Track Review:

The Shallow Seas

God of Fire

9.6/10

Canadian band of brothers; "three upstanding gentlemen", bring their infusing rock wonder to your door.

Availability:

God of Fire is available at:

http://theshallowseas.bandcamp.com/track/god-of-fire-2

The E.P. Into The Barrow is available at:

http://theshallowseas.bandcamp.com/

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INTERNATIONAL flavours, and foreign sounds, is a diversity.....

that seems subjugated and mandated heavily, on the shore of the U.K. I have long-suspected that in Britain, the music media concerns themselves too overtly with home-grown talent and influence. It is myopic and frankly stupefying to think that the best new music in the world today solely emanates from the U.K. We have a great deal of hungry and agile artists, each of whom proffer diverse and adventurous steps. A wide range of genres are covered, and the long-forgotten likes of doo-wop and swing are being reinvigorated, and given retro reconsideration. Our northern rock and indie acts blend hard-edged grunge overtones, with some more subtle and sophisticated movements. Towards Scotland, there are blues and pop artists whom are promising greater gleams of gold; purer diamonds with fewer rough edges. In fact, were one to sift through the murky and muddy waters of commercialism; negate their path through the sludge of generic and unwanted musical players, then there is a lot of good waiting to be discovered. The bigger issue is, that there is too much below-par and whelming mediocrity; most of which is being put on a pedestal, and proclaimed as the best thing since...well, you know. In my blog, and one these pages, I have been reviewing artists that have been missed by the media's glare, and managed to elude the spotlight. It is those artists whom are the ones to watch; as it seems that what is being promoted by the music pages and press, is certainly nothing to get excited about. It is the best and brightest from the last decade that are still able to elicit the biggest headlines, and gain the most ardent approval and ardour. This year, Queens of the Stone Age, The National, Laura Marling and Daft Punk have turned in the most celebrated albums; each one received (and continues to receive) overwhelming praise and adulation; and it makes one wonder: where do the new acts and artists fit in? In 2013 so far, a few brand new talents have managed to make some sort of dent and impact; yet by-and-large there are a lot of sapling steps and fledgling moves, but no real challenge to the established guard. This is understandable I guess: it is hard to be that good right out of the blocks. I suspect that and know for a fact that were one to turn their heads and attention to foreign climbs and over international waters, then a semblance of restoration and reappropriation is tangible. Recently I have been championing many international acts. Multinational composites and Swedish disco-pop outfit have been amongst them, as well as Australian rock warriors and Irish folk joy. It is across the U.S. and Canada that fresher and bolder sounds are being created. L.A. is unveiling some sunshine-infused pop and electronic acts; The Open Feel are amongst them. Even in the short spaces that lie between Burbank and LAX (well, 29 miles), multitudinous range is to be found. In New York and Seattle traditional rock, punk and grunge sounds are still available; yet have been updated and redefined to draw in the 21st century crowd. in-between the divide in the Midwestern region, less anxious and more seditious pleasures are being experimented with: which result in invigorating folk/rock hybrids. Further north, and The Great White North we arrive at Canada.

I have always been a big fan of Canada and their musical heritage. Whilst they are subjected to a lot of ribbing and teasing by the U.S.- America needs to cool it somewhat the Canadians have always had a different approach to music. The heritage and mixed landscape; French quarters mingle alongside vast beautiful plains, enforces the creative mind of the musical participants. Legends such as Neil Young, Leonard Cohen and Joni Mitchell hail from Canada, and are to my mind, three of the best songwriters of all time. Were Bob Dylan to be discovered Canadian and you would have a holy quarter right there. Factor out cosmic farts such as Celine Dion and Michael Buble, then the country has a rich background. If it weren't for Justin Bieber almost single-handedly threatening to tarnish Canada's good name, then more ears and eyes would be focused here. It is those legendary '60s and '70s solo legends, that have had a big impact on the modern crop of musicians. Young's folk brilliance, Cohen's darker and poetic edges, and Mitchell's lighter but no less potent sounds, have been elongated, de-emphasized and blended into the palettes of the new young elite. The Shallow Seas are a band that are a convivial wrecking ball of intention. Having amounted a modest Facebook following, and a more impressive Twitter support; their online appreciation and fandom is expanding. Jasper, Vincent and Steve are our intrepid trio, and have been on the scene since 2012; bringing their psychedelic/blues rock/garage rock and classic rock blend from their native Toronto, all across Canada and North America. Whilst their online biography remains bare-boned (one suspects they are letting the music paint the words), the group have an impressive online coverage, making their music readily available, as well as ensuring that there is plenty of anticipation for the future. The three-piece's E.P. Into The Barrow, released in March, is a 5-track opus which deftly distills the band's essence and influences into a hotchpotch of myriad sounds and electricity; bolstered by a tight and consistent performance throughout. whilst the band have some exciting (fairly local) dates in the pipeline and a busy future lying ahead, they have a sound and ready-made appeal that could and should be passionately embraced by the U.K, Europe and Australia. Their rock blends, with blues, psychedelic and classic tones are present on these shores, yet not too overly-familar or overindulged. Us in the U.K. could certainly do with some Canadian influence; and one suspects that once the media here get a taste; they will then become less fixated on the beige middle-ground, and appreciate outside of the box- which is a long-overdue necessity, trust me!

Into The Barrow's second track God of Fire, is a track which caught my attention. Whilst Songbird, I Smell Smoke, Bad Feeling and Many Faces display all the merits and colours that the band have spent years honing, it is the rumbles and kicks of God of Fire, which excites the most. It is a track which begins with some slightly fuzzy, hazy and fiery electric guitar strums; evoking reminiscences of '60s legends such as The Kinks as well as punk icons such as The Clash. A jumping and swaying electric strum is met with a pattering and pounding percussive roll, which has classic rock intentions as well as hinting at the blues rock of the '90s (think of Detroit's The White Stripes-cum-The Clash). Energy and pogo strut is favoured in the intro; which is intended to inflame and intoxicate: the effect is one that makes you want to get up and dance for sure. With a razor's edge as well as more utilitarian swathes, the sound is original and fresh, yet has those components which harks your mind back to past eras and bands. The propellent swathe of sound is slowed down to allow our frontman to enter the fray. His voice is steeped in modern energies and annunciation, yet is not a voice that you can readily compare to anyone elses the band have an authentically original coda. Early words speak thus: "The river runs through your veins"; bristling guitar augments and supports the imagery and emotive vocal, as our hero proffer: "Feel the tingling sensation". Vivid and bold imagery is projected quite deftly: probably not surprising given the song's title. The band want to consecrate and realise what they are trying to say, as well as build imagery in your mind. The voice that sermonises and stands above the atmosphere variegated; at once energetic and youthful, the next, more lip-licking and come-hither. The band as a whole show their tightness and intuit, when the verse ends and they whip up some fire. psychedelic brimstone guitars; part Hendrix, part The Stooges marries; at once menacing and intense, the next hypnotic and embracing. The percussion keeps the spine tight and taut, and keeps the mood levelled and restrained, whilst the kicking riff makes its mark. As the next verse arrives, speaking of dragons, mysticism and sensations "For now and evermore"; the energy and potency does not drop- the band keep the fascination high throughout. As our frontman takes a brief pause after his latest thesis, a further wave of sonic clout is unfurled. The low and anomalistic rumblings have heavy rock and punk overtones, whilst the wah-wah riff- a jerkwater berg on fire-has elements of Eddie Vedder, Kim Thayil and Eric Clapton: you can almost hear those gods of the shred pricking their ears to The Shallow Sea's harbours. The group have a great kinship and galvanised sound, which manages to draw in elements of blues, rock and psychedelia, yet never lose focus. Guitar, bass and percussive work is exemplary; able to burst at the seams one moment, and restrain and linger the next. As I mentioned, the energy and excitement never really let up, and never does the sound appear cluttered at all. Each player plays their part expertly and are able to whip up a potent brew in under two and a half minutes.

It has been a few days since I 'discovered' The Shallow Seas, and happened across their Into The Barrow E.P. The guys have a sound oft-promising but seldom-delivered in the music scene. A great deal of bands (and especially new acts) tend to struggle when mixing blues and rock sounds, tending to make their tracks too long or unfocused. The trio from Toronto have a talent for conviction when needed. Although Many Faces runs in at 07:49, and I Smell Smoke is 04:14, the songs never outstay their welcome or become unfocused: everything seems just right in hindsight. It is true that a lot of British acts are doing their utmost to make an impact in an overcrowded and fickle scene; yet of the vast scores that go to war, few make it through alive (as heroes). The media in the U.K. are culpable of being amongst the world's most fickle; setting unrealistic expectations of new music, whilst simultaneously being quick with the boot at the slightest slip or transgression. Of the new acts I have heard recently, few originate from London: the largest cities seem to have a glut of appropriate talent; dropping the ball somewhat. It is away from the bustle and city life that one finds the best sounds and sensations in the U.K. Until a better and more economic way have been found, to separate the wheat from the chaff, one thing is for clear: look abroad, please. As well as the great European flair, and U.S. strikes, elsewhere there are plenty of great bands and acts whom can win your thoughts. If Canada has not seemed like the best musical holiday destination; then think again. Historically the country has produced some of the greatest songwriters of all time, and in the modern age (aside from the nauseating pop muppets), there is plenty of potential and lustre. The Shallow Seas are, ironically, in deep and dangerous waters: ensconced in a music scene that is awash with venom and hostility. Their sounds and sights supercede expectations and should ensure that they have a long and rewarding regency. For fans of blues rock, '60s psychedelia, punk, as well as classic rock, there is much to offer here. Their tracks are filled with stark metaphor, striking imagery, and plenty of personable heart and sensitivity. Words, themes and intentions are wrapped around the electric storms that the band summon; meaning that one comes away breathless but pleased. Their music is free, and will probably not shift from your head for quite a while. And in truth:

HOW many bands can you say that about?

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Official:

http://theshallowseas.bandcamp.com/

Twitter:

https://twitter.com/theshallowseas

Facebook:

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

SoundCloud:

https://soundcloud.com/theshallowseas

YouTube:

http://www.youtube.com/user/theshallowseas

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The Staves- Facing West- Track Review

Track Review:

   The Staves  

Facing West

9.8/10

It would be axiomatic to say that the trio's voices are stunning.  The Watford girls' folk rock melodies will leave you spellbound.

Availability:

Facing West is available at:

http://www.youtube.com/watch?v=pFtAz6Xnn5U

The album Dead & Born & Grow is available at:

http://www.amazon.co.uk/gp/product/B008ZVNC2E/?ie=UTF8&camp=1634&creative=6738&creativeASIN=B008ZVNC2E&linkCode=ur2&tag=warnermusicuk-21

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THE art of the voice; vocal blending and eliciting the maximum.....

 amount of emotion and evocation, from the voice alone, is extremely difficult.  In today's music scene atmosphere and mood and conjured up primarily through sound: pure force some moments; paradigm-shifting sometimes.  When considering how to go about grabbing an audience, bands and solo acts are always faced with the same issues.  Originality is a concern: how can you make your music and words be recognised, without being lumped together with too many other artists?  It is an aspect of music that I have provided a lot of derision and anger towards; with regards to a lack of originality.  A second concern, or problematic, lays at the creative feet as well: how to use the talent I/we have, and utilise it to its most potent potential?  For a lot of the bands on the scene at the moment, vocals are given little overall consideration, when considering these issues.  I have been concerned recently that a great deal of band leaders, and singers in bands (as well as solo acts) are treading familiar ground, when deciding on a vocal course.  In the north, and around Manchester and Liverpool, there is still an unnerving tendency for bands to play it too close to their idols.  The number of times I have heard a vocal emanate forth, that was the spitting image of Alex Turner, Liam Gallagher or Ian Brown (for instance), has left me bewildered.  Whilst there is a temptation to employ natural and well-tested weaponry into your arsenal, if it has been heard numerous times before, then how are you going to capture the imagination?  Bands in Scotland and the south of England have been less culpable of this bludgeoning.  I have been invigorated and tantalised by Scottish acts such as Universal Thee, Steve Heron and many of their contemporaries.  Down towards the south- and if fact in Yorkshire- folks such as Rose and the Howling North, Marc and Abi and Annie Drury have been presenting motifs infused with unique strands.  Considerations as a whole, away from the vocal parapet, are given to sonic evocations and presentation: creating energy and wonder with the music itself.  Riffs and heavy percussion is abound in the indie/rock markets; lilting guitars and piano flourishes can be associated heavily with pop/folk; whereas the best of the rest try to marry the two facets into their overall sound.  It seems that vocals are used primarily as a way to get the words across.  I may be missing out of some wonders and stunning singers, but from what I have collated and reviewed, the same old story is told- which gets a little bit depressing.  Vocal harmonies, and folk rock choral are a much-needed and very underrated element.  The likes of Crosby, Stills and Nash; the '70s legends, showed that by blending their incredible voices together, they could add extra weight to their songs.  Whilst each member has an incredible voice separately; it is when they are infused together that the best results are unveiled.  Of course the trio are still performing today, and contemporaries such as Fleet Foxes are also great examples of the male folk-vocal parable.  Aside from the obvious examples of the breed, one has to dig very, very deep (in today's scene as well as historically), to find groups that can match the aforementioned legends.

Although, with all that said, you get groups that make it through; meaning you do not have to dig all that hard.  The Staves have been in the back of my mind for a while now: flicking to the surface over recent weeks.  I have been a follower for a while, but have only just started to give concentrated study to their songs.  The three piece have been performing together for quite a few years now.  The three girls are all alluring and incredibly striking to behold; especially Jessica, whom is one of the most stunning women anywhere- not just music.  Jessica, Camilla and Emily Staveley-Taylor have been playing local gigs since they were teenagers (today Jessica is 25 years old; Emily 29; Camilla is 23); playing open-mic nights at pubs in their native Watford.  From the fledgling days of performing together, they pricked the ears of money, and caught the attention of record execs. and music-lovers alike.  The Staveley-Taylor household was awash with music, from Bob Dylan to Crosby, Stills and Nash; and, although their parents are not musicians, they clearly instilled a fond love of music into the sisters.  Having grown up in an environment that was bathed in '60s and '70s folk magic, it is unsurprising that the girls took their messages to hard and wanted to follow in the footsteps of their musical idols.  In interview they come off as self-depreciating and filled with bawdy and good-natured humour alike (occasionally it has bridled American audiences; not attuned to our English sensibilities).  Their writing process is alternately truncated, unpredictable and tumultuous.  Songs are conceived, written; sometimes reworked and reimagined; before eventually a final product is arrived upon.  It is a process which seems to suit the trio, and yet is something that they are still working on: trying to increase any wrinkles from their work patterns.  The Staves run a democracy as well: whomever writes the lion-share of a track, gets the chance to sing it.  Whilst comparisons have been drawn with the likes of Fleet Foxes, Mumford and Sons and Laura Marling, the girls find being compared to others, somewhat odd.  They- as well as I- share a love of Laura Marling, and are flattered to be mentioned in the same breath.  Whilst, at this present time, they are embarking upon their own U.S. tour, taking in the likes of Seattle and Los Angeles later this month, they feel just at home playing in England.  On their Facebook page they list some of their influences: Ryan Adams, Paul Simon, Joni Mitchell and Martha Wainwright rank amongst them.  As much as they are inspired by them, yet have their own unique sound and style, they quote Jim Jarmusch, whom states: "Nothing is original... originality is non-existent".  However you assuage any misgiving about the likes of The Staves, and surrender to their charms and heady blends; I guarantee that you will- no matter how hardy and determined you are.  For all the '60s and '70s folk groups such as Crosby, Still and Nash and modern-day equivalents, there have certainly not been many that have hailed from the U.K., and the girls are doing us very proud indeed.  They spoke with The Guardian last November, saying that- due to the group being very much leaderless- choosing the likes of track listings and band photos was exhausting and stressful.  In spite of the day-to-day decisions, they have worked tirelessly, and bring their sounds and sensations as far and wide as possible: gaining themselves huge international ardour.  Their sounds may hint at American climbs, and more rural locales; hardly a shock considering their musical background, but something they are keen to state is fictionalised: they have no desire to live in log cabins in Vermont, nor do so now.  Off of the back of a couple of E.P. releases, as well as some high-profile live appearances in the interim, the album Dead & Born & Grow, was released last November.   Tracks such as Mexico, and Wisely & Slow have already gained huge praise; with the girls alternating as the lead singer.  It is the Camilla-fronted track Facing West, that is on a lot of people's lips and minds right now.

On YouTube, the song has already amassed 419,000 reviews (at the time of this review); with most commentators highlighting the track's ethereal beauty and otherworldly prepossessions.  Building up from some breezy and smiling ukuleles, the track begins with a reverent breeze and wandering soul.  It is a mesmeric proposition which builds from there; as soon as the vocal arrives, you are already relaxed and swimming in the song.  Early evocations of: "A room with a window facing west/Towards the sea" suggests a peace-filled and sedate landscape (Somewhere in the U.K.?  Sunnier, foreign climbs perhaps?), Facing West is possessed of a tender and passion-filled heart.  The vocal is pin sharp and crystalline; certain words are elongated and syncopated, reminding me slightly of Shara Worden of My Brightest Diamond.  Like the U.S. singer, The Staves' commander-elect has the ability to make you pull your ears towards the speakers; desperate to get closer and nearer to where she is.  Imagery of seaside tranquilly and sunsets fills your thoughts, as you can imagine our heroine sitting by a pier, feet draping over the edge; gazing towards the ocean and letting its tranquillity take her mind.  The way that the girls combine in the chorus, elicits reminiscences of the likes of The Andrews Sisters, Caro Emerald and a plateau of doo-wop, swing and '40s/'50s vibes.  The Staves update that sound for modern times, yet still have wonderful shades of harmony groups of old, as well as the folk masters of the '70s.  When the voice blend and weave in and out of one another, the line "I don't think I can do this anymore" is sung; hinting at some anxieties, fears and doubts perhaps?  Whether the girls have based the themes of the song around personal experience: the nature of home; love-gone-wrong, or something else, the conviction that is behind the line, takes you slightly aback.  For all the diamond shine of the vocal purity, there is heartache and uncertainty underneath, which gives the track broad emotion and a great range of moods.  As well as All Things Will Unwind-era My Brightest Diamond, there is a little of I Speak Because I Can Marling; wrapped around sparks of Deja Vu-esque Crosby, Stills, Nash & Young: one can experience the same shivers you get from hearing Teach Your Children, for example.  Every word is backed by the ukulele and guitar: kept measured and subtle; employed to augment the majesty of the vocal.  Into the second verse, and the sense of longing as well as dislocation, pervades.  An unnamed beau is left to "watch me as I come/Walking through the door", as our protagonist, and Siren sisters choose to "take the high road that he walked/Once before".  Throughout everything, there is a lingering sense of mystery and intrigue: are we hearing something akin to a break-up, or is something more contended lurking at heart?  Whistles, wordless vocals and coos are played in after the second verse, adding to the serene and stillness of the track, and helping to add wind to the sails, of the sailboat in your mind (or is that just me then?).  Our heroine, has a final thought: "Show me the path down to the shoreline 'case/I don't know if I can do this anymore"; Jessica and Emily back Camilla's lead exquisitely, really making your hairs stand on end.  I mentioned- half-jokingly- that they had a Siren quality, but is it is not fat-fetched.  The trio's voices are alluring and sensuous, and can bring boats to the shores that our heroine walks towards.  As the song ends and trails off into the dusk, its beauty has captured you wholly.  Facing West is a mandate from a trio that are assured, confident, tight and incredibly memorable.  For those whom usually would not 'go for' this type of music and song; think again: it transcends reticence and pre-conceptions.  As well as being a perfect antidote for any sour disposition or rainy landscape, the song is filled with so much tenderness, gentleness and purity that it is impossible not to be transfixed by its gravity, and transported to warm and pleasant climbs.

I have studied the Dead & Born & Grown album, and several things ring true.  The girls have a sharp ear and eye for lyrics; infusing their songs with detailed and evocative scenes (In The Long Run is one of my favourites), whereas, in the case of Tongue Behind My Teeth and Mexico; here are flipsides to love and the issue of trust: the former, a scathing and vengeful track aimed at a wrong-doing man; the latter an honest and open love song filled with tenderness. Songs bursting with changing landscapes and dangers (The Motherlode) mingle alongside tales of moving on and waiting for good to occur (Gone Tomorrow).  Like Marling, The Staves are skilled and applaud able lyricists; where as Marling may err towards the more oblique and detached, The Staves are more direct and honest; yet able to mix metaphors and mystical and historical landmarks (check out the album's swansong Eagle Song).  The music is delicate the one moment, and emotive and epic the next; yet does not rely on huge electric strings and percussion: guitar and light strings are favoured and liberally integrated.  Overall,  striking and earnest words, combined with gorgeous and touching compositions team to create 12 stunning tracks.  I know the girls ache and have sweated hugely over the track listing, but in the case of the album; they have got it right!  They have managed to arrange the tracks so that a perfect emotional balance is struck, so not too many 'slower' songs follow one another; they are arranged so that pace and momentum are just right, and intrigue and attention is held right until the end.  Obviously one cannot- and should not- ignore the voices of all the girls.  Each has their own unique style and timbre, able to give certain songs their own special weight and appeal.  As strong as each of our trio are when acting as soloists, it is when the harmonies are created, that the grandest shivers and smiles are created.  In today's scene, there are plenty of female singers with soft, gentle and stunning voices; yet most are let down by either pedestrian and predictable songs (take a bow Gabrielle Aplin); or weak lyrics or below-par elements.  This year sees Laura Marling galvanise her sound to its absolute peak, having relocated to the U.S.; K.T. Tunstall has turned in her strongest album yet, and the aftertastes and smoke of Adele still remains strong in most people's minds.  So few new groups in general (not just female-only) tend to be underwhelming or incapable of remaining in the memory; yet The Staves are a band whom leave indelible marks in your brain: you will be hearing the vocal chills of Facing West for weeks to come!  They have travelled (figuratively and literally) a long way in a few short years, and have won hearts and minds in the U.S., as well as on our shores.  It will be interesting to see what moves are made next.  Whether another album is beckoning; a possible E.P., or whether the girls will take a break; recollect their thoughts; rest their tired bones, and figure out their future plans.  So tempting must it be to ride the current crest of fervour they have amassed, and rush back into the studio (after their tour of course), yet Facing West, as well as its sister album, is a record that stands up to repeated onslaughts and listens, and will reveal new layers each time you listen.  The Staves have few like-minded contemporaries, and certainly no close competition, so it is advisable that you a) investigate thoroughly Dead & Born & Grow, and b) get used to them being around for a long time to come.  In a year and era where new acts are given little short or long-term consideration by record labels, and fans; and where their appeal and sensation is often fleeting, it is refreshing and pleasing that The Staves will be around for many years to come.  Take a note new talent; because as the girls have deftly proved:

HITTING the right notes, can ensure a permanent place in your heart.

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Official:

http://www.thestaves.com/

Twitter:

https://twitter.com/thestaves

Facebook:

https://www.facebook.com/TheStaves

SoundCloud:

https://soundcloud.com/the-staves

YouTube:

http://www.youtube.com/user/thestaves

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Alex Hepburn- Under- Track Review

Track Review:

 Alex Hepburn

  Under

9.4/10

Her life may have begun in the U.K., but Hepburn's voice drips with '60s U.S.; her heart seem to belong to France.  You can forgive the travelling soul, when you hear that voice, as it speaks to everyone.

Availability:

Under is available at:

http://www.youtube.com/watch?v=Wq8BqYus40A&feature=youtube_gdata_player

Together Alone is available at:

https://itunes.apple.com/fr/album/together-alone/id619184026?affId=2202514

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FEMALE voices that take a break from the parable of the U.S.....

shores, circa the 1990s, are a rarity it seems.  In the climate of the reality show fixations- which seem to show no slowing signs- a great deal of focus is still placed on moulding talent to fit around a pre-existing voice.  A lack of certain imagination does seem to exist amongst young talent.  In the way that shades of your voice are enforced by your influences, as well as the records of your parents, there is still a sad predictability.  For us boys, the over-familiar and clichéd evocations of Jeff Buckley seem to be the status quo.  It depresses me that a good 70% of new male artists whom break through, are either compared to, or indebted to, Mr. Buckley.  It is understandable that his voice strikes such a chord amongst this generation.  His voice was a force of nature, infused with angelic beauty and devotional whispers; capable of climbing through the stratosphere and summoning up an immense amount of majesty and power.  The problem is this: he cannot be equalled.  Not even close.  In fact, should one spend an inordinate amount of their life trying to mimic him exactly, they would not equal him, because quite simply: he got their first.  I understand that a great deal of the time it is not a conscious ploy on behalf of the young male singer; a great deal of time the media does seem to be rather rash compare them thus; powdering their reviews with nonsensical and incorrect hyperbole.  The likes of Tom Odell and Matt Corby have been compared to Buckley, yet neither get anyone close.  The former elicits a modicum of Buckley's stillness and beauty; whilst the latter can produce a swathe of power and guttural roar, that suggests a little bit of our U.S. hero, circa-1994.  Buckley had a (almost female) beauty and pin sharp falsetto that remains unimpeachable and untouchable.  Stepping aside from the plain facts, my point is boils down to two things.  Firstly, it is lazy and futile to try and 'be' 'The Next Jeff Buckley'; the original is better and who would waste money on a tribute act?  A lot of media hoopla and false expectation has emphasised the issue, and a second issue bugs me: there are so many other terrific artists to be inspired by.  As a singer, I am influenced by the likes of Roy Orbinson, Freddie Mercury, Rob Halford, Chris Cornell, Antony Hegarty, Prince, Bjork, Tom Waits... well the list goes on and on.  It would be refreshing and striking to hear a lot more shades of the 1960s and '70s, as well as deeper tones; more powerful belts; as well as blues tones.  Whether my thesis/ramblings will ever capture anyone's imagination is to be seen: I doubt it, somehow.  The issue is as prevalent amongst the female market as well.  Seemingly every talent show, music academy or voice coach seems to want to make every female singer Christina Aguilera, Mariah Carey, or, if we're being really adventurous... Amy Winehouse.  The Aguilera/Carey blend is one that has shifted units, and inspired a myriad of female artists since the '90s, yet suffers from the Buckley paradigm: we've heard it so many times before.  By aping these talents, instantly you begin to distil their essence and show a stunning lack of imagination and talent: anyone can mimic; few can be original.  If you look at what great female artists we have been subjected to: Kate Bush, Nina Simone, Janis Joplin, Eva Cassidy, Billie Holiday, Patsy Cline, Adele even, one has to wonder: why not show more desire towards these icons?  Past decades have been awash with originality; not just in terms of the voice, but as well as the music and thematic as well.  From 2000, there has been a diminishing number of bands and acts whom have managed to take your breath away.  If as a solo artist- or band leader indeed- you want to capture the imagination, then you need to look further back, to the greats of the '60s-'90s, and listen to what you are missing.  As much as anything, by employing some colours of certain greats, you are providing a missing link to the past; as it seems that a lot of terrific past wonders are being forgotten about, and relegated to dusty boxes in basements.  I am at my most inspired and invigorated, when I hear a voice or band, that manages to instil hope in my bones.  I love hearing the soulful power of a black '70s artist , in the lungs of a modern-day solo act; as well as detecting hints of swing-era influences in the notes of a young female artist.  This brings me- perhaps inelegantly- to the feet of a young woman, whom I was unfamiliar with, as recently as a week ago.

The first thing to note is: Alex Hepburn seems to be deeply in love with France.  In fact, when searching for a link for her album, Together Alone, I could not find a link to a U.K. iTunes page (the French iTunes link was the first I came across); her website is awash with French phrasing and impassioned love notes; and our Francophile seems to be as much at home amidst their shores, as she does in England.  She seems fluent in the language, and was wondering whether she was inspired by the country, from a musical standpoint.  A lot of the jazz and blues artists of the '50s and '60s (and the 1940s) spent a lot of time in France, and took great inspiration from the nation, when harnessing and creating their sounds and voices.  I shall return to this point later, but for now, a little biography on the London-based Siren.  The first thing one notices about Hepburn is her looks.  She seems to be possessed of the sex appeal and allure of a rebellious screen icon of the '40s-cum punk idol.  Strikingly and stunningly beautiful, she is fresh-faced but has a smoky elegance about her- often she appears in photos cigarette in hand.  Navigating away from the prurient- until later- Hepburn has a fascinating backstory.  Born to Scottish parents, she is a soul/rock/blues artist, whom has garnered much praise for her sharp lyrics, cross pollinated sounds, and genre-bending majesty.  Above all it is her powerful and belting voice that has won most praise, and a facet that captured me hard.  Comparisons with Janis Joplin have been levied.  It is true that Hepburn possesses measures of Joplin's power and range.  She (Hepburn) has a voice that one can usually not earn unless they have smoked 10,000 cigarettes and drunk 400 litres of whiskey.  Her album has been out for a few months, but from listening to the tracks, one can also detect timbres of soul and blues greats such as Etta James.  A lot of U.S. wonder is steeped in Hepburn's voice, and as powerful as her lungs are, she also has a tenderness and sensitivity that balances it out, and shows a more venerable side.  Her personal website, as well as being bejewelled in French greetings, is an informative and professional page.  Few new artists negate the need to provide information to their fans.  Hepburn's website is a mix of mint green (or another shade; I am a man after all- green is green), and bold lettering.  There are plenty of candid photos and portraits of our déesse, and the combination of striking fan pages, and her unique sounds have clearly won a sea of fans.  Her Facebook page boasts 37,968 'likes (at the time of this review); whilst her Twitter account has 72,987.  As well as travels and pilgrimages to France, Hepburn has a busy 2013 on her hands, what with touring demands and promoting her album.  As much as anything that bothers me in this world (that range from Justin Bieber to the way people pronounce '2013'), one thing that is near the top of the list is this: why the hell have the U.K. not latched onto her wonder?  In the way that- yes I am mentioning my idol again- Jeff Buckley was embraced hardest by the French (and us Brits), whilst being largely-ignored by his native American fans, Hepburn's appeal seems to be- for now- rotted in Europe.  The 26-year-old's Together Alone peaked at number 2 in Switzerland, as well as hitting number 3 in France.  I have scoured in vain, sifting through Google, trying to grab some titbits from U.K. and U.S. reviews of the album: as well as her sound and previous E.P.  Alas, I was left empty-hearted and in chagrin, as it seems that the British have not clutched Hepburn to their bosom as hard as (the sage and wise) France and Europe.  This is baffling to me, as Hepburn has a voice and talent that is as much ready-made for U.S. markets as it is for the British crowds, as well as Australians (considering the likes of Gabriella Cilmi have managed to find a musical home in the U.K.).  I can guarantee that Hepburn's magic will go under-valued for only a sojourn.  Historically blues/jazz/U..S rock voices have always been adored in Europe first, before making inroads to the U.K., U.S. and distant climbs, so our heroine should have no fear.  Her single Under, once disseminated and digested widely, will see Hepburn get her just reward.

When perusing the track listing from her album, one gets the sense that there is some personal dislocation, as well as rebellion and sexual tension in our heroine's blood.  Titles such as Miss Misery and Hold Me point towards tenderness and longing, as well as anxiety and anger.  Bad Girl and Reckless have barbed wire and hard-edged punch at their core, and Love to Love You has some softer tints.  The album as a whole points to a young woman who seems very happy in her skin, but at heart has needs, desires and as much inner turmoil and resentment as the rest of us; as she channels it into a 12-track opus that is a tight summation, as well as sprawling adventure; filled with intriguing and innovative movements, memorable and variable lyrics, and at the front- under the spotlight: that voice.  Under is a song which is gaining a great deal of admirable sighs; having amassed close to 7 million views on YouTube, with well over 35,000 'like's; it clearly speaks to a vast audience, and is a great accomplishment from a hungry young artist.  In the video for the song there is a little street noise and near-silence to begin, but the song itself makes its intentions known imminently; with Hepburn's voice proclaiming: "Don't bury me/Don't lay me down"; delivered with ferocity and impassioned undertones.  Backing her is an elliptical and flourishing piano coda, that bristles with romanticism, as well as pop energy.  At the heart of the song is romantic strife and tension.  In a sense the tracking is a paen to the agonies of relations as well as personal fears.  Hepburn addresses an unnamed beau; stating: "Only you can send me under".  All of the time Hepburn's voice is etched with a racked torment, but lifted by a fevered and pugnacious power.  In the video, Hepburn appears, rosy-lipped, smoky-eyed, and anxious of countenance.  A distinctive smoked and gravelled kick mandates that forceful vocal, which suggests some edges of the likes of Pink, Gabriella Cilmi as well as the modern pop scene; yet has grander proclamations of '60s legends such as Joplin and James: her throaty and- I'll say it- sexy vocal prowess is equivocal to Janis Joplin.  In the track's beat, sway and composition there are up-to-the-minute and current cores; the production is crystalline and  zambonied; lines such as "I die/Every time you walk away" are pure and undistorted; the voice is right up front, given some augmentation by the piano and percussive strum and drang.  Hepburn is a dexterous seminator of lovelorn and imploring heartache, able to project deathly metaphors and bare-boned sensitivity, within the space of a line.  Evocations of demons, turmoil and multitudinous voices saying "Nothing's gonna be okay" have added burden to our heroine's shoulders; yet everything has a composed control to it; no ululation or histrionics, just emotive beauty.  The sonic landscape is abiotic and parental, allowing Hepburn to tell her tale.  If one gets the sense- from the fledgling stages of the song- that our chanteuse is moribund, think again.  Lines that tell of graves, burial and struggling are not intended to be dystopian or Morrissey-esque, instead employed as a tristesse to her paramour; imploring him not to give in, let go, or leave.  Very much is there a sense that a good  thing has been created and consecrated, and seeing it degrade would see reckless and insane.  Hepburn is a writer that can mix the polysemic with literal; infuse them together in order to create maximum resonance.  In spite of some shadow-chasing she is defiant; stating as she does: "I'm still breathing".  The song is redolent of a lot of the current crop, and contains a familiar weight and sound that will appeal to fans of pop and rock alike; yet supersedes pop's denizens and progeny, but pistol-whipping such a momentous passion and vocal fortitude, that it will draw in fans of harder sounds, and the likes of me (whom ranks Queens of the Stone Age and Soundgarden amongst my all-time favourites), imbued as it is, with an unquenchable thirst and unslakable ambition.  Where as many contemporaries would festoon their lyrics with cloying cliché and hyperbole, Hepburn keeps feet planted, and mixes a Pink-cum-Beyonce-esque defiance, with soulful sensitivity.  Although the chorus is possibly the tuniest (sic.) and most memorable facet; steeped in Lessons to Be Learned-Cilmi and I'm Not Dead-era Pink; the verses, with all their honesty and earnestness, will dig deeper and stay with you longer.  It is difficult to say whether satisfactory resolution and peace was obtained by our heroine.  In the video, the male subject (a tattoo-laden chap), is aloof and intimidating in equal measures.  As the final moments of the video draw to a close, the 'hero' stalks towards Hepburn (who is in the shower), fists clenched and with malice of forethought.  It seems that, to a small degree, the man she loves wants to keep hold of, is perhaps undeserving of such consideration.  This gives you pause for second thoughts: is the song more about a young woman, scared for her safety at the hands of an abusive partner?  Maybe a mixture of the two; lyrics have a retro-ambiguity and oblique mystery, yet at their most direct moments, are crystal-clear.  Turbulence and unrest are certainty evident, and Hepburn seems to want to fight on regardless.

Whether you are new ears, or all-too-familiar with Alex Hepburn, there are indisputable and inalienable truths that cannot be disputed.  Her voice is her calling card and most potent blend.  It portrays a great deal of emotion and fortitude.  I mentioned that it is the type of voice that you obtain through smoking and drinking fervently, yet Hepburn has acquired this by birth right.  With its highs that suggest the likes of Janis Joplin at her prime: Cheap Thrills and Pearl regencies; mixed with some '60s jazz and soul, it is very much an instrument belonging to a glorious bygone era, yet steeped with modern touches that will be embraced by a modern audience.  On the strength of Under, as Together Alone as a whole, Hepburn is a restless and ambitious songwriter, whom is as much at home writing about love's fraught emotions, as she is when talking about subjects less personal.  In that way, she has a mobility and utilitarianism as a songwriter and artist; nary content to stick to one subject, but project a range of emotions/palettes.  The production and sound on Under is modern and polished, yet not too polished, that gives it a pleasing conviction.  Percussive and classical edges do not impinge on the atmosphere: they play away in the background, adding and bolstering when required; employed to create a mood, and let Hepburn's voice speak the loudest.  Here is an artists whom will speak to a mass, that is not female-only: she will draw in a lot of male listeners, and undecided voters.  It is hard to tip-toe around or ignore her looks: she is one of the most beautiful and striking women I have seen, yet has such a voice that 'irrelevant' subjects take a backseat to her central talent.  Songs on Together Alone have a great deal of pop and 21st century elements, yet marry that with rock, blues and soul vibes that give the record an ambitious and variegated feel.  I hope that Hepburn is able to transcend the language barriers, international borders, and high-walled genres, and reach as many people as possible- certainly in the U.K. there is a market need and audience waiting for her.  In a year where the U.S., Australia as well as northern Europe (and Scotland) have been producing some of the best and most imaginative music, I think that Hepburn (still in her mid-20s) is going to make some headway when putting Britain back on the musical map.  With so much online love, and a seeming second-home of France determined to hear as much from Hepburn as possible, the future will be rosy indeed.  I am confident that the a lot of new attention will come her way, in light of Together Alone's growing success, and building word-of-mouth.  Whatever 2013/14 holds: a new album; E.P. or touring, one thing is for certain:  Quite a few as-yet uninitiated will be saying....

C'est magnifique.

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Official:

http://alex-hepburn.com/

Twitter:

https://twitter.com/AlexHepburn

Facebook:

https://www.facebook.com/ALEXHEPBURN.OFFICIAL

YouTube:

http://www.youtube.com/user/alexhepburn

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John Newman- Love Me Again- Track Review

Track Review:

John Newman

  Love Me Again

9.2/10

A refreshing change: a voice you can't readily compare to an existing artist.  Should the young man's ambition be fully-realised; he could make serious waves.

Availability:

Love Me Again is available at:

http://www.youtube.com/watch?v=CfihYWRWRTQ

Love Me Again E.P. is available at:

https://itunes.apple.com/gb/album/love-me-again-remixes-ep/id640379985

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THE male voice, or 'instrument' as it is often referred to as by the....

music media, is something that often fails to impress.  The state and health of the beast is rather grim: sallow of skin; a pale counternance, and a weakening of the limbs, which has seen it being looked at with worried eyes.  Previous generations have been little-concerned with trying to emulate their idols too closely.  From the '60s onwards, the greatest acts, as well as new music would sometimes stray into too-familar waters.  Even as recently as last decade, many new acts have tried to enforce their own tones and make their own moves- which has helped make their music seem fresh.  Something happened in the last 10 years or so, which has caused chagrin and heartache for me.  As someone practically obsessed with the voice, and all that it can acheive, it has been especially alarming: where is the originality?  In Lullaby, Chuck Palahniuk stated that "Anymore, no one's mind is their own".  Coco Chanell said thus: "Only those with no memory insist on their originality".  In literature, film and theatre it is a lot easier to have a unique voice.  Personal experience, as well as imagination dictates themes and stories; and there is so much scope and range that very few examples occur where you can accuse an authour of aping someone else (too closely).  I am not sure why music is not able to comply to the same standards.  Every new solo act or band that comes along, with some excpetions, seem to be too concerned with trying to sound like someone else.  The fickle and hysterical media do not help the issue, mind.  When a brand new star comes forth, there is an instant need for them to label and compare: attest that the voice and sound you hear is 'The Next...'.  Subsequently, there are very few artists today that you can original, or be inspired by- knowing that they have taken steps to be different from the rest.  In a way the style of voice or sound you adapt, is negated and influenced by your idols and favourite music.  The current generation tend to have a fairly short attention-span.  What is new and current (or a few years old) seems to be in the minds of most; which means that you tend to hear a lot of very familiar music.  If I hear of one more band being compared to Arctic Monkeys I may just give up completley.  Similarly if a male voice is (lazily and incorrectly) labelled as 'The Next Jeff Buckley' I will kill the journalist whom wrote it.  As well as the media being too quick to unfairly elevate new artists and stroke ego, a simulatenous burgeoniung of new moves and thoughts are present.  The male voice is probably more to blame than the female one.  For the female singer, there seems to be a bit more mobility (although there are too many Christina Aguilera/Adele wannabes).  Although there are fewer solo artists and bands, there is less homogenisation.  Current talent is tasked with inspiring the next generation, and are responsible for trying to dissprove the theory, that the best music we have ever heard, has already past.  With so much reference, technology and potential available to the sapling musician, there is little excuse for dropping the ball; playing it safe, or ripping someone else off.

John Newman is a 23-year-old, but seems to have understood the importance of showing some insight.  His voice and sound has been labelled as a force of nature; many have projected Newman as a larger-than-life figure.  There may be some truth to this.  As well as designing his own clothes, writing his songs, and scripting his music videos, he is a U.K. version of will.i.am.  Although Newman is very likeable, where as will.i.am is an odious tit who is possible one of the biggest jokes in the music industry.  Newman has spent the past year writing material and touring, Love Me Again is the summation of a lot of hard work and determination.  Newman was born in North Yorkshire, in a household that was awash with soul and Motown sounds: something rare in '90s Yorkshire.  Whereas most of his friends would be listening to modern music, Grunge and britpop, Newman was experiencing and being exposed to a lot of sounds from '70s and '80s Detroit, as well as the '60s and '70s U.S. soul movements.  A lot of Diana Ross and James Brown were heard, but Newman- into his teenage years- exposed himself to the likes of Damien Rice.  Having built a makehsift D.I.Y. studio in his house, he began toying with what he could acheive as a musician, and making his first steps.  Newman eventually moved to London, on the back of some personal dislocation and tragedy; determined to start again and acheive what he had wanted since childhood.  Amongst the bustle of the capital, he was subjected to some exciting local music, and built up some great contacts.  Newman dislikes silence; he feels least alone when there is sound and music, and this is represented in his music, which is bursting with life and energy.  Having overcome a fair few roadblocks and personal setbacks, the young artist has come a long way, and acheived a great deal given his 23 years.  It is the background of soul music and Motown blitz, that has set Newman apart.  Where as a lot of young talent listen to more modern sounds, or very obvious artists; their style tends to mimick that.  Beacause of the proliferation of black U.S. music, Newman has arrived off of the back of a rare and fascinating upbringing.  Very few solo artists cite Otis Redding and Marvin Gaye as influences: some of the young black soul artists do, but very few white artists.  They are artists whom have inspired generations and are as relevant today as they have always been.  By unintentionally rebelling against cliche convention, and embracing a style of music that is under-used and under-valued in 2013, Newman is already a step ahead of his contemporaries.

You can tell from Love Me Again, that a great deal of attention has been paid to every note and sound.  The track is chocked full of detail and style, and seems axiomatic, given the dilligence Newman has paid to music.  The furtive notes of the song build off of the back of brooding atmopshere.  Electric low rumblings strike and grumble stoutly, summoning up gravity and potency.  As the tension mount, and electric guitar sounds rise and layer the atmopshere with uncertainity, there is a palable sense of anxiety and unnerve.  By the time Newman's vocal arrives, there has been little chance to consider which direction the song will travel in.  His voice initially is spiky and hard-hitting: evocations of modern grime and R 'n' B artists.  Although galvanised with soulful edges, there is a forceful punch to the voice.  His words, early on, speak of wrong-doing and confession: "I done wrong", it is stated; our protagnosist asking whether this is something a devil would do, as "I shook the angel in you".  In spite of some early doubts and frank admissions, the tone changes to something more motivated and reinforced; as our hero has risen above the crowd, his mandate very much cemented: "Nothing I can't do".  Fron 0:42 on, there are classic strings unleashes, which come in hard and passionate; they transform into funky disco/funk guitar sparks; in turn they are punctuated by a drum thud- they perform a brief call-and-response dance with one another.  Newman's voice is reinvigorated and augmented following the short musical coda; filled with full-bloodied belt and dripping with soul: signs of Redding's gravelled edge, and Simone's striking power marry one another seemlessly.  Our protagnosist needs to know "Can you love me again?"; this question is posed again and again, imploring (to an unnamed beau) whether trust can be restored, and whether paramour can be resestablished.  In spite of the- perhaps anxiety-filled- decelerations, the mood is jubilant and dancing.  The music bursts into life, and a clash and fire of upbeat swing is unleashed; subtle blasts of horn and persuassive percussive edges give the chorus a Motown feel- one that is very much tailor-made for today.  Whilst the questions seems to need an answer, in order for our protagonist to be contented, there is no sign of torment or fear.  He struts and extrovertley decalres his words, accompanied by an infectious beacking; before stepping aside momentarily, and letting the music do a little talking.  Knowing that the verse packs an emotional and authoriative weight, it is employed again, as the chorus comes back in.  It is an effective deployment, as additional words or deviation would seem unfocused.  The remorseful tone of the verse, speaking of demons and heartbreak, is juxtoposed by the redemptive positivity of the chorus.  By the 2/3 mark, the tone and pace changes.  A brief calm arrives, with muted horns and percussion keeping the ears strained, before a vocal explossion arrives.  Our protaganist is empassioned and shouts- soulfully, mind: "Do this again".  Unusually for my ears, and for the 2nd time in two days, I hear a little bit of Ride on Time by Black Box.  It remains one of my all-time favourite songs, and the piano roll that is ellicited bears some ressemblance, that will make late-'80s/early-'90s folk such as me, smile.  As we go back into the chorus, this '90s dance tone, combined with the soul flavours, creates an intoxicating blend.  The video to the song has warrnted some speculation and controversy.  It features Newman in a music hall or northern club, on stage, performing the song.  A band backs him as revellers; fresh-faced dancers, twirl and jump to the song.  Its two leads, a rather cool-looking guys and a very gorgeous girl (whom alone has got as much YouTube love as the song itself), flirt; kiss and, well... are mown down by a van in the final seconds.  There is personal relevance and backstory to the ending of the video, which has courted some disgruntled feedback.  Newman is not a man whom shies away from boldness and personal projection, and is a worthy accessory to the track itself.

As much as I have been bellying the lack of quality and uniqueness amongst the young musicians of the U.K., I have at least been given some respite today.  Newman is a new name to my mind and ears, yet has provided me with fresh impetuts and inspiration.  As someone obsessed with the voice and the potency that can be delivered, Newman's voice is something quite startling.  Draped in golden velvet, as well as posessed with huge power, he is every inch a modern soul icon.  I can detect some feint hints of Redding and Franklin, mingling alongside one another.  One can see shades of Damien Rice as well as Paolo Nutini (he shares the duo's grizzled romanticism).  Similarly, and like Nutini, our young hero has a knack of injecting joyous musical evocations into the mix; breathless horn blasts and a good-time feel is the abiding flavour one tastes, long after the track has ended.  He has quite a keen eye for lyrics, and economy as a songwriter.  The verses are filled with biblical imagery, regretful confession, as well as open-heart honest.  Very few would be able to take those themes: revocations and apologetic proferring, and pair that to a chorus, which is the emodiment of the upbeat and empassioned: there will be few other songs you will hear this year that will be as memorable.  You find yourself singing the chorus after you have heard the song; being looked at like some kind of lunatics by passers-by.  Given what I have read about John Newman: his personal health issues, self-contained demons, and struggles, he is deserving of attention and vast subscription.  He is not a whiny X Factor cretin: all sob story and woe-is-me credulousness.  Here is a young man whose objective is to make music, realise his dreams, and bring his sounds to the masses.  A tumulteous and determined sky has been flown, and a smooth landing acheived.  It is early days for sure, but being someone who- all modesty aside- knows his music, and knows a talent when he hears one; the man Newman will be in much demand in the future.  On Facebook, Newman attests that more songs are in the pipeline, and his creative mind has been working overtime; in order to capitlitse on Love Me Again's impressive clout.  I can well see an aolbum's worth of material in the opffing, but should an E.P. be seen as the best logical next step, I will be fascinated to see what sounds and moves he makes.  Pious broadhseet ediors, 'trendy' music magazines, as well as the hardcore music lover will take a lot away from Love Me Again, and Newman's path to the here and now.  He himself says: "When it's silent I think too much".  Good news:

HE won't have time to think too much, probably for the next decade or so. ________________________________________________________________________

Official:

http://johnnewman.co.uk/

Twitter:

https://twitter.com/johnnewmanmusic

Facebook:

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

YouTube:

http://www.youtube.com/user/Johnnewmanmusic1?feature=watch

SoundCloud:

http://soundcloud.com/johnnewmanmusic/tracks

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The Capsules- The Cycle Starts Again- Track Review

Track Review:

The Capsules

  The Cycle Starts Again

9.3/10

U.S. 3-piece offer stylish colours, exciting avenues, and late-night wonder.

Availability:

The Cycle Starts Again is available at:

http://www.thecapsules.com/music.html

The album Northern Lights & Southern Skies is available at:

https://itunes.apple.com/us/album/northern-lights-southern-skies/id589452164

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MUSIC from America, tends only to reach the ears of us in the U.K....

occasionally.  Well, in terms of new music no less.  Music press have a tendency to promote from within, and the likes of Europe, Asia, Australia and North America can feel left out.  Of course there is great music in South America and Africa, but such is the bustle and hustle within music, that newer bands are often forced to work themselves to death, simply to get their names heard.  I have long asked why there isn't a specialised website that deals with music; pure and simple.  The likes of ReverbNation and Spotify have their uses and supporters, but to my mind, nothing on the Internet offers an all-inclusive and comprehensive service.  It would be something along the lines of offering all the existing music websites have to offer, but making it much easier to hear about great new (as well as established music) from all around the world: tailored to your needs and desires.  One imagines it would be easy, but would require a lot of planning and dedication.  Something needs to occur along these lines, as too often I have stumbled upon a band or solo artist by pure serendipity; wondering where the hell they have been all of my life.  This is not a phenomenon reserved purely for international acts: too often I have almost missed out on a great new act whom live only a few miles from there I live.  For there to be a proper communication between bands/acts and fans, as well as the market as a whole, better and more advanced communication links need to be established.  If you look beyond the confines and ensconces of your front door, there is a wealth of treasure to be found- if you look hard enough.  I have witnesses some brilliant music from the likes of Sweden, Australia, Norway, as well as Scotland, and always am concerned that too many people are missing out.  The task for the new band is how to best gain fans, and build a dedicated base, in order to have long-term appeal.  Websites, and the Internet as a whole is the best method in this ultra-modern age; yet too few are being recognised, whilst others slip through the cracks.  I mention it because it is in the U.S. that a great deal of excitement is happening.  Obviously- as well all know- some of the world's best music has emanated from the good old U.S.A: Dylan, Young, Nirvana, Cohen, R.E.M, etc.  Although the U.K. are probably a bit more active and superior in terms of quality, in sheer terms of range and diversity, it is hard to beat the U.S. competitors.  Throughout the West Coast; down through California, and travelling further in land into L.A., a myriad of spectral intrigue can be heard.  California is producing a lot of sunny and romantic music, as well as strong guitar bands.  Into L.A. and Burbank, harder-edged and more indie-flavoured music can be heard.  If you traverse right over to the East Coast, then Miami pop, electro and rock music is as good as any out there.  Aside from the obvious big cities such as Seattle and New York, there is a swathe and mass of land uncharted and undiscovered in music terms.  For those of us in the U.K.; many of whom may not be aware of the musical geography of America, it is the Midwestern region that is proffering some of the most extraordinary music of the moment.

The trio of The Capsules hail from Kansas.  The Sunflower State is located almost smack-bang in the centre of America.  Its population is largely White American and the entire state has a population of under 3 million.  Aside from the band Kansas, not a huge amount of music has heralded from the state.  It is true that a great deal of brand new bands, each of whom promise something new and invigorating, hail from the Midwestern states.  There is less stress to be found here- away from the big cities.  A combination of open space, beautiful landscapes and a sense of freedom can do great things to the creative mind.  As wonderful as the music from the larger cities is, there is always a sense of anxiety to the sounds, as well as greater cynicism.  Julie, Jason and Kevin are the endeavouring trio, and a growing band of online followers.  On their Facebook page, they claim that they "a tendency for sleepless nights".  It is the insomnia and somnambulistic states that have enforced and brought about the themes and mandates, for their album Northern Lights & Southern Skies.  Their sound has a delicacy and tenderness that is appropriate for a trio whom want to "gain a bit of insight into the experiences of love, loss and longing".  The group began life employing guitars and a more 'traditional' sound; but for the new album have used fewer guitars; instead incorporating more electronic influences as well as keyboards, in order to summon up as much emotion and spectral as possible.  Jason and Julie began started writing together in high school; and subsequently fell in love and married.  With the common bonds and shared musical passion, the duo embraced upon a recording career.  They formed the band Shallow, and it was a fan of their, Kevin Trevino, whom fell for their sound, and is now The Capsules' drummer.  Over time a wealth of fans flocked to see the group, and this has gained them some heady exposure; amongst the list of artists they have supported, included are The Flaming Lips and Mercury Rev.  Included in the group's list of influences is the likes of Radiohead, Muse and The Cure, as well as U.S. influence such as The Jesus and Mary Chain.  Today the group are based out of Texas, and have cemented a sound that is not often heard in the current scene- or certainly not as potently.  On their 10-track album, there is a wealth of diverse and fascinating material, and intriguing titles abound (Our Apocalypse and Test Drive the Other Side are especially striking).  It is encouraging that the band offer up biography about where they come from, and who they are.  The tendency today is for most to share very little: fearing that disseminating too much information, will make themselves seem disposable and low of mystique.  It is a hard balance to strike: giving just the right information away, whilst letting the music do the rest of the talking for you.

It is hardly surprising that the band, whom have a keen eye for design, colour and feel that The Cycle Starts Again.  It is a song from their previous collection, Long Distance Dedication, and highlights their key components and patterns.  Its life begins with plaintive and atmospheric guitar: plucked and punctuated to elicit maximum curiosity.  In the early stages of the intro., there is a feeling of Radiohead's Kid A work, and has that same sort of mixture between subtle guitar shades, solid percussion, and electronic evocations, that summon up a lot of energy and emotion.  It is perhaps the percussion that breathes most life into the song, early on.  Bass and guitar notes are levied to keep the track taut and measured, and keep to a set rhythm.  Around them the drum pervades and endeavours; unleashing some hard beats as well as softer patters, that, when combined creates a heady brew.  In a way one can draw some comparable with modern-day The National.  In the way that they have a keen ear and sense of melody, musical atmosphere and potency, likewise The Capsules evocate a certain wonder.  The cyclical pattern of the intro., which seems to expand like a snowball after each cycle, is a pleasing sound that hints at arable flavours of spring, as well as something more forbidding.  It is a line and tumble that builds and builds; the tempo and energy truncates and dissipates a smidge, before a sharp-minded percussive beat heralds the re-introduction of the passage.  From an introduction that lasts under a minute, a great deal of ground is covered.  Radiohead's innovative mid-career moves mingle with The Jesus and Mary Chain undertones, beneath a groundwork of modern-day indie splendour.  The introduction has a ready-for-movies quality: it has an adaptability that could see it scoring the opening credits to a romantic epic, or taut psychological thriller.  If you are waiting to hear a voice like Matt Berninger, Thom Yorke or Matt Bellamy; then you would be in for a surprise.  Not just because the voice is female, but because of the nature of it.  The voice is mixed slightly lower in the mix then you would like to, as there is a passionate and seductive quality to it.  Julie's voice is at once feather-light and breathy, as it is emotive and intent.  Early themes: "As far as I can see/The sun is fading",  are announced and projected with a wistfulness and romanticism that suggests a peaceful mind.  Shadows are cast over our heroine, and if lines such as: "The paths we're taking/Don't ever have to end" suggest something akin to acceptance and understanding, then the way the lines are delivered prove this theory.  There is no heavy-handed musical accompaniment: the strings and percussion keep focused and never wander or intrude; they augment the foreground nicely.  At one point the way a couple of lines are strung together and delivered, reminded me of Linger by The Cranberries.  In my mind comparisons to Imogen Heap and Leigh Nash can be seen, but such as is the tone and effect of the voice, that is supersedes the latter's lightness and Christian pop/rock tones, and is more appealing that the former as a whole.  Every line is delivered with tenderness and a certain stillness; certain words and notes are heard and elongated- going to show the band's eye for detail and projection.  Themes and details of romance and obstacles faced are given scrutiny; but, as it is said: "Just like the night/They'll be another day".  As the track progresses, the song's title becomes more relevant, as it seems that our heroine has been through some doubts and personal setbacks with regards to love and progressing, yet seems to know that it will not be the last time these issues occur- a sense of acceptance and philosophical edge are enunciated.   As the song progresses and comes to its end, the feeling of familiarity, deja vu and acceptance are enforced and built on; each time our protagonist's voice remains calm and tender, with an emotive-cum-matter-of-fact quality.  As the words end, Jason and Kevin's arpeggio strings and firm drum keep focused and tight; continuing the solid foundation present since the first notes. 

I do hope that the U.K. media, as well as social media, starts looking across the Atlantic Ocean as soon as possible.  Too narrow a focus is given towards home-grown music, and their ilk; yet little relevance and attention is paid to talent farther afield.  Some of the best new music I have encountered over the last few months has originated in international plains.  European and Australia are producing some fantastic guitar-based music, as well as disco and breezy pop.  The U.S., however, seem to be ahead of the curve with regards to consistency and diversification.  Ever since the '90s, the U.S. have produced some of the strongest talent in the music business, and seems to have continued unabated.  The Capsules have been producing music for a while, and have outputted an impressive array of songs, releases and movements, that suggests that their future will be long and promising.  It is good to hear them, and I shall have to do some retroactive investigation and listening.  Too long have we had to rely on word-of-mouth in order to stumble across some great new music; well it should change from now on.  I love a lot of the U.K.'s new talent: depending on where your compass is set, depends on what style of music you can experience.  There is a range of sounds, from retro-swing, through to jazz, pop, indie, and electronic music; each artist seemingly intent on being remembered for a long while.  There is, however, too much of a quagmire, with regards to originality: too few are different from the rest of the pack, making it especially difficult to wade through the muddy waters, in order to uncover gold.  As much as the likes of L.A. and New York are outputting some strong and intent bands and acts; one has to look away from the obvious locales, and see what is on offer further inland.  It is when we do this- as well as supplement international talent into our diets- that we will become better educated, more enlightened, and more importantly, experienced a lot of unexpected pleasures.  The Capsules will be a band I will be keeping my eye on, as the song writing is strong and impressive.  The compositions are intriguing and fascinating, mixing between '90s and early-'00s English influences, as well as electronic-themed motifs.  Percussive measures are filled with merit; matching the likes of The National for potency and memorability.  Guitar, bass and string sounds are alternately swaying and romantic; the next melodic and endeavouring.  It is towards the electronic side of things (with loops and otherworldly aspects) that they are focused for the brand-new album.  It is worth investigating and listening to carefully, as- if you neglect the band- you will be missing out sorely.  The Capsules are here...

AND ready to impress.

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Official:

http://www.thecapsules.com/

Twitter:

https://twitter.com/thecapsules

Facebook:

https://www.facebook.com/TheCapsules

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Arthur Beatrice- Carter (Cut)- Track Review

Track Review:

Arthur Beatrice

  Carter (Cut)

9.7/10

They claimed in an interview that maybe they should be a guitar band; on the strength of their new track, they should have no fear.

Availability:

Carter (Cut) is available at:

http://soundcloud.com/ululation/carter-cut

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THE band market is one that is busier than ever, yet is...

strangely underwhelming, on the whole.  This is more true of the new talent rather than the established order, but there is some caution that needs to be excursive when approaching any new band.  At the moment, the majority of infant bands tend to err towards guitars and guitar sounds.  It has been the staple and mould that has been present since the '50s, when rock and roll bands introduced the phenomenon.  From the '60s through to present-day there have been some wonders and legends that have made some pretty outstanding music, but in 2013 there are few surprises that anyone can levy.  Established acts such as The National and Queens of the Stone Age have gone to show that, given the right inspiration and talent guitar music can be unbelievable.  The former have won fans by combining their subtle and mesmeric compositions, with incredible lyrics and memorable melodies.  The latter are possibly one of the last and best guitar bands; capable of surprising and exciting fans 17 years after their formation.  These examples are exceptions: very few other guitar bands have this degree of quality, and it seems now that the vast majority of what we term as 'guitar bands' seem to be bereft of innovation and talent: too many simply appropriate an existing group's sound, and are incapable of shocking.  I suppose that the '90s was the last period when guitar bands and music had full and fresh breath.  When the likes of Blur and Oasis ruled the airwaves, you can feel the quality, even though the latter have a bit of a reputation for stealing riffs and melodies!  My point is that the best moves and lines have already been performed- it seems.  Given the unreliable nature of the genre, the listener, reviewer and prospective musician is forced to turn their attentions elsewhere.  Innovation and originality are as needed now as they have ever been, and for that band willing to push their boundaries and get it right; the rewards are multiple and golden.  Recently I have been astonished by some new groups.  Many have guitars at their base, but infuse electronic sounds, jazz movements and toy with sonics and sensations, to elicit a more invigorating whole.  If you free yourself from the shackles and limitations of the guitars-bass-drum formation that most bands employ, and challenge preconceptions, then it is a lot easier to unveil and proffer graceful, memorable and thought-provoking music.  Bands are also subjected to being too rigid when it comes to gender and nationality integration.  There is a shocking lack of inter-gender bands: the boys stick with the boys and the girls pair with the girls: nary are new groups willing to step aside from confines produce the best results.  By blending male and female voices, influence and ambitions, you can often expand your pallet, give yourself more options, as well as appeal to a broader demographic.  By mixing different personalities, genders and localities into a band's arsenal, you are instantly forging a path that is not just suggested, but required, when trying to be different and successful.  It sounds like a rant, but from one whom writes himself, there is too little mobility when faced with new bands: what will the best new sounds sound like?

I mention this, because Arthur Beatrice stated in an interview with This Is Fake D.I.Y., that "maybe we should have been a guitar band".  That would never be good enough for the band: just take a look at their name!  The band's name- I can assume- is a transposition of Beatrice (or 'Bea') Arthur: sadly deceased former 'Golden Girl'.  She was an actor whom famed for her sitcom work in the '70s, and inspired a generation of actors.  She was an illustrious and famed theatre star, and lived an inspirational life.  The group themselves have been around for a little while, and have managed to cultivate a dedicated following, as well as an individual sound too.  The four-piece comprises Orlando, Ella, Hamish and Elliot.  The boys are trendy and sharply-dressed, projecting an image of coolness, as well as sophistication; the girl is gorgeous: model/film star looks and a smoky and alluring sex appeal.  Our quarter believe in- and have been subjected to- a perfectionist tendency: crafting and working on their sound, in order to achieve the best sound they can.  They themselves state that "It's a big vice for us", but have also hinted that "it's worked".  The band member Elliot explained this, with regards to their debut album: a record that was re-mastered over and over.  I can emphasise with this work ethic.   Having been writing for the best part of 12 years, I have recycled, reinterpreted and reworked many a song; honing lyrics, starting from scratch and chiselling away: before anything has been recorded.  You can tell from interview that the group hate the idea of being seen as 'throwaway': something that afflicted a lot of groups from the 1980s and '90s.  On their official website- tongue-in-cheekily called 'online-prescnce.info'- image and detail are of big importance.  There are black-and-white images: some distorted photographs; some are paintings, as well as lyric samples.  Arthur Beatrice are a group whom follow no-one (literally, if you look at their Twitter account), such as the way they operate, the codas they live by, and the resulting sounds.  Anyone willing to break away from the guitar sect show bravery.  I suppose from an evolutionary standpoint, electricity and sound combined muster masculinity and intention; and there is a translucent and obvious ambition (by all-male bands primarily) to be the most exciting and the loudest; and gain some superiority.  Anyone willing to climb to the top of the tree through intelligence and innovation,   You have to move forwards to move forwards.

The band are averse to confessional social media outpourings as well as band biographies; attesting that the group hate the way that acts become throwaway and comestible the more you know.  As much as I can agree to disagree with regards to meeting in the middle, you cannot deny the strength of the only thing that matters: the music itself.  Previous comparisons have been suggested between the group and Wild Beasts.  I suppose from the opening moments of Carter (Cut), one can detect that.  The way that the percussive rumble mixes with a feint tint of percussion has some common ground with Two Dancers Wild Beasts.  That percussive tumble is a striking and memorable opening.  Part tribal protestation, part indie proclamations, an electric and exciting atmosphere is presented which certainly makes you sit upright.  Dark and brooding piano swoons melt into the mix, before Ella's voice arrives.  Her voice possesses a smoky seductiveness.  There are parts Laura Marling; wisps of Sophie Ellis-Bexter, and early-career k.d. lang.  As much as there are small influences tucked away, the abiding feeling is we are hearing a very unique and fresh voice.  It is soothing, calm and strong; possessed with some classic U.S.-cum modern-day U.K. tones, and is a voice that could be perfectly at home in the midst of a jazz or blues track: there is that authoritative and utilitarian nature to it.  When the words are proffered; tales of lovers coinciding; scepticism towards fate, and a mandate that proclaims: "So never tell me that I think of you".  Each word drips with conviction and lust, and the track is delicately measured.  A couple of lines are delivered; a very brief piano evocation acts as punctuation and mood-emphasis, before another couple of lines are delivered.  It gives the track the quality of swooning and swimming; romanticism and introspection.  When a vocal duet is unveiled mid-way through the 1st verse, it sounds like a lover's call: heroine and hero singing in unison.  Initially the mood is fairly sedated and light, matching the lyrical tone, as well as augmenting the overall mood.  Before the 1:00 marker, percussion crackles, as the piano passionately dances.  Oddly there seemed to be reminiscences and truncation of Ride on Time, as well as a '90s dance feel-cum-electronic bliss.  It is a passage and colour that is uplifting and energised.  It may be a stereotype or over-exaggeration, but few new bands have great lyrical depth or talent- in fact few bands at all do.  Usually vocal and audio merits are highlighted to counteract for some below-par words.  Parables such as "The evening is an open sea" and "where the air will cut me dead", invite bold and vivid imagery and scenery.  The words are filled with striking metaphors; poetic flourishes and intelligence.  There are guitar bands and acts that can pen a good set of lyrics, but the themes and narrations tend to be single-minded and (as well as being pedestrian at times) vague.  In the way that the music pushes and pulls and dances; and the vocal seduces and strikes- the song seems belonging of a past (and better) era.  In 2013 a great deal of similar-sounding songs are performed by solo artists: it is a rarity to hear bands that have such an eye for detail, precession and sheer feel.  In the way that the conjoined vocalisations add weight and power to the track, they also offer a more pop-orientated edge- acting as a juxtaposition and change from the more soulful nature of Ella's lone voice.  Arthur Beatrice have a comparable quality to a lot of the all-time great bands.  As well as the cerebral and literary lyrics and stunning vocals, there is a restless and surprising amount of audio shades.  The piano is an instrument that is used- early on- to be romantic and calming, but also employed to add tension and tautness, as well as sheer swagger when required.  As well as some stirring piano work, the drumming is constantly tight and proficient.  A steady heartbeat dominates most of the track, but there are a lot of occasions where the percussion matches piano for majesty: creating a similar impassioned swing.  Our heroine offers: "And so I come/Barren like"; her voice suggesting a tear of emotion, but full-bodied and resilient.  There is some obliqueness in the lyrics that means that some of the words meaning and intention are open for interpretation; whilst other lines are direct and unambiguous.  It is a pleasing and familiar one moment, whilst mysterious the next: "And all I'm aiming for/The locking in" begins a confession that ends with: "Just anything/But dust and settling".  Whether there is some personal dislocation on behalf of our heroine, or a particular catalyst that has influenced her words, it is hard to say- but fascinating to listen to.  When some of the most anxious words are delivered, so too are the most exhilarated and rampant audio overtones.  You never are dragged down and depressed by anything; nor are you allowed to smile too broadly: such is the 'hinterland' nature of the track.  When the song ends you are left wondering whether Ella found peace or satisfaction, and has answers to some very emotional questions.

The group say that they've- with regards to influences or comparable bands- "never found natural partners".  Few groups (or solo acts) past or present have such a (maybe fastidious?) precise attention for perfection.  It is inspiring that here are a group whom have a natural restlessness that means that the songs you hear are the result of hours, days (and months possibly) or precise detail, honing and trial-and-error.  In a modern climate there is a tendency for songs to feel off-the-cuff: rushed off; either to meet a market or public demand, or under-considered.  For new acts there is an inherent and prerequisite burden.  Due to the market expanding more by the week, it is imperative that you make your mark as soon as potently as possible.  This can result in acts putting out E.P.s and albums too soon: in turn this can lead to criticism and harsh critique.  I suppose there is a short-lived window for most bands, but Arthur Beatrice have shown that; if you take your time and spend time and effort on songs, the results speak for themselves.  I feel there should be less anxieties and stresses for any new act.  The likes of Laura Marling, The National and Queens of the Stone Age (producers of the three strongest albums this year, to my mind) show that even 5 or 6 albums down the road, some extraordinary movements can be made, if due attention and consideration is given to your work.  These examples perhaps did not produce their best work early on, but showed that, through displaying innovation and ambition, the public will clasp you to their bosom, and consequently inspire future success and progression.  I am not sure what the album will feature and sound like, with regards to genres and sounds: whether there will be more Carter (Cut) gems; or other styles and sounds used, but there is a hot anticipation as well as galvanised confidence that the results will be spectacular.  Those that have seen the four-piece play live can attest at how good they are, and what they can achieve in the future, so it will be exciting to hear what they have to offer.  They are a band whom are part of a rare sector of the music industry not obsessed by and concerned with guitar sounds.  They go to show what can be achieved when you don't think like everyone else.  New bands (and solo acts) should take notes.  For diversification and regenerations to occur, bold moves and tactics need to be employed, and in the case of the guitar-heavy core that exists, it is nigh-on essential: take inspiration from our quarter.  2013 will be a busy and rewarding year for them, and for all my words, one thing is crystalline: they will have a very long-term future.  And that...

IS really all you need to know.

________________________________________________________________________

Official:

http://online-presence.info/

Twitter:

https://twitter.com/arthurbeatrice

Facebook:
https://www.facebook.com/arthurbeatrice?fref=ts

SoundCloud:

http://soundcloud.com/ululation

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Interview quotations sourced from thisisfakediy.co.uk interview: 

http://www.thisisfakediy.co.uk/articles/neu/arthur-beatrice-maybe-we-shouldve-been-a-guitar-band/

Bird- Shadows- Track Review

Track Review:

Bird

  Shadows

9.2/10

Google-proof of name; but once you discover them, their harmonious beauty will take you somewhere more peaceful.

Availability:

Shadows is available at:

http://soundcloud.com/BIRDOFFICIAL

Their E.P. Ophelia is available at:

https://itunes.apple.com/gb/album/ophelia-ep/id593857775

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DIVERSIFICATION and location are two themes that I have explored...

in some considerable depth recently.  It has played on my mind, and I have tried to rationalise and explain the reasons behind the types of music in various locations.  For a few months I have taken receipt of different acts and bands; each of whom proffer something unique and varied.  As the sounds tumble forth and I read up on the associated act, I am always surprised by the conclusions I reach.  At the moment, there is a growing evidence to suggest that the best and brightest talent are to found the further north you travel.  Yorkshire, Greater Manchester and Scotland even, have all produced a great deal of bustling and exciting acts, which has lead me to this conclusion.  If anything the likes of Manchester are producing too many acts that are too close to existing bands, in terms of their sound, but there is an overriding realisation: diversity is huge.  It was the '90s that we experienced the last real surge and wave of diversified talent.  Yesterday I went into depth at the array of wonderful sounds that we took from that decade: britpop, dance, Grunge etc.; and felt that it surpassed the 1960s, in terms of the quantity of quality and variation that was to evident.  In 2013, we are tasked with a more depressing truth: that range we once heard over 10 years ago, will probably never be felt again- not even close, to my mind.  Not to say that this decade promises little gold.  If you search hard enough there is plenty of interesting moods and sounds to be found.  Away from the top names of the established order, a great deal of fervent and ambitious new talent are plying their trade and offering up some tantalising sounds.  The south of England, as well as Ireland are playing host to some great pop and folk: that varies and at its best, is offering up potential future geniuses (Kiran Leonard).   Up towards the north of England, is where the most wide-ranging noises are happening.  Influences from the west coast of the U.S., as well as Europe are being incorporated.  Sunnier Californian climbs are parenting breezy and blissful pop and melodic music: reminiscent of the '60s and '70s best examples.  European nations such as Sweden and France are also doing their utmost to bring sunshine to our stereos, and is something that the U.K.'s best new talent are getting in on.  In a time where there is still a majorities vote with regards to electric force and rock and indie tones, it is invigorating and a fresh air breath to the scene: much-needed considering the hostile weather and political landscapes we are subjected to.

Hailing from Liverpool; a city hardly slacking when it comes to producing top notch acts, Bird are a name that will intrigue.  In spite of the fact that it is near-impossible to locate them via Google (without some rather deft search terms); once you do locate them, it will be difficult to extricate your thoughts and ears from their music.  Adele Emmas, Sian Williams and Alexis Samata are our trio of winged guardians, and have been making- as The Guardian calls it- "forcefully blissful" sounds for over a year now.  Their 2012 E.P. Shadows garnered a great deal of praise, respect and adulation: arriving at it did at a time where their unique brand of song was- and is now- rarely experienced.  BBC Radio, from 3 through to 6, have featured Bird and helped to elevate the trio, and inspire about a brand new E.P. Ophelia.  Music publications and broadsheets alike have all been forthcoming with regards to praising the band, and their atmospheric and dark shades have captured a public consciousness, and has seen their fan base climb ever upwards.  It is the combination of sonic components; from tribal drums through to haunting vocals that has meant that the three-piece have seen themselves tasked with a busy next few months.  It is hard when trying to draw direct comparisons, as their sound has a quality that is rarely heard of today, and from a historical standpoint, there have been few similar acts.  In a way their tones and evocations have a sense of something otherworldly, and definitely fills a need in a growing void in the music market.  Their new E.P. was produced by Bill Ryder-Jones, guitarist with The Coral- a band whom have a stellar reputation for presenting twisted and distorted sounds, with magical results.  What the future holds for Bird is down to them: whether they choose to make a full-length album, or further E.P.s, but demand is high at the moment, and the band are going to have many options when deciding what they want to do next.  For all the guitar bands, short-lived acts, and new talent that play it safe when looking into their creative war chest, Bird are a trio whom have a tangible and universal reliability, yet take their sounds beyond what you would expect; infusing their songs with a sense of etherealness and spirituality.

When looking at a track to review, in order to get across what I am expressing, Shadows seemed like a pertinent choice.  It is from their Shadows E.P. (released in August of last year), and displays all of the trio's hallmarks and standards.  Opening up with a powerful and passionate wordless vocal; one which begins fairly low-pitched and measured, before changing direction and projecting a higher pitched- backed by a hypnotic guitar arpeggio.  The guitar takes centre stage, slows its pace slightly, and gracefully floats and strums.  The arrival of a subtle percussive background heralds the arrival of the vocal, which spares no time in making an impact and getting into your head.  Our heroine has a voice that has a uniqueness to it; imbued as it is with soothing colours, as well as darker edges.  The lyrics initially point to personal demons, as well as doubts: "In my dreams/I feel I'm always sinking".  There is a little hint of Kate Bush's majesty, as well as Elizabeth Fraser's haunting vocals, but have familiar hints and are never too similar.  Ghostly atmospheres are presented in the backdrop: summoning up chilling undertones, as the vocal tells the story.  Our protagonist's focus of attention, and unnamed subject "walks in the shadows"; amidst a tide of sinking ships.  At once the mood is evocative and tender.  To my ears a lot of the stranger and dissonant eeriness is reminiscent of Radiohead's work during The King of Limbs.  One can detect a comparable quality and sense of mood and majesty.  If the strings and percussion remind you of Radiohead, then the layered vocal harmonies that arrive take your mind away from Yorke and co.  Further reminders that our hero walks in the shadows is bolstered by a calming vocal backing: similar in nature to The Cocteau Twins at their best.  When Adele's central vocal rises and rises, it hits a pin sharp high; eliciting shivers as well as an ethereal cry.  In the way that the vocals play and echo with one another adds an extra layer of texture to the mood, and words about "The creatures of the night" give teeth and danger to an already-fraught scene.  Bird are not a group who are contended to rest and be predictable.  When tales of creatures of the night are told, a chorusing of "On the moon" is sung; swaying and swelling and bursting with high and low notes; hypnotic and eerie in its projection.  Guitar work is subtle but atmospheric; parts Leonard Cohen, circa Songs of Love and Hate; part Pink Moon Nick Drake.  Vocally, when the middling to high notes are sung there are shades of Hounds of Love Kate Bush.  It is an unusual combination and one that elevates the trio's beauty; that mix of darker strings and celestial vocals has quite an effect.  You can vividly imagine what is being sung of in the song: everything is imaginable, as much as (sometimes) you'd rather not.  Scenes of campfires, tribal rituals and strange things in the night mingle, unleashing a heady and intoxicating scent.  Our heroine speaks of ivy crawling up her skin, and whether there is a deeper meaning behind the lyrics: a troubled dream, metaphorical relevance, or based around some inner personal turmoil, it is unsure; but in the same way that Kate Bush so often presented similarly-strange scenes, Bird do likewise- it is something that should be done more in modern music.  Adele's voice has range and a wild edge to it, but never seems too eccentric or over-the-top: everything is controlled and tight- even during the most enflamed moments.  Sian balances Adele's voice perfectly adding smokier tones to counteract the soprano bursts.  It is when the vocals combine with one another that some of the song's best and most spine-tingling moments occur.  Guitar and bass work is especially impressive: the former unravels avalanches, rolls and showers of sound, whilst the latter keeps everything taut, tight and a tad menacing.  Lex's percussive mandates are powerful and potent, yet keep calm: keeps the track's backbone straight and true.  Glorious folk and pop edges from the '70s, mingle with modern-day sparks, to infuse the song with a multitude of strengths.  If you find yourself unfamiliar with some of the influential touches: Bush-cum-Cohen-via-Cocteau Twins; then do not fear, as the way these artists are incorporated within the track add great weight to it.  The tracks themes about wild beasts, moonlight scenes and a man who walks in shadows may seem unfamiliar topics, and are a much-needed tonic.  Too much current emphasis is placed on love-gone-wrong, as well as dislocated emotions and street scenes.  By employing something more mythical and original, the song sticks out before a single note is sung.

Bird are a three-piece whom are relatively new to my ears.  I have heard whispers and praise spoken about them, but never sat down to investigate their music further.  In the modern climate there is still an over-reliance to stick to what has come before.  Commercialism and market forces negotiate and dictate a lot of what is reviewed and promoted.  Aside from the soulless and mindless plastic pop crap- away from the established acts- there is a huge reliance still on guitar bands and their ilk.  There will not be a diversity and opening up of the marketplace if more people are not willing to be embracing and adventurous.  Bird are a trio that will be a bigger name in the next year, and the fact that they have won huge support from so many radio stations and publications, proves that their music speaks to a lot of people.  Their previous E.P. Shadows proved how good they are, and laid out their intentions.  Ophelia continues where Shadows left off, and expands upon its palette.  Those sweet and intoxicating harmonies, dark and heady moods, and potent lyrics, mix with unweathering and atmospheric guitars and bass, and sharp and taut percussion.  It is an E.P. well worth seeking out, and shows the same strengths and wonders that Shadows does.  Over the next year or so, I hope there is a greater mobility and movement away from a some-what homogenous scene- maybe a return to something akin to the '90s.  I won't cheapen the mood by making any bird puns or flight similes and metaphors; but it is true that there will be a lot of fresh ears willing to welcome their intriguing sounds.  Too tempting is it to be narrow with ambition and sound, and not venture out into the open and be more explorative.  Take a listen to the Liverpool 3-piece, and see where the likes of N.M.E. and BBC Radio are coming from...

AS they a rare species indeed.

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Twitter:

https://twitter.com/BIRD_OFFICIAL

Facebook:

https://www.facebook.com/birdmusicofficial

YouTube:

http://www.youtube.com/user/BIRDTVOFFICIAL

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Bourbon Street Beat- Knuckles of Brass- Track Review

Track Review:

Bourbon Street Beat

  Knuckles of Brass

9.5/10

Manchester 3-piece infuse '50s and '60s rock and blues to create styles of the streets; via the sounds of the U.S.A, direct to your brain.

Availability:

Knuckles of Brass is available at:

http://www.youtube.com/watch?v=2zdR-lqAmOw

Their debut E.P. is available at:

https://itunes.apple.com/gb/album/knuckles-of-brass-single/id638923010

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PAST decades have taught us quite a lot about what we have lost...

as well as what we have available, to incorporate into modern music.  There is such a choice that has been left by historical bands and acts, that it can be bewildering when thinking about what ingredients to include into your sounds.  When I am putting together song ideas and titles, my mind always turns to the 1960s: for me, the first truly great decade for music.  It is one that is defined by bands such as The Beatles, The Rolling Stones and a generation of hot U.K. talent; many of whom were the first examples of pop and rock bands that spoke to everyone.  Of course in the U.S. solo stars such as Bob Dylan were also enlivening and inspiring, and their influence has been utilised by a lot of modern-day bands and solo artists.  Naturally it is tempting to incorporate elements of '60s masters into your sonic cauldron, but given the quality of music, it can be hard to match the genius and wonder of these artists; the trick is to hint at the majesty of these folks, and take patterns from their past, and weave them into your music, without sounding like a tribute band.  The '60s also gave us a great deal of potential promise.  The likes of Led Zeppelin began life at the end of the decade, and it was a period that was to see a great deal of talent sit up, take notice, and see how good music could really be.  In the ensuing two decades there was some terrific music being made, but to me the greatest decade for music is the 1990s.  It is a period that is often unexplored by a lot of new bands, which always surprises me.  Considering what the decade brought: Britpop, great dance music, Grunge; a mixture of great U.K. bands and U..S acts, as well as terrific solo work, it is a goldmine that has not been tapped as much as it should.  To my mind, that was the last decade and period that produced truly wonderful music, and I doubt things will ever be as good ever again.  Not pessimism or hyperbole, I just feel that there was something about that period that inspired a great deal of musicians, and a common vein was struck; the reasoning is ineffable but staggering.  Today the task for the new act is making your sounds sound modern, but also eliciting some bygone glory too.  The 1960s and '70s seem to be the best decades to focus upon when crafting rock and indie sounds.  Rarely is there a great deal of consideration or patronage paid to the 1950s.  If anything this was the godfather/mother of modern music.  It gave life to the '60s, which in turn, inspired the bands of the '90s; to give life and inspiration to 21st century music.  I suppose the '50s was defined by narrow appeal.  The rock and roll bands as well as doo-wop mainstays were still in force, as well as a eminence of the swing and jazz greats of the '40s.  Naturally there were some great sounds to be heard, but I feel few take full advantage of the decade as it was defined by sounds rather than bands and songs.

It is perhaps not shocking that Bourbon Street Beat are inspired by the music of 60 years ago.  Their name evokes images of U.S. backwater bars, located in Mississippi or another Louisiana passage; inhabited by New Orleans jazz, grizzled rock and roll and folks that you would not double-cross in a hurry.  The band name is- perhaps unintentionally- taken from a very short-lived T.V. series of the late '50s.  That show focused on a New Orleans former cop, whom partners with an Ivy League lawyer, to fight crime.  Today it is the kind of synopsis that would make you think of a sitcom or parody: it is so clichéd and contrived that it is a wonder it was made at all; but has kitsch appeal and at least had a great backdrop.  Bourbon Street itself is situated in the French quarter of New Orleans, and plays host to Mardi Gras, a wealth of neon-signed bars and- improvised as Louisiana is as a state- it attracts tourists and many visitors, all of whom are keen to be intoxicated by the smells, sights and sounds that it has to offer.  Iain, Joe and Andy, our Manchester trio, are possibly not what you'd expect when presented with that particular band name; given that the current sounds of Manchester are imbued with Arctic Monkeys-esque rock and 1980s-inspired sounds.  I have long focused on Manchester and the north as being one of the most bustling and productive sections of the U.K.  A lot of new bands suffer a similar fate: trying to sound far too much like Arctic Monkeys and more local bands such as Oasis and The Stone Roses.  Away from the clans of the unoriginal groups such as The 1975 are laying down some intriguing and exciting sounds.  Our 'Bourbon' boys are fellows of the same school of thought.  They blend '60s rock with '50s rock and roll; dolloping a modern life dose of invigoration and subjectiveness, creating a spicy and flavoursome dish.  In spite of only being on the scene for 3 years or so, the lads have amounted a fair number of positive reviews; as well as drawing in and winning over a number of dedicated fans- and not just around the Greater Manchester area.  You do not have to hear a single note before your attention is pricked and tantalised.  That band name drips with promise and potential.  The boys are unforceful proselytizers to their merry dance; the music draws you in, and does not need Liam Gallagher-esque bolshie nonsense or hoopla: it captures you on its own pure terms.  The debut E.P. by our trio is available, and the 3-song collection boasts a great range of mood and sound, but keeps their core style and aesthetic solid and dedicated.  Reviews on iTunes for the E.P. have been overwhelmingly positive and were it subjected to a Metacritic survey, it would score in the high 90s.

Knuckles of Brass is the swansong finale of the E.P., and is gaining a lot of attention and plaudit.  Scarcely hard to see why it is gathering so much love.  If you play the video to the song, it is swathed in memorable images and scenes from popular T.V. of the past.  Popeye, Scrooge McDuck and cartoons and shows of the '50s make up the video; the band do not feature, instead the entire piece is a compilation of cartoon and T.V. clips, that is dizzying, fascinating and a perfect visualisation of the song's magic.  Twisting and jumping electric guitar strings begin the track; elements of U.S. rock: Queens of the Stone Age, Foo Fighters, Kings of Leon, mingle with U.K. acts: Kasabian, early career-James; Oasis too; but nothing sounds anything like a particular band, it is instead a cultured and authoritative build-up.  When percussion weighs in, it does so with hobnail boots on.  With a smattering of God Is In The Radio QOTSA, as well as a glorious recollection of 1960s Britain, the combination of strings and drums marches and waltzes with masculine strut.  Speaking of "Glasses of wine", and scenes filled with "Girls from shore" standing and staring, the initial bout of the song, sets out the stall.  Sonically the groundwork of '60s and '50s rock, mixed with Mancunian sparks are set up, and the vocal is breezy and powerful in equal measures.  Accent remains, without the need to needlessly bring too much American into the mix; you can tell that there is native tones, as well as influences from past times in the vocal cement, but the sense of individuality is crystalline.  The main thesis of my discourse as of late has been a lack of originality in this country, and the music we produce, but Bourbon Street Beat, walk across county and state lines, picking up memorabilia and souvenirs from some fascinating climbs; yet manage to keep their indigenous heritage and quality all in tact: the effect is why I mention the '90s so much.  To my mind that decade is reproachless in its innovation and joys, and the band are deserving of being classed with the highs of the last generation, as much as they are with the best of the current one.  You can tell that there is a sense of melody and compositional integrity throughout.  The song sways and swaggers as the vocal matches its dance.  Flecks of southern states U.S. come through; a little bit of bluegrass also pokes through in the tones of our front-man.  He has found a plan but "it drags me down": such is there the sense that the best intentions and surest footsteps are met with more negatives than positives.  Few people pick up on the musicianship of bands: look between the cracks and strain their ears and minds; but when you do, it gives you a clearer sense of what the band are trying to say.  Knuckles of Brass is not your straight-laced, one-dimension clout that too many contemporaries produce.  Gravity, multi-dimensions and adventure rule the palette.  In the same way that the new Queens of the Stone Age has been commended for its maturity as well as composed nature and audio blitz: multitudinous guitar sounds and wide-ranging ambition, similarly our Manchester boys wield a similarly-sharp samurai sword.  Gaps and pauses are give, tension is built, and when the guitar, bass and percussion works together, there is a constant sense of movement and change: taut drama-sound tracking spikiness-cum-bourbon-soaked rock entwines, and contorts throughout.  Our hero is "Tired of waiting", as "No one is listening": enforced as his mandate is, by the immovable swagger of the music.  The voice as well is commendable as well.  Certain words are emphasised and there is an audible rise; it gives the sense of lines unfolding likes waves: dipping and rises at various intervals, creating a sense of uneasiness as well as potency.  In the way that the vocals blend U.S. rock, blues and country, as well as British steel and Mancunian overtones, brings the words to life expertly.  Never is there a sense that anything is being phoned in, such is the conviction of all of the band's members.  Before the 2/3 mark a cobra of electric buzz is released, and raises the danger and temperature, as percussion and bass keep the backbone solid and unbreakable.  Throughout, there is a sense that our protagonist can get no satisfaction, and the best laid plans and moves are met by hostility and resistance.  However you interpret the song: whether there is a romance gone bad; personal inner turmoil or something more fictional inspiring the words, it is something that will strike a chord with everyone.  The song has a utilitarianism that can see it played at large festivals or smaller bars.  It could be played at a New Orleans watering hole, or a Salford pub, such is the universality of the sound.  Each of our players works hard and injects the song with huge gravity.

New as the guys were to my mind, Bourbon Street Beat are going to be future main-stays.  Rarely outside of the U.K. are evocations of the U.S. and its southern states displayed so convincingly.  In a year where new bands stick too closely to predictable sources and have too narrow a focus, the three-piece have adventure and ambition.  Musically there is modern U.S., '60s Britain as well as evocations of everyone from King of Leon, Queens of the Stone Age, Bruce Springsteen and The Smiths.  Vocally there are few comparable, but there is a bit of Springsteen, as well as country, bluegrass and rock idols of old.  If you take all of this together, and even if you compartmentalise the various elements that make up their sound, it stands up as its own man and beast, and you will not be thinking of any other band or act when hearing the track.  That is the appeal of the boys.  It is clear that they have a fond affection for the good ol' U.S.A: it's flavours, sounds, landscapes and music, but they have a modern-day sound that is as much influenced by local delicacies as anything.  A breath of fresh air is it as well- how many other acts today sound like them?  Too often have I been subjected to hearing bands and acts that are too indebted to pre-existing bands, but in Bourbon Street Beat there is something fresh and challenging.  It should- I hope at least- a raft of other bands to incorporate some bourbon and whisky into their glass, and pull away from beer and ale, as seems to be the nature of modern-day sounds.  It is fair that their band name, as well as song titles, elicit a lot of curious conclusions and speculation, and there is plenty of comparable joys to be discovered in their E.P.  What the future holds for them will be interesting to see- success for sure.  If a fully fledged album is in their minds will be a question many will ask, on the basis of their E.P.  If there is, then it will be fascinating to see if they keep their sound and aesthete unwavering over 10 or 11 tracks, or whether they will incorporate other genres and styles into the fold.  It is not something they should worry about, as their core sound has enough longevity to be exciting fans for many years to come, but one suspects that there will be some differing moves unleashed in future months.  For now, take in the sounds, smokes and flavours of the Manchester trio, and grab a (digital) hold of the E.P.  One thing in my mind is sure, and has ruled my musical thoughts for a long time: it would be bloody nice to see a new band be heralded in the public view; as there the best music at the moment is being made by established acts and the older guard.  Have no fear.  Should the trans-Atlantic path by trod with endeavours of continuing discovery:

BOURBON Street could very well go from New Orleans to be a big-name franchise.

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Twitter:

https://twitter.com/BSB_bandpage

Facebook:

https://www.facebook.com/BourbonStreetBeat

YouTube:

http://www.youtube.com/user/bourbonstreetbeat1

Reverb Nation:

http://www.reverbnation.com/bourbonstreetbeat

SoundCloud:

http://soundcloud.com/bourbon-street-beat

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The Graphite Set- These Streets- Track Review

Track Review:

The Graphite Set

  These Streets

9.4/10

Pencil-sharp ryhtmns and stunning sonic landscapes, back a stunning voice; the result: game and match.

Availability:

These Streets is available at:

https://www.youtube.com/watch?v=7XxfpWzXj8g

These Streets E.P. available at:

https://itunes.apple.com/gb/album/these-streets-ep/id636432154

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THE strong female voice, is a case study that has many different angles...

that one can examine.  In the current scene, the best representatives of this type of vocal prowess is Adele.  In the U.K., at least, there are few female singers that have a notably powerful and intriguing voice.  When considering solo artists, in today's market, the majority of stars tend to project a softer-edged voice: sweetness and stillness are favoured over emotive strength and belt.  Amy Winehouse was the last great example of a talent whom could evoke jazz and blues power, and do so in a very unique and surprising way.  There are singers such as Jessie J, whom can project and summon up a lot of force; but the songs and personality behind the voice are so divisive and unspectacular, that it is going to waste.  The U.S. have been the strongest historical patrons of the strong female voice.  Soul legends such as Aretha Franklin in the '60s and '70s showed how it should be done.  Towards the '90s and up until modern day, Christina Aguilera and Mariah Carey have been obvious examples of what I am trying to say.  Outside of the U.S., Europeans such as Bjork offered up their own blend of potent vocals; but away from them, there have not been too many examples to offer.  In the country there is a problem that stems from talent shows.  Aside from the fact that they are totally worthless and should be banished, the participants are always moulded to sound like Carey or Aguilera.  Individuality and potential are not realised: the focus is trying to mould someone to sound like a commercial star.  Aside from our Winehouse and Adele, I have been hard-pushed to think of many female singers that have taken you aback with their power and force.  Florence Welch perhaps; maybe the odd other here and there.  In a market starved of real vocal diversity, it seems that it is harder now than ever, to find voices that differ from the norm. and are unique.  I guess when the raft of horrid talent/singing shows have bitten the dust, there will be a renewed focus on personality, and not simply singing in order to try to sound like someone else.  It is something the men are guilty of as well.  In the solo market there is too much falsetto and restrained emoting, and not nearly enough sparks and volume.

Arriving in my thoughts a week or so ago, came a name that I had not heard of previously.  The Graphite Set are a band that are going to be making big impressions.  Fronted by their female star Lily Buchanan, as well as Duncan Brown, Grundy le Zimbra and Scott Skinner, they have been around for a year or so now, and have been cementing their sound and gaining a passionate following.  Their designs and E.P. cover are awash with stunning and bold black-and-white lines and imagery.  Like Jeff Buckley, Lily is the main draw and is up front, but is supported by a talented and strong band, that augment her vocal strengths, and add colours and emotions.  Lily grew up in East Lothian, and from an early age developed a love of sketching and, at the age of 16, set up the band.  It is hardly surprising that, given her love of drawing and black-and-white lines, that the band name was to be The Graphite Set.  The idea for The Graphite Set was originally to have Lily up front and in focus; but as the E.P. has been recorded and the demand to play live increased, band members were drafted in.  On June 5th the E.P., Sebright Arms will be released, and is another step for a restless young artist keen to get her ideals of atmospheric beauty and stunning sounds out to the public.  In the early stages there has been a great deal of positive feedback and praise, and Lily herself is influenced by the likes of P.J. Harvey and Patti Smith.  The latter seems to be a particular favourite and there is some of Smith's notes and shades in Lily's voice; updated slightly but evoking a great deal of similar strengths and merits.  There are few contemporaries that can boast the same type of voice, that elicits the same emotions and responses.  Laura Marling, Anna Calvi and a great deal of the solo sector have their own personalities, and there is a lot of range to be heard for sure, in terms of style.  As much as anything, no matter which artist you are listening to, others things aside from the voice stand out: whether it is the compositions or lyrical quality.  On social media sites, support is coming in and the good word is being spread.  As the year crawls on and new horizons present themselves, expect to hear a lot more about The Graphite Set.  There is a definite need and niche when it comes to the kind of music that The Graphite Set are currently putting out there.  It is at once the antithesis of the X-Factor/Emile Sande/vague pop nonsense that tends to blur together and have a similar underwhelming aftertaste; and at the same time has a relatable and populist quality to it: the tracks are not focused on exclusivity; there is something for everyone.  The E.P., These Streets, is available now, and certainly promises much reward and great returns.  It is the kind of music that is ready for the consumer market and has edges and ideals that will appeal to all, but also contains enough uniqueness and mystery that will invigorate and excite the stuffiest of reviewers and music-lovers alike.

Initial footsteps on These Streets' title track are scene-setting and capture you.  The track fades up and is chocked full of stylish and enlivened percussion and persistent and hard guitar work.  The intro does not impose or overwhelm; instead it builds up a head of steam and keeps a rampant and energised pace.  Initially you are prepared for a full-out and dizzying intro. that keeps on going and pulls you under.  Expectation is subverted, when the pace is slowed and stability is introduced.  A calming arpeggio is unleashed, and the vocal is allowed to enter.  The words are delivered quite unusually; a couple of words are sung, before another; there is an ellipsis and then the rest of the line is produced.  Emotional resonance and unexpectedness are what is felt, and there is a little bit of P.J. Harvey and Patti Smith's delivery and resonance when the lines "I walk these/Streets today/I walk those/In my lonely way".  One can detect modern elements in Lily's voice, but as much as anything it is the sounds of the punk and alternative '70s (and '60s to an extent); there is that abiding feel and reminiscence.  Quite a refreshing and rare thing to hear, as naturally one expects something less striking and unintuitive when approaching new talent- and especially solo artists.  The lower toned vocals, that have Gothic edges, and slowly walk in shadows; combined with a minimal guitar backing, creates a haunted but exciting atmosphere.  There are no intrusive or wasted notes and sounds; full emphasis is put on the words and what is being said, and consideration is given to the best way to highlight them.  In the back, the guitar has a little bit of Mazzy Star, and at some intervals Lily's voice has a hint of Annie Lennox to it as well.  Themes of walking the streets, and doing so "In my lonely way" are repeated, and builds up a sense of unnerve as well as cinematic wonder.  You can build and create scenes in your own mind to fit with the lyrics: vignettes and projections unfold and one suspects that for the majority of people, they will be in black-and-white.  Gradually the energy builds, and the band's influence comes into play.  Talk of uncertainty and indecision are spoken of, both of which "Walk past me"; our heroine telling them to walk past- they have no choice in the matter.  Any doubts or anxieties are being exorcsised, and a brighter horizon is being embraced.  It is asked: "Let ambition/Take hold"; a swaying bi-play between percussion and strings creates a dance and punch that notches up the energy once more, and illustrates perfectly the words being sung.  Although to The Graphite Set, the "streets are cold"; it is asked that ambition is given credence and full attention: just ignore the negativities and harsher truths.  Each word is given consideration, and many artists- and especially bands- have little understanding with regards to intelligibility and clarity in vocals: a lot of the words are slurred, hurried or indecipherable, buried underneath layers of sound.  Here, instead, there is crystal clarity, and the specialised and potent delivery allows you to digest the words and let their effect take hold.  In the way that modern idols such as Adele and Florence Welch have a talent for projection and conviction; there is comparable here.  The lines are delivered, and energetically offered up.  Underneath, Lily is a performer and can has the same grace and passion as her idols when it comes to getting her words across.  Wherever the streets of the song are set: London, Scotland or further climbs, emphasis is put on the words "these streets".  Past the 2:15 mark, the words are repeated often and emphasised; the percussion rumbles and tumbles, building up momentum and gravity, as our heroine becomes more enraptured and forceful.  It is clear that wherever the story takes place, she wants to take you there and get a sense of what is happening in her mind, as well as in the scene.  For the majority of the final third, considertation is given entirely to this mottif, and the words as a coda are sung, taunted, emoted mantra-like, so that they dril into your brain.  Just as the most empassioned interpretation of the words has been summoned forth, the percussion- as well as lilting and subtle guitar sparks that join the fray- begins to die down, as the song fades, and the listener is allowed to draw breath.

The Graphite Set have great future-potential as well as immediacy to their sound.  Buchanan is a talent that understands the need to differentiate herself from the current crop, whilst incorporating some of her idols and influences into her sound.  The vocals are not just unique, but the word the words are planted and distributed are very different too.  Atmosphere and evocation are bywords that she stands by and through relatively few words a great deal of emotion is realised.  Musically the track has large chunks where it is relatively sedated and restrained: percussion is most prominent but guitar is employed to inject some different strokes into the mix.  It is the intro that is the most exciting thing from a musical and compositional standpoint.  It makes sure that the song gets off to an exciting and strong start, and when Lily comes up front, the various components back off slightly, dispatched to create mood and set tone, rather than impede too much.  The big issue with a lot of music, and solo work as well is that there are too many notes and too much noise.  Vocals and lyrics get buried and there seems to be a fear that, unless you make things as loud and cluttered as possible, then people will not listen and keep focused.  When you strip away the needless rabble and sonic blasts, and focus on the words and voice, then the best results are realised.  Lily's vocal has dark tones and lines of Smith, Harvey as well as Welch as well, but sounds very much her own woman: there is never a sense that we are hearing anyone but her.  These Streets, as well as the associative E.P. has a lot of '60s and '70s influence, and a punk-cum-folk blends.  Positivity comes through as much as anything.  Our protagonist sees negative aspects and sensations approach, but never wants to be possessed by them, or associate too much with them.  I get the sense that there are heartaches and troubles that she has encountered and have to overcome, but the sights are most definitely focused on the future and keeping head very much above water.  The rest of the tracks on These Streets are impressive and consistently surprising, and as well as being instant appeal, the tracks stand up to repeated listens, and reveal new layers and merits each time you hear them.  That is the marker of a great act or band: when you can find yourself listening to a song again just to discover something new.  In the way that black-and-white design and motifs are part of The Graphite Set's portraiture, there are colours, depths, landscapes, city scenes and smoke-filled curiosities along the way, and in every verse.  Hopefully online appreciation will triplicate and multiply vastly, and a great number of people take the themes of The Graphite Set to heart.  Long have I bemoaned the lack of originality and diversification in music, and it is refreshing and pleasing when something different and impressive comes along.  Of course the decision is yours whether you investigate further and explore the realms.  For all the below-average and sub-par efforts that float on the surface of the musical waters like dead fish; it is necessary now as much as any time before, to foster and encourage talent whom understand the need to do something about it.  It is clear then, that The Graphite Set...

MEAN business.

________________________________________________________________________

Official:

http://thegraphiteset.com/

Twitter:

https://twitter.com/TheGraphiteSet

Facebook:

https://www.facebook.com/thegraphiteset

YouTube:

http://www.youtube.com/channel/UCunsIJdoXbKvID9z_n3w78g

SoundCloud:

http://soundcloud.com/thegraphiteset

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Sivu- Bodies- Track Review

Track Review:

Sivu

  Bodies

9.2/10

With a musical projection of Wild Beasts and a voice that is Hayden Thorpe at his most restrained, Sivu unleashes a similar curiosity, sans imperiousness.

Availability:

Bodies is available at:

http://www.youtube.com/watch?v=sqhpNyEQ48Q

The E.P. Bodies is available at:

https://itunes.apple.com/gb/album/bodies-ep/id642040266

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THE male voice is an instrument and facet, that comes under...

a lot of scrutiny and examination.  Before the early '90s, there was some consideration given to a falsetto vocal, or something that possessed femininity.  Sensitivity and a sense of delicate devotion have, historically, been seen as unbefitting for male voices.  In the early '90s when Grunge was taking off and cementing its majesty, there was nary opportunity or desire to hear the flip side to the genre's ideals: raw and belting vocal lines; lyrical themes of isolation and depression; hard-hitting and throat-slashing riffs.  In the era of disco and funk there have always been feline, slinky vocal demonstrations and sexy purrs, but the art of tenderly laying out your voice,- for men- has been a recent discovery.  Jeff Buckley is seen as a modern icon, and an inspiration for the modern-day silky-voiced solo artist.  Before his career took flight (circa 1993), there were certainly not many male singers that sang the way he did.  In terms of sheer potency, there was little competition.  In the early '90s the music scene was awash with multitude and variation.  It was always down to the women of music to bring the spine-chilling evocations and notes.  Post-1993, the likes of Thom Yorke came along, and began to infuse falsetto more commonly into Radiohead's work.  The Bends changed the game greatly.  It was an album that was earmarked as a pure rock album.  Following a concert by Buckley, Yorke reconvened and changed the nature of the album; injecting softer moments such as High and Dry, Fake Plastic Trees and Bullet Proof..I Wish I Was.  Consequently, modern bands took note, and the likes of Muse studied Radiohead's mandates and took it upon themselves to be similarly ambitious.  Without these moves and events unfolding, it is debatable whether there would be many- if any- modern singers, whom erred towards this type of sound.  In 2013 there are a fair few solo singers- as well as bands- that project high-pitched and haunting vocal offerings.  By and large there are very few that stop you in your tracks.  Night Beds as well as a few others are notable leaders, and the likes of Matt Corby, Patrick Watson and Bon Iver have made some strong and indelible impressions.  It is a talent and effect that can yield huge results- if employed considerately.  Still is there the tendency to hold on too tightly to Buckley's coat-tails, and forget about originality.  Singers such as Kate Bush, Eva Cassidy and Karen Carpenter have exquisite and pure voices, and incorporating elements from female singers into your voice, instead of Buckley and Yorke, leads to equally brilliant results, as well as greater thoughtfulness and original intent.  There are a wealth of genius singers that have come and gone, that one can draw shades of influence from.  Too often is there a narrow-minded ambition to simply steal from obvious icons; neglecting entirely the obvious pitfalls and depressing negatives of doing this.  This decade is showing as much as anything, that there is open-mindedness and a great need for vocal diversity and range, and it is now, as much as any time, that the receptive market awaits for a stunning male voice; one that differs from the norm. and defies expectations.

Essentially every week, there seems to be proclamations made by the media, that 'The Next...' has been discovered.  I always shiver slightly, knowing that as soon as comparisons are made, then originality goes out of the window, and you are left wondering what there is to appeal to the market.  Strangely, however, there are certain vocal types of sounds, that are undervalued and rare, that, if you hear a couple of artists whom proffer this, then it is not as bridling and irksome as say, hearing the 1,000th 'Next Jeff Buckley/Thom Yorke/Antony Hegarty' etc.  I bring up this line of thought, because my featured artist sounds- consciously I assume- like Hayden Thorpe.  He (Thorpe) is the lead singer of Wild Beasts: a Yorkshire band that have gained a huge following, and earned a Mercury Prize nomination.  Thorpe- when their debut Limbo, Panto was released- was seen as a curious oddity.  The voice of this man was something oddly titillating, but quite frightening.  Thorpe is a tenor and countertenor, and would infuse songs with grunts, wild yelps, growling, wild abandon, as well as beauty too.  It was a divisive trait that split critics early on.  When Two Dancers arrived, praise was heaped as the voice was temporised to an extent, but lost none of its immediacy and majesty.  It is a rare voice to be heard, and one that has not been replicated by any artist since... until now.  It is an obvious influence for Sivu, a Finnish-named, St. Ives-based musician; James Page to his friends and family.  He is a 24-year-old whom has garnered comparisons as well to Gotye.  It is not just the tones of Hayden Thorpe that rule your mind, but also there is a great deal of Wild Beasts' music to be heard too.  Similar guitar mixtures and sonic resemblances can be found, leading The Guardian to dub Sivu as "a one-man Wild Beasts".  He is a personable and likeable individual with a sharp eye for memorable lyrics.  He is an agnostic but flavours many of his tracks with religious imagery. I feel, with regards to new music, you almost have to factor out everything the media says about them.  The female artists get referred to as 'The New Adele/Mariah Carey/Christina Aguilera' whilst men tends to get the Jeff Buckley, Gotye and Alex Turner treatment.  As annoying and predictable as this is, you have to hear the music on its own merits and form your own opinions.  His 4-track E.P. has just been released (yesterday in fact), and whilst God Speaks In Tongues may have obvious influences, its beauty and punch will appeal to those who care not for any talk of religion or God.  The rest of the tracks have an equal beauty, but it is Bodies that elicits the sweetest and headiest scents and smokes.

From the first few seconds, there is a calming and breezy haze to the music.  The electronic strings arpeggio, cascade and ruminate; there is a lot of Two Dancers' charm and edges, as well as a lot of elements that our the author's alone.  There are theological and questions of the nature of our existence that are offered up.  Early on, Sivu states that "We're just bodies";  saying that we all find flaws.  Everything seems to be built around very personable events.  You get the sense that a breakdown of love or a failed romance enforces the themes that Bodies projects.  Whilst the nature of being and the examination of life in all its fragility are being tended to, underneath there seems to be some anxiety and haunted memories.  As much as anything, it is the music itself that provides some of the biggest focus.  There is a constant and dominant percussive beat that can be detected through the early stages; it is high in the mix and threatens to overwhelm the vocal; the shimmering guitar plays beautifully in the back; strumming with bright colours before retracting and returning once more.  An unnamed devotee keeps "begging me to say", and it is clear that there is turmoil and turbulence afoot.  Sivu's voice keeps restrained and strong; it distils Thorpe's essence and smooth out the 'rough' edges.  When the pace quickens, and "The animals walking two by two" is announced, the atmosphere and shivers augment.  Vocals are doubled and layered, and there is a choral power and beauty.  It is at this point that your mind is taken away from the Beasts, and towards bands such as The Klaxons; even elements of Radiohead can be detected.  It is not done in any obvious way: little flecks here and there, but it is when our protagonist ups the ante, that the biggest shivers are elicited.  Ghostly Radiohead Nude/Kid A slices are mixed and blended around exciting and tense percussion: the result of which is a definite quickening of pulse and heart rate.  Our hero continues the tale of broken hearts and tense days, as his lover wants him to stay but he says he has to go.  "The tide is dragging us away", it is said, as once again the animals walk two by two; the atmosphere is drenched in sound and it is wondered whether our protagonist, as well as his unnamed paramour will ever find dry land.  The structure of the song is quite unexpected as well.  It is not just consistent of verse-chorus-verse, with little surprise between.  Sivu adds vocal passages with ethereal wonder, as well as musical breaks which spark with life and intrigue.  He understand the importance of emotional effect as well as momentum.  Never do you have much of a chance for breath; the floods and waves that are mentioned regularly, are essentially conveyed in the pace and effect of the track: gasping for air is not an option.  Musically, the track earns its stripes for being constantly innovative.  Orchestral potentiality blends with indie touches and Sigur Ros-style otherworldliness.  Overall you are taken aback by the relentless perseverance and force of the track, and as captured as much by the composition as you are by the vocal itself.  Sivu is a constantly impressive player, and his vocal is focused, touching and emotive when it needs to be; seamlessly matching the musical mood, and shifting and snaking throughout the track.

There are not too many negatives to offer up.  There are times- particular in the first minute- where a lot of Hayden Thorpe's voice can be heard; and similarly Wild Beasts' musical influence can be heard quite clearly.  As they are a band that many are still not aware of, then it is not an obvious issue, but something that many will pick up on.  Also some of the words are hard to decipher, and you have to strain your ears to pick up on them.  This occurs when the vocal is more composed and Thorpe-esque; annunciation and projection are key for Thorpe, even during Limbo, Panto's wildest moments, and the force of the percussion drowns a lot of Sivu's words out.  That said this happens are irregular intervals and does not dampen your experience.  Those are the only minuses I can point at, and the abiding impression is one of being overwhelmed and taken aback.  The lyrics are sharp and thought-provoking and summon up some vivid- and often frightening- images in your mind.  The employment of religious themes work very well: there is a perfect balance of necessity and subtlety.  Sivu's voice is highly mobile and can go from a coo to a passionate belt with the drop of a hat, and is a facet that adds touches of gold to the song.  He is clearly a vocalist whom will be talked about for a while.  So tempting is the need to slot into that Buckley/Yorke mould: all spine-chilling falsetto-cum-vibrato quivers, that someone who differs from that already wins your vote.  Sivu instead can unleash tenor shades that tremble with beauty, but one suspects that he could also do pretty much anything with his voice: such is its depth and breadth.  As much as anything, the composition is original and striking.  Twinkling and flowing guitar lines interact with thudding percussion and stirring orchestral evocations.  In terms of subject, love, romance and uncertainty are at the forefront, but are not clichéd or stereotyped in any way.  Our author writes from a very personal place and manages to make his thoughts very different and exciting.  There are influences of '60s masters such as Dylan and Cohen in the more poetic moments, and that in itself is not something that is often said.  I will seek the E.P. out and digest its every sound and thought.  I am always hungry to hear what young artists of today are thinking, and what direction they want to take.  Sivu has released material before, and has always been greeted by excitement and fervent appreciation and devotion.  Bodies is a natural forward step, as well as something that sounds like perfectly natural, given what he has produced before.  Whether there is an album due next year, or another E.P., that is up to him; but in an industry where young U.K. talent rarely impresses when compared to the band market, here is a name that will go some way to winning back ground.  On a sunny day, where one is in need of relaxation, excitement and something that inspires you, then have no fear:

BODIES does just that.

________________________________________________________________________

Official:

http://www.sivusivu.co.uk/

Twitter:

https://twitter.com/SiVUsignals

Facebook:

https://www.facebook.com/sivusignals

YouTube:

http://www.youtube.com/sivusignals

SoundCloud:

http://soundcloud.com/sivusignals

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Raglans- Digging Holes- Track Review

Track Review:

Raglans

  Digging Holes

9.3/10

With some big London dates ahead, and a busy summer schedule, these Dublin boys have a Long Live ambition.

Availability:

Digging Holes  is available at:

http://www.youtube.com/watch?v=tyXyB3kJP20

The E.P. Long Live is available at:

https://itunes.apple.com/ie/artist/raglans/id529644228

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THOUGHTS and attentions turn slightly towards international climbs...

as a great deal of my focus, is usually reserved for English talent.  I have featured a few Scottish acts, as well as bands from the U.S., Sweden, Australia, and- in the case of HighFields- South Africa, Canada,  Singapore and Norway.  It is true that there is a great deal of excitement and innovation to be found within the U.K. as a whole.  The best and most striking sounds I have born witness to, have emanated from the north of England- there is great diversity and originality here.  Aside from some Scottish and southern English stunners, a large chunk of my praise has been levied at either the northern contemporaries, or else have set their sights overseas.  Historically, the best music has either originated in the U.K., or the U.S.  Today there is a bit more of a shift away from our shores.  If you look at the greatest albums of this year, there is an emphasis on American sounds and influences.  Over the last few years, European candidates have put their stamps on the market: all of which has stolen a lot of limelight from Britain as a whole.  It is s a trend and pattern that will continue, I feel, for the foreseeable future.  There seems to be a different attitude and work ethic in different countries, that is dissimilar to what we are used to here.  In the U.S., there seems to be that momentum from established acts whom are owning 2013- Queens of the Stone Age, The National; even Laura Marling (whom has moved to L.A.).  In terms of lyricism, fervent and unusual sounds and an overall quality, other nations and climbs are leading the way at the moment.  It is prescient and advised that we look to other countries, and take in what they have to offer.  Too much homogenisation and copycatting exists in the U.K., and it is the freshness and innovation of our international cousins, that will inspire and bring about a resurgence and revitalisation here.  I have been surprised by the large amount of strong talent that is emanating from E.I.R.E at the moment.  In the same way that Yorkshire is throwing up a band of swing-cum-blues rock-cum-pop wonders, the likes of Dublin are producing some rather intent sounds.  I encountered Bronagh & the Boys recently; a band awash with soothing and emotive sounds, helmed by a crystalline and stunning voice in Bronagh Monahan.  Aside from the classic and well-known acts that we associate with the Republic of Ireland, today there is a change afoot.  If you factor out the likes of The Script; ear-bleeding and nauseating in equal measures, then the current crop are rather strong and mobile.  Raglans are a notable addition to the list of modern E.I.R.E musical joys.

I know very little of the band.  Such is the tradition now (to keep aces tight against the chest) that I have to fill in a lot of blanks.  I hope that more bands in the future, on their Facebook and BandCamp pages, choose to flesh them out a lot more.  Kiran Leonard- the young prodigy whom I have recently reviewed- put details of each of his songs on BandCamp.  Each track was given an overview and had information with it, as well as the lyrics displayed.  His album was explained and some backstory was given- the overall experience was much more involving and personable.  The music of Raglans intrigued me so much I was wondering what their influences were; where they come from; and some background information, so it might be something they will think about very shortly.  For now, the Dublin 4-piece: Stephen, Rhos, Conn and Sean are readying themselves for a jam-packed year.  A single, Natives, is released later this month.  Its sleeve art features colourful jungle and floral scenes, whilst in the foreground a black and white depicting of an elderly woman, and half man-half stone-carved monster, complete the scene.  It gives you an insight into their creative minds: everything is not straightforward or predictable; there is an array of movements and surprises to be detected within their landscape.  A week ago, the band released their E.P., Long Live.  The 5-track release demonstrates their strengths as a band: the mystical rumbling bass and guitar strides of Save Your Words For The Widow, mingles with The Libertines/The Fratellis fun-time bustle and youthful spit.  There is a spirit of the groups of the '60s in a lot of the tracks.  Fresh and evocative vocals, ties in influences from Liverpool and Manchester, and marries it with sing-along charm and a myriad of strengths.  The band are supporting The Strypes very soon, and will be interesting to see how their sounds mix with one another.  The Strypes have a hard-edged '60s Liverpool-via-modern-day bite to them, whilst Raglans have softer edges and a keener ear for melody and musicianship, perhaps.

Before then, the task of charting their sharp rise, is of some importance: to see how they have managed to climb so high, so fast.  The single Digging Holes, and lead-off song from their E.P., shows the key themes and plus points from the band from the off.  The video to the song has arable themes and farmyard scenery, but the song kicks off with a chorus of "Digging Holes!"; backed by rumbling boulders of percussion, and a youthful kick that tells of:  "Now you know/Why the people don't love you".  As soon as that line has been boisterously delivered, a shimmering and electrifying coda of percussive thuds and metal, as well as a waterfall of electronic sounds is unleashed.  Scenes of an unnamed central focus watching the walls; for reasons unknown, is presented; the band asking: "What do you see?/What do you see?".  The lines and themes have a simplicity, that is designed to be remembered and sung.  When the words are sung, they are done so with full-voiced conviction, and sound quite unique.  There is never a sense of a band trying to emulate another: their tones and vocals are theirs alone.  Our boys see "the future and the past", but are very much in the here and now.  The verses and nature of the delivery are very much ready-made for festivals and large venues, to be choruses by enraptured fans; but there is indie and folk charm to suggest that they will gain appeal from bigger radio stations such as XFM and BBC 6 Music too.  It is unsure who the figure is at the centre of the song; the subject that is being offered little solace.  Their body and mind are drifting apart; they are unloved and digging themselves deeper.  Usually, or for most bands at least, romance and the uncertainty of love is normally focused upon; yet it seems that there is a more masculine idol that is being picked apart.  Perhaps the most defining feature of the track is the shimmering electronics and waves.  They are employed to create mood and atmosphere between the choruses and verses, and make you forget about any negativity or scorn on behalf of the band, and take you somewhere calmer, and more detached.  For all of the memorable simplicity, the boys have a way of offering scenes with intrigue and strangeness dripping from the seams.  In the way Bob Dylan penned a venomous poem to an unnamed woman in Like A Rolling Stone, asking "How does it feel?", Raglans do the same, instead insights such as "Like a leper on your throne" are proffered.  Feelings and thoughts are key themes and topics that are dissected and examined in various ways.  Backed by a tumbling and kicking musical smile- similar to Mumford and Sons only far less irritating- the question of "How do you feel" is asked; our singer feels alone, but "Alive/For the first time in my life".  No matter what vengeances or turmoil are present, there is a sense of there being a turning point afoot; no matter what bitterness is reserved for the anonymous subject, the lads themselves seem bereft of any burdens.  Energy and conviction never let up, and it is this commitment to creating a sustained atmosphere and regulating any negative edges, that gives Digging Holes such an edge.  Its chorus, with 'uh-ohs' punched and shouted, backed by folk augmentations.  It is these folk touches, that give way to indie lines.  A rapid-fire and glimmering passage twists and duplicates, whipping up another layer and shade of curiosity, before it is said:   "This can be the start of something new".  The chorus is ridden again, and our tale comes to an end.

It is hard to fault the quality and conviction of the band.  They have a knack for memorable choruses, and can mix straightforward sentiments with sharp lines, to boot.  Vocally there is a unique blend and strength that few bands possess.  Their native accents are present, and they haven't tried to intone American accents or distil its essence, which makes the sound more original than most bands.  The abiding sense one takes away from the song, is the sense of adventure and misadventure.  Fun and frivolity infuse the atmosphere and scenes, lifting you up, and imploring you to sing along; this is blended with words that speak of mixed personal fortunes and some harsh words for a common foe.  The E.P. as a whole is bursting with a similar charm and authority, and Raglans are a group that can fit a definite gap in the market.  Too much emphasis is placed on either harder and more feral edges, or innovative digressions along the lines of Alt-J and indie colleagues.  In a scene where there are very few bands like Doves or Elbow: those that can produce big sing-alongs and anthems, but keep their words sharp and intent; it is a welcomed treat to have the Dubliners around.  2013 especially has focused itself on indie movements and riff-heavy groups, a certain sense of elemental positivity and crowd-ready awareness has been negated.  The likes of The Voice, Britain's Got Talent and The X Factor are the emphasis and embodiment of fame-chasing an d copycat wannabes; devoid of any credibility and originality.  For those interested in musicians whom are not wanting to chase fame, money and nonsensical aspects, it is towards the bands that one looks.  Set aside the horrid boy bands and lame rejects like 30 Seconds to Mars, then a need and desire still needs to be fed.  The Strypes are imbued with riffs and '60s revocations, but there is going to be a switch away from that sort of music, and a need for something more channelled and matured in the long-term.  Raglans are being accepted in anticipation of this, and their blend of indie and folk styling will see them in much demand come next year.  This year they have touring to do of course, taking them down south, to London as well as further north; imploring supporters and fans to take their music to heart.  If Digging Holes and the associative E.P. are any evidence of what the future holds for them, then...

THEY will have a busy and productive few years ahead of them.

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Twitter:

https://twitter.com/Raglans

Facebook:

https://www.facebook.com/Raglans

BandCamp:

http://raglans.bandcamp.com/

SoundCloud:

http://soundcloud.com/raglans

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tieranniesaur- DIYSCO- Track Review

Track Review:

tieranniesaur-

  DIYSCO

9.5/10

Fun-loving and invigorating Dubliners give previous little about themselves away, but make amends with some stunning sounds.

Availability:

DIYSCO  is available at:

http://tieranniesaur.bandcamp.com/track/diysco-2]

The album DIYSCO is available at:

http://tieranniesaur.bandcamp.com/

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FUN is a subject, that has had little exploration or consideration...

as of late.  A great deal of music today is overly po-faced, or else dripping with emotion and anxiety.  Very few contemporaries actually dedicate a lot of time to the nature of good-time fun and exhilaration.  Rock and indie acts can pervade hard riffs and foot-stomping beats, but lurking beneath the notes there is always some form of negativity; and the abiding sound comes off as more violent than it does loving.  I suppose getting the formula right is a difficult task.  Disco and funk are probably the genres that exemplify this fun nature; songs drip with sexiness and excitement: where are the equivalents today?  In a sense, personal narratives and love songs are the most common, and most sought-after type of tracks; these tend to be more restrained and insular.  It is not even a case of making a career out of disco-esque tracks either: the odd few will suffice.  I have encountered a few acts that are producing this type of music; ranging from Swedish duo Club 8, through to U.S. act The Open Feel.  Aside from the odd one or two, one has to search long and hard to find something that makes you want to get up and dance, tap your feet and smile.  R 'n' B and modern pop has cheery and sugary shades; most of which are soulless and infused with electronic nonsense and auto-tuned vocals.  I have been waiting for bands to come along that have an innate knowledge of the disco sounds of the '70s, and can update the sound and potency, to appeal to a modern-day audience.  If you can produce an album or E.P. that has something with some 1970s/'80s dance to it, and tie that together with some harder and more emotional numbers, then you are better prepared to win a war that has long been raging in the music industry.  As much as anything recently, I have been saddened and essentially irritated by the lack of originality and identity in modern acts.  Kiran Leonard was a recent find whom managed to be original and multi-talented too: but he is a rare exception.  A vast majority of every new act I have encountered can be tied to an existing act.  The main issue lies with singers, whom get it into their head that the way to success and recognition is to mimic their idols.  Bands also choose to ape popular acts, with a great deal of modern rock bands tending to rip-off Arctic Monkeys and Queens of the Stone Age.  It is infuriating, as it shows a distinct lack of talent as much as anything: anyone can mimic pretty much anyone; originality is the hardest thing to achieve.  When thinking of genres that are under-explored and little-heard-of, then the likes of disco and swing are in need of attention.  Few have given closer attention to these genres, and by re-discovering their charm and effectiveness, an originality and foresight is unveiled, that few have latched onto.

Hailing from Dublin, the intruigingly-named tieranniesaur, give little away about themselves or their influences.  I have found with a great deal of new acts, that the music alone stands on the social media and official websites: but not a lot of anything else.  I am always keen to know more about the members; where they come from; who their idols are etc.  It is understandable that the music has to tell most of the story, but a little bit of revelation and biography often draws in more fans, and inspires others too.  In the flesh, they are a beautiful and fashionable bunch.  The women are beautiful and ice-cool; the men equally cool as well.  The band have been received with a lot of critical acclaim, and their sounds and ambitions have been championed and met with excitable praise.  The thing that strikes my hardest, and impresses me most, is the group's eye for intelligent and memorable design work.  Aside from the band's fashions; a mix of casual cool, and elegant chic; the album cover is something that impressed me hugely.  It is a picture of circus ground mystery and retro quirkiness.  Mounted by a vanity mirror, the image is filled with lights, sharp edges and colours, with DIYSCO in bold gold, running diagonally.  In the O is a white-faced woman; ruby-red lips with a pearl necklace.  It is a striking, original and sums up the band beautifully: original lines and patterns, and bold and memorable statements and scenes.  In lieu of extensive biography or quotations, the album cover says volumes about the band's intentions, styles and sounds.  If one was to pin the album down to one or two succinct words, I would say: variation.  The titles themselves are packed with ruminations of the otherworldly and delicious.  Looking Up The Skirts Of Giants, Horses With Melting Eyes and Chill Bros give no indication of what lies within, but provide plenty of curiosity and excitement.  This year is one where May onwards promises the best results.  The National, Queens of the Stone Age, Laura Marling are names whom prove my point, and where new music is concerned the bold and innovative directions of tieranniesaur are planting their flag firmly.

Their single DIYSCO, has been gathering a lot of attention, and is the 2nd track from their album of the same name.  Its rush and strike from the first few seconds, raises the energy levels and grabs you firmly.  No time is spent letting you absorb any notes or sounds: the hit is direct and instant.  The band, singing of "things I'm not opposed to", wash the atmosphere with enlivened and spirited vocals.  Our female heroines chorus and weave inside one another's voices; creating a vibrant spark of invigoration.  Percussive rolls and dives mix with funky strings and disco flavours, eliciting '70s sensations and a dancing stomp.  The band keep  the music tight, taut and atmospheric.  Twangs, beats and strings bounce and keep the mood alive and focused, as the vocals strike up front.  Messages about not compromising in a relationship.  Youthfulness, spirit and passion are keywords when summing up the vocals; they are at the top of the mix, and not drowned by the music at all.  The song has a polished and professional sound, giving evocations of U.S. disco, as well as hints of modern-day European music.  Our heroines say "Maybe I should do what most do"; their voices echoing and sparring with one another.  Whoops and rushes are unleashed at intervals too, always infusing the track with energy, joy and excitement.  It is impressive how the vocals are delivered during the chorus.  It is not just high-pitched vocals to be heard; the girls swoop and dive.  Every part of the track is given fond consideration, to create maximum impact.  In the back, supporting the foreground, the disco strings create funky and twisting sounds, the percussion remaining steady and powerful.  These sonic touches augment the voices, which keep impressively convincing and impassioned.  Never is there a sense that here is a band in 2013, trying to recapture the spirit of a by-gone era, with lesser-heard-of sounds.  Throughout there is authenticity and tieranniesaur could easily fit in 1970s New York; there is a club sound that would seamlessly fit there, and has a ready-made charm that can win over today's crowds.  Your hands and feet are powerless to resist the charm of the track, as it rides a constant wave.  When a piano line is injected into the composition, the words "so crazy" are sung: at once robust and punchy, the next more subdued and seductive.  In the minds of our protagonists, an easy life and stress-free life is required; romance and bonds with little hassle and strife.  It is difficult trying to think of a modern-day equivalent of the song, and indeed the overall sound.  Even the other more disco-orientated tracks I have heard over the past few months, have not been as restless and diverse as DIYSCO.  The track never lets up, and surprises constantly.  The chorus' mandate is repeated to great effect, and is the one constant.  Musical backing keeps moving and manoeuvring, changing to fit and augment the vocal, as well as create its own gravity and potency.  The girls harmonise and play off of one another; playfully and always with the sense of a smile.  In terms of the themes of the song, it strays away from the good-love-gone band parables, and instead provides a more positive and persuasive delight.  Never is there a sense throughout that too many hearts have been broken; in that sense it is every bit a disco track, but one very much suited to the 21st century.  When the vocal rabble talking of "Falling in love at the DIYSCO", there is a slur and rush and heady intoxication to the delivery, which mixes a multitude of vocal lines together, and summons up a rush, before being supported by stern and strange sounds, which combined with the twinkling notes and glitter edges ends the track.

I am not too worried by the slight mystery surrounding the band, and where they are going.  The album speaks for itself.  Love Makes A Frightening Sounds would probably be my standout, but the entire record is crammed with a range of different avenues that will please and delight a mass of different music lovers.  In spite of them being a new name to my mind, I have been motivated to investigate their past moves, and am giving the album a good listen as well as it is well worth a listen.  It stands up to repeated listens as well, and different tracks will do different things at different times to you; some are slow-burners; others immediate in their intention.  My point about there being a lot of hopeless derivation and tributing in music stands firm.  It is an issue that is huge now, and one suspects with the rising tide of new acts, will only become worse to a absurd degree.  Those whom are willing to bite their tongue and seek bands and acts that promise and promote different and original sounds, will find a lot to love about tieranniesau.  DIYSCO is one classic example of how you can tie together threads from different decades and genres, and come up with something that is striking.  I am not sure why so many modern artists are not able to, as it seems that with a bit more innovation, effort and intuition would lead to a stronger scene in general.  It is encouraging that there are bands like these Dubliners, whom are fresh and determined to make a big impression.  Take a look at their album and investigate the colours and shadows that lie within each of the 13 tracks, as there will be something in there for everyone.  They are clearly a very talented bunch, and hopefully a band that will keep producing material for a very long time to come.  For all the lack of fun, energy and individuality within music, it is refreshing that not everyone is determined to cause haughty derision amongst the impassioned and dedicated listener.  We need to find bands like tieranniesaur, that can distill the swarms of acts, who are the poor man's equivocations.  It is true enough that...

THIS year it is required, as much as any there has ever been.

________________________________________________________________________

Twitter:

https://twitter.com/tieranniesaur

Facebook:

https://www.facebook.com/pages/tieranniesaur/110975412280662

BandCamp:

http://tieranniesaur.bandcamp.com/

SoundCloud:

http://soundcloud.com/tieranniesaur

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Kiran Leonard- Brunswick Street- Track Review

Track Review:

Kiran Leonard-

  Brunswick Street

9.8/10

A very young man, imbued with a mature confidence and striking talent, shows new talent how it should be done.

Availability:

Brunswick Street is available at:

http://kiranleonard.bandcamp.com/track/brunswick-street

Bowler Hat Soup is available at:

http://kiranleonard.bandcamp.com/

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AGE is a fixation, that has been rather unhealthily flirted with...

in the media.  It is a curate's egg of a subject, when investigating new acts.  If a participant is under a certain age, magazines, media and the public are practically sweating with excitement.  Too much regard and precision is levied towards the subject.  Sure, it is impressive when young talent are heard and admired.  It makes you aware that the young are ambitious and dedicated early on, and inspires you to encourage other such youthful acts.  Where the issue comes, is with expectations.  Laura Marling has been the modern idol, when it comes to proving my point.  She has recorded a string of brilliant albums, and is still in her early 20s.  In a way she is the exception that proves the rules.  I hope that when she is in her 30s and 40s, that there is still material and desire in her: one suspects there will be to some degree.  Problems arise for the rest of the market.  Unless you are one of the greatest acts or artists of all time, then it is likely that you are not going to achieve the potential of Marling.  There are many in their teens and 20s, whom have energy and intent now, but one wonders whether they will still be making music a decade from now?  As a man of 30 myself, I am finding, that after 12 years of song writing, that I am creating some of my sharpest and most ambitious songs- and haven't recorded a note yet.  I have thrown away songs, lyrics and ideas that seems like a good idea, but when being retrospective, are embarrassing or sub-par.  I would hate to think, that if I had put a band together in my late-teens, natural decay and market forces would have extinguished our flame by now.  Once that happens, and you exhaust solo channels, there is a real risk that you could be dead and buried in your early 30s.  Acts such as The National show how bloody good and inspiring you can be in your 40s.  So, what happens to today's young wonders?  Reports have come out that suggest less attention is paid to new acts, and less long-term care is applied to their cause.  This means that they are often forced to fend for themselves, and face a worrying nervousness throughout their entire career: which can often end after a few years.  The media are largely to blame by putting so much attention and weight onto their shoulders.  Too many new young acts burst with too much energy and fervency keen, no doubt, to impress straight from the off.  This pattern and momentum continues for a couple of albums or so, before the seams begin to dangle loose.  It is tremendous if you have the clarity and songs early on; but unless there are labels and people willing to support that act, then a uncertain future beckons.  It is a tough and anxious choice: leave your great songs aside for a few years, and bide time until your mid-late 20s; or go in young and hard and hope that things work out well for the long-term.  I can fully appreciate the latter; if you have the songs and the desire, go for it!  I just worry that too much emphasis is placed on the subject of age, and puts too much expectation on young shoulders.  That said, if you look and scratch hard enough, you will find saplings, that are capable of growing into huge birds of prey.  Not too many mind, but just the right amount to give you some hope.

Kiran Leonard was brought to my attention via The Guardian: a publication whose music featured and reviews have caused as much chagrin and anger in my as anything else.  They featured Leonard, of course concentrating on age hugely, but also heaping huge praise onto him; referring to him as "gifted"- whilst highlighting his inventiveness.  I am going to try to nab him for future band work, as on paper, there are few more talented musicians on the planet.  He plays drums, guitars, electric piano and mandolin, amongst the long, long list of instruments to his name.  Between the fact that he is in his teen years, he is unlike anyone else.  Sufjan Stevens has a comparable multi-insturmental talent, but even he pales into comparisons.  I have long bemoaned the lack of information new acts provide to the potential listener/reviewer/stalker.  Aside from obligatory social media coverage, little consideration is given to providing biography or insights.  The music is all there, for sure, but there is seldom information about the band (or solo artist), or any insight into their music, lyrics or influenced.  If the music 'can do the talking' it goes someway to distilling the issue, but is still not good enough.  In an age where musicians are having to work harder than ever to be heard, recognised and remembered, it is vital that more is done by the act.  Leonard has informative and striking social media and BandCamp pages: colourful designs, great photography, and most importantly, commentary and details about his songs.  Leonard has released E.P.s before; working and honing his sounds, and making his name known to many.  Now, in the spring of 2013, he has unveiled his album Bowler Hat Soup.  You sense there is intelligence and personality working overtime in every nook and cranny.  The album cover is not a predictably dull portrait; instead it is a variegated and fascinating painting depicting psychotropic horizons, cartoon characterisations and trippy '60s psychedelia designed by Kelly, whom should be very proud!  Leonard is self-deprecating and good-humoured.  His last album, The Big Fish, was worked on hard, but he attributes some failings and shortcomings.  He attests that the production values were underwhelming; there are too many loqouacious tracks and too few sharper compacts; little regard towards personal themes and too much oblique lyrics and philosophy.  One could forgive him in a heartbeat: debut albums are never spectacular; unless you are Weezer, The Libertines: or acts that are encouraged by enough various input and support.  Now, the 16-track opus is unveiled, and ready for public consumption.  The majority of the tracks are under two-and-a-half minutes (Sea of Eyes is 70 seconds long); some are longer (Drysdale is seven minutes and seven seconds long).  The titles are fascinating, the range spectacular and ambition matches that of the '60s pioneers such as The Beatles, Rolling Stones and The Byrds.  Ordinarily a new act shows little invention regarding song titles; a tendency to the cloying is evident.   Leonard has Whisky Bath and Bora Bora on the track list: not something your Ke$has or Ed Sheerans would be smart enough to write.  In a time where there is a leaning towards the digital, Leonard has gone to great lengths to rectify the issues of sterility and lack of design.  Each track (if you access BandCamp) has a unique design picture/cover; as well as a few lines to describe what the song is about and entails.  Great attention is paid towards fans and potential fans alike.  It makes it easy to like him, and gain an insight into his thought process.

After an 18-month process of writing, recording and mixing, Bowler Hat Soup's children are born.  As someone whom writes with terribly exhausting and ambition, and has a curious vocal range, I am always drawn by individuals that are unafraid to be bold and honest with regards to their talents and skills.  I have been off put by my own vocal 'eccentricities': Leonard has an even bigger talent for instruments, mixing moods and genres, and creating an array of wonderful sounds.  Although the album has been around for quite a few months (it was released in October of last year), songs such as Dear Lincoln have been gaining a lot of regard and praise.  Brunswick Street caught my ear; it is the album's second track, and- in my view- the highlight.  The title refers to a street in Australia, and in a country where- unbeknownst to me- they have separate recycling bins for heroin needles- due to high proportion of junkies.  Although inspiration may be pointed towards drug-induced chaos, its personal portrait/cover depicts two sweet young girls, smiling broadly to camera: a wild and sharp juxtaposition.  I sat down to investigate the song, refreshed that I did not have to interpret another track about personal anxiety, love-gone-bad and the woe-is-me attitude towards Britain's streets.  An acoustic strum opens the track, as Leonard's voice arrives, sweet and calmed.  There are tones of modern solo artists, but I detected hints of McCartney's 'The White Album'-era work, as well as Crowded House.  There is that same sense of authoritative beauty to it.  It's words: "A cold winter brawl/The fog masquerades" sets a stirring and poetic early scene.  Leonard's voice drips with raw honey and whisky-stained soul: early Rufus Wainwright can be heard in the way his semi-operatic tones bring to life his words.  All the words are crystalline and fraught with emotion and remembrance: one suspects that a quivering lip could be detected during the recording.  Brunswick Street is "where the deadbeats meet": a street that moves our protagonist in foreign and unusual ways.  The acoustic stillness is augmented by orchestral lustre and passion.  The kind of strings Nick Drake would unleash during Five Leaves Left are heard, and create spine-tingling waves.  Although you cannot compare Leonard to any other artists through study, intuitive ear or second-guessing, there are shades of various icons in little avenues: a bit of Paul Simon's poetic and stirring lyrics; some Bon Iver vocal beauty; a swish of Kate Bush/Wainwright string work- the effect is quite haunting.  Evocations of Wainwright's gorgeous timbre, as well as colours of '60s legends are detectable in the vocal that follows a musical rush.  Percussion blows and strikes, tumbling and blowing steam; the strings are a whisper, and acoustic guitar joins the fray.  Street scenes and local figures are introduced: "The prose of a lost man", who plays guitar and "speaks with hoarse experience" is to be heard in the baking sun, and vivid lanes.  There is less focus on the author himself, and his love strife and personal doubts.  Attentions are turned to a place few of us will ever broach; the images that are unveiled put you right there, fearful yet mesmerised.  Never is there any sense of any foreboding or bleak mood: there is a pop and orchestral strum for the most part.  Although Leonard's voice quivers and emotes, the music remains supportive and comforting.  U.S. influences and arcs are layered into the architecture and bits of Dylan's snarl can be detected when he sings "That's where the cool beats sleep".  Ballad of a Thin Man-cum-Bringing It All Back Home are worthy notations and footnotes.  As well as the lyrics, which paint wonderful pictures; the chorus is also strong and memorable; the music is charming and locomotive; but the vocals impress most.  Leonard growls, sneers, quivers and emotes; his voice belts, distorts and introverts, sometimes within the same line, bringing to mind the likes of Frank Zappa and Captain Beefheart, sans plain scariness.  When the frantic and busy mood is calmed to sleep, Leonard turns his voice into a sweet-natured call; bare strings are introduced, and tales of a "dent in your car" and "summers on Brunswick Street" bring us to land... well, almost.  For the final 35 seconds or so, a curious coda and outro is presented.  Strange echos and sounds can be heard: perhaps the true and purest evocation of the words are brought to life.  There is a dancing and tripping line of electric piano (?), that is backed by wooshings, twisted wordless vocals, and a psychedelic haze to it.  Due to the nature of the song, in the way that it subverts expectation and provides constant surprise, it is s fitting and memorable end to a brilliant track.

It has taken a little while for me to be made aware of Kiran Leonard- shame on me, but also the media as well.  I have not heard of a better or more talented artist for a very long time indeed, and was rather taken aback at just how good he is.  He is very young, for sure, but if you factor that out (conceding that it is an impressive fact), and concentrate on everything else, then you will be a huge fan very soon.  The range of moods and movements on Bowler Hat Soup keeps you fascinated and enthralled, and there are so many wonderful compositions, lovely stories and strange scenes, that it is an exhausting, but vastly rewarding listen.  I do hope that many people turn on to his music, as well as being impressed by him enormously, I am jealous.  Have to nab this guy for the future, and there will be more like me, whom will try to recruit him into a band; knowing that he will give great weight and wonder to the mix.  As of now, as a teenage solo artist, he is in a rare position.  There are no musicians as talented as him, and in terms of a singer, he has few competitors too.  His words and tales are captivating and varied, and as a lyricist and composer he is also far ahead of his contemporaries; making the songs and albums more impressive than pretty much anything else out there.  Leonard gives detailed information and insights into his world: thus making it far easier to relate and appreciate what he has to say.  When we consider age, I hope it will not be an issue.  I am confident he will be making music in a couple of decades from now.  He has all the key components and a clear drive and ambition.  I just hope that the media will let him record and not focus too much on age, because in a time where too many solo artists and bands fizzle out- talented or not- it would be wonderful to see an artist making album after album, for years to come.  He should have no fear at all.  The public ear will be receptive and hungry for his music now, and the future, and I really do hope that when he reaches my age (really, really old), thoughts, songs, and compositions will still be renewed, played and presented to the public.  Take enough time to listen to the music, and see where I am coming from, as one thing is crystal-clear:

NO ONE like him will be heard of any time soon- if at all.

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Facebook:

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

SoundCloud:

http://soundcloud.com/kiranleonard

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Brunswick Street available at

http://kiranleonard.bandcamp.com/track/brunswick-street

The album, Bowler Hat Soup, is released on August 26th- pre-order it at:

http://handofglory.bigcartel.com/product/kiran-leonard-bowler-hat-soup

The Family Rain- Pushing It- Track Review

Track Review:

The Family Rain-

  Pushing It

9.6/10

Euphoric family of man, have blues and rock grit, but a steady heartbeat underneath.  Guaranteed to blow away the cobwebs, with panache.

Availability:

Pushing It is available at:

https://www.youtube.com/watch?v=OL31Y4aNWfQ

The E.P. Pushing It is available at:

http://thefamilyrain.sandbag.uk.com/Store/DII-92-5-pushing+it+ep+%28cd%29.html

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RECOGNITION and late praise is something that bothers me somewhat...

The media in the U.K. is culpable to a large extent.  The issue is not nearly as rife in other nations such as the U.S., but here it is practically endemic: too little praise is given too late to too many great bands.  Some may consider it to be a minor problem, but is hints at a larger malaise.  As well as a swarm and plethora of new music coming into the market by the day, there is a huge amount of newly-established bands and artists whom are on the scene, deserving of attention too.  It seems that there is an obsolescence in the chain of reason, and too many kinks.  Social media is burgeoning and expanding beyond its limitations and there are plenty of music websites and on-line newspapers.  The trouble is, that so few actively and thoroughly look out for and promote music and new acts especially.  Far too many times I have come across a particular act by sheer chance; stunned at the lack of promotion and attention the artist has received.  Everyone is deserving of a space within music- regardless of  their level of talent or abilities.  Mediation and due attention should be paid, and more fervent regard should be paid, because frankly, too much good music is slipping through the cracks.  The artists themselves can only accomplish so much on their own; or by word-of-mouth.  Media outlets have a responsibility to help further new talent, and to my knowledge, too little is being done; there is no due diligence; no real insight or effort being carried out.  It is relevant to my point when considering artists whom have already made footsteps, but whom also need to be grasped my more people, and have their name and songs recognised more widely.  In the current climate there are few websites- if any at all- that dedicated time to highlighting these types of acts (as well as brand new ones).  A lot of time a broadsheet paper's website or music magazine will mention a 'New Band of the Day'; and that act may have been around for a fair few months.  Radio and music shows on T.V. are doing their part as much as possible: it is just the rest of the Internet and media that are dropping the ball.  It is not just a theme I bring up to fill space, but mention it because a lot of wonderful music is being left on the shelf too long, or relies on people stumbling upon them by chance.  I have arrived at the footsteps of some pretty strong acts, thinking that they are brand new on the scene; only to discover that they have been out there and making music for a good long time.  I suppose that in the future, measures will be introduced and websites designed, that make it easier to be kept abreast of all the happenings, and relevant new music.  For too long stations and the media have fixated too hard on the mainstream and popular act; relegating newer music and different sounds to dark corners, and small print.  Only time will tell whether this issue will ever be rectified, and people will be made more aware of good vibrations and brilliant sounds.

The Family Rain are a band that I have been aware of for a little while, but not one that have been featured too heavily in music magazines or online; I feel that they are victims of late praise and some retrospection.  The Guardian have just featured them as their 'New Band of the Day', in light of the release of new musical releases from the group.  Their Pushing It E.P. is released and the title track is catching a lot of ears and minds.  The band have been on the scene for a little while, and their song Trust Me... I'm a Genius, was met with a great deal of adoration and interest.  Many were comparing the group with the likes of the Kings of Leon; whilst others felt that they had all the hallmarks of classic rock groups of the '60s and '70s.  Their official website is striking and well designed, and there is an air of confidence about the boys: they know that you need to have good online presence, and not just great songs.  Little is known about the boys on an individual basis.  Their music does a lot of talking, but the guys are William, Timothy and Oliver, and are based in Bath.  Their sound is very much indie and rock, but there are harder elements as well as blues touches too.  At the moment the boys are touring, having just played Manchester.  Word and buzz are being built up, and there is a great anticipation and excitement with regards to their E.P. and future footsteps.  Whatever the future holds, for now they are recruiting a wide range and fans, and their live performances and reputation are doing them more favours than the media at the moment.  If the likes of the broadsheets and music publications are to maintain popularity and a good name, then they need to be more informed and involved with bands like The Family Rain, as they do seem to be an afterthought for a lot of publications, when they should be taking up a lot more of their space and time.

The opening notes of Pushing It have hard and ragged stomps.  There is a little bit of Queens of the Stone Age's Lullabies' work, especially Burn The Witch and Tangled Up in Plaid.  Definitely the sound of the desert and the U.S. lingers in the opening notes.  It is intently and striking, and pulls you along, not giving you time to absorb the music.  The band are "pushing it hard"; the vocal is quite an individual facet for the band.  Elements of U.S. stars linger in the tones as well as northern influences, but the overall sound is refreshing and individual.  It matches the mood and pace of the riff, and is intent and dominating.  When things are pushed past "the pace of the day", there is a raw and sexual edge to the vocal.  The riff strikes and hits, whilst percussion and bass pound and provide hard-hitting support.  It is clear that momentum and power are bywords for the track, and the pace rarely lets up at all.  Many will find relatable familiarities within the song.  The northern influence is probably heavier, with '90s Britpop nestling alongside modern idols such as Mile Kane.  A similar raw edge and fortitude are detected within the vocals especially, and the band have the same tight and confident stride to their step, as the likes of Kasabian.  Even though the lyrics and words have sly undertones, impassioned intent and a tongue-in-cheek to their edges, the composition and band performance is layered and intriguing.  Lesser bands may just infuse the track with too much sound and weight, and ruin the overall effect: The Family Rain bring the pace down to allow the vocals to shine when needs be; ramping it up and sidewinding to emphasis effect when required.  "It's all undercover" the band sing; there is shadiness, weird and curious scenes and impending paradigm shifting events.  Everything is delivered with clarity and consideration as well; vocals are not spluttered or drawled; instead calmly delivered like a sermon, our front-man teasing the syllables and one suspects there is always a cheeky smile not far from his lips.  That hint of U.S. stoner rock-cum Manchester indie is particularly prescient when the band fire up and let their instruments do the work.  Guitar, bass and guitar codas snake and rattle, and spark electricity and fire.  The riff and percussive drilling has the nature of a boxer: punches are sprinkled; the fighter recoils and comes back for more.  The video for the track depicts a female boxer in the ring, appropriately hotting up the pace and getting shots in good and clean at this juncture.  Physicality and masculinity are also essential words as well, and the boys, through their words of things delving "under the skin"; and "microphone checks"always have a spiked and ragged passion to their performance.  The momentum and firepower never lets up; an unstoppable gravity and snowballing effect is elicited.  "The hairdresser's in/And she's seen it coming" is used a fair few times, and the guys have a way of conjuring up vivid scenes from doorways and town corners, that makes you think you are there watching it happen.  Characters and false idols are presented, and an underlying sense of controversy and danger lurk beneath the chords and beats.  In the way that the vocals are sometimes snarled or forced forth reminds me a great deal of early-career Oasis, as well as Arctic Monkeys; although possibly not influences for the band, there is a similar force and quality to the vocal tones, as well as the music itself.  Again when the band break and unleash another passage, Queens of the Stone Age comparisons are hard to ignore.  A bit of No One Knows can be detected, as well as Songs for the Deaf tones and flavours.  Not that it is ever a bad or overly-obvious thing: The Family Rain have an ambition and quality that means that they can sprinkle influences and familiar sounds into their riffs, but make them feel fresh and urgent.  Whatever you hear, imagine or can detect from the sounds: whether there is clear influence or some strange avenues, the abiding effect is one of impressive intent and ambition.

It is through The Guardian that I was made aware of the band's new E.P. and it was by chance that I happened by the band a few months ago.  It seems, that in 2013, better and more prominent steps should be put in line, so that someone like me, who wants to hear about The Family Rain, should not have to work so hard to do so.  The emphasis is still placed well and truly on chart music; mainstream sounds and bands that have already cemented their sounds and credibility.  For those that are saplings, or on the rise, their futures are not giving as much consideration and affection as they deserve.  I hope that The Family Rain have a chance to be heard and seen by a lot more people.  At the moment, they have a hell of a lot of followers via Facebook and Twitter, and are attracting huge crowds from all around the U.K.  If they want to break into America, and get the credit they deserve, people should be prepared to help out and share their sounds, as they are clearly a band that are going to be around for a long time to come.  Their E.P. is a perfect representation of where they are now, and how good they are.  Their indie, rock and hard sounds are hard-hitting and memorable.  Lyrics of personal relevance are mingled with something more universal and commonplace.  Vocal performances are consistently strong and impressive, and have a clear identity, as well as containing bits of U.S. and U.K. stars.  It is when the band come together that the most stunning results are realised.  They are tight and professional; have a great energy and swagger and a clear affection for one another.  Riffs, lines and middle eights are ready-made for festivals and venues, and also tailored for the best radio stations out there: Absolute, BBC 6 Music, XFM, etc.  In weeks to come, many will be speaking of them, snapping up their E.P. and looking forward to what comes next, and the band should prepare themselves for that.  What a future album will herald: softer sounds mixing with their anthems, or a different sound completely, it will be exciting to see.  To help further the cause of great new bands, that are deserving of much plaudits, give them a listen...

AND spread the word.

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Official:

http://www.thefamilyrain.com/

Twitter:

https://twitter.com/thefamilyrain

Facebook:

https://www.facebook.com/thefamilyrain

YouTube:

http://www.youtube.com/user/thefamilyrain

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Bronagh & the Boys- Green- Track Review

Track Review:

Bronagh & the Boys-

Green

9.3/10

Belfast-lead and Glasgow-based, the endeavouring six-piece girl and Boys make music with a gentle heart, designed to charm and seduce.

Availability:

Green is available at:

http://bronaghandtheboys.bandcamp.com/track/green

A Young Heart E.P. is available at:

http://bronaghandtheboys.bandcamp.com/

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THE success and appeal of any new band does not solely depend upon...

talent or an aggregation of talent and a collection of strong tracks. A lot of the time, bold movements and ambitions can be realised by fusing together people from different countries; each influenced by different styles of music. I recently focused on HighFields, a group of men and women whose members hailed from areas as disparate as Norway, Canada and Singapore. At their core was a mutual respect and fascination, but it was the collective diversity and scope of various influences, when mixed together, that saw a magnificent sound being made. The music was intriguing and celebratory; the vocals strong and fresh, and a sense of fun and adventure was evident. I was well aware that each member was extremely talented, but got to thinking that it was probably the geographical diversity that enhanced their music. Each artist, wherever they hail from, has separate tastes and interests and lives in different landscapes. A great deal of the new acts that I have reviewed recently, have members whom hail from the same town or county. Most either met at school, or later in life, but the common bond was one of geography. I find that if a band consists of members that live in the same town, the music often has less weight when compared to the music of a band whose participants emanate from different climbs. Songs and sounds can somewhat sound homogeneous or single-minded when you get down to it. There is an over-reliance for particular acts to project the sound of their city or county, and more often than not, they can come off sounding too similar to existing acts or other artists. I have witnesses a few groups such as The 1975, whom have managed to elicit originality, as well as portraying enough flavours of their native soil (Manchester). Too often I have heard bands and solo artists trying to present themselves as 'The Next...', without realising that that lack of originality and foresight alienates and divides a lot of people. It is not too much of a coincident that some of the best bands out there at the moment, are those whom have variegated backgrounds, tastes and members. For as long as I have been bemoaning the lack of variation and surprise in current music, I have also been extolling the virtues and wonders of Scotland. Perhaps due to the distance from London, and subsequent dislocation from the U.K. media's epicentre, this country has been somewhat overlooked with regards to new talent. The diversity and quality that I have witnessed has been impressive for sure: much stronger than the national average. It is going to be a hub for future music generations, and when looking ahead, Scotland is going to be a key focal point.

Bronagh & the Boys' male members come from Scotland, and it is where the band are based. Adding their names to a growing list of future stars, the 6-piece are fairly new on the scene. The music that they have made so far has been gaining positive press and a lot of admiration. It is not only because of where they are situated, but also because of their influences and inspirations. The band are influenced heavily by soul and the likes of Amy Winehouse. Their front-woman, Bronagh Monahan is from Belfast, and you can sense influences of Northern Ireland as well as Scotland in the songs of the group. One of the heroes for the 6-piece is Fleetwood Mac, which in itself is quite a rarity in 2013. There are a surprising number of people who are not aware of the band's existence, or capable of naming any of their songs. Bronagh and the Boys also incorporate some of Fleetwood's magic into the mix as well. You can detect a similar dreamy quality; the ear for melody and emotion also has flavours of the legendary group, but the overall quality and credit is definitely theirs. Monahan herself is only 22 years of age, but since moving from Belfast in 2008, has made a name for herself around Scotland and the U.K. as a whole. Her distinct and incredible voice has earned plaudits from the likes of Radio 1. She has also been featured on the BBC Introducing show: earning herself praise and the fascinated eyes of large sections of the media and population. Having completed a degree in music recently, her sights are set on the future. The Irishwoman, together with her Scottish band of men, are stirring up some fascinating sensations and lines, and it has resulted in their debut E.P. It is early days for the fledgling group, but they are gaining a steady stream of fans and followers via their Facebook and Twitter pages. On Facebook, the group attest to being inspired by the likes of Laura Marling, Queen, The Supremes as well as Norah Jones: quite a mixture of genres, and all top quality and memorable artists. Usually when bands list their icons on websites and social media, it is normally just a checklist for reviewers and fans. As soon as you hit play, one can pick out certain bands and artists from different parts of the song; so by the end you have a long list of very obvious influences: often making the associative act seem like copycats. Recently I have noticed a cessation of this habit. Many new acts are keeping their social media sites sparse, and reducing them to the bare-minimum, afraid of showing their hand or revealing any tell-tale signs of tributing. Bold bands whom have their own style and originality are comfortable in listing their icons: as much as anything it helps people like me to get a sense of who they are and where they come from. If you can do this, and not have your music sound like a composite of those influences, then you have done exactly what is required. With the release of the E.P., Bronagh & the Boys will expand in the market with regards to on-line representation, and draw in a great deal of new fans, all eager to get inside their minds and fall in love. The E.P. A Young Heart is in the market and available for all to hear, and should be studied close. It is a 4-track collection, but each track is detailed and crammed with substance, twists and emotion. The second track from the set is their debut single, and has been garnering a lot of respect and attention from a wide range of sources. It is indicative of the group as a whole and ties together their signature sound, whilst blending seamless flavours from some of their heroes and heroines.

Green is the longest of the quartet of songs on the E.P., but also the most evocative. Beginning with a vocal rush, our front-woman is joined by her band members; the resultant rush of voices swells and emotes. Bronagh's voice is full-bodied yet romantic, announcing: "Green is the colour that makes me feel hope". There is a distinct dreamy quality to the vocal project, sort of Fleet Foxes-cum-Fleetwood Mac that is a rarity in 2013, or in fact recent years. I was wondering if the colour of green has an autobiographical or symbolic relevance to the band and Monahan: maybe an Irish connection, and when she sings "And green reminds me of you", I was curious if there was a man waiting in Belfast for her; or whether green referred to grass; Spring; happier times and climbs: there is a mystery and fascination to begin. Colours have been used before as synonyms; especially blue and black: Amy Winehouse went Back to Black; The Marcels sung of a Blue Moon, and various acts have incorporated colour schemes into their songs. The initial vocal swells: that begin as chorusing calls, before focusing on just Monahan's tones, are subdued at the 0:24 mark, and replaced by gently-picked strings. Green's initial stages are a mixture of Californian sunshine and soul, mixed with folk and '70s pop scenes. The light and luscious guitar sounds are joined by a gorgeous piano coda, that when blended, is genuinely spine-tingling. From the early rush and energy of the vocals; now we are laid down and tenderly rested: the effect is quite startling. Strings of a classical nature enter the scene very shortly, eliciting Irish flavours: the romantic sway and sensation has its heart rooted in parts of Northern Ireland, as well as E.I.R.E. When the next verse is delivered, the tone is more sedate and introspective. Our front-woman's voice is soft and tender and crystalline in its purity. She speaks of doubts, stating "I've made mistakes"; her vocal evocations being subtly backed by the band, who keep the mood fragile and warm. In the way that a lot of band and artist write themes of love-gone-wrong and fill their lines with some bitterness and spikiness, here the sentiments are much more respectful and earnest: "In you I've found that love could be restored". Bronagh's band: Neil, Andrew, Tony, Allan and Michael let the voice speak clearly and be heard, never trying to crowd it with too many notes or noise; instead their musical polymorphism compliments the voice and lyrics superbly. There is never hint of sadness within Monahan's voice; everything is delivered strongly with focus: one suspects that any demons that were present are gone, and she is now focusing on her love and what is to come. The chorus is repeated, adding weight and familiarity in equal measures, the true meaning behind its words are no clearer the second time. One suspects that there are links to home and far-away places, but also a lot of hidden meaning behind 'green' and "Green in the colour that makes me feel whole". Throughout the chorus and verses, as well as the musical passages too, there is an abiding sense of youthfulness and child-like innocence. Fairytale sparkle can be heard in the strings and piano, and evocations of beautiful landscapes, verdant valleys and fields are summoned forth. For all the gentle soulful words, that make you think of times and eras past, there are reminders of today as well as more vulnerable moments: "Who knew a drunken moment would make see some sense". It is when the chorus is introduced for the third time, that the vocal harmonies are reintroduced. Slowly, more meaning and relevance is unveiled from the lines of the chorus, and you get a clearer sense of what our heroine has been through, and where she wants to be. Whomever and wherever her heart belongs, it is anonymous, left to the listener to decide if it is home, a paramour or a particular place she is dreaming of, but you suspect that there is a little of all three. Monahan's voice has some comparable with some female contemporaries, but the abiding sense is that her quality and tones are more similar to the folk and soul icons of old, as well as influences such as Fleetwood Mac. In the modern climate, female voices- with a few exceptions- go either for raw power and belting (Adele for instance) or are too sickly-sweet or bland. Here, there is more authority, passion and conviction. Sure, a few modern singers have a similar ambition and quality, but they are few and far between, and it is pleasing to hear a voice you can have faith in. Not to demote the band to any sort of background fascination, they add as much as to atmosphere and mood as anything. When the chorus ends, piano, strings and additional vocals are heralded that are swooning, delicate and passionate. "It's true I'm not blue/When I see green and you know who I mean" becomes a mantra in the song's final third; musical accompaniment is sparse but effective and the vocals (by Monahan, as well as the rest of the band) create a stirring scene. Percussion is added to the mix, as well as wind instruments, and Monahan adds more power and passion to her voice as well, to match the rising energy. With further revelations from the repeating of the chorus, the song comes to an end. The overall effect is one of a pleasing satisfaction, where a personal message has been delivered, with a little mystery and intrigue at its edge.

It is difficult to compare Bronagh & the Boys to any current act. Perhaps the better-educated of music-lover will disagree, but I found that there was a vital freshness and originality to the sound. Elements of '60s and '70s pop and folk mingle alongside modern-day sounds. Green is infused with sunshine, rainswept and has a wind of Ireland, Scotland and gorgeous views. The lyrics are romantic and tender at their heart, and the chorus is particularly memorable and impressive: it has a simplicity and obliqueness mixed together that will be familiar and relatable to a lot of people. All of the musical accompaniments and shades fit the song perfectly, and add passion and tenderness where needed; the entire composition is consistently impressive. Perhaps the most striking and memorable facet is the vocals from Monahan. Her voice is calming and gentle, but also possessed of power and plenty of potency. The band's maxim is to produce music that speaks to people and inspires. Harmonies, lyrics and songs will lodge in your brain a long time after you hear them, and there are so many different colours and sounds to be experienced within the E.P. as a whole. Green is a gorgeous love song that tells of fond memories filled with soul, and smiles. I'm His has Kate Bush/The Carpenters stillness and haunted beauty, and tells of a relationship that seems one sided: the man seems uncaring and distance when our heroine gives all she has. Young Hearts steps away from a personal narrative, and examines young lovers and is filled with beauty and positive sensations; where as the closer Not My Own hides deeper scars and doubts. No matter what the subject; whether it is first or third person, pain-filled or overwhelmed with joy, it is delivered beautifully by the band; lead by Monahan's pure voice. Seek out the E.P., as it is filled with texture and layers, and is very much a work of originality. You can hear influences from Scotland, as well as Ireland, with hints of modern and older influences too; fused together to create something that is endearing, captivating and will appeal to lovers of soul, folk, pop as well as devotees of something heavier and more foreboding. In a year where too many new bands are too concerned with heavier and more forceful sounds, and negate the importance of something more sensuous and thought-provoking, Bronagh & the Boys...

ARE showing how good beauty can be.

________________________________________________________________________

Twitter:

https://twitter.com/BronaghMonahan

Facebook:

https://www.facebook.com/#!/BronaghandtheBoys

Soundcloud:

http://soundcloud.com/bronaghmusic

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Crystal Seagulls- Yours For As Long As You Keep Me- Track Review

Track Review:

Crystal Seagulls-

Yours For As Long As You Keep Me

9.5/10

Masters of "Sexy Sexy Love Music" have a rare sense of humour, and sounds that are seriously good.

Availability:

Yours For As Long As You Keep Me is available at:

http://crystalseagulls.bandcamp.com/

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UNIFYING elements from the '60s and '70s, and fusing them with...

movements of the modern-age, is near-essential when producing music that can inspire masses, as well as paving the way for other bands to do likewise. Originality and the nature of identity is something that is elementally flawed. New bands are always tasked with coming up with 'their own identity' or having a sound that was theirs, and theirs alone. There are a multitude of issues when trying to formulate a very utilitarian business plan. Not only does an act have to please the media: critics, reviews and the likes; they also need to recruit fans, inspire fellow acts, as well as appeal to the next generation of upcoming musicians. Archiving this is damn near impossible: every sector demands a different sound or sensation, and pleasing everyone is never going to happen. If a group is considered too individual or 'eccentric' then they risk alienating large sectors from the off; at best they can hope to elicit some retrospective appeal and restoration. The main problem with acts today is that they either ape existing music, or else have too many familiar tones in their songs. The latter is far more depressing and common-place and exemplifies the current scene, whilst going a long way to explaining why there are so few genuinely worthy bands on the market. It is the rarefied climbs of innovative and subversive base camps, that will inspire people like me- both as a reviewer and songwriter- to become excited and regain some semblance of faith in the potential of my generation. I can fully emphathise with the plight of the new act: there are myriad temptations and appeals to the music scene; yet striking the right balance is a precocious art form. In essence there is chemistry, biology and physics involved with regards to arriving at a profitable hypothesis. Bonding together the heart, mind, blood and 'soul' is an alchemy that is rarely perfected. If you can make your potential audience feel sympathy towards any- whether they are lyrical or musical- heartbreaks, then you win 'souls'. If the music and words are authentically heartfelt and everyman, then hearts can be captured with ease. If, into the mix, you can throw in sparks of energy, magic and mystery; sure as hell the blood will rush to all parts (and I mean ALL), as well as boil with lustful stupor. Cementing the foundations with cerebral proffering, thought-provoking melodies, lyrics and songs appeal to the intelligence and hippocampus. For those willing to formulate ways of striking gold, and mining oil, then the rewards are multitudinous and affirming. Predilection leans towards ticking maybe three of these four boxes. More often than not, bands and solo artists negate the need to seduce the mind: concerned too much with electioneering to lowest common denominators. It seems that the most efficient way of being able to achieve all the necessary goals, is to marry sounds and sights from various eras. Add a little bit of '60s and '70s invigoration, with a smattering of '90s swagger and sweat, and top it off with a drop of up-to-the-moment-2013, and you are going to yield healthier crops. Originality and a unique personality are sacrosanct as well, but can easily be obtained in addition to drawing in variable influences and genres. Not that this has seemed to penetrate to a lot of the modern-day crop, whom seem bereft in a sea of multiplicity, or else do not have enough mobility within their own sounds to be able to sustain longevity. A few, do, however, get it right...

Formed back in July of last year, and consisting of John, Jim, Elliot and Ben, our four-piece brethren hail from unrelated counties: Greater London, Warwickshire, Cheshire and Hertfordshire. Historically, those regions have sired some influential bands and acts; maybe Hertfordshire has been slightly more diffident and insular in that respect, but it is the acquired evocations from the diverse localities that has contributed to their accomplished sound. In addition to having won the Unsigned Isle of Wight Festival Competition, the boys are unsigned at the present time. Little is known with regards to the band members individual biographies: as well as scant being offered when pertaining to their heroes and influences. I have encountered many new acts that take similar lines; none want to give too much away, less reviewers and fans fixate too much upon it. When evaluating an act's influences, many will use it as a pretense to sublimate the act's potential, or lazily compare them (to the bands/artists that they are in awe of). I have been pointed in their direction by a lot of fellow musicians, including Steve Heron: a Scottish singer-songwriter. The guys have an evident sense of humour, and have a generously populate their social media pages, with links, reviews and information. They understand the importance of generous promotion and representation, as well as producing exciting and wide-ranging sounds. If you can pull of these under-used aces, then you are already 3/4 of the way to achieving long-term attention. Their name as well- Crystal Seagulls- is appropriately evocative and intriguing. Both precious but precocious; valuable yet antogonising. With odd imagery, strange dreams and psychedelic buzz in mind, I broached the subject of the band's music.

The opening salvo is always tough to get right. You are mandated to hook people in, and keep their attentions held. Yours For As Long As You Keep Me, begins its climb and sight-seeing with appropriately gentle intention. There are distinctive patterns of the '90s to be heard from the initial seconds: remnants of (What's the Story) Morning Glory?-Oasis; 1995-Britpop; essences of modern-day solo artistry too. Sparsity and emotional resonance are all present and correct, and it is the simplicity of the effective electric strum that leads in the song confidently. Lyrically, the mood shifts slightly from the shores of Oasis, Blur and from the '60s masters as well as modern-day troubadours. If the skeleton hints at times past, the organs are very much that of Crystal Seagulls. "Saline drip my dream" is as evocative and provocative as any opening line; galvanised by "Blunt the edges/Reinforce what's real". A sense of dislocation as well as displacement linger within the opening verse. Poetic and direct notions go on to mix with oblique and dream-like sentiments. Everything is delivered with confidence and passion. When the second verse kicks in, it is done with audible abandon: the drum snaps into life, and an energy rush is elicited. Words of concern seem to layer into the mood. Our hero clearly has a girl in mind; one whom has caused sleepless nights and anxiety. You would never tell from the vocal tones that there is too much inner scarring. Like the brothers Gallagher, as well as northern contemporaries such as Doves and Elbow, there is a masculine confidence and bravado: even if you suspect that deeper down there is some pain and tears. From the opening thoughts, the energy is built ever upwards. By the time we hear of "So tell me if they work you like a dog?", our protagonist unleashes a slight gravelly growl. Plenty of swagger is abound: the boys have a fond admiration for the heyday of '90s music. You can hear the same little slams and lines in the verses; yet expectation is circumvented so that they come off as fresh and modern. As much as the quarter parade and march, underneath there is a sensitive that tells of times where they'd "gaze and watch your stars come alive". There is an anthemic quality to proceedings. If I had to cheapen the moment and compare the track, I could hear elements of mid-career Blur, as well as early Oasis. A comparable quality and vitality rules the sound. Even if there are some Britpop-cum-Grunge undertones, then the abiding impression is very much one of 2013. The boys whom want it said: "Shoot me scouting for an even feel", twist and turn their words inside out; display plain, hard emotion as well as more open-ended mystery. It is not just the lyrics and vocals that intrigue and strike. The rest of the band whip up gorgeous and diverse guitar lines, that go from '90s blister, through to 1960s pop smile, via '70s Steely Dan (and their jazz expeditions). Little flecks of Crowded House and their gift for vocal and audio melody, and a comparable lyrical talent is on display: "Cos if my heart counts for something/Don't care what they say, it's not wasted on you". Crystal Seagulls can unveil their inner-most demons, yet infuse everything with a sense of bonhomie and uplifting energy. Ordinarily, songs that have slightly anxious or downbeat sentiments, are delivered with appropriate gloom. The boys keep everything positive and interesting. The percussion, bass and drum summon up lines and passages that are filled with blues authority, as well as star-gazing prowess from '90s and '60s pop annals. As much as there is introspection and questions asked, the abiding them is one of love and hope. The final line reads: "Be here by my side, I'm still here waiting for you". It is a graceful and romantic coda, that encapsulates the song's majesty.

I guess for a long time, I have bemoaned the lack of inspiring bands and sounds in the current scene. Perhaps my standards are too high, or my sights too narrow. Whatever is causing this malaise and very real discontent, is a long way from being reappropriated. Too many bands and new artists lack the basic knowledge and ambition that is required to capture minds. Even fewer are aware of what is required within a song/E.P./album, in order to captivate: must glaringly there is little originality or excitement. Crystal Seagulls understand that it is important to incorporate themes from bygone times into your sound. It displays no lack of innovation; quite the opposite in fact. They also have not fallen into the trap that most have, of distilling their own essence with too many other ingredients. Our four-piece, in Yours For As Long As You Keep Me, have laid down a song that is as ready-made for the festivals and arenas, as it is for the mainstream radio stations. It is unsurprising that success has come to them, and many are latching onto their sounds. Through a combination of fresh and impassioned vocals; pioneering and exciting musical lines, and a sharp and intelligent set of lyrics, the track manages to excite, endeavour, seduce and captivate. Not many bands can lay testament to that, and certainly not too many in 2013. Whatever the future holds for them: E.P.s, albums, tours or the like, they deserve to be snapped up and encouraged more by the record labels, as well as influential media bodies and outlets. Word of mouth, ambition, accomplishment and talent have got them a long way in a short time, but I suspect that their sights are set even further. In order to scale some ice-tipped peaks and murky climbs, a greater understanding and exposure needs to be begun. So long as they keep going strong, then the next few years should be very prosperous indeed. Join them, and see what the fuss is all about:

WOULD I lie to you?________________________________________________________________________

Twitter:

https://twitter.com/CrystalSeagulls

Facebook:

https://www.facebook.com/#!/CrystalSeagulls

iTunes:

https://itunes.apple.com/gb/album/crystal-seagulls-single/id558476975

Soundcloud: 

http://soundcloud.com/crystalseagulls

YouTube: 

http://www.youtube.com/user/CrystalSeagulls?feature=watch

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The 1975- Chocolate- Track Review

Track Review:

The 1975-

Chocolate

9.7/10

A 38-year-old name, a personality built around black-and-white and a rising fan-base, means only one thing: one hell of a sound.

Availability:

Chocolate is available at:

http://www.youtube.com/watch?v=FfBKqaVk2Co

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A lack of authoritarianism, and a rampant drive of electioneering...

is as important as anything, in the current climate, with regards to gaining and keeping a foothold. It is obvious that a great swarm of acts and bands are coming onto the market by the week. If you're lucky, you may get a bit of press attention. There may be an obligatory short biography; contained within will be some feint praise, and an annoying tendency for the associated writer to compare the act or artists to someone or other. Every piece seems to begin: "Meet the new...". It is the lack of imagination within the media, as well as an apparent lack of originality within music, that has sunk many a ship, and condemned a fledgling act to a premature- and often painful- death. Social media is as important as anything these days. The influence and power that it has, is utilised by new music, and is responsible for getting an act's music to unusual places; gaining them new legions of fans, as well as inspiring other bands as well. Of course, one can not solely rely upon these facets, nor can they have an overconfident naivety, and assume that everything will work out for them. Too few new acts have done the bare-minimum with regards to promotion, on-line coverage, and getting their sounds perfected, differentiated, and spread to the public. Sticking too closely to a particular promotional format and mould, and being too restricted and predictable, can also cause early entropy. If a new act not only wants to survive, but to be heralded as a modern great, then it is as important to have a sound that is fresh, all-encompassing, and stunning. I have focused long on twin pillars: location and originality. With regards to the former, most of my concentrating has been aimed towards the north of England, as well as Scotland. The latter tends to have greater range, and a bit more fascination, but the former has growing numbers and consistency. Bradford, Leeds and the general Yorkshire area is proffering a great deal of variable talent: swing, blues rock and '60s Nancy Sinatra-esque pop mingles alongside indie flavours. It is farther west that something more distilled is to be found. Whereas the Yorkshire contemporaries portray greater range, over in Manchester there is a focus primarily on indie bands as well as rock and hard rock groups. I have stated unequivocal that these area are producing the ripest crop of current talent. Long have I wiped my brow when trying to formulate scientific conclusions why this is so, but there seems to be a busier local scene here, as well as being a greater number of stronger acts. As much as I have been in awe of the passion and protestations from the musical fellows, I have been as dismayed by some rather worrying trends. More often than not, originality is a big issue. In the past few weeks a great deal of groups I have focused upon have been aping Arctic Monkeys. I understand the desire to try and emulate a group that is popular and (relatively) local: but why bother compromising your identity to achieve this? We already have Arctic Monkeys and no matter how close you mimic or how hard you try you are not going to be as good; either musically and certainly not lyrically. Alex Turner's voice is also ripped off, and you get the sense that as well as there being a lot of movement in the north, there is not a great deal of imagination...

The 1975, however, are a band that have defied this, and have done everything right. The guys met over 10 years ago now, but through a shared affection as well as a combined passion for music, the band was formed and cemented, 1975 itself was a year that saw some of the best songs from the likes of The Eagles, Wings and Alice Cooper. The group consist of Matt Healy, George Daniel, Adam Hann and Ross MacDonald. The band themselves are not beholding to simply tributing an existing act, nor sticking unyielding to one genre: they mix punk energy, with Motown, northern European dreaminess and big pop hooks. Innovation as well as cross pollination is as essential as anything, if one wants to create songs that are memorable as well as innovative. In spite of having only released their debut E.P. a year ago, the four-piece have been restless: promoting and touring extensively, and summoning a prodigious and consistent workload. Many new bands neglect the power and necessity of on-line representation. I have come across too many acts that maybe have a basic and skeleton Facebook page; and maybe something on Twitter too. More often than not, these pages and spaces are neither memorable, nor especially informative. The 1975 are a band that appreciate the value of spreading the good word as far and wide as possible, and their social media representation, as well as wider appeal, is awash with black-and-white classical edges. There are few colour photos or colours in general to be found: their appeal and aesthete is representative of their band name's heritage and implication. Small things impress me: they have lyrics on their official site, even though the words are not differentiated, making it hard to get too much out of it. Too many bands do not publish their lyrics, and combined with vocal performances which are often unintelligible and indecipherable, it makes for a frustrating experience. Of course it not just because of their impressive on-line portfolio that the band have amassed an army of impassioned fans. The music itself, in terms of its original ambition and qualitative regard is what gives The 1975 their stellar reputation. As well as their pioneering nature with regards to mixing genres, it is also the clear affection the guys share, and the passion they have for music. Last year they released their debut E.P. Facedown., and gained a lot of positive radio play, with crowds and the uninitiated latching onto their unique blitz and energy in the live arena. The E.P.s Sex and Music and Cars followed, and gained attention from the likes of Zane Lowe. Following on from this IV ensued, and pulled in new fans, all hungry to hear what the band will come up with in 2013. The debut, and self-titled album is all-but-completed, and will be unleashed in the Autumn. It is axiomatic to say that the album will be met with a firestorm of intrigue and demand, and will project a mix of their trademark sounds, as well as some new avenues and sensations. It may be the E.P. IV that is gaining the current share of attention, but Chocolate is one of their most-celebrated tracks, and derives from the release Music for Cars.

It is the pulsating and almost-electronic percussive thud; combined with a pupated building energy that lights the fuse for Chocolate. Once one siphons through the myriad of trolls and pointless vitriol on the YouTube comments section, and focuses on the video, it adds weight to the track. Reliable hues of black and white, stylised and filmic beauty, alongside foreboding nightscapes, represents the song's authority perfectly. Past the 0:10 mark, the percussive smack mutates with electric guitar sparks. The rhythm kicks and dances in a bonhomie disregard; it is a mixture of modern-day vitality-cum '60s and '70s charm that gives the song its initial intrigue. The intro. itself settles upon a pattern and format and holds itself true: it draws you in and is as exciting as it is relaxing. When the vocal arrives, the tone is invigorated and raw-edged. There's a little of Kings of Leon's U.S. drawl, mingling with Mancunian accent, that is apparent. Any fear of hearing something overly-familiar or overly-replicated is expunged immediately, to be replaced by something that is as imbued with originality, as it is with vitality. The voice has youthful passion, but has married in influence from the band's idols, as well as tones from the modern scene. Chocolate's words deal with ambiguity of love and cessation of a parabond: "Call it a split/Because I know that you will". When the words are delivered, there is some unique delivery: lines are tripped out, skip and trip, making the meaning more pointed and evocative. Scenes of city life and associative danger are spoken: "We got guns hidden under our petticoats". It is with energy and firm evocation that the band support the front-man. The bass and guitar bubble and create waves; the drum work is solid and galvanize's the track's spine: together the effect is one of youthful vigour and sensationalism. In the way that The 1975 are influenced by the likes of Motown, The '60s legends, as well as The Rolling Stones, this is apparent in the way the music is projected. Delivery is given special consideration. Lesser groups would choose force over construction, produce something more anodyne and monotonous. The 1975 blend the hallmarks of different genres when projecting, and means that their words and themes are made more memorable and exciting. The boys tell of vignettes and scenes where "We're never gonna quit/If you don't stop smoking it". It is the mandate of not giving in and resilience that is repeated to great effect: the words are said more convincingly than any other in the track. If the guys can differentiate the lyrics on their official page it would have made it easier to deduce this; but is something I hope will be rectified in the lead-up to their album release. It is the re-enforced themes of petticoats, chocolate scents and lawlessness that gives Chocolate an almost romantic and bygone-era charm. It is the sound and sights of a wild north-west: hero and heroine embroiled in the unpredictability and danger of the night. Of course there is a pure heart and tenderness underneath anything, with our protagonist (in the song's video) alternately looking forlorn and thought-provoked: he projects the air of a punk idol, shrouded in mystery and cigarette smoke. Familiarity and key themes are at the pinnacle of the order of magnitude. Phrases and words are repeated and enunciated to elicit maximum fortitude; the composition is perpetual and unwavering, and the vocal is impressively sprightly and captivating throughout. Chocolate is a track that does not outstay its welcome, nor waste breath or words. You can tell a great deal of thought and detail has been considered with regards to the song. The lyrics are evocative, yet intriguing in their intentions and meaning: "We're dressed in black/Head to toe", for example: a sentiment that can have numerous meanings and implications. There are no needless solos or gaps, with the band given the task of remaining focused and tight throughout.

As a whole, the track is simultaneously a perfect representation of the band's codas, as well as an example of how simple and effective storytelling can draw you in. I have traversed the shores of The 1975, and explored their history quite immersed. Whilst their tracks are varied and differing, the boys have a keen ear for melody and punch. Underneath Chocolate's layers is a punk edge and authority, even if at the core something warmer lies. I was impressed by the group's tight performance and ability. The composition is well structured and exciting. Tones and reminiscences of the U.S. as well as northern England fuse together. Special kudos goes to our protagonist, whose voice is something quite striking. I am particularly struck by vocal prowess and effect, and there are no signs of any other artist inherent in his D.N.A. There is definitely a leaning towards modern energy and sounds, but little slices of older and wiser artists can be detected too. The way that the words are delivered is impressive too: movement, vitality and richness are chapter headings. Being slightly late to the party, I have had to do a lot of retrospective investigation and catching-up. Their forthcoming album will be interesting to hear, and will be exciting to see what direction the band take. Based on the strength and consistency of the work contained within their E.P.s I am certain that they will retain their solid and reputable sound, but coalesce a multitude of genres and diversions. The modern music scene is as susceptible to dry rot as it is to a lack of differentiation. The 1975 are a breeze of fresh air in that respect. Displaying a talent and keen edge for ambitious sounds and striking songs, they break away from the parable of "mimicry is the most sincere form of flattery". With their ready-made festival sound and merit, 2013 and the next few years will afford them many opportunities and possibilities. With over 71,000 'Likes' on Facebook; 40,000+ Twitter followers and a multitude of fans that grows by the day, they are not going to be seeking too much approval or thumbs-up from me. That said, if the band can sort out the niggling issue of their lyrics page, then they will win over many new fans. Being quite enamoured of lyrics and words as I am, the band have a lot of great lyrics and memorable lines. Making them more visible and less cryptic will make it easier to quote them. Although, that said the annunciation and projection is always pretty clear, so it not a huge issue. My main and central thesis with regards to originality and location is prescient and relevant. Here is a Manchester band that can reappropriate some credibility with regards to originality, as well as highlighting the merits and profitability of having a fresh sound. This, combined with an expansive and thorough on-line coverage, has meant they have graduated from the bustling and dangerous underground, and seen some daylight, that will help them grow in the future. Above all it is the ambition and hard work of the guys that will see them firmly in the creative, financial and historical black. With a predictably British Spring in force, where seasons come and go illogically, grab a hold of some consistent sunshine...

AND brightern the day.

________________________________________________________________________

Official: 

http://the1975.com/

Twitter: 

https://twitter.com/the1975

Facebook:

https://www.facebook.com/the1975

iTunes

https://itunes.apple.com/gb/artist/the-1975/id542640016

Soundcloud:

http://soundcloud.com/the1975

YouTube: 

http://www.youtube.com/user/The1975music?feature=watch

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Love L.U.V.- In My Daydreams- Track Review

　Track Review: 

Love L.U.V.-

In My Daydreams.

9.3/10

Their name is taken from a track by the Shangra-Las; their sound infused with U.S. elements of garage-rock: an effect that is hard to shake off.

Availability:

In My Daydreams is available at:

http://www.youtube.com/embed/NHCS2ebMAS0

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GARAGE-rock and heavier, yet controlled sounds are not often...

heard at the moment. Band that are new to the market, and make their first tentative steps into unsure waters, face an inherent gamble. Depending on the year, often depends on what the public wants. Trends and demands, fickle as they are, have an infantile lack of concentration. Over the last several years there has been a shift in popularity; from The xx-style other-worldliness, through to of-the-moment fascinations such as Daft Punk, Vampire Weekend and Emile Sande. Little consistency, pattern or structure seems to dictate minds and demands. It has been a worrying trend over the last few years: something that looks set to continue too. When the likes of Britpop and indie were in vogue, you could always rely on the fact that, at least for the new few years, the public would be clasping and seeking out this type of music. There was some mobility in the market for new bands, but by and large, trends tending to control output. I guess it is good to an extent that there is more diversity and less dependence on fitting into a mould. However, new acts have a tougher time ahead of them. The public, unfortunately, are still as inexplicably unpredictable when it comes to consistency of opinion; popularity and credibility often hinges as much on striking the right chord at the right time, or else being so unique or different, that a sheer curiosity is the focal mandate. In 2013, it is harder now than ever, to determine what is going to be required , from the public's view. A host of variable and colourful acts are bursting forth, nestling into the marketplace, and vying for admiration and notice. If one were to say what is required most of all in the current climate, I would say heavier blues sounds; or else garage rock sounds with a kick of the U.S., and its heart in the U.K. Too many bands now are bogged down in indie sounds and The XX-esque navel-gazing mystique. Sure, there is a great deal of interest when it comes to the compositions, but with regards to the atmosphere, vocals and lyrics, there is little diversity, intrigue or potency at all. We hear too much sedateness, a lot of so-so guitar noise, and a world of indistinguishably. It is true that, if you dig hard enough, you can hear music that will capture you- but you have to look far too hard for comfort. Modern music is still being made memorable but existing acts. The biggest and most profitable acts of this year will be established acts. As well as Daft Punk and Vampire Weekend, the likes of Laura Marling, Queens of the Stone Age and The National will be making the 'top 10' lists, come the end of the year. I have witnessed few examples of bands whom can ever challenge the established order, and make viable steps towards a coup. Solo artists suffer a similar issue. There has been a few that are a bit different; but so many are so similar: bogged down in unspectacular acoustic scenes, proffered by a voice that is either vastly unoriginal, or else mind-numbing. When hunting through the media, and keeping your ears close to the ground, where do you situate yourself, when hoping to find something that is outside of the norm., and capable of eliciting fascination and excitement?

Hopes were high, and my senses inflamed, when I discovered Love L.U.V. All the ingredients were in place: the classic four-piece formation with male and female blends; gorgeous and striking girls, with cool and suave boys; a curious biography and ambition, as well as a sound that I have not heard a lot recently. Lucy Doyle is the vocal queen; Tommy Atkins the guitar warrior; Steve Quigley the drum lord, with Jessica Turner playing keys pioneer. With a unique and intriguing band name, and a distinct band uniform and uniformity: a lot of black-and-white photography, alongside black clothing. Cards are kept close to chest, and the social media sites that they are on, give little insight into their influence and individual biographies. You are required to write your own assumptions and arrive at conclusions based on the strength of their music. It is a tact and requisite that many new acts have taken. Having only formed last Summer, the band only made their live debut three months ago. The fledgling steps have been positive and celebrated: more dates beckon, and a steady reputation has been built. Limehouse, east London, and 'The Disco Room' was the location the band used to record In My Daydreams- as well as the associative video. I am always fascinated by the initial months of any new act's career. Even if they have a manager or record label on board to begin, a lot of their personality, development and consciousness is developed by them alone. They are orphaned or un-adopted children, left to fend for themselves in the music world, with all its heady sounds and smells and barbed wire. Many struggle with the pressure and independence, whilst others thrive and turn it to their advantage. Love L.U.V. have a bold confidence and convincing ambition, which to my mind, indicates a smooth and prosperous road. Certainly based on the strength of their single, they should have no anxiety or apprehensions...

In My Daydreams has a cool and seductive electric guitar strum. Sounding like something between The Everly Brothers' All I Have To Do Is Dream-cum-debut album The Beatles (Do You Want to Know a Secret/A Taste of Honey), it is a smooth and pleasingly evocative initial introduction. As a light percussive tap arrives, with cymbal emphasis, a guitar riot is unleashed. It has the blues/garage rock sound of Seven Nation Army, as well being reminiscent of a less aggressive Arbeit Macht Frei (off of The Libertines' eponymous album). It seems like a witch's brew of the two, with a rollicking kick of something quite intoxicating. It will have your head swaying, feet tapping, and with evocative edges, and a fresh spark of 2013 London garage rock, it is invigorating and intent.  It is hard to shake off the Seven Nation Army comparisons. It never brings to mind any sort of reappropriation. It is fresher; less twangy and hard-hitting: it is more inclusive and melodic, with more percussive influence, and less tortured drama. In a way it the perfect introduction, as it is short and sharp, and will certainly be in your brain for a long, long time. In the way that Detroit and London are introduced, given alcohol, a quiet room, and a packet of cigarettes; the resulting progeny is wide-smiling, relaxed and filled with ethanol tangs and serotonin release. The track concerns an unnamed beau being our heroine's "star-crossed lover". There is a romantic coquettishness, as well as an impassioned power to Lucy's tones: honeyed, but born with a tough fists. Jessica provides ample and effective supportive vocals, adding an extra layer of emphasis and authority to the words. Tommy and Steve work wonderfully together, unveiling a twirling and psychotropic twist of blues, rock, that mixes '60s and '70s sides, with '90s recollections, that are both soldered to a modern-day steel template. The vocal is something that struck my ear hard. Ordinarily, and being a self-proclaimed (and regrettable) master/anal retentive when it comes to vocals and their lineage and heritage; I was stumped. Lucy has few of the pitfalls of most singers: I could not instantly recall a comparable voice, or hint at an obvious influence. There are minute shades of Cyndi Lauper; tiny punk edges, with some early-Madonna as well: not that it is either obvious or overly-apparent or predominant. These vocals are given time to pervade and strike up front: unencumbered by too much sonic inference, yet are punctured beautifully by a rabble of rumbling keys, drums and guitar. The motif of daydreams, and scenes "In my visions", tell of our protagonist proclaiming and exulting the benefits and wonders of an anonymous subject. Whether the man in question is a lover, former or present, or a friend, there is always a positive regard elicited. Comparisons with The Kills have been levied at Love L.U.V. and I suppose there is a similar bait and switch with the vocal and music; as well as a cinematic stomp in the sound and lyrics. Romantic dispositions and charmed proclamations give the track a positive energy and pop sensibility, that, when combined with the rush and blood-rush of the audio energy, produces something natural and cohesive, as well as surprising and unexpected. Our protagonist says that, in daydreams, she is not (just) "this little girl": she wants to be taken "to the stars". The coda and theme of 'stars' is emphasised, repeated and ramified. Its simplicity and effectiveness is infectious and gains a momentum and gravity, that lasts for probably a third of the track, with precious little lyrical or vocal diversion.

Love L.U.V have stepped forward with big results. In a year where there is a heavy reliance on softer sounds, or rock force with little melody, the group are pulling together forgotten threads from stronger times. The vocals are original and fresh, yet have some '60s charm along the lines of The Shagri-Las and The Ronettes. The keys, guitar and drums have garage rock elements from the '90s and early-'00s, yet have an urgency that is very much as modern as anything out there. It is early in the game to say what the future holds, with regards to the direction their music will go. If they can keep producing more songs like In My Daydreams, then they will be in the public consciousness for a long time. One suspects that there are a lot of other sounds and styles in their arsenal, which will be unleashed in due course. The band have a knack and talent for hooks and lines that have memorable pop swing, as well as steely kicks to them. Each member plays their part brilliantly, and there is no sense of anyone trying to steal the limelight: everything supports and blends together to create the best sound. In spite of some White Stripes ruminations and interjected spirit, nothing comes off as tributing. It is a fresh and urgent sound that is a fond departure and needed remedy to counteract a lot of modern bands and sounds, which are, with all the best will in the world, stale and forgettable. Some new groups such as The Strypes (stupid name aside): with all their Beatle-esque '60s style and raw energy, are worthy of consideration and support, but too many are contended to offer precious little memorability. What the group intend to do for the rest of 2013, is hard to say: touring, an E.P./album in the works, or another single, perhaps. There is a market need and gap that needs to be filled with garage rock contenders and bands such as Love L.U.V. Let's just hope that whatever comes next...

HAS the same kick as In My Daydreams.

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Official:

http://loveluvband.tumblr.com/

Twitter:

https://twitter.com/LoveLUVband

Facebook:

https://www.facebook.com/#!/loveluvband

YouTube: 

http://www.youtube.com/user/loveluvband_

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UPCOMING GIGS (SO FAR):
July 4th - Paper Dress Vintage, London
July 13th -East End Live Festival, London.

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Annie Drury- Some Day- Track Review

Track Review:

Annie Drury-

Some Day.

9.7/10

Another rare bird, of soulful beauty, is flying high in the Cuckoo nest.

Availability:

Some Day will be available shortly on Annie's debut E.P.

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THOUGHTS and diversions once again are in familiar waters...

I have long said that the burdens the young solo artists face are numerous, and hazardous. I shan't flog a dead gift-horse again; suffice it to say there are two important and vital components to perfect, with regards to making an impact. The lyrics and music are as important as anything. Too often style and substance have taken a back seat to a set of songs, that are deeply personal, but incongruous. The words are seldom fascinating, poetic, or even original: bogged down in a quagmire of cliche scenes and lazy metaphors. Of course first person personal narratives are a perennial favourite, and win most minds- if done right. I have heard so few bands or artists whom talk of subjects away from love, or even take the subject of romance and give it a literary or filmic spin. When considering the voice; this is my biggest sticking point. It is possibly a bigger issue with female singers, compared to their male counterparts. Too many solo artists have a voice which is so androgynous, it is hard to tell whether they have any sort of talent at all. The vocals may be sweet and pleasant enough, but either sound exactly the same as several dozen other artists, or else run the risk of mimicking an existing artist. It is an ever-present problem, and one that is in danger of burying a lot of artists, whom are genuinely unique and promising. I know it is a bit of a sore subject for me, but the voice, and vocal prowess, is a key element for me, when considering new music. It is essential to be a sharp lyricist and great composer, but the voice is the most prominent and immediate facet to any artist. It is always a pleasure to hear a voice that has expressiveness, soulful edges, power, and above all, a unique flair to it. I emphasise and sympathise with the plight of the new artist. With the ever-growing number of acts entering the market place, combined with the pressure faced with regards to originality, there is a bit of a terminal velocity limit. Getting a foothold and making impressions a lot of times, can rely upon strokes of luck, as well as being in the right place at the right time. In 2013, and for the last few years, there has been a demand for either innovative bands that have cerebral edges and heavier potential, or solo artists whom are have soulful tones and ethereal underpinnings. Keeping your identity, whilst simultaneously fitting into the market and giving the public what they want, can be an almost-impossible task.

Almost half a dozen times, I have focused upon or mentioned Cuckoo Records. The Yorkshire record label is housing a small but innovative group of artists whom range in style and substance. There is swing, blues rock and '70s pop/soul to be heard, and a host of other diversions and nooks to be discovered. Annie Drury was born in 1992, a year in which music began to really hot up, following a rather hit-and-miss '80s. Britpop was a couple of years away, and grunge was in full swing. In the U.K. there was a great deal of credible dance music, fantastic pop, and modern soul. Now 23 was in the charts, and boasted hits from the likes of Charles and Eddie; Crowded House; INXS; Roxette and Peter Gabrielle. The range and quality was variable, but there was a higher percentage of memorable acts and songs then, than there are now; a lot of these tracks still stand up, 21 years later. Our Yorkshire singer-songwriter, was probably subjected to a lot of the sounds of 1992. However, the likes of Bruce Springsteen, Nina Simone and The Beatles are counted as her influences: meaning her household was buzzing with many sounds of the '60s and '70s (and '80s to a degree). Annie's father and grandfather were both musicians; her grandfather was a prominent musical figure in the 1940s. As well as being enamoured of, and inspired by the strong female influences such as Joni Mitchell and Kate Bush, the likes of Carole King were also prominent. These are artists I have been inspired by and in awe of- especially Bush and King. These talents between them mix gorgeous piano melodies with stunningly evocative vocals; portraying scenes of ill-fated love and stranger more mythological scenes. When I was born, True by Spandau Ballet was number 1, and Thriller was on everyone's mind. The mix of New Romantic music, and Michael Jackson gems were familiar to my ears when I was young, as well as the likes of The Beatles T-Rex and Kate Bush too. The music you are raised on and absorb at a young age, is as influential in forging your musical identity as modern influences are. A mixture of stunning legends and a strong musical upbringing, inspired Annie strongly. Modern artists such as Amy Winehouse and Bon Iver are key too, and unsurprisingly this mix of high quality and varied genres, has lead to a number of venues booking Annie. Before signing to Cuckoo in 2012, Annie toured around Leeds and Yorkshire (as part of a band and solo too), gaining followers, reputation and valuable experience. As her sound was honed, and her appeal noted, she brought all of this confidence and passion to Cuckoo, and has been growing as an artist over the 16 months since. Annie's new E.P. is out very soon, and the young artist has a lot of plus points. She is a modern pin-up but has a lot of the girl-next-door charm and appeal too. Annie has a down-to-Earth charm and friendliness, and it is rare to hear of a talent in their early-20s, whom is influenced by the '60s and '70s legends, as opposed to artists such as Adele, Christina Aguilera, Mariah Carey and their ilk. Annie's coda is to live in the present-day; for the moment. Her music, as well as having a heritage that suggests strong and wonderful sounds from artists past, is very much the sound of 2013...

Starting, as it does, with an exciting and evocative piano arpeggio, Some Day catches your emotions and mind immediately. There is romantic and passionate power behind the passage, and it succeeds in hooking you in, before a single word is sung. It is a brief and memorable dance, and introduces the vocal. Singing of "Oh what a day/What a day"; Annie's voice has a soulful edge to it; as well as being breezy and seductive, it is also authoritative and romantic, with edges of '60s and '70s folk and soul. Annie has said that she tries to not sound like any of her idols; instead incorporate the sounds and flavours into her music, whilst retaining her individuality and ambition. It is difficult to hear any direct comparisons with any artists. Too many solo acts sound like a poor man's version of their idols- bands do it too often as well. It seems to be a natural go-to for every new act: they have to sound like someone recongisable or popular, I suppose in their mind if they do not then they will alienate the media, fans and undecided voters alike. This is a crazy and short-sighted sin of omission. Individuality, originality and unique projection is the essential component and hallmark every single new act should strive for: something that Annie has figured, and does so brilliantly. Her voice is hers alone, but has the those edges of soul, folk and pop too. If anything, there are light shades of Laura Marling: a similar inflection and delivery to some of Marling's tracks, and a comparable hew to the vocal tones. If any wisps in the voice suggest modern-day Marling, then the composition components: propulsive and impassioned piano, blending with lightly plucked strings, is far from Marling's wheelhouse. It has more in common with past masters such as Bush and Mitchell, yet reinvented and modernised for 2013. Thematically, there is Clouds-era Joni Mitchell. Personal emotions and romantic considerations are alluded to, but the scenes within Some Day refer to dreams, ambitions past, and personal realisations: "You know I could have been a painter", Annie intones, a hint of longing and regret nestles in her sweet hues. Rumbling and skipping drum rolls join the fray, and adds electricity and weight to the track. The chorus itself is summery, light and a sonic smile: our heroine mixes the song title with wordless declarations: this, blended with the composition behind it, gives it a modern and fresh kick, Irish flavours can be tasted between the strings, percussion and insatiable bonhomie: tantilising Mumford and Sons lines run parallel too. When Annie sings about personal regrets, doubts and recollections, she does so with edges of jazz, swing and soul. In the same way that modern artists such as Lilly Allen, Jessie Ware and Lianne La Havas have a way of enunciating and delivering their lines: at once pointed and punctual; the next floating and breezy, Annie does likewise. One can tell that the old legends remain in her soul. Her evocations, tales and delivery has a lot of the same graces and qualities. Her lyrics too are to be noted: "I could have been a lawyer" she claims; going on to say that she could have helped out her guy to "make you a better version of the miserable man you are". When many contemporaries are projecting songs of love-gone-wrong, with lines wallowing in introspection and maudlin woe-is-me sympathy-seeking; Annie instead shows spiked heels. By linking professions with methods of hurting her no-good man, creates a sort of modern-day 50 Ways to Leave Your Lover. It is evocative and brings myriad images to mind. Where as Mr. Simon told of the ways he could hit the road; mixing light-hearted images with lighter music, Annie does the same. She may have violent or vengeful intent and desire, but the vocals and skip in the music catches you off guard. Everything is kept spirited and strong: there is never any depressive undertones or fatigued anger. The wordless vocals and merry abandon of the music brings to mind Irish music, and their traditions- unsurprising given her family history. The strummed string backing- violin I would presume- has a romantic and swaying beauty to it: it creates energy and gravity, and blends well in the chorus. The track itself is quite short, but hits such a chord that it says so much, without having to extend itself. The lyrics are original and clever. There are hints of the likes of Lily Allen: artists whom can add wit and vivid imagery to their songs. Annie has created a song with sweeping and changeable musical scapes: shifting from romantic strings and pianos, to folkier ruminations. Her words are sharp, inventive and witty: love, giving it to a wrong-doer is giving a new spin and angle, setting it aside from most of her peers. The voice is sweet and soulful throughout. On other tracks I have heard from her, lean towards slower and most lustful proffering; but here there is a relentless energy and spring that keeps your heart skipping, even though the words have a sharp tongue to them.

Annie Drury is an artist with a great knowledge and passion for music. Understanding the importance of having a unique voice, whilst displaying a range of different emotions and sounds, she is far from your everyday solo artist. For far too long, there has been far too many whom are in the middle of the road and have no merits to their voice or music. Annie is in her early-20s, yet has the confidence and range of someone far, far older. Having heard River Flow in addition, it is clear that whatever the upcoming E.P. holds, will be something special. River Flow, I have been told, will be augmented with strings; the version that is currently available highlights Annie's romantic and stunning piano playing skills: beautifully composed and able to elicit the maximum amount of emotional resonance. Annie will be a star of the future, and will be another name from Cuckoo's books, that is sure to make huge waves. She is quite a diverse and different talent. Not merely contended to play a modern version of her favourite singers, or portray an inferior version of an existing talent, like so many of her contemporaries do. The combination of a rich musical upbringing, and a steely determination to enforce her originality and unique sound, results in music that will have a mass appeal; and will win respect across a number of different genres, counties and countries. In a year where the best moves are being made by established acts- The National, Daft Punk, Laura Marling, Queens of the Stone Age etc., the rest of the year, and 2014 will not have to suffer such a one-sided eventuality. Where there are acts, such as Annie Drury, willing to cast any conventional shackles off, and pioneering to take on the established acts, and be held in the same regard, it will be a very bright future indeed. If she can keep her ideals and talent at the level it is now...

SHE will not be relatively-unknown for too long at all.

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Official:

http://www.cuckoorecords.com/artists/annie-drury#/artists/annie-drury

Twitter:

https://twitter.com/anniedrurymusic

Facebook:

https://www.facebook.com/pages/Annie-Drury-music/185837401492957

SoundCloud:

http://soundcloud.com/anniedrury

Night Wolf- The Moonlight E.P.- Review

E.P. Review:

Night Wolf-

The Moonlight E.P.

9.5/10

Gothic artistry and bloodied teeth, hide a softer heart and innovative spirit.

Availability:

The Moonlight E.P. is available at:

http://soundcloud.com/flyproductionzltd/sets/the-moonlight-ep-nightwolf

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REAPPROPRIATING any misgivings about certain genres of music...

is essential, when diversifying tastes and horizons. Of course there are exceptions that disprove the rule. No matter how many examples I hear of rap or modern pop, the effect is still the same: no one is ever going to make it appealing to me. It is the nature of music, in all its open-arm, open-door lack of discretion and discrimination: everyone is welcomed. This causes a lot of trade, but a serious admonishment in quality controls and tariffs. The best results and nicest surprises, seem to emanate from artists and talents, whom are willing to mix styles and sounds; to create unexpected delights. Even if an act purports to belonging to one particular genre or style; by adding different effects and sounds: jazz or swing stylings; classical strings; blues guitars etc., then you have a greater chance of making interesting music and exciting waves. It is not an exact science, obviously: many have tried and failed. Muse's recent foray into dub-step on The 2nd Law, was met with derision and projectile anger. It is a lesson for bigger acts and established bands, I suppose. If you get it wrong, it can take years off of your life expectancy and alienate a lot of fans. New acts have the least and most pressure, all at once. On the one hand, they have no critical or commercial expectations, nor any large swathes of fans to please. That said, survival and growth is a difficult achievement, and there is an innate and inherited tendency to be overly-cautious and unambitious when making your infant steps. Night Wolf is an artist whom I have been aware of for a few months now. Here was an example of a blue-collar human, with white-collar work ethics and promise. Definitely a man of the people, and one whom respects fans and non alike; he (Ryan Wilcox), has made a name and reputation for himself, after producing a string of incredible tracks. It is not just the subject and lyrical content; it is the sounds and sensations within those tracks. I, personally, was struck by the classical and operatic aspects of some of the songs. It is a difficult thing to pull off: mix classical styles together with modern themes and words, whilst pleasing the purists, and drawing in all sects of potential fans. Night Wolf has a Jekyll and Hyde personality. On the surface there is the imagery: the voracious night hunter; ruby eyes, with snarling teeth, and a carnivorous intent. It is when the beast is subdued and its belly tickled that the flip side is revealed: the diverse and daring composer, sans sharp teeth and claws; only a desire to please and inspire. It is a juxtaposition and contrast that excites and surprises.

The Moonlight E.P. is a release that displays those polar edges, with fervent abandon, and adventurous spirit. It was the previous E.P., Watts The Time Mr. Wolf, which cemented me as a fan of Night Wolf and Wilcox's talents. There were myriads moves and shades within that record. I was hardly surprised when I happened upon the initial seconds of The Moonlight E.P., and realised that I was not going to be disappointed. It is 5 tracks of switch, unpredictability and above all, quality:

Chosen:  Its life begins calmly, and with portentous beauty. There are classical overtones, bordering along the edges of Romanticism. One could well imagine strings and an orchestra eliciting the same sound, only here the evocations are created by a punctuated electronic sound; to my ear it sounds like a grand piano, only with an echoed and electronic edge to it. There are hints and reminiscences of club tracks of the '90s and early-'00s: you may be predicting some sort of synthesised pulverisation and reckless fury being revealed; designed to get the sweatiest and more fatigued of revellers, dancing. There is evidence to suggest that similar territory may have a Night Wolf flag planted. Classic reverence and majesty remains in focus for a little while. The mood and atmosphere slowly builds: the authour wants you to be cast asunder and seduced in the infant stages. When a xylophone twinkle is bolstered by a twirling and energised percussion, this, conjoined with the classical edges, builds a momentum and gravitational pull. The pace of the background string sounds is composed, but passionate. In the foreground there is a mixture of sensations: xylophone and percussive temporsiation, mingles with harder and tougher beats, as well as a piano line that skips and rides of a wave. It is the way that Night Wolf builds up a song: beginning on modest and striking foundations, and layering steps and floors as he goes, that is the most distinctive tattoo to be seen. Around about the 1:00 mark, a couple of components are scrubbed from the mix, as the xylophone and strings, are teamed with a skiffing and dancing beat; before long, a distinctly classical flavour takes centre stage. Brooding strings work away behind the central focal point: building up another round of momentum and movement. With little warning, something bordering on musical apocalypse is unleashed. With heavy dub step overtones, it is a pulverising sonic boom, that pulses at first; recoils and sits back, before pulsing again. It is almost a weaponised component: taking lives, moving on, before taking some more. The decision to keep the calmer elements in tact, and juxtaposing those with dub step heaviness works well, and creates an eerie and exhilarating clash. It is a song that- at this stage- will be loved by dub step followers, but has shades of Massive Attack and '90s dance as well. It is heavy for sure, but has that same inventiveness and sensation. The beat, and tripping, nimble tail is a mechanical beast, that skips and pirouettes before letting out a double roar. Something more restrained and melodic takes its place, and changes the direction again- completed with classical edges. As if you were in safe waters, once more the monster rises from the waves, intent on taking further lives: the dub step line is repeated, sticking to the twin throb-calmer tip-toe structure, through to the end. The energy has been sapped and it is a song that is designed to lull you into a sense of false security and hit you by surprise. It mixes the sounds of the streets, with the melodic and cultured compositions of the classical music scene, and wins on both front.  9.4

Wasting Time:  Perhaps on the order of a physician, the first steps of Wasting Time are calmer, and much more meditative. There are feint strings in the back of the room, and a large classical influence again. It is an almost balletic main thesis that is present. Mixtures of Handel, Tchaikovsky, mingles with elements of modern composers; the overall sensation is one of calm, and romantic regard, once more. The string and percussive sounds act as a heart beat and blood-flow: flowing and beating where necessary and keeping the mood alive and breathing. A beat is dropped in, that picks up some momentum and infuses the atmosphere with tension and a hard hit too. Combining the punchy percussive beat and the swaying and pioneering classical lines together makes your heart race slightly, whilst your mind and soul are soothed. This combination spirit, and constant anxiety, really makes the track. You always think that there is something lurking, waiting to punch. It is the feeling of being on edge, made stronger but the bass-heavy beat, that keeps the song electric and invigorating. If you tie all this together with the beauty that is always present, the overall effect is striking and memorable indeed. It has a charm and authority that could see it as a soundtrack to a spy film or taut indie thriller. If I was to describe the perfect theme for a bold and daring drama, this would be it, and it conveys so much without a word being said. It is testament to the compositional skills of Night Wolf, as well as the innate ability to marry sounds and genres together to reveal a strange relationship, that means Wasting Time is another brilliant step. After the gut punches that were present during Chosen, this is a remedy: a relaxing and exciting slice of sound, designed to calm your nerves, and put a big smile on your face.  9.6

Burn The Money: Night Wolf was inspired to write Burn The Money after watching a series of videos. It was then that the idea to write a hip hop number, all be it a grittier, more diverse song. The first thing that happens in this song is the introduction of a vocal. It is not sung, however; it is spoken word. As the title may suggest, the minutia of the song is a financial figure; it is a relate-able tableaux for a modern age. The music underscoring the voice, begins life bearing dark, languid strings. It is an instant mood setter that does not dominate or even try to equal what is being said; instead lurks in the shadows. The recording itself seems to be from an American newscast or news programme; I am not sure. Instantly there is a sense of mystery about who this man is, that is prophesying imminent economic doom. He talks about interest rates on national debt will mean that, theoretically, by 2013 it could mean "total bankruptcy for the U.S. economy". Instantly there is a immanency to proceedings. The message does not go on to bring us tidings of joy, but stays on message, explaining what the wider implications will be. At the 0:30 junction, the recording is stopped and the piano line is not in the spotlight. It is initially dark and funereal; reminiscent of Stravinsky and Raschmaninoff, with a hint of an audible shoulder drop. There is a build-up as lighter notes mix with dark; a feint drum cymbal is heard, before strings come back to play. They are playful and delicate, counteracted by a solid and militaristic drum beat. In a way the mesh and interplay of sounds and moods reflects the theme of the song and act as a musical countenance. The tone now has more of a hip hop theme; a bit of Massive Attack, Tricky, maybe later Portishead too with a delicate nod to Cypress Hill, The Progidy and Jay-Z. Just before the news recording recomposes itself, your mind is somewhere else. In mine at least, driving down a dark road heading for London, neon, multicoloured light beckoning my hence. Before I can be too entrenched in my own fantasy, we are back. It is only for a nanosecond, and the hip hop roll is in the fray; the synthesised night crawler is back; doing battle with a voice that says "the only way to make more money/Is to create more debt and inflation". The combination of the two mileaux’s creates a psychotropic effect. The words affect the mind, soul and brain; the music raises the body, inflames the ears and brightens the eyes. It is a curious sexual call, from a curious allure. The sea has calmed slightly, and the infectious beat pitches tent in your limbic system. Just when you think that we are preparing to fade, Mr. Ominous, like Carrie in a 3-piece suit, rises bloodied from the water, to deliver another apocalyptic bromide. The coda of Burn The Money is that in spite of all the downturn, and fiscal tsunami, we need to "use it to our advantage". Bloody Americans! The track as a whole has a sort of retro feel to it, that harks bark to the genesis of hip hop and big beat. Unlike many of the pre-pubescent shirt tuggers that are trying to acclimate base camp in your brain through a series of left turns, explosions and sample-laden perturbation, Night Wolf have pulled off a neat illusion. The track is quite uncategorisable. Sure there is hip hop, big beat, romantic classical with a light crust of old school rap. There is much to recommend for any lover of any genre of music. The spoken word segments are deployed effectively, punctuating the mood, and coming to the fore at the most effective times. The announcer is suitably anodyne and Mid-Western; in essence quite flat. This, coupled with the extraordinary soundtrack that levies the momentum, interject perfectly and the resultant song is spellbinding its efficiency and effectiveness. It is a tight number as well, and does not overplay its hand or descend into parody or morbid hyperbole. Instead, it is a tight manifesto that will long by remembered once the song has ended.  9.5

Darker Days:  It begins almost with a Morse Code sensation. Dark and bass guitar-like electronic points are instantly defeated by sparks and fizzes of electronic percussion. You are not sure what direction the song will take, but suspect that we will hear a similar number to that of Chosen. There is no ritualistic cliche when you consider Night Wolf. Just when I was thinking there may be a classic de tour, a vocal line rocks up hard. The opening words "I'm so sick of these dark, dark days" sets a lyrical tone, and the inclusion of a "fuck-you attitude" goes some way to strengthening this view, and balkanising against the majesty of tracks such as Wasting Time. There is grime, dub step and urban influence. The vocal by Conscious Pilots brings some hip hop influence and authority to the song. Where as the previous tracks, supported by Centrist, had melodic and augmented highs, as well as a combination of quiet-loud; there is much more direct attitude and spikiness here. The words are intended to hit home, and make themselves known. The lyrics are punched out, tumble, spat and rapped: tales of poverty and hard city street living are present and dominant. Musically, there is not a sole tendency to have hip hop and dub step beats in the mix. That may add too much weight and menace to the track. Instead there are darker strings, reminiscent of Bond Themes, Muse's The Resistance work, as well as modern hip hop and urban flavours. When words about "the underground": a place where "the police are aware/But they don't come round", are tumbled forth with angry intent, it is hard not to be both intimidated and won over. The themes are relevant and modern. Lyrics about government statistics and bloodshed paint a picture of a very real of modern Britain. The Queen is name-checked, but not for any positive reasons; the young voices are fresh and filled with world-weariness and burden. Our vocal representative tells of how the rich are forcing the working-class down, and taking away their money. Chaos is the prevailing theme: every man for themselves. Backed by propulsive and majestically subtle strings, the words resonate strongly. They are decipherable and very clear: a lot of hip hop artists slur and blur their words so they are unintelligible. The vocal interplay by the two chaps is impressive. They don't fight for the mic. and attention: instead they join forces and a strengthened and purposeful unit. They are "tasting the pain" in a "catch 22". It is a track that is not reserved for fans of hip hop, urban or street music. Vocally, it is very strong, but not too foreboding. Conscious Pilots are already popular and regraded in their own right, but with the teamwork of Night Wolf, add weight and edges to a fantastic track, that will speak to the youth of today. The lyrics are impressive and consistently sharp, and the atmospheric backing and composition gives the track a great foothold, and rises it above the parapet.  9.5.

Problem:  Completing our travels, and coming into land, is Problem. Now there is not a classical or orchestral start; nor is there any dub step thud or threat. There is almost a science fiction aspect to the intro. It begins with high-pitched and twinkling electronics, projecting the image of a ultraviolet robot. You are taken aback and intrigued at the same time. A building swing occurs: your feet and fingers start to tap and soon a more frazzled and frantic buzz joins in, and takes the song in a new direction. It is the mechanical and retro sounds, that combine, buzz, trickle and endeavour that captures you. There is no menace or violence from the start, only sparks and fires of excitement. Soon enough, the different lines and avenues are met with a tense and static hold. It is unsure if we will hear a dub step smash, or classical leanings. It is the latter which prevails. The foreground remains in tact (joined with percussion), but it is the backing and distant scenery that catches your ear. I am not sure what the 'Problem' is, but judging by the range of chaotic and composed sounds, one suspects it will not be resolved, even after the song has ended. A staccato and head-rush of electronic sound presents itself as well, adding to the mood and energy of the song. In a way there is again a retro feel: something in-between '80s and '90s dance, but given a lot of modern shine and touches. The track is evocative and politicising and scenes and images will be in your head right from the opening notes. Night Wolf strike a chord, and run with it. The pattern and structure that is cemented fairly early on, is ridden and rides along, drawing you in. It is the mastery and skill with which this is done that is most impressive. I myself can't even begin to guess where the sounds were from, and how they were mixed, but it is the unique recipe that hits hard: almost a hallmark and expected step from Night Wolf. Pauses open up to allow the sound of strings to be heard. Our authour is not content to just stick with a sound and not deviate: little flecks and sparks are created, and diversions taken to allow the song to remain mobile, memorable and surprising. Problem has an epic quality and is a fitting closer to a brilliant E.P. There is no hard-hitting rush or dub step beats; you are able to collect your thoughts and contemplate. So much so that by the end of the track, you'd like another track to come along; such is the tease, that you are left wanting more.  9.6.

Another triumphant release from Night Wolf, that goes to show that he is always thinking, working, and making moves few others would dare. I know for a fact that he has a fervent and dedicated fan base and works hard to recruit new followers and potential fans. I was impressed by his previous release's mix of styles, and surprised by how many changes and switches are to be heard in a single song, let alone an E.P. The Moonlight E.P. is a natural step forward and another release filled with innovation and style. There are so little artists out there whom are daring and pioneering when it comes to cross pollinating and mixing sounds and samples together. Within the 5 tracks, there is classical, dub step, urban, spoken word, as well as hip hop, and one suspects that a future release will expand even further on this. Who knows where E.P. no. 3 will take us: jazz? Heavy metal? Stoner rock? Disco perhaps? Any and everything is possible, and it is always exciting imaging what is in the mind of Wilcox and Night Wolf. Until the next steps are made, we have an E.P. of taut, tight and focused tracks, that display a keen and growing talent. Get on board now...

AND get lost in the moonlight...

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