TRACK REVIEW: The Rigs - The Hunted

TRACK REVIEW:

 

The Rigs

The Hunted

9.2/10

  The Hunted is available via:

https://www.youtube.com/watch?v=79XXVAkFo8I

GENRE:

Electronic

ORIGIN:

Los Angeles, U.S.A.

The album, World on Fire, is available via:

https://open.spotify.com/album/7552oTDbCvFPlBNpngSrIR

RELEASE DATE:

17th November, 2017

_________

THIS will be the last review of an artist with…

so few photos. That is not a shot at The Rigs – I accepted the review before my New Year’s embargo. That being said; it is nice to take my mind away from London and over to Los Angeles. I vowed to get away from our capital for a bit but, inevitably, the London-based reviews have come my way! This changes now and, in a bit, allow me the chance to talk about Los Angeles and the music of California. I want to return to the parapet of duos and why their connection is unique; a bit about standing out in a competitive market; how The Rigs’ music continues to evolve and strike; ways they could further evolve and stand out; playing in the U.K. – and why this year will be a busy one for them. I do not review albums – I keep telling people this – but I have been interested in The Rigs’ music and how it gets into the head. I will allude to their album, World on Fire, but have highlighted previous single, The Hunted, as the one to focus on. There are so many different and bold tracks on the record: picking one to highlight is hard – the limitations of my own rules, I guess! No matter because, as I shall explain, it is an intense and fascinating track from the L.A. duo. I want to come back to L.A. and why it is an area that continues to fascinate. Last year, several times, I mooted the possibility there are differences between the two big music areas of America: Los Angeles and New York. Historically, New York has always fascinated me more – I find the Hip-Hop and Rap that has come from the state has been stronger and more enduring than anything from the West Coast. L.A., through the years, has managed to rival New York in terms of style, variation and strength. We get that impression (Los Angeles) will be all about sunny music and Electronic sounds. The Rigs, to be fair, prefer their music electronic but, in keeping with the state’s ever-changing motifs; they fuse in other genres and sounds into the palette.

I have never been to L.A. – something to tick off the list for this year – but I know its vivid landscape and amazing people are enough to compel the creative mind and lead to stunning music. London is a fantastic city – as I shall argue later in the day – but it is becoming crowded and, in terms of its music scene; perhaps it lacks the same innovation as somewhere like L.A. Perhaps that is to do with the scenic splendours of Loa Angeles; the space available and the kind of artists playing there right now. The Rigs’ TJ Stafford and Caitlin Parrott have a very immediate and sexual connection. You can feel a passion between them, and so, when they record and perform; there is that understanding and bond. Everything is deep and immersive; the music has a more alluring and complicated quality. I will come to look at that advantage but, in terms of where they are based – I feel New York is starting to lose a bit of headway in the coastal race. I have looked at the five boroughs and the music coming from there and, whilst striking and strident; there are fewer standout artists than previous years. Some fantastic new Hip-Hop artists are intriguing, for sure, but L.A. hooks me with its width, colour and excitement. Other areas of the U.S. – Nashville and Austin – are producing wonderful music: to me, there is nothing quite like L.A. Who knows how the city will progress but, with the likes of The Rigs producing strong and always-changing music; I have no doubt the duo will continue to rise and conquer the city. The fantastic venues (another point I will explore) and a strong neighbourhood mean the music coming from here means it is at the forefront of the musical consciousness.

Great duos have always been on my mind but I feel 2018 will be a big year for them. Solo artists are dominant and, with bands not quite able to exert the same influence as they once did – this year will see smaller formations take some initiative. To me, bands succeed and remain when they produce people-uniting, popular sounds. A lot of the new bands coming from either possess little clout or unable to compel the mind. At times like this, for bands, I want songs that bring the masses together and stray away from the demands of the mainstream: something that gets the voice singing and talks about what is happening in the world. Solo artists and duos do not have that burden. They are able to explore more and, because of that, are proving more popular and mobile. Duos could, in theory, easily succeed. If they tried to force the same aspirations as bands – and go for something big and generic (not all bands sound like this: there are those who differ) – then that could be risky. Most duos, I have found, prefer to stick with electronic-based music. I am not sure why but, I guess, it is harder to produce a proper-full Rock sound or summon the command of a Punk band. Electronic music has a flexibility other genres do not and is free to assimilate all other genres. The Rigs have noted this and, on their debut L.P., sprinkle in all kind of sights and fabrics. It is a fascinating blend and comes with that rich vein of emotion and physicality. There is a very real and urgent relationship from the players. I am not sure what their status is but, when you hear the music; there is a deep understanding and flow that can only come from two people very close and connected.

Duos are either composed of good friends or lovers. That might be true of every act but, compared to bands, there is little wiggle room for anonymity and distance. A duo is like a relationship and, if you do not have complete faith and affection for one another…that will show. Even if it is only friends making music together; you are recording, writing and performing together – and any sign of weakness is more evidence than, say, a four-piece band. Stafford and Parrott could tire of one another and argue for control and influence. Instead; they have a solid foundation and respect and, as writers, are on the same page. Since 2014, the L.A. duo has managed to compel the city and get into the critical mindset. Listening to their album, World on Fire; I can only imagine the recording and writing sessions. It is wonderful hearing them work with each other and weave their magic; bring that intimate and vivacious connection to the forefront. If the music The Rigs was producing was weak and insincere then I would overlook the relationship connection and suggest they were not right for one another. There is a clear and unbreakable chain that unites the two and, when it comes to their music, they allow one another to experiment and express. Another reason why I feel duos will make a stand in 2018 is because of the lacking role of bands. We want to discover a solid unit that can provide a fulsome sound and songs that get into the brain; music that keeps on producing and providing wonder long after you have heard it. There are, I know, some awesome bands but there are few that lack real bite and endurance. Duos seem to feel that gap and, those like The Rigs, can clean up. The guys have the intensity, intelligence and force of a band but, unlike a lot of the groups in the mainstream like now; they want to earn credibility as opposed money and streaming figures – some of the worst lures of modern music.

The Rigs could easily fade into a packed and busy market. Many are noticing the quality of duos and, as a reaction; that is seeing others form and come into the music world. I have mentioned how electronic-formed music forms the basis of most duo music – because it has that nimbleness and chance for endeavour. This is true when you listen to The Rigs. If they were to copy everyone out there then that could lead to a very short career. The fact they have been performing together for four years means there is a demand and need for what they were providing. I am hearing a lot of like-minded duos that are performing variation of Electronic music but are not showing much originality and determination. They seem happy to stay in the rut many have assumed and never think about going any further and making any real impact. This is true of duos in the U.S. and U.K. and I wonder whether one of the biggest shake-ups needs to be quality control and skimming. There are loads of duos and, whilst they are leading the bands; there are so many that do not really resonate and stun. The Rigs have seen the market build and change and, realising how the average duo operates; they have taken a stand and spent much more time on their music. What amazes me is the way you imagine a fully-fledged band when hearing their sounds. It is fulsome and dramatic but, when needed, it dips down and puts the lights out. If they were to produce a one-dimensional sound then that would be foolhardy: the guys take in so many other sounds and always ensure their music is disciplined and on-point. So many other duos throw loads into the mix without thinking about formation, consistency and nuance. I am worried commercial trends – more people lusting after duos – means many are rushing into the market and not considering the importance of quality and depth.

Maybe I am being a bit too severe but, with music being so busy, there are no excuses for taking shortcuts and playing it safe. Up-and-coming bands like Confidence Man are showing duos where they might head. That may seem like a strange angle but, if you listen to their sounds; they are producing music unlike any other four-piece and playing around with electronics. There are a few duos who match their innovation and colourful hues but, for the most part, one gets something more muted and restrained. The Rigs, in their own way, have the expansiveness and quality of Confidence Man but I feel, as their music progresses, they might take on some of their sound. Many might assume The Rigs are a very serious and emotive duo. There is venturing into playful territory but, given the comfort and faith Stafford and Parrott have (with one another); maybe they will explore a fizzier, bubblier brand in the future. I am not trying to lead their career because, as we hear with songs like The Hunted – they are among the most impressive duos out there at the moment. My point is the best and most necessary duos are those who can provide quality and effectiveness without compromising. Of course, you need to grab the ear of the mainstream but not compromise and settle for something easy. Too many in music are bargaining quality and innovation for something muted and unspectacular. There are duos who fail to register - but I feel the best out there are much more affecting and appealing than the best bands around. The Rigs take from the surroundings of L.A. and dip into the past of music. They, I imagine, grew up around an array of artists – one hears that in everything they do. The connection and relationship help but that need to stand out and impress is the strongest facet. Here are artists who do not want to play to small crowds and be seen only as local heroes.

The Rigs’ music has evolved and built since 2014 and I am impressed by that. They could cement a sound and then repeat that for years to come. World on Fire is their debut album but they have produced a couple of mini-albums since their formation. I notice, with each one, you get different influences and aspects. They are such an eclectic duo and, with every move, improve and add new elements. Because of this, the guys have seen their music come to the attention of the T.V. industry. True Blood, Parenthood and Pretty Little Liars are a few shows that have featured their music. That is no small feat and, given the success of these shows; who knows how many people would have heard their tunes?! Their album, produced by Michael Smith, is solid and extraordinary. Smith has worked with the likes of Britney Spears and Kesha but you never get a sense of either artist in The Rigs’ album. There is a big sound and experimentation but nothing bombastic and Pop-based. The music (of The Rigs) goes deeper and has a more enduring and endearing skin. I will allude to certain tracks and their standout characteristics but, with that T.V. exposure and great producer under their belts; you have a duo who have taken steps to outlive and stand aside from their peers. Talent and passion account for their success but making that bold move in terms of producer mean they have a man who has worked with some of music’s best names. Providing his insight and experience into the mix; one gets a combination of young and hungry artists and an older hand. I wonder whether they will work together on future music – or whether this is the only pairing we will see. The production is never too shiny and plastic and, whilst it has sheen and polish here and there; the emphasis is on bringing out the true personalities of The Rigs’ creators. It is a stunning concoction that means every song gets under the skin and has its own identity.

I wonder whether the duo will come to the U.K. because, as I see it; they are on the rise and creating their best music right now. Their debut album is not the first thing we have heard from them, I know. The E.P.s did good business and seen them accrue a band of fans and supporters. Reviewers and journalists are behind them and the California scene is buzzing and responding to their sounds. I am excited to see how far The Rigs can go but, as we are in 2018, I wonder whether they will come over here. I am not sure whether they have played the U.K. – I can do more research, I guess – but it seems natural they would want to appear here. Whilst we do not want President Trump stinking up our country: a trip from The Rigs would be welcomed and much-needed. We have a big and expanding Electronic/Pop scene and duos who would support and play alongside The Rigs. The venues and spaces we have here would put them up so maybe, let’s hope, there is a mini-tour of the U.K. planned. It would be wonderful seeing the guys here and hearing their music in the flesh. Now, with an album out, there is a demand and desire for the music of The Rigs. They will be busy playing their local area but I wonder whether U.S. dates will take precedence. The nation is huge so it is understandable should they want to remain here and cover as much (national) ground as possible. International dates cost a lot of money and it can be quite a struggle affording that kind of ambition. With their music popular with producers and the entertainment industry; I feel there are shows and directors here who would like to experience The Rigs’ music close-up. Let us not get ahead of ourselves and put words in their mouths – I hope they think about us in the months to come…

“They come with bows and arrows” the heroine speaks. It is a chilled and slightly wary vocal that points to possible chase and anxiety. Maybe she is being stalked and love, in all its cruelty, is ready to take a shot. Perhaps it is more a feeling of general unease and the way life can close in. The first few moments see the song exult shimmering synths and a mix of warm and cold. It is a cinematic and rousing introduction that manages to project stir but keep restrained and controlled. The teasing and softer vocals mix with the more spirited instruments to create a juxtaposition. Our girl is the chosen one and hunted; she is being chased and selected for this special ‘honour’. The video sees lovers in bed and, as the heroine awakes; the head is sore and the eyes wary. She touches her man and then, as she gets out of bed, there is a ringing in her head. That might be a niggling doubt but one suspect it is something that has been there for a while. Intangible yet raw and persistent; a voice that resounds in the brain and creates a feeling of stress and worry. I am not sure whether this hunter has discovered infidelity and transgression from the pair – maybe they are cheating or not being as pure as they could be. Perhaps it is the clock of love telling (the heroine) things are going to end. Whatever the origin; you bond with her and the pain she is enduring. That always-soft voice never explodes but, instead, investigates and poses questions. She is being pursued and is not being given time to rest. Why is she being selected and hunted? What does this all mean? Will it end soon? These are considerations that need answers and, as time goes on, that pain and fear come to the surface.

Other songs that appear on World on Fire have a more spirited sense of attack but this is one of the more emotive numbers. The instrumentation creates a storm and sense of drive but it is that impactful and meaningful vocal that stands out. You are brought into the songs troubles and turmoil. Rather than stand aside and plea with the heroine; the listener is motivated to take action and explore. The song gets steamier – the video certainly does! – and, against the bowing and weapon-priming; the lovers are racing and arm-in-arm. Some of the words, unfortunately, get buried in the composition and production. Rather than put the vocal higher up – making them more intelligible and clear – they are drowned, at times, by the electronics. That might be for dramatic effect but it means some of the words get drowned and swallowed. Perhaps that is to create a certain sense balance but it would have been good to pick up a few more of the words. It is a shame because Parrott’s voice is so full of life and contours. It expands and flies as the song progresses and shows the determination to overcome and succeed. The duo’s erotic and passionate kiss – as one sees in the video! – is in the foreground as, behind them, protestors are holding signs and trying to break the glass. That might suggest what the song is about: people not approving of their love and trying to undermine it. The sense of impending violence is there and, with Smith’s production turning the tension all the way to eleven – the listener is compelled and hooked right up to the last note. The closing moments of the song bring in rapturous notes and snarl; the song comes down and those questions and declarations are left there. I wonder whether the sweethearts were afforded peace and whether they managed to evade the chasing hunter. The Hunted is a stunning song that showcases what a tight bond Parrott and Stafford have. They ensure the song remains fascinating and emotive from the first to last – not many artists can do that with such ease!

The Brave is a perfect, carnival-like way to open World on Fire. It is an instant and explosive song that sees Stafford’s vocals howl and build; rapture and explore. Parrott’s alto creeps through and ensures every chorus is bolstered and electrifying. Runaway is a synthy track that has a Pop edge and can be seen as one of the more ‘traditional’ and accessible tracks on the record. Fall or Fly, a standout, sees the duo combine and blend their differing tones into a harmonious whole. It is a sumptuous and emotive track that really does remain in the heart. Exploring issues like broken relationships seems, to them, have a very personal and emotive edge. I know that sounds odd but it seems like, on that song, they are speaking about their own relationship and how close they are. Maybe they have taken from separate relationships but one can see an assessment of The Rigs’ connection and how they are joined together. White Flag – not the Dido song, fortunately! – frames a powerful Parrott vocal that hits their gut and creates one of the biggest emotional reactions on the album. It is a reflective and emotive song that differs from the brighter and physical tracks. That contrast means listeners are enriched more than an album that took a more linear and predictable course. I have summarised the album but that is what one can expect if they delve in. These tracks, mentioned, are among the finest but, to be fair, that is only skimming the surface. World on Fire is a rich and rewarding record that warrants some serious time and attention. Make sure you align yourself to L.A.’s The Rigs and experience the full breadth of their new album. I know the duo will go far and continue to exert influence and produce fantastic music. 2018 has only just begun but, with their album out in the ether a couple of months; attention is still coming and the desire to see them perform is strong. Were they head is up to them - but there is no part of the world who will be…

IMMUNE to their charms.

_______

Follow The Rigs

Official:

https://www.therigsofficial.com/

Facebook:

https://www.facebook.com/therigsofficial

Instagram:

https://www.instagram.com/therigsofficial/

Twitter:

https://twitter.com/therigsofficial

SoundCloud:

https://soundcloud.com/therigsofficial

YouTube:

https://www.youtube.com/channel/UCxVEZAWfCAeGotldk5bbI0w

Spotify:

https://open.spotify.com/artist/4QrBV4OBjd798x3Aov1Yjy

TRACK REVIEW: Natalie Shay - This Feeling

TRACK REVIEW:

 

Natalie Shay

This Feeling

9.3/10

 This Feeling is available via:

https://soundcloud.com/natalieshay/this-feeling-natalie-shay

GENRE:

Indie

ORIGIN:

London, U.K.

RELEASE DATE:

19th January, 2018

_________

I am determined to get this year kicked off…

PHOTO CREDIT: @elsiematilda

with some great female artists on these pages. That is not a measure of reverse-sexism or a need to cater needlessly. I am excited by the variation of talent around and, when it comes to excitement, passion and quality – it is the female artists who are sticking in my head. I will talk about Natalie Shay and her latest track very soon but, right now, I wanted to explore a few subjects. I will return to a couple of topics I investigated last year: artists with a mix of classical training and music school education; young female artists and growing up in a pulsing city. I will look at artists who defy convention and expectation; musicians who get to share the stage with bigger artists (another theme that has been on here); grasping opportunities and the results that come from a confident and electric performance; talking about love and desire in a very fresh way – why 2018 will be a very successful one for Shay. I am excited seeing her release music because, looking back, she has had a very productive and successful career. Still a teen; many would forgive her for taking an easy route and performing music that did not stretch the mind too much. It is interesting, as I will explore later today, whether new artists/music-curious are picking up instruments and really interested in music. I have heard reports the traditional music shop is in decline. Some might report sales increase but I wonder whether the Internet is taking over? By that, I mean people are either buying instruments online or finding software that replicates them. There seems to be a drive away from the old-fashioned method of going to a shop, playing instruments in-store and buying them. I fear music, in many ways, will become more insular and turn to electronics (and instruments that can be replicated electronically). I mention it because, if we want to encourage the best new musicians to come through; one would feel the visibility of music shops should be a high priority. It might be a hard problem to fix but I know there are those who prefer the older ways; bond with music’s traditions and are not willing to recklessly forgo everything older for the brand-new. Natalie Shay is someone who could easily cling to the electronic revolution and have her music processed and machine-made. That is not the case: her songs employ as many live instruments as possible; get the room buzzing with a collection of musicians.

That brings me, rather un-neatly – I shall continue with my subject soon… - to the musicians of the past who should be cherished and remembered. I was writing a piece about Steely Dan yesterday – and their debut album, Can’t Buy a Thrill – and vacillated at the musicianship rife throughout. The sumptuousness and incredible physicality of the record blew me away. There are artists today who project the same ambitions and affinity to players (as Steely Dan) but, as I get more involved with popular music – I wonder whether it is too expensive, time-consuming and difficult? Natalie Shay is someone, one suspects, grew up in a household when some serious vinyl was being played; some legendary artists filled her young ears – mixing that alongside the more commercial Pop artists of the day. That is the same as me and I can always tell, deep down, when an artist has been brought up ‘right’. That leads me, again, un-neatly, to the theme of education. Shay was taught the guitar as young as five and, whether motivated by visions of heroic musicians or urged by her parents to foster a gift – she bonded with music as a child and was determined to make that her career. It is always wondrous seeing someone so young, with a precocious talent, have that clarity and determination. It is the envy of many (myself included) when things are crystallised. I am always fearful of artists who go to music schools and want to follow in the footsteps of Adele and Ed Sheeran. I have nothing against these artists – in terms of their place in the industry – but I worry they (fans) are chasing money and want to be commercial. One of the problems with those artists is they are reduced to figures and honours. It is all about Spotify figures, records and chart sales: nothing is spoken about the training, work-rate and music itself. Those who go to music schools to cultivate their talent and actually learn music are the ones I support most – and have a wariness to the percentage who want that commercial success and get a lot of cash in the pocket. When I say the BRIT School on her C.V. I took a step back and wondered: was her attendance motivated by a need to follow the likes of Jessie J, Adele and the like?! I do not mean to put them down but I consider their talents limited when you look at some of the other artists out there. They (BRIT School alumni) have a more mainstream edge that lacks real depth. Luckily, considering her classical training, you get an artist who, I suspect admires those artists, but does not sound like them.

Instead, with Natalie Shay, you have someone who has taken from the facility and learned all she could. Rather than copy them and aim for that chart-ready sound: what you get is an artist who aims for absolute quality but has one ear for the demands of the mainstream. I have hopes, unlike some of the graduates from the BRIT School; she will push against rigid commercialism and easy sounds; go beyond the obvious and appeal to a broader, more appraling demographic. Shay has learned a lot – and continues to do so – and would have gained insight and training from some fantastic tutors. The most effective way to build a solid and promising career, I feel, is to have that majority desire for instruments and unschooled objectivity and supplement that with a music school. That way, you get the best of both worlds but, when it comes to it, are driven by a desire to inspire and change music – rather than own Spotify and rake in streaming records! Natalie Shay is already making dents in the music landscape and, at nineteen, is facing the pressures impressively. The BRIT School teaches artists to adapt to the social responsibilities of music and stand on their own two feet; to go into the world with that knowledge and passion stoked. Shay has learned a lot and, with the schooling she has under her belt, is based in a wonderful city. It can be hard adopting the London life and living with the constant pressure and rush. Whilst it can be hard to deal with the rush of people and the sheer volume of the place: the amount of venues and musicians playing means there is always something to do; always somewhere to play. With the BRIT School coda and ethics ringing in her ears; Shay has bonded with artists in London and taking advantage of the opportunities put before her. Among the venues she has already played there is The Roundhouse; Ronnie Scott’s Jazz Club and Brooklyn Bowl.

There are a lot of stunning venues in the capital but few artists get to play them. The competition is high but, with Natalie Shay’s talent and desire hot; she has won awards – The Guardian’s Music Award and Best Undiscovered Talent (London Music Award) – and gained acclaim. Whilst I have stated I am not adverse to what the likes of Ed Sheeran; I always worry when artists/P.R. companies put his name alongside someone like Natalie Shay. They are entitled to – as she is entitled to like him – but there are so few comparisons between the artists. Aside from the inevitable, and slightly depressive, mention of iTunes chart success (never a mark of true credibility and depth); the teenage musician has her own path and is distinct from the likes of Sheeran – I really wish artists/organisations would stop mentioning his name as a mark of quality/what music is! I shall not rant about Sheeran and what he stands for but, if you look at how he came into music; he started at humble lows. He busked and struggled for gigs and, when thinking of Shay; she has not exactly had everything handed to her on a plate. The effort she has expended, and the gigs she has performed, means the rewards have come. There is no plangent strumming and bland Pop songs with Natalie Shay: she is a colourful and eclectic artist who appeals to people like me - those who grew up with the best music and rebel against the worst traits of the mainstream. Natalie Shay prides herself on the live instrumentation and authenticity of her music. I feel London has played a part in that. The urgency of the city, and the great live music one sees daily, has got into her bloodstream and affected her. I shall move on but, with London before her, the young songwriter has embraced the challenges and obstacles. There is so much about Natalie Shay that defies my perceptions of what a modern Indie/Pop artist is all about.

I have mentioned how, with that BRIT School education, she might be a generic chart act who will not stay in the mind years from now. There are few modern artists who have the potency to create nuance and durability. One could look at a young and beautiful female artist and feel, in terms of sound, they will be another lightweight artist who aims for the chart positions – refuting anything challenging and taking risks in the industry. Natalie Shay has subverted perceptions of what a young songwriter now is all about. That early affinity with music has given her a hunger for success and credibility. The individuality of Shay means she does not remind you of other artists; there is not that feeling she is in things for fame and money; the mind bonds with a real musician who has gained the ear of some of the music world’s biggest names. Whatever you attribute it down to; you cannot deny the hard work and endless graft of Shay has got her where she is today. The quality on display comes from the lessons learned in the live environment; the artists she was raised on; the teaching she has received – and the artists she has shared the stage with. Soul II Soul, JP Cooper and Glen Matlock are a few of the names Natalie Shay has shared a stage with. Those are some varied and extraordinary names, for sure! Not only has Natalie Shay shared the stage with big names; she has been inspired by the work of Sundara Karma – and had music produced by Pete Dowsett (The Vaccines). I have a sense of regret and pain big artists get to gig alongside legendary artists. I often feel they have only earned that right because they are successful and popular – rather than good and worthy. Natalie Shay has earned her honours because of the way she attacks music and the authenticity she puts into every note.

I worry when certain artists go into music with a limited soundscape. Their lyrics are all about love but each line has a cliché, generic feel. There is no real excuse for taking a lazy and limited approach to music. There are too many dead-headed writers who witlessly write about relationships and provide nothing more than plaintive guitars and bland production. This year, as we are seeing, there is a prediction: the Pop market will replace the more sterile and commercial sounds with something a bit more expansive, rich and original. There are tipped artists who will come through and splice genres into a more colourless pot; break conventions and shake things up. Natalie Shay has taken opportunities and has the great live reputation. People have bonded with her and come to her shows to be moved and affected. I am keen to promote those great live performers who put the audience in the palm of their hand and do something exceptional. That is the case with Natalie Shay. She has been playing for a few years now but, as new material comes out, it seems to strengthen her performance skills. There is a close relationship between the live performance and studio recording. Shay has learned a lot from gigs and put that into her new material. Likewise; when she has a song out in the ether; the demand goes up and that confidence boost produces more gigs – and that experience compels and improves the next release. I mentioned how Shay prides instruments and a live-sounding and making her music as real and tangible as possible. Another reason she has accrued a great reputation is the way she approaches love and common themes. She does not, on This Feeling, employ tropes and stereotypes. The song is about the passionate desire one has for someone – we can all relate to that feeling. It would be hard, therefore, to project a song that spoke to the individual. That overriding and inescapable passion is unique to everyone; it is a complicated set of emotions with that one core: to get what you crave and keep it safe.

PHOTO CREDIT: Grace Benita Photography

I will come to the song in a minute but, looking at the layers and sides of Natalie Shay; it would be easy to predict and put her in a box. I have mentioned how some get the impression (some people) look at a young female artist and consider them ingénue, attractive and shallow – not able to offer any real quality and remembrance. Those are not my feelings but one does see a lot of that in music. It is an attitude that needs to change. Whether you feel all female artists with a certain look/sound are going to sound the same; not produce the same energy and strike as the men – there is sexism still present and it is something we need to eradicate. Natalie Shay’s raw vocals have soulfulness to them and manage to balance bigger artists like Adele with more credible acts like Amy Winehouse. The punchy drums and gritty guitars have electricity and body; the songs are superbly produced and the songwriting is consistently strong. This Feeling is a song that, days after its release, has gained a lot of praise and love. It is the strongest offering from the songwriter and will lead to more material. This year will see her build her foundations and gain huge applause. I am excited by what is to come because Natalie Shay is an artist that does not fit into conventional holes. She can balance the needs of the mainstream/commercial outlets but has the personality and underground-hero vibe that will appeal to those who prefer their artists less mainstream and more authentic. That ability to reach all the people is what will see her grow and reach new heights this year.

This Feeling does not start the way you’d expect! Rather than a very Pop-minded strum or a calm breeze; the song teases and beckons you in. There are faint chords and electricity suggested. One gets the hint a storm is on its way but not exactly sure when. The percussion and guitars unite and there is a race afoot. The beats stiffen and then pound; the guitars ramble and climb. Although the hero is not by her side; he is with her and taking her a long way. Mathematical equations and terminology is used to describe a relationship/imminent bond that is going through some trials. Maybe the lovers have been together for a while but it seems they are apart now. The heroine’s voice is pumped and passionate as she keeps time with the composition. The song has blood-rush strength and swagger that manages to employ some mainstream strands (big production and anthemic appeal) but the lyrics and vocals go a lot further. The wording is original and bold; you get a sense of a mercurial mind who approaches love in a different and fresh way. The entire composition is a huge and epic thing. There are light and spacey notes that melt inside the stringent beats and swelling guitars. You are compelled to move alongside the music and get involved with the sheer physicality of it. Buoyed by the passionate flames that burn through; the chorus sticks in the mind. It is about the feeling of love and hot desire and how it remains strong. Things are more complex than that. You can put love in the cold or go through challenging times but that overarching sense of desire and love comes out. I listen to the song and feel it is a lot more personal than it is commercial. The first-half of the song makes its mark and gets the feet and arms moving. You are bonded to the electricity and energy of the composition – you also start to imagine where the song came from.

I know we all go through love and pining but there is something special about This Feeling. Shay explores the gambles of love and how it can be unpredictable. She urges the boy to take a chance on her and ignore the usual pitfalls. It is hard to explicitly understand where she comes from – as each experience is different – but the determination and force one gets from the vocals hooks you in. There is never a moment when the song comes down and descends into dreary territory. Many might say that endless pressure and sound is a desire to get to stadiums and into the charts. Maybe that is true of some artists but Natalie Shay is a musician who places credibility and inspiration above commercial demands. You get sucked into the wonder and sheer vitality of the music; it is singalong and anthem-promising but has that quality and nuance. You want to listen to it after the first spin and know it will not evade the memory. Anyone who cynically feels the big chorus and edgings towards Pop means it is aimed at a certain market. This Feeling is not a song for the traditional Pop market. The dominance of Indie/Alternative sounds mean it goes much further and will appeal to those who have their ear attuned to the more credible side of the dial. By the final notes of the song; you still have the chorus ringing in the ears and have the vocals resounding in the heart. It is a solid and impressive song from an artist who has made improvements and steps – whilst retaining her sound and personality. It is going to be wonderful seeing how she grows and where her music goes from here.

I am confident Natalie Shay will grow as a performer and gain huge success in 2018. She has already gained a lot of ground and shared the stage with some big names. The BRIT School education has prepared her for life in music; the ability to cope with the pressure and some useful networking skills. The teaching she has gained, too, has collaborated with her childhood passion and knowledge. The skilled musician could have taken an easy approach to lyrics. Rather than pander to the needs of the mainstream charts; she has followed a personal path and done things her own way. In a year when the unique and pioneering artists will take a stand: it is a perfect time for Shay to come through and clean up. This Feeling is a song that sets out her stall and shows what a talent she is. I know there will be more gigs and, the better local reputation she gains; the more demanding venues from other parts of the country will be. I would love to see her tour widely and bring her music to other parts of the nation. London gets a lot of credit and focus but there is a rich music scene throughout the U.K. Plenty of people would leap at the opportunity to see her play near them and get that first-hand, close-up experience. She is still young but, in the past year or so, has managed to stick in the heart and make an impact. It is hard to say how far she can go but you only need to listen to This Feeling and you know 2018 will be a very strong and successful one for Shay. Make an effort to get involved with her music and dig deep into her catalogue. It is still early days for Natalie Shay but the development and material I have heard suggests she is here for the long-run. Each song has its own vibe but all the material is defined by quality, personality and depth. I have mentioned that word (‘depth’) a lot but I do so with good reason. There are few songwriters that manage to create songs that stay in the mind and compel you to keep coming back. Natalie Shay is one such musician and someone who has a lot more to say. This Feeling might take some time to embed in certain people’s brains but, give it enough time and you will…

FALL in love with it.

_______

Follow Natalie Shay

Official:

http://www.natalieshay.co.uk/

Facebook:

https://www.facebook.com/NatalieShayMusic/

Instagram:

https://www.instagram.com/natalieshaymusic/

Twitter:

https://twitter.com/natalieshay_

SoundCloud:

https://soundcloud.com/natalieshay

YouTube:

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

Spotify:

https://open.spotify.com/artist/6pDapjUwN36LXMdYk0WKuQ?autoplay=true

TRACK REVIEW: MALORY - Nuclear Brandy

TRACK REVIEW:

 

MALORY

 Nuclear Brandy

9.6/10

 Nuclear Brandy is available via:

https://soundcloud.com/malory-official/nuclearbrandy

ORIGIN:

London, U.K.

GENRE:

Alternative-Pop

RELEASE DATE:

15th November, 2017

_________

YOU need only look at the title of MALORY’s latest song…

before bad memories and visions come flashing into the mind (the hangovers of recent celebration)! I will talk about titles and visuals in a minute but, right now; a hint at some trends and scenes that will define 2018; bonding with producers/others; getting big names before you; making your identity seen in a packed market; how to keep momentum going – and why I am focusing on female Pop artists for the first reviews this year. I said, last year, I would stray away from London and concentrate more on the North. My sights are definitely set on areas like Manchester but, as the year begins; the artists from the capital are pitching and shouting loud. MALORY’s latest single arrived at the latter stages of last year but she is already making waves and plans for the coming weeks. There is nothing to suggest northern artists will not take ground and make a big stand in 2018. I am hopeful the balance will shift and there will be a greater movement away from London and up to the North. I will talk, actually, about that now and why I am in London now. MALORY is an artist drawn to the city and compelled by all the colours and vibrations one finds. I am drawn to it and fascinated by all the mix of people and the variations you can discover. It is the place a lot of musicians go to find that spark and get their music heard. MALORY stands out because of the way she evolves her music – I will come to that later. Whilst I hope MALORY performs in the North this year; I know London is a place where her creative juices can flow. Although there are some great artists doing work in other genres; I am looking at the alternative vibes of Pop and seeing what is happening right now.

Pop is going to take a big slice of the pie and it is interesting seeing how the genre will shape and develop. Last year, there was that mainstream dominance and need to foster the traditional, unerring themes that have persisted for a long time. Of course, there were some great songs and original angles but there was not a big explosion to suggest things will change. The likes of MALORY suggest things are changing. There is an appreciation of the mainstream and popular tastes – in her sounds – but much more identity and intelligence than most music. One gets big production and radio-friendly swing but overriding everything is a determination and innovation impressive to see. Female artists have, in my mind, always provided more depth and beauty than their male counterparts. In modern Pop; the way female musicians are fusing other genres and sounds into the pot is deeply impressive. MALORY is someone who picks up little shades here and there and knits them into her own quilt. She knows what it takes to fit into the mainstream but realises how a fresh and unique dynamic will get her there quicker. There are too many who throw in a plastic song with aimless hooks and generic choruses – without realising that will only appeal for a short time. The songs that resonate and persist take risks and challenge the mind. London, in a way, is more practical and better suited (compared to the North) for modern Pop artists. Areas like Manchester have some great Rock/Alternative acts but London seems to be the place the hottest new Pop/Alternative-Pop acts are performing. Not only can the primed and hot youngster make a stand and inspire people: her music has that special ingredient that is hard to put the finger on. I have been looking around music for artists who will remain in the mind and compel me to remain with them. I hear great artists who have a brilliant sound but it starts to distil after a while. MALORY is flexible and creative enough so she can retain her identity and focus but change her style and lyrics between tracks. That means there is always something fresh and intriguing for the listener.

Titles and visuals are an interwoven and integral part of music. I ranted enough about photos last year – how few artists have them available; how music is a visual medium – and why acts who do not consider visuals will struggle to get attention. As a journalist; I look for acts that have an appreciation of the visual side of music and put out regular photos. MALORY has great press photos for Nuclear Brandy that demonstrate what the song is about and stand in the mind. Her previous single, Rapture, has its own look and style; the switch and change between songs extend beyond sound and influence – the visual aspect of each has its own skin. I love artists who throw themselves into photos and create something imaginative. I will come to this more in the conclusion but, if one can hone and create a great song-title; that can open the window in terms of visual creativity. I am hooked and interested in titles and wonder how much effort artists expend with regards the wording. Rapture has that familiarity to it, I guess – Blondie is a band who has that title in back-catalogue – but Nuclear Brandy is very much its own beast! I look at a title like that and am already interested and compelled to dig deeper. What amazes me is the title is not the only interesting thing about the song. The music is deep and interesting; the words are clever and simple at the same time. It is down to the listener to project their own images but the song has a physical and instant sound. MALORY creates that title and, when one sees the images of her swigging from a brandy bottle; you trip into your own mind and imagines what is to come. The song, as I will investigate, is not simply about alcoholic dysfunction and disorder. The Stranger Things-meets-Blast from the Past story of two lovers caught in a 1950s post-apocalyptic bunker is not your average tale! One would see the photos and press images and assume it was going to be a hangover story.

The pictures suggest revelry and chaos; a certain abandonment and reckless side of youth. Given the approaching Christmas and New Year – when the song was being conceived – maybe that was a sign of what was to come. Instead, and what makes it stand out, is the fact you have those impressions going in and are subverted. That is one of the reasons why modern Pop female are interesting: there is more energy and intellect expended when it comes to their stories and lyrics. A lot of modern artists are writing about love and relationships in a very rigid and boring way. That has been the case for a while but I wonder whether the scene is getting too hung up on commercial avenues and predictable songs. MALORY is part of the new breed that goes the extra-mile and pens something wonderful. The 1950s-set story and the brilliantly candid images make her pop and burst from the page. That sensation is continued from the speakers and, when one thinks about it; it is not only her titles that stand out. The whole story and nature of the song emanate from a daring and bold voice in music. It is hard and a gamble projecting something original and fresh and get into the heads of popular radio stations. Even though things are changing; there is that demand for accessible and common sounds. MALORY knows this and has taken the risk, regardless. Her upbringing, musical tastes and influences have guided her own style; she knows the best artists go against the pack – there is that huge possibility things can wrong and people will not react. The reason MALORY has succeeded and is getting acclaim is the fact she covers all the bases. The music and lyrics are fantastic; the images and look is striking and fresh; the production is incredible. An artist who has a lot more to say and sense of desire – this will be rewarded in a very productive and promising in 2018.

Jamie Evans is the studio wizard much on-demand and has been picked up by a lot of artists. I was watching a film about The Beatles last night (Ron Howard directing) and it looked at the way the band evolved and grew. From the leather jacket-clad scruffs to the suited Pop band who changed the world. It was not only the music and genius of the boys that got them that far: it took an outside voice and another body to help get the music promoted and the look just so. I am not saying there are connections in terms of sound – nobody will ever match the heights of The Beatles – but the way the guys were inspired by Brian Epstein (their manager) and producer George Martin got them from local hero status to the platform of rulers. Evans has taken the terrific ammunition from MALORY and helped load, lock and shoot. The way he has brought out little angles and suggestions from the music; his own impressions have gone into the palette and there is that close bond between artist and producer. I am not suggesting Evans has taken over and is the dominant force – MALORY is very much in command – but the hook-up has worked wonders. It is a fresh perspective and the trust between them shows. If she had self-produced or gone with another producer; maybe the song would lack that magic and intoxicating. Nuclear Brandy, on paper, is a challenging song with a lot going on and so much detail. Getting that right and ensuring it all hangs together is not as easy as one might envisage. It takes a lot of care to ensure the lyrics flow and the vocals stand out. The song relies on the dynamism of the composition and the production has to ensure things are crisp and clean – without being too polished and commercial. On top of that; the artist needs to feel comfortable and free to express their own thoughts.

The two have worked closely and concocted something heady and scintillating. The distorted synths and melodic stabs parabond with tribal drums and beautiful vocals. Evans and MALORY have that professional friendship and respect for one another. I can only imagine the conversations that occurred during the recording. The same way the hungry and excited Beatles rocked up and wanted to change things: there is that agility and excitement in MALORY. She has found a producer who recognises the immense talent and vision and has managed to channel and hone that into something remarkable. The natural talent of MALORY blends into Evans’ experience and affinity. I hope they work together again because, when one finds that free and easy relationship; that is not something that should pass by. I am not certain whether there is an E.P. coming in the approaching weeks but let’s hope MALORY and Jamie Evans continue to work together. The reason MALORY has managed to grab the hearts of producers and the public is the fact she wants to deliver music that has its own skin and colours. That words ('colour') seems rather pertinent when it comes to her sounds. It might sound a bit odd and pretentious if one associated songs with certain shades and tones. One might assume there is a bit too much brandy being consumed when talking about purples and greens. Those are the colours that define the new track. If Rapture was, in MALORY’s own words, blacks and reds; this is a more positive and colourful approach. The black-and-red motif might suggest blackjack, gamble and hatred. It is interesting because, when we see colours put together (I know, technically, black is not a colour…) each of us has our own views. We could think of cards and casinos; bloodshed and depression; newspapers and the media (that old joke about what is black-and-white and read all over…) or something to do with the heart – the redness being darkened by impurity. It is harder to broaden when it comes to purples and greens.

There are easier couplings with red and black: green and purple do not sit together as easily so it is interesting finding out why MALORY suggest those colours. I guess there is less to do with the thematic associations and emotions: it is about the sound and something more adventurous, free and less suffocated. It is more welcoming but, I guess, complicated at the same time. It is something to dissect; that is for sure. I have listed to Nuclear Brandy a lot and can hear suggestions of love and togetherness against the possibility of destruction and dissolving hopes. That seems very appropriate for a time when it seems like we are all living in a bunker. If the song is a post-apocalyptic look at past decades: now, we are at a time when the button can go off and the world can change in a heartbeat. That constant fear and nervousness is not something the globe has witnessed since the Cold War – back in the 1950s and 1960s. That battle between communism and capitalism; the division and not knowing whether a bomb was going to be dropped. Now; we have two made leaders baiting one another with no real reason. There is not an ideological imperative or a struggle for power. It is petulant and immature personalities boasting, fighting and poking – almost like two guys at a urinal comparing penis sizes! Green is envy and jealousy; purple suggest flowers and something romantic. Purple is a secondary colour of blue and red - so depression, love and blood can stem from that. A greenish-brown comes from mixing green and purple. That provokes other possibilities but I am pleased MALORY uses colours to define her music. I wonder what colours will come from her next track?! Will we see oranges and pinks? Will there be a brew of white and yellow? Nobody can tell but that, in a way, makes it easy thinking about songs. If you have an idea of colour and scheme; that can get the mind working and lead to something different.

ARTWORK CREDIT: Taylor Torr

I have gone off-track a bit but Jamie Evans, knowing how MALORY works, has helped paint the room and get the colours on the wall. That means we get a very imaginative and detailed song that comes to life from the very off. Before I come to look at the song itself; I wanted to look at why it is important to get music out to the big names. MALORY has struck the heart of tastemakers like Chris Hawkins, Sir Terry Wogan and John Kennedy. The great taste and influence of these D.J.s should not be taken for granted. Wogan might be gone but he knew a great artist when he heard one! The current influencers are not here to suggest commercial acts who are easy on the mind – they do not challenge it – and do things like everyone else! They look for something special that will remain in the mind and public consciousness. It is hard knowing what D.J.s and critics want but, looking at MALORY; she has managed to strike a chord with a broad taste and mindset. I have been looking ahead and wondering what it is that will define 2018. I mentioned Pop and how it will transform; why female artists are going to take more of the acclaim. MALORY has her own voice but she follows in the footsteps of innovative artists that have managed to change the face of music. I love the way she fuses sounds and takes a different approach to lyrics. It is no surprise prolific D.J.s have taken her to heart and realises what a potential force she is. That acclaim and kudos have reached The 405 and Metro; it has got the Radio X and BBC Radio 2. The momentum she got from Rapture has continued and, with Nuclear Brandy, more eyes and ears are trained her way.

Not only has MALORY got the ear of D.J.s and tastemakers there; she has supported George Ezra and played BBC Introducing Hype Park. The twenty-three-year-old has made big moves already and is not taking it for granted. It is a great time for her and I expect that love to expand as we go through the year. Who can say what the mainstream wants but, from polls and articles; I feel there is going to be that desire for intelligent and new Pop artists. Something colourful, bright and inventive is required at a time when we are still pushing generic and commercial sounds. MALORY will get more bodies behind her and see her stock rise. That will take her to new places and I cannot wait to see how far she can go. The fact she has some big names behind her should give her the confidence to keep recording and experiment. She has something that gets into the mind and creates fascination. She does not need to conform and change anything about her music. What I feel will happen is a slight tweak when it comes to production. Jamie Evans has brought something unique from the music. I hope they work together and, when it comes to the studio, push technology and fuse new ideas into the pot. The vocals and lyrics are sublime; the colours and visuals are perfect. The studio and sonics will be the only changes, I feel, as we progress through the year. Female Pop artists will be a big currency because they are daring and looking to get their name out there. There is sexism in the industry so the need to get acclaim and not be overlooked is paramount. That will manifest in huge sounds and some of the most inventive and nuanced tracks we have heard in years. I am confident MALORY will be among the chasing-pack and defining where music is heading.

The initial seconds are cosmic and transporting. It is like aliens are communication and satellites tuning; machines translating and electronic notes reaching out to the stars. I listen to the mad-for-it beats come into the fray and back the balletic and nimble vocals. I hear bits of Tori Amos, Kate Bush and Björk in the delivery and style. MALORY has her own brand but I can detect the influence of these artists. The same beguiling mixture of sweetness and passion; the way the voice skips and contorts – ensuring the words get straight into the heart and head. It seems the heroine is witnessing a dead-end town where people are going underground. Rather than a literal underground: the people seem confined to narrow ambitions and their normal way of things. It is a rather placid and unimaginative routine that numbs the soul and fails to foster any sense of hope. MALORY can see this and discover the folk who are not quite what they seem. There are paranoid liars and those tying up their two left feet; a sense of unease and idiocy that might extend beyond suburban confines. I am, as I can imagine MALORY is/was, living in an area of the country where minds are not exactly sharp and there are no dreamers – people who want to be exciting or have any real hope. We look at news stories of impending doom and think the inevitability of destruction is not as bad as the boredom and horror of a suburban life. Even though Nuclear Brandy has its heart back in the 1950s; the lovers and observers of the track seem to connect directly with the present. The young songwriter has cast her mind back but, in many ways, has one part of her brain in the current climate. I was fascinated diving into the words and the sort of visions. Maybe there is a sense of people wanting to retreat and hide from life. They are doing that without provocation and destruction: squirreled and sequestered from anything vaguely interesting.

Perhaps the overarching mantra is getting out of that toxicity and brain-dead boredom. The people are outside sipping on the lethal nectar; the candy is being eaten and the teeth chipped – the words swoon, fly and hum. Building in some backing vocals to emphasise certain points makes the song an endlessly inventive, romantic and pioneering song. They may sound like odd words to use but I immerse myself in the beauty and am helpless to resist the charms coming through. The production heightens every note and brings certain instrumental elements to the fore. Nuclear Brandy continues to work the mind and get the imagination conspiring. The beats start and stop; there are twinkling notes and the song seems to go through phases. It is a restless thing that has an anxiety and desire to change. Colours are fading to grey and the lovers dance for one another. Maybe they are trapped and feel constrained by their environment. There are so few options and places to go; uninspired and trapped by the unadventurous and disengaged nature of the people. The landscape is not compelling any drive and I can feel the heroine desperate to embrace something real and promising. There is a bliss hiding out below and, perhaps, escaping from the worst of it. Maybe there is that comfort in being in a rut and not having to engage with an exciting world: perhaps it is the proximity of the city and the way we can all get there and run from the miasma of the suburban lifestyle. The sirens blare and the flowers “never die” – we’ll “always smell the roses”, it is said. That contrast between the beige and boring; to the vibrant and vivacious; the bunker-life safety and the need to run from it and go to a more promising environment. I can relate and many can connect with the depression and lifelessness that comes from living somewhere closeted and limited. By the end of the song; you are provoked to listener again – there is a lot going on and it has that addictive quality. Not only does Nuclear Brandy get you thinking and considering your own life; there is an instant weight and authority that means the song gets right into the head and stays there. You will be singing the track and taking it wherever you go.

MALORY has made big statements with Rapture and Nuclear Brandy. I am excited seeing where she goes from here and whether more material will arrive. I feel an E.P. is the next step and a way to get a body of work out there. The singles have gained radioplay and opportunity but, from here, there is a chance to make a big leap. The momentum is with her and there are many making predictions. I feel MALORY will mix it with the biggest newcomers and lead the charge of female Pop songwriters. There will be gigs around London but I feel a larger remit is on the cards. She will get to other parts of the country and take the music further North. The current single has that imagery of suburban life and whether it is worse than nuclear fall-out – the way it deadens the mind and people learning to die; rather than learning to live. It is a viewpoint and reality we can bond with and, in the song, that last cocktail, the nuclear brandy blend, is the way out. Rather than succumb to that miserable eventuality; getting out and doing something in life is essential – making a break and doing something exciting is key. I get that from the song and can certainly appreciate the sentiment. Many will also relate and, when MALORY starts touring again; many will flock to see her. I know she has a date at The Finsbury on 19th February; where she will be playing alongside some incredible new talent. Check her Facebook page for that information and make sure you get down there! It is going to be a great year for her and I, for one, cannot wait to see how far she goes! The music already out there proves there is nobody quite like her. Nuclear Brandy blows the mind and, whether you capitalise her name (I chose ‘MALORY’), she stands out and is someone who will not pass by the biggest tastemakers. She’ll hit the road, record new music and prove how in-demand her music is. Even though we are only just in January; I am confident we are listening to an artist who can be…

ONE of 2018’s breakaway stars!

_______

Follow MALORY

Facebook:

https://www.facebook.com/maloryofficial/

Instagram:

https://www.instagram.com/maloryofficial/

Twitter:

https://twitter.com/maloryofficial

SoundCloud:

https://soundcloud.com/malory-official

YouTube:

https://www.youtube.com/channel/UCZZsrK19ss3bCTVnN3iuo1Q

Spotify:

https://open.spotify.com/artist/7lvI3xLIepHdLT85UbGWmi

TRACK REVIEW: Control of the Going: Love You More

TRACK REVIEW:

 

Control of the Going

 Love You More

9.3/10

Love You More is available via:

https://open.spotify.com/album/5px18PDv2WCbWFuDcW5b0v

GENRES:

Alternative-Rock; Psychadelia

ORIGIN:

Manchester, U.K.

RELEASE DATE:

8th December, 2017

The album, I Love You But It’s Going to Rain, is available from 23rd February, 2018

LABELS: 

Sister9; Cargo Records

_________

THIS is my final review of the year…

so it is a good opportunity to mention a band I think will do some great things in 2018. Control of the Going, with that odd name, intrigue me with their approach, music and make-up. I will talk about the guys’ new music soon but, right now, I wanted to look at bands and whether next year is going to be a more successful one (for them); Manchester and why focus should be placed there; mixing Rock and Psychedelic sounds together; interesting promotional ideas; the debut album and why it is such an important thing; why music needs to embrace those who have the passion and energy to succeed; getting music to the American market early on – and how that can make a big difference. I have been a bit reluctant to promote bands this year because the solo artists have been having such a good one. I am looking at what is out in the mainstream and not really blown away by anyone. I have been banging on about IDLES and Wolf Alice – but they have been going for a couple of years, at least. I have been approached by a lot of bands but it is the solo artists that have made the biggest dent. The solo artist has the freedom to express themselves how they wish and are more flexible with regards sound and mixtures. I feel bands are more rigid and have to adapt to a prescribed sound. Many are going for a Rock/Alternative sound that fits into the mainstream whilst others are mixing genres without much success. I am not saying all bands are worth ignoring but it is an easier life for solo acts/duos etc. I feel they can play Hip-Hop, Electro or Pop without having to compromise too much. With that being said; I have heard a lot of promise coming from various corners and hope there are some terrific bands shaping up to make 2018 a fantastic one!

Control of the Going are a group that have the promise and ammunition to make a dent and impression on the scene. There has been a call to promote good solo music and ensure genres like Hip-Hop and Rap are giving more exposure. Pop has been transforming and a lot of the heat has been put on the commercial artists. This means new bands have not really had much of a say and we have seen little to suggest mainstream bands can challenge the established order. Efforts from Foo Fighters, Arcade Fire and U2 have been quite disappointing; records from Queens of the Stone Age and The xx have fared better. The majority of the most-celebrated albums of this year have been from sole artists. Everyone from St. Vincent and Lorde through to Thundercat and Sampha have produced stunning work. Maybe it is the lack of inspiration from bands or the changing demands of the public. The only way the new breed of bands are going to get fired up and compel is if they have guidance and support from the mainstream. Control of the Going have been looking around and sourcing from the coolest, most credible and pioneering bands around. They take from the past but, above all, have stepped away from the predictable path and created a song that is all their own. I think too many bands are replicating what is already out there – that is leaving people cold and meaning solo artists get a bigger say. The Manchester-based band has taken the trouble to sprinkle original elements into the mix and have been playing a lot of gigs. All of this honing and performance means their material is solid, tight and deep. I feel they can get to the mainstream and, whilst it might take a couple more years; they are going to inspire others are settle very well there.

It is hardly a surprise I am excited to see a Manchester band come through. I have written pieces about the city before and have been keen to explore the acts from there. Everyone from False Advertising to Pale Waves are adding their own magic and angles to the rich Manchester scene. I feel London has been getting a big say and we have centralised and localised the music industry. What annoys me is the assumption that, because most of the big labels and radio stations are down here; that means all the best artists should be. It is not the olden days anymore: radio stations can broadcast further than a few miles and we have communication tools that allow us to listen to artists from Manchester and other parts – that means influential stations in London can hear that music and play it. I have also talked about Glasgow and Leeds: other cities that are making incredible music and should gain more focus. Manchester has been inspiring and world-class since the 1980s. The legends like Joy Division and The Smiths; The Stone Roses and other 1980s local folk inspired the 1990s’ idols like Oasis and The Chemical Brothers – you might even lump Take That in with that category (although they are not ultra-cool!). Something wonderful was happening around that time and it seemed like the working-class innovators were reflecting greater desires in society: people were yearning for truth and prophecy that was not being provided by the government. Now; Manchester’s tones have changed but the quality has not dipped too much. The city deserves acclaim and coverage because it is among the most eclectic and quality-focused parts of the country. I have grown a little weary of London’s sounds so have been pining towards Manchester.

Control of the Going are part of the new movement and show what can be created when you buck trends and do not rely on the capital for motivation. That might be counter-logical and a way of delaying success: I feel they are going to get to the big-leagues quicker because they are taking a more impressive and uncharted route. Maybe 2018 will not be The Year of Manchester but I am confident the shift will start to shift from London to the North. Later today; I am going to write a piece about Oasis and why many are desperate for the Gallagher brothers to unite and get the band going again. It is not a case of a nostalgia hangover and yearning for better days. I feel there is a chasm in music that is not being filled - let's hope that is remedied very soon. Alternative/Rock music is out there but there are not many fresh and addicting young bands coming out. Manchester, as mentioned, has some quality bands who can fit the bill – PINS and False Advertising two of the better-known and acclaimed. Maybe their sound is a reaction to that Oasis need but, in the case of Control of the Going; they are able to summon some of the epic grandeur of Oasis but no copy what they have done. The sextet project immense power and swagger but they blend that with subtler, colourful strands. I feel too many bands race in with gnarly sounds in the hope excessive adrenaline and shout means people will take notice. A more intelligent and refined sound comes from Control of the Going. Maybe it is a rebellion against the worst instinct of mainstream bands – I feel it is the ethos and philosophy of the Manchester scene. Artists here are more engaging and reflect the personality and candour of the people. If London-made music is defined by cosmopolitanism and urgency: Manchester is about warmth, intelligence and risk-taking. That is why I feel Manchester is going to take more of the media next year – we know how warm and inviting the city is; we want a bit of that in our musicians.

Perhaps that is a vague and odd assumption but I am confident Manchester will do well in the battle to gain the mainstream media’s ear. I have been reluctant to focus on Rock and Alternative sounds this year because of the relatively damp offerings from the mainstream. Aside from The War on Drugs, Wolf Alice; Phoebe Bridgers and their ilk – there have been few standout Alternative albums from the year. You can quibble with terminology and genres all you like. Maybe there have been some impressive Rock/Alternative albums but there have been far fewer than one would expect. Consider the quality coming from Hip-Hop, R&B and Soul and you have to ask questions. From Mercury-nominated artists like Sampha and Loyle Carner; U.S. treasure from Kendrick Lamar and SZA – one has to wonder whether music’s shifts and demands have given up on Rock. That might sound depressing for Control of the Going but it is actually a positive. They are not an out-and-out Rock band but they are, in essence, they inject passion and older-times glory into their work. I listen to their work and see a blend of innovative new and classic Rock. One gets a hit of the 1990s-Manchester with the innovation of the modern scene. It is a complex and difficult time for Alternative/Rock sounds. There are few guiding lights and other genes are taking the majority vote. The reason I am excited by the likes of Control of the Going is the lack of commercial lure they have. They are not compromising and taking an easy route. A lot of Rock bands think replicating the best of the mainstream is the way through; they have the guts and patience to listen to the local scene and put their ears to the ground – detect what the city demands and what is happening around them.

Maybe it is a risk ignoring what is happening in the charts and taking a longer route to the mainstream. Control of the Going want to succeed and build their own reputation and have a wide range of influences. I feel the plain and direct brand of Rock – Foo Fighters and Royal Blood – has been done to death and lacks necessary innovation and variation. The more successful Rock/Alternative artists of the year – Wolf Alice included – blend other genres in and are making music for the smaller crowds and finer venues. Royal Blood and Foo Fighters (other bands included) are too focused on stadiums and making something city-sized and charmless. Those who speak to the common man/woman; get under the skin and think about nuance – they are going to do better in the long run. I am hopeful there will be a Rock revival but I do not think the current ‘best’ will be responsible for that. It is the new breed of hopefuls that will spearhead a rebellion and movement. London will be a part of that but, given the strength and community happening in Manchester; I am more hopeful the North will be at the forefront. One can look at Sheffield, Leeds and Glasgow and realise those who reside in largely working-class areas are attuned to the foundations and mandate of true Rock – sounds that have a blue-collar heart and a compassionate mind. The development and new success of Control of the Going mean they are definitely doing something right. Most of their acclaim is local at the moment: national success will arrive when their upcoming album is released to the public. That comes in February and it will be interesting seeing how it is received. I am looking at their single and can hear the passion and quality in the music. The guys have hit a rich vein and look set to make a name for themselves next year.

The debut album is an important and difficult one in a lot of ways. You have little idea what critics want and whether the public will react. Control of the Going have performed a lot and showcased their material to the public. They gauge a reaction and see which songs get big love and what they want to hear. It is a different case when you push that music out to a wider audience. It is hard appealing to everyone and getting it ‘right’ the first time out is a real enigma. You have to go with instincts and have faith in the material you are making, Whilst it is important to have an original bent – and not copy the mainstream acts you like – you have to take a little bit from the popular sounds of the moment. Getting that balance right is tricky but one a few acts have achieved. I know Control of the Going will continue to rise and appeal. Their music has a universal vibe and can stick in the hearts of the majority. That taken into mind; I hear a lot of new strands that are unique to them. The boys bring in Psychedelia and the kind of experimental edges one will recognise from some of the most pioneering acts from Manchester – the likes of Stone Roses among them. Whilst the kind of trip and colour the Control’ boys are brewing is not quite the same as Ian Brown’s crew; they have a potent and exciting palette that differs from traditional, boring Rock. All of these components and considerations mean the band are primed to impress with their first L.P. They have worked hard on it and know the challenges before them. They are not racing ahead and assuming they will be stadium kings in a couple of months. They have put in the hard graft and will continue to plug and pervade through next year.

I Love You But It’s Going to Rain is going to be one of the most anticipated albums from a new act in 2018. I know it will succeed because the guys have been gigging and working for a long time. They have been monitoring how crowds respond to their music and adapting it to get the biggest reaction possible. Their patented blend of Rock, Alternative and Psychedelic sounds stirs together and elicits a heady smoke. You listen to the sounds and get a mixture of familiar and unexpected. The guys know how to hook the listener in – expect their debut L.P. to get some positive and impassioned reviews! I will talk about where the guys can head next year but, right now, they have been going about things the right way. There have been local gigs and a lot of support from Manchester. They played Gorilla – their biggest-ever show – to four-hundred people and got the chance to play their material to an enthralled crowd. The boys have played gigs in the Northern Quarter and go public support from Clint Boon. The band hosted three nights to preview the album at PS; there were seven screenings where fans eagerly packed in to hear the new album come to life. Also; Torrside Brewery – a local brewery – developed a bespoke beer called …It’s Going to Rain. All of these ideas and events have helped promote the band and got their music out to the people. Getting local reputation and hype is essential for any new act. I have seen few with the same drive and innovation as Control of the Going. It is clear they are a popular and extraordinary live act; companies want to lend their support; radio stations and journalists are behind them – all bodes well for a bumper year ahead.

The guys have a rare and endless energy and sense of motivation. They are always looking to build their work and make it as strong as they possibly can. Not only have they captivated the local fans: their music has been played on American radio. KEXP has spun their music and paid tribute to an album that has the promise to own the year ahead. I know I keep making predictions about 2018 but it is exciting seeing artists emerge who can change music as we know it. The guys of Control’ are going to take the initiative and ensure they keep the pace up. Getting that American respect this early on is vital. They already have a market over there and means, as it turns out, they get U.S. dates. The boys will promote the new album over there in February and bring their local accent and popular sounds to the American faces. I will speculate how far they can go (in the conclusion) but getting an American ear this soon means they are in a better position than most of their peers. I think the guys can build on this and spread their music right across the U.S. One wonders how long it will take before they are worldwide names – able to command acclaim right around the world. That might be a few months off - but it is clear I Love You But It’s Going to Rain is a stunning work that connects with the people. It will be exciting seeing how they go down in the U.S.A. I know radio stations there are reacting but taking their sound to the live circuit there will be a different matter. There is a different pace and geography compared to the American market. The boys are used to the Manchester flavour but, getting experience playing in a nation like the U.S. means they can take those skills back home and strengthen their gigs – that will lead to bigger, bolder material.

Snarling, ‘ave it large strings open the song and project images of debut-era Oasis. That is not a lazy comparison but a piece of praise. The guys summon the same quality and instant intrigue but do things their own way. You get a rousing and boozed coda that has control and focus but a sense of adventure and mischief. The song kicks out of the gates but never gets too heated and rambunctious. The skill and composure of the band mean you have time to bond with the introduction and build up the imagination. I was thinking of various scenes and possibilities. The lengthy opening means images will flood and the listener conspires right from the start. The song is one of dedication and fond passion. You imagine the hero with the girl and having that sense of comfort and safety. Given the fact their album title seems to suggest contrast and changing fortunes; I go into the song assuming there is fracture and imminent shift. That might be premature but one gets a sense of hazard and caution in the vocals. The song impresses with its blend of haziness and strength. The band is very tight and together but there is room for experimentation. One of the only problems with the song is a lack of vocal clarity. The composition is too high up the mix and the vocal a bit too low. A lot of the words are either muffled or drowned by the instruments. Whilst some words are detectable and clear: there are quite a few that pass by because of the way the song is projected/mix. That is not a big drawback because one can extrapolate the mood and direction of the song. You are gripped by the composed and calm vocals – yet, the impression one gets is a man who has some troubles brewing in his heart.

You get a sense that, although there is love and connection between the sweethearts; the girl should not believe him all the time. Maybe there are harsh words or false promises; some regretful times and occasions where the mind and heart have not been connected. The swagger continues and you are gripped by the cool-as-crap lust and Psychedelic underpinnings. Past the half-way mark; there is a chance for the instruments to stand out. The guys combine and project a vivid and physical phase that carries on the song’s messages but creates new wonder. The hero proclaims his love and (will love her more) than she’ll ever believe. That loyalty and belief is strong and should not be taken for granted. The middle section is a chance to clear the head and consider what is happening. The tinge of caution and reserve makes me thinking there is deep thought and pondering. The vibrancy and affection leads the mind in the direction of the sexual and sensual. It is a curious contrast and blend that gets the mind working in different ways. It seems the girl has been wary and not believing the hero – the lyrics become clearer as the chorus takes dominance and place. It is nice to see that audible focus and clarity in the latter stages. That mantra – disbelief and a one-sided love – makes me wonder whether if the bond is near an end or the hero’s dedication is being tested. Whatever the roots and origins; one gets inside the song and makes themselves a spectator. It is fascinating to watch things unfold and mutate; the way the song twists and emanates new possibility and avenues. By the final seconds; you have to take it all in and wonder how things turned out. I feel the relationship will survive and continue but there are definite obstacles and differences. The girl might lack real conviction but the hero is determined to change her thoughts and keep things in the black. Love You More is a fantastic offering from a band that will accrue more fans when their album arrives in February – expect 2018 to be a very special and exciting one for the Manchester band!

Make sure, in February, you get I Love You But It’s Going to Rain. It is an L.P. that has already garnered positivity and praise. I am sure that will expand and explode when the record is unleashed. Love You More is a tantalising glimpse of what to expect. The song demonstrates what flexibility range and quality the band already have. One hears them and gets a great blend of live-sounding freedom and the studious discipline one learns in the studio. The material gets straight into the head and gets the heart racing; the body activates and the blood surges. Those reactions are not what you get from all albums out there. The six-piece have been working long and hard to create an album that speaks to the masses. That is what has been missing from music this year. I have not heard too many records that get under the collective skin and stays with you long after listening. I am hopeful the underground will show the mainstream how it is done as we head into a new calendar year. The Manchester band are preparing for a series of gigs to promote their debut album. They will head to the U.S. and have the opportunity to gain a foothold there. I am not sure what dates they have lined up but I can see them doing well on both coasts. The West Coast looks for that dreamy and colourful locker – music that fuses sunshine and granite into something complex but liberating. The East wants something with urgency and sounds that match the bustle and complexities of the street. Maybe that is a generalisation but one notices differences between the two coasts. I feel the boys could gain success anywhere they travel and have that open and malleable music that does not exclude and isolate. They end a fantastic year with a single and promise to suggest they will have a storming 2018. It is a song that bounces around the head for days and keeps the mind working and the voice singing. I know that will happen and they will rule and reign. Love You More is a stunning song that provides a sensual kiss: I Love You But It’s Going to Rain is an album that rips off the clothes, puts a limp in the step…

AND a smile on the face!

_______

Follow Control of the Going

Official:

http://controlofthegoing.bigcartel.com/

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TRACK REVIEW: JoAnna Lee: Drinking by Myself

TRACK REVIEW:

 

JoAnna Lee

PHOTO CREDIT: Alex Hopes 

Drinking by Myself

9.5/10

Drinking by Myself is available via:

https://www.youtube.com/watch?v=BRh2GAdn5kM

GENRES:

Soul; Pop; Country; Folk; Singer-Songwriter

ORIGIN:

Austin, U.S.A.

RELEASE DATE:

27th November, 2017

The album, So Free, is available here:

https://open.spotify.com/album/0N9yLdATHTm9zSiF7qZd4Q

_________

THE penultimate review of the year…

takes a looks at JoAnna Lee and her fantastic music. I will speak about her soon but, right now, there are a few subjects that come to mind. She is based in Austin, Texas – so there is that eagerness in me to explore the state. I wanted to look at singers who combine Country and the Singer-Songwriter sounds; the songs that warm the heart and provide comfort in the winter; the right mixture of artists when growing up; the way songwriters like JoAnna Lee can evolve and make an impact; why the U.S. is providing more range and fascination – a bit about taking a chance and going for it. It has been a while since I’ve looked at a Texan artist. JoAnna Lee has been in the state for a while but it is the perfect place for her. I have reviewed a lot of L.A. artists but it has been a long time since diving into Texas. Most of my reviews – when looking at Texas – concentrate on Austin. It seems like a place many gravitate towards and provides the right mixture of passion, opportunity and intrigue. Local sources like Austin Monthly have named their artists, they feel will make a dent in the coming months. Earlier in the year, the publication listed Bee Caves, Jackie Venson; Otis the Destroyer and Tele Novella as artists to keep an eye out for. You can do your own research but each of those artists has an eclectic and varied sound that sticks in the mind. One of the common threads is originality and power. You do not get anything predictable and safe when it comes to Austin-made music. ‘Older’ bands from the city, like Spoon and The Octopus Project, have inspired the people and showed what Austin is made of. Many of us, when thinking of cities outside L.A. and New York often head to Nashville. It is a Mecca for Country stars so one might assume JoAnna Lee would head there to hone and expand her sounds.

I am interested in her music and feel she is in a better place. There is more variation around her and a broader scene compared with Nashville. Not only does she get those great local musicians around her; there are incredible venues and scenes to compel the mind and provoke the pen. One listens to the voice and hears the music flow and knows the people, surroundings and music of Austin seep into her bloodstream. I have been waiting to discover an artist that differs from anything out there; gets into the mind and motivates the senses. Austin is a wonderful city to expand your horizons and hone your skills. From Red River District’s The Mowhawk through to Parish in Congress Ave District; Strange Brew in South Manchaca; the wonders and reputation of Antone’s – so many different spots to cut your teeth and get people talking. I am not sure whether JoAnna Lee has played these spots but possible venues she could visit in 2018. Unlike areas like Nashville; there is not a dependence on one genre and flavour: you get every genre imaginable sparring and interweaving. That means musicians are more confident when it comes to writing and their music is deeper and more nuanced. JoAnna Lee has moved from smalltown U.S.A. and developed into a strident and ambitious artist. I hope she remains in Austin - and does not feel the need to go somewhere like L.A. or New York. One of the best things about Austin is the fact you have California located on the West Coast not too far away; New Orleans and Nashville are fairly nearby – not walking-distance but an easy flight. Texas does not need to rely on close-by states because, aside from Austin, there are cities like Houston and Dallas – big areas that have their own music scene and characteristics. Austin artists have that freedom because they can tour conveniently in big parts of the U.S.; they are situated in a warm and multicultural region; there is the rich history and reputation many take to heart.

I am not usually a big fan of Country and Singer-Songwriter unification but, if done right, it can result in some terrific music. JoAnna Lee is someone who has a broad palette – more on that later – but her new single has that ache and soothe – one is put in mind of contemporary Acoustic/Country artists and some of the legends of music. I am not sure how much of one’s upbringing enforces their own music but there are distinctions between JoAnna Lee’s childhood fascinations and what she is making now. I have been listening to a lot of her older material and can see how the music has shaped and grown. There is more confidence and colour in the present tense; the ability to switch between genres and assimilate more passion. Drinking by Myself is a track of loneliness and reflection; it has plenty of charm and emotion but it never wallows and sinks into a pit – energy and kick are at the heart of the track. Modern artists who combine sounds like Country and Singer-Songwriter are still sourcing from the older icons but are ensuring the forms are pushed forward and kept relevant. It is always hard breaking barriers and trying to compel those whose tastes are quite rigid. Rather than compromise ethics and sell out your instincts; artists like JoAnna Lee are blending in modern production and big choruses with gorgeous vocals and lyrics that can be understood by all. That might sound quite vague but they are components that mean that people like me, who do not usually go for such sounds, are drawn in and hooked. I feel one of the big problems with certain genres/sounds is we get this stereotyped impression and do not really venture too much into things. That would be a mistake with regards JoAnna Lee – she is someone who has a very modern and broad sound; she never loses focus and mixes her own D.N.A. with that of Austin.

Maybe it is a bit narrow referring to JoAnna Lee’s music as Country. She has Folk strands and puts together some Pop undertones to create something fulsome and evocative. What strikes me is the way one is transported into a safe world and drinks in all the tones/layers. I have heard too many predictable and safe sounds this year: the fact JoAnna Lee broadens our horizons and has a unique flair means one is more invested and sustained. I am eager to see where she heads next year and whether her music will continue to build. I will talk about her album in the conclusion but I have been digging into Drinking by Myself and what could have compelled the song. There is a desire to find sanctuary and companionship but a certain sense of clarity. The words and themes of the song are familiar to anyone who is a fan of Country but there is a wider remit. It is about a woman going through some tough times but dealing with them in her own way. If one listens to other songs in her cannon; there is a lot of personal revelation and exposure. The young songwriter is unafraid to reveal her pain and let the listener into her heart. That is a commendable attitude and reason many of us should turn her way. This year has been important and successful. She has accrued a local base and getting attention from other parts of the U.S. That is in no small part because of the way she reminds one of some music greats but fuses that with something unexpected and fresh. The electricity, physicality and drive one hears in JoAnna Lee’s music is enough to get the body moving and the brain working – the songs stay rooted in the head and you are fascinated to hear the next song. I will speculate where Lee will head next year but, right now, it seems she is near her peak.

That sense of quality has not arrived overnight: her upbringing and incredible music past means she has changed her style and incorporated new elements over the years. One of the things that stands out regarding Drinking by Myself is the way it infuses the heart. The song has some hint of isolation and desire but there is a sound and flavour that gets one warmed and smiling. The track never lets up its yearning and searching; it smiles and dances but there are harder, darker tones working underneath. All of this is a potent brew from a talented young songwriter. She never drags the listener into a shadowy, tough place but, at the same time, gets them thinking and looking at myself. The most memorable aspect of JoAnna Lee’s music is the voice. It is a sumptuous bouquet that has love and tenderness but has that sharpness and independence. Lee is a musician that cannot be pegged and defined easily. I am curious about her beginnings and will explore that in a minute. What drew me to her current track is the way it hits you the first time you witness it. The song is a big and anthemic number but one that reveals more stories/possibilities later down the line. The year has been challenging for many of us and the weather is turning. In the remaining days of 2017; we will look to keep warm and safe; make sure we are happy and insulted. Music is a great way to ensure that and, if you are looking for an artist who can inspire all of that, JoAnna Lee is your girl.  Reviews and media opinions share my sentiments and have backed her for big things. What, then, is the reason behind such a rich and variegated sense of songcraft? We can talk about the modern scene but we rarely look at where artists came from in terms of their musical tastes.

Stevie Wonder is a name that has been associated with JoAnna Lee. She was raised on his music and, whilst her classmates were listening to Pop and the chart sounds on the radio; the aspiring songwriter was digging into crates and listening to older records. She grew up in a household with the legends of music. Wonder is an artist that made an impression and spoke to a deeper part of her. That blend of Soul, Gospel and R&B can be heard in the work of JoAnna Lee. She has elements of Stevie Wonder and projects a similar sense of confidence and bravery. Although Stevie Wonder’s lyrics look at different areas of life, I can hear the way he has inspired Lee and made her music stronger and hungrier. If she was to follow the same path as her peers; one would hear something more mainstream and generic. The music would be quite flat and try too hard to get into the charts. That would leave me a little cold but I would still give the music time. Instead, the music one hears from JoAnna Lee is full of life and rich imagination. You get a glimpse of Wonder’s music but that is a stepping-stone to explore other avenues of music. JoAnna Lee crafts her own path and explores ground few other songwriters tread. I wonder whether upbringing and the exposure to good music when young is, at all, partly/entirely responsible for the route songwriters take. You could argue a musician changes their sound and style over time but there is every evidence to suggest what you listen to as a child dictates the way your music will come out. I wonder, too,  which other artists were present in the varied household of JoAnna Lee. With Stevie Wonder as a base; one imagines other Soul artists and contemporaries were played alongside him. For a youngster growing up in a fairly isolated part of the U.S. – not close to major cities in terms of music – a lot of her education and exposure to life would have come through music.

I can hear shades of Etta James in JoAnna Lee’s sounds and feel she was quite an important guide. Motown, Soul and R&B all swam in her head; she used this foundation and has put all of these aspects into her music. After those big artists got into the soul; she performed in wine bars and coffee shops around Oregon. It might be unfair to class JoAnna Lee’s music as purely Country and Singer-Songwriter. There are Rock elements and Pop suggestions; a bit of Folk and some nods to Motown. Nurture and the earliest memories of music are vital and can make a huge difference to a songwriter. I was brought up with so many different decades and genres; that has made me a more curious and open-minded writer – the reason I explore various parts of the musical world. If JoAnna Lee had a narrow and strict musical education then that would reflect on her own music. Regardless of the influence of Austin; the sounds would be less interesting and fail to stand out from the crowd. Instead; there is that fusion of new and old; all these sounds working around one another; an artist who has learnt so much from music – willing to give her all to the world. She graced the stage at the age of three and was raised in a family who played instruments and had that love of music. Her grandmother played piano and grandfather played the harmonica. Generations of the family took to music and that motivated JoAnna Lee to investigate and follow in their footsteps. It is clear there is a certain sense of inevitability when it comes to the passion that flows through the Austin-based songwriter’s soul. Having all sorts of instruments and artists in her mind as a child; there is no way she would follow another career and not be affected. That important and glorious exposure has made her a much stronger writer and more inventive performer.

It is because of all this past education and modern desire that means JoAnna Lee will be a big fixture of 2018. I feel she will continue to aspire and build what she does. I have mentioned a few artists that have got into her mind and helped forge who she is. We have a mainstream scene that has little of the magic and potency one hears in JoAnna Lee’s music. I think we should proffer and celebrate artists like her. Here in the U.K., we are talking about Pop and how the tastemakers are backing the newcomers to do sterling work. Grime and Hip-Hop were big last year and it seems like tastes are shifting. I am not sure what the predictions are regarding U.S. music but I feel the mainstream will change and incorporate new ideals. What I hope is the best new artists (like Lee) are given more oxygen and chance. She has carved out a name for herself in Austin but there is a big country out there to explore. The only way she is going to get into the consciousness is for the big publications and stations to do their part and realise potential when they hear it. Few would argue there is anything more the young songwriter can do. Her current L.P. has so many different sides and pleasures that every listener will find something they like. She has been playing local gigs and pushing her work out there; making sure every song has a different sensation and vibe. In terms of promotion and work; one cannot ask any more from her, for sure. I feel that determination and dedication is why JoAnna Lee will do wonderful things in 2018. It is hard predicting what sounds will rule in a year and which artists will stand aside. We can only take the word of journalists as a guide – it is not an absolute and sure-fire thing. I have been listening to U.S. music and the new artists coming out. JoAnna Lee is in a wonderful city and part of the U.S. that can foster her needs and hopes.

PHOTO CREDIT: Alex Hopes 

The first notes of Drinking by Myself as the vocals from JoAnna Lee. There is soulful strength and intensity but the sound is very much that of JoAnna Lee. If anything, I caught a glimpse of singers like Dolly Parton. That might be me leaping to conclusions but the initial seconds are a curious blend of Country, Soul and Motown sounds. It seems the heroine has been drinking alone and getting drunk. “If I only knew what men were thinking” she tells us. It seems too many have let her down and, through her life, offered little promise and faithfulness. The vocal instantly goes from that strident introduction to something soulful, soothing and classic. One hears that influence of Etta James as the heroine lets the lights down and asks these searing questions. I was invested straight away and compelled to see where the song goes. The heroine does not let the tears roll: instead, we get a mature and resolved woman looking around and asking where things go from here. If the man was honest from the start – and he was taking the relationship seriously – then JoAnna Lee would not be sitting by herself. It seems he was playing games out the trap and one of those guys who feels the need to lie his way through a relationship. That has created the cracks and distance; sees the lovers estranged and disconnected. It is a sad and emotional revelation but one that can lead to revelation and clarity. Although the heroine is drinking alone; one feels it is not a destructive measure: she is looking for company and would be drinking with her guy if he were straight and open with her. He is cowardly but she is not going to let that gets into her flesh. She is standing strong and determined not to let it fell her. The boy has been ostracised but she still has respect for him.

It is sad to imagine the heroine get drunk alone and envisage the man cheating and playing around with other girls. She is kicking herself for not seeing the truth right away. Those foolish moments of trust disguised the lines he fed her. I get a lot of Etta James in terms of the melody, vocal delivery and composition. This might be JoAnna Lee’s version of I’d Rather Go Blind.  That song looked at the heroine declaring her love and saying she’d rather go blind than see the man walk off with another girl. Here, there is less trust and dedication but the same intensity and emotion. This was no ordinary, shallow love: the two were stronger and deeper into things; it seemed like things would run longer and remain. I was following the story and – even though I watched the video – imagined the way she paced the floor and looked around. JoAnna Lee is in the room drinking wine; she is questioning her decisions and wondering whether other girls are being hurt by her former suitor. The strings wind and twang; there is something Folk-like and soulful about them – they entwine and delicately move around one another. The heroine is getting drunk and thinking about the men who have done her wrong. The need to find direction and discover why things have turned out the way they have is urgent. The melody and chorus is gorgeous and sublime. One cannot help think of classic Soul artist and modern Country. It is a fantastic combination that gets right into the heart. The gravelled, whiskey-soaked vocals unite with tender, soft tones and give the song two sides. You have the pontificating, passionate woman who wants to make changes and stop trusting those who cheat on her. On the other hand; there is the sense of loss and heartbreak that sees her medicating that pain with drink. By the end; you are on the side of the heroine and hope things work out for the best – the song is a sobering experience and one that will enforce the way she goes forward regarding men and trust.

So Free is an album as liberated and unshackled as its title suggests. One gets the feel of a young woman unburdened by the strains of doubt and love. Maybe there have been relationships that have dragged her down and caused too much sadness. I know she has gone through trials and chores but has emerged a stronger and more rounded human. It is worth listening to the record to get an idea of where she grew up and the sort of people she encountered. Based in Austin; the people there have inspired her to keep working and aiming high. The album looks at love and life in new ways and, in terms of sounds, draws from the childhood appreciation of Etta James and Stevie Wonder with all the sparks and sides of Austin. It is a compelling brew that one cannot ignore or argue with. I might not have done the album full justice but that is because it needs to be heard and properly investigated. Take some time out – on a cold and damp day – to get into the record and see what it is all about. Even if JoAnna Lee has experienced heartache and hardship: the music aims to warm the senses and get the listener into a safer space. That is what all great music should do I guess. We are all fallible, finite beasts and not immune to the unpredictable aspects of life. Because of that; we look for nourishment and stability wherever we can find it. I am not saying JoAnna Lee can cure all problems and fears with her music alone! She makes things a little easier to cope with. Drinking by Myself is a song that, on the surface, sounds quite exposing and lonesome but never damages the mood. You hear a song that looks at a transitional time and the strength that comes from realisation. It has been interesting reviewing it and how it all came together.

I would like to see the U.S. media take more time promoting JoAnna Lee’s music and taking it to new audiences. I am not sure what her touring plans are but she has the chance to get to various part of the country. I hope she gets to L.A. and Nashville; explores wider afield and ensures the country falls for her sounds. Maybe she will come to the U.K. next year? That would be great and I know she will get plenty of attention here. Perhaps money and a lack of time mean she will stay in America but I feel she could find new fans over this way. We do not have artists like her here – who do the same thing – so we could benefit from her presence. That will be down to her but 2018 is a vital year and one where she will get big focus. So Free is an album that proves what a stunning talent JoAnna Lee is. I have every faith she will transition from a celebrate Austin artist to one of the brightest musicians in new U.S. music. Ensure you support her music and dedicate some time to see what she is all about. Few artists like her exist in modern music so we need to preserve and promulgate them as much as possible. It has been a busy and exciting year for the young artist: the next year will see, I assume, more music and that drive to get to as many people as possible. A passionate and modest talent who wants people to involve themselves with her music; a striking voice and unique star in the music sky…

WE all need to follow.

_______

Follow JoAnna Lee

 Official:

http://joannaleemusic.com/

Facebook:

https://www.facebook.com/joannaleemusic/

Twitter:

https://twitter.com/joannaleemusic

SoundCloud:

https://soundcloud.com/cutmorerecords/sets/joanna-lee

YouTube:

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

Spotify:

https://open.spotify.com/artist/5XafLLr98rg0ANFPv12KFK

TRACK REVIEW: Little Sparrow (ft. Robin Dewhurst) - Tender

TRACK REVIEW:

 

Little Sparrow (ft. Robin Dewhurst)

Tender

 

9.6/10

Tender is available via:

https://www.youtube.com/watch?v=W21bt7TJDWE

GENRES:

Folk; Singer-Songwriter

ORIGIN:

Manchester, U.K.

RELEASE DATE:

7th December, 2017

_________

THERE is something appropriate about…

reviewing Little Sparrow’s latest track on Christmas Eve. Featuring Robin Dewhurst; it is a song that talks about familial importance and putting things into perspective – it is almost like I know what I am doing! I will mention the song’s origin in a minute but, before then; a look at a few different subjects. I want to look at the collaborations one finds and the perfect blend; the support of radio stations and getting important bodies behind your work; I’ll talk about inspiration and how real-life is still the best source of inspiration; Manchester and how it is an area I am more and more excited about; Folk songwriting and how the voice is an asset that cannot be overlooked; music in 2018 and launching a fresh assault; how the best artists always develop and overcome anything that comes their way. I am tired of scrolling through Spotify of a Friday – when I am collating the songs together for my weekly Playlist – and seeing all the songs that cram as many bodies into the pack as possible! There is such a nauseating, commercial aspect to songs that bring artists together. Gone are the days of Kiki Dee and Elton John; Kirsty MacColl bringing something magical to Fairytale of New York: some classic duets that have lasted through the years. Even if it is an instrumental incorporation; I feel too many artists, these days, are joining forces so they can get a credit on a song – and, therefore, get some heat on streaming services and a bit more recognition. The best collaborations, whether vocal or instrumental, is when there is a great story behind it – or when the artists bring something unique into the song. I am not sure how Sir Elton John and Kiki Dee found one another; whether Kirsty MacColl knew The Pogues before stepping into the studio – the way the voices connect and blend is sublime. We do not really get a lot of collaborations now that are essential and seem perfectly-suited. Some are quite well-judged but too many suffer. It is odd we have not seen a modern-day classic, in that sense.

I am seeing new music fare much better in this respect. Little Sparrow (Katie Ware) is synonymous with her voice and the way she can own a song. Bringing someone into her magical and heady world might seem like a problematic transition and modification. Could anyone, regardless of their bond with Little Sparrow, adapt and assimilate their talents into the fold?! That is something that has been answered by Robin Dewhurst. He is a pianist and composer and, as I shall talk about, met Ware in a very special situation. Although the predominant element of Tender is Little Sparrow: one gets something different and unexpected coming out in the song. Those used to Little Sparrow and her Folk-cum-Singer-Songwriter machinations might take a little while to absorb something I have not heard from the young talent. It is not a huge departure but one can hear new angles and inspiration coming into her music. With more material promised for next year – more on that in the conclusion – I wonder whether the Little Sparrow/Dewhurst unity will provide further progeny?! That would be exciting to see, for sure! Their meeting is a rather special and unusual one; they work together really well and they seem natural and comfortable together in a musical setting. It is wonderful seeing them collaborate and produce a song that has a very personal message – one that can be understood and appreciated by everyone out there. If you hear two artists come together (or more) that sound completely in-tune and brilliant; that can lead to something remarkable. Against the proliferation of aimless hook-ups and jam-packed songs: finding something pure and perfect like this – with Little Sparrow and Robin Dewhurst – is a breath of fresh air. Not only, in Tender, do we get two musical talents fuse their voices (literal and musical) into a great song; there is something ultra-Christmas and wintery about their names alone (we have a Little ‘Sparrow’ and a ‘Robin’ flying together!).

I am a huge fan of BBC Radio 6 Music and one can only imagine Little Sparrow is, too! She has been backed by the station and I have heard her current single played by them. One of the biggest names who has thrown his weight behind the Manchester artist is Chris Hawkins. I know we have bird-overload here (Hawkins is referred to as ‘The Hawk’ – seeing these three birds fly together is an odd sight!) but it is great something like Hawkins invested in your work is no small honour. I have heard him talk about Katie Ware and pay tribute to a remarkable artist with a voice like no other. I know, as more material comes from Little Sparrow, we will see the station get behind her and more of their D.J.s add their praise. Hawkins is someone I have a lot of time and respect for – the fact he is so excited about Little Sparrow should give her camp a lot of pride. The station is one of the most influential in the country and I think, once you get kudos from BBC Radio 6 Music, you can pretty much sit back. Not to say Little Sparrow will but I know 2018 will see her music taken to heart by them and spend a lot of time on the station. Hawkins and Radcliffe are two D.J.s who have realised the majesty of Little Sparrow but, knowing the kind of music played on the station, other D.J.s will play her music very soon. Maybe we overlook radio and see it as a thing of the past – given the power and dominance of streaming services – but it is still the most important way of getting your music to the masses. Many overlook it or pay comparatively little focus to the medium. It is all about streaming figures and getting (a song’s) figures wracked right up. Something as simple as contacting a radio station or making it more visible to them is a lot more important, in my opinion.

The radio is where most of us discover music – or have done, at least – and its appeal and lure will never go away. More and more of us are tuning in so, if you get your music noted by a big broadcaster, that is something you can be very proud of. Naturally; Little Sparrow will look at the streaming sites and get her music out there but the fact she has some big names invested in her music shows she realises how important radio airplay is. I know this will continue into the New Year and we will hear a lot more of her music in our ears. All of this celebration and BBC Radio 6 Music-backed applause is not as a result of one song or chance: Katie Ware has been crafting her music for years and has built up a solid reputation. One can chart her trajectory and realise she has put her heart and soul into everything released. Since Wishing Tree (the album released in 2014), I have been following the progress or a fantastic songwriter. It is no wonder she is getting into some prominent ears and has gained that appreciation. As I look into 2018; I know Little Sparrow and Shay Rowan (who works with her) will look at stations like BBC Radio 6 Music and BBC Radio 2 and see how her music is received. Hawkins has thrown his weight behind her work and I know he will continue to back her into the coming year. I know local radio – through Manchester and down in London – will turn onto her songs as will some of the big national brands. I will end this review by looking at international possibilities: the overseas market is somewhere I would expect Little Sparrow to explore very soon. Radio, for all its accusations of being a relic of past days, is as relevant and popular as any time in recent memory. With digital options like BBC Radio 6 Music bringing people in; artists need to understand that it is the most important platform in terms of promotion and exposure – Little Sparrow fully understand this.

I said I’d mention how Robin Dewhurst and Katie Ware came together – how Tender came to be, as it were. Last year, she (Little Sparrow) was given a late offer of the chance to play at Kendal Calling festival in the area known as Tim Peaks Diner. Tim Peaks is the brainchild of Charlatans frontman Tim Burgess and is, in their own words: "...is somewhere where - in addition to the scheduled list of quality live artists, D.J.s; book readings, food and coffee - those in attendance can expect the unexpected with surprise treats and secret performances". Hosting the day was BBC Radio 6 Music and BBC Radio 2 presenter Chris Hawkins. Pianist and composer Robin Dewhurst had also been invited to play there. (Robin is the father of Blossoms guitarist Josh Dewhurst). Both Little Sparrow and Dewhurst were then approached by the Tim Peaks F.M. team with the idea of working together to cover a classic Pop song in a totally original style - and then make a recording of it which would be made available as a limited period download from Kendal Calling. The track they were given was Baggy Trousers by Madness! It is a big challenge by anyone's standards but Ware and Dewhurst (assisted by Ware’s cello player, Sarah Dale) produced a wonderfully original reworking of it. They were then asked to perform it together live at Tim Peaks Diner - which they did to great response. They really enjoyed working together and said how it would be nice to do something more - but timing wasn't on their side at that point as the arrival of Katie's baby boy was imminent. They picked up on it again this year, however, and Tender (her own composition) was born. One can see the scenes and imagine that first meeting between Ware and Dewhurst. Having that wonderful setting and magical occasion; it was only natural they would make material together.

The song itself is about the importance of family and the memories they provoke. Ware asked her family and friends for their memories; to provide photos and snaps that they felt were special. Ware compiled them and, with her own family in mind, produced a song – alongside Robin Dewhurst – that summoned up the role of family. It is quite appropriate, at this time of year, the song should come to light. It is a time when people are congregating and we are thinking more about our homes and hearths. In a wider sense; Tender provides perspective and realisation; it is a moment that makes you reflect and look at your own life. Too many songs deal with love and personal concerns: this is a much more open and involving track that brings the listener in and makes them consider life, family and their role. That unique and exciting coming-together of Dewhurst and Ware is something that, I hope, will see fruit blossom in 2018. I know there is an E.P. coming but let’s hope they continue to conspire past that release! We often see bands and songs formulate but never really ask about the formation and inspiration at all. I am interested in how music is written and why artists pen what they do. If a solo artist brings someone else into the fold then it is always good knowing how that happened and where it will lead. So many artists neglect that and do not tell the listener anything – they are supposed to piece it together and discover it for themselves. That is not the case with Little Sparrow and Tender. Real-life inspiration is, to me, the most effective source. From the classic bands of the 1960s through to the present-day acts; those songs that lodge in the heart come from personal backgrounds – it makes a big difference and means you are much more likely to return to that song.

I have spent a lot of 2017 involved with London and the music coming from there. We often forget there are other areas of the country and why it is important looking at other parts. Manchester, as I will write about tomorrow, is becoming more and more popular. The city has always produced world-class music – from The Stone Roses to Oasis – but, in modern times, the focus has been put elsewhere. New acts like PINS and False Advertising are offering female-led Rock/Alternative sounds and could really shake-up 2018. There are some great Pop artists coming from Manchester and brilliant Folk sounds – as typified by Little Sparrow. It is the variation and quality that really amazes me. Consider Katie Ware and the sort of sounds she combines. It is a fulsome and colourful experience that has a trembling heart and swooning high – it takes the mind and body somewhere special. Listen to the likes of False Advertising and you get something more instant and physical. It is a city that always provides the goods and has that astonishing legacy behind them. I love the classic acts of the 1990s and how they changed music - but I realise those days are long gone. The attention is shifted to London and you know Manchester has less of an impact/role than past days. That is no fault of the artists but the way the media is addressing music. The city’s people are different to London and you get something different with Manchester. I know all the biggest labels and radio stations are in London but we overlook the North and how crucial it is. I will expand more on the subject tomorrow but hope more eyes cast the way of Manchester (and Northern cities) later in the year. Little Sparrow shows the quality and variety that is coming from the city; why we should be excited and keen to focus on this part of the U.K.

Before I look at the latest track from Little Sparrow; I will look at Folk and how the voice can get into the head. Katie Ware is a singer you listen to and do not forget! She has that immediate effect and, when you hear one of her songs unfurl, it is only a matter of time before it resounds in the heart and stalks the memory. I am not sure whether she had any formal training but there is so much natural intuition and passion in the tones. I am obsessed with the voice as, I feel, it is the most important element in any song. It is the instrument we ignore and, I wonder…are there any modern-day voices that can rival the legends? There are some modern stars noted because of their vocal prowess but there are far fewer than the past. Maybe it is more difficult standing out from the crowd and adding anything new to music. That said, with artists like Little Sparrow around, there are some that have immense grace and potential. I am loathed to compare her to anyone else because there is the distinct and unique air to her presentation. (Maybe Eva Cassidy or bits of Stevie Nicks?!). It is a blend that, as said, gets into the heart and makes your mind wander and float. Little Sparrow’s music can be considered Folk-based or Alternative. She has strands of classic Folk artists like Joni Mitchell but has a very modern aesthetic. There are acoustic strings in the mix but Little Sparrow employs piano, strings and, as we can see with her latest work; she has joined forces with a fantastic composer/pianist. The song itself follows on from her previous work but there are new elements in terms of lyrics and music. Tender is one of the most personal songs from Little Sparrow – past songs have looked at fantasy and dream-like situations – and I wonder whether a future E.P. will go down the same lines. Katie Ware is someone who can take any song and really make it shine. The way she approaches music and her performance talents are far superior to most artists out there. She takes the basis of Folk and adds aspects of Classical, Soul and Singer-Songwriter to the remarkable blend.

Aching cello and far-off, haunting vocals open the track. One hears Ware wordlessly eliciting and stunning from the shadows. Her voice floats and glides; it gets under the skin and amazes with its beauty. The cello adds something striking and stern. It is a great contrast that means, rather than creating split in the early stages, provides a complete whole and sense of unification. One gets a real emotional hit before any lyrics have been sung.  It is no surprise the recording of this song inspire more material – you can hear how involved and committed Little Sparrow is. Alongside cello work by Sarah Dale; Robin Dewhurst comes in on the piano and provides something balletic, romantic and touching. His performance is as beautiful as Little Sparrow’s voice and gives the song impossible tenderness and grace. It is a shivering and tremulous coda that makes the listener reflect, react and buckle. The heroine comes to the microphone and is in a patient mood: “I sit and wait for you to take your time” is a wonderful line that has a contradiction and clever wordplay. It is oblique and intriguing; the heroine does not mind waiting because of the subject. Maybe it is a family member or someone who is struggling. From the bird-like, angelic sounds of before; Ware’s voice is more concentrated and deeper. It has a conversational, empathetic sound but maintains its beauty and incredible spirituality. The song’s subject goes into the room (of the heroine) and sits upon her bed. They put their hands on head and you can get an impression of what is happening. Whether an older relative or parent; going into that room – I imagine a lot of white and autumnal colours; something quite English and modest – and sitting on the bed. Maybe memories flood back or it is a sense of sitting in a quiet place and absorbing everything. No words are exchanged but one gleams a lot from the movements and footsteps in Little Sparrow’s room.

Tender words cannot say “what I’m dreading to hear from you” – life is “too short for this”, it is said. The subject is too good for this, whatever that may be, and it seems the world is not ready for their sense of dignity and respect. The way Little Sparrow’s voice reaches a high reminds me of Joni Mitchell. One gets the sense of albums like Blue and For the Roses. One hears the spirit of Mitchell swim in the veins of Little Sparrow as she sends shivers up and down the spine (and places you did not know you could get shivers!). The song, as it progresses, is about loss and someone who is not long for the world. They have, perhaps, gone too soon and there is a definite sadness coming from the song. Dewhurst’s piano is respectful but adds raindrops, tears and a comforting shoulder. It is amazing hearing the textures and fabrics unveiled in the piano. So many different emotions and ideas are expressed; they fuse perfectly with Little Sparrow and the extraordinary vocals one discovers. Maybe it is an elderly relative but that bedroom scene gains more relevance – maybe the last time they will sit on that bed and be in that house. It is a raw and heartaching consideration but the song is never too full-on and exposed. If Little Sparrow exulted too many tears and pain from the voice – and from the piano – then that would make the song too forceful and intense. She balances the sorrowful with the serene. You get a nice mature that means you are sad and supportive but never feel oppressed and too depressed. Tender is a fitting title for a song that looks at realisation and age. Little Sparrow is young so was not expecting something so harsh and unexpected to come her way – one learns truth and lessons when they are older. Ethereal backing vocals melt with the foreground and create layers of beauty and light. It is a song that affects you upon the first listen and shows Katie Ware has lost none of her skillset, quality and songwriting ability – it might be the best song she has created! Robin Dewhurst adds his talent to the song and helps produce a song that is as rapturous and epic as it is pure and emotional. I, for one, am looking forward to more material – if it is as good as this then it will see Little Sparrow richly celebrated by the nation’s biggest radio stations.

Next year is going to be a very important one in terms of changes and consistency. I feel new genres will come to light and Pop will mature and alter. I feel Folk has a big role to play and artists that have a more contemplative and soft dynamic. Little Sparrow will release an E.P. early next year and it will be her first release since giving birth. Family commitments are important but she has had to incorporate motherhood and those duties into her regular life. Some women, who work in music, might change their course and priories when they become a mother. Maybe newfound happiness means their music features family heavily and departs from what they usually create. Although Tender has family connections and base; it is a song that includes everyone and does not depart too hugely from her past work. I guess maternal roles and the changes in life will come into the new E.P. but I know Little Sparrow is someone who will not change who she is because she is a mother. It is a nice way of asking whether the music will become too soft and child-obsessed – I know she will continue to produce material that takes the listener into her bespoke, mystical world. The year ahead provides the opportunity for fans and followers to discover new acts and get behind artists who will make a big impact. Little Sparrow has a great and growing fanbase – and fantastic support - and will see her music get out to the people. It already has the support of names like Chris Hawkins - so I expect that sense of ambition to continue. Tender brings Robin Dewhurst to the fold and he adds something very special to the song. I am excited to see where Little Sparrow flies and what she can accomplish in 2018. Here is an artist that entrances with her voice and weaves stunning, original songs that place emphasis on visions and imagination. You do not get the ordinary and run-of-the-mill with Little Sparrow!

I wonder whether international dates will be part of the plan for 2018. Obviously, with a new son; Little Sparrow cannot take the music too far for a long period. I know she will be excited to get her new music out there but how much of a radius can she impose? Will she be able to spend time abroad for any period of time? I know there are plenty of sources and venues in Manchester she can explore but more time further this way is a possibility. I feel she could play at a few London venues and areas like Brighton. There are many fans in the South that would love to see her so I wonder whether that is a possibility. The North is teeming with quality and possibility so she will put a greater emphasis there. I feel nations like the U.S. and France – seems random but they respond well to the sort of music Little Sparrow is playing – would welcome Katie Ware in and give her a home. It is always a case of timing and money when you embark on international dates but is a time where she can strike and clean up. Maybe she will wait for a while longer before going too far but the U.K. is a huge area where she can make an impact. I am pumped and ready to see Little Sparrow grow and come back from a slight break – if you can call pregnancy and giving birth a ‘break’. I shall leave it there but am very glad Tender is out and we are hearing new stuff from Little Sparrow. That meeting with Robin Dewhurst, and what he brings to the song, has provided new impetus and drive to Little Sparrow. 2018 will be another big year for her and one where she can make some serious headway. She is a hard-working and dedicated artist who puts her all into everything. Tender is a beautiful and wondrous song that means, with Robin Dewhurst, Katie Ware’s Little Sparrow…

IS truly back in business!

_______

Follow Little Sparrow

Official:

http://www.littlesparrow.org/

Facebook:

https://www.facebook.com/uklittlesparrow/

Twitter:

https://twitter.com/uklittlesparrow

SoundCloud:

https://soundcloud.com/uklittlesparrow

YouTube:

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

BandCamp:

https://uklittlesparrow.bandcamp.com/

Spotify:

https://open.spotify.com/artist/76pOt19sTF6vhePofq0JTa

PHOTOS (except the single cover): 

Shay Rowan

TRACK REVIEW: Fallen Arches: Seventeen

TRACK REVIEW:

 

Fallen Arches

Seventeen

9.3/10

Seventeen is available via:

https://soundcloud.com/user-442929765/seventeen

GENRES:

Singer-Songwriter; Alternative; Folk

ORIGIN:

Glasgow, Scotland

RELEASE DATE:

20th December, 2017

The album, Pen to Paper, is available here:

https://itunes.apple.com/us/album/pen-to-paper/id1228221908

RELEASE DATE:

24th April, 2017

_________

THE biggest changes I am making to my blog…

concern images and information (or lack of). This review of Fallen Arches is exciting but it is absent of great images – something I am getting strict on next year. I love the pieces where I can put some great photos in and make it look really good. I will talk about (for the last time this year) the importance of a healthy stable and things to consider next year. Before then, I will look at Scotland and Glasgow artists; social media and selection criteria; acoustic, humble songwriter; touring the country and seeing the sights; 2018 and what the songwriters can come up with; why the mainstream needs a bit of shaking up. I have been neglecting Scotland for a bit and spending too much time in England. The country is producing so much good music lately – I know they will make a huge impression in 2018. It is going to be interesting seeing how music transforms and evolves in the coming months. On Christmas Day; I will write a piece that explores Manchester and how the city will take some energy and momentum from London. I always love the capital and think it has produced some of the best music ever. I have spoken a lot about Scotland this year but have featured very few artists from here. Glasgow is a big and productive city that contains some of the most promising acts around. It is a country the mainstream media ignores and I cannot really see why. Everyone who visits there comes back with an awed expression and fantastic stories. Scotland is an amazing country with phenomenal landscape and wonderful people. It is only natural the people would reflect that sense of beauty and interest. If one spends a bit more time investigating and searching; they will find just how many great artists there are in Scotland. I am worried we are neglecting the nation and feel all the finest music comes from London.

Colin Bell’s Fallen Arches is a hard-working act that has been gaining local pride and attention. Next year, I will be moving towards bigger acts that are closer to the mainstream – getting a sense of the stars of tomorrow, as it were. Bell’s music is fantastic but it might be a few more years before he can negotiate focus from the movers and shakers of the industry. The only way this can be done is people turning their obsessions from England and training it to Scotland. I am interested seeing how the country is growing and what artists are coming from there. I am seeing a raft of wonderful solo artists who have a more acoustic-led sound. Against that are bands who have plenty of grit, passion and rawness. The mainstream is lacking solo artists with tenderness – that are against the ideals of the mainstream – and bands who have original Rock sounds. Maybe this is untrue of the underground but there is a need to expose and highlight all the great musicians that are putting out this work. Scotland is a long way from London but that does not mean it should be shunned and given meagre coverage. I feel Fallen Arches can help make a change in the way we perceive Scotland and its music. These are early days for Bell and it will be interesting to see where it can go. His social media pages are building and he has put out an album, Pen to Paper. I will talk more about it but I feel next year will be a successful and promising one for Fallen Arches. On the strength of the latest album; all the signs point towards an artist who can go a long way in the industry.

I will come to look at the wilds of Scotland and how the landscape influences music but it is important for Bell to push the music he has out there. I am looking after a friend’s music at the moment and many P.R. agencies are responding to it. They all love the sound but say the same thing: she needs to get herself to the people and promote what she already has. In terms of her social media; she has a good spread but there is that need to keep pushing the work and not taking the foot off the gas. Fallen Arches have exposure on Facebook and Twitter but the need to get the images and information improved and out there is vital. Colin Bell has a good look and persona so there will be people who want to find some high-quality, good images. There are one or two on his pages but every artist, in this modern time, needs a lot more. I have seen so many great artists – with some deep and meaningful music – connect with people in terms of sound: when it comes to their imagery and projection; there has been something lacking. The business side of music demands every artist has a bare-minimum outlay and look. I hope that is something Bell will invest in through 2018 – getting a professional snapper to take a dozen-or-so great images that are clear, varied (and hopefully do not have a watermark on them). Getting the music side of things ‘right’ is crucial but one needs to match that with the social media and image half. Bell is a spirited and dedicated songwriter and the desire to have that fulfilled and rewarded resonates in me. At the moment, he is preparing for 2018 and putting the music out to the people. Originally – when I was approached for a review – I was going to investigate Let It All Out.

Now, with Seventeen out, I have changed and looking at that song. His L.P. is full of terrific songs so it would be good to see a couple more singles released from it. On the subject of promotion and the prolific; I hope Fallen Arches gets a few more videos out and gives the great songs a visual edge. Let It All Out has a video but I am not sure whether Seventeen is going to have a video made. Although I am looking for bigger/more image-focused acts in 2018; that is not to say artists like Fallen Arches are not primed for big things. I am excited to see how Bell has expanded and improved his music. He is a confident artist and one of the best new songwriters in Scotland. If he invests some money in a few images and puts a bit more biography on his pages – that will attract more journalists in and contextualise him in the scope of Scottish music. He has already shared the stage with We Are Scientists, Ultras and Pronto Mama. That is no small feat for someone in the music industry. I know this will continue and Bell was invited to support My Vitriol in Glasgow. I feel the live performance element of his music is what makes Fallen Arches such an attractive proposition. I will end the review looking at where his music might go; whether it is likely to expand nationally – why other songwriters should take notes from him. Next year is going to see some big changes in music. Artists like Bell will be aware of that and will be able to take advantage of it. His music is something I have been hankering after for a while now. The way he manages to talk about common subjects and make them deeply personal is a hard skill to pull off. He does look at ideas and stories we all are familiar with but he makes them about himself and gives the listener honesty. It is rare to find songwriters who are willing to expose their pain but not make it too overwhelming and severe.

That might sound like an odd assumption but there are so many who are too naked and revealing. I want to hear about an artist and what goes through their mind. There is a line one must draw so that they are not too raw with their emotions but are never closed-off so they give nothing away. Maybe Pop has taken too much ground over the past few years. One listens to the mainstream and there are a lot of radio-friendly artists who have a particular sound and dynamic. The production is big and glossy and the music is uncomplicated. Many artists do not want to produce anything too challenging because that would compromise their commercial hold and success. That is the way the mainstream has been for a long time but I am concerned it is too inflexible and unchanging. I feel there will be some changes next year whereby acoustic music gets more of a say. I know Fallen Arches employs Rock edges and has some tougher vibes but there is the sensation of calming and reflective. Although his music does look at relationship break-ups and personal woes – there is something, oddly, nourishing about his sounds. I wrote a piece yesterday that asked whether acoustic music was on the way out. I do not hear much of it these days and that makes me a bit sad. I love the legends of Folk who managed to amaze and impress with a mere guitar. The modern scene seems to be more concerned with force, sound and colour. There are acoustic artists - but for every one of them you see; there are dozens of others who prefer their music more energised. Maybe we feel there is no potential to succeed and impress for those who do not shove music down our throats. That might be harsh but a great songwriter knows how to win and seduce an audience with an acoustic guitar.

I feel one of the things that will change in 2018 is the dominance of commercial sounds and a change towards something with greater depth. I have grown a bit weary of the chart music that places more validity on the streaming services and popularity – rather than genuine songwriting that can strike the heart and mind. Maybe this is the way it has always been but, in a world where we are more afraid and less sure; that desire for something substantial is essential. I love to find an artist who can blend the softer acoustic tones with something more fired and physical. Fallen Arches is a songwriter who has been in the business for years and knows what his audience wants. Bell has travelled up and down Scotland and built a reputation as one of the best live acts around. The stunning live sound is something he should wear like a tattoo. He manages to bring that wonder and emotion into his studio-formed music. I am always drawn to artists who can craft an incredible live show. This year, I have seen a few gigs and am always blown away by the way they connect with the audience. So many big artists rattle through their songs and produce generic sets: artists that go deeper and take the chance to bring the audience into their music should be commended. Fallen Arches is a night out you will not forget. Some of Scotland’s biggest sources have paid tribute to a musician who manages to touch the listener and bring them into his world. I mentioned how his songs have that personal touch – they can get into the skin and remain in the soul. His voice and performance skills are part of that and one reason I hope he comes and plays down my way. I am envious Bell has the chance to explore the nature and variations of Scotland.

There are few nations that have such evocative and scenic backgrounds. England has its striking history and high-points (Yorkshire and its countryside among them) but Scotland is in a world of it owns. From the Highland glory to the castles and buildings of Edinburgh; the honesty and dignity of Glasgow through to the beaches and treasured coves. It is a nation that can widen the eyes and get the blood hot. I have talked about Glasgow a lot this year and why it is a vital city. The musicians here are among the finest in the world and the city itself is beloved by most. Bell is based in and around the area and getting heat and good love from critics there. Not only does Scotland have great venues and people in every part; Glasgow is a city, I feel, is the true capital of Scotland. It seems to have a better reputation than Edinburgh and is a lot stronger when it comes to the music scene. The artists are more varied and the people seem to have a different take on life – more humour, honest and loveable. That might be an outsider’s view but I know the musicians of Glasgow have something different about them. I will end the piece by touching on that but I am excited to see how Fallen Arches can expand in the coming year. Although the moniker of Colin Bell sounds like a medical complaint of the feet – there is no stopping the pace and progress of one of Scotland’s brightest new stars. Maybe London will retain some of its grip and legacy but I know areas like Glasgow and Scotland will accrue more dominance and importance. new need to shake off our presumptions and dogged ideals of what music is about and where we should look. I am impressed Fallen Arches is making progress and the reputation critics are affording Bell.

I feel Bell is someone who can bring back the art and necessity for acoustic/calmer music. I said how he does have tougher, musical sides but there is that ethos and side of the personality few modern songwriters are talking about. Folk music, in past years, has talked about the plight of the affected and poorer communities. Impoverished souls have found their story being told by Folk artists. Now, the genre is more eclectic and progressive. There are acoustic artists who talk about societal concerns but most artists have dispensed with acoustic bases and are taking their music into new realms. If you know where to look; there is that band of musicians who know what wonder can be extolled from the acoustic guitar. Bell is someone who has taken note of the rich seam of acoustic music in Scotland and added his own spin. I know that will continue into next year and see more material arrive from him. I am making a list of the artists to watch in 2018 and have included a varied selection of acts – covering so many genres and cities. Few of the artists I have included are able to impress and stun with an acoustic guitar. There are few artists that have the belief they will be taken seriously; critics will note their music and they can gain necessary respect and consideration. I feel there is a great need, in music, to see the older traditions and sounds of Folk come back in. I will leave that point there but feel like there needs to be a look at music and things we are missing out on. The so-called best acoustic artist of the year is Ed Sheeran. He appeals to a certain demographic but is not indicative of the scene and why people like me love acoustic music.

Seventeen starts its life with tumbling strings and a lightness. There is passion and pride in the performance and the composition compels the imagination and gets your brain working. All good songs should do this: few tracks I have witnessed all year have managed to do that. It is the accent and natural voice of Colin Bell that gives the song its natural charm and conviction. If songs like Let It All Out were about exultation and releasing the pain: here, we have a song that seems to reflect childhood or a past time. We get images of innocence and playfulness; balls being kicked up and down. If Let It All Out suggested balls being kicked in a rather spiteful and painful manner: here, there is a sense of the free and child-like that shows what a varied palette Bell has. There are artists who hide their tones and Americanise their voices. Maybe that is a conscious effort to get the music to the U.S. but Bell does not try that. He is all about his own identity and providing the listener with honesty and full discretion. His Scottish burr makes the music come alive and brings the listener into the picture. I get a little fleck of the 1990s and some of the bands that were arriving around the Britpop period. That same sense of quality and evocation comes through (in Bell’s song). Right from the off, one is involved in the song and following the projection. It seems like a game of football is underway but maybe it is a metaphor for love. There are hard tackles and painful situations – breakups and cruel words – that have burnt into the heart of the hero and made him reflect. It is the strings that continue to impress and get into the imagination. The bold and passionate voice of Bell brings the song to the fore and that combination of qualities that makes Seventeen so appealing. If the early stages suggest heartache and the loss of love: the song develops into something more positive and redemptive.

It seems the sweethearts are unbreakable and beyond fracture. There were hard times and splits but things are solid and you cannot easily destroy that affiliation. Bottles and brews are “Tainted with spiders” and will never taste as sweet again. These images not only heighten the song’s power but show the complexities and layers of love. Maybe the age-referencing song refers to childhood and how adulthood is less sure and more unpredictable. The hero is hanging out around derelict flats and making sure friends are kept safe. I was wondering whether the song referred to love alone and if there was something deeper running through the water. It is clear Bell is looking back at his early life and those changing teenage years. There are vivid experiences and a sense of a working-class lad that wants to return to those past days. He has changed in life and moved on but reflecting on his past and where he came from. I am not sure whether lamentations and memories of the past are designed to augment the present or they are being put to bed. The vocal is constantly alluring and invigorating. It is full of passion and wondering; it has sadness working throughout and shows a scarred heart that is trying to repair. Few songwriters manage to make such an impression upon the first listen. Seventeen is a song that reveals more of itself through time and shows its heartbeat firmly. You are affected by the strings and clarity of the voice; invested in the lyrics and piecing together the story – trying to get to the bottom of it. Colin Bell has been around a while but it seems, right now, he is producing his strongest material. The confidence one hears coming from the song cannot be ignored. He is sure of what he is doing and is at the top of his game. I related to some of the ideas expressed in Seventeen: that desire to hold onto a love many doubt; the bare-boned simplicity of play and hanging out; the way life changes and we look back on times past. It is a stunning and assured song from one of the best young songwriters of the moment. Expect Fallen Arches to make some serious moves in 2018!

It has been a busy and productive year for Colin Bell. Fallen Arches has risen and managed to craft a reputation in Scotland. I know critics have been raving about the live performances and speaking in excited tongues. Pen to Paper is a broad collection of songs that looks at relationships and personal issues; it expands and casts the net to the outside world. Seventeen is the latest release from the album and a song I felt I needed to get to the bottom of. What strikes me about the music of Fallen Arches is the mix of bold and emotional. There is never too much urgency or peace coming from the speakers. You get a nice blend of both and have various parts of the brain stimulated. Pen to Paper is full if depth and richness. It is a decent and proper singer-songwriter album that is modern and of-the-moment but does look back at better times. I wonder whether Bell will take his music on the road in 2018. I assume he is playing Scottish gigs but are English gigs going to be part of the agenda?! It would be good seeing Fallen Arches play a few venues down this way. What we are lacking around London are songwriters who go against the mainstream and produce something different. This year is coming to an end and I am curious to discover how music will shape and inspire. There are some promising artists coming through and I want to see just how far they can go. Fallen Arches have humbled foundations but things are getting bigger and better. If the social media pages can find more photos and information; if Bell can get some gigs in other parts of the U.K. – that will get the music to more people and find more fans. He has worked hard on his current L.P. and getting great feedback. That is going to continue in 2018 and will see the Scottish songwriter go far. He is a strong and original songwriter that excited my imagination and gets into the heart. Given that is quite rare in this time and age; I would compel others to get on broad and seek his music out. Seventeen is an example of what Bell can produce and why he will take further steps in 2018. It is a good time for him and he is helping to push Scottish music to the fore. Not that the nation should need that kind of kick but I feel too many are ignoring it. Let’s hope this is something that is eradicated in 2018. As we can see, from Fallen Arches; Scotland is a nation that warrants…

PROPER love and attention.

_______

Follow Fallen Arches

 Facebook:

https://www.facebook.com/fallenarchesmusic/

Twitter:

https://twitter.com/FallenArches77

SoundCloud:

https://soundcloud.com/user-442929765

YouTube:

https://www.youtube.com/channel/UCurT1O59r60AArGBKJfO3ww

TRACK REVIEW: Aural Air - The Vanishing Dove

TRACK REVIEW:

 

Aural Air

The Vanishing Dove

9.3/10

The Vanishing Dove is available via:

https://soundcloud.com/laura-rai/aural-air-the-vanishing-dove

GENRES:

Folk-Rock; Alternative

ORIGIN:

Dublin, E.I.R.E.

The E.P., The Torpor of Minds, is available here:

https://soundcloud.com/laura-rai/sets/aural-air-the-torpor-of

RELEASE DATE:

8th December, 2017

__________

I am pacing my pieces so that I feature…

an even number of male and female artists in the run-up to Christmas. It is wonderful discovering new talent and people who make a real impression. I will talk more about Aural Air and her music but, with her in mind, I wanted to discuss a number of different things. I want to return to lo-fi Folk and artists who mix beauty and intrigue alongside emotional depth; Dublin and the importance of recognising music outside the U.K.; artists who have a big potential and hope in 2018; a look at vinyl and music that sounds perfect there; the visual side of music and how Aural Air can build next year; music that has its own skin and personality – getting ahead of the competition in a busy and diverse market. I have been reviewing a lot of artists – and interviewing many folk – and seeing similar kind of music coming through. It has been a little while since I’ve encountered something lo-fi and Folk-based. I put out a moratorium earlier in the year – because I was looking at a lot of Folk music – and there was a general need to embrace something different. I went in the direction of Rock and Electro and then embraced something a bit more colourful and unique. It is back to a genre I have a great knowledge of; affection and a real sense of longing for. It is harder for artists who play this kind of music because, if you look at the critics’ favoured albums from this year, there are very few Folk acts. It is harder to get into the consciousness because the best and biggest albums from any year tend to be a little more bombastic and confident. Folk is a genre that is a little ‘quieter’ and has a reputation for contemplation and introversion. I think this is a little unfair because, if you hear acts such as Bon Iver – who can be labelled as Folk-based – then you see how diverse and exciting he is. I wonder why critics/fans seek music that has a bit more spirit and energy?!

I will move on from this point but I have longed to discover an artist who produces music gentle and soothing but has plenty of flair and passion. That may sound like a contradiction but it is satisfying finding music that has genuine depth and layers. Aural Air is somebody who sources Jeff Buckley and St. Vincent as influences. The latter created, what I feel, is one of the best albums of 2017 in MASSEDUCTION. That is not a Folk album but there are songs on that disc that take the volume down and have a more beautiful and softer edge. Buckley is, as my music idol, someone I am intimately familiar with. I am seeing his name come up more and more and, when you hear Aural Air, you get a real flair of the late American icon. His career might only have spanned six or seven years but, when you listen to the material he left the world – it is undeniable he made a genuine change and gave the world something distinctly his. There has been nobody like him but, listening to musicians now, there are plenty who are inspired by him. Buckley possessed Folk elements and had a love of Joni Mitchell and Bob Dylan. In many ways; Aural Air’s sound links the legends of the 1960s/1970s and feeds it through Buckley; takes in a bit of St. Vincent and updates it for a modern audience – adding her own chemistry and recipe into the pot. It is interesting seeing how Folk has developed and mutated but I worry the mainstream is not allowing enough room for it to grow and shine. Aural Air will not race to the big leagues and worry about that now but, in years to come, she’ll want to join her heroes and be able to exact influence on others. She is going about it the right way but I feel we need to allow Folk more space and oxygen – get it to the people and afford it more respect.

I am interested in music from all around the world but, as the year comes to the end, I am looking to get out to the world and investigate international talent. I have been spending a lot of time in the U.K. and struggling to go beyond that. My mind goes to the U.S. and Canada but that is still quite a limited and narrow focus. One can argue the majority of the world’s best and most popular music arrives from these nations – that would be neglecting the range and brilliance one can find outside these nations. I have been aware of Dublin and the Republic of Ireland for years and know how incredible their music is. If you look at the historic acts from here, there are some true treasures and artists who have changed the face of music. This is not to say anything modern, by comparison, will pale into insignificance. Bouts, Æ Mak and Not Monsters are among the hot-tipped Dublin crew one should look out for in 2018. The Klares, Stoat and Heathers have been tipped and, between them, cover a spectrum of sound. I would urge you to check them all out – I have not hyperlinked them but you can find them on social media – and check out how Dublin’s scene is changing and growing. What interests me is how varied and full the music scene is over there. You hear the band and acts coming from the area and it sounds like nothing else. There are a few mainstream artists but, for the most part, the music has a unique tangent and identity. Aural Air fits neatly into the Dublin sect and shows how strong the music of the city is. There is great local media support of music but international sources rarely spend time looking at the music of the E.I.R.E. You can look at other counties like Clare and Roscommon and find great music; pan across to the coasts and discover brilliant sounds. Most of the best music comes from Dublin – that is not to say everything great comes from here!

One of the resolutions we should be making for 2018 is embracing artists from outside of London. I am guilty of featuring too many capital-based musicians and will amend my ways! It is going to be a busy year and I am really pumped seeing terrific Irish music getting some attention. How this will manifest itself into true exposure and recognition, I am not sure. I hope more media sources recognise acts like Aural Air and realise how worthy they are. She will look to get some international dates – and time in the U.K. – and push her music to new faces. I know there are some reputable and fabulous venues in Dublin; a city that provides its musicians with some excellent spaces. The Grand Social and Vicar Street are among the fantastic spaces artists can cut their teeth. It is not only the great artists and venues that compel and intrigue the senses: the aroma and energy of Dublin get into the blood and fascinates readily.  I have never been over there but know full well how magical and addicting Dublin is. The culture there is phenomenal and that inspires musicians to write stunning songs. Aural Air will be looking around the world and where she can go but there is a pretty decent and creative base for her to thrive in. One can claim, if she lived in London, her music would not be afforded the same kind of qualities and space it gets in Dublin. She is going to go very far and will accrue new fans in 2018. I hope she remains in Ireland because there is a great nation with supportive and fantastic people. Maybe, in years to come, relocation to nations like England or the U.S. might provide her greater commercial exposure and opportunities. Right now, when you hear her music, one gets affair of the people and vibrancy of the city; the pastoral and countryside beauty that gets under the skin.

The last few years have seen various albums and sounds take prominence in the music scene. This year; it has been one of the most varied and eclectic I have seen. Whether you are a fan of Lorde or Kendrick Lamar; keen on Thundercat or Phoebe Bridgers – you have been spoilt when it comes to quality and innovation. My personal favourite album of this year comes from Lorde (Melodrama) but there will be many critics sharing contrasting views; there is no clear-cut album that can walk away in my mind. Last year saw Beyoncé’s Lemonade get huge respect; Kendrick Lamar has been a huge name the past few years – Hip-Hop and R&B getting a lot of acclaim and respect. That will continue into 2018 but, when one considers the underground, will it be as obvious as all that? I feel new music is a different beast and there is going to be a genuine place for Folk. I have argued how it gets very little respect – compared to other genres – but there are so many hungry young writers who are pushing the genre forward. Aural Air, as I have stated, is a woman who imbues the beauty of Jeff Buckley but has a unique edge to her. You feel the passion and tenderness come out but there are so many colours and ideas wrestling alongside one another. It is impossible to predict how music will shift and transform but I feel there will be a bigger role for Folk-based sounds and acoustic measures. Not only will Aural Air get a lot of respect from critics and her peers: there are many venues over here that will want to see her perform. I will come to that in the conclusion - but she should be thinking about booking some time in the U.K. and exploring some of the spaces we have over here.

Before I come on to look at vinyl and succeeding in the market; it is worth me noting how incredible and original the music of Aural Air is. I have been comparing her music to others but that is just a guide, really. It is unfair to lump her too firmly with others but I mean it as a compliment. One of the things that get to me is the vocals and sounds she can produce. I listen to the voice and it takes me somewhere safer and special. It is unlike anything out there but has familiar tones and alienates nobody. A reason why Aural Air stands out is because of the themes she explores and the titles she employs. An E.P. called The Torpor of Minds instantly spikes the senses and gets you hooked. It was released a few days ago and, since it came out, has been gaining good reviews and a lot of respect. I am pleased for Laura Rai (Aural Air) but not shocked. She is a hardworking and dedicated musician who has put her everything into the work. Whilst I am not going to review the entire E.P.; I have been stunned by the width and quality that runs throughout – I have heard every track and can attest to its power and nuance. You return to various songs and keen to discover new elements and possibilities. That is the highest compliment you can pay any artist out there. I wonder how Aural Air will move in 2018; whether there will be another E.P. or plans for gigs. I will investigate more in the conclusion but the door is open and the world is waiting. Released on the Irish independent label, L Records; the new E.P. from Aural Air; the enigma and eeriness she can produce has caused many critics to bow down and offer their praise. Plenty have applauded her individual sound and qualities but I hope more gets behind her and push the music far and wide. It is getting reception in the U.K. but you cannot overlook all the continuous and fabrics that make the artist someone to hold to the heart. In a busy and challenging music industry; here is someone who will remain and continue to grow as the years tick by.

I will come to the song/E.P. very soon but wanted to discuss vinyl and how popular it is right now. One might assume this an odd diversion but it is relevant when I think about the music of Aural Air. It is all well and good artists emphasising and relying on streaming and digital music but many are overlooking the beauty and importance of the physical formats. I am a huge vinyl fan and am actually writing a piece about it later – whether it needs to be more affordable and ways of ensuring it remains relevant and demanded. I feel those who appreciate the soul and genuine physicality of music will always stick with vinyl. You cannot beat the sensation of getting a record and holding it; putting it on the turntable and watching the needle drop – hearing the slight crackle before the music starts. It is a sense of theatre and tease that delights music lovers and has not lost any of its charm and wonder. You can argue streaming and digital music offers convenience and a modern touch – do we really need vinyl and is it reserved for those who want to live in the past?! I would argue against that because vinyl offers the chance to discover music in all its fullness and best. You can stop and relax; put a record on and really get to grips with it – rather than rush through it and play it off a laptop. The reason I bring up this subject is because Aural Air’s music would sound perfect on a record. She is dedicated to giving the listener the best experience possible and I am keen for her to explore the vinyl market. I am not sure whether she has considered it but one imagines the beautiful music she produced would sound transcendent and alive on a vinyl.

I will come to her new music soon but, staying on this point, it is worth noting how savvy and hard-working she is as an artist. I have seen few who put in the same effort and make their music as widely available as Aural Air. You have a number of platforms to hear it on and (Aural Air) keeps her social media fresh and updated. There are few artists who can claim this and, in an industry becoming suffocating and jam-packed; there is no real excuse for negating these requirements. It speaks volumes about an artist who is keen to build her career and does not want to be overlooked. She is going about things the right way and making big steps by the month. With an E.P. out; there is every sign to suggest Aural Air will be a big name to watch in 2018. The music industry is open to everyone but only rewards those who put in the graft and time. No fear when it comes to Aural Air as she is always keeping busy and putting the music out to the people. Her blend of atmospheric music and stunning vocals; the vivid and candid songwriting, paired with the sensation one gets when listening to it, means you are transported and get into the head of a fantastic songwriter. I am excited to see what her year holds and exactly what she can achiev. You know she will get a lot of gig requests and, as the E.P. settles and gets respect, many people will want to see Aural Air perform near them.

I wanted to focus on The Vanishing Dove as I feel it is the strongest cut from The Torpor of Minds. It begins with twirling and beguiling strings that have high-pitched delight but there is a complexity at work. The notes melt and delight; you get visions of the horizon and moonlight; all manner of possibilities and beauty. It is an evocative and sensual start that causes the head to swim and the voice to swoon. Soon enough; there is percussion stiffening and the mood gets tighter and more dangerous. The “Floating Bridge of Dreams” is brought in and we are taking into a semi-spiritual world that soothes the senses and gets the imagination working. Some of the words get lost beneath the composition – maybe it is my ears but some words are hard to pick up – but it is the way the music and vocals unite that gives The Vanishing Dove its aplomb and strengths. I love how the guitar continues to change and build; the percussion does not impede but manages to summon up power and focus. The heroine is flying through the air and bringing the listener with her. You get impressions of the open world and everything out there; free to allow the body to move and the mind to expand. I got all kind of visions and sights when hearing the song unfold and explore. There is a light one can find, as it is told, when everything is dark and gone. The vocal continues to impress and go in all sort of directions. The range and beauty of Aural Air’s voice is to be commended and recommended. She has a sharper edge which brings out the sense of urgency: able to take things down and provide soothe when required. I have compared her with the likes of St. Vincent and Jeff Buckley but, in a way, she goes down her own path and only really employs a fraction of each in her own material. In terms of quality and boldness; one can detect the same kind of spirit and confidence of these artists – years down the line, she might gain the same kind of plaudits as both.

The Vanishing Dove is as much about is mood and complete whole than the story itself. One finds their own story and viewpoint from the song – a few of the lines do get lost a bit – but there it is how everything comes together that impresses me. Whilst I would recommend the need for a little bit more clarity when it comes to mixing the vocal in (making sure every word is heard and not distorted) that is the only fault I can find with the music. Aural Air’s vocals and sound compensates for any shortcomings and gets right into the brain. It is hard to find a voice that is original and genuinely hits you hard the first time you hear it. That is a testament to a strong and passionate songwriter who wants to be remembered and remain. I know she will continue to make music for a long time and, on the basis of songs like this, many new fans will come her own way. What I love about The Vanishing Dove is how the song has that eeriness to it but there is plenty of passion, hope and beauty to be found. The contrasts and mixtures are what makes the song so strong and alluring. The composition creates plenty of curiosity and helps elevate the vocal and provide its own story. Each listener will have their own view and interpretation of the song. It is not something you listen to and figure out right away. It takes a few listens before everything comes together; each time the song is played you get new light and interpretation. To me, I was thinking about something personal and meaningful to Aural Air. She is someone who has faced challenges and hurdles but is determined to move on and make her way. I may be missing something but I felt a lot of her heart and soul come out in the music. Whatever your interpretation of the song; it is a fantastic cut from the E.P., The Torpor of Minds.

I have talked a lot about the Irish artist and all her qualities. Many overlook cities like Dublin and assume it is not going to have a lot of great music. We all assume the U.S. and U.K. is where all the best music is – we are neglecting the other nations and how much good music comes from there. Dublin is a proud city and has so many great artists playing here. Aural Air knows this and ensures the people are turning on to her sounds. I have heard The Torpor of Minds and recommend everyone gets involved with it and hear it in its complete state. Let us look forward and those artists who have the chance to make changes in the scene and remain there for years. I feel Aural Air has made good progress but she will want to get out to the world and explore various nations. I feel she can have a say in the U.S. and make an impact in the U.K. It is not beyond the realms of possibility seeing her in the mainstream – there are similar artists already there who make you believe she could make it pretty soon. Maybe I am racing ahead but let us not underestimate the potency and quality of Aural Air. Here is an artist that has an incredible sound and gets into the heart with ease. I am excited to see where the music goes and how she grows; whether there is going to be tour dates in London – if she comes over here and we can catch her up close. This year has been a very busy and exciting one for Aural Air so one can forgive the desire to recharge and spend a bit of downtime on her own this Christmas. After the celebrations and festivities; many will look her way and wonder what she has planned for 2018. Given the strength of The Torpor of Minds and the reviews it has been picking up; I have every confidence Aural Air will…

MAKE huge impressions in 2018.

_______

Follow Aural Air

Facebook:

https://www.facebook.com/auralairmusic

Twitter:

https://twitter.com/AuralAir

SoundCloud:

https://soundcloud.com/laura-rai

BandCamp:

https://auralair.bandcamp.com/

TRACK REVIEW: Hero Fisher - I Let Love

TRACK REVIEW:

 

Hero Fisher

I Let Love

9.5/10

 I Let Love is available via:

https://www.youtube.com/watch?v=LI6E8nR_m3E

GENRE:

Alternative

ORIGIN:

London, U.K.

RELEASE DATE:

24th November, 2017

__________

THE final days of the year are ticking down and…

with that, the chance to reflect on great talent primed for movement and success. I have been following Hero Fisher for a while and know what a promising artist she is. I will talk more about her but, having seen her live, wanted to chat about artists who have a rare and unique stage presence; how songs, blessed with an original concept, can stick in the mind; how early honours can propel and boost an artist; the ‘difficult second album’ and making the most of success; how things are shaping up in 2018; artists that move about and absorb different musical tastes – and why female artists are back in the mind. Hero Fisher is someone I have known about for a long time but got to see her live earlier in the year. I have been a fan and always gripped and fascinated by her work. On record; you hear the beautiful vocals and rich tones; the incredible musicianship and lyrics that go beyond the ordinary. It is on stage when the music jumps and really comes to life. I have seen her work and, with another musician (his name escapes me), created a layer of sound. Fisher would record a vocal and capture it on a machine; that vocal would then be repeated through the song – she could do the same with a guitar sound. Whilst in the midst of a set; she can layer her own voice and build a unique and mesmeric song. She has a great demeanour and manner that is rare to find in live performers – too many are quite awkward or do not interact with their crowd. Hero Fisher has cheekiness to her and is one of those rebellious pin-ups who is a strong and alluring proposition. You listen to her chat and there is modest and sweetness but she has an impressive tongue and banter that compels you to follow her live. I have seen her once - but know what a reputation she has.

I know this will continue into 2018 as she continues to promote her music. It is in front of other people you get the most affecting and sustained hit. Many are primed towards social media and streaming – because that is the way marketing and promotion goes – and forget about the importance of gigs. It is vital to balance the two and not put too much emphasis on digital forums. Hero Fisher has an impressive social media layout but elevates her music when she is on the stage. I have heard a lot of new acts who seem impressive online, and have attention to detail, but they come off quite limp and forgettable up-close. It is a shame to see but I am more likely to see an artist, and remain with them, when they put in a stellar show. After seeing Hero Fisher at The Finsbury; she is someone I am determined to remain with her and see her perform a couple of times next year. Her set is quite sparse and simple but it is the way she mutates and echoes that get the crowd stunned. The likeable and intriguing personality, coupled with the music, is a reason why Hero Fisher is among the most talked-about and incredible artists around. It is not only the incredible live gigs that stand her aside: her songwriting and original bent cannot be discounted. When listening to I Let Love, and diving into its lyrics, you are experiencing something new and strange; an artist who does not play by conventional rules; an extraordinary writer who has her feet on the ground but takes the listener somewhere unexpected. I shall come onto that topic soon but, before then, urge anyone who has not witnessed Hero Fisher on the stage to do so. She puts her heart and soul into the performance and, regardless of the size, can hook every crowd; keep them in her palm and control the room – making sure they go away talking about her for days to come!

I have mentioned how Fisher’s latest song is a great work that defies categorisation and simple analogies. I hear a lot of songs that talk about love and life but they are cliché and rarely transcend the ordinary. It can be annoying discovering the same type of music and unable to fall for music. I want to hear musicians who can bond the familiar with their own angles and agendas. I discover so many acts who have the potential to be good but, when you hear the song, it leaves you a little cold and jaded. There are new artists who are proving me wrong and doing something wonderful. They can talk about love and what we experience in everyday life and transform it. Hero Fisher’s latest track looks at contagion and jumping between people. By that; each verse is different but looks at the day in a life of various characters. It is a spirit that balks against quotidian life and the mundane grind. Hero Fisher takes the narrative of predictability and imbues her characters with a spirit and force – one that inspires the listener and, in doing so, gets them to rethink their choices. This is only one song from Fisher but, when listening to her back-catalogue; one hears this kind of endeavour and pioneering spirit. I am always impressed by songwriters who go beyond the commercial and easy and write something with genuine depth. Fisher is someone who sees life differently and does not have a predictable lifestyle. She goes through her day looking at the world with an artistic and creative way. You can argue whether the mainstream artists – who pen average love-songs and do not let their imagination run wild – are needed and whether there needs to be changes made. These acts have validity but, as they are in the spotlight of music, should we be reversing our structure and ensuring acts with intelligence and unique insight get their rewards? I feel acts like Hero Fisher have to fight a lot harder than those artists who take the easy route.

It is something that irritates me but I feel 2018 will see some changes come into play. I will talk about Fisher’s upcoming album but I am looking ahead and wondering whether music will redress its reliance on mainstream, commercial acts. The airwaves are filled with plastic, processed stars who have a little bit of talent but are buried in machinery and technology. The songs are tinny and empty whilst the lyrics hardly push towards the profound. The assumption is this is what people want to hear; the definition of what is seen as ‘popular’ and warranted. This music is often aimed at a narrow, young, audience and means we have a rather stagnated and stale scene. The charts do offer light relief and options but there are far too many Pop acts that get that undue promotion. Maybe it is never going to be the same as things were years ago: times where there was consistent quality and amazement in the upper leagues of music. Maybe streaming and the digital takeover means the emphasis is on image, popularity and accessible sounds: challenging music and appealing artists have to shout louder because of this. Maybe it is the hard work that gives an artist strength but, when considering someone like Hero Fisher, I worry she has to work too hard to get her name out there. I know she will shoulder the responsibilities of music with aplomb – her natural talent and songwriting power mean she will have a busy and productive 2018. Her songwriting is a good reason why we should remain with her. Listen to a song like I Let Love and you are instantly sucked into a new world and feel differently about things. Not many songs have the potency and prowess to do that – a reason to be excited about her album, Glue Moon.

The title alone gets you interested! It has a child-like innocence but, if said fast, sounds like ‘glooming’ (or ‘gloaming). The image and concept of a sticky moon is one that struck me. I wonder where the title comes from and whether there is metaphor and simile present. I would like to find out what symbolism goes into the title but, when listening to a cut like the one we have now; it is clear the record is going to be strong and impassioned. Delivery – her debut L.P. – was celebrated and showed what a strong and original songwriter she was. The album was brought out two years ago and has been getting great reviews and love. I have heard some of its material on the stage and can attest as to how powerful it is up-close. The upcoming album is going to be under the microscope because of the debut’s strength. Fisher strengths and talents go into that record; she made it her own and crafted an identity and wonder – I wonder how far the sophomore album will go. Glue Moon is going to be a stunning album and I am glad to see Hero Fisher pushing forward. So many artists I know are not recording new material or stop after one album. It can be disappointing seeing how music’s pressures and challenges get to people. Few of us can put ourselves in the position of a musician and realise how intense and challenging things are. Songs take a while to craft and it can be difficult sustaining a career. Hero Fisher knows all of this and is someone who is aware – even though she is a new artist – of the perils of that second album. Historically; that record is always seen as challenging and troubled: artists who create a fantastic debut have the pressure to repeat themselves and keep the fascination high. Acts like Oasis (who created a magnificent one-two in the 1990s) overcame that hurdle with confidence – not too many other can do so with ease. It is stressful following a great introduction but that is only because many people want more of the same.

PHOTO CREDIT: @sonyajasinskiphotography

The trouble with repeating yourself is the material, inevitably, will be weaker. All your best ideas have been used so, if you stay on the same course, it is more difficult coming up with something new. Some artists go the other way and completely depart from what they released before. The music loses identity and it can leave some confused and detached. The artists who are most successful take the second album as a chance to evaluate the strengths of the debut and what made it shine. They retain that and naturally assimilate influence from their present day. That can include new themes and sounds; a natural growth and maturity that can balance and blend with their early work. Hero Fisher laid down an impressive marker with Delivery and showed she was a songwriter with promise and skill. Glue Moon, even with I Let Love out, looks like it will be different and evolved. I can hear embers of her debut but there are new strands that come into play. Older songs like Sylvie have been based on a single figure and possessed a certain type of tones and flavour. Fisher’s new song is more ambitious and takes itself in another direction. The lyrics look at various characters and the central theme – overriding the mundane and shaking off demons – is a different one. I wonder whether the second album is defined less by friendships and personal challenges; more about broader themes – tackling them with a special eye and sharp pen. Fisher does not bore you with her music: each song reaches deep and brings something out of each listener. I know she will continue to craft songs for many years to come. Seeing how she has grown and developed is very exciting. She is someone who dedicates every morsel and molecule to music and what it can offer. Her career, even this far, has been filled with highlights and celebrated moments. She does not have wealth and privilege: her natural talent has got her where she is today.

PHOTO CREDIT: @eaglefarringdon 

Look back at her C.V. and she has shared the stage with some incredible talent! She has collaborated with Alison Mosshart and Boy George in the Mark Ronson-scored baller, Carbon Life. She opened for Neil Young and The Rolling Stones at Glastonbury; she has been shortlisted for prizes and has won fans in Blur and The Horrors. Here is an artist who has a great reputation and that experience of the big stages. I have seen her in a modest setting but the exposure she has already had means her new music has that wider scope. She knows, soon enough, she’ll be playing Glastonbury and huge festivals – she wants to create material that can balance intimacy and widescreen, crowd-uniting jams. Her songwriting is inspired by great storytellers like Jeff Buckley but she has a fierce Rock side that makes one thing of Patti Smith. I am not sure whether I Let Love will be on the new album (one assumes it will) but I know, when the record is unleashed, many will be booking Fisher and lining her up for festivals. Few can deny she has achieved a lot over the last few years but I feel 2018 will be a very important one for her. She has that ammunition and history; there is more material out and, with that, more venues will come through. Sets can build older songs like Push the Boat Out and lace that with fresh cuts. Next year is already proving to be an interesting one. I am writing a piece (later today) that casts my mind to the albums and acts I am excited about. Among the acts I am excited about are Jack White and Billie Marten – two very different musicians bringing out new material. New music is looking rather bright and there will be so many fantastic albums released during the course of the year. Music is like an ecosystem that is always changing and growing. I am looking forward to seeing new species and lifeforms come into music and offer their sounds. I have mooted how Pop and Hip-Hop are going to be two genres changing and growing. Both have struggled to make much impression – Hip-Hop underrated and shunned; Pop rather generic – but the newer breed is pushing the genres in the right direction.

Hero Fisher is making moves towards the mainstream and looks set to get there quite quick. Not only has she absorbed and integrated various sounds into her music: the artists she has shared the stage with would have provided her with the impetus and desire to keep striving. Fisher is British-born but was raised in France. She resides over here but I know that movement would have fed into her music. Those who experience more of the world are, naturally, going to have a richer palette. Hero Fisher has a broad canvas and she brings a variety of sounds and sights into her music. Female artist are always in my mind and most of the requests I get are from men. It is disappointing to see so many men come forward but that is more to do with labels/P.R. companies. I have loved most of what has come my way and feel reluctant turning down someone good because of their gender. I am always looking for more female artists because there is something different about them – and music has enough sexism in it as it is. That is something that will be on my mind next year. Hero Fisher is an artist I have known about for a couple of years and I hope she gets the dues she deserves. All of her talent and ability shows she is up for the challenges and is one of the strongest performers around. I am excited seeing where she can go and just what she can produce next year. There are few who have had that background and are so consistent. All this bodes well and means many eyes will be trained her way as we creep into an exciting time for music.

PHOTO CREDIT: @saulwodak

There are scratched and precise guitar strings in the opening moments. Tribal drums come in and there is that building mood and energy. Although the composition remains quite light in the early stages – albeit, pressing and exciting – the heroine comes in and talks about the mundane and ultra-regular.  We get a list of activities that include cleaning up the driveway and taking care of household chores. She goes through the workaday life and the office and commute; getting lunch and engaging in something rather boring. As we know the song relates to various characters and their day; there is the need to cast our mind away from Fisher and the various guises that are being represented. The heroine, that said, let love slip through her fingers and she has, perhaps, been too focused on work and music. I listen to the chorus and hear the emotion and revelation that comes through. The verses are delivered with such a speed and rush you know that is a reflection on the hectic nature of her life – and many others she watches around her. There is very little time to engage in relationships and concentrate on something more meaningful and pure. Perhaps the dedication and time needed to forge a relationship have put her off. Music is a big part of her life so it is understandable Fisher would let love slip by. Maybe it is more a reflection about a character and someone that has sacrificed a lot of her/his life for a career. I love how the chorus has a more relaxed and soothed tone. It calms the song down and ensures the core message is provided time and affection. That need to slow and let love come through is pressing in the mind. Fisher’s voice ably switches from scatted and hurried to a soulful and tender lullaby.

The next verse flies in and we see someone/Fisher sleeping with the lights on and falling sleep in front of the T.V.; walking through an empty carpark and struggling to stay awake. There is that contrast of accelerated day-to-day and the rather unspectacular ordinariness of life. People dozing and slumping; wondering where things have gone wrong – and why they have not dedicated more time to meaning and love. This comes right back in the next verse as, once more, that speedy delivery gives the song a fresh round of fire and kick. I have seen a lot of great comments and love afforded the song and there have been some more muted. We all have our opinions on music but there is nothing to fault at any stage of I Let Love. Even by the half-way mark; I realised it was one of Fisher’s strongest and a song that leaves its mark on the heart. It is a light and delicate song one moment; it transforms into something bolder – never getting too heavy and rushing away. Maybe people want something more swaggering and bold; some bigger strings and greater urgency. There are few that can deny the meaning in the music and how relevant the subject-matter is. I was hooked into the song and helpless to refuse the images and scents. I was following every scene and suggestion from Hero Fisher. Into the second verse; I was thinking about a different character and someone who has let love go by. There is that central mandate that suggests our everyday lives are getting in the way of human connection. How much do we actually achieve from work and pushing ourselves?! You can argue it is hard to detach from the rigmarole and demands of the day but, when it comes to it, there is that desire and importance of love.

Taking the lights down and dedicating time to love is an important balance and balm to the stress and rush of life. The percussion gets bigger as the song goes on. Fisher’s voice echoes and repeats; she builds layers and hovers in the background. It is an ethereal and graceful sound that washes over the skin and provides a tender kiss. One can imagine Fisher is the kind of woman who gives her all to music and her life – that need for something more is always at the back of her mind. I am impressed by the complexities and layers one discovers in the song. The beats have a nice patter and balance: able to add that heartbeat and force but never too intrusive. There are guitar strings that break through the mist and provide colour and sunlight. Fisher’s voice is the star that shines and illuminates the path. It is a stunning performance from a vocalist I feel is getting stronger by the release. I can hear new aspects coming through: there is a greater soothe and beauty; fresh tones and colours come out in the performance. Anyone who yearns for a grittier and more Patti Smith-esque songwriter cannot fault Fisher reflecting and speculating. She looks at the boring daily grind and how the spirit and revelation of greater meaning is what we need. Most of us are trapped in something rather mundane and predictable. Do we spend the time to actually inject substance and purpose into our lives? People get so caught up in work but, when you look at your week, how many interesting moments are there?! It is a typically solid and impressive offering from a young songwriter who feels the weight of the world on her shoulders but has a wisdom and intelligence few possess. Long may this success and consistency continue as we look to see how her 2018 pans out. Incredible stuff from the always-wonderful and challenging Hero Fisher.

I am not sure whether there are late gigs coming for Hero Fisher but she’ll want to get her new single out there. Many are excited about it already and it has been picking up heat and affection. The weather is bitter and sharp, for sure: Fisher’s latest gem is a hot and comforting song that drags you into its bosom and illuminates the mind. All her natural traits and layers are in the music; you can hear that incredible voice weave and conspire – a majestic and transcendent piece that has already got under my skin. I know many artists who take the same approach as Hero Fisher and ensure their music has the same strength, originality and nuance. I hope they all get the credit they deserve next year – it will be interesting discovering which genres and artists get the biggest profit. I would love to see Fisher live next year and discover how her new material sounds that close. Glue Moon is an album that is not going to be difficult or disanointing: it is going to be a triumphant and exhilarating record that you will want to get involved with! I have spoken about Fisher’s itinerant past and the artists she has shared the stage with. The London-based songwriter has already crafted a great career and is in the mind of many prominent and influential journalists. She will build on that next year and I feel it will be the most exciting and successful one for Fisher. I will leave it there but wanted to congratulate Hero Fisher on a fantastic single and big step. I love the lyrical dynamic and the vocals on it; the rich music and how the song compels you to come back for more. Here is someone who will go a long way in the industry and genuinely has the promise…

TO be a future legend.

<

_______

Follow Hero Fisher

PHOTO CREDIT: @gatesface

Official:

http://www.herofisher.com/

Facebook:

https://www.facebook.com/herofisher/

Twitter:

https://twitter.com/HeroFisher

YouTube:

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

Instagram:

https://www.instagram.com/therealherofisher/

SoundCloud:

https://soundcloud.com/hero-fisher

Spotify:

https://open.spotify.com/artist/2UTLIPgfUhvKa3m0poQrC0

TRACK REVIEW: Elena Ramona - Eyes on You

TRACK REVIEW:

 

Elena Ramona

 Eyes on You

 

9.4/10

 Eyes on You is available via:

https://soundcloud.com/user-466086967/eyes-on-you

GENRE:

Pop

ORIGIN:

Surrey, U.K.

RELEASE DATE:

8th December, 2017

__________

AS the weather howls and the rain...

batters down - there is not a lot to be done outside today! It is just as while I have music to review so, in that spirit, I will come to talk about Elena Ramona. This is not the first time I have reviewed her music on this site – I have investigated her a few times, now. I will talk about consistency and those artists who manage to change their sound whilst retaining their identity; songs that are primed for big-screen exposure; changing the Pop market and adding a little something extra to the pot; what music is looking for in 2018; the next step for Elena Ramona in terms of music – talent who take care of each aspect of their work. I want to talk about consistency because, when it comes to Elena Ramona, I have seen a real development and rise (no pun intended) since her earliest days. A few years ago; I was amazed by her music and how developed it sounded; the fact it was a professional and complete package. Now, in 2017, the sounds she is producing have moved on and incorporated new aspects. From Rise’s purity and tenderness – with impassioned, soulful vocals – what is coming from the songwriter now sounds like a different beast. Elena Ramona keeps her voice and songwriting core but has brought new genres and angles into her work. Lying Blues Eyes – another older song – fizzes and vibrates off the speaker; The Neon Lights kept that energy up but did not repeat what had been done before. In fact, over the past few releases, I have noticed a move from Pop and Electro to Soul and Dance; to Indie undertones – a restless songwriter always eager to push her music forward. Not only have I seen the experimentation and evolution happen: the quality has increased and there is greater confidence coming from Elena Ramona. I will come to look at Eyes on You later but, when listening to the track; it is another step-up from someone who has her eyes trained on big success.

I am always looking out for artists who progress and do not simply bring out the same song. One of the criticisms levied at the mainstream is how unadventurous and static it is. The popular and influential artists feel like they do not have to produce anything deep and original. As such; one finds the Pop scene a little rigid and underdeveloped. I have watched Elena Ramona’s music build and take in new threads over the years and, not that there is subjective leaning, but here is someone who can produce a mainstream-ready type of music but is not willing to compromise and settle. It would be easy for someone like her settle on a particular direction and carry on down that road. She knows the underground market is busy and it is harder to be seen; there are so many out there competing for attention and visibility – you need to have a sound that sticks in the mind and goes beyond expectation. I find, when listening to Elena Ramona’s music, she is determined to preserve that which makes it special and unique: that personality and special songwriting talent will not be distilled and sold in order to fit into the Pop mainstream. I am being a bit harsh on some artists but, as I shall explain later, there are changes coming into play. It appears next year will be a different and exciting year for Pop music; there are acts coming through who have the promise to change things and recruit those who are a little reluctant to embrace the genre. One of the biggest disappointments I have found are artists who create a hit and, when they see it is loved and played, they do not do anything with their music. They will replicate the same song and, over time, people get very bored of that artist. Elena Ramona is certainly someone who keeps things fresh and shows she is one of the most mobile and chameleon-like songwriters out there.

ART CREDIT: Ben Couzens

I would urge people to check out her back-catalogue and past work – check out her Spotify page at the bottom of this review – and see how she has developed throughout the years. One would barely recognise the artist you heard on songs like Rise; come to Eyes on You and there is a totally different sound. Both songs are exceptional but the subject matter is completely different. The latest single from Elena Ramona has a big and impassioned sound but there is another reason why the track gets into the head. There is a campaign running to get the song to the producers of the Bond franchise. In the past, we have seen artists like Adele see their music score a Bond flick – that huge and dramatic voice scoring the opening credits. Elena Ramona could cope with the duties of putting Eyes on You to the screen but there is the aim to have the song used, by an artist like Adele, for the latest film in the series. One can share the song and put the tags  #sonypictures , #Adele; #sony and #pinewoodstudios. Make sure, when you do put those tags up; include the tag #EyesOnYouForBond. The more people who do that; the greater chance it has being selected as the next Bond theme. There have been past songs that have not really captured the imagination – efforts by Sam Smith not really hitting the marking; leaving some cold and confused. It is understandable many would doubt the worth of a Popstar producing the next James Bond theme but, when you hear Eyes on You, it already fits in with the history of the series. We are not sure what the next film will be called but that is the gift: having a song that has a title like this means it is adaptable and able to fit with any film. It has the strings and filmic sound; the vocals are big and romantic; there is a sexiness and sauciness that befits a character like James Bond. The campaign is ongoing and, let’s hope, by the time the year ends; signatures will be added and the song will be under the gaze of the film’s producers.

What amazes me about the song is that it definitely comes from Elena Ramona but it could be tackled by other singers. The song has a solid and impressive base but it would easily suit reinterpretation by another singer. If someone like Adele – if that is her vocalist of choice – took it on; more strings could be added or some brass. It could go in a more Jazz-cum-Soul direction or, in fact, there is the potential to turn it into a gnarly and big Rock number. Imagine past artist like Chris Cornell and Jack White. They provided their own take and, given the latter’s gift for reinvention; he is someone who could make the song his own. That goes for any artists: Eyes on You has those strong cheekbones and captivating eyes that can wear any clothes and change its style and still retain that sex appeal and beauty. What I mean is Elena Ramona’s song has a universal core we can all relate to; words that project out and are not specific, necessarily, to her own experiences. I am excited to see whether she can get Eyes on You to the next stage as it is a fantastic number that deserves to be up on the screen. I am sure the song will make its way onto the screen in some form or another. It can easily work in a T.V. drama but has the flexibility to work on adverts, too. I know Elena Ramona will want it on a big stage so all fingers are crossed her latest work makes it to that peak. It is only a matter of time before she gets that big opportunity. One of the most prolific and ambitious new songwriters around; that desire to get the music out to the people is a trait that should not be deterred. Regardless of how far the song goes in the film world; there is every sign next year will be a vital one for the songwriter. She has proven she can pen a song that works on a massive stage; that vibrates and slams – but has a sense of allure and tease.

I have, as I mentioned, followed Elena Ramona for a while and can chart how her music has shifted. What I hear now is someone who has gone from a local artist looking to get gigs where she lives; now, we hear a musician who is ready to go to the next step and wants to take her music to international audiences. I will explore that point in the conclusion but it seems Pop is ready for a revival next year. This year, we have seen great Hip-Hop and Soul being proffered. The Grammy Awards nominees – for the main prize – are the likes of Jay-Z, Kendrick Lamar and SZA. Here, the frontrunners, and winner, of the Mercury Music Prize was a Soul artist – Loyle Carner and Kate Tempest were among the artists nominated who are adding their weight to British Rap/Hip-Hop. Look at 2016’s best albums and it was a successful year for artists taking a slightly socio-political bent. This year, the greatest hope for a revival is Eminem. His album (Revival, naturally) is getting early feedback and there are some who say he has lost his edge – he is trying to rehash his Slim Shady persona but, this many years down the line, it sound pale and less authoritative. It seems 2018 is going to be a less assured and solid one for Hip-Hop and Rap. There is a need for female artists to get their say and equal weight. Because of that, the likes of BBC have ensured their long-list of names to watch next year has plenty of great female artists involved – most of them playing in the Pop market. Billie Eilish is one such artist included and there is a lot of talk and speculation surrounding the teenage American. Elena Ramona is someone I can see featuring on the same list years down the line. Look at some of the acts being tipped for success next year (like Superorganism) and she could easily nestle alongside them. Tastes are changing and next year is going to be one to watch if you are a Pop fan.

There will still be some great music from other genres but a market that has been threatening homogenisation and a hefty limp has been aided and undergoing a transformation. I hope there are fewer plastic commercial artists and – as the polls and lists suggest – a move towards artists who have more substance and personality. My favourite artist of this year (Lorde’s Melodrama) is a Pop album and not something I expected to bond with. That, actually, is a name Elena Ramona reminds me of – and someone she can take guidance from. As she breaks into the market and makes her move towards the mainstream; she knows there are two sides of the Pop business. There are the talent-show rejects/applicants having their songs written by someone else and producing cliché, shallow songs. We all know the sort of artists who are more than happy to produce this type of music. Unfortunately; these are the acts who make the most money and are among the most successful on streaming sites. There are the other type (like Lorde) - who take a bigger role in their music and provide the listener with something much more compelling, intelligent and rich. Elena Ramona falls into the latter camp but I know she would not refuse a chance to appear on a talent show – have her music featured on advertising, for example. It is possible to dabble in the commercial side of music but, when it matters, ensure your music holds on to its integrity and quality. Eyes on You is a song that could get onto the big screen but definitely shows maturity and natural ease. It is a track that shows where Pop music is heading in 2018. I will end the piece by speculating where I think Elena Ramona will head in terms of E.P.s and albums. Before I come on to look at Eyes on You; I want to investigate artists who take care of their work and do not let too many other bodies into the mix – those who have the talent and energy to produce music that is meaningful to them.

One of the best things about Elena Ramona’s work is the fact she sees it through from start to the finish. There are artists who farm their music out to others and get writers/producers to mould it in their vision. That is fine if you want something ready for the charts but there are artists who feel that is a cheap and easy way to earn success. Those who expend more effort and have the ability to write their own music are to be commended. Elena Ramona writes her own material but you know how much of her heart and soul goes into the production and videos. Previous songs like The Neon Lights have been filmed on a budget but the videos stick in the mind and impress you with their concept and look. I am not sure whether there is a video coming for Eyes on You but I can imagine there will be something that would fit into that Bond frame. I can picture a bar-set flirtation or something cinematic; the heroine chasing down her prey and overcoming other suitors – as the man fends off the advances of other women. The song has that power and potency so you can picture your own video; there are multiple possibilities and directions the young songwriter can take. I know Elena Ramona will do this because she likes to have a say in how her music sounds and looks. As I head into 2018 myself; I am looking for more artists who refute the need to have others control their music – those artists with greater insight and individual desire. If you look at the lyrics and music for Eyes on You; you can tell the words stem from the songwriter. There are shades of Lying Blue Eyes but, in a sense, the tables are flipped! Rather than accuse a cheating and dishonest man: this is the heroine going after her man and assuming the power and control. There is always the sense of the heroine being in charge but, here, anxiety and anger have been replaced by lust and desire.

She is developing into a bolder and investigative songwriter; exploring sexuality and love in new ways; mixing that with songs about hope, redemption and success – that tackle mental-health stigma and implore the listener to reach high. This all boded well for 2018 and, as I shall discuss, it is going to be a very important one for Elena Ramona. Over the past four-or-so years; Elena Ramona has covered so much ground but, at every phase, not sold her identity or felt the need to have committees write her songs. She works with other musicians and producers but, at the end of it, it’s her voice and mind that takes the music to the people. I have not really mentioned the voice that comes from the songs. That is something that always impresses and stuns. The dexterity, range and ability Elena Ramona displays is very rare to see. There are few singers who can easily move between genres and take their voices in any area they please. Whether she is singing a soulful and touching song or turning up the volume and sticking some heels on – you believe every word and hear an artist who sounds comfortable and complete. I feel that is why 2018’s Pop market will be solid and nuanced: artists who have a greater sense of the eclectic and are less prone to the fake textiles of the mainstream. If anything; I can see Elena Ramona going a step further and exploring new ground. She has a very powerful voice so it would not be inconceivable to find her penning something with a Blues-Rock swagger. I can see her writing a stripped and smoky Jazz-type song that has the flair and magic of those classic recordings – bringing to mind the likes of Ella Fitzgerald and Billie Holiday. There is so much in her arsenal and I am excited to see how she deploys it. I suppose, given all the build-up and promise, I should come to look at the latest song in question: the intoxicating and enflamed Eyes on You.

The opening notes of Eyes on You subvert expectation. You might expect – for a song that is being shared as a potential Bond anthem – for some big trumpets and shivering strings to get the track underway. Rather than rush out the traps with too much energy and sound; the song puts percussion-march beats together with light piano. It is the vocal that steals the most focus in the early phases. “You’ve got me going crazy” is delivered with all the sense of allure and desire one would expect from a heated line. It is always hard comparing Elena Ramona’s voice with anyone out there right now – one of her biggest strengths, in fact. The soul and smokiness one feels wash over them certainly gets the heart beating a little faster than doctors would approve! The production is thicker and more lustrous than any other song I have heard from her. In the past; the production values have been stronger and befitting of the song but here, with a possible anthem and film-scorer on the blocks, it would need to have that mix of polish and rawness. That is achieved but goes one step further and brings you directly into the song. One imagines they are standing in the corner of a London bar, late at night, as the people are starting to disperse. Taxis are being called and a few figures remain. Our heroine, dressed in black and with a flirtatious gaze, is approaching the suited hero. He is sipping on a drink (one would be tempted to say a Martini) and she makes her way through the crowd. Arriving at the bar; she takes a pew next to him and takes his drink in hand – takes a sip and then passes it back with a smile. Whatever the interpretation of the first verse; the song provokes imagination and all manner of scenes. The girl’s mind is being played with and it seems like this tease is something she wants.

The man is all she needs and this sense of cat-and-mouse is creating shivers and excitement. That palpable sense of seduction and sexuality comes out in the song. The strings, in the background, shimmer and echo; there are slight cracks of beats and electronics and that creates a heady brew that perfectly backs the song. In a way; the composition is the weather – the atmosphere that creates mood but never encroaches in the foreground. Elena Ramona keeps her voice soft but ensures there is a huge degree of seduction coming from her tongue. The tones are delicate and playful but there is that balance of understanding and recklessness. She knows what she wants but not willing to give herself completely without respect and a proper man – it seems like she has found someone who can fulfil her and is good enough to share her arms. The chorus layers the vocals and sees the heroine on a high; not wanting to come down and with her eyes set on the hero – this ecstasy is swimming through the blood and create fire and stirring in her heart. The vocal impact is big and the chorus has that necessary punch and hook – if anything, maybe lifting the strings up in the mix would add that additional tremulousness and sexuality. What we get is a chorus that has Pop credibility and clothing but is a charged and primed for the big screen. The strings do come back in for the second verse and yet another alluring and captivating vocal scores the scenes. The heroine is brand-new and rejuvenated by the touch of the man – that may be because of the mere suggestion of what is to come. The contrast between the bombastic and excited chorus is brilliant! You get verses that have shimmering strings and slight beats; there are vocal echoes and backing but that mood of kitten-tease and bar-dwelling Siren comes out. It is interesting conspiring and imagining where the song went after the final note. The heroine seems content but you wonder whether the man is pure and reliable – or whether he will play with her heart soon enough. The final moments see the vocal sharpen and mixing into a Dance/Trance-like brew. Eyes on You is a song that creates its own cinema and keeps the listener guessing. It is an exceptional song that warrants repeated listens. Whether you are hooked by the yearning strings or that ultra-seductive vocal; the big chorus or the scene that swim into the mind – a song that will bring you back and seduce with ease.

It has been a transformative and busy year for Elena Ramona. She has managed to record a series of songs and, as we can hear, covered so much ground and achieved a lot. Her music has been used on shows like This Morning and covered by radio stations. She has performed in London a lot and taken her music to new crowds. The quality has been exceptional and it has been exciting seeing a hungry and hard-working songwriter get credit and respect. I feel 2018 will be the most important year for Elena Ramona and her music. There will be many who will want to see a new E.P. or album. I feel she has an album in her and, given the fact she has released quite a few songs, there will be ammunition for an L.P. Maybe she will stick with an E.P. but, whatever she chooses; there will be plenty of eyes on her! I know her songs will find their way onto the screen and it would be amazing were Eyes on You to make it to the feet on the Bond producers! I feel there will be huge honours coming her way but the chance to perform her music much further afield. This year; the majority of her performances have been in the local area – London is as far north as she usually plays. I can imagine there are venues in other cities and locations that would love to support her. Money and budget is a concern but I know there are areas like Manchester and Glasgow where Elena Ramona can bring her music to – and it would go down a storm. I have been thinking about her music and, the fact she has been doing this a few years now, there are going to be international crowds who want to see her. I know she has performed in Greece (where her mother lives) but who can ignore the possibility nations like the U.S. are a possibility?! I am not saying she could afford to embark on a huge tour of America but, to get her music to some seriously big producers and names, maybe L.A. would be an area to head to in the summer?!

I am not sure whether that would be unfeasible but there are definitely parts of the U.K. she could explore. I will end this very soon but I mentioned Lorde earlier in this review. Whether Elena Ramona is aware of her music, I am not sure. Here is someone who has taken the expectation of what a young female Popstar is and flipped it on its head. One need only look at an interview with the New Zealand artist and you can hear someone full of life, humour and interest. Lorde collaborates with various others on Melodrama but she is the one in the driving seat. Her music looks at love and relationships but the production/composition sound is exciting and mature; the vocals are constantly stunning whilst the lyrics display intelligence and poetic flair. She is someone who is inspiring many artists out there and I can see Elena Ramona taking the same course. The music she has put out so far is different to what’s out there and I would like to think, in 2018, there is a move from her towards that sort of ambition. I know Elena Ramona has respect for talent shows and contestants that appear on them but her music is more deserving and stronger than that. I can understand the desire to feature on T.V. and have that record label back your music but there are problems with that approach. If she did win a talent show then her music would, despite her immense talent, have a shorter shelf-life and she would find herself forged and directed by management, producers and songwriters. Nobody who has ever won a singing talent show has managed to rival the ‘best of the rest’ – create an impressive career that has the potential to topple the best in music. Elena Ramona has her own mind and sound but has that ambition to get her songs featured in areas like T.V. and film; get her name heard by the masses. That will come and it is her talent, patience and accomplished songwriter that will make her dreams a reality. Whether we see Eyes on You sung by Adele (let’s hope so!) for the new Bond film; I know Elena Ramona will continue to grow and find new fans. She has tackled issues and overcome problems this year and has ended the year with a terrific song and success. This year has been an exciting and promising one for her but, if anything, 2018 is going to be…

INCREDIBLY important and exciting!

_______

Follow Elena Ramona

Facebook:

https://www.facebook.com/elenaramonamusic/

Twitter:

https://twitter.com/elenaramona90?lang=en

YouTube:

https://www.youtube.com/channel/UCmVSlZvqOYKf3qp0bA8b8Bw

SoundCloud:

https://soundcloud.com/user-466086967

Spotify:

https://open.spotify.com/artist/5bUE6ronjsaGdIoeVGfFoj

_________

PHOTOS BY:

@MichaelSweeney, MUA Victoria Kohl Webster and Andy Boschier 

TRACK REVIEW: Gianni Paci - In The Middle of the Night

TRACK REVIEW:

 

Gianni Paci

In The Middle of the Night

 

9.5/10

In the Middle of the Night is available via:

https://www.youtube.com/watch?v=JIW75wbgeuI

GENRE:

Alternative

ORIGIN:

New York, U.S.A.

RELEASE DATE:

7th December, 2017

The E.P., I Tried to Right My Wrongs, But I Made a Left, is available via:

https://giannipaci.bandcamp.com/merch/i-tried-to-right-my-wrongs-but-i-made-a-left-ep

__________

THIS time around…

I get to look at an artist based out of New York who has been turning heads with his unique blend of sounds. I will come to look at Gianni Paci soon but, when thinking about his music, there are a few areas that spring to mind. I wanted to look at recording sessions and how a fertile mind can produce a multi-genre work; the musicians who share the stage with big names at a young age; acts who have everything at their disposal and are on the rise; why those who start writing their own songs young have a natural edge; more on the New York music scene; what 2018 will hold in terms of sounds and talent; a bit on voices that get inside the mind and compel imagination. Paci is an artist who is not exactly new to the scene. He has been performing and writing since he was a child – I shall come to that later – and it seems, now, he has reached a stage where he is producing his best work. There is no need for the New York songwriter to bring too many bodies into his art. The songs on his E.P., I Tried to Right My Wrongs, But I Made a Left, was produced, recorded and performed by the young man himself. Working out of Pine Hollow Road Studios; what came through is an idiosyncratic and stunning set of songs that seem to reflect the surroundings. Oyster Bay. N.Y. is where the music was made: a collection of hamlets and villages that have a certain charm and peacefulness. We all imagine New York as this big monster that snarls with traffic and pollution; there is very little room to move the shoulders- it all sort of gets on top of you and becomes too much. That might be the reality of Manhattan at rush-hour; maybe certain parts of New York are populous with tourists. There are many other areas of N.Y. that are much more clement and relaxed.

Oyster Bay is a town on the easternmost of the three towns in Nassau County. The town has a few-hundred-thousand residents and comprises eighteen villages and eighteen hamlets. There is vegetation and scenery; there are museums and calm spots; there is the view of the water and certain tranquillity. Pine Hollow Road Studios is a charming and well-equip studio but one cannot discount the importance of the environment when it comes to the music that was produced by Gianni Paci. On his E.P., one gets a collection of sounds ranging from exposed and fragile (It’s Always a Perfect Journey) through to abrasive and harsh (In the Middle of the Night) – the uplifting If You Believe It’s Alright and moody Honest Thing add new dimensions and contours. The vertically-integrated vision Paci has is coming to fruition and producing his strongest work. He has released the E.P. through his official site and his new single, In the Middle of the Night, is something that caught my ear. If you feel it will sound like the Billy Joel song, then you might be disappointed – this number is a more Punk/Rock-laden song that has an echo, creep and intrigue. I know the artist had all that talent and variety in his locker but you cannot overlook how a well-located and idyllic studio can provoke some wonderful music. Paci will release videos through the season and continue to cement his reputation as one of the finest new artists coming from New York. I am always looking for musicians who produce work that stretches and provokes; it gets busy and makes its way to some strange places. The more varied and eclectic a record is, the better it can be. I know there are artists who can remain constrained and exceptional but they are few and far between. Gianni Paci is someone who realises a more wide-ranging dynamic is the best way to recruit new listeners. I am excited to see where Paci’s music takes him next and whether his pioneering attitude continues to produce material of this quality!

There are few who can claim they have shared the stage with names as big as Steven Adler and Mike Starr. Those men have performed with Guns N’ Roses and Alice in Chains. Paci has been in the studio with Gail Ann Dorsey (David Bowie, Gwen Stefani) and toured with the Butthole Surfers. That is a rather rich and diverse collection of names. Paci actually appeared on Butthole Surfers’ live album, Live at the Forum London and has got under the radar of some huge names. This would be impressive were Paci in his fifties: the fact he is such a young man makes his achievements exceptional. I am curious how that early exposure can lead to better music and a greater knowledge of the industry. There are some who say it is a lot of pressure and expectation to put on a young person. If you have the chance to take to the stage with giants of music then it provides a window into the realities of mainstream music and the kind of reception afforded the elite. This gives one the determination and passion to strive and aim that high. There are some who would see that as a calling, albeit it one that steals all of their time and means they have anxiety building – keen to get to that level quickly; unable to slow and relax. Gianni Paci is not someone who has hurried into music and is taking his time to craft sounds of the highest quality. It certainly has not hurt his imagination and talent given the people he has performed with. I am impressed when any musician shares time with big artists and has that kind of exposure. Many will claim it can be damaging an stressful but Gianni Paci has learnt from these experiences and instil that time into his own music. One cannot overlook simple nods to bands he has already supported; some of the huge names that he has been in the same venue with. Paci is an original but his levels of confidence have agreed since his earliest work.

PHOTO CREDIT: Ryan Jay

Early E.P.s like Walking Through a Movie Scene were fulsome and vibrant but his latest work, I Tried to Right My Wrongs, But I Made a Left, is the finest yet. Since his debut release; the New York artist has assimilated all his gig experiences and reception into his work. I Tried to Right My Wrongs, But I Made a Left brims with new ventures and possibilities; it incorporates fresh sounds and shows how confident Paci is. Not only has Paci performed with some big names but he has gigged at festivals like Austin City Limits and Zappanale (Germany). He has played at GBGB’s and wrote his first piece of material aged eight. I shall look at writing at a young age but those big festivals and intercontinental dates have made a big impact. The more an artist gets to travel and see new people; the better it is for their music. You can bring new sounds into the fold and have the fresh fuel. Paci has performed a lot around New York but those early times with big names, coupled with the big dates he has played at, have provided a huge kick and given the young man a lot of desire. I shall move on from this subject but I can only imagine the honours bestowed on Gianni Paci are because of his keen talent and natural intuition. There are artists who started writing their own material later in life but, for Paci, that started to happen when he was eight. While most of us are at school learning about things we are not going to use in everyday life: Paci was crafting material and setting his sights on the future. It was never a case of stumbling into music and writing songs for the hell of it. For him; music flowed naturally and came out of him. Maybe it started as poetry but, surrounded by a musical household, it was inevitable those poems would turn into music. In his early-career; Paci released two full-length albums under his pseudonym, The Pine Hollows.

Those early albums meant, soon enough, he was on the cover of magazines and being likened to the likes of Buddy Holly. People were raving and there was the belief he could get to the mainstream very soon. You can trace everything back to that early exposure to music. I am not sure the artists Paci was raised on but I can imagine there was a combination of 1950s – 1970s and more modern artists. The fact he has been compared with Buddy Holly suggests the legend was a part of his early life. I have been around long enough to know how important early experiences with music are to development and inspiration. Who knows what caused the school-aged New Yorker to pick up a pen and start writing his own music. I guess it would have been curiosity and a need to put something out to the world that was not being taught to him. Maybe a certain need to explore his own mind and document a world that was confusing and new. This hunger and ability has grown over the years and now, still growing and exploring music, it seems like there is no stopping the multi-talented artist. Gianni Paci seems to have everything going for him. Not only does he has boyish good looks at a respectable host of reviews under his belt; he is one of the most respectable and hard-working musicians around; someone who continues to grow with every passing year – the signs are all very positive. One can spend hours unpicking the psychological relationship between nature and nurture: whether that early flourish of creativity was a result of parenting and teaching or it came from his own mind. I know the time and effort he spent creating music as a youngster has got him where he is now. Other factors and stimuli have gone into the pot but it is that ripe and early revelation that means, not that many years down the track, the music coming from Gianni Paci is not only exceptional and solid but springing off in all sort of directions.

PHOTO CREDIT: Ryan Jay

How do all these sounds and ideas coalesce on I Tried to Right My Wrongs, But I Made a Left, then? I am not here to review the E.P. but I have heard the quartet of tracks on it – and can recommend everyone goes out and buys the work (from the official website). The music has no real natural tie and each number has a very different skin. There are different sounds – compared to E.P.s like Smoked the Wrong Stuff – and a greater sense of exploration and intensity. One hears the material on I Tried to Right My Wrongs, But I Made a Left and realises that extra touring and performing has impacted the music hugely. Paci is at his most desirous and agile. I will come to look at the current single from the E.P. but, before then, a quick peek at the eclectic ambition and variation one finds on his E.P. You only need to look at the cover-art to the E.P.s – shot by Ryan Jay – and realise Gianni Paci has a visual mind and is not someone who takes the easy war around. That cinematic and bold approach to visuals goes into the music, too. I am excited to see what future E.P.s hold but, right now, I Tried to Right My Wrongs, But I Made a Left is a masterful accomplishment from a songwriter keen to evolve and build. I know Paci has a passion for music but I am curious as to the artists he holds dear. You can hear a bit of Ramones in his single; there are bits of Buddy Holly and Pop acts; some fantastic Rock overtures and Folk strands. It is a busy and colourful collection of songs and it is this broadness that gets into the mind. If Paci were to create a write an E.P. that had the same sort of sounds throughout then one would still be impressed. The fact he takes so many different sounds and makes each song sound different means it will appeal to a broader cannon. Everyone will find something to love and be motivated to revisit I Tried to Right My Wrongs, But I Made a Left time and time again.

PHOTO CREDIT: Ryan Jay

I will come to the actual review soon but I am back in New York and exploring a state that continues to produce world-class music. I know Paci recorded his latest E.P. in a quiet an idyllic part of New York but he thrives off the energy and vibrancy of the people; the busy nature of the streets and the multicultural nature of New York. I have been thinking about next year and what sounds will be favoured. It seems like a lot of poll-makers here are tipping Pop acts for great things. In past years, there has been a nod to Urban artists and genres like Hip-Hop. This year, there are not a lot of bands being mooted but there is the belief some young Pop examples will make some big waves. Things seem to be centred on London and there is not a huge scope beyond there. That is the way the media has always operated and it seems they will continue to take this approach. I am interested going beyond the U.K. and what other parts of the world will amaze and inspire. New York has always been at the forefront of the world music scene and it seems 2018 will be no exception. Gianni Paci figures in that assumption and I know he will continue to make music. I have never been to New York but I am familiar with the music coming out of there. Each of the five boroughs has its own vibe and there are so many different sounds coming from the state. I feel Gianni Paci will be among the hottest-tipped acts of 2018 and put the city onto the map. Not that New York needs that lift but there are many in the U.K. (and other areas) that are unaware of the magic and diversity you can find in N.Y.

I will move on but want to highlight the voice of Paci. I have listened to a lot of his music and am drawn to the timbre and mobility you find. Paci has been compared to Buddy Holly but there are other shades and strands you can find. It is a majestic and graceful voice that, at the flick of an eyelash, can go in another direction and startle the listener. It is an instrument that conveys so much life and knowledge; a big and tremulous sound that can become intimate and strange without warning. This vocal dexterity means the music has the chance to explore and range. You do not have to write simple and limited music when you are Gianni Paci. I hope he continues to push boundaries and takes his voice in all sorts of directions. It is one of his greatest strengths and has gained awed and amazed reception from journalists. I have neglected New York a bit – I started down the path but have wandered into a nearby shop – but it is a part of the world we should all be more aware of. There are few who can deny the cultural significance of the area but many of us struggle to name new musicians from there. That might be a limitation of the media but I hope New York gets into the British consciousness next year. For one thing; the state is a lot more diverse than, say, London and there are artists coming from New York who have the potential to dominate mainstream tastes in years to come. Gianni Paci is one of them and, with all his talents and traits together, is a unique artist that warrants a lot more time.

In the Middle of the Night gets underway with a blast and right under the skin. The percussion is primal and rolls with Neolithic intensity. You do not have time to take your seat before the hero comes in and gets onto the microphone. The percussion roll moves the body and creates that incredible rush. The voice is low-down but has a coolness to it that is matched by the simple, yet intoxicating, video. Despite the fact the production is raw and things are lo-tech; the words are decipherable and you hear the hero look at a love/companion who is looking over the other side – tired of his company and affection. Maybe it is bar-room flirtation or the end of a relationship. You find the hero pensive and a little annoyed. The heroine has eyes elsewhere and it seems that lack of dedication and loyalty might be the result of past events. It is hard to tell in the early stages but the instrumentation and performance is amazing. There is the sound of Punk and The Strokes; the scuzzy and underfed growl that is rare to find these days. The music has a masculinity and sense of danger but there is always melody and discipline at heart. The hero asks what is he to do and where he will go. It seems the girl is alluring and captivating but there are others vying for her attention. The middle of the night has come and that yearning and pining is at its hottest. He is in a world of confusion and unsure whether he should make a move or play it cool. The voice has the sort of timbre and cadence of Buddy Holly but there is unique D.N.A. and flavours that mix with that. Combined with the sturdy and punchy percussion; the feral and exhilarating guitar – the song continues to move through the gears and is an instant success. A lot of songs take a while to bed-in and will not reveal their pleasures upon the first spin.

What you get with In the Middle of the Night is a song that hits straight away and gets right into the heart. There is simplicity to it – the words and sentiments being expressed – but the complexities working underneath start to come to the surface. It is clear there is a desire and confusion being expressed but the composition seems to paint its own pictures. Our hero gets tired of the begging stance and having to try that hard to win her approval. His heart is not available cheaply and he is not going to change who he is in order to win her. I love the chorus and the fact it puts me in mind of The Beatles – one could imagine it fitting onto their debut album, Please Please Me. The guitars strike and rumble whilst the percussion slams and contorts. The hero is aggrieved he is in this state and not able to get satisfaction. Because of that; the song has that Punk swagger reminds you of all the greats. Paci updates the Punk template but keeps the ethos and quality at its very finest. You are reminded of the best around but the music being created is very much his own. Maybe there is a bit of ego at work – he has too much time to lose; take it up with his P.R. team, you know – and there is a reputation on the line. Mixing confidence alongside doubt gives the song layers and difference; each listener will take something new from the song. You are drawn by the energy and addictive nature of the song; the incredible lead vocal and the simple charm of the song – that, when you listen more, reveals a lot and fresh elements come to the surface. It seems the hero will go through the night without the girl but, when you see the video, maybe that is not the worst thing. He will not beg and is unwilling to give his dignity over. In the Middle of the Night is a song that is very much from Gianni Paci but moves on from his previous work. It is a stunning song that jumps off the page and gets the body moving. It would be taken to heart by stations over here and shows he is always looking to evolve and move on. The remainder of his latest E.P. keep the quality-level that high and shows there is endless inspiration in the bones of Gianni Paci. I feel next year will be a big one for him as he takes his new material on the road. I know the great gigs Paci has performed so far and the names he has shared the stage with. All of that experience, and his natural talent, means a song like In the Middle of the Night is far superior and stronger than most of threw music already out there. Long may his success, ambition and drive continue. We need to encourage talent like Gianni Paci and make sure his music gets as far as possible. I would love to see him come to the U.K. and hear In the Middle of the Night performed on a stage near me!

I have spoken a lot about New York, young writers and how varied sounds can impact the mind. Gianni Paci and his peers are providing sensational music and ensuring New York keeps fresh in the mind. I Tried to Right My Wrongs, But I Made a Left is a fantastic E.P. that houses four songs that all have their different skin. In the Middle of the Night is a fantastic number that stands out from the pack but is not that dominating – the rest of the material is incredibly strong and has its own quality. I have been around a bit but have not heard anything like Gianni Paci. What I love about his music is how different it is from anything out there. Look at early Paci E.P.s and you can hear consistency but there are new elements in I Tried to Right My Wrongs, But I Made a Left. I know he will already be looking ahead and seeing what he can achieve in 2018. Maybe there are plans for another E.P. but he will be looking at gigs around New York. I hope Paci comes to the U.K. and takes his new material around the world. It would be great to see Paci come to the U.K. and bring his music to the people here. He would be afforded a great reception and get plenty of gigs. There are venues that seem perfect for him so I hope, when the dust has settled on 2017, he looks around and takes the music across the world. Things are getting bigger and better for the young American: he has the potential to be one of the biggest acts in the world. Right now, with a new E.P. out, there is every chance Paci will be crafted by the mainstream and get the chance to inspire the new generation. I shall end things now but urge people to spend a bit of money on I Tried to Right My Wrongs, But I Made a Left. It is a fantastic E.P. whose qualities and sides are embodied in the fantastic track, In the Middle of the Night. There are many artists who incorporate different sounds and genes into their music, but there are few…

WHO do it better!

_______

Follow Gianni Paci

Official:

https://giannipaci.bandcamp.com/

Facebook:

https://www.facebook.com/giannipacimusic

Twitter:

https://twitter.com/giannipacimusic

Instagram:

https://www.instagram.com/giannipaci/

YouTube:

https://www.youtube.com/channel/UC9X7oMsHfvgE7WoqHITYQzw

TRACK REVIEW: Tiny Giant - Thirsty

TRACK REVIEW:

 

Tiny Giant

Thirsty

9.6/10

GENRES:

Future-Rock; Dream-Pop

ORIGIN:

London, U.K.

VIDEO RELEASE DATE:

1st December, 2017 

Thirsty is available via:

https://www.youtube.com/watch?v=ejy-0Ni8Khc

__________

THE final days of the year…

are trickling down and, with that, I am looking ahead and collating the names to watch closely. I said this when reviewing Tallia Storm yesterday but, when listening to artists, it can be quite hard realising which will endure and those who are only here for a short time. Today, as I listen to Tiny Giant, I get the feeling they will be a duo that has the promise to do some great things in 2018. I shall come to them soon but, when thinking about all their positives and sides, I want to look at the migration to London; double A-sides – and why they remain so important to new acts – duos and why they are overtaking bands for dominance and attention; music videos and why it is good artists take them seriously; making exceptions for artists who have a real sense of verve and longevity; debut videos/releases and making those important steps. I keep saying I will go away from London and review artists who are placed in other parts of the world. Before the New Year; I have a few acts that are from other parts but, lately, it has been hard separating myself from the capital. I am not sure what it is but it is not a case of being specifically going after artists from here. It is inevitable a certain proportion of my reviews would look at artists who are from London. I feel, as time goes on, musicians are realising it is the only place they can go to get that focus and opportunity. Maybe other cities do not have the same breadth and population as London but so many feel, even if there is a great scene where they are, the media is going to be unaware and ignorant. There is some truth in this and I worry too many are being forced into the capital – that is causing a jam and anxiety levels are rising. A concern about stress levels is natural when I think of artists and London.

The city has the best venues around and incredible sounds but it is down to the media to keep their eyes primed and go to other parts of the country. If musicians feel they need to come down here in order to get their voices heard: we will see so many musicians struggle for a say and get suffocated in the mass and throng of the city. That all sounds rather fraught and dark but my admiration for London is endless. The fact I want to remain and work here for the years to come speaks volumes. I am one who does not like the crush and isolation you can experience but, for a creative, it is the only place to be. For a duo like Tiny Giant; they have come from other parts of the world but feel settled and excited to be in London. They have the capital and its vast array of venues on their door; the inspiration for songs and a network of fellow artists all around them. This will ensure next year will be a busy and exciting one for them. You can knock London but you cannot faulty why it is drawing people in – it is not only about surviving and finding fans. Musicians come here because they want to be inspired and connect with people like them. It is hard to avoid the fact one cannot walk down a street and get eye contact and conversation. That is the way of most large cities but what you do find is a huge network and industry for musicians. I know Tiny Giant will take advantage of that and are poised to do something exciting in 2018. They are in the best place because there are great small venues set up for them they can perform in; likeminded artists they can gig with and an endless stream of positives. I refute the claim London is hostile and unforgiving: the city buzzes and there is so much energy and inspiration for everyone. I can see the guys growing and moving around years down the line but, right now, they are situated in a city that is providing them with motivation and love.

I will come to look at a song that has been rattling around my mind for a bit but, before then, I wanted to look at the double A-side. I am fascinated by this revival, of sorts. There were years when artists abandoned double A-sides and B-sides. B-sides are rare – because acts release E.P.s and singles are not sold in a physical format now – but this (the double A-side) is a great way of putting two great songs together and not releasing an E.P. It is the midway point between a single and that E.P. – a chance for that artist to release something substantial but not commit to the work of an E.P. Tiny Giant’s twin-release sees Sad and Thirsty put together – that seems like a pining for love or release when you put the words together. I am reviewing Thirsty, as its video is out, but Sad is a stunning reverse that shows what a force they are. I feel a single can be a bit limited when it comes to showing how good an artist is; you only get a few minutes to listen and it can be a matter of months before they bring new songs out. A double A-side provides more music and an opportunity for that artist to explore new ground. As I said; they do not have to release an E.P. but it means they can take a couple of songs and, rather than drip-feed two singles, put them together as a single thing. I am seeing this more and more and pleased some ‘older’ aspects of music are coming back to the fore! I hope this continues because I worry there are few traditional sides of the industry that are being preserved. Maybe the double A-side is not the best example of past ways remaining – as the songs are still in a digital format – but it is a wonderful anecdote to combat the streaming, drip-fed; endlessly hyped songs you see in the mainstream. Tiny Giant’s efforts are in my head and I cannot wait to get down to reviewing Thirsty.

PHOTO CREDIT: @dogsinhell

It is wonderful finding artists who have great songs they want to put together. Tiny Giant have released two songs that have similar sounds but, if you think about it, they are their own beasts. It is hard to say which is best but I love seeing them together. I am not sure whether the duo has plans for an E.P. or album next year but they have shown, on their double A-side, they are in no short supply of creativity. I would expect Tiny Giant to put these two songs on an E.P. down the line but I am fascinated by the release we have now. The fact so many other acts are choosing to double A-sides out means few want to commit to something full-length and time-consuming: they do not want to keep releasing singles and wait until their next songs come out. Tiny Giant have a thirst and hunger to succeed and get their music to new people. If they had releases Sad one month; waited for a few more until releasing Thirsty – that would slow the momentum and dislocate them to an extent. What we have now from the London-based duo are two songs that get into the heart and under the skin but have their own characteristics. We have the video for Thirsty – and you can see what the guys did in the visual sense – and that gives the song new meaning and possibilities. Tiny Giant are doing wonderful things and I hope this continues as we head into 2018 - they have been around a few years but I feel their current material signifies their best days. They are excited about their material - and who can blame them?! I have heard few artists that come onto the scene with such an impression and sense of clarity. I have asked why the art of the double A-side is coming back. It seems there are artists who have a couple of great songs in their pockets and are not willing to break them up. It is another way some of the traditional and established aspects of music are being upheld and continued by the new generation. I would love to see this phenomenon continue unabated; see more artists go beyond a single and do the double A-side.

I have spoken a lot about duos and feel, as solo artists are being hyped, the role and part they play is vital. Duos are formations I am interested in and feel get little attention. Bands are becoming less relevant and struggling to get critical acclaim. There are some that are getting under the spotlight but solo artists are dominating and it is worrying to see. I remember a time, when I was younger, when bands were all you heard of. You did have solo acts but it was those groups we stuck with and played to death. Few can deny how many great solo acts there are but is it the case bands are redundant these days?! I would argue the best groups around are in the underground and are independent acts. They do not have a record deal and are doing things their own way – spending their own cash and promoting their music. That means it is harder for them to get the same attention as mainstream solo acts and get the same hype. Bands like IDLES are making impressive moves but they are in a minority. A lot of bands are still luring after festival slots and producing the same sounds we have heard time and time again – it gets very boring and predictable. Solo artists are in a different position and have more room for manoeuvre. I like bands and feel they have their place but I am concerned there are few that are saying anything genuine and inspiring. In the past; we have looked to bands to inspire the generations and produce music that lasts for years. Music has moved on and there is less dependence on longevity. I am seeing solo artists come through and their music is quick, accessible and easy. Duos have that chance to soak up the real estate left by the bands. Newcomers like REWS are showing what a well-oiled and tight duo can create. They produce the same sound and intensity as a band but are a lot more concentrated and varied. There is not that commercial drive and reliance on festival-ready sounds.

Sure; the girls play similar to music to Royal Blood but their music has more melody, nuance and width. I feel the same with Tiny Giant. There is a close friendship in their ranks and their music is part of a democracy. You never get the impression there is a lead and someone calling the shots. Maybe I have been a bit harsh and short-sighted with bands but I am worried there are few that come to mind: all the best and brightest have been around for a long time now. Solo artists are great but I am more compelled by duos and what they represent. Not only do they have a comparative lack of pressure – not the same expectations and critical focus as bands – but they have the chance to produce whatever they want. Too many bands are copying others are unable to provide music that differs from anything out there. Duos have always been around but there are far fewer of them than solo acts and bands. I feel, as we move into 2018, more festivals and big venues will look at duos and away from bands. If the end-of-year-lists and polls have shown anything; it is band-made albums are less popular than previous years. You can bet, when the lists for this year are released, most of the finest albums (of 2017) will be from solo acts. Whether you are a hot-and-heavy force like REWS; more subtle and colourful like Tiny Giant – there is something much more interesting and promising than the bands we are seeing coming through. I will put this point to bed but I am annoyed there are few bands doing extraordinary and new things – the likes of IDLES are a rarity in the modern scene. Duos are exciting and I am seeing so many sensational ones come through. Tiny Giant are among the best out there and will continue to make moves in 2018. It will be a big year for them as they decide whether they want to release an E.P./album and where they want to head.

I will talk about Thirsty and what the song represents but it is hard to listen to the song without watching the video. The guys have produced a video that makes the eyes widen and the body move; it is bright and fascinating; busy and bright – a fantastic film that gives the song new light and promise. The track itself is great but I feel a great music video can do so much more. So many artists are lazily putting out videos and not really putting the effort in. I appreciate how expensive a video can be but do artists really have to go out their way to produce formulaic and predictable videos?! There are a few, again, who provide imaginative videos but that is a rarity. A lot of artists are simply recording themselves play the song and not really putting much story and acting into it. I know not everyone has a love for the video but it is part of music and an important way of visualising your music. If you expend little effort on that point then many will become uninterested. I wonder whether, with music becoming more Spotify-based and digital, the visual aspect of music is dying out? I hope that is not true because, as Tiny Giant have shown, the visual side of music is fascinating. You will need to watch the video yourself but it is a wonderful little film that shows all the personality sides and tics of the duo. I hope they continue to expend that much effort for future videos – it will see them get ahead of the competition and above the fray. (Even fellow duos like REWS do not put the same sort of magic into their promotional films). I have always loved the interaction and association between film and music. Musicians should be interested in the video and, even with a small budget, push their minds and make something good. If you are bored by videos then you cannot expect people to stick with you. The music is the important part but videos are part of the equation and artists need to remember this. There are many who do expend effort and time but I feel many are too keen getting the music out and spending little time with the video.

Tiny Giant have created a wonderful video, for sure; they have penned a song that, I feel, creates its own genre. Their duo-name is a contradiction in terms and a wonderful visual: their music, it seems, pairs melodic Pop elements with Rock and Indie. They are all about contrasts and dichotomies. Future-Rock and Dream-Pop are the genres they fuse and, together, it creates a brew I have not heard a lot. I see artists crafting their own sounds and taking traditional sounds and mixing them all together. Tiny Giant have fused the dreaminess of Pop – when it at its most seductive and arresting – but provide ample fuzz, fizz and force. They put these contrasting aspects together and mix it in their boiling pot. I have not heard music sound quite like this. The guys are quite new off the block and it would be understandable were they to sit back and do something quite average and safe. They are not like that and, as we hear on Thirsty, they are exploring new ground right from the off. This is their first music video and the guys are excited being in music. That joy and energy has extended to their sounds and the way they contrast their songs. The lyrics have a sense of quirk and fun; the composition is busy and ever-changing; the result is a track that hits you when you listen to it but you keep coming back to it. Nuance is a hard thing to create in an industry that is as jammed and busy as it ever has been. I do not often come back to artists and find myself moving on and curious. Tiny Giant do not want the listener to find something else and, as such, have gone out their way to ensure their music and visuals are a step above anything else. This work-rate and passion will see them make important steps in 2018. Blogs and journalists are already responding and providing positive words.

Before I come to look at their latest track; I wanted to end with me making exceptions for artists. It sounds like I am the king who is providing a royal pardon for a traitor but what I mean is I am becoming stricter when it comes to accepting acts. I look for a lot of images and information from groups and, when it comes to Tiny Giant, they are pretty new. There is not a huge biography and Chloë Alper and Mat Collis are new to me. I have said how independent and single-minded the guys are by they are being looked after by Black Pig Records. I am not sure how much influence the label exerts but I still think of Tiny Giant as an independent and freewheelin’ duo who do their own thing and are beholden to nobody. Maybe this is the result of a casual and respectful professional relationship but it is good to see a hungry young duo given lease and freedom to make the music THEY want to. I will look for great new artists next year and try and broaden my pages. The reason I almost passed by Tiny Giant is because they are new and there is little information held about them. They have released a few songs and been around for a few years but they are still making moves and exploring music - not been around that long. The guys will progress and put more onto the page as they head into 2018 but I am curious where they came from and how they got together; what music they are compelled by and what plans they have. Their social media pages are updated but it would be nice to learn more about the two and what brought them together – and whether they are friends or more than that. The same goes for the photos: a side of music I always mention with regards reviews. I am finding few artists who can provide an adequate amount of photos. This means I am less interested in reviewing them and it causes problems – I wonder how long that act will survive.

Little Giant have a few great photos and I know they will put more out there. The ones I have used – and there are a few older ones among the new shots – show a visual eye and a desire to put out professional images. That speaks to their ambition and how fast they want to progress in the industry. I do wonder why so many artists do not put many images out and why they think that is acceptable. I will not return to this point but was determined to see Tiny Giant on these pages. I hope the guys get some more shots out there and let us into their world. Those artists that go the extra mile with their music deserve feature and focus. The London-based duo will continue to expand and express – I am pleased what they have created and how far they have come already. Let us move onto Thirsty but, before then, it is worth expressing how new the career of Tiny Giant is and how many big steps they have made - their latest material is stronger than their earlier material and bringing more to the plate. The guys have a small following online but it is a lot more impressive than many acts that have been around for years. Critics are responding to their music and keen to expend as many positive words as possible. I know Tiny Giant will continue to craft original and superb music (in 2018) and get more praise and love. They have put so much into their early music - from their first release and their first video now - and I hope they see that rewarded and praised going forward. You look at their social media, and listen to the music, and know they will be a big success very soon. They have the chemistry and affection for one another; the songs are vivacious and sensational; the performances tight and stunning – all the ingredients you would expect from a great act.

Huffington Post have already premiered the video and provides some very positive words about it – and the song it accompanies. The track opens with teasing and tight beats. It is a compelling and propulsive start that sees jagged and vibrating guitars saw through the sound. The heroine is on the microphone and pushed by a sound that mixes Garage and 1990s Rock with something modern and exciting. It is a fantastic blend that I have not heard before. She asks – the hero, perhaps – when he is coming over. It is Wednesday and, it seems, she wants to bite him. Maybe, you think this early on, it is not a person but a general hunger. The song is called Thirsty so it is not a surprise to hear that desire and desire. The song bursts into life and goes from composed and teasing to vivacious and explosive. The percussion rumbles and the strings embolden and bite. The song is gnarly and snarling; the riffs swaggering and meaty – the mood tenses and the song illuminates. You cannot help but move your body and become activated by the force and intensity. The heroine is thirsty and it seems her man – whether a sweetheart or casual acquaintance – is getting the motor running. The vocal is not your average Rock/Pop thing. There is Gallic passion and romance; a sigh and swoon that melts alongside the big and emphatic sounds. Alper is in the mood for something exciting and naughty. You think there is romance and physicality being assessed but the lyrics look at the heroine clearing her room and making an effort for the person. It is a unique and humorous look at love but you wonder whether something else is at play. I am hooked by the analogies and metaphors; the way the video has a cake on the table and the heroine dressed in tight black clothing – that mix of sexuality and appetite always at the forefront.

The performance and playing is tight and wonderful – so much sound coming from two people. I have said how duos are now overtaking bands when it comes to appeal and focus. If artists like Tiny Giant can produce a sound bigger than most bands out there then they are going to get tongues wagging. There are Pop undertones and depths but that energy and passion is what keeps you hooked. The more the song goes on, oddly, the more I think of food. Perhaps the video does not help in that respect: the heroine luring after the cake and sexually squeezing her icing bag. She is hoovering up her drugs – we’ll say no more – and wondering whether the guy is coming around. It is interesting having food and cakes at the front but I guess it is a symbol of temptation and something pleasurable. The quiet-loud dynamic of the song means the mind and body are pulled in different directions and never expecting what comes. After all the pummel and sway comes a calmed and Pop-flavoured middle that sees the heroine calmer; her compatriot playing keys and allowing the song chance to breathe. The guys combine in something tender and colourful; the storm passes and it signals a new passage for the song. That hunger is still there but there is a pause and chance for contemplation. The heroine does not need a reason when it comes to desires. Before you get invested in that swoon; the song comes back to life and the chorus swings into view. Despite the teeth and tongue purging and exploring; there is lightness and colour in the vocal. It has lightness and tenderness which means the song is never too forceful or intense. It is a wonderful track that you cannot help fall for – signs this duo are going to go a long way next year!

It is a busy and exciting time for the London duo. I know 2018 will be big and I would expect to see an E.P. or album arrive. Chloë Alper and Mat Collis are superb creative minds who will go a long way in an industry that is becoming harder to crack. I have talked about bands and duos and how the focus is shifting; why solo artists are popular and the way you can get ahead in the industry. You need to think outside the box and not pen music that will get you onto big stages. That sounds counterintuitive but so many acts are writing music for arenas. Bands are becoming flaccid and less relevant; solo acts are starting to make ground up and get bigger attention. All the end-of-year-lists are focusing on solo acts but I feel duos have a chance to feel the void being left by bands. It is a dynamic I am fascinated by and always willing to explore more. Tiny Giant are a sensational proposition and I cannot wait to see where they head in 2018. The stage is set and they have proved, with their double A-side, what they are made of. I wanted to focus on Thirsty – as its video is out now – and that single moment but, in truth, both songs are incredible. You cannot deny the guys have a great flair and hunger to succeed and I know this will be rewarded with every song they release. I shall leave things now – lest I bore people – but I hope I have got to the bottom of Tiny Giant. They are a great new act everyone should be aware of. Whether you respond to their original and exciting sounds or their incredible video; the tightness they have and bond with one another; what they want to accomplish in the coming months. I know the duo will do some wonderful things next year and, when you think about their name, the curious-named duo…

ARE giants who will continue to grow.

_______

Follow Tiny Giant

Official:

https://www.tinygiantmusic.com/

Facebook:

https://www.facebook.com/TinyGiantmusic/

Twitter:

https://twitter.com/_Tiny_Giant

SoundCloud:

https://soundcloud.com/tinygiantmusic

Instagram:

https://www.instagram.com/_tiny_giant/

YouTube:

https://www.youtube.com/channel/UCtl0eWaxSaCcFCWm0MA5few/videos

Spotify:

https://open.spotify.com/artist/00IkHbP6Ix7eR9fqOCQpRS

TRACK REVIEW: Tallia Storm - Everyday

TRACK REVIEW:

 

Tallia Storm

Everyday

9.3/10

GENRES:

R&B; Soul

ORIGIN:

London, U.K.

RELEASE DATE:

16th November, 2017

Everyday is available via:

https://www.youtube.com/watch?v=rzCT8OmIf4I&t=6s

The album, Teenage Tears, is available here:

https://open.spotify.com/album/3ROY6J5LUUPwPp0m0dOwww

__________

THE next few days…

will see me take on more female artists. I have come to the point where I am getting a huge amount of male acts my way. It can be very depressing and frustrating! Things have got to the point where I am rearranging my reviews and going after some incredible artist. Tallia Storm is someone I have been interested in for a long time now. She is an artist whose surname seems to suggest meteorological fever and intensity. There is something about her that gets into the eye, heart and brain. I shall look at her new album – and the current single from it – soon but, thinking about Tallia Storm, I wanted to look at a few different things. Among them is artists who are the ‘complete package’; upcoming Pop and Soul; female artists and why they will have a bigger say in 2018; teenagers and reaching an important stage in life; world-tours and getting kudos early; growing up with attention on your shoulders – getting attention from musicians is something I want to look at, as well. Tallia Storm is an artist who has everything going for her. Not only is she brilliant when it comes to her social media feed – updating her photos and status – but she has so many different sides. I love the fact there are so many updates and images on her social media. One gets into her world and is kept abreast of all her happenings and events. I can go on there and find out what she is doing and how her career is progressing. Now, it can be hard to discover an artist and stick with them. So many are not keeping their social media fresh and showing very little concern for the visual aspect of their music. It is something I have mentioned a lot but Tallia Storm does not fall into this trap. She has that connection with her fans and is always determined to keep them informed and alerted. One gets fantastic images,  great information and all the latest news regarding her new material.

More than that; the music and artistry is rounded and solid. The songs themselves are fantastic but there is something about the personality of Tallia Storm that gets into the soul. She has that captivating personality and allure that melts the heart and fascinates the listener. I will get to this side of things a bit later but there is a rare beauty to the songwriter; in terms of her voice and her image. The latter is insignificant in terms of a career but, when looking at those who have ‘star quality’, she is someone who can go all the way. The market is crammed with young artists who want to remain and inspire for years to come. If they have savviness and get their social media channels in order; they can accrue thousands of fans and become minor celebrities. Tallia Storm has an aura and electricity that will see her ascend to the mainstream and change music. At the moment; there are some interesting Pop artists but there is a shift towards other genres like Hip-Hop. I will tackle this in a feature later but, seeing the nomination for the Grammys - and it appears Hip-Hop is gaining traction and focus. Pop is not in a bad state but it seems big artists like Ed Sheeran and Taylor Swift are appealing to commercial sects – not providing music that is deep and worthy enough to scoop the biggest prizes in music. I feel the reason for this is the production and predictability of their music. Tallia Storm is someone who realises this and bring different sounds and soulfulness into her songs. You get nuance and quality in every note. An artist who can pen fantastic songs and deliver them with force and beauty is rare: having an artist that tops that with a loveable façade and warmth is even rarer. She does not hide herself away and ensures she gets out to the fans and puts her music into the ether. A hard-working and endlessly passionate musician; there is no denying next year will see all of this work and passion pay off.

I have mentioned how Pop is declining in terms of stature and status but there are, as I stated, a few artists that are promising and worthy. Camilla Cabello is someone I have been keeping a watch on as this year has unfolded. It is early days but songs like Havana suggest a Pop artist with a rich sound and colour. It goes beyond the processed, calculated sounds the charts are festooned with. Applying this to Tallia Storm and she has edges of Pop but brings in other genres like Soul and R&B. Pop refers to ‘popular music’ and, as such, the interpretation is it needs to be accessible, uncomplicated and familiar. Artists like Sheeran and Swift – who I have mentioned – have a huge number of fans but their music rarely surprises and elevates the senses. Taylor Swift’s latest album, Reputation, impressed critics but it is not a marked development from previous albums such as 1989. The point of genuinely great music is that which you come back to and that which remains in the mind. Tallia Storm has that crust of Pop potential but a huge quality and substance. Her exhilarating and stunning voice is filled with so much soul and emotion. You get R&B flavours and so many different strands interweaving and exploding. One comes away from her music and it stays in the head. I will remain with Tallia Storm as we head into 2018. Her new album is full of revelation and fascinating songwriting; sensational moments and songs that boast striking compositions and a phenomenal lead vocal. I worry there is still too much dependence on Pop and that empty, shallow music. I get tired of the processed and overly-treated artists who are tinny, generic and bland. You listen to a song and it does something, minor, when you first hear it: one does not remain with it or come back to that song.

The mainstream is still homogenised and unable to break away from the need for marketable and commercial artists. It is not defined by originality and those who challenge the existing order. I feel Tallia Storm is someone who can make big strides next year and get to the mainstream. She can bring her unique blends to the big leagues and inspire others to do likewise. I worry there are few like her that will tackle the boring and lifeless sounds that are circulating around the mainstream. The point of our popular music, as in past decades, is to inspire new generations and create music that stands the test of time. Not only does one need to consider their music but keep their personality and persona in the forefront. Tallia Storm has charm and draw but her music has edge and fascination. It is not conventional and predictable but is popular enough so it crosses boundaries and genres. Its core is Soul and R&B but has flicks of Pop and Alternative. I will come to discuss how her music was discovered by a famous musician but, going forward, there is a desperation and fear among those who want to see the mainstream progress and change. I have been searching for great Soul voices to come out and take the breath away. There are a few interesting ones but none have the same dynamics and contours of Tallia Storm. All her music comes from the soul and takes you off your feet. I am stunned every time I hear her music comes out of the speaker. The only way music will push forward and challenge convention is by promoting those artists who are not beholden to streaming figures and celebrity.

That is not to say Tallia Storm does not have her eyes on how many people are streaming her music and watching her videos. She is a young and ambitious songwriter and, in this age, you need to be aware of the marketing side of the industry. I feel too many are wrapped up in numbers and, as such, engineer their music that matches those with huge streaming/viewing figures. Tallia Storm is a vibrant young woman who is more concerned with getting her music to its finest standard and expanding effort ensuring it is substantial and exciting. I will end the conclusion talking about female artists but, regarding Tallia Storm, she was discovered by a certain Elton John! As a teenager discovering music and making your first step; having someone like Elton John claim you are one of the finest Soul voices of the past two decades is not to be taken lightly. That is a plaudit that nobody else has and should give Tallia Storm the impetus to aim high and keep reaching. I am amazed someone like Elton John – one of the greatest artists alive today – would say that but I am not surprised! Everyone looks at the late Amy Winehouse as the epitome of the classic Soul voice. Although she is no longer with us; her sensational voice has compelled new singers and I can hear her tones in the current set. Tallia Storm sees like someone who can match the grandeur, intrigue and quality of Winehouse – do things her own way and have the same influence. That approval and Elton John recommendation will give her a boost and approval. I hope next year sees the teenage star continue to write and take her voice to new heights. Nile Rodgers has also spotted Tallia Storm and stated she is one of his favourite artists in the world. Elton John spotted Tallia Storm when she was thirteen so, both of those facts together, means she has two of the biggest names in music behind her. I wonder whether she will collaborate with the musicians/producers down the line – that would be an exciting and thrilling proposition!

One should never be beholden to age and youthfulness but you cannot escape the tender years of Tallia Storm. She was discovered and celebrated by Elton John when she was thirteen but now, at nineteen, she is still so young and fresh to the world. I look at artists who are recording music in their seventies and eighties and am amazed. I feel, not to put pressure on her, Tallia Storm is someone who will progress from a young Soul/R&B songwriter to a legendary Jazz/Soul voice in decades to come. Even now she shows signs her music will endure and survive the test of time. The passion and hunger she has for music is stunning and pure. I wanted to talk about teenage artists because, as the years go forward, the amount of young artists coming into the industry is increasing. By that, I mean there are more acts of a younger age. Maybe that would be too much pressure – for someone so young – but it gives the songwriter a chance to experience music at one stage of their life; learn as they go along and, in a way, grow alongside music. Life skills and attributes can be picked up in the industry and, if anything, one can increase their fortitude, confidence and growth by being exposed to music at such a young age. Tallia Storm has been in music since she was at school and has not yet hit her twenties. In fact; photos of her celebrating her nineteenth birthday have been on her social media feeds. There is a good and bad point about hitting heights so early in a career. Some artists gain focus and popularity when they are in their teens but struggle to evolve and survives years down the line. In a way; there is obsolescence in music that means those artists are not recording music in their twenties. It is harder and harder to ensure in an industry that favours new acts and fast turnaround. The younger you are, the harder it can be to deal with the demands and pressures of the industry. One has to navigate so many different considerations and obstacles and show courage. The fortitude and strength needed to remain in music means so many are falling and failing to survive. It is a worry but, when one looks at Tallia Storm, and you know she has what it takes to carry on. She has been around for years already and has not even reached her peak. The music she is putting out now is amazing but I feel, as she gets into her twenties, new sounds will come in and the sound will grow more confident and stunning! Alongside the attention and popularity; Tallia Storm has embarked on world-tour and already gigged around the world. The young talent has been across the globe and brought her music to thousands of fans. Not many can claim they have been to so many nations and played in front of so many people before they hot twenty. I am not sure whether she has a label behind her already but, so far, she has gained all that footing and popularity on her own. The music she has put out, and how she is doing things, was off her own back. I feel labels can dictate and control an artist to the point they are moulded for the mainstream. Tallia Storm wants to gain huge popularity but not at the expense of her integrity and sound. She is a songstress that pours her heart into raw and real music. I feel, if she were to sign to a major label, they would want to change that and make her music more radio-friendly and less intriguing. That would be a shame but, given her growing stature, she will need some backing and guidance. A young artist who has to perform so often and juggle the career will find some hard times and need a few extra hands. Tallia Storm is a smart and wise woman and not one who will sign her career over to the first label that comes along.

As we go into 2018; the world will watch for those new names and big artists who will define (the year’s) music. Tallia Storm will hit her twenties and she will get demand from new parts of the world. One thing I worry about is how female artists, of a certain age, will be sexualised and subjected to demeaning focus. A lot of sexism circulates around the industry but I hope that is not a fate that befalls Tallia Storm. She is a stunning and beautiful artist and has a sexual aspect that can be misinterpreted. She is an artist who projects confidence and wants to promote womanhood, empowerment and confidence – not someone who flaunts her curves and wants to be cheapened. What we have before us is a very beautiful artist who puts music and her career first. There are Pop artists who lure after the camera and what that cheap fame: Tallia Storm is a respectable and fine artist who wants respect and the chance to perform decades from now. That will happen because she has conviction and a wise head on her shoulders. My favourite album of this year was created by a fellow nineteen-year-old artist, Lorde. Her sophomore album, Melodrama, and has stunned critics with its maturity and quality. Going against the plastic and puerile nature of some Pop: Lorde created an album of incredibly intelligent songwriting that bellies her young years. Tallia Storm is a similar songwriter that has that depth and quality but a slightly different sound. One thinks of Jill Scott and Erykah Badu when listening to Tallia Storm. I think her household would have been buzzing with the legends of Soul and R&B when growing up. Teenage Tears, the album from Tallia Storm, is the culmination of four years of writing and self-discovery. The songwriter went through a raft of emotions and experiences and has poured this into her L.P.

I will come to look at Tallia Storm’s stunning track, Everyday, but I wanted to end this part by addressing why her music stands from the crowd. The heroic songwriter has support behind her and already a popular face in the mainstream media. She has her photo taken a lot and is keen to provide honest and revelation to her fans. Tallia Storm will avoid the tabloids and scandal of the gutter-press but she is someone who will court focus from filmmakers and producers down the line. There is a star-quality and allure to the young songwriter that means her art will get as far as T.V. and film. I can see her acting down the line and know she will be a big household name. The strength and depth of her sounds mean it will gain success in the charts but go further and strike the ears of directors and other professionals. These are exciting times for Tallia Storm and it will be interesting seeing what the next year provides. So far, she has amassed a legion of fans and her album is receiving huge reviews. The way she has conducted her career – without a big label and by her own ways – means it is not a mainstream Pop album: we have a soulful and deep album that gets into every sense and sticks in the memory long after it has finished.

When reviewing a song; I always look for a few things from the off. I want instant hook and production values that draw me in; an original bent and sounds that compel interpretation and imagination. When you hear the song unfold – and get past the annoying adverts on YouTube! – there are luminous strings and elegance unfolding. It is classy and refined and has a genuine sweep. One feels warmed and seduced by the beauty and grace of the composition. It is a start that has all the aspects and qualities of a classic Soul record. We all know those hits that place the listener in a better frame of mind right from the off. On Everyday; there is a shimmer and tenderness come from keys and strings; it is a glistening and wintery backdrop that melts with the luscious heat and passion of the foreground. I was buckled and stunned by the instant appeal and effectiveness of the music. When the heroine comes to the microphone; there are utterances of refusal and dismay. The word ‘no’ is repeated, slowly, and it seems like a bad love is being documented. It seems the sweethearts fight every day and there is that constant stress and tension. The two get up each morning and have their challenges; they say they can handle things and feel they can handle this. I feel there are tensions and struggles that come with teenage years. Both parties are on different plains but it seems like the heroine is more mature and grounded. Maybe the boy is a little immature and wants something quite shallow and childish. These fights have occurred and it appears they go to bed with heavy hearts. Above it all; there is that strong relationship that is not based on sex and hollow values: the two have been together a while and have something deeper and more important. “It’s ok” says the heroine; they have their tough times but it will not burn things.

The vocal has an element of Amy Winehouse – the tone and power remind me of her – but I get impressions of Jazz and Soul greats. I can tell Tallia Storm has lionised these strong women and imbued a little of each into her own music. What I get is someone who has her own mind/voice but is indebted to the legends she fell for as a child. The composition lightens but it continues to appeal and compel with its luminous, swaying strings and keys. It has a stately flicker but a grandeur and urgency that bring your mind into the background. Fear, it seems, is the enemy and these “warriors” have a lot to face. I wonder whether Tallia Storm was referring to women in general or young people in love – maybe both, I guess. Whilst the vocal has Soul/Jazz touches; I got a little fleck of Rihanna and Sia in the vocal. It has Pop sides and this combination makes it an intriguing number. Although the lyrics are kept quite simple, that does not mean the song is for those who want their music uncomplicated and predictable. The words document the strains and struggles of the heroine; how she goes through daily doubts and conflict but is strong and defiant. There is that need to hold tight against the waves and show bravery. As the song grows, and the heroine realises it will all be okay, the vocals multiple and the soulful elements come to the fore. I got touches of D’Angelo and Erykah Badu when the voice is layered and it swims into the bloodstream. The girl is brushing off the past and reaching new heights; not going to let niggling problems and disagreements spoil who she is! The defiant messages – “This is your time to take control” – speaks to fellow lovers and strong women. It is a coda the music world needs and one that fits into the Pop scene – but does not sacrifice its ethics by producing something cheap.

There are female Pop stars who use these messages without any commitment and conviction but you believe every word Tallia Storm says. Beats crackle and the production thickens and heightens. There is a swagger and confidence to the vocal that has an almost Reggae-like vibe and cool to it. It is hard to get past the comparisons to Amy Winehouse and Rihanna but that is meant as a compliment. The listener is brought into the heroine’s world and sees someone who is packing a punch and keen to overcome problems before her. Rather than cry and let all of these problems weigh her down: finding inner-strength and guts is driving her forward with pride and promise. As the song reaches its final moments; you are still hooked and amazed by the confidence and sound. Everyday is a song that could grace the Pop market but it has a lot more depth and meaning. What I got from the track is a balance of sweetness and tough; a woman who has her own voice and is candid when it comes to putting her heart out there. It is a fantastic song that kicks off the album, Teenage Tears. Rather than provide petulance and immaturity: Tallia Storm is a woman of fortitude who is moving on and keen to preserve this love. The desire to remain strong in the face of the weather is something that sticks in the mind long after the song has concluded. A crisp and clean production elevates all the elements without washing out the mood and emotions. It is a perfect score for Tallia Storm to shine and inspire in.

There are two sides to Tallia Storm - that creates a mixture of excitement and concern. On the negative side, there is a bit of the mainstream media attention coming her way; a certain controversy and focus that means a slippery road is before her. One can say her appearing on Celebs Go Dating is a bit of fun and fluff but it is getting her column-inches from the likes of tacky magazines and the Daily Mail. She has shared posts on her social media from that paper and magazines that concentrate on her looks and sex – rather than her elegance and music. She is already being shaped into a sex-symbol and tabloid celebrity. This is a worrying thing to see for someone who wants to create credibility and a genuine music career. She is entitled to go to events and outings but should be refuting puerile headlines that focus on her body and image. It is a bad route to go down and she should be transcending from the days she was referred to as Brooklyn Beckham’s ex-lover to a confident woman dispending with scandal and gossip! I hope this happens when she hits twenty but I worry Tallia Storm is a teenager unironically sharing articles but horrible newspapers and gaudy magazines. I have talked about mainstream Pop and how many artists are selling their bodies and whoring after cameras. The images I have used for this are Tallia Storm creating a professional persona and displaying her femininity. I worry she is taking pleasure from the paparazzi and that way of life. I hope she does not fall victim to that lifestyle and think there is any value becoming a celebrity that is chased by the tabloids! I also hope 2018 sees her do fewer reality shows and actually take pride in what matters most in the world: the music she is putting out there and why she is in my mind.

I hate the way people chase fame and I am keen for a slap of sensibility and focus to come into Tallia Storm’s mind. She is a modern icon but, if she wants to follow the likes of Amy Winehouse and the Jazz great; she needs to focus on the music and rebel against tabloids and their sexist, appalling morals. Those artists would not be seen dead on T.V. shows like that and taking and value from disgusting newspapers and the worst elements of society. Her music is terrific and she is a genuine artist who will remain for years. Even Elton John – who backed and discovered her music – is not going to find any value from appearing in tabloids and hollow celebrity. Maybe it is a downside from the social media times where artists need to get as many hits and streams as they can. It sounds like I am Tallia Storm’s dad here but I want to see her find a better balance when it comes to music and horrendous media – get her name featured in the pages of The Guardian and Drowned in Sound rather than the Daily Mail and Heat (or whatever crap magazine people read). Tallia Storm is someone destined for classy photoshoots and respectable broadsheets. Maybe this is a phase she needs to go through but there is a chance succumbing to this way can cut her career short. The good of Tallia Storm vastly outweighs the bad and questionable. Her music is fantastic so let’s hope she puts her all into that. I do not care who she dates – if she can find a proper, non-famous man to keep her grounded; that would be better than some idiot celebrity who wants sex – and what she is wearing; what she thinks of Ed Sheeran’s latest single or whether she rates the latest hunks. That is the sort of shallow nonsense young women want to hear: proper music-lovers want to discover what comes from her heart and mind. Tallia Storm is mature and she is doing certain shows/shoots to add some new elements and attention to her career.

The music is what stands out and is why I came to the feet of Tallia Storm. There is no sense of a mainstream artist when you hear songs like Everyday. The Teenage Tears album is the summation of some tough years where she has fallen in and out of love; had some bad patches but risen above it all. It has been tricky but there is a sense of catharsis and release in the record. It is wonderful hearing a young artist who can continue to inspire and produce music of the highest order. I will forgive a grammar slip in her single – think it should be ‘Every Day’ rather than ‘Everyday’ – but I am glad there are contrasts and different sides to Tallia Storm. She is never dull and someone who has the looks and hooks of a modern artist but the depth and songwriting of the legends of old. I hope the scales tip from the former to the latter and she plans her 2018. I shall end this by recommending people get involved with Tallia Storm’s music and discover an artist who will be around for years. Dispose with all the reality T.V. and tabloid stuff and get down to her core and heart. I know, when she is alone at night, she dreams of music success and getting her sounds to the world – rather than anything on social media or dating sites! Tallia Storm is a confident and extraordinary artist who has the chance to lay down her marker and make changes to the modern music scene. It has been a bit of a quiet and unexceptional one for mainstream music and Pop; there have been a few great Soul and R&B albums but most have been created by established U.S. artists. We need a British alternative who has the chance to challenge the bigger acts and inspire new artists. Teenage Tears is a fine album that showcases an exciting voice in new music. The New Year is almost upon us and, when it comes to artists to watch closely…

TALLIA Storm is a force of nature you cannot overlook.

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Follow Tallia Storm

Official:

http://www.talliastorm.com/

Facebook:

https://www.facebook.com/TalliaStorm/

Twitter:

https://twitter.com/Tallia_Storm

SoundCloud:

https://soundcloud.com/tallia-storm

Instagram:

https://www.instagram.com/tallia_storm/

YouTube:

https://www.youtube.com/channel/UCtl0eWaxSaCcFCWm0MA5few/videos

Spotify:

https://open.spotify.com/album/3ROY6J5LUUPwPp0m0dOwww

TRACK REVIEW: Swine Tax - Feels Like

TRACK REVIEW:

 

Swine Tax

Feels Like

9.5/10

GENRE:

Indie

ORIGIN:

Newcastle-upon-Tyne, U.K.

RELEASE DATE:

6th October, 2017

Feels Like is available via:

https://www.youtube.com/watch?v=HlYeh37oLn0

__________

IT is back to the world of the band…

PHOTO CREDIT: Chris Crowder

and a fantastic northern force that has potential to do some big things in 2018. I might tread on some worn ground now but, when speaking about Swine Tax, I will look at the North and why more eyes need to come that way; embracing sounds of the 1990s and the U.S. guitar revolution that occurred; D.I.Y. and making sounds that are accessible and widescreen; pushing into new grounds with every release; bands that perform huge sets in the live arena; why next year will be a pivotal year for bands – and young bands who are afforded honours and privilege early in their career. I am new to the wonders of Swine Tax but, looking at their name alone, I am compelled to look closer and see what they are all about. Yesterday, I published a feature that revealed my album of the year: it was Lorde’s second record, Melodrama. It is no shock that album came top of my list. It is a masterful work from a young artist who fits into the modern Pop mainstream but provides music far richer and more eclectic than her peers. I was amazed by the sheer vitality, imagination and intelligence of Melodrama. I looked at the rest of my top-ten (greatest albums of 2017) and, aside from Queens of the Stone Age, the majority of records made were from solo artists. I love IDLES – although they did not make the list – there have been few band-made efforts that come to mind. I wonder why that is. I have been thinking and, aside from the solo market getting the most attention, I find many mainstream bands are not pushing their sound between albums. I have been disappointed by the likes of Foo Fighters and Royal Blood this year – although the latter can be seen as a duo, strictly. Apart from them; it is hard to think of any bands (four-piece or higher) who have crafted an exceptional album.

It is a bit worrying but I feel the new breed are making steps to rectify this issue. I mentioned IDLES – who are making their way to the mainstream – but there are others trying to make their mark on music. I have been listening to Swine Tax and it has been giving me food for thought. I feel sticking with the current Indie/Alternative sounds – aimed at stadiums and composed of generic riffs and little originality – is all good and well if you want to fill seats. If you want to inspire the new generation and push music forward, you need to go further and stop copying everyone else. The likes of Foo Fighters are showing a little fatigue at the moment – even if their latest, Concrete and Gold has been reviewed positively – and there are too many bands mimicking their sound and assuming that is the way forward. I am slagging Foo Fighters off a lot but it is not their fault: a lot of bands are going for arena sell-out rather than creative wonder and brilliance. I have just seen Queens of the Stone Age play in London and was amazed by their set – a tough, muscular and tight performance that enthralled the crowd. They have endured and continue to amaze because they can push their sounds and evolve. Not only that, but their personalities and mannerisms retain the flair and rebellion of Rock. I find there are too few personalities and great figures leading bands at the moment. That will change when we allow the likes of Swine Tax to come to the forefront. Not only does each member have their own identity and explode from each song: their music gets stronger with each release and takes in new elements. It is early days for them but, on their fourth single, they have broken new ground and taking in new strands. One of the reasons they are turning heads is because of the decades/genres they build into their own work.

When reviewers have come to their work; the likes of Pavement and The National have been mentioned. They might not seem like easy bedfellows but both bands have released stunning records and created music you cannot compare to anyone else – I forgot to mention The National when highlighting great band-made albums from this year! I find Pavement are a much more relevant and worthy name one should link with Swine Tax. I will move onto new themes but, before I do, a chat about U.S. guitar-bands and why we should look back at the 1990s. I know I mention the 1990s a lot but, when thinking about the best music around at the moment, I am finding previous decades being brought in. The most fantastic and inventive Pop looks back at the 1990s; some of the newcomers in Hip-Hop and taking from the 1980s and 1990s – when it comes to guitar-bands and the most immediate sounds; I can hear the 1990s come out. Pavement are a band who, ironically, helped to kick-start Blur back in the 1990s. They were going through a creative lull after they brought out The Great Escape in 1995. Riding a high after Parklife: the Britpop battle swung to Oasis after the Manchester act released the peerless (What’s the Story) Morning Glory? Both bands were even and matched in 1994:  Blur with Parklife; Oasis with their debut, Definitely Maybe. Oasis gained the crown in 1995 but that would all change two years later. Oasis brought out the much-hyped and overrated Be Here Now: Blur brought their eponymous album to the buffet. Blur is an album many see as a high-point and defining moment of 1997 – a record that revitalised Blur and got them back into the critical bosom. Blur, around this time, were on the point of splitting and needed fresh impetus. Graham Coxon (their guitarist) suggested employing shades of U.S. bands like Pavement – you can hear it all over Blur’s self-titled smash. This might sound like a lengthy detour but Swine Tax, in the way they bring bands like Pavement in, have the potential to add a kick and new life to the guitar sounds of today.

There are great Punk bands in the underground but few who manage to summon the majesty and magic of Pavement; combine that with modern relevance and retains some unique edge. Parquet Courts are another band Swine Tax have been compared with. All of this is very strong and impressive but I guess we cannot get too hung up on comparisons and sound-alikes. The northern trio are making their own way and forging their path. What amazes me is how Swine Tax they push themselves with each single. Many bands start rigid and never really unearth anything new with each release. They strike some sort of gold and feel no need to offer changes further down the line. It can get rather formulaic and it is hard to get out of that mindset. Mainstream artists, to an extent, can afford to take that approach these days. Many listeners are looking for something familiar and relatable when it comes to their favourite band. I wonder whether there is a risk doing something new with each album – will critics judge harshly or turn elsewhere?! I am tough on modern bands but know there is critical expectation and many are quite tough to read. That can make it difficult for newcomers to judge what is favoured and how they should make their music. Swine Tax are playing in the local scene but will want to get their music out to the national audiences. They are looking at the mainstream and wondering how they will fit in. Do they follow the course of stadium bands like Foo Fighters or go with something raw and different like IDLES? I feel the underground and unsigned are the most promising when it comes to great band music of the future. I know there are some terrific bands coming through the mainstream but their best days are a few years down the line. The likes of PINS and The Big Moon are terrific examples of where music is heading; what we can expect to see in years to come.

Even though a lot of the best albums of this year have been from solo acts – duos and trios – I have faith there will be a revival. Swine Tax are one of those bands who can join the best before too long. Most of the bands I assess have the ammunition to go a long way and make genuine changes. Not only do Swine Tax have a fantastic combination of 1990s U.S. guitar and modern-day Indie; they have a fantastic D.I.Y. aesthetic to their material. They do not rely on the modernity and techniques of the modern studio; the guys have that raw aspect and manage to make something recorded sound like a live performance. Not that the boys are putting everything onto four-track and sound like Daniel Johnston: they are not the gaudy, polished bands whose days are numbered and rather dull, either. What we get is an independent spirit with the promise of making a genuine impression in the mainstream. Feels Like is a cut that builds off their foundations and finds them stronger, more focused and inventive than ever before. Most great bands tend to make big leaps after a couple of albums or so. The fact Swine Tax are making big leaps this early is really exciting. I feel one of the reasons they are making these improvements and steps is because they refute the shine of the modern studio and are crafting songs carefully. They have democracy in the band and are keeping their ears to the ground. There is a great local scene where they are and, when they play their songs live, they are getting that feedback and reaction – know what works and how the audiences are responding. I feel another reason why Swine Tax will do well in the future is as they come from the North. The Newcastle-upon-Tyne band is in an area of the U.K. that produces exceptional music but is being overlooked by the media. We all know there is that dependency on London and sounds coming from the South.

I have always been worried the North is neglected and living in poverty. It is rather ironic the North-South divide regards wages and living conditions seem to reflect in music, too. There are so many fantastic artists coming from the North and we need to be more aware of what is arriving and music further north than London. The Animals and Lindisfarne are from the same neck of the woods as Swine Tax but, these days; there is a lot more diversity and possibility in areas like Newcastle-upon-Tyne. Fantastic local venues like Think Tank? are providing space for new artists to cut their teeth and get some experience. I have never been as far north as Newcastle but I am listening to stations like BBC Radio 6 Music and hearing newcomers from the area giving airtime and applause. There is less money in the economy of the North and fewer media bodies getting themselves up there. One feels this privation and negligence is forcing many acts (from there) to come down South and move to cities like London. We cannot have an environment where artists are being neglected and all the focus is trained on London. Not only are a lot of international artists moving to the capital; we are seeing acts from other U.K. cities migrate and find new impetus in London. This is disappointing but I hope Swine Tax remain where they are. The guys have great music flowing and they live in a part of the nation with some top venues and exceptional peers. I shall not labour the point of divisions but want to compel people to spend more time looking at northern bands like Swine Tax. I recently ran a piece celebrating the great acts coming from Sheffield: Yorkshire is a county who have always produced epic music and diversity in spades. One cannot ignore the North and how many world-class bands are coming from there. Swine Tax might have their eyes on London but I know, right now, they are busy making music and trying to get their name out there.

Before I come to look at Swine Tax’s latest song; I want to look at live performances and bands who get some honour early in their career. I know there is a danger for northern artists and the fact the media is too obsessed with London and southern acts. There is a much more severe risk circulating through music: the cessation of small venues and people going to gigs. Festivals are more popular than ever but I wonder whether that has something to do with families and treats. People save up for a festival and make it a highlight of their year – few people go to lots of festivals and have the cash to go to lots of gigs. Many festivals are now set up for families: as more people are settling down; they do not have the time to go out and leave their children – family-friendly festivals are a solution for them. How feasible are the regular gigs and going out every week? A lot of small venues are suffering because people are staying in and have little cash to see great acts played. Those who can get out to gigs are benefiting and supporting artists. I mentioned how festivals are getting bigger but is there a real risk we are going to have to close a lot of great music venues in 2018? This year has seen some closures and other venues put under threat. I feel northern areas are at bigger risk than any other at the moment. One way we can counteract this threat is realising how good bands like Swine Tax are in the live setting. Their shows are legendary for energy and impact: crowds go away smiling, sweating and talking. The small venues are paramount for bands who want to make a go of their career. Swine Tax have played some great spots and are building a real reputation as future stars. Their exciting and memorable sets have got the locals buzzing. I feel more eyes from the south need to be aware of bands like Swine Tax. I understand few are unlikely, regardless of how good a band is, to go that far to see them play live – the cost of travelling is expensive and putting many off.

PHOTO CREDIT: Chris Crowder

My main point is there is a healthy and boisterous live scene; many great new acts who are captivating locals and establishing themselves as ones to watch. Swine Tax are in a fertile area and taking advantage of the fantastic circuit where they are. As their career develops, and they think about a full-length record, they will get demand from other parts of the nation. For all my talk about London and getting away from the capital: the guys will want to play here and venture around the U.K. I feel the band are going to make some big strides in 2018. Feels Like was largely written during the band’s August residency at the iconic Sage Gateshead venue – after they were chosen from artists of the North-East to compose new music there. It is small wonder their latest single has that live-sounding magic – considering where they were recording and the setting they were in. That honour was due to the band’s talent and determination. I can only imagine how compelling and exciting it was recording a venue like that; the sort of inspiration that would have given them – and how important that was with regards the overall sound and quality. I know the band always want to create something bare and live-themed. Their latest single is, in my view, their finest offering. I wonder how important recording at Sage Gateshead was with regards the sound of Feels Like. This important opportunity shows there is a lot of faith and excitement when it comes to the music of Swine Tax. They have gained love and support from local sources so it can only be a matter of time before they get attention from national stations/media. The northern band have made big strides during their time together. Getting that chance to record at Sage Gateshead seems to have provided them fresh impetus and new direction. Not that their previous singles were less effecting: they are all fantastic but they have upped a gear on their fourth cut. I am sure the guys will continue to make steps and developments as we head into 2018.

Shades of Noel Gallagher’s High Flying Birds come out in the opening notes of Feels Like. The elder Gallagher has changed things up for his latest album, Who Built the Moon? He has employed more Electronic sounds and spacey synths; big choruses and French elements. Swine Tax, in their introduction, have a slight intergalactic sensation. There is twinkle and eeriness; there’s echo and strangeness. It is a fantastic and tense beginning that makes the body tighten and the mind wander off. One imagines all sort of scenes and possibilities as the song begins the play. When the electricity and echo ends; the vocal comes in and things become a lot lighter. The hero steps to the microphone and instantly gives the song focus and composure. “How did you ever find me hiding?” asks our man – he has been sleeping for a year and those words really intrigue. I do not think the band literally mean it (that would be an epic lie-in); there is something of the romantic pacificity and neutrality. Maybe the hero has been slumbered and extinct in the dating scene. This girl has come along and reawakened something in him – maybe he felt lost and as though he would never find passion again. That is my interpretation but one could easily hear those early lines and assume something more depressive and reserved. The vocal has charm and energy so it is harder sticking to that assumption – the track kicks and chimes with alacrity and meaning. The composition has that light touch that reminds me of early-Pavement. There are fewer snarled notes and angular riffs but the general tone and flavour summons the U.S. legends. Also, when hearing the song, one gets a breezy and satisfied grin from the vocals. All manner of sounds and possibilities flood the mind as the trio unite and produce a soul-searching, heart-opening song. The opening verse finds the hero coming out of the coma and being found, at last. The chorus is a series of “Do you wanna?” questions and some terrific riffs.

PHOTO CREDIT: Chris Crowder

It gets harder and more intense as the fuzz and vibrations add teeth and passion to the track. From the balanced and settled beginnings – following that experimental introduction – we get a proper kick of guitars and strut. The mantra builds and it seems like a daze of happiness and realisation. There is something juvenile and school-aged about the song. The hero repeats the question and, in the way it is delivered and does not move on, it has that infantile and cute nature to it. As the next verse comes into view; the hero talks about this soft embrace and the girl in front of him. She seems too good to be true and he is lost in this feeling. Again; the vocal returns to that calmer exterior but the composition remains firm and energised. The guitars and rums spiral whilst the production, remaining lo-fi and under-fed, gives the song a great flair of the 1990s. One can envisage the song fitting well into the scene in the latter part of the decade. As the hero talks about getting high – here, you feel it is literal – the girl would take a bite of his chocolate. Again; one hears the child-like innocence but that is mixed with something more herbal and grown-up. It is a modern slacker song and you can imagine the lovers in a smoky bedroom, chatting and carelessly entangled. There is sex and sweat but most of the song is about that new and exciting love; a bit mismatched and nervous. The two are quite different but they seem quite comfortable in their own skins. The hero has not felt this way for a while and seems relieved to have found someone who brings out new joy and challenged him. It is the overall sound and rawness of the track that amazes me. All the purity, elements and layers of the song seem more natural and real – if they were in a big studio; it would be glossy and lack that genuine nature. I love the song and am instantly transported back to the 1990s. Feels Like is a classic slice of guitar music that will see the band transcend from the local leagues and get them into the hearts of the national media.

PHOTO CREDIT: Chris Crowder

The guys are preparing to play at O2 Academy Newcastle with Japanese TV Club on 30th. In December, they play Jumpin’ Jack’s (3rd) and head to Little Buildings Rehearsal Rooms a week later. That is a broad mix of venues and some great local destinations – they are enthralling those of Newcastle-upon-Tyne and have just put out the video for Feels Like. Their touring schedule has been busy the last few months – the final gig of the year will be somewhere they feel a huge and deep connection with. Once they have wrapped things up in December; they will be looking for some quiet and relaxation before Christmas. I know they are already planning 2018 and where they might head. This year; they have played some great venues in the north and are happy inspiring the local crowds. I expect the boys to continue that into the New Year but, as their material gains new exposure, they will get some heat and affection from areas further south. I wonder whether they will plan a sojourn down here and take their music even further – maybe international dates are waiting. Can they get into the minds of audiences of the U.S.? Will there be big dates in London and plays on national radio? This is all possible so it is good the boys are completing a great year with some local gigs. I am not shocked they are playing great venues and getting a lot of respect from their folks. The music is among the freshest and finest out there right now. I have compared them with the likes of Pavement and Parquet Courts but, in truth, it is quite hard to compare Swine Tax with anyone too strongly. The reason the trio are so solid and innovative is the amount of time they get on stage. The audiences are reacting and the boys are learning new skills and disciplines from their performances.

I will end this by talking about Feels Like and what can come next for the trio. They have recorded and performed a lot this year so must be thinking about taking their music to the next stage. Maybe they are thinking about an album or E.P. in 2018. I know there is demand and a good way of getting into the national consciousness would be to bring out an E.P./album. I feel there are going to be loads of gigs but I feel 2018 will be the time they move from local heroes and start getting a lot more focus from the rest of the nation. I am happy the trio are making waves and finding rewards. Swine Tax should act as a guide to any band out there who are looking to make an impact and detach from the rather uninspired sounds of the mainstream. I know there are a few terrific acts in the mainstream but the best coming out are from the underground. There is too little invention and nuance from bands in the upper positions of music. The fresh breed emerging is showing promise and will change the dynamic: fewer solo artists getting all the praise; bands coming back to the fore and gaining ground. Swine Tax’s regency might be a few years away but they are showing positive signs. I have every faith Swine Tax will get to the mainstream and, when they do, there is a chance to make a real difference. For now – not getting ahead of ourselves! – Feels Like is out there and already getting a lot of praise. It is another sturdy and stunning track from a band who…

PHOTO CREDIT: Jason Hayles

END a terrific 2017 with a bang.

_______

Follow Swine Tax

PHOTO CREDIT: Jason Hayles

Facebook:

https://www.facebook.com/swinetax

Twitter:

https://twitter.com/swinetax

SoundCloud:

https://soundcloud.com/swinetax

YouTube:

https://www.youtube.com/channel/UCtl0eWaxSaCcFCWm0MA5few/videos

BandCamp:

https://swinetax.bandcamp.com/

TRACK REVIEW: Moir - The Truth Is

TRACK REVIEW:

 

Moir

The Truth Is

9.6/10

GENRES:

Electronic; Soul; R&B; Pop; Gospel

ORIGIN:

London, U.K.

RELEASE DATE:

1st December, 2017

PHOTOS:

Olivia Weetch

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THE remaining reviews of the year…

will feature a range of subjects and sounds. Into the New Year; I am approaching artists directly and reviewing artists that have a lot more images and information. That is not a slight against Moir: her lack of archives is a good place to start, really - and she has provided me ample photos for this review! I will talk about her music and future later but, for now, it is worth addressing a few interesting aspects. Before I come to Electronic sounds and new female artists; I will look at contemporary blends and starting out in a homogenised mainstream; addressing mental-health and making pain visible and open; where a young artist goes after recording such a painful and affecting work; where Moir might, literally, go after this; tips and recommendations when it comes to 2018’s music – ending with a bit about rebuilding social media and foundations. It is a bit of a risky review in the sense that, on paper, I have a lot more substance and information than Moir. That is an unusual situation for a journalist: normally, the musician is the one you are drawn to. As it stands; I have information and lots of detail on my website: Moir has stripped her social media and, until her new track is officially released, it is very scant and hollow. It is interesting seeing this – a lot of new artists do this accidentally. One of my main issues is musicians who have little to say and see on their social media pages. Whether they have poor and illogical excuses – they want the music to speak; the sounds are more important than their images – or are drip-feeding people new images with each release; it is something that really bugs me. I’d say the reason I am going after artists next year – rather than looking for submissions – is how few can meet very simple criteria. It is almost like getting blood out of a stone when you ask an artist for a few images – in a day when people are taking an immense amount of photos; there is no excuse to have such a shoddy and anorexic profile. Moir does not suffer this but, going forward, a bit more about the woman herself would be nice.

I feel there are two reasons why Moir has decided to delete her social media. For one; her next single is a raw and revealing moment that talks about hard subjects. I will come to discuss her E.P. (out in February; called The Truth Is) but the whole experience has been a challenging thing. Maybe this is a sort of rebirth and reinvention. Not that I will compare a social media tactic with something like spiritual cleansing, but there might be something in that – Moir is keen to start afresh and rebuild things. I am not sure the exact details of her last year few years but it seems like it has been a very harrowing and draining time. I will come to that side more, soon, but, as I look forward, Moir’s approach reminds me of two artists that did the same thing: Radiohead and Taylor Swift. Radiohead were the first act I saw take their social media down and turn the lights off. I would freak out a bit because I have accrued so many posts and articles. I would worry they would not come back if I hid them all from the public. Modern music is as much to do with strategy and marketing as it is authenticity and the organic. One must realise the competition is stiff and the public are looking for acts that stand out and offer something interesting. Moir has an empty SoundCloud channel and, when one looks at her Twitter and Facebook, is a new-born and virginal landscape. I mooted the reasoning behind this might be personal and deep – maybe this is a way to get into the consciousness and try something different. The modern musician takes an opposite approach when it comes to their promotion: every release has teasers and slow reveal; endless posts and so much information. It can get exhausting and really drain the senses. If one is subjected to constant data and confusion; it creates a degree of exhaustion and befuddlement. When Radiohead took away all their social media content – when they were promoting the album, A Moon Shaped Pool – there was a lot of excitement and discussion. Some felt it was a move that could backfire; some were a bit put-off; others were delighted by the risk and sense of theatre.

Taylor Swift has done it more recently: before she unveiled the first single from the album, Reputation, everything was taken down and there was the naked social media spread. It is certainly a way of getting people talking and the media stirring. Few unsigned/new artists do this because logic and the market suggest the opposite approach should be taken. I think every new artist should decide their own course and not do as everyone else is doing. The way acts are going to stand out is doing things differently and not following the herd. This might seem counter-intuitive but, if you want to get under the skin; imagination and inventiveness must arrive. I think Moir is doing this – deleting all her previous posts – to announce a new stage of her life. It certainly can’t hurt her sense of mystery and potency but there is an overhaul and reimagining. She has been through a lot of confusion and change so it is only natural the arrival of a new track would inspire a fresh identity. I am interested venturing into Electronic music and how it has changed over the past couple of decades. I am a big fan of the 1990s and the Dance that was around then. Now, the comparable market is a lot less nuanced and enduring: artists are putting out sounds that hit instantly and contain little depth and magic. I feel the 1990s’ Dance/Electronic was king because it remains and inspires to this day. You can say the same about 1980s pop but, today, there is a split between the club-bound Dance/E.D.M. and the mainstream Electronic-Pop option. The latter is more appealing to me because the marriage of Pop and Electronic. You get something harder and tough but it has sweetness and melody. Moir has been compared with the likes of Banks and Tusks but melts in Gospel, R&B and Soul. That is an intriguing blend – one not a lot of artists are tackling. I say that but, when you think of Jessie Ware and Sampha; these artists are putting those genres together and achieving tremendous results.

Both, the latter for sure, can claim to have made one of the best records of the year (Process). Moir doesn’t have the same sound of Sampha – as she is a white girl; he is a statuesque black man – but the way her voice and music affects can be compared to the great man. I realise Electronic/Dance music reached its apex decades ago but the way the form has developed and diversified is terrific. Dance was always eclectic back then but, through the years, the best artists have stepped away from the clubs and dancefloors to stand up tall and move in a different direction. I love the mention of Banks (or ‘BANKS’) and Sampha in the biography of Moir. I can hear both artists in her work and it excites me to her the young Londoner aim high and produce authoritative work. She has a natural command and passion most artists take years to craft. What I get from a song like The Truth Is (is) grace, power and revelation. There are contrasting emotions and dynamics: each line and moment of the song inspires fresh thought and speculation. I understand there is a rather personal and emotional background to the song but there is light and hope – one steps away from the song and realises the young artist is rebuilding and making her way up. Returning to modern Electronic and, I feel, the genre is the most promising around. Pop has its promise but there are so many artists plastic and shallow – not providing anything beyond the commercial and pointless. The cheap and tacky Pop artists we find in the charts are not going anywhere (unfortunately) but there is a competing wave of artists who produce something proper and pure. By this, there is music that sprinkles Electronic, Pop and Soul together with R&B/Gospel.

The mainstream is starting to slump into a bit of a bog at the moment. It is not completely homogenised but there is a lacking tactility and mystique. I feel there are fewer artists standing out and promising long-term returns. A lot of modern promise lasts a year or two but fades into obscurity. Maybe that is a sign of competition and the modern nature but one reason (so few remain) is the sounds being produced. Few are providing amazement and original content but I have been less impressed by this year’s mainstream – last year seemed stronger and more exciting. Moir is someone who realises this and is creating music that blends the best out there at the moment. I have talked about Banks, Sampha and Jessie Ware: perhaps the three most promising and talented solo artists on the scene. It is their seamless tangling of edgy electronics/beats with soothing, smooth layers that have seduced fans and resonated. One hears this with Moir: a young artist who has the potential to match these artists and make her own way. I am hearing a lot of new artists take the same approach as Moir. Maybe they are all looking at the mainstream and finding gaps that need to be filled. That might create another issue in itself: the new breed all thinking the same; how is the individual going to get attention is their peers are doing the same thing?! That is something we need to address but Moir has an extra layer and spark that will see her succeed. I can say this confidently because she exudes so much passion and pride in her work. I cannot include a link to her new track – as it is private at the moment – but, when it does arrive, you will hear all the strands/ingredients come out.

Although Moir is not filled with hubris and arrogance: her music is not shy and filled with modesty. There is a woman who tackles mental-health but does not do so in a guarded and vague manner. She is very bold but does not put the listener off. By that, I mean she has a sense of adventure and playfulness with the music but balances that with lyrics that come from the soul – documenting the harder times and moments of clarity that have come to play. I have mentioned mental-health before. This is a subject that is still burdened with stigma but musicians are keen to air it out and make people aware of the true extent. Many are uncomfortable talking about the topic but you cannot hide from it. In this day – when we are less connected with people than ever – many are spending time at laptops and fostering isolation and depression. Anxiety levels are rising and it there is an epidemic forming. Moir has experienced the lash and teeth of depression and, in her new track, brings in some words that some might find tough to take. Not to say The Truth Is will drag you down and seem too heavy: it is a track that will strike a chord with many and shows how open the creator is. I listen to Moir and connecting with her words and personal experiences. The music digs deep and gets into the heart. There is a lot happening on the track; that means one is thinking about it long after it has finished. Her E.P., I will look at in the conclusion, was penned after a traumatic experience. Moir recorded the work in a home-studio and brought in some collaborators. It was a tough time for her but, through music, you can hear that sense of freedom and revelation. I am not sure how cathartic the experience has been but I hope Moir feels less stressed and harrowed than the start of the E.P. Music has the potential to heal and improve – let’s hope it has managed to help Moir and provide perspective.

Moir is based in London. This is a city that can really help an artist and provide so many opportunities. I worry the city is a bit of a mixed blessing for many. It has a lot of music and stages; there are colleagues and like-minded people everywhere – the rush and excitement of the place is electric and intoxicating. I always gravitate towards the city because I love the busy vibe and the range of people. There is always something to do there and the chances of being bored and nil. On the other hand; the crowds and heavy streets can have a negative effect on the mind. I wonder whether artists who suffer anxiety and mental-health issues are aided by a city like London. Moir has a great network of venues and labels around her but, from a personal perceptive, maybe there is a detrimental nature that needs to be deleted. I think the city is the finest on Earth but there are problems and natural downsides that are causing stress and worry. Artists gravitate towards the city and find it a natural home to have their dreams and ambitions realised. Next year will provide a chance for Moir to have a think and see where she wants to head. I think London is a great base but, from a personal and creative standpoint, are there other cities that could provide a greater balance?! I am not suggesting she abandon London: maybe spending a few months in another country would provide some new lease and relaxation. I find L.A. and Berlin are places many new musicians are relocating to. The former has the weather and landscape; it has a rich heritage and seems ideal to many. Maybe Moir would benefit from a few months soaking in the Los Angeles sun. I feel the summer-months would be a perfect time for her to go over there and write some new material. Maybe she is rooted in London but there is inspiration and light to be found somewhere like L.A.

One can argue there is a bustle in L.A. that is comparable to London: I find there is less stress and anxiety to be found in Los Angeles. I feel Berlin is another city that is appealing because of its comparative lack of the busy and strained. Some great bands/acts are settling there: Moir would find plenty of inspiration and fun in the city. I am not saying Moir should permanently relocate to these cities – maybe, the sheer cost and consuming nature of moving might put her off. It might be beneficial if she takes a few weeks out, at least, and recharges the batteries. The cold and wet weather here is going to have a bit of a harsh effect on her mindset and psyche. Balancing the familiar of London with a more exotic and settled city might do wonders for Moir. She has been through a lot of crap the past few months/years. That need to find peace and happiness is going to be top of her mind as we head into 2018. I get a feeling, when writing her new material, there was that sense of loneliness and not being understood. She has been through the mill and felt alone and alienated. Holding onto these emotions creates poison and scars. These are revealed in her latest work – it is one of the most affecting things you can hear. I will look at the new single soon but, before then, a look at where Moir will head next year. There is an E.P. approaching and that will give people the chance to see where the London-based artist is going to go. I feel next year will be the most important for her. Not only will new work be out there; opportunities, gigs and horizons will open up. I feel getting the work-personal balance right will be vital. Maybe going to a new country will provide fresh impetus and a chance to detach. If Moir is thinking of remaining in London next year; I feel she needs to give herself some time to disconnect from music. That seems impossible when launching a career but, given the experiences she has gone through recently, adding to the stress and pressure might have a very damaging result. She will get gigs and interviews but she needs to find some time to think of herself and take her mind out of music.

I think one thing that needs to happen is to rebuild the social media platforms. That might sound like I am contradicting myself – opening up the Internet and giving herself more work – but her career is entering a new stage. I feel there are going to be challenges for her; ample opportunities and good times are ahead of her. The way to get the music to the masses is making her channels as open and revealing as possible. I know why she has taken her content down and made that decision. After the single is out; I hope she brings everything back and really concentrates on getting her name out there. There are some great images – I have, at least – that can be put onto her sites. She has an incredible background so more biography and revelation would make her more accessible and visible. I would like to know about her upbringing and the music that inspires her; where she is heading and hopes to achieve. Moir has a captivating look and sound so I would like to see more of her on social media next year. I know making yourself too open and prolific can cause more strain and seem a bit too eager – many artists prefer to keep things held back and create some mystery. I know London will open its doors to Moir and give her some great love and warmth. Getting her social media built and big means the new music will get out to the people and mean stations/D.J.s will connect with the music. Venues will hear and see an exciting new artist who has a lot to say. There are few who have the same story and sounds as Moir. I want to see her take every chance out there but am aware of what she has gone through. Next year is almost here so, for Moir, there is that opportunity to strike and get her music heard and played. At the same time; she needs to take a few weeks out to relax and find some comfort.

The Truth Is gets into the head from the very first seconds. It seems talking is not really something the heroine wants to do. The truth is: things have changed and times are tough. Maybe conversation is not going to solve anything and taking that approach is not helpful. Finger-clicks and sparse electronics allow the voice to reign and take command. The heroine offers sweet notes and breeze. There is power and strength in the performance but the delivery allows for some relief and light. I think the song talks about a broken relationship but maybe there is something more serious at play. I know a song on her upcoming E.P. stems from a traumatic and harrowing experience Moir had. Perhaps there is a bit of that here. Male, distorted vocals come in and provide a juddering, echoed effect – the likes of the xx have used this kind of sound and effect in their music. It is odd and exciting but provides a different voice and dynamic to the song. The heroine repeats lines about talking and its usefulness. Maybe people have tried to offer support and advice but it rings hollow and insincere. The weight on Moir’s shoulders is heavy and things are quite severe. If talking about a current relationship; things have reached their end and the heroine wants to rebuild. Maybe she needs time to reflect and make her own way forward. People are getting involved; maybe the other party is trying to have their say. Against the shuddered background vocals comes a rolling piano and sense of 1990s Piano-House. The mix of sounds in the song is extraordinary. The vocal remains quite light and contemplative but carries plenty of potency and resonance. It is clear the heroine does not want to be bothered and is looking for a constructive way out of her problems. Whilst drawn to the vocals; one also notices how the composition evolves and shifts. It is like the music matches the emotions behind displayed in the foreground.

The purity of the piano is that distance and getting away from the scenario – our girl moving on and trying to make sense of everything. She is an “expert at holding things in” and that, it seems, is the worst thing to do. Maybe things are so bad revealing it will open floodgates and have a horrible result. She needs to get those words out but feels her natural dispositions means it will be kept in. In a sense; I get little flecks of Kate Nash and Lily Allen in the voice. It is conversational and has a bit of an accent; it shows emotion but never gets too overwrought. The heroine has always kept things inside but, considering the way life is unfolding, the desire to get the truth out is palpable. Perhaps there is so much stress in it is causing damage and depression. Whilst it is not revealed why she is so sad and strained: one feels love and heartache are in her mind at least. We move to cooing vocals and the sort of lush and sensual velvet one hears in Jessie Ware and Sampha’s best works. From there, the percussion tightens and there is a darker, industrial sound. It mixes Dance and Electronic but keeps the mood low and taut. We have shifted from revelation and openness to a sound that is more claustrophobic and edgy. Maybe this signals the way Moir deals with her problems and how she is moving on. Rather than opening to people and becoming vulnerable: hiding away and keeping it all guarded is the way she deals. This is unhealthy but many people cope this way. It is upsetting being that open – you fear you’ll be judged or a torrent will come from you. If she is talking about love and being honest with a lover; it seems things have cracked and the situation is beyond repair. Maybe there is the desire to reveal things to friends and family; discussing something harrowing that is eating her up. The heroine has been plagued by a disease and the need to find a ‘cure’ is paramount. She has tried to contain that ache and, now, it seems there might be hope. I might be misunderstanding but it seems things are improving. Moir might have kept things in before but this realisation – keeping things bottled is not the best way through – means there are going to be changes and catharsis. If she lets out the problems and talks to people; that will mean she is less candid in future. It will get the problems into the air and means they can be addressed. The vocals build up and layer: the chorus gets hotter and fevered; it is both arresting and romantic. I came away from the song will little breath and emotion left. It is a tough song to take but one that shows the heroine has come to a point where she needs to be more honest with people around her. There are beautiful mixes of House, Pop; R&B, Soul and Gospel. The song shifts and goes through different phases and revelations. A stunning and entrancing song from a truly incredible artist.

The dark sounds and juxtapositions one finds in Moir’s work have already got the ear and mind of many. She is a new artist but there are fans who want to hear what she has to offer. Her E.P. was recorded with collaborators she met at the Roundhouse – as part of their Young Creatives programme. The E.P. track, I Said Don’t, was written after a traumatic experience. We can only imagine what happened when you consider the words – let’s not dwell and speculate too much. That sort of courage and fortitude is something that deserves applause and affection. The resultant emotion and anxiety is documenting in the music. Many artists are reserved when it comes to opening up: Moir feels it is important to talk about these times and not hold back. Maybe some will feel the songs are quite stark and bleak but there is ample light and affection that comes through. Moir injects optimism and colour in her music: the contrasts and balances one hears is why she is an artist many more need to get behind. I am keen to see where she heads and what comes next. There will be gigs and new horizons for the young star. She has the chance to make a real impact and get her music to the mainstream. Maybe that will take a little while but I know that will all arrive in time. The Truth Is (is) a brilliant track that puts one in mind of giants like Banks and Jessie Ware. These are artists that connect with Moir; she takes their music to heart and wants to create her own voice. I cannot wait to hear the E.P. and what comes from it. I have mentioned a number that stems from a traumatic time. Maybe the remaining songs are less fraught but one hope there is enough honesty and reveal. Against all of this is tenderness, hope and forward-thinking dreams.

I am also excited thinking where Moir can perform and the gigs that are ahead. I feel she has the chance to play abroad and get some fans there. I have highlighted some cities she might feel would be right for her. Europe is a definite possibility for 2018. The social media channels will be reignited and the talented star will want to get her face to the people. Rebuilding after such a hard time will take steps – she is equipped to deal with the challenges before. The fact she has managed to make music and continue is staggering in itself. Courage and strength are commodities that are not as easy to achieve as one might hope – the desire to hide and close off from the world is a lot more tangible. I will close things off but, looking at the music being produced, and I have no hesitation when it comes to recommending Moir to the people. I miss the days of 1990s music and the incredible sounds that came from the scene. The Dance market was a lot stronger and the mainstream had that diversity and allure – I am less drawn to modern music by comparison. I have high expectations for Moir and know she will craft a successful and happy career. This coming year is a huge one for her. The new track is out in a week and that will give people the chance to see what she has been working on. After that; there is the E.P. and making moves regarding gigs. All of her past goes into the present material. I am proud of what she has achieved and intrigued by the fact she has deleted her social media content. The lights have gone down and Moir is presenting the revelation of her latest track. It is a brave taking this approach to promotion and doing the same as artists like Taylor Swift and Radiohead. Let us hope, when The Truth Is arrives into to the world…

THE songwriter brings the lights back up!

_______

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LIVE REVIEW: Queens of the Stone Age: Villains World Tour - O2 Arena, London (Tuesday 21st November, 2017)

LIVE REVIEW:

 

Queens of the Stone Age

 Villains World Tour - O2 Arena, London

(Tuesday 21st November, 2017)

___________

THE last gig I went to…

PHOTO CREDIT: Getty

of this magnitude was when I saw The White Stripes at Alexandra Palace back in 2005 – that was when they were promoting their album, Get Behind Me Satan. That was a bittersweet experience because, having travelled all the way there, the duo was late on stage – and I had to get the last train home without seeing them play a single song (less ‘sweet’; completely ‘bitter’, I guess). I was hoping for better luck when I found myself standing outside the O2 Arena last night. The bustle and excitement prior to the gig was palpable: all shapes and sizes of Queens of the Stone Age acolytes assembling, chatting and buzzing outside the venue. Security was tight for the event – as one would expect for something high-profile – but there was a relaxed and easy mood that circled the venue. Nobody felt on-edge and, in fact, the mounting chatter and colourful conversation meant the gig was all set – let’s hope the band could match the expectation! Things started off a little patchy in the sense the support act, Broncho, were a bit of a wasted venture – not many of the assembled crowd were too concerned. Whereas Queens of the Stone Age’s performance generated focus and admiration: their U.S. counterparts barely registered a flicker of excitement. Their music fell between Indie and Alternative: it had a Queens’ touch to it but the songs blended into one; the sound quite generic and forgettable. The quirky and flaccid stage-manner did not help matters – the high-voiced frontman babbling about Queens of the Stone Age, London and other random considerations. Most were pleased when the band finally announced Queens of the Stone Age: getting the giants on stage a few songs earlier would have been a welcomed treat! The lights went down and the cheering started. The buzz and electricity that resounded around the mega-sized arena was shiver-inducing. I, being in Entrance B, Block 407; Row 3, Seat 603, was quite a way up – right in the seating positions with a far-off view of the stage...

The boys swaggered onto the stage and the crowd were sent into a frenzy. It was no surprise the set was filled with intensity and sweat – a selection of AC/DC songs were played before the band came to the stage; to remember the death of the Malcolm Young. Monsters in the Parasol was a rare early treat – from the underrated and stunning, Rated R – and was a definite highlight of the set. As this was a gig to promote their latest album, Villains, it was no surprise to see the album featured heavily. Most audiences, when seeing a legendary band, yearn for the older hits and established favourites: those packed into the O2 Arena were more than happy to hear the latest gems. Feet Don’t Fail Me, The Way You Used to Do and Domesticated Animals were played; The Evil Has Landed and Villains of Circumstance also trotted out – each song given a nice spin and incredible performance. Although the band chose to feature very little material from the albums Queens of the Stone Age and Lullabies to Paralyze – there was a nice spread and selection of anthems and lesser-expected inclusions. Josh Homme, the band’s frontman, was in typically enigmatic and humorous form. I have read other reviews of the band’s U.K. leg (of the Villains tour) and each says the same: the ginger-haired lead was is in a philosophical and deep mood. Mortality and individualism were mantras repeated throughout the set. Showing little anger or rage; Homme was a calm and pondering presence who urged the crowd to think for themselves; today is all that matters, he said – it is all about the here and now. Those words struck a chord with the crowd: few were going to argue with the conviction and passion of Josh Homme. Early set inclusions Smooth Sailing and I Appear Missing were incredibly popular with the fans – I was pleased to see quite a few …Like Clockwork songs peppered through the set! Not only was the band’s fevered and incredibly potent incredible: the fantastic lighting made each song pop and resonate.

Depending on the song; we were treated to various colours and speeds. One number might have blue lighting slowly flickering; bathing the band in warmth. A more vitriolic and energetic number would see diagonal yellow lighting illuminate like a firework display – another might see red lights intersect and flirt. Some of the band’s antics have drawn criticism over the past few days. Josh Homme was caught smoking during their performance in Manchester – you cannot tame the Rock rebel, it seems! In North Greenwich; he was on his best behaviour – albeit, complete with that reliable wit, acid tongue and peculiarity. It was, as Homme insistently proclaimed, Saturday night (in the sense that it was time to party) and he was keen the crowd disobey the safety and calm of the O2 and get dancing – No One Knows gained the biggest cheer of the night as those lucky enough to be within screaming-distance of the band were sent into chaos. It was odd seeing the mass of people below – from that distance, they appeared as crops in a field; tiny figures who, with their phone lights providing coordinates, their own city and community. As the band ripped through No One Knows; the ardent and impassioned fans were chanting and singing with smiles wide – Homme stunned and touched by the incredible rapture and reception. I have mentioned Homme’s pondering and deep thinking – the lead musing issues around death and desire between songs. We are, as Homme stated, all our own bosses. There is no cat or dog food – embarrassing for me as I came in my bespoke Pedigree Chum suit of armour (which drew smirks and derision from the crowds) – and we are not domesticated animals - you can tell which song came after that... On-stage conversation switched between mortality and the need to get the crowd riled and dancing. Asking whether London was having a good time – they/we were, it seemed! – there was no direct political reference; one felt the danger of President Trump was heavy on Homme’s mind. If anything, it was …Like Clockwork’s selections that drew the biggest reactions. Smooth Sailing was a muscular and impressive take; My God Is the Sun one of the most engaging and well-recovered performances on the night – the band’s interpretation of If I Had a Tail and I Appear Missing compelling and fantastic.

PHOTO CREDIT: Getty

If Queens of the Stone Age's harder and more spiked performances proved popular with fans: their elongated and slower performances gained equal acclaim. Make It with Chu saw Homme in seductive and lounge-lizard mood; a luscious and smooth performance that drew the crowd in and allowed the band chance to improvise and calm. The build-up was inventive whilst the song’s chorus saw the assembled faithful chiming along with every note. Queens of the Stone Age are not a band who turns in predictable sets and diminishing returns! Jon Theodore’s percussion was a particular standout. Allowed to indulge in some monolithic, primal solo-work; the crowd were staggered and hooked by his multi-limbed chops and boundless talent – Homme was moved and affected by the power coming from the back. The biggest enemy of the night was my bladder - which seemed reluctant to quiet down and rest throughout the performance. It wondered whether I wouldn’t mind emptying it when Queens of the Stone Age ripped through You Think I Ain't Worth a Dollar, But I Feel Like a Millionaire; it was curious when they gave Little Sister a rare appearance; it was twinging when The Lost Art of Keeping a Secret was delivered with faultless desire – by Villains of Circumstance, it was getting pretty tetchy (I was not moving!). By the time Go with the Flow was announced – Songs for the Deaf’s two biggest songs got the loudest cheers of the night – I was, ironically, unwilling to refute my bladder any longer. Aside from a few drawbacks – it was would have been nice to hear one or two more from Villains; a few inconsiderate punters blocked the view for a few with their dancing – one could not fault Queens of the Stone Age. From the animal bite of Sick, Sick, Sick to the brood of Villains of Circumstance: the set was proof they are among the finest live acts on the planet. The sheer noise and physicality coming from the stage was enough to blow the likes of me away – all the way up there in the squinting seats! It was, perhaps, Homme’s polemics that made the biggest impression.

The Fonz of the music world; he was getting the crowd pumped, dancing and moving – on this ‘Saturday’ night; the F-words tossed out got laughs and approval. On the other hand, when not getting the party started, the forty-four-year-old was reflective and cautious. If some felt he had taken a few drags of the peace-pipe before coming on stage – oddly calm and relaxed given the occasion and energy raining from every ember and corner of the venue – he made points that struck the crowd. Looking at death, leadership and surveillance (we are all being watched, as he was keen to note); it was a perfect mix of rebellious, cool-as-fu*k ‘Classic Homme’ and the older, wiser frontman. What could not be denied was his love for London – he was at ease and delighted to be among such a loyal and loud crowd; they/we, in turn, provided plenty of love and respect. It was a night that delivered the classic hits and Villains’ new cuts; the career-spanning set was a huge treat for the thousands who poured into the O2 Arena. The band head to Edinburgh’s Usher Hall tomorrow; Dublin’s 3Arena will complete the U.K.-leg of the tour – the reviews and reaction so far have been hugely positive. No wonder when you witness the magic for yourself! A night in with Queens of the Stone Age is an experience few will ever forget. Peerless musicianship, insane energy and a crowd willing to give their all to every sinew, note and movement…

I think Josh Homme approved!

TRACK REVIEW: Gelato - Breaking the Spell

TRACK REVIEW:

 

Gelato

PHOTO CREDIT: @movementartliam  

Breaking the Spell

9.1/10

Breaking the Spell is available via:

https://soundcloud.com/gelatomusic/breaking-the-spell

GENRES:

 Rock; Alternative

ORIGIN:

London, U.K.

RELEASE DATE:

9th January, 2017

The E.P., Weird, is available via:

https://open.spotify.com/album/0hpRvlItxQYCMVcxGkQKjJ

__________

THIS outing marks a bit of a departure…

but it is going to have some consistency. I shall come to talk about the guys of Gelato but, before I move on, some recommendations for the guys. They, as I will address, a modern band that will inspire so many other artists. I want to talk about Rock and the way it is coming back; those artists who have the potential to move beyond London; how important gigging is – and the bands taking advantage of it – how certain modern acts are inspiring the new breed; where Gelato could head in 2018; the way they, like their finest peers, develop between releases; the future of music and the artists that can ensure years from now. Like yesterday’s review – where I was given some explanation as to the brevity of images – I will take the same task up with Gelato. The guys are not the least attractive boys you will see, so it would be nice to see their face out there more. I will drop my endless campaign for visual representation but, once more, it is a subject that almost saw my look elsewhere for reviews. I will not labour the issue too much but it is paramount we disimpact the problem surrounding shyness and rarity. Yesterday, when it came to my review, the reason there were so few current photos was because the label/artists wanted to bring more photos out upon the release of the new E.P. It got me thinking about modern music and how the listener is spoon-fed information. Listeners and fans browse social media and will be looking for artists to follow. For me; I am seeking reviews and will only consider artists that have a collection of modern and older images. It seems baffling music/releases have become such a campaign and meticulous plan. I know the guys of Gelato are not like that: they are less precise and prefer to release their music with less rigidity. They do not have that stringent – and rather egregious – approach to images and exposure.

I will touch more on this issue but, before then, an urging to the boys to spend some cash next year getting some more snaps up there. At the moment, they have a few shots but there are not that many high-quality snaps that one can discover. The reason I said this review was a departure is for two reasons: for one, the music I am reviewing has been out for quite a few months; the second relates the exception I am making for the band. I am, going forward, not reviewing artists I have assessed before – this is the second time I have featured Gelato – and, when it comes to photos; I am being a lot more stringent and hard. The band has a great look and sense of confidence so I would like to see an array of images for the guys next year. It is not a criticism but a way they can get their music to new markets. The guys have had a busy year and there are some great live shots on their pages. I am confident they will have a triumphant year. One of the ways they can get their music/name to international audiences is getting more photos shot. It will be more appealing to journalists and shows they are keen to get themselves promoted and visible. Maybe their endless touring and hard graft has meant there is little time to get in front of the camera and get themselves shot – let’s hope they set aside time to release new images in the New Year. I will move on to all the positives soon but, right now, I want to talk about release schedules, Actually, when looking at Gelato, they are the antithesis of the calculated and marketed artists who have their music released at exact moments – to make the biggest impact. I have alluded to artists – who have come my way – where I am asked to release reviews on precise days (and interviews); there are a few images for each campaign; new images not released until the next release/campaign. 

I am worried there is too much business and marketing in modern music. I understand the need to get the music out there and make sure it hits hard. If every stage and avenue is slowly fed and planned precisely; it means music is too serious and lacks the naturalness one desires. I love musicians – like the artist I featured yesterday – but was annoyed there were only a few photos; the only way new ones were coming would be with a new release. One of the amusing things about this review is the fact the E.P., Weird, is nearly a year old. I can’t remember when the guys approached me to review their new music – it must be a few months ago now. What I admire is they are not with a label/agency that is too concerned when the music is reviewed. There are no strict deadlines and, as you can tell from the dates/review; the music I am featuring has been out there for a while. It would seem rather if a proper-good Rock band were that business-minded and organised. I love the loose approach of Gelato and wonder, as I review their latest material, what they are planning now. The guys have a fantastic sound but I am curious – before I come to my next point – how they can get more fans. Their Twitter numbers are not too bad but, to me, they warrant a lot more attention. Maybe getting involved with Spotify playlists and hooking up with other artists there – making playlists with other bands who will, in turn, reciprocate the gesture. Maybe contacting venues and radio stations and getting their music played. The band have been busy performing and getting their music to the people. Another aim for 2018 will be getting those social media numbers up and putting the feelers out. Gelato have a terrific sound and, like like-minded Londoners such as Duke of Wolves, they are creating music that is pushing Rock forward.

I would like the guys to hit a four-figured Twitter following next year; get more bodies into their Facebook; get their music heard on stations like BBC Radio 1 and BBC Radio 6 Music. Maybe they have been featured here before but, as they aim and dream of 2018, those would be realistic goals. If they combine all of this – and get some more photos up – they will mark themselves as a force to be reckoned with. I shall return to some more backseat-management in the conclusion but the reason I do is because I know how good the band is – I would not bother hectoring an artist if I felt they were unworthy of that energy. I have been a little harsh and cold on Rock this year. The mainstream is the platform for bands/artists and, if the ‘best-of-the-best’ is not up to scratch; that enforces your opinions on everything else. I know there are some stunning bands like IDLES emerging: one of the best bands in the country who are melting Punk and Rock together into something unique and fascinating. The mainstream Rock scene has been a bit patchy this year. On the one hand; there have been fantastic releases from Queens of the Stone Age (Villains) and IDLES (Brutalism). I consider those albums the strongest Rock/Alternative offerings from this year. There has been some much-hyped and potentially promising L.P.s from Foo Fighters, Royal Blood and The Amazons. The latter is a newer band who were tipped for big things – before they unveiled their eponymous debut. Royal Blood took an eternity following up their self-titled debut – the resultant How Did We Get So Dark? impressed some but, for me, failed to move on from their debut; it provided fewer gems and left me feeling aggrieved. The same could be said of Foo Fighters who have endured through the decades but are long past their best. I am seeing some better artists in the underground.

I have mentioned IDLES – lest I compare them to Jesus – but they have resurrected a faith in me. I know there are fantastic newer Rock/Indie bands like Duke of Wolves, REWS and IDLES. The first two are less-heard-of and are making big strides right now. Even if the most-spotlighted and promising Rock bands in the underground are from London: there are plenty further north who will make a big step in 2018 (maybe the media will be slower getting up that way and giving them their dues). Gelato remind me, in a way, of Queens of the Stone Age and Muse. They have the grumble, desert crawl and concrete of Queens’; they have epic strings and the bombast of Muse – perhaps a little more concentrated and concise than Matt Bellamy’s outfit. Weird is an E.P. that moves on from Gelato’s previous material and adds new threads. They have not abandoned their hallmarks and core but have stepped out of the shadow of Queens of the Stone Age and creating more of an identity. I am determined to get Rock put into the forefront next year. I feel there are too many who assume the genre is dead and past its best days. Some of the mainstream examples have not helped this point: the need to get the best of the underground into the fray is essential. Other genres are taking glory so it seems essential Rock is provided oxygen and proper respect. Gelato are one of those bands who is taking steps in the capital and getting their faces out there. They have recently played with Duke of Wolves and getting a lot of buzz from crowds. I feel, when the guys release more material, they will get a lot of demand from other parts of the nation. It is great their new tracks are making impressions in London: making sure they aim for other parts of the U.K. is paramount. I know they will do this because their exciting and electric performances are thrilling London’s eager fans. I feel Gelato are a band who would love to do some international touring and take their music to nations such as the U.S. and Australia. I feel the former is a nation they can succeed in.

I am excited seeing how the guys have moved on. Since their E.P., Daydream, they have incorporated new aspects and become more confident. I can tell the boys have gained a lot of experience from the stage and picked up assets and aspects from other acts. Their music is broader and ventures into fresh territory. It is vital artists get on the road and do not spend too much time on social media. Maybe Gelato need to spend a little time on social media and getting more bodies in but they are having a ball on the road right now. Their live act is exhilarating so it is no surprise they want to keep that going. What amazes me is how the guys are able to keep the energy high but learn from every performance. They do not repeat themselves and, when it comes to lyrics/sound, each E.P. is a fresh revelation. I think the reason their latest E.P. is so strong is because they put the hours in and learn from the stage. They gauge reaction to their previous material and, when the crowd reacts, they are getting ideas and guidelines for future material. I feel too many acts repeat themselves and think the public want the same thing all the time. That is a problem that has blighted bands like Royal Blood and The Amazons – too incredible live acts who have not provided too much variety and depth in their studio material. Royal Blood are one of the best live acts out there but there is something lacking on their albums. Gelato manage to create a strong live show but give a different experience on an E.P. This will inspire new artists and give them guidance. If some of Rock’s ‘best’ have created a bit of a damp smell: there is a lot more hope with the approaching breed. Gelato are among the foundations of new Rock/Alternative that have proper talent and longevity. There is more colour and interest when you hear Gelato – music that gets into all parts of the body.

I am worried the hyped mainstream is not the best examples of the genre. By that; I mean there are too many false idols and acts that are not worth their weight in gold. If we want genres like Rock to survive and inspire; we have to spend more time heightening and discovering the true originators in the underground. Many feel IDLES were overlooked this year and did not get the nods they deserved. I feel the Bristol band will have a lot to say in 2018 and, let’s hope, they are provided adequate reward and kudos. Gelato are another band who will compel and intrigue the bands just starting out. Many bands are picking up their instruments and looking for guidance and ideas. If they are following the mainstream and acts that have created so-so albums; that will mean their career is going to be quite a struggle – unable to craft their own path and produce anything genuinely new. Let’s get out of the mindset that the commercial and mainstream are the way forward. I think the hungry and hard-working newcomers provided greater explosion and potential. I have noted how the band has progressed between E.P.s. I have been following them since 2015 and can see the evolution unfold. It would be primed for a David Attenborough voiceover: a band who have swam through the undergrowth and walked into new lands. Weird is a different beast to anything the London band has done before. I would worry if Gelato repeated themselves on their latest release – that would be a bad approach and mean their popularity would stagnate. At the moment; the guys are picking up fresh ears and getting under the radar. Next year will be a big one for them and I would not be surprised if another E.P. were to arrive. Maybe they are ready for an album because, with every year, they grow in stature and ability. They have conquered the stage and seem determined to hit arenas and big festivals in years to come. That is a possibility and something they should prepare themselves for.

I shall move onto a cut from their latest E.P. but, before then, the way bands like Gelato can progress and sustain. I know they take a very serious approach to live performance and are gaining invaluable life-skills from the stage. I shall allude to photos and social media in the conclusion but I recommend the boys broaden their horizons and take some ideas from other artists. By that, I mean there are inventive ways they can market and promote future music. Cassettes are, oddly, coming back in and many acts are releasing music this way. If they were to think of a single after Christmas – it would be nearly a year since fresh material – they could consider ways to separate themselves from the crowd. Maybe a new way of recording on vinyl; an oldskool cassette release or an original marketing campaign. It would be good to see them continue to play in the capital but get themselves up the country – combining conventional venues with some slightly less obvious stages. Perhaps they could combine with other artists and get a female voice on one song. I know their budget is tight so they could not do anything too ambitious. There are inventive and original ways they can get their music out there. Like Queens of the Stone Age – a band they take guidance from – they could bring new instruments and sounds into the fold. The music Gelato are putting out is fantastic but, in order to get to the top of the game quicker, they need to consider some fresh elements and movements. I keep saying next year will be a big one – it really will be. Too many bands keep the same sound and do not change things up. The industry is cruel and will afford little love to those who do not provide change and promise. I shall move onto a fantastic song but some things for the Gelato guys to ponder, perhaps.

In past days; Gelato would have gone straight into the song with teeth and menace. Here, on Breaking the Spell, there is some irony. They have rebelled and moved fromtheir past instincts and provided greater calm build on this track. The strings lightly twang and hover in the atmosphere. It has a shadow quality and a sense of romance, actually. The listener is hooked and interested by the graceful and teasing sound. It brings you in and makes you wonder whether there is an animal lurking in the shadows. Parping, coughing strings have a bit of fuzz and grumble. It is a perfect pairing with the delicate and straight aspect that introduced the song. The curiosity rises and the percussion joins the fray. Our hero is being turned upside-down and around; he is on a rollercoaster and trying to fight against oppression. One of the issues I have found with Gelato’s recording is the vocal clarity. A lot of times, the words are either buried under the composition or a little drawled. The reason I am reviewing the band is because all the layers and effect come together brilliantly. The lyrics do get a bit distorted but one can extrapolate from context. The band are one of the tightest around so it is no surprising discovering an exceptional composition and gale-force blast. The percussion is sturdy and commanding whilst guitar/bass riffing gives the track some studs and heels. It is a swaggering and chest-out song that will make the body move and get the crowds uniting. The hero switches vocals between Josh Homme-like low notes and some pure falsetto. It is a shift and contrast that gives the song restlessness and energy. Illusions and confusions swim in the mind; there is the need to break away from a life that is causing stress and tangle.

One picks out certain words and phrases but it is the delivery and intensity coming from the front that gets under the skin. The vocal has more in common with U.S. artists than local sounds. Maybe one detects bits of Dave Grohl and Josh Homme but there is a great sense of personality from the vocal. It contains plenty of heart and fortitude; there is the need to find peace and change; some anger and snarl coming from the tongue. The teeth are out but, rather than go on the attacks; our man is making sense of things. Maybe the inspiration comes from relationships and domestic strife. I wonder whether there is a romance breaking down – or the band is addressing something broader and more universal. Few can escape and evade the funk and sass of the song. The chorus is one of the finest the band have created in their career. They have always been fine crafters of the chorus, but here, they have formulated something hypnotic but restrained. There is more composure and reflection. Rather than go for the gut and attack constantly: we get textured strings and brooding contemplation. Secrets are coming out and events have reached breaking-point. However you interpret the song; it will get into the head and compel interpretation. I was imagining the hero struggling with a relationship but trying to make his way in the world. Maybe he has his own way and dreams; society is not letting him fulfil and do things his own way. There is a lo-fi charm to the song that means its raw and granite voice remains intact. It sounds like the song is coming from the stage: too many modern Rock bands give their songs so much polish. By the end of Breaking the Spell; you go back and dig deeper into the song. Even though the words get lost in places; it is a fantastic offering from a band always growing and changing. Their E.P., Weird, is a move forward and departure from their previous work. Not as hook-driven and intense as their previous work: here, there is more maturity and complexity working away.

It is another solid and fiery release from the Gelato crew. I have been following them since the beginning and impressed at how far they have come. A band that is not beholden to trends and the lure of commercialism. They are doing things their own way and, in doing so, inspiring other artists. Weird is a three-track E.P. I recommend you all get involved with. The guys have been playing in the capital recently and will be winding-down for Christmas. I know this year has been very busy for them but they must have plans for 2018. I know they will think of new material and I think they should up their game. That is not a commentary on their quality but it regards their social media and touring aims. They can get some more images shot and think about getting out to new audiences. I think international touring would be a possibility. Maybe getting their music to big radio stations and putting some thought into a marketing strategy. I have said how I dislike the business and over-engineered aspect of new music. Artists who release material and do it in stages are the ones I will rarely get behind. Coordinating photos and promotion is something that music can do without. There is something refreshing and compelling about Gelato. I have come to their new music rather late – their ‘new E.P.’ is quite old, now – but I admire the fact the gang are not too stressed about having reviews released at the moment of release – happy for journalists to approach their music a bit further down the line. I hope this aspect of them continues undented but there is much territory for the guys to claim next year. They have bags of talent and are one of the best new live acts in London. They are proving their worth at the moment and have the promise to get to the mainstream very soon.

PHOTO CREDIT: @movementartliam

I hope they manage to put some new material out next year and keep the momentum hot. There are so many Rocks acts who do not change their sound and copy what is already out there. There are some familiar strands when you hear Gelato but, riding over all of it, is a unique group who are not willing to fit too easily into the conventional. There is an oddity and a strangeness that appeals the darker side of the psyche. Their riffs are meaty and the percussion slams; the strings twang and spike; the vocals have real grit and depth. I am compelled the follow the band and, whilst I will not be reviewing them again, I will ensure I keep my ears trained and eager. As we move into the next year; many will wonder whether Rock can produce the good and get into the head. This year has not been a great one for mainstream Rock. The best results have been from the underground and the newer artists. I hope the balance swings and more attention is provided to the best young hopefuls. I mentioned how IDLES were overlooked a lot: maybe that will all shift in 2018?! What I do hope is people realise there is a lot more appeal and potential in Rock/Alternative than you’d imagine. There is colour and excitement; something different and appealing – plenty to recommend, for sure. I shall wrap this up but have found myself coming back to Gelato and their E.P., Weird. It is a fantastic offering from a young act that want to remain on the scene for a very long time. If they keep releasing songs like Breaking the Spell; they have the potential to do that…

WITH ease.

_______

Follow Gelato

Official:

https://www.gelatomusic.com/

Facebook:

https://www.facebook.com/GelatoMusic/

Twitter:

https://twitter.com/gelatomusicyeah

Instagram:

https://www.instagram.com/gelatomusic/

SoundCloud:

https://soundcloud.com/gelatomusic

YouTube:

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

TRACK REVIEW: Zoë Wren - She’s a Highway Man

TRACK REVIEW:

 

Zoë Wren

She’s a Highway Man

9.2/10

She’s a Highway Man is available via:

https://soundcloud.com/folkstock-records/zoe-wren-shes-a-highway-man

GENRE:

Folk

ORIGIN:

London/Cambridge, U.K.

RELEASE DATE:

17th November, 2017

__________

THROUGH the course of this review...

I will look at a range of different topics. I want to talk about change and creating differences – as well as looking for that in other people; the young and aspiring artists that receive reward and opportunities very early in their career; the importance of strengthened social media to connect with fans; artists who can mix education, awards and natural intuition; creating songs that differ in terms of themes and lyrics – the next step for artists who have created impressive foundations. I want to start off talking about myself a little – before I come to assess Zoё Wren. Wren is someone I am excited about but, looking at the way she is doing things, it has compelled me to rethink and re-evaluate things. In terms of writing; I am going to be, going forward, looking for review subjects off my own back. That is no slight to the talent I am being emailed – certainly not the case here – but I crave diversity and depth as my blog gets bigger and bolder. I am getting a lot of request from male artists and musicians who sound similar – to what I have already reviewed and assessed before. The deeper I get into music – and take my mind around the world and into different avenues – the more excited I get. There are limitations when it comes to opening the doors to others – the quality and originality can wane slightly. This new proclamation will take effect in a couple of weeks: it is a risk that might fail but I have a hunger to spread the genres and approach artists further up the career ladder. It makes me excited looking at someone like Wren. She is young but has already accomplished a lot. I am at the stage where the need for transition and improvement is paramount. In terms of living situation, job and happiness; the yearning and desire to better things and live life in a desirable manner has reached a palpable high.

There is a temptation, in me, to relocate and go somewhere else; take a huge gamble and make a big break – where I am now, and what I am doing, is creating nothing but unhappiness. I guess writing is not as flawless and desirable as one would imagine. It is great seeking out artists and helping them get their music to a larger audience. The greater the hunger and ambition, the more time I am spending on the laptop. Spending that much time in isolation fosters depression and makes me withdraw into my own world – and keep cloistered away from the wider world. I have the need to detach from the digital-heavy workload and spend less time on the laptop. Seeing artists like Wren perform and grow makes me want to get out into the ether and connect on a personal level. I feel she has real potential and is someone doing much the way she wants to. That is a rare quality to find in music: most new artists follow the herd or follow a really rigid course. Before I come on to ladle compliment and raise her spirits: a little on things that can help her going forward. One of the reasons I am taking a more autonomous approach to reviewing is the need for more artists with great visuals and a stock of images. I realise I have flogged this horse to death but, as my blog gets more focus and praise; the craving to make it a professional outlet means the visual quality needs to grow. The majority of the review requests I have received have lacked a certain something – most of them concern photos and/or biographical information. There is plenty of information about Zoё Wren but, when it comes to images, one would like to see more. She is very photographic and, seeing as her music is reaching more ears, it is the time for her to get some professional shoots done. It is no coincidence the artists I go after have an array of wonderful photos and terrific music.

There is a link between the two points: those who produce great music, and it proves popular, take a serious approach to the visual aspect and know the importance of visibility and exposure. There is nothing cheap and shallow about getting your images out there and making yourself stand out. Zoё Wren is a young woman who is entering music at its busiest and most competitive time. I have reviewed a lot of Folk artists who, on paper, have very little to distinguish themselves from the competition. If artists making similar music and seem alike; there are going to be few who will know how to separate them and detect the stars from the average. The Folk artists I have assessed have all been great but many I have had to dig deep in order to inspire words. That is not the case with Zoё Wren. She has an allure and photographic quality that would inspire some great images. I am not suggesting she spends an inordinate amount of money and has dozens of photos on the page. She is in a new phase of her career so people like me – and D.J.s, fans and venues – will search social media and take all this into consideration. It is one of my gripes for a very good reason: music is visual and the more images someone has online; the better a journalistic piece will look. The images in this review are good but, seeing how natural she is on the page, makes me want to expand that and see more. I know Wren will consider this in 2018 but she would benefit from a few shoots that see her in various locales. Not only will that update her snaps – a lot of her images are older - but it would show she is willing to spend money on her career and attracting the senses. The music she is producing is wonderful so it warrants serious acclaim and focus.

PHOTO CREDIT: Matthew Allen

In addition to the images; getting more music videos and updates to the people would be great. Catered for by Folkstock; there is a safe-bed and professional body putting Wren’s music to the right people. Wren has a very visual dynamic to her songwriting so, backing her singles with music videos, would be a way of getting more celebrity on channels like YouTube. Visuals as crucial so one cannot limit themselves to audio platforms. Songs as impactful as She’s a Highway Man provoke filmic inspiration and it seems like there will be a video down the line. I am not sure what her 2018 has in store but I predict more music and gigs. Getting all these ingredients thrown into the pot means there is less chance of a culinary disaster – it’s a lazy image but you know what I mean! The artists I go after are those who have that blend of visual and audio; they have all the contours and layers cemented and firm – one is hooked and tempted to write about them. Wren is someone who understands this but one suspects her time and heart have been fully committed to the music and getting that right. Wren is one of the recipient of the 2017 PRS Lynsey de Paul Prize for emerging female singer-songwriters. She has played the Main Stage at Folkstock Festival – the youngest artists to do so; she was sixteen – and been championed by a certain Bob Harris. These honours would seem daunting to someone in their thirties: the fact Wren is nowhere near that age means the music is already connecting and fully-formed. With a new single fresh out to the world; I believe there are whisperings of an E.P. This is a very hot and productive time for the young songwriter. I have mentioned image and building the social media stock but, actually, when it comes to updates – Wren is doing very well and keeping her fans engaged. She has won that prize and taken to some big stages. One wonders what she can achieve in 2018.

I know Folk is a genre that wrestles for appeal but, when you see artists like Zoё Wren emerge; one knows Folk will get the attention it has always deserved. Before I go on – to highlight how far she has come – I want to quote from her biography:

“Zoё’s growing reputation has seen her invited to perform at Cambridge Folk Festival by Hitchin Folk Club in the summer or 2016, having previously been invited to perform on Stage 2 in Brian McNeill’s Festival Session at the festival after her floor spot in the Club tent the day before. In the final year of a music degree at Cambridge University, Zoё is certainly attracting attention having supported various artists including Peter Knight's Gigspanner at Cambridge Folk Club and Jim Causley at Hitchin Folk Club, where she has been booked three times in one season, as a result of winning the Best Newcomer award at Folkstock's Love Folk Live Awards. FATEA Magazine featured Zoё in their Autumn Showcase 2014 and her first headline gig was a sell out at Redbourn Folk Club in the summer of 2015”.

It might seem daunting accomplishing that much so young but it is a natural progression for someone who is striking the right chords. I have talked about education and how it can be beneficial mingling academia with a more conventional route into music. Some might see the Cambridge credit on her C.V. and wonder whether privilege and financial advantage has found Wren get the sort of education many of us will never be able to obtain - they would be wrong; it is her talent and drive that has got her there. Wren’s intelligence and aptitude that has brought her to our finest university. In addition to her academic success; she won a bursary for her music course at Cambridge, her parents are stall holders in Camden market - quite a varied background! The sort of thing she has studied will link with her upbringing and peers. Wren has been afforded a great chance to explore music and get an education from some incredible professionals. Many feel the best way to get a career in music sparked is to follow their own path and learn as they go along. There is a lot to be said for self-education and intuition. I find, if one wants to expand their horizons and bring more technicality into their sounds, pursuing education is beneficial.

Wren is someone born into music and destined to follow it to its natural limits. She has always loved the form and her desire to get a degree in Music was only a matter of time. I have studied in Cambridge – but not at Cambridge – and know what the people are like there. It is an eclectic and fascinating city with a large student population. When I was up there (2002-2004), things were different. There were not that many music venues. If one wanted to see a musician up there, they would have to go to a local bar. Things have changed and local events like the Cambridge Folk Festival are invaluable for artists like Wren. It is a wonderful environment for someone who wants to take music by the horns and learn as much as she can. I know London will be a natural base for Wren because Cambridge provides fewer chances in the long-run. What it does do is give that prestigious educational platform and a great and vibrant Folk scene. Wren can assimilate what she has learned (from Cambridge) and bring that to the capital. I feel London still places other genres ahead of Folk. Perhaps Folk is not the most immediate and rousing display of musicianship but, in a time when the world needs something beautiful and refined; it seems Folk’s role will be heightened next year. Wren has an affinity for music and is a rare songwriter. One need only look at the title of her new single to know she is not like everyone else. Although I am detaching from Folk music for a long time – as I take my own route and seek different sounds – I know the beauty and magic one can hear when artists push boundaries. A lot of modern artists still focus heavily on love and are unable to understand the refined listeners wants something different and deeper.

I know relationships and love are commodities that we can all relate to. If that is all you are hearing then it can be very tiring and uninviting. Wren will have experienced heartache but she knows the way to get her name above everyone else’s is to write music with a unique soul. That is the case when one hears She’s a Highway Man. When looking at that title I was, oddly, reminded of an old episode of Blackadder; where Edmund was fooled by a highwayman (played by Miranda Richardson) into robbing the Prince Regent (played by Hugh Laurie) and running away with her. Blackadder was tricked and robbed at gunpoint in the end. After receiving a cunning suggestion from Baldrick; the roguish highwayman/woman was hanged and the devious Blackadder was victorious. That is the last time I have heard the term ‘highwayman’ in the popular arts. Maybe Adam and the Ants – Stand and Deliver – have found success with this sort of theme but nobody has written about the topic since. It is a very old-time and historical image that one would think is devoid of musical potential. That is what makes Zoё Wren such an appealing artist. She has taken a subject that does not get exposure and provided her own take on it. Not only are her lyrics captivating and picturesque: the music backing it does not plod and drag: it is a spirited and nuanced blend that makes the song a winner. In fact, I have mentioned Wren’s upcoming E.P. – it will be called Gold and Smoke – and it seems there is an important gap in her latest song title. I have mentioned the image of a ‘highwayman’ but it seems Wren’s new single could be called She’s a Highway, Man.

That might seem like a trippy and blissed-out image but it is Wren’s reimagining of a traditional number. When speaking with Acoustic Magazine - she explained the song’s origins:

“The song is a twist on the story of the traditional song ‘The Female Highwayman’, in which the protagonist Silvie dresses up as a highwayman and robs her lover in order to test his loyalty,” explains Wren. And she should know a thing or two about that, having just completed her music degree at Cambridge University, which included a dissertation about the voices of women in folk.

“It’s a great example of an independent and intrepid heroine in folklore,” Wren adds. “However in the original story, everything works out fine and goes back to normal. So I wondered what might really happen when Silvie gets her first taste of true freedom, and whether a humorous swapping of gender roles might, in fact, reveal something a bit more interesting.”

That explanation shows what she has learnt from her studies. Engrossing herself in the roles of women in music and Folk greats; Wren has found a traditional song and skewed its gender roles. By reversing the gender roles, and showing perceptiveness, it has opened up a whole new world. In a way, She’s a Highway Man is a cover version - albeit it, one that Wren has put her stamp on! An incredible achievement from someone who has been in the music industry only a few years. I am excited by the E.P. and will take a listen to it when it comes out. I believe there were plans to release the E.P. this year but it seems like we have to wait a little longer for it. The reimagining of Folk stories gives the Folk musician a chance to show what she is made of. Her previous E.P., Pandora’s Box, was released in 2014 and gained a lot of love. Her music has been supported by Bob Harris and got under the skin of some big names. Next year will be a pivotal one for her. I cannot wait until the E.P. comes out and she has a chance to take the songs on the road. Right now, Wren is intoxicating crowds wherever she goes and proving herself one of the best new talents in the Folk world. I know how busy and bustling Folk is - so that is no small honour. I will wrap this point up – as I am keen to review the song – but I am interested in Wren’s songwriting approach and how she can reinvent traditional songs and give them a modern turn. It seems gender and parity are important to her. In a song where the central character met a somewhat unfortunate end: Wren’s approach was to provide a happier outcome; one that keeps the listener engrossed and engaged. There are some great songwriters out there but I wonder how many of them have the same imagination and considerations as Wren?

The new track, She’s a Highway Man is a twist on the traditional song, The Female Highwayman. The protagonist, Silvie, dresses as a highwayman and robs her lover – in order to test his loyalty. The original song works out fine and everything returns to normal. This version keeps the story going and reverses gender roles. When Wren steps to the microphone; her voice is raw and exciting. The production means the recording sounds live and homely. One can imagine being in the same room and hearing the song unfold. It is a dramatic but levelled performance that builds on sprite strings and a warm, yet firm, voice. Wren talks about the hero spending long nights out and no coherence between night and day. Many might think there is an affair taking place but our heroine has suspicions. Wondering whether her man would stray; our girl has found a solution and retribution for his lack of attention. At first, there are suspicions without much concrete proof. Again; one might listen to the song and think the man is spending nights out with another woman. Knowing the inspiration behind the song – and looking at the title – we know things are different. From the tension and suspicions of infidelity; things see the heroine take her own path and flee the man. Rather than plot vengeance and wait for him to slip up; she adorns highwayman clothing and gets out on the road. Maybe there is a horse involved – or a modern equivalent? – but one can imagine the wind whistling through her hair. On the road, there is nobody to answer to and a lack of responsibilities. That freedom is provoking a surge of excitement and ambition in the heroine. Rather than see it is as a chance to emancipate herself from domestic shackles: one feels the highwayman/woman seek something more thrilling and dangerous. Part of her heart wants the risk and the chance to enter a more meaningful life. That meaning comes at a price it seems.

When the heroine comes back home, she yearns for the road and, whilst she was undercover, rode to her lover and put a gun to him. Amazed at the powers “that came with the trousers” – a marketing strapline for Marks and Spencer, perhaps?! – that humour and revelation surge through the blood. The heroine is in a new frame and role and loving the exhilaration. Rather than approach her lover directly: the anonymity and subterfuge is a perfect masquerade. One hardly hears any tales that look at revenge and retribution in such an interesting setting. Equalling the score is usually a tense and cliché thing in music. Wren takes a different angle and provides something fascinating and funny. It is a way of providing the listener familiarity – cheating and the need to get equal – with something historic and based on fantasy. Maybe the need to detach from a rather rigid and boring life has led her to take this way of life. The thrill of danger and the illegality means the addictive quality gets into her blood. The fact she manages to rob her boyfriend is a huge reward. The boy trembled and gave her his things. When she is done; she asks for the wedding ring – or an engagement ring? The man clings onto it so one is not sure whether she got it in the end. Regardless; that thrill has taken effect and the highwayman role is hers now. That contrast between the home and road is really exciting. The man finds out about the deceit and discovers her web of lies. He begs the girl to stay and not succumb to that way of life – it seems she prefers dressing in a shirt and succumbing to the dangers before her. Maybe her has caused this recklessness but it is subverting gender roles. Many assume women should be in the home and obey the man. Instead; we have a woman who takes the opposite assumption and gives herself to the road. This new life is her identity and, as such, she has no time for romance and the old ways. She’s a Highway Man seems apt given the fact the girl is a racing and free spirit. She is not a ‘highwayman’ – that would be sexist – but she is someone who craves the adrenaline and shadiness of the tarmac. Maybe this is a modern reinvention of the highwayman tale but I find myself remaining in older centuries. It is an extraordinary song from a young Folk artist doing things very differently. She’s a Highway Man is a song that could gain a lot of love from Folk champions like Bob Harris and Mark Radcliffe. I am excited seeing just how far it can go!

I have spoken a lot about Zoё Wren and what she has achieved so far. I maintain my opinions on her music – the fact she is captivating big sources means she is on the right path! I maintain my opinions about social media/images, too. It would be great to see more of Wren in photographic terms. One of the reasons I almost turned the review down – and delayed its publication – was the limit of photographs. Not that I am trying to get a beautiful woman to show her face more: every musician will want to get exposure and interviews etc. Visuals and photos are so important now; no artist can really expand and survive with very few photographs online. Zoё Wren is a talented and upcoming artist so I am sure this is something that will be addressed in the coming year. Wren has played The Song Loft and Cambridge Acoustic Nights. According to a Facebook update; this is what Wren’s weekend has in-store:

“I've got a great weekend coming up - I'll be performing at Celebrate Christmas with Harriet Kelsall Bespoke Jewellery alongside the wonderful Minnie Birch and Emily Aldrich, followed by a live session on the Terry Krueger Folk Show on Saint FM Radio Station (94.7).

Then on Sunday I'm playing at Art? or Politics? It's a riot: Female Voiceswhich looks set to be a super - and very interesting - evening. Would love to see any London friends there!”

Although Wren’s studies have recently completed: she is keeping her hand in the Cambridge market and taking advantage of the venues/events there. It seems the city is perfect for a Folk artist who wants to embrace a blend of pastoral surroundings and the buzz of a university city. Step a few miles away from the dreaming spires – or is that Oxford?! – and you get the countryside and rural retreat. That is why Folk is a big business there. London has a growing market and there are many labels/venues that would love to see more of Zoё Wren. I know her E.P. is being worked on right now - it will be out in February, I understand. She is working with Lauren Deakin Davies on it and that combination will lead to great results, for sure!

It is an E.P. that has Wren excited and hopeful. That is understandable and, as we approach Christmas, she is not slowing down. She will play St. Pancras Old Church (London) on 22nd before doing a few radio performances/interviews before the year is done. It seems this weekend is a busy one and will get her music to new faces. If you can see her in London, make sure you do. There is a rooted and lovable quality to Wren that means she gets into the heart before a word has been spoken. She is a modest talent but someone with a big future. I am not sure whether there are any other plans apart from the E.P. next year. I guess she will situate herself in London and spend less time in Cambridge. That is a guess but, as her career grows, the need for relocation and attention will grow. There are so many Pop and Rock acts out there: a chance to see Folk artists take some spotlight is much-needed. Make sure you investigate She’s a Highway Man and follow Wren’s progress. She keeps her Facebook/Twitter pages updated so you can get the latest insight and decisions from those sites and follow her progress. I know 2018 will be a huge one from an artist that has achieved a lot the last few years. She is a prize-winner and played festivals; released an E.P. and studied at Cambridge. All of this provides foundations for a musician who has a lot more to say. I will follow her career and see where she can go next. It is an exciting one for Zoё Wren and her music. Take a listen to her latest single and get dragged into a wonderful world…

YOU will not want to escape from.

_______

Follow Zoë Wren

Official:

http://www.zoewren.com/

Facebook:

https://www.facebook.com/zoewrenmusic

Twitter:

https://twitter.com/zoewrenmusic

SoundCloud:

https://soundcloud.com/zoewrenmusic

YouTube:

https://www.youtube.com/channel/UC-JgEqNqiaCYi7bH7h6LSHQ

TRACK REVIEW: Beth McCarthy - Mr & Mrs Brown

TRACK REVIEW:

 

Beth McCarthy

Mr & Mrs Brown

9.4/10

Mr & Mrs Brown is available via:

https://open.spotify.com/album/1A3mNrRZxNk2QagPffpOR5

GENRES:

Pop; Folk

ORIGIN:

York, U.K.

RELEASE DATE:

20th October, 2017

__________

ONE of my drives this month is…

to get more female names on my blog. It is not a deliberate thing but, over the past few weeks, I have been inundated with requests – most of these coming from male artists. I cannot really refuse people on a count of their gender but I am aware there is an imbalance that needs talking about. There are so many great female artists out there and, I think, they are more intriguing and promising than their male counterparts. I will talk more about Beth McCarthy very soon but, before moving along, a chat about female artists and why they warrant more spotlight; York and the great music coming from the county (Yorkshire); moving from talent show auditions and forging a solo career; building a career and making important steps; those artists with character and personality; bringing to mind other names through music; making your mark in a busy market – eliciting personality and uplift through songs. I have talked a lot about female artists – many might tire of it – but it is with good reason. I feel there is a problem in music whereby too many male artists are getting attention; by that, they are being seen as superior and more marketable. It has always been the assumption bands and male acts are capable of pulling in big money; the ones people want to see – at the detriment of female artists. As we witness issues, surrounding sex and gender, in the media; I ask myself whether more needs to be done in regard invigilation and monitoring. There is no rational reason why male artists have the focus and have been getting more chances. I shall not labour the point too much but I am concerned it is seen as normal there is this gender imbalance. Maybe the festivals favour boys as headliners: we need to get out of this attitude and start embracing the fantastic female performers around. Why I wanted to start at this point is because there are some terrific (female) artists who are taking me by surprise. Beth McCarthy is someone dripping with charm and personality.

I wonder whether, when she makes big strides in her career, she will have to work harder in order to get her music heard. I feel there has always been this cliché that women, due to their comparatively meagre stature (physical), would be incapable of shouldering the demands and physicalities of music. McCarthy is someone who shines from the page and takes the heart somewhere very special. She has a long career ahead of her and I am sure she will get to the big-leagues in years to come. Her route will not be as easy and smooth as one would hope. One of the reasons is because she is female. There is a stigma and curse in the industry where sexism is still rife and certain artists are being promoted for the wrong reasons. Sex and image still play a big part; that is quite hard to see and hear about. Whether we can reverse this ideology and achieve parity and a lack of discrimination. I fear we are going down a bad path whereby women are seen as inferior, physically and emotionally, and, therefore, they are not provided the same passage as their male counterparts. The fight will be ongoing but, in terms of artists like McCarthy, she is not inculpating or pointing the finger: she is showing what can happen when you provide music that differs from what is out there. Her originality and natural affinity will see her break down any prejudice and obstacle. I shall predict McCarthy’s progress – like a football pundit guessing the scores to the weekend’s games – but, right now, I am interested looking at where McCarthy is from and her surroundings.

As much as I love London: I always hope, if an artist is in a great area, they remain there. Always, we see London as that destination where dreams come true. It is the equivalent of that American Dream: arriving at the city and seeing all these chances unfold before you. I yearn to be there full-time because I recognise, commercially, this is where most of the jobs/chances are. It is hard building a career in music in provisional towns and non-descript locales. The city provides the buzz, personality and riches to get a career off the ground and inspire the mind. For Beth McCarthy; she is based out of York and I hope, in a real way, she does not succumb to the temptation to move to London. That might happen as she seeks bigger rewards and more regular gigs. At the moment, it seems her surroundings are doing her well. She has easy access to the North and is capable of travelling to London if she wants to perform. It seems, even if you are based in a great northern city, that desire and necessity to come to London overrule the heart. The ‘head’ has that power and pull when it comes to the major decisions. I have looked at some great Yorkshire talent the past few years. One that sticks in the mind – and is familiar to McCarthy’s mutual contact, Jason Odle – is Billie Marten. Odle is director of Ont’Sofa and has played with/written for Marten. I shall not bring her too firmly into the review – lest I divert from McCarthy and why we are – but Marten is someone based in Yorkshire. I know she has recently moved but there is never the temptation, for her, to come to London and release that surrounding of quiet and nature. I feel Yorkshire is that perfect county that provides the clash of countryside and city. York, where McCarthy is based, is a modern city but it is not too far from the epic scenery and panoramic views that can calm the soul and compel the mind.

I am not suggesting there is a distinct link between personality and surroundings but it is easy to craft an openness and happiness when one is in a more relaxed environment. York has bustle and charge but not on the same level as London. The capital is great when it comes to the big money and radio stations; the terrific venues and mixture of cultures. One of the downsides is there is little space to breathe and a difficulty establishing community and clan. This is not a new phenomenon but, as the city becomes busier, I wonder whether it will be able to foster and protect musicians coming through – the fear is they might be swallowed and overlooked as the numbers spiral out of control. The issue of mental-health, and protecting the psychology and emotions of musicians taking shape in a big city, is something that preys heavy on my mind. McCarthy seems to have a relaxed and effortless nature to her. Maybe it is the effect of Yorkshire but I feel she has a base that allows her to recharge and contemplate. The same was Billie Marten radiates a seduction, calm and tenderness: McCarthy has a comparative personality that has immense allure and appeal. Yorkshire is a wonderful county for the creative and somewhere more eyes should be trained. I know career desires and her bulging fanbase will dictate her living situation but I hope McCarthy strikes a balance between Yorkshire base and London convenience. If she is capable of doing that; I know her songwriting will be a lot more expressive and unique; she will be able to have the best of all worlds and gain success. I guess, when one is away from the capital, there is that assumption labels and venues will be myopic. They tend to gravitate towards people on their doorstep: this leads a lot of musicians to relocate in order to be seen and counted. McCarthy has that personality that oozes assurance but has a vulnerability to it.

It is hardly a shock to see, already, she has gained a special place in the national consciousness. I am always torn when it comes to assessing musicians who have spent any time on talent shows. I, personally, cannot stand them and feel they are a cheap and easy way to get into the industry – those who do not want to graft; they want to bypass the true way of making music and get fame as opposed to credibility. Beth McCarthy is not someone you will see stumbling out of a night-club and courting attention on the tabloids’ gossips pages. She has appeared on The Voice but, luckily, has not clung onto that and been defined by it. She appeared on the show at the age of sixteen and was part of Ricky Wilson’s team that year. Even though she was seen by millions of viewers; that experience was a small step in her career. She would, I feel, be in the same position were she not to have appeared on the show. The best thing about that experience was the expertise she would have been afforded and the industry professionals around her. My ambivalence surrounding talent show comes when artists pin all their hopes on it. Those who win these talent shows often have a very short career and produce music commercial and dull. They are not those with any real spark and imagination; labels and managers push their music to the realms of hyper-bland and unlistenable. I am glad McCarthy learnt a lot from that time but am more relieved she does not put it at the top of her C.V. She would have gained the fans and following she has already was it not for that exposure – if T.V. and talent shows are the way to get fans then it raises into question the point of a career in music and operating in a traditional sense. The best outcome from that time is the confidence she acquired and the feedback her music received.  The young songwriter is still making her way into music but, in the past year, she has made some enormous steps. I have mentioned how The Voice was a minor step but, thinking harder, it gave her the stride and impetus to keep dreaming.

Maybe that is the best reason to go on a talent show: it is a way of coping with pressure and what one might face further down the line. It gives the applicant a skillset one might not acquire if they were to go down the conventional route. McCarthy has taken that time to her soul and built her career in her own way. By that, she has played festivals like Latitude and supported Heaven 17; played alongside The Black Keys and HAIM. That is quite an impressive layout for someone who is still very young. Perhaps the time on The Voice has provided the chance to perform alongside these artists but I know the natural fortitude and talent of McCarthy has made the biggest impact. One of the reasons she is getting people talking is the hard work and relentless effort she puts into everything. I see a lot of artists spending too much time on their computers; trawling social media and relying on streaming services to get their music to the people. What I love about McCarthy is the fact she hits the road and is keen to connect with every Regular John/Jane out there. As part of her Outline tour – which she is in the middle of – there are dates around the country. She played in Ayton two days ago and prepares to hit Matlock’s The Lock on 18th (November). I have mentioned talent shows and that ‘starriness’ one associates with its participants. There is a perceived notion there is ego and a sense of delicateness about everyone who plays these shows – the endless sob-stories do not really help shift that perception. McCarthy is not someone you will see being carted between gigs and sheltered away like an arrogant star. She has, as recently as yesterday, been busking on the streets. She played the streets of York and, whilst freezing her fingers/other parts off, wowed those in the vicinity of High Ousegate. Armed with tickets to her homecoming gig – on 25th at The Crescent, York – she performed a selection of songs with her dog, Alfie.

It is great artists like McCarthy – who have had big gigs and experience – mix the larger performances with the roots of performance. She has hit the streets and is keen to bring her music to the honest people she meets. I am not sure how yesterday’s busking went but, aside from the cruel climate, she has allowed her new music the chance to breathe and find new audiences. Many might assume busking is arduous and torturous. Many artists need to do this in order to earn a few pennies. The quality can be quite variable but, when you discover someone like McCarthy, you wish her a lot of success and fortune. She has more traditional (and warmer) gigs approaching but, in the meantime, she is getting out there and braving the elements. I will talk about her latest single soon but, when thinking about her busking and how she approaches music, it is interesting undressing the dynamic and approach of McCarthy. She never refutes the honesty of getting out there and playing music to the people. Performance is in her blood and there is natural warmth coming from McCarthy that captivates and joys people. Marinating her songs with smile and personality means she is getting tongues wagging and interesting a range of sources. I am not sure how her 2018 is looking but I know there will be a lot more gigs. McCarthy is keen to get her career growing and moving – she is doing things the right way at the moment. I worry about new artists and how much they have to work to get their music out there. Are we putting too much pressure on people and risking burn-out?! Beth McCarthy, in a lot of ways, is a poster-girl for how things should be done. She is not tackling the streets of London every day and pushing herself to the point of breaking. Even though she wars with the cold and has to busk every now and then; that indomitable and indefatigable resolve and passion burns through. The hearth in her heart means every moment is tackled and embraced with commitment and excitement. We can learn a lot from her: a modern artist who will be familiar to many lips this time next year.

Beth McCarthy, as I said, has broken ground the past year-or-so. She performed a stripped-down version of Ralph McTell’s Streets of London that went on to be the official soundtrack for the film, 100 Streets. She went on to find success in the U.S. and performed on the cable show, JBTV – playing shows in Florida and Chicago. Bob Harris named her as one to watch and, at the start of this year, she gave the world the self-released single, Pretty Lies. It gained huge reviews and was followed by Lemonade – named as the promotional single for Worldwide Breast Cancer’s ‘Know Your Lemons’ campaign. These leaps and evolutions are promising indicators as we step into the coming year. McCarthy’s talent and commitment mean she has gained rewards and success very easily. It might not have been easy for her but it appears, to the outsider, people are falling at her feet. I suspect next year will find her music used on T.V. and more singles follow – I wonder whether an E.P. or album will come. When thinking about her progression and personality; I am reminded of certain artists. I keep mentioning Kate Bush – as I write this; I am listening to interviews Bush recorded back in 2011 – and how inspirational she is. I see a lot of Kate Bush in Beth McCarthy. There is the humour and the beauty; the way she can connect with people and affect the heart. Bush is an artist who has built from modest foundations and crafted a huge career. McCarthy’s approach to songwriting and performance reminds me of Kate Bush in a lot of ways. Even though their music differs; I feel there is a lot to compare. McCarthy’s innovation and songwriting put me in mind of Kate Bush back in 1978. I can envisage the Yorkshire songwriter sitting down and writing her songs without interference or technology. There is that smile that buckles the knees and the wit/humour that gets you hooked. The biggest links are when one thinks of the work ethic and route into music.

McCarthy crafts her music and spends her waking hours fantasising about music and what it can become. There is a real sense of belonging when one hears McCarthy’ music. It means everything to get and you know, against the grain of modernity and artists looking for huge streaming figures, it is the nuts-and-bolts that means more. One imagines the words and composition are a lot more appealing than Spotify figures and endorsements. McCarthy is a songwriter who seems counter-cultural and not what one would expect from 2017. One might find her busking in a Yorkshire street or playing an intimate gig here and there. She has played those bigger stages but McCarthy is in no rush to get into the limelight: satisfied getting her music out there and playing among the people. I am writing a piece later that explores the clash between modern ideals and the longevity of older technologies – whether artists of today are connecting with modern measures/means or keen to preserve older ways. I feel McCarthy is a traditional songwriter, in the sense she reminds you of better days and working methods more familiar with the pre-digitisation/Internet days. I have mentioned Kate Bush alongside Beth McCarthy because both have that incredible attraction and personality. I do not mean ‘attraction’ in the sense of beauty – although McCarthy is incredibly beauty – but the way they can bring listeners into their heart and world. One is consumed and helpless when listening to McCarthy and how she radiates from the stage. The cheekiness and accessible personality; the brilliant voice and fantastic songwriting – all of this differs from so many artists of the moment. I know Beth McCarthy has stresses and bad days but she rides above this and has a strength and steeliness that is impressive to see. All of her facets and personality sides are the armour and catalyst for a long and fruitful career.

I will come to look at her single, Mr & Mrs Brown, but, until then, a little about uplift and pleasure in music. It seems music is becoming more downbeat and introspective as time elapses. Maybe that is a reaction and mirroring to the way the world is unfolding at the minute. One cannot escape the black velvet and smoke that is enveloping the planet. The moody atmosphere cannot help but infuse the music we are hearing right now. A lot of new songwriters are failing to escape the shackles and burden that surrounds them. I listen to music for a number of reasons but one of them is to escape from the black days and find something happier. Although Beth McCarthy addresses love turmoil and splits; she does not do it in a suffocating and depressing way. Her latest offering has a definite optimism about it. Even though, in every song, she projects concerns and fears; there is never a feeling of doom and hopelessness. I am always struck by McCarthy’s dexterous and luscious voice that has a child-like innocence but a soulful and soothing underbelly that elicits finery, grace and comfort. There is that clash between the strident and assured woman and someone with a young heart and natural fears. This dichotomy comes through in the music and gets under my skin. Above all the questioning and revelation; we get an artist who puts you in a better frame of mind. I feel that is what we need at a time when there is confusion and sadness. Music should be that maternal spirit that offers protection and gives us guidance. The rhythms, pulse and energetic candour of a song like Mr & Mrs Brown give the heart something nourishing but gives the brain something to ponder. I, when hearing the song, feel the soul of a very bright and loving human emanate and ooze from every note. McCarthy does not hide behind technology and gimmicks: she is someone who is engrossed in what she is writing about and keen to involve the listener in every moment.

The opening notes of Mr & Mrs Brown have that soothing and entranced voice backed by subtle guitar. The song gets to life pretty quickly and there is something delicate and tender about the opening. It all started on a train (“with a smile”) and it appears there is a romance brewing. McCarthy’s voice, in that first phase, has a very modern key and sound to it. One can draw lines to other singers but it is her personality and unique combination of assets that provides the voice a more tremulous and nuanced dimension. The production allows a fullness and sense of drama to mix with a domesticity and intimacy. McCarthy’s phrasing and delivery mean there is a poetic and filmic approach to the performance. Lines trick and tease out of the mouth; you get involved with the scenery and setting of Mr & Mrs Brown. It seems there is something between the subjects but, given the surnames, one wonders whether – in that approach – there is a soon-to-be marriage or an extra-marital affair. My initial perception was the charting of a relationship from the seduction chariot to the settling and confirmation. There is helplessness to the coming-together and the train-set romance. McCarthy’s whispered and honeyed voice gives the song a gravitas and natural conviction few songwriters can achieve. I found myself stunned by the beauty and physicality that emanates from her words. You are part of the story and spectating as the narration unfolds. Instrumentation is kept sparse but the strings provide a rush and sense of excitement we can all imagine. The coquettish looks and furtive exchanges are fleshed-out and verbalise in the strings. It seems, from the heroine’s vantage; this man was the missing part of her. She never knew it but this human has kindled something deep-down and primal. Maybe the setting has progressed from the train but there is an instant affiliation and togetherness that one cannot overlook. The attraction is developing at a great speed and the maturation of passion reaches a palpable high. McCarthy’s voice is layered and produces a wordless chorus that adds shivers and sexuality to the song.

The first section of the song seems to be the realisation and resonance of this person. The puzzle is missing a piece and the fact it has come along is a huge relief. I notice the shift in tone as we go from the furtive and refined distance of the opening to the more imploring and bold suggestion of the centre. Things are right and there are no wrongs – being in love with the hero seems to have put everything in its right place. The song has the combination of commercial ability and individual expression. It is easy to bond with the song and, the fact it has gained a collective love, means people can understand and connect with Mr & Mrs Brown. There is that multifaceted approach that means the song could find fandom on stations like BBC Radio 2 and BBC Radio 6 Music; appeal to the young and middle-age; cross boundaries and genres – everyone will take something different from the song. The chorus has that spirit and sense of celebration that, to me, digs deep. I wonder whether there are pains and struggles that are not revealed in the lyrics. We know the heroine has found someone good but, given the title, is the song an observation of someone else – or is this Beth McCarthy casting herself in a fictional setting?! I sense a degree of past failure and the need to discover a solid love. We all get caught in the safety and revelations of this current bond but wonder how hard the past has been; whether this moment has come off the back of real struggle and introspection. The truth comes through when McCarthy talks about the wedding and the big moment. Taking care of “my sister” clarifies the interpretation and puts the listener into the picture with vitality. One can imagine McCarthy seeing this romance unfold and having concerns for her sister. She (sister) might have struggled to find a good heart and McCarthy wants her husband to treat her well and keep her safe. That protective air and relief mix together and it produces something strange in the listener. It is rare finding songwriters who talk about members of the family and their love – usually, songwriters come from their own lives and talk about their love. Beth McCarthy wants her sister to live “happy ever after” and have that security. It is a touching and commendable message in a song that, despite being deeply personal, will strike a chord with everyone.

I have mentioned, near the top, the gigs Beth McCarthy has been involved in. One can check out her schedule on Facebook and see where she is performing. The Yorkshire songwriter always updates her fans and ensures she keeps everyone informed. That is a rare quality when I feel songwriters are more concerned with figures and popularity than they are connection and humanity. This is not true of everyone but, in McCarthy’s case, she is always thinking of fans and making the bond with those who listen to her music. This year is nearing its end and we think ahead to what 2018 will provide. Given McCarthy’s evolution and success; I know there will be even more treasures and plaudits that will see her get to new audiences. I wonder whether McCarthy has plans touring internationally but I feel the time is now to strike. Her music is really resonating and people out there want to see her in the flesh. How her year will pan out is down to her but I know there are foreign audiences who yearn to see the songwriter up-close. Mr & Mrs Brown is a beautiful and intriguing offering from a songwriter who perfectly balances the familiar and unique. The song addresses relatable themes – we can all relate to an extent – but the way she projects and makes you feel is extraordinary. Kate Bush – back to her – said, in an interview with Jamie Cullum, said the assumption you have to be miserable to write something good is flawed – Ariel, her 2005 double-album, was recorded at a happy time and, as she sees it, one of her finest works. I feel McCarthy is someone who operates at her optimal level when the mood is positive and relaxed. Her latest cut reflects some concerns but I can imagine the creative process and concept was during a fertile and optimistic phase. One can sense a smile and hope when you hear the song. She is someone who puts the listener in a finer place and does something wonderful. I hope McCarthy remains in Yorkshire as it seems the people and evocativeness of the county infect her music. I have mentioned fellow young songwriters like Billie Marten who seems resolved to remain in Yorkshire – where she can step into the countryside and find inspiration in the openness and peace. As Beth McCarthy steps into the coming year – and plays some chilly gigs this month – let’s all hope success comes to her. I hope she gets the attention he music warrants and her live gigs are successful. I wish her luck, promise and plenty of warmth. This year has been an incredible one for McCarthy but I know 2018…

WILL be even finer.

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Follow Beth McCarthy

Facebook:

https://www.facebook.com/bethmccarthymusic/

Twitter:

https://twitter.com/bethmaymccarthy

Instagram:

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

SoundCloud:

https://soundcloud.com/bethmaymccarthy

Spotify:

https://open.spotify.com/artist/2ba5BHaaNzyzG5ZEfKXIF2

TRACK REVIEW: Bassline - Best of Me

TRACK REVIEW:

 

Bassline

 Best of Me

 

9.2/10

Best of Me is available via:

https://soundcloud.com/basslinebandofficial/best-of-me-single

GENRES:

Funk

ORIGIN:

Toronto, Canada

RELEASE DATE:

22nd June, 2017

The E.P., Bassline I, is available here:

https://basslinebandofficial.bandcamp.com/releases

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THIS review will take in some new…

elements and considerations. I will split the introduction between praise and constructive criticism. That might sound harsh on Bassline but, as you will see, the guys have a lot to offer. I will come to look at the ‘praise’ side of the coin but, before I do, I will look at some aspects of the Toronto band that requires a retool. I feel Twitter is becoming more and more dominant in the market so it is, in 2017, crucial every artist makes their presence known on the service. I have looked hard but cannot find the Canadian band on there. Maybe I am searching for the wrong terms but there seems a lack of Bassline on Twitter. They have an official site and Facebook but, when it comes to music and promotion, the most influential and important platform is Twitter. One of the reasons I have discovered so many great artists is Twitter. It is a place you can easily and quickly share music and get it to the masses. If you are on Facebook; it is easy enough to get fans but I find it harder finding promising music. The whole process is a lot less smooth and accessible: there are really no other social media channels for the musician to exploit. Twitter remains the faster and more available option. For artists starting out; there is a whole lot of work to do that demands your full attention and diligence. Getting the social media side of things worked out and formulated is paramount. One of the great things about social media – there aren’t many – is the way one can get music to the masses at the click of a button. Nobody says music is easy but it is a lot less stressful if you get your sounds out to the people as quickly as possible. Bassline have a great official site and take advantage of other music services. I am predicting big things for the Canadian band as we head into 2018 – they look set to make progressions and big steps.

I have been lamenting the way music has changed and how busy it has become. That might sound like someone growing old before their time: tormented by the changing conditions and sad things are no longer simple. It is weird finding things become so detach and digital. I know there are physical formats but the basis and fundamental foundation of music has been eroded. Maybe there is no way back – and it is a sign of the times – but I have every hope the state we are in now will yield results. The biggest benefit of the modernisation of music is the fact new artists can come into the market. Once upon a time; you could not get onto the radio unless you had a recording contract. Now, in this digital time, anyone can come into the business and get themselves known. What I recommend Bassline is to embrace everything out there and promote their music across all social media and music-streaming sites. I will talk about Canadian bands but what I find interesting about the nation is the way they embrace older technologies and formats. More artists (from here) are on BandCamp and release music to cassette – a lot of Canadian acts doing split-releases and putting music out on tape. Maybe there is that sense of preserving the old methods but the need to tie that with technological advantage and the necessity of social media is essential. I know the band will augment their basis and get more fans in. Right now, they are a national treasure and building their name among Canadian fans. I would like to see them get worldwide acclaim and have their music taken to heart. That will come in time and, as we step into the coming year, it will be an opportunity to get out to the world. I feel the U.S. and Europe will be markets they will exploit and find footing in. How far they can go is up to them but, by sharing their music everywhere, that will bring in venues and people.

I am going to ration my Canadian assessment because, right now, nearly one-fifth of all my work revolves around Canadian artists. I am British and, if I am taking in another nation to form an alignment, it would probably be the U.S. It makes sense because of the size of the market and the variation. I am not down on Canada: quite the opposite, in fact. The music there is different to America and, in my view, goes a bit deeper. I mentioned how the nation still embraces the beginnings of music and seems attached to its start and authentic soul. This is reflected in the music that comes out of Canada. There is something more touching, natural and deep when listening to artists. The U.S. has more promise and profitability but Canada has a wide and varied landscape that finds all sorts of musicians provide music of the highest order. Toronto is an area I keep coming back to and discovering joy in. Crystal Castles and Broken Social Scene are two bands who have put the city on the map – showing what strength and durability there is from Toronto. It runs deeper than that and, if one looks at the new acts emerging, there is a wealth of colour and interest. Lido Pimienta is a multi-talented artist that is working in galleries and on the stage. She has made bounds this year and got her music to a wider audience. She writes from the soul and addresses issues that are key to her; matching that with a physical and expressive performance (when you see her perform live). LUKA is a minimal group and, last year, played small venues around Canada. Songs like Always the Same Bed have captured the imagination and it seems like the band can transcend from Toronto – making a bigger name in Canada and getting their music across the world. Crooked House Road is an artist I have featured before.  Led by Shania Silver-Baird; there is a sassy and emotive vocal backed by Folk thud and drama. It is a mix of theatrical and rooted that has seen crowds spread the word far and wide.

Harrison produces delicate and slight beats with an edge of the 1980s. The beatmaker from Toronto that produces sensual, sinuous Lounge-scented tracks that can get people up and moving. Mazola are a Garage four-piece that have made impressions with singles like Heaven and Sweater Song. They have made steps and movements this year and, with their reputation growing, next year could be their biggest yet. That is just a summation of the Toronto talent – the pool gets wider by the year – but so much variation and interest linger in the city. Extend the net to Ontario and you have a rival for cities like New York and London. I am always amazed by Canadian music. Unlike other nations; the artists there preserve and revitalise genres that have risked slipping into obscurity. It is wondering watching the nation blossom and get so much attention internationally. I will cover this in more detail later but, right now, wrap up on this point. I will keep my eyes out for Toronto – even though I am going to limit my exposure to the nation – because the musicians from here are doing wonderful things. Bassline fits in perfectly and are among the hungriest acts from the city. They have exploited the venues there but, the way I see it, there are opportunities waiting out there. It is challenging getting your voice heard but, in a vibrant city that looks after its musicians, I feel their stock will grow in 2018. I am excited to see where they can go and whether they conspire with any fellow acts. That might be a way into the wider market: hook up with other musicians in the city and push their sounds to new crowds. Bassline are a force on their own but, conspiring with other singers/musicians might lend their work a different edge and dynamic. Maybe they have plans for next year – I am not sure whether a new E.P. or album is on the way – but they will end this one with more touring.

Bassline I is the debut E.P. from the band and, after performing at the Toronto Undergraduate Jazz Festival and The Rex – a Jazz and Blues bar in Toronto. I will talk more about their recording methods and the way they operate but, right now, the style they play and the genres one can experience. One hears Bassline and you get blown away by their funk swagger. The electricity, rouse and spirit that emanates from their songs have infused and infected listeners and fans. We have a lot of Funk music in this country but, when thinking of new artists, I often have to look internationally. D.J.s like Craig Charles expound and expose the best Funk music from around the world. A lot of his set/tastes revolve around older artists. Maybe there is not a huge market for the genre right now but, if that is so, that would be a shame. There is something about Funk that gets into the bones. The immediacy and fun of the sound cannot help but get the listener involved and active. Maybe commercial tastes favour Pop and Indie but, if you think of how music has evolved the past few years – one could argue a desire for Funk is quite strong. We need fun and energy in music: the more contemplative and serious sounds are not providing escapism at a time when we need release and relief. The effects, drama and physicality one experiences when listening to Funk means you get something unique and different. I love the sound of Bassline and see they take the heritage and history of Funk and give it a modern sound. The range of instruments and players in the fold provide a full and dynamic clash. I can imagine their live performances are very different when compared to their studio work. It is the recorded material I am charged to review but, as I will allude to in the conclusion, I would be keen to see them come to the U.K. and bring their brand of music to us. We have a few Funk bands but the genre does not get the oxygen it warrants. I have mentioned D.J.s like Charles – someone with a deep love of Funk – but he can only do so much.

Bassline are not reserved to Funk: they bring in other sounds and create a cacophony of ideas and textures. One detects bits of Rock and Pop in their songs; little Jazz elements and Indie. It is a busy and vivid combination that hits every part of the imagination. I have mooted the band need to get more exposure on social media – that might extend to images, too. For an act that has such an incredible and enduring sound – one wonders whether a few professional shoots need to take place. I think they have a great look and fashion – not only in terms of their music – so seeing more updated, professional shots would be good. This is all designed to take the band as far as they can travel. I am curious to see how they adapt to the coming year. Those who want to get an edge and distinguish themselves from the throng need to be aware of the perilous work and multiple considerations. The Toronto band knows this so, for 2018, I would like to see those images come online. They have a lot of live shots – almost turned the review down due to lack of professional, non-live snaps – but journalists will want to see more in the way of portraits and studio shots. In terms of a ‘brand’ or logo: they have one on Facebook but they can expand this and update their look. Their pages look good at the moment but they have such a visual and evocative side to their music. I would also look for more involvement when it comes to getting their music onto international audiences. The band are pleased their local base is building but we here need the likes of Bassline in our midst. I have wandered off-course but felt compelled to investigate other sides of the band and what they can achieve. The guys self-record and recorded their E.P. at their drummer’s home-studio. It gives the music comfort and a sense of homeliness. That might sound confined and safe but, when one listens to the tracks, you find that is not the case.

A big and strange studio might have put them off and created an unusual environment. They thrive when they are in a setting that is secure and warm. Their homemade world of ‘Groovetopia’ expresses love and togetherness. Critics and fans have reacted to the strong and addictive music one can discover throughout Bassline I. The band is more a ‘force’ than a traditional group. What you get is a real hit from the horns; a full-on charge and explosive performance. Trying to distil that into music; make it sound natural and free in the studio – that is quite a hard trick. No doubt their live performances allow greater movement but, when listening to their recorded tracks, things are not over-produced and tamed. I feel Bassline are one of those acts who can reply to the negativity and division in the world. They are not burdened with a dictatorial and objectionable leader but must feel the strain and pressure from Donald Trump. He is their near-neighbour head of Government that is leading the world into a dark phase. People are responding to this and, together with the ongoing sexual allegations and controversies in entertainment, there is a lot of stress and accusation. Music can respond to this but I wonder whether it is powerful enough to change things?! Certainty; one can have their spirits raised and put their mind elsewhere. It is all well and good having mainstream sounds proffered and promoted – most of what is coming from here lacks real fun and adventure. I yearn for the more carefree and uplifting sounds associated with the likes of Bassline. I know the band will continue to build and gain huge acclaim. For me; they are the definition of a good-time, for-all-the-people display that needs proper celebration. We are welcoming a lot of Canadian acts to our radios so it is only fair we give Bassline that same due. I am not sure why Canadian music is resonating with us over here.

Not that this confusion is a bad thing: the nation does things differently and have a flair and flavour we do not have here. The mainstream best of the year has been great but, when you assess it, how much fun and unity is there?! I have loved albums from Robert Plant and St. Vincent but I feel there is something missing. Maybe it is my view of the world and the fact things are getting harder for us all – nothing can really overthrow the general feeling in the wind. I want music that strips away the negativity and puts my mind in a better place. I do not really get that with the mainstream music of the moment. There are some albums that create a safer and better environment but, for the most part, that is not true. Bassline can give the body and mind the direction it needs without compromising quality and professionalism. Radio and the media need to retune their tastes and give more time to genres like Funk. The same way the best Folk of today integrate other genres and pushes things forward; Bassline bring other sounds into the fold and stir that with some solid Funk. We do not really have artists like this in London so, in a way, the band provide direction to our artists. The Toronto clan have made waves there they are – will musicians here follow suit?! The best way of monitoring that is to get the music as far as possible. The band is doing their part but I wonder whether it will take a few more years before they are staples here. I have mentioned Canada and how a lot of the musicians from there are finding fans in the U.K. Bassline are an act we need to clutch to the bosom and get onto the airwaves. I am not sure whether we can expedite their passage to Britain: the fantastic sounds brewing and percolating from their camp is intoxicating and engrossing.

The second Best of Me bursts into life; one knows the sort of conversations that must have prefaced its creation. I could see the band deciding whether they wanted something sharp and tangy to lead in; maybe a full-on horns section – they have gone with something more subtle. It is a soft, yet alluring, opening that means the song does make a quick impression. The heroine is on the microphone and seems to have someone on her mind. She was losing focus and “losing sleep every night”. The fights and debates are keeping her confined; the stress and conflicts keeping them separated and balkanised. I can hear horns and little bits sparkling from the speaker but it is quite a demure and gentle opening. The most power comes from the vocals which are spirited and passionate. The band plays their part and backs the heroine; the production is lo-fi and clean which allows the raw and real strands full breath and personality. Shimmering and luminous strings glide through the song and, when paired with percussion and bass, gives the track soothe and sensuality. The idea of the track is to step away from the horror of a broken relationship and find some time out. Our girl is looking for solace and time away from the conflict. That desire for time and space comes through in her vocals. The song shifts from a kicking and jabbing thing to a more contemplative and tender offering. Before the next verse comes out; the vocal/composition has an aspect of 1990s Soul and R&B. It is a fantastic tease that has such a sense of sexuality and smooth beating the heart. Maybe the aim is for something else but I was hooked and graced by the potency and beauty of the voice. The instrumentation matches that and takes the song into spine-tingling realms. Before you buckle and are led to the bed; the curtains are opened and the sunshine blares through.

The band brings the energy and funkiness to the party. We have been through the harsh and unforgiving times: here, now, there is rebirth and a chance for a new life. The heroine will not let misery get her down and define who she is. The lyrics are simple and quite common but that is their strength. If they were too complex and oblique; that would cause confusion and be harder to relate to. Things get edgier and more electric as the players unite in a carnival-like atmosphere. Our heroine will not be suffering and sitting at home wallowing – she has had enough disappointment and pain to last her a lifetime. The horns come through the thick and give spunk and smile to the song. The entire feel is one of realisation and growth. Things have been bad but here is where things turn around. Again, before you get caught in the wave of exhilaration and Funk; there is a new phase beckoned in. One hears about the boy and him sitting at home. He was wallowing and downbeat; he has head in hands and brooding on what has unfolded. Nobody could see the split coming but it seems like it is for the best. I have seen many songs document love like this but none that have the same strands and layers. The composition moves through suites and brings different sounds together. Where they go from here is a mystery but I feel the heroine is better off where she is. Maybe there was love and dedication but, now there has been a bad turn, that needs to get out is fierce. I feel there is a desire to find love again but, right now, time for space and assessment. It seems the guy was in the wrong and has been responsible for the way things have turned. That is not uncommon but, rather than spit acid and get bitter: the girl is fighting against that urge and determined to lead her life in a different way. It is a positive and impressive attitude to heartbreak and upheaval. The band works around that and produce party and alacrity. The horns are still pressing but other instruments come into the fold. I have heard few songs that have such a direct and simple heart. Even though the lyrics have darkness and pain; the need to overthrow that with something cheerier and more uplifting defines Best of Me. There are handclaps and funky strings; riffing and Jazz interludes; swooning horns and swivelling percussion – all of this happens towards the end of the song. One can hear these stages unfold and a real evolution throughout. I am stunned by how busy and changeable the song is. It retains its messages and personality but incorporates multifariousness and range. Few bands can provide this on their first release – credit to Bassline for sounding so assured and accomplished on their new single.

PHOTO CREDIT: Austin Mateka

I know Bassline have a busy next few weeks ahead of them. Their E.P. has been out for a couple of months now and, in that time; they have played to new faces and grown in stature. Canada is reacting to their music but I feel there is a market for them in the U.S. There are some similar bands in America so I am sure the guys could find favour and profit up there. The same is true of the U.K. We would love to see them here very soon. It might be part of their 2018-plans but, perhaps, getting the money together might be challenging. To fund a tour; it takes a lot of planning and finance to get it underway. Gigging locally means the band can save a bit and concentrate on the local mobs. They must be looking ahead and wondering where they can go from here. Their five-track E.P. is quite short and delivers the goods in a fraction. Bassline I suggests there are other works in the pipeline. Maybe the band is already collating material for the follow-up E.P. I would urge them to get Twitter online and get a profile kicking; have some shoots done and get a few images up that stray away from the live setting – they have some modern shots but are not the best in terms of quality. They are starting out so it is understandable there are considerations and aspects not yet covered. When they do get everything sorted; there is no telling where the band can go. I love their dynamics and make-up; the way they record music and, most importantly, the sounds that emanate from them.  Long may their rise and success continue! Crowds and media are monitoring their E.P. and still getting to grips with it. As I step away from Canadian music – to an extent, anyway – I am stunned by the exciting and brilliant music coming from them. Make sure you investigate Best of Me and, if you like that, involve yourself with their E.P. The Toronto band is only starting out but, this time next year, I can see them…

RULING the roost.

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