w=560&h=315]

Jax Jones (ft. RAYE) - You Don't Know Me

[youtube https://www.youtube.com/watch?v=PKB4cioGs98&w=560&h=315]

Neil Young – Indian Givers

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

Laura Mvula – Ready or Not

[youtube https://www.youtube.com/watch?v=PICk3EvKZBc&w=560&h=315]

Rebecca Ferguson – Superwoman

[youtube https://www.youtube.com/watch?v=hMoU5W5YDXY&w=560&h=315]

Afrojack (ft. Ty Dolla $ign) - Gone

[youtube https://www.youtube.com/watch?v=_on54HMZswI&w=560&h=315]

Kyla La Grange – Justify

[youtube https://www.youtube.com/watch?v=pBkJAzzLB4A&w=560&h=315]

Mahalia – Independence Day #DiaryofMe

[youtube https://www.youtube.com/watch?v=aJrTkAPRy5Y&w=560&h=315]

Jamie T – Tescoland

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

Post Malone – Stoney

[youtube https://www.youtube.com/watch?v=vKnnxbciA1I&w=560&h=315]

Sara Hartman – From the Other Side of the World

[youtube https://www.youtube.com/watch?v=cV1RGpeZhww&w=560&h=315]

DJ Fresh vs. Diplo (ft. R City, Selah Sure and Craig David) – Like a Star

[youtube https://www.youtube.com/watch?v=pF2YgLEso10&w=560&h=315]

G.R.L. – Are We Good?

[youtube https://www.youtube.com/watch?v=3LDfxkqwr1I&w=560&h=315]

Izzy Bizu – Talking to You

[youtube https://www.youtube.com/watch?v=t1tYtNlcBOY&w=560&h=315]

Little Cub – My Nature

[youtube https://www.youtube.com/watch?v=Y6Vc6UfsJ9U&w=560&h=315]

Liam Bailey – Love My Neighbour

[youtube https://www.youtube.com/watch?v=SkNJfEUO4bQ&w=560&h=315]

Nadia Rose (ft. Red Rat) – Tight Up

https://play.spotify.com/album/4atPUp52kt5lL8tKZcwFmx

 

Julia Jacklin – Coming of Age

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

Radiohead – Burn the Witch

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

Billie Marten – Emily

https://play.spotify.com/track/3IqSUhhlnTjWfbahlMxvKP

Warpaint  - New Song

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

M83 (ft. Mai Lan) – Go!

[youtube https://www.youtube.com/watch?v=U3YZTYXftzg&w=560&h=315]

The Stone Roses – All for One

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

Bat for Lashes – Sunday Love

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

Beyoncé – Formation

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

David Bowie – Blackstar

[youtube https://www.youtube.com/watch?v=kszLwBaC4Sw&w=560&h=315]

Anohni – Drone Bomb Me

[youtube https://www.youtube.com/watch?v=aUEoic7ro_o&w=560&h=315]

Skepta – Man

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

Christine and the Queens – Tilted

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

Slaves (ft. Mike D) – Consume or Be Consumed

[youtube https://www.youtube.com/watch?v=05Q5akU8d7g&w=560&h=315]

Charli XCX (feat. Lil Yachty) - After the Afterparty

[youtube https://www.youtube.com/watch?v=OM33anTtEVE&w=560&h=315]

Jamie T – Tinfoil Boy

[youtube https://www.youtube.com/watch?v=TElBPcFIk0E&w=560&h=315]

Liv Dawson – Tapestry

[youtube https://www.youtube.com/watch?v=tklMdjQU7qk&w=560&h=315]

Laura Marling – Soothing

[youtube https://www.youtube.com/watch?v=eCS4OTgaHeM&w=560&h=315]

Rihanna (ft. Drake) – Work

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

Michael Kiwanuka – Love & Hate

[youtube https://www.youtube.com/watch?v=AZzA2Ne0HSo&w=560&h=315]

Sia – Alive

[youtube https://www.youtube.com/watch?v=t2NgsJrrAyM&w=560&h=315]

Kanye West – Famous

[youtube https://www.youtube.com/watch?v=p7FCgw_GlWc&w=560&h=315]

M.I.A. – Borders

[youtube https://www.youtube.com/watch?v=r-Nw7HbaeWY&w=560&h=315]

The Wytches – C-Side

[youtube https://www.youtube.com/watch?v=I_BixyTrY7o&w=560&h=315]

Dua Lipa – Hotter Than Hell

[youtube https://www.youtube.com/watch?v=fEOyePhElr4&w=560&h=315]

Underworld – I Exhale

[youtube https://www.youtube.com/watch?v=4izZYfo58-E&w=560&h=315]

Car Seat Headrest - Drunk Drivers/Killer Whales

[youtube https://www.youtube.com/watch?v=ccztRby3FAk&w=560&h=315]

Paul Simon – Wristband

[youtube https://www.youtube.com/watch?v=9lJHVpH5v8Q&w=560&h=315]

Tegan and Sara – Boyfriend

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

Leonard Cohen - You Want It Darker

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

Emeli Sandé – Hurts

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

Frank Ocean – Pink + White

https://play.spotify.com/track/3xKsf9qdS1CyvXSMEid6g8

James Blake – Radio Silence

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

Bon Iver – 33 “God”

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

A Tribe Called Quest – We the People…

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

Angel Olsen – Shut Up Kiss Me

[youtube https://www.youtube.com/watch?v=nleRCBhLr3k&w=560&h=315]

Jenny Hval – Female Vampire

[youtube https://www.youtube.com/watch?v=ZVaWc00aZ30&w=560&h=315]

The Avalanches – Subways

[youtube https://www.youtube.com/watch?v=bPIMfOIuEe4&w=560&h=315]

PJ Harvey – The Orange Monkey

[youtube https://www.youtube.com/watch?v=Dw1dj7tPvhc&w=560&h=315]

Kano – New Banger

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

Kate Tempest – Don’t Fall In

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

Solange – Cranes in the Sky

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

Iggy Pop – Gardenia

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

Nick Cave and the Bad Seeds – Jesus Alone

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

Fifth Harmony (ft. Ty Dolla $ign) – Work from Home

[youtube https://www.youtube.com/watch?v=5GL9JoH4Sws&w=560&h=315]

Chemical Brothers – C-h-e-m-i-c-a-l

[youtube https://www.youtube.com/watch?v=3yiVDrX6vG0&w=560&h=315]

Justice (ft. Morgan Phalen of Diamond Nights) – Randy

[youtube https://www.youtube.com/watch?v=hw3d9KTYHIE&w=560&h=315]

Glass Animals – Youth

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

Beck – Wow

[youtube https://www.youtube.com/watch?v=pyCkhPTU13w&w=560&h=315]

It is a great time of year not only to look back but look forwards. These last days of 2016 provide us a time to reflect on some wonderful music but predict what 2017 has in store. It is inevitable there’s going to be some cheesy songs making their way into the final Playlist from this year – you have to surrender at some point! Until rationale gives way fully – although there are some wonderful Christmas songs, for sure – it is only right to give this year’s best and brightest fair due. I am sure next year will continue in the same vein this one has ended: strong, determined and hugely exciting.

TRACK REVIEW: Talitha Rise - Invisible Fishing

TRACK REVIEW:

 

Talitha Rise

 

 

Invisible Fishing

 

9.4/10

Invisible Fishing is available at:

https://www.youtube.com/watch?v=4SFuiKifm3g

RELEASED: 1^st October, 2016

GENRES: Folk; Psychedelia; Art-Pop; Progressive-Folk

ORIGIN:

Lewes, U.K.

________________________

WHILST the tastemakers and musical tipsters are collating….

their list of this year’s best albums; there is something niggling at the back of the mind. I have scoured quite a few and a consensus is starting to formulate. At/near the top of most lists is Beyoncé’s Lemonade: other albums from the likes of Chance the Rapper and Solange are getting nods. There are some British acts in these lists but the majority – those lauded and celebrated – are U.S.-based and addressing modern times and concerns. If one looks at the polls you will see a wave of strong, defiant albums in the elite places. That is mirrored in features such as BBC’s tips for 2017. In their eyes, Urban artists are going to be making the loudest noises: those assessing the realities of the nation and what is happening; more relevant and raw than your average chart act. It is nice seeing a shift against predictable bands and rather wet solo artists. I feel political events and social confusion/anger has led to this dynamic shift. Yes, it is encouraging discovering a new breed of songwriter gain respect but that seems to come at the cost of another sector of music. I promised I would not mention her name until 2017 – been exhausting her music the last few months – but a certain B*lli* Ma*ten has had an incredible year: her debut album has been released and shown what a fantastic young proposition she is. Whether you have heard of Billie Marten or not, it brings to mind a concern: how many like-minded artists have been overlooked in this year’s ‘best of’ lists. I was somewhat aghast her album, Writing of Blues and Yellows, was not mentioned in any of the polls magazines/sites have released. Fair, it might not crack the top ten of most sites but the top fifty, surely?! Hmmm. Aside from being my standout of 2016, it has made a huge impact among the public and being taken to heart by stations like ‘6 Music – in their rundown of the year’s best albums I expect to hear it mentioned. Folk is a genre that often gets overlooked – something I have mentioned before but cannot explain why. Before I come to my featured act, and raise a couple of new points, I was to expand on that.

If music fans and the media are favouring a more urgent, arresting and socially conscious brand of music; it is only right something should be done to ensure the preservation of refined, calmer sounds. It is only right the best of the best should be recognised but insufficient acclaim is being provided to the ‘best of the rest’. Having mentioned her-that-shan’t-be-named it brings to mind Folk and its variations. A much more intriguing and enigmatic genre than many give it credit for: listen carefully and you will find musicians pushing boundaries and adding new light to the form. Talitha Rise, who I shall come to very shortly, are archetypes of a new, more progressive brand of Folk. Whether you would label them as purely Folk – or Art-Pop for instance – that is up to personal interpretation. My point is that their basis – earthy and pastoral tones – are augmented by psychedelic elements and all manner of fresh tones and fascinating sounds. I guess it is just a phase music is going through – where different artists are being embraced – but quite a few albums this year, that spills over with quality and promise, have not been given proper recognition. Even if the compositions are not as hip-shaking and body-moving as that: that is not to say there is not immense power and pull to the music. I will continue on this point, looking at artists in East Sussex and new duos, but before I do, it is worth being introduced to Talitha Rise:

“Talitha Rise write songs of undeniable emotional depth and beauty. At times, more akin to a musical landscape than a song, their tracks journey hypnotically through evocative worlds of heart-breaking hope and the rawness of life's deeper realities with ethereal mystique.

Whether recorded or live, the combined alchemy of Jo Beth Young and Martyn Barker grab the listener from the first few notes and plunges them deep into a combination of diverse and haunting vocals, melodical journeys and beautiful instrumentations that makes you wonder where on earth you have been for the last 30 minutes.

It is hard to pin down what genre or influence is behind them: hints of Psychedelia, Art Pop, Progressive Folk, and World Music all shine through but above all they have done something rare in today's musical world....they have created a new one”.

‘Talitha’ is an uncommon feminine name meaning ‘little girl’ in Aramaic; given in reference to the Biblical story in the Gospel of Mark. It is an intriguing origin to a duo who create music instilled with power, tender emotions and gorgeous harmonies. I tend to find, when out of the capital, you get music a lot less busy and loud – that might change with tomorrow’s review subjects – and something rather different. It is rare I get to traverse out of London and investigate musicians from East Sussex. It is a county that contains one of Britain’s most prosperous and eclectic musical cities (Brighton) and not often mentioning in the hallowed pages of music’s coolest press bodies. It is a shame the cities (and obvious areas) get a lot of attention – at the expense of other parts – but it is encouraging seeing acts like Talitha Rise emerge. A more experienced, mature and rounded alternative to the worn and humdrum Pop sounds of the mainstream – you get depth, tranquillity and activity; serenity and intense emotion within the same songs. I mentioned a certain B.M. earlier because her music reminds me a lot of Talitha Rose. Based in Yorkshire – another area providing exceptional musicians – her album was acclaimed and highly praised. Music lovers and commentators want to discover musicians who offer a beautiful and graceful approach to some of the more aggressive and forceful options in the market. Perhaps there is no easy and quick way to ensure music’s finest get appropriate representation and attention – other than having to spend a long time working their way through the ranks. The Lewes-based duo has been performing locally but making a name for themselves in Brighton. That is an area that is still relatively untapped and a burgeoning market for new music. You only need to stick your head around some of the venues there to get a flavour and scene of Brighton’s brew. It is a heady and variegated one: so many different genres and a different approach to music and community. A more relaxed and less suffocated feel than London; perhaps finer new bands than Manchester – worth a lot more time and attention. I am wandering off topic but it is important to recognise not only the full spectrum of musicians around but look beyond media-tipped areas and obvious hotspots. If today’s music scene is to be as evolved and interesting as possible, we must be as broad-minded and invested as possible. This year, and as part of my reviews, I have come into contact with a whole gamut of weird, wonderful and wise artists: many I feel will be stars in the coming years and taking big strides. Talitha Rise is gathering local praise but are more ambitious and hungry than that. It cannot be too long before they get more time and opportunity to play around London and the U.K.; perhaps get their music out to international ears. As it is, East Sussex is quite a convenient and upcoming area for music. The proximity to London is good but there is less of the stress and over-populated rush of the metropolis.

Almost time to get to Talitha Rise’s music, but before I do, a quick glimpse into duos. I know I have rhapsodised prolifically on this subject but will keep this short. Regardless of genre – and how you label the Lewes two – there is no denying the simple chemistry and connection shared. Jo Beth Young and Martyn Barker have that (almost) brother-sister bond and a deep understanding of what each other is about. A duo, in a way, is like a relationship: one that is harmonious, solid and uncomplicated. A band can seem like an unwieldy and undisciplined unit whereas the solo artist can appear solemn and over-worked. In terms of practicality, load-sharing and longevity: the duo has everything and seems like just the right size. Maybe that is too simplistic but I am hearing some fantastic duos spring up and each has something new about them. Not only (is the duo) an exciting proposition but their music, I find, is a lot more intriguing than most of the band-made stuff around. Talitha Rise are just starting out and their debut cut, Invisible Fishing, is the sound of where they are. I always look at a sapling cut and get an impression of what the artist is about. With regards Talitha Rise, it is hard to define them and explain. If you had a band – that had similar ideals – they would perhaps aim for something more commercial and festival-ready; a solo artist perhaps more stripped, restrained and bare. As it is, Talitha Rise blends little bits of Folk and some left-field elements; bits of Psychedelia and gloss it all with sumptuous vocals. I am not sure what they would call this new-found genre (‘New World-Folk’, perhaps?) - however you deem it there are few artists providing anything as detailed and unexpected.

As this is the first step for the intrepid and ambitious act: it is quite hard comparing their single with anything else. The fact they are thinking about an album means there is a lot of faith in their future songs. That is all encouraging as few acts spring that far ahead this early on – favouring E.P.s and covers until a little way down the line. I know, from following the guys, there is a lot of excitement in the camp and hopes for the future. Rather than comparing them with another act or their older material: the best thing to do is assess the debut single (which I shall do shortly) and look ahead to the album. I am not sure what it will be called – whether they favour an eponymous title – but it is likely to contain similar songs to that of Invisible Fishing. I know 2017 holds many opportunities for the duo so make sure you follow them and keep abreast of all the happenings. Their debut single is a strong and emphatic one. Usually, I hear acts that release a debut single and it has nerves and is not their best work. Talitha Rise has gone in so strong and sure; they come across natural – like they have been together for decades – which makes it a solid and stunning song.

You get a sense of metaphor with the first line of Invisible Fishing. Before they arrive, one is treated to gentle strings a rather seductive opening. The acoustic guitar beckons and sets the scene; the song arrives gently and without too much force – the listener is given the chance to soothe themselves in and get comfortable. When the heroine arrives at the microphone, one gets images of lighthouses and searchlights being extinguished. It is open for interpretation whether words are directly attributed to the heroine or whether another subject is being described. There is that sense of lacklustre and hopelessness; maybe looking for love and companionship but having to come away with nothing. The idea lights have been turned off and there is darkness adds to that aura of invisibility and mystery – having to fumble in the waters looking for a catch. It is a clever way to bring the song’s emotions and themes to life: right away you are picturing what the song is about and what is occurring. The vocals from Young have a blend of firm and seductive. She rises into the stratosphere and provides angelic elements but has a grounded and gravelled side too. That is quite a range from a singer one that is exploited throughout the song. If some words get buried in beauty and passion – not always a bad quality – you are able to get a sense of what is unfolding. The narrative definitely becomes third-person and that sense of someone else hanging their line into the waters. That line/rod, in fact, is one that represents fear and trepidation. At once, I was thinking of love and lost chances: that inability to secure romance and searching (aimlessly) for someone. I mentioned metaphors and it seems like Invisible Fishing is that practice of casting the line and getting nothing nibbling. Maybe that is purely about love or just taking chances. The song, in the early stages, opens up so many possibilities and interpretations.

Throughout the song, and backed by the hero’s impeccable and finger-picked support, the heroine sings from the heart and ensures every word rings out. I was looking into the lyrics and picturing a heroine alone – maybe standing on the rocks and looking out to the ocean. Maybe it is not love being sought but some kind of salvation and hope. There is a voice ringing out across the distance but no reply. One gets a sense of dread and suffocation: where questions are going unanswered and there is a degree of loss. I may be over-analysing but I get the impression of someone who has lost love – once pure and solid – and is searching for a new way of life. Maybe this fear, employed as a rod in the water, is holding her back and causing this stress. That openness and free-for-interpretation flair of the song gets the mind racing and puts your thoughts in all sorts of directions. At the heart, you are captivated by the chemistry and bond of Talitha Rise’s two – they have that seamlessness and understanding. I dove into the song and tried to cast my mind into the images. You get gripped by the beauty of the vocals and how the guitar carries you away. The duo has their own talent and roles but very distinct. The musicianship and composition are stunningly evocative and rich: perfectly atmospheric and rife with emotion and nuance. The vocals swoop from low-down and calm to multi-layered and choir-like. You get shades of light and dark and it really adds to the song. As the track continues, the tense switches and applies to people as a whole. Gone is the personal focus; replaced with a look at the world at large. The angels and Muses have abandoned the people and not answering their calls. Maybe Invisible Fishing, by this juncture, looks more at society and what we are facing. Although the song was written a number of months ago, it seems to reflect general fears and anxieties we all have – maybe not. I just get the feeling of the unknown and what we are facing. Maybe the song is two sides to a love: the heroine and her doubts and the hero on the other side. One gets that sense as the song nears its end.

Holding tight and battling the waves; looking at the starlight and survival seems to underpin a tale of fortitude-against-the-currents. You never feel like there is negativity or a sense of defeat: always that spirit and desire to survive and battle on. Talitha Rise, in addition to other genres, employs Gaelic strings and there is an Irish flavor to the song. Pack that into traditional Folk and something more experimental and the song has so many ideas and sounds fused together. By the final seconds, you start to get a general sense of what the song is about but still ask questions. One of the key strengths of Invisible Fishing is its passion and pure beauty. Whether you take a clear message from the track you cannot overlook its sheer glimmer, transcendence and flight. Rich, sumptuous vocals and evocative backing – guitar lines sit with determined percussive patters – are a perfect pair and elevate the song to rarified heights. If it assesses a personal love and two sides overcoming the forces against them; a general sense of uncertainty and fear or something else – everyone will have their own ideas and take something different away. As a debut single, it is a strong one from the duo and sets out their stall. I hope subsequent cuts follow suit and contain the same ingredients and stories. I know Talitha Rise will sing about love and their own personal experiences but, as they have shown here, they have a real grasp of language and imagery. Never too obvious, unsophisticated or cliché: their lyrics provoke deeper understanding and impress with its choice language and wordplay. It is the performances of the duo that resonates longest. They sound like (and may have been) have played together for years; there are no gaps or any weak moments. Completely solid and entrancing throughout - a duo that is sure to do great business in 2017.

The Great Escape and a debut album are already on the docket for next year. It will be a busy and eye-opening one for the East Sussex residents who are taking their first swim in the clement (if busy) waters of music. As it is winter – and Christmas is nearly here – there the likes of Talitha Rise is much needed. The verisimilitudinous of their songs get into the heart and will resound with the listener. There is little in the way of avoidance and mystique with the two: they write direct, immersive songs nobody will be able to ignore. Invisible Fishing, on its title alone, provokes all sorts of metaphysical and quasi-philosophical interpretations. Whether you were expecting a lone figure in the dark – by himself in the tundra looking for life – or a metaphor for love and acceptance, you can take something away from the song. Its words and meanings are open to an extent but, broadly, look at relationships and balance. I hope my assessment has at least dented the surface and tried to gain an insight into the song. That is the beauty of a song like Invisible Fishing. Upon the first survey, you have ideas and possibilities but something new is revealed each time. The music and vocals are instant but the lyrics have that sense of nuance and complexity. Before I bring this thing to an end, and briefly returning to the opening concerns, it is worth predicting the arc and next few months for Talitha Rise. I mentioned how the duo will be playing The Great Escape next year: quite an accolade for a new act. The three-day festival is held in Brighton and in addition to being local, it will bring in new audiences and those based further afield. Media, reviewers and radio will be covering it so it’s an opportune moment for the duo to strike and impress. That is likely to be a rather easy task. Not only do they have the acclaim and positive reviews of Invisible Fishing but the flesh and bones of their album. Whether the L.P. will be out before that festival experience – it would be savvy releasing it a month or two before – it is going to be received with plenty of affection.

After that, and throughout 2017, there will be options and chance afoot. I am not sure (in 2017) just how trans-continental their music will become – or whether it remains indigenous – but I am sure they will get their songs heard outside the U.K. You just know, when hearing their music, there is more of the same coming; another batch of songs that have the same effect and intense passion. It will be interesting seeing what the duo decide and how they develop in 2017. I am sure, when their debut album is out, there will be a lot of people in their camp and following them. It is hard to get your name heard and survive in the modern scene. There is so much music out there – and so much competition – it can be intimidating for musicians coming through. The secret to success and longevity is originality and effectiveness. I looked at Folk variations and artists that have warranted more acclaim. In addition to Talitha Rise being among the most transcendent, captivating and hard-working acts around: they are on their debut stage and looking to claim a foothold very easy. Festival dates and a new album will bolster that but it is encouraging discovering a sensational act that emanates from outside the capital – we do not often get to celebrate artists away from London. East Sussex is upcoming and diverse with regards music and never fails to amaze me. Aside from the great bands there (The Wytches are from here) there are wonderful solo acts and duos. I have been, in the last few weeks, bemoaning how many artists do not expend energy into their social media and making themselves known. It is not sufficient having threadbare social media pages and not putting photos online – they do not cost a lot and should always be available. Talitha Rise is an act that gives me faith: they understand the importance and are highly visible and detailed. That gives the new listener insight and understanding of what they do; where they want to head and what inspires their music. The future will be bright and long for the Lewes duo and I am thrilled by Invisible Fishing. Become accustomed with a talented and busy duo that is on the cusp of something great. 2017 might be just around the corner but will be…

A great one for Talitha Rise

[youtube https://www.youtube.com/watch?v=4SFuiKifm3g&w=560&h=315]

_____________________

Follow Talitha Rise

Official:

http://www.talitharise.com/

Facebook:

https://en-gb.facebook.com/talitharise

Twitter:

https://twitter.com/talitharise

YouTube:

https://www.youtube.com/channel/UCgctenga8Vhhxj65Ap2-LSg

INTERVIEW: Greg from Cocoa Futures

INTERVIEW:

  PHOTO CREDIT: Sara Amroussi-Gilissen

Greg from Cocoa Futures

____________________

THESE end days from 2016 is a great opportunity to…

look back at the artists I have featured in this blog. It is good to chat with Cocoa Futures’ Greg about the year and how The Grey, the latest single from his London-based band, came together. He chats about the differing scenes in Scotland (where he was born) and London; the group’s forthcoming E.P., Blue – and what he will be up to this Christmas. In the midst of all that, the talented songwriter tells me about how he met his bandmates and what it was like working with Marc Withasee on the new E.P.

___________________

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

Hello! Good thanks. Tried to have a quiet week after our E.P. launch on Saturday – but Christmas celebrations have got in the way! We also had our label’s Xmas do last night so I’ve got a bit of a sore head :)

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

We’re a band from London called Cocoa Futures. We make Pop music.

Fabric has just announced its reopening. Are you familiar with the venue and what was your reaction when you heard the news?

I think I’ve only been to Fabric once and saw a band that I really like called The Invisible there. Glad to see it’s going to open again!

The Grey is your new single and deals with positive, hopeful subjects. It implores strength and faith against harsh odds. What was the inspiration behind the song and was it quite a cathartic experience?

The Grey is inspired by someone I know having a difficult period in their life. It’s about the idea that they would get through it but would probably need some time.

I don’t know if it was cathartic for me but I was really pleased with how it ended up.

[soundcloud url="https://api.soundcloud.com/tracks/283929853" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

The song has soaring vocals and plenty of bounce. It seems to be a staple of Cocoa Futures’ sound. Do you think too few musicians keep things light and what was the reason behind this approach to music?

I didn’t really have a grand plan as to how I wanted our music to sound - it just kind of ended up that way. I like a bit of bounce in music and have always been into rhythmic stuff. As for other musicians, I think people should write whatever they want.

Blue is the forthcoming E.P. Can you tell us anything about the songs included and what themes are being explored?

There’s four songs on there. The themes are about stuff that was happening in my life around 2015. There’s one ballad-like song called How Strong You Are which I’m probably most proud of. It’s not really that cool/trendy but I’m really pleased with how it’s turned out. Would love to hear what you think!

Marc Withasee produced the E.P. What was it like working with him?

Really great! He really pushed us in the nicest way. I found out more about myself - that I naturally wrote songs too slow and too high and going through the process with him meant that we all learnt a huge amount. He’s a fantastic producer, drummer and human.

PHOTO CREDIT: Sara Amroussi-Gilissen

Cocoa Futures brings together Dave, Zoe and Jack into the band. How did you come to meet the guys and what were the initial recording sessions/jams like?

I knew Dave from Scotland and then met Jack and Zoe later through mutual friends and other projects. They're all really, really nice people to be around and great musicians.

Playing with them in the early days was great - it was apparent, very quickly, that we all fitted together well.

The band has been releasing music since 2014. Do you think Coca Futures have changed a lot in the last couple of years? What are the main changes/differences in today’s songs?

I think I’ve got a bit better a finishing off stuff. Better to finish something off and it be alright than half-finish something and talk about how great it could be. I’ve also spent time learning to produce more which is useful for taking a demo. to a live set - also saves money so that someone else doesn’t have to do it for you!

Critics and fans have really latched onto the music (of Cocoa Futures) and taken it to heart. Why do you think this is and did you expect this sort of support when you started the band?

I’m not sure really. I’m really happy because we put a lot into the E.P. so it’s nice other people like it too. There’s been a good response that I didn’t really expect.

[soundcloud url="https://api.soundcloud.com/tracks/276329600" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Greg, you hail from Scotland. What is the main difference between the music scene there and down in London?

Scotland’s music scene is great. I love a lot of Scottish bands.

The main difference is the price of rehearsal rooms. You can get a rehearsal room for £4-an-hour in Scotland!

What are the plans and ambitions for Cocoa Futures in 2017?

Play some nice gigs; record another E.P. and stay vegetarian (I turned vegetarian 2.9 months ago – it’s great)

Are there any new bands/acts coming through you advise we keep a close eye on?

Stuff I’ve seen and really liked recently: Coby Sey. Dama Scout. Suitman Jungle.

[soundcloud url="https://api.soundcloud.com/tracks/283927558" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

It is almost Christmas so I have to ask: what is top of your wish-list and where will you be spending Christmas this year?

I’ll be spending Christmas in Scotland with the family. I’ve got my fingers crossed for snow so I can go sledging.

As for my wish list? Wouldn’t mind a new pair of trainers.

For any new musicians coming through: what advice would you offer to them?

I don’t really feel like I’m in too much of a position to offer advice. Music feels like this huge exciting (and occasionally frustrating) thing and when I’ve learnt one new thing it usually opens up a whole range of other questions.

But (I guess) something that I heard recently really struck me: that making, playing and listening to music are three different things. Splitting them up can really help you take an honest look at a song and get it finished.

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

Roxy Music’s If There Is Something – got into this band more and more recently. What a tune.

[youtube https://www.youtube.com/watch?v=Ay4v7mhEh54&w=560&h=315]

__________________

Follow Cocoa Futures

PHOTO CREDIT: Sara Amroussi-Gilissen

Official:

https://www.cocoafuturesband.com/

Facebook:

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

Twitter:

https://twitter.com/cocoafuture

Instagram:

https://www.instagram.com/cocoafutures/

SoundCloud:

https://soundcloud.com/cocoafutures

INTERVIEW: Scarlett Saunders

INTERVIEW:

 

 

Scarlett Saunders

__________________

THROUGHOUT 2016 I have been seeking a solo artist that not only…

intrigues with their music but has a certain allure and originality to their personality. In terms of ticking all those boxes, Scarlett Saunders seems a perfect fit. Her recent E.P., Blue Again, has been received with praise and reflects on some hard times – relationship break-up and overcoming fraught emotions. Not only does one (when hearing Saunders) get a rich and beautiful voice but a songwriter with a unique and fresh bent. I talk to Saunders about her, some might say, unorthodox upbringing – where nature and art were favoured to distractions like T.V. – and how that affected her life today. She also chats about this Christmas and plans for next year; what it was like putting an E.P. together and how the reaction to it has affected her.

__________________

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

Hey there. My week has been okay: long and wintery, but okay. How’s yours been?

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

Hello. I’m Scarlett. I’ve been writing songs since I can remember and I really hope you enjoy them.

I Should Know was released a couple of months ago and was received with praise. Has it been quite humbling hearing that sort of feedback?

Yeah. It’s been great actually!

It was a song I wasn’t going to put on my E.P. as it was very personal and I was worried how people might react - especially my dad as it was written about his relationship with a girl my age.

But I think there are so many interpretations you can take from the song. It was interesting to see what everyone’s slant on it was.

[youtube https://www.youtube.com/watch?v=JGCHr2bFwzk&w=560&h=315]

Circus – also released this year – is taken from the Blue Again E.P. Can you tell us about the rest of the E.P. and what inspired it?

The E.P. was largely inspired by the seaside town I grew up in, Felixstowe. And my first love who was, coincidentally, called Felix (haha). I was getting into that stage where I was reminiscing a lot about my younger life and how everything seemed so much easier then - a longing for the sea and a longing for home.

How hard was it putting the E.P. together? Had you been working on them for quite a while or were a lot of the songs written quite a while ago?

It wasn’t difficult at all actually. I did it with a friend and an amazing producer, Barnabas Poffley. Everything flowed pretty naturally. Most of the songs I wrote all around the same time with Barny’s help (apart from Windmill). I had written that on a train a year before and had been saving it up.

I believe, when growing up, you did not have a lot of exposure to T.V. and video games – your parents favouring art and literature. How influential was that style of upbringing to you with regards your ambitions to be become a musician?

I think it gave me a lot of scope to ‘think’.

Screens and technology seem to create an extra barrier for people to get through in order to be creative today. I think the more time you spend in your own head and company without distractions is a damn good thing.

It keeps you open, aware and malleable to ideas and possibilities. It’s what I hate and don’t fit into in the modern music industry though - the last thing I want to do is check my Facebook page or Tweet about my day.

You have quite a passion for art yourself. Do you get a lot of opportunities to indulge that and how does your music and art connect would you say?

I do love art. I don’t get a lot of time for it though I have to say - although my Christmas presents this year will definitely have to be painted and I am skint as hell (haha). I think all things creative connect. Sometimes just reading a poem can spark an idea or seeing people on the Tube.

A lot of new artists tend to come to the cities in order to find opportunity. You are based out of Suffolk. What is the area like in terms of the music scene? Are there quite a few promising new artists there?

There’s loads of stuff going on there! Ed Sheeran is from there (have you heard of him?). He’s rather good. But I never got massively into it. I suffer from terrible stage fright when I have to get up there on my own but am getting over it.

In terms of local talent or artists that have impressed you this year: which would you recommend we check out?

My best mate’s band Loud Mouth Machine. Great guys.

Who were the artists that influenced you growing up?

Bob Dylan was a massive part of my childhood. Nina Simone, Cat Stevens and Janis Joplin’s exploding energy. I always wanted to look that cool and sing that well on stage.

I have noticed the female singer-songwriter is coming more into view: a lot of this year’s best albums have been created by solo female artists. What, would you say, is behind this shift?

I think people are just starting to become more aware of new artists now as there’s so many ways online of finding them out.

But I’ve noticed female artists are leaning less towards the Pop/X Factor in-your-face thing and stripping everything down - so they are just writing and singing from real places that we can all connect to.

[youtube https://www.youtube.com/watch?v=s22KUAAyXYU&w=560&h=315]

Looking ahead to the future: is there any new music planned for 2017?

Yes. I have written a new E.P. for next year. Fingers crossed it all goes to plan.

This year has seen a lot of great albums and singles released. Which album and song would you choose as your favourite of 2016?

Adele’s 25 without a question. That album came out at the same time me and my flatmate were crying in our bedrooms about men. I don’t care if it sounds ridiculous - she sorted me out.

Is there any advice you would offer to new singer-songwriters coming through?

Just write what you like and don’t worry about what anyone else thinks.

It is nearly Christmas. How would you be spending it this year? Any gifts that you particularly want this year?9

I will be spending it by going back to the (Splitz) Bandbox in Felixstowe (voted the worst club in Britain, apparently) to hang out with old friends on Christmas Eve. Otherwise, I will be drinking tea and snuggling up. I actually don’t know what I want! (Who does?) That’s such a hard question.

Finally, and for being a good sport, you can select any song you like (rather than your own as I’ll include that) and I’ll put it here.

Raury - God’s Whisper

[youtube https://www.youtube.com/watch?v=bPt0LkdM8Bc&w=560&h=315]

___________________

Follow Scarlett Saunders

Facebook:

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

Twitter:

https://twitter.com/scarlett_sings

SoundCloud:

https://soundcloud.com/scarlett-sings

YouTube:

https://www.youtube.com/channel/UCOtT55JiBVXzHuLkAB1GldA

FEATURE: The December Playlist: Grammys Special

FEATURE:

 

The December Playlist: Grammys Special

__________________

IT is that time of year again!

I am not referring to Christmas but the whatever-number-we-are-on-th Grammy Awards. It is that occasion where some of music’s best – and those thoroughly undeserving – get recognised for their hard work. There are some notable omissions from the nominations (naming no names) but some great acts recognised. Beyoncé leads the list, and so gets one of her songs featured, but there are other great acts getting their music exposed – including Metallica and Frank the Rapper. Of course, there are some new releases from the ‘ordinary’ artists out there: those not in the Grammy sightline; going about their careers as always. As December starts to blossom, I will start leaning towards Christmas tracks: until that merciless moment arrives, enjoy some wonderful non-tinsel-infused songs.

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Biffy Clyro – Re-Arrange

[youtube https://www.youtube.com/watch?v=_DTmvMsEbE4&w=560&h=315]

Joe Goddard - Lose Your Love

[youtube https://www.youtube.com/watch?v=q5j-IrPcwvM&w=560&h=315]

Bonobo (ft. Rhye) – Break Apart

[soundcloud url="https://api.soundcloud.com/tracks/296497286" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Justice – Fire

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

MUNA – I Know a Place

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

Emma Ballantine - Secret Tunnel

https://play.spotify.com/album/2JhebF4C8z8tsOEXFYtiAQ

Gurr – Moby Dick

[youtube https://www.youtube.com/watch?v=m3N8LW2srA0&w=560&h=315]

Gabriella Cohen – Downtown

[youtube https://www.youtube.com/watch?v=lR_SF2wiGMY&w=560&h=315]

The Rolling Stones – Ride ‘Em On Down

[youtube https://www.youtube.com/watch?v=qEuV82GqQnE&w=560&h=315]

Anohni – Obama

[youtube https://www.youtube.com/watch?v=pVD50Q114-s&w=560&h=315]

The Magic Gang – Only Waiting

[youtube https://www.youtube.com/watch?v=wkRwFao6x0I&w=560&h=315]

Elbow – Magnificent (She Says)

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

Imagine Dragons – Levitate

[youtube https://www.youtube.com/watch?v=z0a9k1gSMsw&w=560&h=315]

Parcels - Older

[youtube https://www.youtube.com/watch?v=hznxLHB0oy8&w=560&h=315]

Bruising – I Don’t Mind

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

Peter Doherty – Down for the Outing

[youtube https://www.youtube.com/watch?v=HXf5qu8jJ1Q&w=560&h=315]

PHOTO CREDIT: Nicky Kelvin Photography

Vaults – One Day I’ll Fly Away

[youtube https://www.youtube.com/watch?v=BCoZOAn_98A&w=560&h=315]

Jake Bugg - The Love We’re Hoping For

[youtube https://www.youtube.com/watch?v=3EyRbwZs7e0&w=560&h=315]

Fort Hope - Say No

[youtube https://www.youtube.com/watch?v=MmGfb22Ay7s&w=560&h=315]

The Shires - A Thousand Hallelujahs (Live at The Pool)

[youtube https://www.youtube.com/watch?v=RxkTFq6mgNI&w=560&h=315]

Angelina – Rose Cascade

[soundcloud url="https://api.soundcloud.com/tracks/290803961" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

The Last Shadow Puppets – This is Your Life

[youtube https://www.youtube.com/watch?v=M7248jOewb0&w=560&h=315]

The LaFontaines - Release the Hounds

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

Beyoncé – Hold Up

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

Adele – Send My Love (To Your New Lover)

[youtube https://www.youtube.com/watch?v=fk4BbF7B29w&w=560&h=315]

Sturgill Simpson - In Bloom

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

Chance the Rapper – Summer Friends

[youtube https://www.youtube.com/watch?v=rT4wUByldo4&w=560&h=315]

Drake – Child’s Play

[youtube https://www.youtube.com/watch?v=HBnI5QevaKA&w=560&h=315]

The Chainsmokers (ft. Halsey) – Closer

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

Kelsea Ballerini – Peter Pan

[youtube https://www.youtube.com/watch?v=JmU0b8bxlG8&w=560&h=315]

Ariana Grande - Dangerous Woman

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

Anderson .Paak - Put Me Thru

[youtube https://www.youtube.com/watch?v=pK2-XuLByuQ&w=560&h=315]

Demi Lovato - Confident

[youtube https://www.youtube.com/watch?v=cwLRQn61oUY&w=560&h=315]

Flume (ft. Kai) – Never Be Like You

[youtube https://www.youtube.com/watch?v=Ly7uj0JwgKg&w=560&h=315]

Sia - Confetti

[youtube https://www.youtube.com/watch?v=bNdmBL2mdQg&w=560&h=315]

Underworld – I Exhale

[youtube https://www.youtube.com/watch?v=4izZYfo58-E&w=560&h=315]

Twenty One Pilots – Heathens

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

Sofi Tukker - Drinkee

[youtube https://www.youtube.com/watch?v=dlF1KxtArCg&w=560&h=315]

Metallica – Hardwired

[youtube https://www.youtube.com/watch?v=uhBHL3v4d3I&w=560&h=315]

Carrie Underworld - Church Bells

[youtube https://www.youtube.com/watch?v=N2-yVryNjUM&w=560&h=315]

Desiigner - Panda

[youtube https://www.youtube.com/watch?v=E5ONTXHS2mM&w=560&h=315]

Panic! at the Disco – Death of a Bachelor

[youtube https://www.youtube.com/watch?v=R03cqGg40GU&w=560&h=315]

Alabama Shakes - Joe (Live From Austin City Limits)

[youtube https://www.youtube.com/watch?v=0WV-MV18JCU&w=560&h=315]

René Marie - Sound of Red

[youtube https://www.youtube.com/watch?v=oJ64fMe0Xh4&w=560&h=315]

Blue Highway - Hallelujah 

[youtube https://www.youtube.com/watch?v=SX6xD-IWm2E&w=560&h=315]

Radiohead - Burn the Witch

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

Rhiannon Giddens (ft. Bhi Bhiman) – Freedom Highway

[youtube https://www.youtube.com/watch?v=DOs0fGWjSxE&w=560&h=315]

Cage the Elephant - Trouble

[youtube https://www.youtube.com/watch?v=lA-gGl6qihQ&w=560&h=315]

Ro James - Permission

[youtube https://www.youtube.com/watch?v=qp1Pq2Fuw30&w=560&h=315]

Maren Morris - My Church

[youtube https://www.youtube.com/watch?v=ouWQ25O-Mcg&w=560&h=315]

Leon Bridges - River

[youtube https://www.youtube.com/watch?v=0Hegd4xNfRo&w=560&h=315]

Jamie xx - Gosh

[youtube https://www.youtube.com/watch?v=hTGJfRPLe08&w=560&h=315]

Jill Scott - Can't Wait

[youtube https://www.youtube.com/watch?v=m5FDlbfnSVU&w=560&h=315]

Iggy Pop – Sunday

[youtube https://www.youtube.com/watch?v=tjSnrDikc4M&w=560&h=315]

PJ Harvey – The Wheel

[youtube https://www.youtube.com/watch?v=7ReW0jJkag8&w=560&h=315]

Rihanna - Kiss It Better

[youtube https://www.youtube.com/watch?v=49lY0HqqUVc&w=560&h=315]

Bon Iver - 8 (Circle)

[youtube https://www.youtube.com/watch?v=pPsBFPX_yU4&w=560&h=315]

Solange – Don’t Touch My Hair

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

Kanye West – Famous

[youtube https://www.youtube.com/watch?v=yOlf2eju0pI&w=560&h=315]

Lalah Hathaway – Angel

[youtube https://www.youtube.com/watch?v=wawY5WcPhf0&w=560&h=315]

Two-and-a-bit weeks to go and it is Christmas. I am noticing a decided slowing-down among music’s most prominent and prolific. Maybe there is less demand this time of year – as the awards have been handed and end-of-year lists cemented – so there is less impetus and demand. Be sure to brace yourself for a wave of 2017 music in a few weeks. Musicians will be racing out the blocks in an attempt to make that first, big strike – what an exciting proposition!

FEATURE: The Five Best Tracks of 2016: Radiohead – Burn the Witch

FEATURE:

 

The Five Best Tracks of 2016:

  

Radiohead – Burn the Witch

___________________

IT is not favouritism/nepotism my favourite band should find themselves…

in the gold medal position of my rundown – that which looks at 2016’s best songs. I feel they are deserved winners. With other, and many, sites plumping for something like Beyoncé’s Formation or a track from The 1975 – I have chosen a song that created one of this year’s biggest reactions. Following Radiohead’s previous album – the superb but flawed-in-places The King of Limbs – there was speculation the Oxford boys may have downed tools for good. That was an alarming proposition. The fact they are, in my biased opinion, this generation’s most innovative group would have been a huge loss – were such rumours to have been believed. A Moon Shaped Pool’s lead-off single wasn’t so much a release as it was an event. Like an opera about to begin: the curtains were closed and the lights off; there was an awed hush and expectation – before the stage lit to a bright and impassioned performance. Radiohead shut off their social media sites and created a blackout: what the heck were they up to?! As it happens they had just pulled off another unexpected and marvellous hype move – or P.R. stunt depending on your philosophical bent (Yorke has since been interviewed and said he wants to return to conventional releases/promotion). An historical look at Radiohead’s locker would tell you they are not a band that does things by halves. Burn the Witch’s discourse of immigration, finger-pointing and scapegoating – a wave of faux-panic and cold-hearted communality – was only matched by the song’s video. In it was depicted a village of Camberwick Green-referencing figures: an envoy/council representative inspecting a village only to find red crosses on doors and an ominous Wicker Man-style figure – in which he was entrapped and subsequently torched in (only to make it out at the very end). Thom Yorke’s vocal is typically gorgeous, dynamic and dramatic: a symphony of beauty, control and underlying fear. Throw into the mix a sensationally creepy-cum-tranquil string articulation – the album was orchestra-heavy and moved the band into more ethereal/Classic territory – and some incredible band interplay and you have a song of immense proportions; life-giving bailment. There is no denying just how spellbinding and nuanced A Moon Shaped Pool was/is. From Daydreaming’s somnambulistic tones and provocative lyrical suggestions to Ful Stop’s jittered punctuation – one of the freshest and most exciting tracks the band have levied in years. That is not to mention the much-needed inclusion of fan favourite True Love Waits and the encore-ready desires of Identikit. Burn the Witch is the opener. The Daddy. The Boss. It is the Big Bang of their 2016 creation and a song, once sampled, provides a witch’s brew of exciting highs and brooding, foreboding lows. If the song’s “low-flying panic attacks” do not inspire vivid scenes then the apocalyptic, nihilistic outcries – Yorke sticking it to corrupt governments and those looking for sacrificial lambs – surely will. Burn the Witch is almost a foreshadowing of the Trump presidency; the Brexit horrorshow and subsequent fall-out. Burn the Witch may be seven months old but its messages and relevance is as current as any song out there. Strip away interpretations, expectations and personal preferences and you have a song indisputably stunning, intense and utterly beguiling. In short: just another day at the office for The World’s Greatest Band.

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

 __________________

Follow Radiohead:

http://www.radiohead.com/deadairspace

 

The album, A Moon Shaped Pool, is available at:

https://itunes.apple.com/gb/album/a-moon-shaped-pool/id1111577743

FEATURE: The Five Best Tracks of 2016: Michael Kiwanuka – Love & Hate

FEATURE:

 

The Five Best Tracks of 2016:

 

 

Michael Kiwanuka – Love & Hate

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MOST of the ‘Best Songs of 2016' lists, I have found, have…

included Beyoncé’s Lemonade standout, Formation. Perhaps that is a reactionary decision: given Trump’s success – and frightening presidency – the song’s messages of hope and fighting injustice are being heralded and beholden. That song fights against the white-on-black racism and the need to be recognised (especially women and the need for sisters to stand firm) – make hateful perpetrators aware of their evils. In so much as it promotes an abolition of tyranny and imbalance; it does not make my top five. For one – even though it is a great song – Beyoncé is not the sole writer – I feel there are too many cooks in a kitchen that should be hers alone. My choice, and an equally affirmative and inspiring song is Michael Kiwanuka’s Love & Hate. The title track from his Mercury Prize-nominated album: “You can’t take me down” is a mantra as scintillating, spine-tingling and powerful as any across Lemonade. Love & Hate (the album) is a huge spiritual and creative leap from the young master. His debut, Home Again, was well-received and applauded due to its singular visions and astonishing vocal performances. Perhaps, in a few songs, the Soul ghosts of old were too intrusive. On his sophomore release, there was more Kiwanuka – less in the way of the Reddings, Gayes and other assorted kings. Black Man in a White World was the first taste of the album – and a song, like Formation, that addresses racism and solitude many black people can feel – but the title track is the first real ‘epic’. From the slow-building introduction and burning guitar solos; the aching, tremulous strings and consistent, defiant beats – a symphony of emotion, fortitude and defiance. Kiwanuka seems entranced by his words: floating over the composition like a pastor; crashing over the waves and desperate to get his message heard. There is funky, tripping bass; we get some cool backing vocals and stop-start dynamics – explosive orgasms of sound; contemplative and shy at various interludes. Whilst the composition is contradictory, unexpected and shape-shifting: the central message-and-vocal combination is single-minded and precise. Four years after releasing his debut album, many would be forgiven for thinking Kiwanuka was struggling for inspiration and completion. That doubt and assertion are overhauled by an emphatic album of personal statements: ranging from questions of race and equality to love and discourse; right along to crucial introspection and societal injustices. The title track not only recognises vital topics and addresses them with insight and intelligence: you are arrested by the staggering composition and heartfelt vocal. Less a song and more a symphony: something you submit freely to and let it carry you away. I hope there is more music from Kiwanuka next year – he is growing stronger and more confident with each passing year. Even if you do not recognise Love & Hate as a year-defining album – judgement for those who do not – then few can overlook the tremulous, divine title track. It is the work of a musician on top form and showing no nerves or fear.

[youtube https://www.youtube.com/watch?v=AZzA2Ne0HSo&w=560&h=315]

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Follow Michael Kiwanuka:

http://www.michaelkiwanuka.com/

 

The album, Love & Hate, is available at:

https://itunes.apple.com/gb/album/love-hate/id1094772322?app=itunes

FEATURE: The Five Best Tracks of 2016: Jamie T - Tinfoil Boy

FEATURE:

 

The Five Best Tracks of 2016:

 

 

Jamie T – Tinfoil Boy

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ONE of the biggest surprises from this year…

was hearing Tinfoil Boy drop. I use the word ‘drop’ as that was the effect it had: like a comet falling out of the sky. Jamie T has always had a reputation for being one of our finest and most consistent songwriters. 2014’s Carry on the Grudge resounded in the critical mindset and was heralded as one of his (if not the) finest album of the Londoner’s career. Tracks such as Zombie and Rabbit Hole are instant and highly memorable; the twelve-track album bristles with energy and innovation; Jamie T’s personality and expertise shining through. Fast-forward to this year and Trick arrived with a lot of expectation and hype. Whilst it did not gain the universal acclaim as its predecessor: Trick still packed a meaty punch and kept the ball very much rolling. A lot of critics noted obvious influences – Arctic Monkeys on Power Over Men and other moments; The Clash coming through in Tescoland and Police Tapes – the Combat Rock-era ‘Clash. It is the album’s opening tracks that resonate hardest. Drone Strike has a bit of Dizzee Rascal (strangely) but ignites and explodes in the chorus. If, at times, the Wimbledon lad has adopted a Sheffield accent – baffled by how many people want to copycat Alex Turner – then Tinfoil Boy (with a little Yorkshire fleck in it) differed from anything Arctic Monkeys have created. The creepy and unsettled video stole focus for a bit but nobody can deny the potency and power of the song. The hero is “tricked into waking up” and there seems to be an air of fear and depression in the song. That fatigue and uncertainty are destroyed by the swaggering, bangin’ chorus that, when I first reviewed Trick, reminded me of Underworld. It has that clubland vibe and Trance/House vibe. Whilst the verses sees Jamie feeling like a child and under foot – it is that indelible chorus that rattles around the brain. When the single came out June, I feared the chorus would never get out of the brain – it wasn’t until November it started to fade out. An immaculate and memorable song that stands as Trick’s highlight - Drone Strike, Tescoland and Sign of the Times completing the best of the rest. If critics were not hot to the entire album: there was more consistency and love aimed towards Tinfoil Boy. Radio stations could not get enough and it was a clear sign Jamie T had lost none of his surprise and talent. In the cold and wintery days, we need songs like Tinfoil Boy to get us jumping and uplifted. Let’s hope there is another Jamie T album down the line. If he can dispense with his Arctic Monkeys tributes – no qualms about The Clash’s inclusion – and claw back some of that Carry on the Grudge magic – he will gain a foothold atop the mountain. Still a geezer king and mouthpiece of this generation: a successful and busy year for the thirty-year-old. Having revisited Tinfoil Boy, there is a stark danger it will be in my head for the rest of this year – perhaps it can silence the sickly-sweet cloy of Christmas songs. Tinfoil Boy may be my fourth-favourite song of 2016 but it is by far the catchiest.

[youtube https://www.youtube.com/watch?v=TElBPcFIk0E&w=560&h=315]

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Follow Jamie T:

http://jamie-t.com/

 

The album, Trick, is available at:

https://itunes.apple.com/gb/album/trick/id1132752971