Say Lou Lou- Fool of Me- Track Review

Track Review:

Say Lou Lou (Ft. Chet Faker)

Fool of Me

9.5/10

Columbia Records newbies Miranda and Elektra Kilbey, straddle Stockholm and Los Angeles.  The Scandinavian-Antipodean twin sisters fuse '70s majesty and style together, with '90s 'heroin-chic', alacrity and beauty: creating a glorious and astral sound.

Availability:

Fool of Me is available at:

http://www.youtube.com/watch?v=DXKFdQkoCS0

The E.P. Julian is available at:

https://itunes.apple.com/gb/album/julian-ep/id639869892?affId=1930871&ign-mpt=uo%3D4

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THERE are a number of different themes that are on my mind today...

in light of some personal ambition.  Not to blow any trumpets; or advertise myself; but I have been formulating- and adding to- a (hopefully) soon-to-be music website.  Recently I have been looking back fondly at music (rather than forward); remembering and reminiscing about great past moments (instead of anticipating future potential).  I have felt that there is a bit of a stagnation and slowing-down at the moment (in the current scene).  I am unsure as to the 'why' behind the phenomenon- it could be due to overcrowding in the market; or else a fallow period (that will soon be over).  In my reviews- over the last few months or so- I have postulated various themes and concerns: including homogenised sounds; an over-abundance of Indie bands; lack of international awareness in the U.K.  I will address all of these (once more; as well as the idea of my website), as well as nobly ease into introducing Say Lou Lou.  In this country (as well as some parts of Europe), we are in the grip of a homogenisation.  Too many different areas of the country are compartmentalised- there is little cross-pollination and collaborative spirit- and there is a split of quality and sound (depending on which part of the U.K. you focus towards); both in terms of a north/south divide, but also a split across certain counties.  For regular subscribers, my discourse may seem all-too-familiar (I apologise, but it is making a point); I feel that there are some rather alarming trends.  Within the U.K. there is still a tendency towards proffering and emphasising all-male guitar bands: most of these groups tend to offer few surprises.  Within the northern climbs of England, a proliferation of Indie bands seems to be 'the norm': by the week there seems to be half a dozen new examples; each touting modest accomplishments.  Diverse parts of the nation, such as Scotland and Yorkshire are being largely ignored: yet it is areas such as these which are bringing about a resurgence.  Away from the guitar band-heavy current music scene; if one fancies variation and fascination options tend to be limited- where do you go to experience something different?  Within Scotland, a great deal of sunshine pop; alt-rock and punk waves are making themselves know: heavier and edgier than the Indie core; offering fond evocations of the '70s masters.  Down into Yorkshire, doo-wop and swing movements are occurring; reminiscent of the likes of Caro Emerald- there are a lot of similarities to be heard.  It is seen as counterintuitive and unusual to present new music which is, by and large, 'old-fashioned' and 'retrospective'.  I have encountered some genuinely fascinating artists (solo usually) whom are reinterpreting and reintroducing the heady sways and sensations from the swing and doo-wop artists of the '30s and '40s such as The Andrews Sisters.  In 2013 it may seem like a bold and unusual move (making new music that is 70 years old); however, looking back is often the way to move forward.  It is great that there are a rush of bands coming through: each hungry and determined to make an impression.  My concerns arise when I consider how much diversity there is between these (multitudinous) bands.  Manchester, Liverpool and large swathes of the North West of England are culpable of encouraging an Indie-centric scene- away from these parts there is a bit more mobility.  London has been quiet for a long while; yet I know (from recent reviews) that some terrific rock bands; as well as punk and Indie-Pop examples ripe for discovery- with songs and sounds that are worthy of mass future appeal.  In the early part of the '00s there was still a lot of pioneering and prosperous music being made; yet there has been a significant slowing and quality degradation thereafter- especially over the last 10-or-so years.  My abiding point is that there is a jam-packed market (which can be good and potential-filled), yet there are few uniquely different sounds to be heard- both in the band and solo markets.  We in the U.K. have always been at the forefront of great music: in fact decades such as the '60s and the '90s were largely dictated by British wonders.  As we are in a bit of a quagmire at present, options and assistances need to be considered: so what is the logical resolution?  Over the past few weeks I have summarised and profiled some exceptional international talent; many of whom emanate from the U.S.  Covering power pop and punk; folk tinges and synthesised R&B, it seems that the Americans are at the forefront of a diversified and experimental scene.  Perhaps their new music scene is not quite as 'bustling' as ours here- although one must assume that we are on a level par in this respect.  I just feel that the U.S. have a greater consideration of diversification and freshness; whereas in the U.K. new bands and sounds are dictated and enforced by a combination of market trends; copycatting and playing it (a little too) safe.  What I have noticed (with regards to the most prosperous nations) is that the likes of Northern Europe are making the boldest moves.  Norwegian and Danish solo troubadours have filled my ears with sweet and mature melodies; Finnish electronica has spiked and pumped my blood; and- perhaps most impressively- the Swedish newbies are capturing the most ground.  Recently I reviewed NoNoNo and their exceptional single Pumpin Blood: a myriad wonder filled with delirious electronic moods and a catchy-as-hell melody (that sticks in your brain for days).  Disco acts and electro-pop seems to be a big market; they are genres that are impressing critics and music-lovers alike.  Away from Northern Europe, Australian rock and Indie bands have also been making huge footsteps; invoking some affluent '90s movements, as well as infusing their concoctions with fresh-faced beauty.  If we in the U.K. took notes from these acts (and nations); encouraged new talent to stray away from the familiar, and broaden their palette, then the state of new music (as well as the state of future music), will be vastly improved.  My main thesis is this: we need more range and fascination.  The four or five-piece male band is appealing to a degree; in the same way that the soft-voiced female solo artist is: the way to go forward and make huge impressions is to diversify the melting pot.  For every home-grown exception like The Staves; there is a proliferation and mass of Arctic Monkey-esque bands- this is something that we need to get out of.  My inspiration for designing a (music) website- as well as trying to encourage diversity and individuality- was to introduce music-lovers and new musicians to the wonders of the past; as well as make them aware of fascinations of the modern-day.  I think this is part of the big problem: too few remember and appreciate the majesties of past years; and not enough are conscious of terrific foreign music.  When- and indeed, if- my site is a reality; this is going to be a small part of its overall intention: providing a wealth of past music; linking it to the everyday music listener/band; as well as promoting international talent and artists- as well as new home-grown acts.

Say Lou Lou are a duo whom I have recently become aware of.  I have been stating (or moaning) that it is so difficult to hear about great foreign music- most music websites and newspapers are solely interested in the U.K. market.  Miranda and Elektra Kilbey are sisters- twins in fact- and have Scandinavian and Antipodean heritages.  On their Twitter page they claim Stockholm and Sydney as their home town(s): two more different places you could not imagine.  The girls have the fascination and devotion from Sweden- they were featured in People Magazine there recently- and have earned a lot of love and support from Australia.  As much as I have been in awe of some sharp and edgy Australian bands; as well as some terrific solo talent (Matt Corby etc.); I have been enthralled by Swedish sounds.  Our duo love and fight as sisters (as is natural); yet have an inherent and natural close bond that can be heard in their music.  It is said that twins have a sort of telepathy and psychic bond (psychics don't exist; it is more an intuition): they are able to sense when there is trouble with their twin; able to predict their mood and mind-set, as well as bond with the other with a natural grace and passion.  Considering the shared time in utero- as well as the close association they have during childhood- it seems only fitting that twin sisters whom decide to make music together will have a Sympatico: both fractious but above all, mesmeric.  One thing that annoys me about twins (about the parents; not the twins themselves) is that parents protest at just how different they are- they are of course; they are different humans that share a birth date.  The problem is that when these parents- whom go on about how unique they are- begin dressing them in the same clothing- the exact same- and cut their hair the same- again exactly alike.  This disturbs me somewhat, as these parents are consciously making the twins look alike: both a baffling attitude and a bit of a cruel insistence, as those children will have a harder time of things.  I mention this, as many may have preconceived notions of what twin sister musicians would look like: identical band uniforms; a similarly-uniform appearance and identical attitudes.  One of the most alarming things about Say Lou Lou is that they are distinctly unique women- as well as having a close and loving bond.  Both are incredible beautiful and stunning (every inch the modern idol); and will inspire young women as much as they will, um... overwhelm the young male (sans prurient fascinations).  The continent-straddling sisters were born in June of 1991 (a month and year that saw a glorious influx of stunning music); and these 22-year-old stars are also spending a great deal of time in L.A.- as well as the likes of Sweden and Sydney.  I have read a few interviews that the girls have given, but am not too familiar with their upbringing (where the Australian and Scandinavian roots emanate from); I just know that the sisters have been based predominantly in Sweden (as well as L.A.).  Whereas U.K. female duos (or sister acts) would probably be predictably folk-influenced or unadventurous; the vast maturity and diversity that the two offer up separates them from the rest of the scene.  The girls have been to London recently- highlighting at the rather audacious lack of summer weather- and will have a natural home here (should they ever decide to relocate).  In a summer here that is going to be defined by some rather un-summery sounds; their unique brand of sound is going to enliven and reignite the market here: something that is desperately needed.  The girls have spent most of 2013 readying their new E.P., Julian.  The sisters claim that they wanted to marry the glamour '70s Berlin, as well as the 'heroin-chic' of the 1990s.  The numbers of the E.P. display a stunning maturity; tied together with pop melodies, yearnings of beauty and alluring codas.  There are two original tracks on the E.P. (Julian and Fool of Me); yet there are four different remixes of their first single, Julian.  On iTunes, the E.P. have garnered unanimous acclaim: commentators highlight the E.P.'s dreaminess, potency and consistent quality and fascination.  The drop dead gorgeous twins have made this possible by their keen and admirable passion for music- especially sensations of the past.  Julian has been inspired by everything from cult German films (Christiane F [Wir Kinder vom Bahnhof Zoo]- which was set in the late '70s- was one key plot-point).  In fact; style is a facet that is crucial for the duo.  As well as German cult classics; they are inspired by the likes of David Bowie and Kate Bush (kookiness and beauty aplenty)- the glamour and decadent polemics of the '70s is something that fascinated them (It is the combination of styles and artists of the '70s and '90s that can be heard in the contours of the music).  The girls are enamoured by the likes of T-Rex, Prince and Tim Buckley: artists whom portrayed a great deal of sensuality and sexiness.  In addition to the '70s masters (Dolly Parton and Fleetwood Mac count as idols); the sisters adore the sounds of the '90s: Nick Cave, P.J. Harvey and Jeff Buckley are particular favourites.  Combined with a love of '70s and '90s music, comes a passion for the great movies of the era; from Boogie Nights and The Runaways (the '70s); through to Pulp Fiction and Stealing Beauty (the '90s).  Everything I have read about them makes me fall in love with them: their passion for incredible (and near-forgotten) music; an eye for style, passion, fashion and potency; as well as a masterful ear for melody and musicianship.  As much as their heart-melting looks will drop men to their knees; it is their music and ambition that will keep them there- for women, their relatability and inspirational nature will win their hearts and minds.  I am glad to have encountered Say Lou Lou and their E.P.'s proffering: one wonders when a day will arrive, that means artists such as them will be better promoted by the media?  As much as the murk and dredge of Indie-lite shadings have dulled my senses; my heart, brain (and loins) have been energised by spectacular acts such as Say Lou Lou.  Recently, the E.P.'s title track (and lead-off single) have been sending the Internet (and musical clans) atwitter: glowing and love-filled reviews have summarised and distilled the track's essence and wonder.  It has left critics smiling and stunned; and is a tantalising taste of what the E.P. has to offer (making Fool of Me all the more intrigue as well).  The girls' social media pages, as well as official website (http://www.sayloulou.com/) attest to their adventures and goings-on (since the release of the E.P.): trips to L.A. (or La La Land); prestigious interviews; sojourns in London (and the U.K).; as well as a natural residency within Sweden.  They have been promoting and signposting their E.P.'s potency far and wide: wanting as many people as possible to absorb its messages and nuances- as well as gain them as many new fans as possible.  Between the 15,000+ Facebook 'Likes'; the-almost 3,000 Twitter 'Followers'- as well as a mass of international fans- the sisters have a lot of support (off of the back of their current music).  I can guarantee that the future will be rosy and busy for the girls as we edge slowly towards 2014.  The positive (and almost enraptured) response to Julian (E.P.) has meant that another E.P./debut L.P. will be much-demanded; as well as a lot of tour dates (I would love to catch them in London for sure!).  On the evidence of Fool of Me, it is not hard to see why the twins have garnered so much effusive praise: it is a song that sets out their stall; interlinks their multi-genre and bi-decade loves- melting them into a heady and flavoursome boiling pot.

Before I get down to the song itself; it is worth noting (and only right) that the track features Chet Faker.  Our Australian-born collaborator is a renowned electronica artist, whom has been invigorating his native land with his blends of future beat and down-tempo soulfulness: something that is apparent in his tones and stylings (as well as abundant in his 2012 Thinking in Textures L.P.).  Given that Say Lou Lou built such a reputation from their own voices and input, it was interesting to see how Faker's unique influence would fit within the context of Fool of Me.  The opening seconds of the track promote and tease a slow build of intrigue and potential.  Echoed vocal interjection is replaced with a clattering and eerie electronic/percussive line.  In the initial movements, I found some evocations of '90s pioneers such as Cocteau Twins and Air: their comparative fascination and influential edges nestle within the dislocated and ghostly build-up.  With an electronic and scratchy percussive duet-that produces a metronomic tic and a pulsing heartbeat-  intrigue and atmosphere and elicited and expanded.  Strangely- or maybe unexpectedly- there is some of Massive Attack's bold majesty (think of their Mezzanine-era high)- a feint whisper of Teardrop's scuffling moodiness can be detected.  Perhaps there is a lighter and less trip hop/experimental hip hop-heavy edge to the sapling moves; but one can hear a relatable quality and resonance.  At the same time, native Swedish electronica and dance lingers in the heady layers; as does late-'90s/early-'00s U.K. dance and electronic music.  All of this together creates a intro. chocked with potentiality and intrigue: bursting with nervy energy, potent blood flow and romantic sway.  Like modern idols such as Jessie Ware, a subtle and well-considered intro. announces a hefty weight of expectation and excitement- before a single word has been sung.  Fool of Me's adolescent moments have vinyl scratches and crackle; a myriad of cracks and sparkle (and percussive punctuation), which relaxes and stimulates the mind all at once: making you wonder quite what is coming next.  When the vocal arrives into the fold, it is seductive and smooth: possessing breathy sexiness as well as strong and authoritative urgency.  It is claimed that: "You never cried/I'd say love let me wet your eyes"; suggesting that either a break-up or emotional upheaval has occurred.  It is unsure whether the anonymous paramour is lachrymose due to upheaval and a break-up; or because of a transcendent and tender moment: the tender and soft vocals from the sisters suggest that the latter is pertinent (although apologies if I have misread that).  Each word (and line) is smokily and langurouslesly deployed: summoning up the maximum amount of emotion and reciprocation, as well as grabbing onto your attention.  The girls will forgive me (I hope) for drawing some comparisons, but I could detect some influence from Mazzy Star, Liz Fraser (of Cocteau Twins)- and even Jeff Buckley.  It is the way in which the aforementioned idols portray a tender and ethereal headiness; that one can link with Miranda and Elektra's soothing tones.  As an atmospheric and crackling sonic background supports the words, our heroines claim that "The soul won't burn"; mesmerically drawing you into their thoughts and intentions as a startling realisation is unveiled: "If you don't hurt inside/You feel no pain".  I am always keen and curious to know what inspires a song (and its lyrics); so was entrenched and interested by the early thoughts.  Whether the song focuses on the vicissitudes of a current relationship; the retrospective analysis of a failed romance, or a semi-autobiographical tristesse on a the nature of love, I am unsure: yet from what I gleaned from the potency of the words and voice; I would say that there is personal relevance to the narrative- whether it is Elektra or Miranda's woe (or a shared pain).  As your mind gets caught up in the meanings and visuals (the lyrics suggest), the girls ease and quell any anxiety.  Their Siren-esuque and harmonious vocal twines (displaying some slight edges of Bedtime Stories-era Madonna) hide- as well as add weight to- hidden and dark emotional pains.  Plenty of hurt, tears and heartache strikes in the hearts of our heroines; it is a motif that inspires words such as: "I'll top you off with a taste that I've not forgot".  The chorus comes into view; bursting like a nebula- summoned in with a vocal rush.  The shared voices having tastes of early-'90s Madonna; mid-career Kate Bush, as well as Gran Turismo-esque The Cardigans (the softer edges of...).  In fact the Nina Persson-helmed Swedish quintet came to mind in the verses too; yet that revocation is galvanised in the chrous's dreamy and impassioned rush.  I have always adored Persson's seductive and engaging voice; the band's huge talent (as well as their inspired mass appeal); and our stunning duo have tutored and similar positives- but have a stark originality to their vocal tones, I have to add.  The "You made a fool of me" coda is elongated; gorgeously tempted; breathed with a delicious tenderness.  In the same way as Jeff Buckley's anthem Last Goodbye told of the sadness of a break-up (from our hero's regretful perspective); the chorus almost suggests the side of Buckley's lover: maybe it's just me, but I get that feeling.  Playing the role of the hound dog bowser; Faker is the lover-in-disgrace; arriving into the song with his downturned and soothing vocals: a little bit of Nick Cave-cum-The National.  Faker's chocolaty tones are confessional and apologetic: "I've been told I am cold/Been known to sting"; delivered with emotional conviction and syncopated flourish (that enforces the lyrical potency).  There are not too many songs that would contain the line "I'm a brute shooting from the hip": it is delivered with much consideration; and as the dust settles here, soon enough the girls add their voices into the verse ("Straight in to my heart" is the first line the vocalists all share).  Faker's confessional sermon is not in the spotlight for too long, as our heroines dreamingly seduce: "In the dark you confess/That you've made this mess".  The chorus' reintroduction (given what has come before) contains extra gravity: bolstered by a sonic collage of crackles, percussion and electronic sparks.  When the vocals are blended during "You've made a fool of me"; it is both emotionally fraught, as well as strangely exorcised.  The chimerical lovers duet pioneers on: shocked by an energised and intent vocal accusation ("How dare you").  The chorus is something that has a catchiness (is that the right word?) to it: the sway and sound will lodge in your mind, and recall itself to your lips consistently.  When the final verse is unveiled; a rolling and tumbling percussive crackle summons in the words; which present the lover-as-a-machine parable.  Our heroines sigh and ponder the possibilities of love: images of artificial and mechanical life forms are presented.  If the distant and cold lover could be taught how to love; a mechanical being that followed instruction ("My machine"); then a compromise/satisfaction could be obtained: "I learn to reach inside your ribcage/Flick a switch and you engage".  It is during these phases that the Madonna/Persson vocal reminiscences are re-infused (together with the nature of the lyrics and music, produce an intriguing coefficient); the sense is one of strength and matter-of-fact honest- there is no quivering emotion or anger to be detected from our duo.  Once the (hopeful) verse concludes; it makes way for a dreamy and emotive parable: with eerie and spectral rushes; wordless vocals; scratches and crackles and a gradual build-up.  Without warning, a rampant and tribal drum line begins: cementing the coda's magic and adding a layer of gravitational pull.  For one last time (well it is repeated- semantics be damned!) the chorus is presented: the trio combine and- backed with the multitudinous and variegated sonic palette- herald the song to land: leaving you with some questions.  As well as the song plays its part and gets into your mind; I was wondering how things were resolved: was satisfaction met, and did the 'lovers' make a truce?  Was a compromise realised, or is an unsettling easement the future tense?  Either way there is mystery and mystique aplenty; and one is happy that questions are remain, as the overall sensation is one of satisfaction.  You hope that there is not too much personal heartache amongst our sisters' hearts (the mandates of Fool of Me have seen ghosts exorcised).  The abiding and authoritative sensation that you take from the track is one of wonder.  That combination of voices blend superbly: each are dreamy and seductive, but have a potency and emotional resonance (that few contemporaries possess).  The soundscape has touches of trip hop and experimental elements from the '90s; fused with some keen '70s fashions; polished with modern urgency and influence: augmenting the track and adding colours to the black and whites.  Faker plays the role of illegitimate/wrongdoing lover perfectly: displaying resentment and thoughtfulness, yet capable of change and rebirth.  The lyrics are constantly engaging and detailed; infused with sharp and intelligent lines, as well as deep and tender emotions (the chorus is especially memorable).  It is the combinations of vocal, musical and lyrical lustre, which rises the song above the parapet of the modern-day expectation: displaying a quality and endeavouring nature that is synonymous with the best songs of the '90s.  Sweden and the Nordic regions are spearheading a new wave of vital and inspiring music; enforced by a qualitative edge and defined by a sharp mandate: mix emotional and symphonic sounds with gorgeous vocals; add focused and thought-provoking lyrics; make sure that the music remains in the consciousness for a long, long time.

Being a fairly new proponent of Say Lou Lou's extraordinary talents, it is with fresh eyes that I approach Fool of Me.  The girls have a sound and texture that fits perfectly within their native scene; yet is distinct and ambitious enough that it supersedes the next-best: making it one of the most immediate and essential songs this year.  In the U.K. there is a scarcity of similar music (in fact there is none that quite have the same memorability); so it is axiomatic to say that we need more of Say Lou Lou.  Most of my current malaise has surrounded the lack of explorative and ambitious new music- too many fledgling artists display music which seems incomplete and fairly hollow.  The E.P. Julian has not long been released, yet is already gaining the stunning sisters a lot of fond patronage: devoid of hyperbole and over-exaggeration.  Given what I know about Sweden's current scene, it is perhaps not a great shock that the likes of Say Lou Lou exist (and have such exceptional chops).  What is surprising is at how much mobility and variation there is within the marketplace of Nordic nations.  The girls have spent time in L.A., Australia and London; managed to draw influences and D.N.A. from the diverse nations, and stir it into their aromatic recipes.  Elektra and Miranda Kilbey have an assiduousness and passion for what they do: an ambitious and original eye for song writing, as well as a fond appreciation of the starling sounds of the '70s and '90s.  It is rare- in this modern climb- to hear such haunting, yearning and spellbound sounds: especially from a duo so young, yet so mature.  Fool of Me is a fascinating and memorable track, and layered with immediacy, nuance and majesty- and one that will leave a big impression in your mind.  It is a proud representation of an E.P. which is filled with intention and multitudinous conviction- the title track is a dreamy track that stands up to many repeated listens.  As much as the music bowls me over (the girls will not need my patronage and thumbs-up to make it a resounding success); it is the central figures themselves that impress.  Possessed of (or blessed; if you are of a religious bent) startling beauty and girl(s)-next-door appeal, the twin sisters are impressive ambassadors of modern music.  Too often I have encountered vapid and stupefied pop starlets (nary a thought in their hollow heads); arrogant and repellent rock egos, and dull and one-dimensional solo artists: where are the idols for those whom favour intelligence and fascination?  Our Say Lou Lou heroines are the antithesis of the vagrant pop star: instead they are interesting, relatable and have a ubiquitous appeal (that is very rare).  Whether it is because of my age (30-*sob*); but it is the common ground shared (between me and them) that marks them out as influential women.  Their musical tastes of the '70s and '90s (as well as film preferences) were instantly familiar and plaudit-worthy (especially their English-heavy leanings: P.J. Harvey, Kate Bush, T-Rex, David Bowie etc.)  In interviews, they come across as very humble; lacking in any ego, and completely in love with music.  It is these facets and merits that elevate and highlight their musical qualities- marking them out as a serious future-prospect.  I began the review by talking about the hardships one faces when trying to find genuinely great music (that is not U.K.-born).  The media (as well as social media) is a paradox and contradiction that makes it easy to locate local and national new music; yet near-impossible to find many great international acts.  As I say, I am in the process (the 'ideas stage' at present) of formulating and creating a music website; I hope will be an all-encompassing and encyclopaedic source for musicians, music-lovers (and the casual listener alike).  Whilst many music sites focus heavily on one specific U.S.P. (Internet radio; music downloads- not so unique when you see how many sites offer the same thing); I would like to incorporate a multitude of aspects: Internet radio, downloads, new and old music; band recruitment/networking, music video pitching- and a whole (WHOLE) lot more to boot.  It is only when the communication lines are strengthened and multiplied, that we can crawl out of the current miasma: a distinct lack of international awareness; compartmentalisation of the music scene etc.  In the U.K. we are in the midst of a stifled and fair-weather music scene: one which relies too heavily on predictability and homogenised nature.  Say Lou Lou have a universal appeal that can inspire cross-pollination, and a re-appropriation of new music's (somewhat shaky) reputation.  I was stunned by Fool of Me's heady brew: psychotropic and seductive in equal measures.  Having listened to the E.P., I am excited and curious to see where the girls go from here.  Demand and expectation will grow and burgeon (as the E.P.'s existence becomes wider known); so it will be great to see if a new E.P. or L.P. will be in the works for the future.  They have plenty of impetus and inspiration; great talent and awareness- and bring a lot of fresh energy and quality to a sub-par modern scene.  Take a listen to Fool of Me (as well as Julian), and become entranced by its spectral qualities.  Few (new) acts come around, that are as strong as them: so take these jaw-dropping girls to heart...

AND discover the treasures they offer up.

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Official:

http://www.sayloulou.com/

Twitter:

https://twitter.com/sayloulou

Facebook:

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

SoundCloud:

https://soundcloud.com/sayloulou

YouTube:

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

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Gallant- If It Hurts- Track Review

Track Review:

Gallant

If It Hurts

9.7/10

Brave, spectral soulfulness and ethereal R&B, from this 21-year-old L.A.-based talent: guaranteed to shiver the spine.

Availability:

If It Hurts is available at:

https://soundcloud.com/gallant/gallant-if-it-hurts-prod-felix

The tracks that will appear on the (Felix Snow-produced) Zebra E.P., are available at:

http://www.brooklynvegan.com/archives/2013/06/listen_to_a_son_1.html

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THE qualitative nature of the voice, is something that is always at the...

forefront of my mind.  When considering a solo artist- be they new or existing- a lot of emphasis and consideration is given toward the nature of the voice.  If you happen to be a fantastic lyricist or musician (how few there are of them); then consideration is paid to the words and themes.  The likes of Laura Marling (as well as having a distinctive and powerful voice) have their songs poured over; the lyrics and ideas are interpreted and picked apart- with many critics postulating and theorising hidden depths and meanings.  For the rest of the solo scene, the major focus is paid to the vocal prowess.  Shows such as The Voice are doing no favours to the scene as a whole.  When winners and runners-up from these shows enter the marketplace; they have already been moulded/moulded themselves into a Mariah Carey, Christina Aguilera or Whitney Houston proximity- for the guys there are obvious influences too.  As much as the band market is growing and bursting at the seams- and is producing some of the best music at the moment- the life and trajectory of the solo artist is as fascinating as any.  Over the past few months, there have been a few promising endeavours: I have heard of some genuinely unique and exciting talent.  When the full creative and personal weight is placed on one set of shoulders- without having band members to assist- it is always harder to make decisions; put yourself ahead of the crowd and really stand out.  I have heard some terrific female voices in the U.K.: from Yorkshire-based '40s swing stylings, through to New York soul evocations.  It is always a great pleasure to happen across a uniquely exciting voice: one which catches you by surprise and keeps you listening- and has you spreading the good word far and wide.  A lot of excitement concerning the solo market tends to be pointed towards male shores.  In the mainstream, as well as amongst the up-and-comers; focus still tends to be levied heavily towards the male market.  I have never had a lot of respect for a lot of the current crop of male solo artists.  Currently talent such as Tom Odell are being heralded and championed: to my mind he has limited emotional range and an unremarkable voice/set of songs.  Away from him, there is a lot of residual fascination towards the likes of Bon Iver, Matt Corby and Ed Sheeran- artists still touring, but not currently in the studio.  As a male songwriter- whom, until a band can be located; is a lone wolf- I am always readily-tuned to the solo market.  I respect the amount of hard work and tenacity it takes to make your first steps- let alone become successful; hold onto public fascination.  There are no other humans to hide behind; so additional members to take the burden: the priority and emphasis is on you and you alone.  Taking this into consideration, I provide a measure of grace and consideration towards new solo artists; but I have to say one thing: I am not overly-impressed at the moment.  The likes of Odell and Sheeran are very young- and to my mind- years and bounds off of being considered exceptional.  Neither has a strong or memorable voice (they seem quite bland in fact) and lyrically they are good at best; but tend towards banality, immaturity and cliché: their overall sound and artistry is somewhat sub-par and unimpressive.  Away from the aforementioned- whom mainly appeal to the young female market- there are one or two great singers.  Matt Corby is an Australian singers whom (erase the fact that he appeared on the Australian version of X Factor) is a worthy songwriter and potent voice- and is still in his 20s.  As much as the man has a powerful and guttural roar- as well as a sweet-natured potentiality- I find myself ambivalent.  His songs are strong enough (the lyrics often are deep and poetic; the sound diverse and unexpectedly powerful); yet his range seems limited.  As a songwriter the tracks all tend to stick to the tried-and-tested love-gone-wrong-discuss parable; and his compositions have a 'hallmark' sound, that often shows a lack of flexibility or elasticity.  It is the vocal 'limitations' (perhaps a harsh term, but I can't think of a more appropriate one) that trouble me the most.  He has that impressive and dominant growl and plenty of oxygen in his big lungs- capable of taking the wind out of your own- yet there seems to be no ace up the sleeve.  His voice seems stunning and unique over the course of a few E.P.s, yet when L.P.s and future singles arrive, one feels that the appeal will wear off; if he can't add layers and tones to his voice (as well as song writing); you have to entertain the possibility that he will not be on the scene years from now.  My point is that voices can appear fascinating at first- whether it is due to a great emotional range or a U.S.P.-yet given time (and successive E.P.s/albums) can have its essence distilled: simply because it becomes less startling as time goes on.  The female market has a similar expiration issue.  A vast majority of new female voices can be sweet-sounding and 'cute'- yet lack in power and soulfulness- or else they are soulfully operatic and sexy: but when you examine closely, they are lacking in individuality and differing colours.  A great deal of female solo artists- in the U.K. at least- have been celebrated critically (Emile Sande; Laura Marling; Adele; Jessie Ware etc.); but have been so, due to an incredible talent that covers song writing, presentation, musicality, emotion- as well as the voice itself.  Eyes and ears are primed and hungry for solo artists whom have something different and stunning about them: whether this is a voice capable of longevity, or a great backstory and personality...

This all brings me to the case of Gallant.  I came across the Maryland-born artist via The Guardian's 'New band of the day' segment (something that has provided many opportunities for me).  That profile feature highlighted at the importance of the assemble of a track- as opposed to the vocal alone.  I think a lot of the current malaise, stems from the lack of evocative and gripping music that accompanies a vocal performance.  Whilst female talent like Marling can bring a folk texturing to her songs; Adele a bigger and bolder sound; Ware classical and ethereal edges, and Lianne La Havas mixes various sounds into the boiling pot; most do not put too much thoughts into the overall composition.  For a vast majority of the solo scene, too many acoustic/electric guitars rule the land; too little consideration is given over to atmosphere- resulting in unambitious and uninspiring compositions.  It is not a coincidence that the talents whom put more thoughts into the overall 'sound' of the song- considering each compositional aspect carefully- that merit the grandest plaudits.  Gallant is a star whom has taken a lot of time to make music that can inspire and encapsulate.  Most of my recent attention has been paid towards U.K. talent and acts- with some focus on Swedish and European sounds.  Perhaps the most impressive and varied tracks have emanated from U.S. artists: ranging from L.A. sunshine pop, through to Missouri teenage punk.  It seems to be a nation that is fostering the most agile and electioneering new music.  In the U.K. we have some great young artists coming through- whether they will stand the test of time is another matter- yet the U.S.A. have a bolder and more enterprising approach to the matter of new music.  Granted I have largely been exposed to the band market and duos (with some solo work in there too); I have noticed that there seems not to be a 'staple sound': there is less homogenisation (and a need to sound like existing artists).  We in the U.K. need to take notes from the U.S.- with regards to how to bring the best talent to attention quickly- as some of the most fascinating sounds of the moment are coming from there.  Our 21-year-old from the 'Old Line State' has had an itinerant existence (in such a short time); locating to New York, and then to L.A.- where he current calls home.  He is a new talent, yet his voice has been compared to the like of Michael Jackson (The Guardian are amongst several to make this comparison).  Gallant has a trembling and evocative falsetto that is as much parts etherealness as it does mystique and hidden depth.  Few current artists can claim to possess such pipes: that mix falsetto and divinity within a musical framework, and posses the diversity and range to soundtrack any song.  The likes of Bruno Mars have had Jackson comparisons made; yet (and to my mind) his lyrics are too juvenile and his sound too limited and unappealing (in fact some of his lyrics come across as truly shocking and appalling).  Newer and less well-known acts such as Night Beds have displayed some of Gallant's majesty (listen to Even If We Try); but away from these examples there are few comparisons.  A great deal of the excitement surrounding Gallant's sounds are because of the 'sound' itself: Felix Snow is responsible for adding texture, emotion and fascination to his tracks.  Gallant is making big impressions with his talent alone, yet it is when he collaborates with Snow, that a lot of the 'magic' occurs.  Artists such as SZA- whom has also worked with Snow- attest to the producer's chops.  SZA is responsible for some The Weeknd-inspired music: that which mixes R&B etherealness with some synthesised panache.  Where as other producers would add odd effects; overbearing noise, and clichéd touches; Snow would employ the sound of wind chimes, whistles and supernatural chill to the mood: enforcing the songs fully, and adding layers of nuance and wonder.  It was this endeavouring and pioneering work ethic that was brought to Gallant's E.P., Zebra.  That E.P. is not released until August, yet is a collection that has gained a lot of kudos and respect; not only because of Gallant's core talent- but due to Snow's special touch.  Few artists would touch any song by Ke$ha (I personally find her to be repulsive; with no redeeming features), yet Gallant saw a glimmer of hope in her Die Young; wringing out the Auto-Tune plastic-ness; scrubbing away at the fake and perfunctory studio noise: and transformed it into something special indeed.  That song- which is a rarity for Ke$ha- has some subtext to it: quite dark in fact, according to Gallant.  By concentrating on this, and adding a new sound and vitality to the track (with Snow's helming); a ghostly and haunted chill that one would never associate with Ke$ha herself (well not in a good way at least).  The 'producer aspect' is not something that is ever concentrated on when considering solo talent- what a great support they can be with regards to enhancing a sound.  William Orbit and Mark Ronson are probably the two most recent examples of producers whom can add so much texture and subterfuge to a track; and it seems that the Gallant/Snow partnership could last a long time.  With Snow having worked with the likes of Shaggy (if you can believe it); he brings experience and a weight of authority to our young artist's work- helping to get the most out of that incredible voice.  Let us not focus too much on Snow: instead a bit more about Gallant himself.  We here in the U.K. are new to the joys of the Maryland troubadour- in fact a lot of people will be experiencing his name for the very first time.  Not much is revealed through social media- good in a way, as a sense of mystery, longing and wonder is brought to mind- our hero keen not to give needless information away; presenting the essential facts: the music itself.  His online profile is building momentum: on Facebook he has 1,241 'Likes' (as of July 1st, 13:54- G.M.T.); as well as 1,143 Twitter 'Followers'- I suspect that a lot more will show their support in the run-up to the E.P.'s release.  A sense of humbleness and appreciation are evident, when one surveys the social media pages of Gallant (as well as his official site).  He is filled with respect and thanks for any reviewer or new fan: a man thankful that his work is being given the credit it deserves.  Gallant has a personable and likeable personality: at once an enigmatic figure; the next a ubiquitous and effusive.  Scant praise is given- in these times- to considerable talent; so it is always great to happen upon new talent (if in this case it is vicariously).  Gallant's personal website (http://sogallant.com/) is awash with kooky and charming photographs; insightful commentary- Dadaesque, impressionist, abstract and impressionistic strokes and scenes can be found.  Barring the occasional misadventure (there seems to be a genuine appreciation for Justin Bieber- we all are allowed a vice, right?  Although if I have misunderstood on this occasion, I apologise) our L.A.-based hero is every bit the modern-day idol: letting his music do most of the talking, and making you draw your own conclusions about the man behind the voice.  It is to that voice that we pull towards, once more.  The forthcoming Zebra E.P. displays a young artists capable of bold and innovative interpretation (his take on Die Young); as well as a brave original voice; adept at incisive and thought-provoking lyrics (mature as well for a man in his early-20s).

The opening moments to If It Hurts have their roots in '90s U.K.  There is a little bit of Massive Attack's trip hop experimentation to be heard; as well as Radiohead's electronic movements, circa Kid A/Amnesiac.  There is a ghostly quiver and moan, with a pulsing and persistent beat that infuses it.  One can practically detect Thom Yorke hovering in the mix; as the evocation of Yorke- and current-day U.S. hip hop-can be detected in the initial notes.  Once that parable has let the wind swallow it; a guitar arpeggio elicits: at first it goes solo, before joining with the haunted coda; to summon up plenty of shivers.  Introductions are hard to get right- and make impressive and impactful- so it is all the more sterling that Gallant produces such a weight (within a mere few seconds).  Snow's innovation and golden touch help to summon up a riot of atmosphere and intrigue.  Initially Gallant's voice is- for want of a better phrase- a ghost in the machine: he seems distant and dislocated looking over the scene and sound; adding his tender tones to the mix.  Initial thoughts have room for interpretation: "Not enough colors (sic.) in the world, thought I would invent some".  The etherealness could suggest some introversion or emotion; yet the words point towards a young man whom wants to bring more joy and passion to the world.  He is an artist whom could "fade to black/Jump-cut to alone/Cross-fade to emotion": backed by a tribal and heart-wrenching percussive beat (which adds some punch and kick to proceedings).  Gallant's voice never dwells or ponders too much- in the sense that it becomes maudlin or saddened- instead the tenderness and light touches he weaves into the tapestry (backed by a beat that is potent as well as catchy) will make you sit to attention, get caught up; and listen carefully to what is coming next.  Such is the ever-changing nature of the track (it changes course and directionality a few times before the 1:00 marker, that your thoughts cannot catch their breath), that fascination and authority are kept at a maximum: the mood seems content to endeavour and electioneer, rather than sit still.  Atmospherics and electronic lustre are put at the top of the mix; forcing their way into your brain- as our hero unveils a wordless coda that mixes breathy sigh with falsetto hold.  There is at once evocations of classic Radiohead; modern-day European electronic music; as well as the sound of 2013 L.A.  The sweet-smelling melting pot whips up a heady smoke: multi-coloured, fragrant and intoxicating.  As the wordless chorus continues, that persistent and foot-tapping beat gets under your skin: it has its own gravity that supports the vocal, but also creates its own pull.  As Gallant's echoed voice comes back into the fold, the chorus makes its mark.  Talk of: "If it hurts, then baby you're all I need" shows tenderness and mature sensitivity; as "I'm thinking reality could happen- make it complete" hints at a heart- broken or aching- that is longing for satisfaction.  The unnamed and anonymous centre-of-attention is causing a little tribulation: yet the abiding sensation is one of a young man wanting to find happiness.  The tender-minded parable is repeated (for maximum emotional impact); our hero's voice aching and imploring with aplomb.  I can see where the Jackson comparables are born from.  Gallant's vocal has a similarly-stunning litheness: it is feminine and sturdily masculine all at once.  A little bit of Jackson's Off the Wall majesty can be detected in Gallant's tones (as well as a similar lyrical maturity); yet it would be unfair to solely focus on the late King of Pop's flavours.  Yes, there is a little of The Weeknd's evocations; but a sharp and focused originality can be heard: our U.S. hero is more spellbinding and captivating than any obvious names.  During the chorus (and the song as a whole) there is a strong soul vibe that comes to the fore.  If Prince were starting his career all over again, he would probably produce a If It Hurts paradox- although whether the Snow-infused layers would be employed is another question.  In the way that our hero stretches, repeats and reintroduces the chorus- like a hypnotic wave- one gets washed away and intoxicated by its intentions.  Messages of "If it hurts, then baby you're all I need" come back around; constantly calling out to the anonymous paramour to let him in- to ease her burden and let Gallant in.  If the simplicity and simple honest is the hallmark of the track's first two minutes or so; then the remainder is demarcated by intrigue (and some obliqueness).  We begin with some openness-cum-bold endeavour: "Not afraid to show myself the truth, to see what I've been missing"- it's clever wordplay and evocativeness are impressive indeed.  It seems that there is a lot on our hero's mind- both good, bad and complicated- that needs to be resolved and exalted.  Whatever the circumstances behind If It Hurt's origins- an open love letter; a personal exhumation; retrospective examination- it seems that a more pressing thought (is troubling our idol): "But then again, the midnight I was in was so much more appealing".  It is hard not to draw your mind away from Jackson or The Weeknd; and back towards the likes of Mr. Yorke: the intricacies and mood-setting evocativeness suggest some of the Oxford man's wonder.  It is this line that will remain longest in your consciousness: what it means; what it intended; what is in our hero's mind.  There is some modern reference and relevance to the Snow-helmed sonic blasts: a bit of hip/trip hop; a bit of modern pop and Indie lines as well- yet whereas some of those genre's examples employ similar sounds as ephemera; here it is used to intensify and emphasise the emotion and openness that is proffered.  The combination of wordless coo (both choral and deeply personal); combined with the heartbeat-like percussive line is ridden for a while; before the chorus returns to pioneer once more.  Authority, conviction and intention are hallmarks of Gallant's vocal line: words are punctuated, pointed and emphasised to make his message stand out.  If words such as "I'm thinking reality could make it"- backed by a swooning and potent sonic swathe- don't make their mark; then a granite heart you possess.  Additional layers and kicks are added to the snowballing composition: making the final stages more intense and emotionally-charged.  For the final seconds, the intro.'s guitar arpeggio is reintroduced: calming the nerves; settling us to landing, and beautifully bookending the composition.  In just over 4 minutes, a great amount of fascination and potency has been sewn: the track's aftereffects are quite startling.  In a modern scene where there is too much Auto-Tune; too little genuine sounds and voices, and a heavy reliance on noise; not sound.

It may be the case that the U.S. continues to produce some of the most fascinating new music.  Two of the best albums of this year have been turned in by American talent (The National's Trouble Will Find Me and Queens of the Stone Age's ...Like Clockwork).  Whilst here in the U.K. we have managed to produce an album that could contest for medals (Laura Marling's Once I Was an Eagle); the majority of the best and brightest music today is U.S.-born.  In this country there is still a big issue with homogenisation and over-familiarity.  Too many Indie bands are present; with it seeming to be the favoured sound- and is an issue that will only get worse.  You have to dig really hard to uncover some genuinely great music; and even more so when trying to locate some terrific solo gold.  I am not on a downer (when it comes to solo talent); yet it seems that for every 100 or so new acts arrive- possible half a dozen remain in the memory (and the marketplace) years later.  There is an over-reliance to just turn up on the scene; armed with an acoustic guitar; play some nice tunes about falling in love (and out); repeat 11 or 12 times... and that's it.  For every Marling or Adele there are dozens of Sheerans and Odells- it is a balance and injustice that needs to be righted as soon as possible.  I believe that solo artists have the biggest potential- both short and long-term- as a shift away from the band-heavy market will become apparent.  Gallant is a perfect example of an artist (young at that) whom is starting out differently- someone going against a predictable flow.  The lyrics are emotionally-charged and deep: containing enough mystery and relatability to intrigue and soothe.  It is not just Gallant's wordsmith-potential that is striking; but the range of emotions and styles over the course of three tracks.  Zebra is a brave E.P.: a debut release that contains a cover version; yet is one which will be talked about fervently.  Gallant's interpretative qualities- as well as originality- mark the E.P.'s tracks out as amongst some of the strongest you will hear this year.  This is something that is made possible by two more (dominant) facets: the stirring voice and excellent production.  Snow's legendary and authoritative helming not only brings the tracks to life- making sure everything is essential and captivating- but it is the little (and big) touches that he adds that make it that much stronger- and there are quite a few additions.  The combination of Snow and Gallant works much the same as Orbit and Madonna (Ray of Light), as well as William Orbit, Fatboy Slim and Ben Hiller's Blur collaboration (Think Tank)- a perfect blend of two different minds; combining splendidly.  The mixture of beautiful- and at some times, otherworldly- vocals; combined with some strange and splendid sounds; makes the songs what they are.  It is the voice itself that stands out as much as anything.  It has some timbre of early-career Jackson; as well as mid-career Yorke: but is its own man and beast, and is not subject to easy categorisation.  Gallant has a sound that posses shades of the past; as well as a dedicated and impassioned love of music.  He may have travelled from Maryland to L.A. (via New York); yet it seems that London would like him as a resident; as his talent and collaborative spirit is something that is much-needed in the capital (and the U.K.).  My anxieties about the new music scene will never be completely abated (given the questionable quality of a lot of new acts); yet with artists such as Gallant arriving; making some impressive and large first steps, my reticence and trepidations may have to take a back seat.  I am always impressed by a great voice- one that is original and not prefabricated- and especially one that ties striking lyrics and bold sounds together seamlessly.  Change begets change, and my hope is that there will be a paradigm shift away from bland and lipid acoustic solo work; as well as plastic and nauseating pop (Rhianna, Katy Perry and yes...Ke$ha) and towards the likes of Gallant.  The current crop- as well as generations yet to come- need some sturdy and solid sounds to be inspired by; and if they are not readily available, then a somewhat underwhelming scene is produced.  Gallant's sound is redolent of a (stronger) past era: one that was more abound with innovation and risk-taking; so I dearly hope that his spirit and determination continues.  It is always great being surprised by music, and If It Hurts certainly does that- what more can you ask for?  Its honest and earnestness; as well as mystery and open-for-interpretation edges cement beautifully: the result of a studied and mature songwriter.  The sonic evocations and atmosphere that is elicited (with Snow's assistance) gives the number a ghostly and disassociated impression that lingers long into the mind.  Overall it is a song which will subvert expectations (in a good way); as well as go a long way to re-appropriating any disinclinations about new music's potential.  I am thankful (most of the time) that publications and websites such as The Guardian (and specifically their 'New band of the day' segment) are available; so that we here in the U.K. are made aware of great U.S. (and international acts).  I am always appalled that there are not better channels of connection and awareness; but it is a problem I am trying to work on as we speak (trust me on this).  The next few weeks will be busy for our L.A.-based artist: the E.P.'s released; promotion will follow; touring and gig commitments and bookings will surely be an issue.  Once all the dust has settled, and the public have absorbed and experienced Zebra's wonders; I hope Gallant will play more in the U.K.  His sound and appeal is something that easily translates here, and one suspects that the likes of Europe and Australia will jump readily on board (I know that Northern Europe and Australia will welcome the music with open arms).  Regardless of my fears about new music; as well as my desire for more spectral voices, I feel that the next few years will play host to few artists like Gallant.  Whether this trend is going to be a result of the lack of likewise talent; a scarcity of great music websites (making us aware of new music)-or a combination of the two- is unclear; yet it is apparent that more people are made aware of worthy talent, capable of longevity.  So.. I am going to try and assist (as much as possible), and hope that more people here latch onto If It Hurts and spread the word.  Gallant is a modest young man, and someone who appreciates kudos, representation and reviews, so I hope that he has many E.P.s and L.P.s in him- as I am genuinely genuine when I hear great music.  Few artists (especially new young artists) inspire people like me (30-year-old songwriter in awe of the established masters); yet I have been compelled to write:  "Drink until we're numb, drink until we're dumb enough to keep on thinking more/I'm offered salt to quench my thirst/Crawl along the floor, climb up the walls until we confuse the battle with the war/And die for so much worse".  What it means: I am not sure.  What it will lead to: who knows?  One thing is for certain: if music (even a single track) can bring about creative output (however miniature/personally interesting); as well as adulation and bona fide excitement, then what more could you ask for...?

WELL... that you listen hard; and wait with bated breath for the upcoming E.P.

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Official:

http://sogallant.com/

Twitter:

https://twitter.com/SoGallant

Facebook:

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

SoundCloud:

https://soundcloud.com/gallant

YouTube:

http://www.youtube.com/sogallant

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Colour Me Wednesday- Shut- Track Review

Track Review:

Colour Me Wednesday

Shut

9.4/10

Explosive four-piece of Uxbridge have influences of the early-'90s; tied together with an of-the-moment urgency: it makes them essential listening.

Availability:

Shut is available at:

http://www.youtube.com/watch?v=Lkni5QYgcvE

The album I Thought It Was Morning is available at:

http://colourmewednesday.bandcamp.com/album/i-thought-it-was-morning

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MIXED genders and mixed agenda are subjects rarely discussed in the...

music business.  The nature of bands tends to be somewhat homogenised.  Groups stray towards either the all-male or all-female stratagem (predominantly the former).  It seems that there is a disproportionate amount of male bands on the current scene- most of whom are plying their trade in the Indie realm.  Sexism and gender subjugation is an issue in society at-large.  In the workplace; in sport and in social segments- even in 2013- there is still a rifeness of inequality and disproportionality.  As much as sectors such as government and business are male-dominated, it is alarming that there is lacking awareness (or self-awareness).  It is unsure whether- and if so, when- the inexactitude will supersede; but small steps are required- gradually made by as many feet as possible.  Feminism is an important facet of the modern age; and is something that needs it voices as wide as possible.  I have always had a cautiousness when femininity is proffered in music.  The likes of Beyonce have somewhat underpinned their cause with their life trajectory (marry a millionaire; make millions; donate nothing to women's charities).  It seems like a hollow message when you are on a pulpit, singing down to your audience- the likes of Beyonce may have had a hard upbringing, yet she is in no way on a level plain with her fans and supporters; or most women as a whole.  Of course gender inequality is not an issue in music itself.  It is an industry with a welcome idiosyncrasy: doors are open to everyone, regardless of financial constraints or situation.  There are no rules; no interviews; no narrow-minded attitudes with regards to the entry fee: if you have recording equipment and a song(s); then you can take your place in the market- although this does cause an overall lack of quality, which I will mention later.  Musicians themselves have an important role; yet have little political sway.  If the roles of M.P.s and female musicians was transposed; we would be in a much fairer society- where the inequalities of life would become more apparent; and swiftly rectified.  Taking all this into consideration, you may ask this: what is my overall point?  Well; it seems that music- although politicisation of music is a big mistake- is a sector that continues to grow (by the week); and it is the songwriters and artists of today, whom have the biggest influences of the young (probably more so than any other type of professional).  As much as I have enjoyed the offerings of all-male bands recently; it seems that a lot of female-orientated musical wonder; tends to emanate from the solo scene.  With the band market currently the most jam-packed of sectors (how many new bands does one encounter by the week?  Seems like dozens!); public eyes are focused on their shores.  I have heard some diverse and spectacular music from female-heavy bands, ranging from home-grown talent such as The Staves and Fake Club.  The former comprise three sisters; whom promote spectral and ethereal harmonies- and have currently completed a large tour of the U.S.  The latter are an up-and-coming rock band, with perhaps one of the greatest modern guitarists in their ranks (Carmen Vandenberg).  Although sexism is a rare occurrence within music, it seems that a fickleness is a bigger issue.  Too many media outlets focus too heavily on the male bands- letting some of the female groups slide somewhat.  Commercially and historically it may be the male bands whom have pulled in the biggest plaudits, yet some of the best sounds I have heard recently, have emanated from female bands.  If the music industry is to become more diversified- and increase its quality and ambition- then ears need to be focused away from the (yawn) four-piece-male-Indie-band-whom-love-Arctic-Monkeys.  Before I arrive at the feet of Colour Me Wednesday, I wanted to bring up my two favourite themes/rants: musical locality and '90s influence.  I have practically turned purple, trying to find great bands in the south.  As well as in the music media; most people I know (whom have their ears trained) keep banging on about the Indie bands of Manchester and Liverpool.  It appears that there is too much focus on the northern bands- and consequently there seems to be a whole batch of Mancunian bands each day-with the abiding sound being in the Arctic Monkeys/Oasis mould.  I am getting tired of the predictability and over-familiarity with new sounds (I am excluding solo acts largely); wondering when the acts from the South of England will ride up.  Over the past few months I have heard only a tiny amount of bands from areas south of Watford (The Staves are based in Watford so are excluded).  London is strangely quiet and introverted when it comes to pushing forth new music.  If one were to detail schematics; draw a climate/topographic map (detailing what type of music was played where; and which decade is most evocative in their sound); then Manchester and Liverpool would be thick with Indie bands- each seemingly inspired by '70s legends and '90s classics.  Yorkshire would be most speckled; having jazz, blues, swing and doo-wop colours- with a mix of '40s, '50s and '70s-modern-day influence.  If eyes were to track down to London, then the map would be less bold.  There are some great musicians in the capital; yet when it comes to great new bands, well... there seems to be a sensation of rations.  I have also been barking on dementedly about the lack of 1990s influences within modern music.  I will arm wrestle a nun to prove my point; but the '90s was (and still is) the finest decade for music- '60s be damned; you are over-rated!  In many of my recent reviews, I have (as well as been passively-aggressively poking fun at The Guardian's limitations as music reviewers) been asking why there are not more '90s flavours in 2013: given that it was one hell of a majestic decade?

Colour Me Wednesday are a group whom have a keen ear for the music of the '90s: in fact, the Indie bands (of the early half of the decade) are big influences for them.  The band consist of Harriet and Jennifer Doveton; Carmela Pietrangelo, and (sole male) Sam Brackley.  Our girls (and guy) are based in Uxbridge: the administrative headquarters of the London Borough of Hillingdon; it is located in the west of London and has a population of just over 26,000.  Uxbridge is an area not usually associated with musical outpourings; yet has a landscape and history that would suggest fertile and ripe conditions.  Away from the bustle and congestion of Central London, it has given our intrepid quartet room to be inspired, create; make their ambitions known.  As much as I have been mentioning defects and glaring omissions within new music; lurking in mind has been a dissatisfaction: too few new acts provide enough relevant information.  Most give a simplified Twitter and Facebook account; so that for people like me, you are left struggling what to say.  Our Uxbridge clan are pretty giving when it comes to details: you can find out a lot about them; but not too much.  With Jen on vocals; Carmela on bass; Harriet on guitar, and Sam on drums, the quartet have been electrifying audiences for a while now; bringing their blend of sound as far and wide as possible.  The guys don't do music civil wars: no competitions with other bands; they simply want to bring their songs and movement onto the scene- and intend to stay around for as long as possible.  With a wide range of idols and influences, that go from The Beatles and R.E.M., through to The Sundays and Dinosaur Jr. (as well as those '90s Indie flavours); the band bring a range of textures and sensations to their overall sound: it will stick in your head for a long time after it has ended.  Looking into their social media pages, and one gets the impression that they are all down-to-Earth and good-humoured.  On their Facebook page they attest to enjoying "computer gamez (sic.)" as well as "hyper kittens and puppies".  The three girls are all striking and beautiful; raven-haired and stunning; with our percussive hero being very dapper and handsome (not sure how to compliment guys aesthetically).  Although the group has been in existence for 5 years now, the present line up in only a few months old: one that hopefully is cemented, as the sound and tight kinship between the members gives the music a conviction and urgency, few other current acts can claim.  Their band name struck a chord with me.  On their official website, there is a sketch of Wednesday (from The Addams Family)- making me wonder if that is where the moniker came from.  It sounds like a game for child fans of the show (and films): a black-and-white sketch of Wednesday that you can spend literally minutes colouring in.  Not sure where the fun is, but such is the fascination (with the band's name) that several theories spring to mind.  Luckily they are not affiliated with the God-awful '80s/'90s act Color Me Badd.  The Oklahoma four-piece sold 12 millions records in the U.S. (inexplicably); and are still operating as a trio to this very day.  In addition to their pervy signature song I Wanna Sex You Up; the band never really won over critics (probably not hard to see why).  Luckily our London-based heroes are filled with intrigue and momentum; having a sound that could see them playing festivals and large venues very soon- who would bet against a Leeds or Reading slot in a few years?  Having experienced Glastonbury; where acts from the sublime (The Rolling Stones) to the terrible (Azealia Banks; Mumford & Sons) have been dominating the news, our Londoners could easily make their way to the illustrious festival- they have a ubiquitous quality and utilitarian likeability that could see them win over crowds.  If proof were needed (that they could fill seats aplenty) sites like The Girls Are can lay claim as to their prowess.  The music website reviewed a gig of the band's last year; enraptured by the quartet's incredible hooks and blitzkrieg sounds: with punk and Indie-Pop layers weaving in and out one another.  The band market is- as I have regularly suggested- the most compacted and sought-after there is: hundreds and thousands are playing across the U.K., yet only a small amount are worthy of attention.  It is axiomatic that the group have affection and consideration for their fans.  In addition to their album I Thought It Was Morning, they also offer variations and multiple versions of the L.P.- including a vinyl edition.  The group provide plenty of choice for prospective fans.  As well as vinyl and C.D. versions of the album, there is a digital version; as well as a Lyrics Booklet Zine- in addition to a 28-page booklet of lyrics, there are baby pictures (of the band) as well as explanations behind certain songs.  The L.P. cover itself is a black-and-white comic book strip: various scenarios and scenes are represented with the album title appearing in individual panes.  Too many new acts see themselves as completely indispensable and precious: afraid that by giving information away; making their music too readily-available, their appeal will wear thin.  In 2013, we are faced with a swagger and wave of varying acts: each one hungry for recognition and fan-bases.  If you take the business and seriousness of music too lightly- coming off as aloof or unconcerned- then you risk being forgotten about forever.  Colour Me Wednesday want as many people to listen to their music (and buy it as well); giving fans choice, and making the job of reviewers (like me) a lot easier.  Before you have even listened to a word of their music, you get a sense of what they are all about: where they came from; what turns them on (musically); how they got there- and where they want to go next.  You will have to- *sob*- wait until July 28th to get your hands on the album; but their new single is readily available for digestion.  Having gained a lot of positive feedback because of its infectious and stunning sound and sharp lyrics; the track is gaining mighty appeal.  It is the lead-off track from their forthcoming 11-track set, and is a brilliant cut- representative of the group's key and core sound and style.  Before I get to the track itself, the future L.P. promises much intrigue- from the song titles alone!  Numbers such as Unicorn In Uniform; (I'm Not Coming To Your) BBQ; You're Not My Number One Bastard, and- the gloriously-named-Purge Your Inner Tory, are to be found.  The humour and fascination that the song titles proffer, have roots in the punk era; where similarly-glorious song names could be found- in fact I Thought It Was Morning could easily be an album by The Clash (circa. 1978).  With a rich and all-encompassing motif that aims for as many people as possible; tied to a sound that has elements of '70s punk, '90s Indie and U.S. and U.K. influence; my fascination was stacked high.

The video for Shut certainty seemed fun.  It depicts Jen spinning around on a playground merry-go-round; smiling as the song plays (although one suspects she became nauseated after a little while).  The sense of fun and energy is played out as soon as the intro. begins.  The combination of guitar and drum- in the initial stages- builds up and up; then down and back down again.  The structure is at once unusual but authoritative; with edges of punk legends such as The Clash and The Ramones, as well as modern-day Indie shades.  It lasts but a brief time, yet sets the mood perfectly: punching a few times; retreating; before coming back around again.  The band are in awe of acts such as Bikini Kill; and whilst that group's better-known tracks (Rebel Girl for instance) are noted for their heavier edges; the two groups share a similar talent for potent and razor-edged riffs.  Whilst our London quartet may have a more ubiquitous sunshine to their sound (on the evidence here); the authority and conviction with which the intro sparks up, promises a tantalising song.  When Jen's voice arrives on the scene, the tones are less of the likes of Strummer and Ramone; instead touches of Kate Nash can be detected (as well as Kathleen Hanna).  As the pogoing and striking guitar, bass and drum combination works its magic, our heroine speaks of some unsettling truths: "It's like I've failed my teens/Now I'm failing my twenties".  Although there is little sign of introversion and sadness in her voice, there is a matter-of-fact calm to be heard- a smile in fact is almost audible when "High on anxiety" is sung.  It is the way that words and sentences are phrases as well; which adds emotional weight.  When "High on anxiety" is proffered, Jen's voice grins; the rejoinder "Low on attention" is presented with a resigned sigh- everything is more convincing and impressive if attention is given to projection.  It is clear that there are anxieties and concern in our young heroine's thoughts.  Whereas most songs (modern mainly; historical as well) deal with vicissitudes in and out of love; power games in relationships; blame and revocations (read: sympathy-seeking), Shut's mandates are more relevant (to the modern youth).  Our heroine does not speak of the woes of modern-life because she is in the minority (and needs to be saved); she does so because she is in the majority (and is speaking the truth).  Even someone like me; in my late-'20s (30 technically), can relate to sentiments such as: "There's a million and one things/That we'll never make sense of".  The central voice is of young London: speaking on behalf of the young U.K.; it is strong and convincing, with flecks of tongue-in-cheek and punk spit- not many voices you can say that of, in today's climate.  The band are constantly consummate: professionally tight, with a relentless energy and evocation of punk and Indie-Pop corners.  The riffs and sonic evocations that are offered up are never too heavy or intrusive: simply hook-laden and catchy.  Little snippets of past masters can be traced in the sound; as well as classic '90s flavours (I detected some early-career Blur and Oasis- which I hope the band do not object to).  At the heart of proceedings are the words- open-hearted and honest, as well as rally-against-the-world: "Self-satisfied clowns/Ruin everything".  Whether the song's theme has been forged due to uncertain weather; paradigm shift; heartbreak, or simply some arsehole being too arsehole-ish remains to be revealed; yet our heroine puts her points across with loveable pugnacity.  For a woman who claims "('Cause) I can't stand it/I can't sit down"; the restless energy makes the song strike a hard chord.  With a voice that has semblances of Miss Nash; there are sweet-natured and seductive tones as well that the likes of Daughter and Haim have popularised.  It is these combinations (and juxtapositions) that make Doveton, Jen, such a compelling singer.  As the supporting trio infuse the mood with electricity and sublime punch (great riffs, impressive bass work and solid percussion are the hallmarks on offer); our heroine continues her thought-process- one which seems less of a diatribe, but more of a confessional turn.  The following verse speaks of self-doubt ("Regrets set in") and everything in-between ("And I'd change the world/One person at a time").  Whether the song is speaking to an unnamed man (ex-love perhaps); or just kicking out at the world, I am unsure; yet there seems to be a wider (and more pressing) malaise- our heroine has seen and felt her fair share of disappointment and unmet expectations.  Future motifs on the comparative prosperity of the past ("Remember when things used to happen to me?"); and its irksome retrospect ("Yeah I hated that too"- one suspects there is sarcasm in the voice) are experienced.  Bolstering and supporting the mood, the guitar and bass roll and sway- as the percussive waves crash around them.  Our front-woman has an unerring positive edge to her voice; never succumbing to teenage angst or quivering sadness: it is the perfect blend to make you sympathise with her plight, but also get swept up in the song.  Our twenty-something heroine was "Short on motivation"; in "Slow motion/Crumbling to dust"; her mind overwhelmed.  Whether there is a abiding factor or fear that is mitigating her thoughts- the government; the nature of modern youth/life- it is not revealed; yet the song seems as much as a protest ("Are we numb to this outrage?")  as it does autobiographical.  Ambiguity and mystery mingle together (within the final verse) as our heroine states: "'Cause I can't stand this/Adolescent state", Jen's voice sways and electioneers; chirps and rises, summoning up a riot of emotion, conviction and intention- more so than the likes of Kate Nash and Lily Allen muster.  One of the most striking things about the songs are the contrasts and light and darks.  Jen's voice is pleasing and steeped in punk and Indie potential (and conviction); able to bring to life the song's themes.  The words themselves can appear Draconian and anxiety-etched: mixing regretful past days with modern uncertainty.  It is the sonic evocations that tie it all together; marrying pulsating and nerve-jangling percussion with barbed-wire guitars; complete with tight and spine-straightening bass.  There are whispers of U.S. punk acts like Green Day (think of their Dookie/Insomniac regency); as well as 1992-The Lemonheads.  The punk and U.S. influences are apparent as an extended musical break/middle eight is introduced (2:18 onwards).  It is here that the band galvanise their spiky and infectious codas- as our heroine is allowed to step away from the mic. (briefly; to catch her breath).  As the chorus comes back around for a last time; our singer still wonders: "I don't know why/I keep my mouth shut most of the time/When I burn inside".  In a way the song can be seen as a sly and subtle commentary on modern music.  Our heroine talks of how she used to have disappointment; regrets keeping her mouth shuts; wanting to change the world "One person at a time"- although given what we know about the band (not wanting to compete); I may be reading too much into it.  As the song ends and the dust settles, a point has been made loud and clear; and an insight into the thoughts and ideas of Colour Me Wednesday has been gained.

The band's forthcoming L.P. promises much range and diversity.  Not Much You Can Do's anger and vitriol- mixed with rebellion and hard truths- is one side of the coin.  Purge Your Inner Tory has an obvious target ("Tory boy you can't solve anything"); whereas Unicorn In Uniform mixes clever wordplay ("You fetisise the truth that you can't touch").  The band structure allows democracy and openness in the writing and creation.  Songs are written by Harriet, Jennifer and Sam (mostly individually; occasionally in collaboration); so you get different perspectives and biography.  In that sense too, there is no hogging of credit or a dictatorial lead: sharing and collaboration are bywords which enforce and cement the band's effortless quality and conviction.  Shut is the first song from I Thought It Was Morning; and one of the most stirring and evocative tracks.  Whereas a number of the L.P.'s tracks have sharper and looser tongues (the F and C-bombs are deployed during certain tracks), Shut has a feeling and atmosphere that could see it played across BBC Radio (Radio 1 and 2 especially); as well as some of the less mainstream stations such as Xfm and Absolute Radio.  It is the quality which will see them on the playlists of the best U.K. radio stations; in demand at festivals, and make their way above the sea of current bands- so that they stick around for years to come.  The group's all-inclusiveness and approachability, as well as the impressive online content will see them bring in a lot of new fans; and gives them an edge on most of their contemporaries.  Each member brings a great deal of tightly-honed and loose-cannon glory to the pot.  Shut is a song which lodges in your brain, and has you sympathising for our heroine- you lose yourself in the track's gravity.  Jen's voice has a clear and local accent; making her accessible and unique.  The way that the song's words are inflected; treated; considered and pointed, show great consideration for intention and projection; ear-marking her out as a future singer to watch.  Bass and guitar work is fantastically impassioned and energetic: it summons '70s and '90s punk authority (from the U.S. as well as the U.K.), whilst the percussion is charged and pulsating.  Few modern bands are making similar sounds, as well as easing my anxious mind.  In a market where Indie-heavy emphasis is the natural order: and diversity and differing sounds and given less consideration, it is refreshing to hear Colour Me Wednesday.  Whilst most contemporaries are too fixated with narrow themes and songs that rely too heavily on relationship issues; there is also an issue about homogenisation: too many bands sound like too many others; leading to a indistinguishable blur.  Our London quartet have plenty of chutzpah; tenderness; guts and intelligence: so few other bands have these unique colours.  I am pleased that there are '90s influences and tones within their sound (I hope to hear more of that in their L.P.)- as it is a decade that I miss dearly, and want to hear more of in modern music.  What is best, is that the band is female-dominated (apart from Sam, whom is a dominant force).  The group can re-appropriate and relaunch a female resurgence- distilling the male-dominated scene and adding some much-needed range.  Too many four and five-piece male bands stalk the scene, and (apart from the solo scene) there are few female groups.  Kudos to Brackley, Pietrangelo and the sisters Doveton; whom have covered a lot of ground and made huge impressions in a short time.  If some of the song's morals speak of past tense and present anxieties, then they should fear not: the future will be rosier and less uncertain.  As much as the band market is bulging and burgeoning, its future prosperity and growth will be dependant on the truly worthy: not those whom are bland and unambitious.  Too often I have encountered sub-par and unflinching bands; those for whom music seems like a diversion rather than a passion.  Those willing to appreciate their position and offer something different and brilliant are the ones whom stand the test of time.  Colour Me Wednesday- as well as gaining ground for the under-represented South of England- show signs of vitality and intention that will see them in the public consciousness for a long, long time.  On the evidence of Push, they offer ambition, range, potency and a relevant voice (for contemporary musicians and the youth of today).  The release of their L.P. (in late July) will be the test and summation of their current surge: and will also gain them a swathe of new fans and followers.  In  a Manchester/Indie-centric scene, it is essential that bands such as Colour Me Wednesday are fostered and promoted- so that diversity and originality can be proffered.  Push is a bold and intent step; so listen hard and absorb its myriad layers.  When the album is unleashed and consumable; I hope reviewers and media outlets help to share I Thought It Was Morning's potentiality and benefits.  If we want to keep music from stagnating and limping, then acts such as our Uxbridge quartet need more oxygen and support; but I am confident that this is...

SOMETHING that should not be a problem for them.

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Official:

http://www.colourmewednesday.com/

Facebook:

https://www.facebook.com/colourmewednesday

Twitter:

https://twitter.com/nononoofficial

SoundCloud:

https://soundcloud.com/nononoofficial

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NoNoNo- Pumpin Blood- Track Review

Track Review: 

NoNoNo

Pumpin Blood

9.8/10

Swedish electro-pop/Urban-Indie threesome: two adroit producers; one stunning singer/songwriter; create a scintillating and dizzying slice of (intoxicating) gold: "It's your heart/It's alive"...

Availability:

Pumpin Blood is available at:

http://www.youtube.com/watch?v=3j4I0PqNzKE

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FOR today- and hopefully not just today- I am thinking about European...

music.  Over the past few weeks, I have presented a veritable nomenclature of U.K. and U.S. act-stating during each review the positives of each-whilst referencing one distinct cousin: Europe.  Most of my attention has been drawn to the home-grown British acts- it seems to be where the media draw your attentions.  Whilst at times I have been ambivalent, I contest that there is a great deal of fascinating and excellent music to be found on these shores.  Music magazines and publications tend to have their particular tastes: NME: Indie; Q: Pop/Rock-orientated etc., they have their own meritocratic regime: proffering the very best, whilst giving little credence to the remainder.  Some of the broadsheets and less-discerning music websites can be more inclusive- taking time to investigate other genres and types of acts.  There are, however, a few issues and roadblocks that one faces (in this country).  Music influences music, which means; should a new act be looking for inspiration, parental guidance comes in the form of existing acts.  If a particular nation is beholden to a certain limitation- in the U.K. a lack of adventurousness- then how to you foster and encourage diversity and fascination?  At the same time, outlets such as the music media (radio stations, magazines etc.) are responsible for leading the way; showing the newcomers what is available: training their ambitions to the skies.  I guess that in a sweaty pub; in a compact garage, or back-alley venue, exciting and truly unique movements and sounds are being created; but the issue really boils down to this: what is happening at the core (the mainstream)?  A lot of my recent focus has been on existing acts- the big-time players- still going strong; turning in the finest albums of their career: The National, Laura Marling and Queens of the Stone Age are my referential Holy Trinity.  Our 'Father'- The National- is a group of men in their 40s; yet are turning in albums that are filled with youthfulness and impish winking.  They have been on a glowing trajectory (ever since their self-titled debut); turning in L.P. after L.P. chocked filled with lyrical majesty; deep and quote-worthy snippets on the uncertainties of life; maturity, responsibility and depression.  Helmed by Matt Berninger's chocolate croon and poetic verses, the U.S. band have been enlivening the scene,- simultaneously seducing critics and music-lovers- with persistent aplomb.  In a music scene that has a beguiling (and unhealthy obsession) with age- drooling at teen troubadours and 20-something bands- they are showing that men; grown-up and mature shoulders are turning in some of the most stunning songs of this century.  Similarly, the U.K.'s own 'Daughter' ('Son' may have been bit cruel) is doing Britain proud (although she currently resides in L.A.).  Marling is another example of a stunning lyricist- imbued with some similar cynicism, yet more 'upbeat' on her 4th album.  Marling's folk-tinged anthems are filled with maturity and potency.  Although she is in her 20s- bear with me here...- she is unconcerned with the issue of age; wanting people to focus on her music and work, and nothing else- she will be producing work for years to come.  The intrepid 'Holy Ghost(s)' Queens of the Stone Age- helmed by Josh 'Ginger Elvis' Homme- have perhaps turned in their finest work to-date, in the form of the statuesque '...Like Clockwork'.  Packed with dark, crawling strangeness; heavy-hitting desert rock; slinky, sexy/scuzzy jams, and glistening gems- it is an album that will top the 'Best Albums of 2013' lists.  My point is this: this trio are probably the best music out there at the moment.  Yes, the likes of Arctic Monkeys, Foo Fighters, Daft Punk and Adele are still making music; yet the aforementioned three are the current sound of what music should be- and what the public respond to.  The U.K. and U.S.- between the two nations- are the busiest music-producing clans in the world.  Because the music business is so over-crowded (especially the band market), it is near-impossible to separate the good, from the bad and ugly.  Too many bands in the U.K. are producing Indie stylings; most sounding pretty much the same as several dozen other bands.  It may be what is popular at the moment, but given the potential: the range of genres and sounds one could proffer- why do the same as everyone else?  The media hardly help: highlighting and profiling these bands hugely; sparing little attention on more diverse acts.  The U.S. are less culpable (they are making strides to promote a wealth of diversity), yet my point is well-founded.  I know for a fact that there are electro-swing acts out there; indeed we have doo-wop, blues rock and Grunge bands; but when the hell do you ever hear about them?  We (in the U.K.) are lacking a certain 'fun'- a bit of sway and kick to the step- and it depresses me.  The likes of Marling and The National are ignored (by new acts): there seems to be less emphasis on sharp and intellectual words; less it be deemed 'uncool'.  Likewise, the winding and snaking stings of the U.S. 's Q.O.T.S.A. are near-unheard of in the larger picture: some bands 'sound like' them; yet precious few take their spirit and quality on board.  In spite of financial hardships and fickle media outlets, we here have all the resources, time and influence available; yet it is being passed over; ignored you see, for strange reasons.  Unless there is a pull away from Indie/Rock predictability- and a move towards diversification and ethnic blending- then the music scene seems likely to hit an ice block- that it may not recover from.

It seems like a long-winded rant; yet it is a prescient and ever-relevant thesis.  You don't have to copy the established guard in order to obtain a semblance of their relevance and majesty- simply take little bits and pieces and pepper it into your cooking pot.  Alas, the U.S.A. seems to be cottoning-on to the idea behind progression: having an identity but aiming big with it- as well as not being bogged down into a predictable quagmire.  Ever since I reviewed the band HighField, I have been fascinated by foreign diversity.  Their (large) membership contains Norwegian, Singaporean, British and Canadian D.N.A.  Their songs are infused with high-octane merriment; a myriad of complexities; sharp and bustling colours, and an overall quality that is hard to match.  The words and music on display has a richness and intrigue for sure: the resultant whole is stronger and more authoritative than most music out there.  I think that they are amongst a small number of acts that 'get' the idea: having a brilliant identity; mixing fun with introspection, and aiming for the big boys of music.  It is European influences that seem to be making the biggest splashes.  I have surveyed examples from France and Germany a while ago; yet more recently a lot of Swedish influence is making its presence known.  Disco duo Club 8 are making their point well known.  An epitome of summery and sun-kissed swathes of electronica and disco stomp; they are showing that success is much more palatable (and obtainable) if you break away from the norm.- although Sweden and Scandinavia have always done things this way.  Before I present NoNoNo, I want to wrap up my point.  Whilst I have been pecking away at the keyboard- keeping our featured band in the front of my mind- I have been listening to some rather anthemic tracks of the '90s.  It was a decade synonymous for diversity: the music scene changed seemingly by the month.  The likes of Britpop, Grunge and pop would be up front; yet plenty of acoustic solo brilliance, classic rock and soon-to-be-legends were readily available.  To my mind, that era (as well as the early years of the '00s) was the last great time for music: an age where quality ruled the land (of course there was quite a few turkeys here and there as well!).  Too few current bands will take heed of the moral of the story: revisit the past; infuse fun and exhilaration; keep the quality/individuality high; gain success.  It is a parable which Sweden's NoNoNo (they are sometimes represented as NONONO; sometimes nonono- hope I have got it right) have struck upon; rekindling my enthusiasm and longing in equal measures.  Hailing from Stockholm, the three-piece are an electro-pop outfit.  I have always hated the mainstream pop output: if you consider Lady Gaga, Rhianna, Katy Perry and their ilk- they are the low end of the barrel; scarping around with lazy lyrics, trashy imagery and plastic sounds.  Pop in general- electro or otherwise- can produce some great sounds (if you ignore the hyped-up nonsense I have just listed).  Even if some of the trashy and insubstantial pop gibbering is Scandinavian-produced- so too is a lot of the top end as well.  Artists such as Robyn have made us well-aware of Scandinavia (and its limitless potential); as well as the producers and hit-makers   The Guardian have just featured NoNoNo- heaping huge praise on them (a rare positive outpouring from Paul Lester).  As much as he has got it right about the trio: about their quality and potentiality, he has mentioned the likes of Gaga and Rhianna too much; and Capital F.M.  I am going to distance the trio from such horror show.  Capital is okay if you like your sugary and trash pop: the young female demographic makes up practically the entire audience.  NoNoNo are so much better and more worthy than such names; so it is unfair to lump them in with the likes of Jessie J and Ke$sha (unless, God-forbid that is your bag).  I am going to let a particular pet hate of mine slip today; considering that it is a small niggle in an otherwise brilliant whole (I shall mention it when reviewing the track).  Our trio consists of two male producers: Tobias "Astma" Jimson and Michel Rocwell.  They are hirsute, handsome and moody; and the nob-twiddling, electric-infusing brains behind the sound: the guys whom make sure that every note and inflection digs into your hippocampus.  At the front is an alluring and striking Stina Wäppling (whom is actually the songwriter).  Possessed of Swedish beauty, she is a pin-up and girl-next-door idol, yet has a curious double existence.  By night, she is the lead of NoNoNo- the voice behind those infectious and ubiquitous sounds- but by day she is a psychiatric nurse.  Perhaps it is not a shock that a proportion of Wäppling's lyrics border on the dark and dense- and in fact a lot of Pumpin Blood is steeped in shadows.  Paul Lester labelled Pumpin Blood as "Capital-worthy"; yet the track- and the trio themselves- are much more respectable, universal and savvy; able to strike chords with the likes of me- songwriters more in love with the likes of Dylan, Marling, Cohen, Homme and Mercury; than the Rhianna-Gaga-Beyonce-Jessie J-Ke$sha paradox.  They (NoNoNo) have the dance-able and effusive explosions that can draw in the Capital market: female; 13-20-year-olds (more-or-less); yet are better-suited to the likes of Absolute Radio, BBC Radio 6 and Xfm: the most respectable and unimpeachable stations in the U.K.  The likes of Lykke Li and Annie have proved what Scandinavian princesses can achieve in music: both artists are held in high esteem by most critics and reviewers- so it is with those names where I shall place NoNoNo.  But anyway... let's get down to the song itself, shall we?

The title gives you an insight into the song's hallmarks: hard hits; rushes of essentiality and heady excitement.  On YouTube, the video has already collected over 103,000 views- with over 1,200 'Likes', and a host of effusive and salivated commentators contributing their thoughts.  The initial moments are made up of an electronic coda: a plinking evocation that brings to mind Snow Patrol's Chasing Cars.  It is the briefest of passages- a slight and tender foreplay- before an explosion of multi-coloured, whistling sunshine is unveiled.  Backed by subtle but propulsive percussion, the atmosphere is bathed in an infectious electronic glow- sounding like bird song-cum-robot whistling- that makes you smile and sway your head: the part juvenilia evocation; part dizzying kiss captures your attention and heart imminently.  In the video for the song, we see our trio walk towards a huge lake (perhaps it is in Sweden, but I am not sure); as the sun sets.  Thick jumpers, rabbit-stroking (yes, a rabbit) and moodiness are abound; displaying a juxtaposition and healthy dose of good humour.  Before any words have been sung, you are gripped and riveted by an unusual-sounding, and thoroughly stonking introduction.  Our heroine lushly sings of being "on the road again"; where "We're in a car/On the highway".  Wäppling's voice is tender and come-hither; uplifted and steeped in Swedish inflection, sexiness and playfulness.  Before I continue on with the song, I am going to present a slight...'disclaimer' I suppose.  There are Auto-Tune vocals- the group employ this technique in their tracks.  Whilst normally I would rather have Wolverine give me a prostate exam, than praise an Auto-Tuned vocal; it works perfectly within NoNoNo's aesthete: the electro-pop sounds welcome and suit an electronically-treated voice.  Wäppling's breathy coo is seductive and splendid- she could perform acoustic folk or solo pop and take your breath; sans electric treatment.  Pumpin Blood's roadmap scenes and itinerant themes build images in your mind: the sun is setting; our heroine (and an unnamed beau) are driving along; wind in hair.  Whatever is going through our singer's mind; one thing is for certain:  "It's so  magical".  The electro beat that is laid down by our heroes is reminiscent of the classic electronic acts of the '80s and '90s: there is a (for want of a better phrase) an 'Old Skool/old school' sound to it- your mind is taken back to better, happier times.  The sensations- which the group themselves call 'Urban-Indie'- is fresh and bubbling with life; getting under your skin and energising your senses.  As the chorus comes into life, the energy (and underlying tension) reaches a peak; as our heroine announces: "This is your heart/It's alive/It's pumping blood"; her voice coquettish and striking all at once (in the video, there is a depiction of two lovers arguing fiercely: material tatters lie on their homestead floor, as- at a table- the woman presents to her boyfriend a rabbit- those wacky Swedes!).  Just when you think the mood is going to become uber-sombre (lesser acts may become needlessly self-reflective at this stage),  NoNoNo ramp up the delight again: that whistling and smile-inducing intro. is re-introduced- it is both fist-pumping and uplifting, and sagaciously dreamy.  When the insatiable coda ends; our heroine is back on the mic., recounting tales and presenting (vivid) scenes: "See the stars won't take his course" begins a new road trip (previously it has been "See the stars won't break the bones"); our lead entrances with her seductive tones; she is "Feeling like nothing can go wrong".  Whilst the Swedish trio does have a dark half to its soul (Like the Wind has a sombre and languid creep to it); Pumpin Blood is a merry, distant-cousin; as that insatiable coda continues to enthral and entice.  Before the chorus comes around, our gorgeous heroine teases: "Hear the sirens, the world/You catching on".  When that chorus does come back around, the energy is still high; our male half wrack the excitement up to 11- our heroine (in the song's video) grips the microphone; sways her head, and lets her words (and beautiful voice) seduce.  She is an exulted priestess of joy; and wants to make her words stay in your mind and heart for a long, long while  ("And the whole wide world is whistling").  Just past the 2:20 mark, a tribal and bare-boned drum beat is elicited: your head will sway and your feet will tap relentlessly.  The final minute of the track returns its soul to the highway, as our alluring front-woman is back on the road: "Hey heart, won't you run again/On the highway, on the highway".  Before we are through with Pumpin Blood, that too-catchy-for-comfort chorus is unveiled again (I guess the missing 'g' in Pumpin could stand for 'gravity'- as it is the synonym one readily visualises, when the chorus arrives).  Once the song has finished, you almost have to collect your thoughts- scattered and shot as they are by the track's relentless majesty.

Pumpin Blood is not officially released until September, yet has been garnering some terrific reviews.  If one looks at the 'Comments' section for the video on YouTube; it is awash with praise and open-mouthed surprise: no hyperbolic rhetoric or over-exaggeration, considering what has just been heard.  Tobias "Astma" Jimson and Michel Rocwell are sharp and expert producers; deftly able to weave a waterfall of sonic sunshine and electro-pop wonder.  Stina Wäppling's anthemic track is filled with thought-provoking and simple brilliance: both catchy and intelligent.  It is unsurprising that such lust-filled professions should be levelled at a Swedish outfit- the likes of Likkye Li have proved what a strong music industry the country has.  Historically, Sweden have produced their fair share of inspirational and varied music (from ABBA and The Cardigans; through to Swedish House Mafia); and many of the producers behind some of pop's most popular songs, are Swedes.  NoNoNo are another name that can seamlessly rank alongside the all-time greats (of the nation).  It may be early days; yet the steps they have made so far (check out Like the Wind to see the contrast that the band are capable of) have been enthralling and faultless: hinting at a rather prosperous and wonderful future.  The unique formation of the group: two male producers and a female singer-songwriter (and employee of a psychiatric hospital for that matter) is something that sets them apart instantly; but it is the quality of the songs themselves that supersede 'novelty'- making them a serious name to watch out for in 2014.  It is uncertain whether an E.P. or L.P. will be the next move (or whether a few more singles will be preferred).  If they were based in the U.K. (let's hope one day they are), then they may have had a hard time rising above the huge stock of middle-of-the-road Indie bands- buried under the sheer number of acts we have in Britain.  They are- for us here it seems- a foreign delicacy; an act whom can blow away the electric guitar-based 'anthems' that make up the core of our music scene.  NoNoNo have the luxury of time and choice; able to dip into their impressive arsenal- and decide which weapon they will deploy next.  Our Swedish trio have curiosity and mystery in their imagery (the Pumpin Blood video has a rabbit used as a bartering tool; a sweater-clad protagonist dancing on a cliff-top, and our trio spellbound in a gusting storm).  The group have only been in existence for a year; yet are already challenging (musical) orthodoxies.  In a current scene which (aside from some diversity and brilliant sounds) is too reliant on guitar bands (of the Indie variety) and unfocused and uninspired solo acts; we need more (a lot more) examples of NoNoNo's kind.  The bass-heavy beat and electronic wizardry on Pumpin Blood is unlike anything you will hear this year.  Forget Mr. Lester's Capital F.M. opinioning: the song is too good to be lumped in with the Rhianna/Jessie J/Rita Ora sub-par woefulness- it will be welcomed- open-armed- by the credible stations such as Xfm and BBC Radio 6.  As much as I have heard some wonderful U.K./U.S.-based acts (as recently as yesterday); it is the European patrons whom are making the boldest and most ethereal sounds.  I started this review by talking of the greatness of certain bands (and certain decades).  With the likes of Queens of the Stone Age and The National showing the new talent how it should be done; it is a huge relief that my faith is being restored (if briefly) in new music's potential.  The trio describe themselves as "Melancholy yet hopeful"; which goes to show that they have darker and more brooding shades (contrasted with Pumpin Blood's constant invigoration).  I also mentioned that the '90s/early-'00s produced the last great swathe of music (Hell, I miss that era!)- it was the last period where the charts seemed actually relevant.  The Scandinavian way of music-making seems to be more enriching and life-affirming than most- and it is a region which will produce a lot more talent to come.  NoNoNo have plenty of ambition and firepower as-yet unexplored; a positivity and energy that is lacking from the U.K. Indie-centric scene: something acts and wannabes here can (and should) take note of!  Anyway... it's been one hell of a ride, and quite a special and unexpected song.  The band dynamic of NoNoNo works surprisingly well.  With Jimson and Rocwell filling the roles of (as The Guardian ascribed) "Sure-fire hit-makers"; and the alluring Siren Wäppling up front: presenting her songs with a limitless supply of bonhomie, sagaciousness and mystique; it works perfectly.  I suspect that 2013/2014 will continue its trends and promulgations: '90s/'00s U.S. legends great; new U.K. acts inconsistent; European musicians producing better intention- it is note-worthy that NoNoNo have arrived when they have.  Hopefully, their undistiled blend of electro-pop/Urban-Indie can inspire a resurgence in the overcrowded and lipid scene- we need more fun and fewer narratives of the woe-is-me variety.  Music's phylogeny has possibly peaked- we need to back-track to the '90s/early-'00s majesty (not literally; rather recapitulate its hallmarks).  The ontogeny of the fledgling musician is subjected to critical expectation; a preconceived 'norm', and inherent blunder: lack of variation and wing-spreading; too much copy-cat music-making.  I for one am tired (and exasperated) by the lack of shock and surprise in the music industry- don't we all want that sense of excitement and hopefulness?  With the Stockholm trio- although they cannot achieve this single-handed- hope and restoration are possible.  Fingers are crossed; sights are set, and a baited breath is held (imagining what is going to come from this three-piece):

GET on board now... and prepare to be excited.

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Facebook:

https://www.facebook.com/nononoofficial

Twitter:

https://twitter.com/nononoofficial

SoundCloud:

https://soundcloud.com/nononoofficial

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Crystal Seagulls- Time- Track Review

Track Review:

Crystal Seagulls

Time

9.3/10

Fresh from an illustrious set at the Isle of Wight Festival, the London-based four-piece present a track ready-made for summer.  Let the good times rock.

Availability:

Time is available at:

https://soundcloud.com/crystalseagulls/time

https://itunes.apple.com/gb/album/time-single/id660813206

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I have been banging on about London being a bit slack...

when it comes to proffering new and exciting bands.  Just yesterday, I was extolling the virtues of certain counties- Yorkshire specifically- when it comes to producing the best current music.  The band market is a lucrative currency, but the exchange rate varies greatly: depending on which area you are located in.  In extension of my music website/social media idea/rant- there should be an all-inclusive and decent music website out there- it would be interesting to see a map; documenting the different music of the U.K.: highlighting what type of music is played where; and how many bands are playing it- because it would be interesting to find out.  As I stated yesterday (with my review of Newcastle's Crooked Hands), certain counties do certain music.  Greater Manchester seem to be the U.K.'s leading Indie purveyors.  There are some great solo acts, as well as varied bands; yet it seems that the majority of new bands we hear from here, tend to be very similar-sounding (and a bit predictable); it is probably the busiest county as well- even if it is largely Indie-centric.  Yorkshire is the most agile and diverse when it comes to different sounds and flavours.  Where else in Britain do you hear doo-wop and swing artists mingling with U.S. blues rock and soul?  Cities such as Leeds and Wakefield are especially busy: producing a startling range of artists.  Aside from the big counties and big cities, there is some diversity to be found; yet one thing bothered me: where are London in all of this?  Bands based in the capital have been a little quiet- it is not too often that the media gets excited about a new act from London.  I have theorised the reasons behind this (a lot as it happens), so will not go into it; but suffice it say, a resurgence is needed.  The bustle and chaos of our capital seems to be supressing ambition and intention- a greater space is needed it seems.  Saying this; acts and bands that originate in other parts, before relocating to London, seem to be more successful (than those whom originate here).  One of the problems that a lot of groups have (aside from being too predictable with their sound), is lack of variability within their ranks.  Most groups form out of mutual friendships.  They may have gone to school together, or worked together: forming a bond based on a shared love of music.  The members have similar tastes in music; they grew up in the same area, and the ensuing musical creations are enforced by a combination of local sounds, and shared idols- which is fine, up until a point.  Issues arise when you have too many similar bands in the same areas.  Sounds, songs and sensations mix in and out of one another; they blend and merge into one: causing a homogenised and overfamiliar scene.  Diversification and differences between band members goes to strengthen the overall sound.  A tight sound and kinship can just as well be formed; but because the members come from different parts- and have varying tastes and preferences- the overall sound and ambition is predominantly stronger; and quite different-sounding as well.  I have reviewed some various bands recently, that prove my point.  HighFields are a multi-nationality group (members hail from Norway, Singapore and Jersey, to name a few); whom draw together their different personalities and national sounds into a glorious boiling pot.  Outside of the North West of England, bands from the likes of Scotland, Yorkshire, Brighton and the U.S. are composed of geographical diversity; different music tastes and varying ambitions.  It is not a coincidence that these groups are trying to do things different; insisting on forging a very individual sound.  I feel that at the moment, there is too much insistence and reliance on trying to sound like pre-existing artists.  There is originality to be heard, but predominantly, groups stray too closely to familiar artists: coming off as copycat and uninspired.  The media do not help too much either: they draw instant comparisons and foster the band's mind-set, rather than offer constructive guidance and caution.  I am not sure whether it is a fear of seeming inferior, or an awareness that the music scene can be fickle- journalists may not like you if you sound too 'different.  Either way, I have heard too many bands that sound like someone else; too many acts that are trying to be 'The Next So-And-So': rather than being themselves, and trying to topple and best their influences and idols.  Those brave bands (or forward-thinking), whom incorporate influence into their sounds; yet do not lean too heavily on it (whilst injecting a heap of intention); are the ones whom have the brightest futures, and are more sought-after and demanded.

My different thesis and points dovetail, when examining Crystal Seagulls.  I have reviewed them once before- when their song Yours For As Long As You Keep Me was released- and was impressed by their passion, fortitude and innovation.  It is not an opinion held only by me (far from it!); as the boys have just returned from playing at the Isle of Wight Festival.  They were afforded the opportunity, after winning a prestigious unsigned music competition: beating off scores of other bands, and making them the envy of many an act!  The band consists of Jim Lawton; John Armstrong; Elliot Whitty and Ben Heliczer- our intrepid quartet.  They are a galvanised and gleaming band of men; invigorating the Indie/Rock realm, and making quite a serious name for themselves.  The lads are based in London, yet their four members all hail from different realms.  Like musical Knights of the Round Table, they travelled from London, Birmingham, Cheshire and Hertfordshire; bonded their individual talents, to create the band they are today.  I was impressed by the band's attention to detail.  Few contemporaries spend a lot of consideration towards online representation and information.  I have encountered too many new acts whom present the bare minimum: a brief Facebook page (with little information); a Twitter and/or SoundCloud page- and precious-little else.  Crystal Seagulls have a full and informative portfolio.  They provide plenty of links to reviews and articles: making it easy for the likes of me to learn about them.  Their music is readily available, and the band have an acute awareness that it is important to give potential fans plenty of information: but not give too much away.  With an original and unique sound, the boys don't need to worry about being compared to anyone too obvious; but do not list their influences and idols too heavily.  If long lists of influences and heroes are mentioned on a group's social media site, it can make a band seem too disposable: as well as focusing your thoughts too heavily on those (listed) acts.  The guys are in good spirits following their stay at the Isle of Wight Festival: galvanised and bolstered from the plaudits and praise they received.  They are still in their infancy, yet show signs that they intend to be around for a long while to come.  Having amassed a respectable following on Twitter and Facebook; their online stock is growing, and they are attracting a great deal of media attention: from in-depth articles, through to reviews.  Personally, I am impressed by their entire package.  Their lyrics are sharp and interesting.  They manage to mix haunting and nightmarish imagery ("Saline drip my dreams/Reconstruction from the bleed"- from Yours For As Long As You Keep Me) and pure-hearted tenderness ("Lull me off to sleep"- again from Yours').  In fact if you one were to survey the contents of Yours For As Long As You Keep Me; it is awash with ripe and attention-worthy snippets and scenes- something that one does not often say about bands.  Contemporaries seem intent on the force of sound and pure projection; sometimes negating the importance of words and themes.  The guys' band name suggest something both divine and beautiful; yet loud and intimidating.  According to the band themselves, they make music that is "Everything and nothing you've heard before"; but produce sounds that are "Sexy Sexy Love Music".  Our quartet have already had a busy start to their (fledgling) careers.  Since 2012 they have released one single; performed at over 20 gigs; as well as having been played on a multitude of radio stations- including three BBC stations.  New festivals and gigs are imminent; and it is hardly hard to see why!  Whereas you will hear a lot of bands sticking very much to the Arctic Monkeys/Oasis paradigm (if going heavier); the four-piece deftly weave the infectiousness of the '60s; and helm it together to a '90s swagger-cum-modern-day urgency: a blend which has won over fans and critics alike.  In the U.K. we have had an uncertain (read: traditional) mix of uncertain weather: never really knowing what season we are in from day-to-day.  Firmly ensconced within summer, ears and eyes are on the search for 'summery' sounds: step up Time.  With a breeziness and fresh sound, it is a song that can blow away the cobwebs of wet weather; making you forget about your woes, whilst becoming immersed within the song's core.

The opening of Time is a vocal interjection; the band get straight down to business.  Urgency and first impressions are key; Lawton steps up to the mic., imploring to an unnamed beau: "Don't tell me to make you stop".  Our hero (backed by a lightly strummed electric guitar), implores and announces: "I've been here waiting all this time".  Before the atmosphere is bolstered and emphasised, the front-man calls out; he is clearly wracked with affection and longing for a woman-a mysterious heroine-; causing him to ask: "Stay with me tonight".  Our hero steps away from the mic. (briefly), as the band enter the fray: summoning up a romantic and energised kick.  Guitar and bass produce a weaving; dancing and swaying coda: possessed of pure Indie flavours, but distinctly individualised and personalised because of the group's energy and authoritative nature.  From an initial jangling guitar line, the sound builds and expands.  A twirling guitar arpeggio tumbles and swaggers: displaying affection for the great sounds of the '90s, whilst having some hints of '60s power pop.  In spite of lyrical longing- maybe hiding a lot of secret pain- the smiling atmosphere that is elicited makes you forget about any anxieties.  In the space of a few seconds, the band have added colour and shades of light into the canvas; producing some summer sun and urging you to move your feet (and body).  When the energised dance is brought down (briefly), our front-man arrives back up front.  With a verse that begins with  "Don't tell me to make you stop"; and "Attention craved/Intent forgot", further signs of the band's way with words is displayed.  Lines are thoughts are weaved together; building up a picture in your mind.  Whomever the anonymous woman is, she is causing a stir in our hero; whom repeats his mandate: "I've been waiting here all this time".  As the pleasing and light-hearted composition announces and twirls in the background, up front there are words of apprehension and exhaustion.  It seems that there is a lot of history between the two- many days and scenes have unfolded around this relationship- yet it seems that entropy has put things to a stop: "this time we've reached the line".  There is no dark musical backing, nor matter-of-fact glibness; everything balances out perfectly.  Our hero's voice is authoritative and intent (yet not overwrought); and the band provide a delicate yet punchy backing: giving the song its great and impressive edge.  Sometimes it is obvious to draw comparisons with a new band and an obvious influence; yet Crystal Seagulls seem intent on producing an original and effusive energy all of their own.  In the way that they have a cross-pollination that draws '60s and '90s elements together; you would be hard pressed to liken them to any other acts: there are tiny flecks of other acts, but no large chunks.  It is said (by our hero): "I can't stop time for you"; his voice rising and powering high; making the words stick in your brain.  Further words of defensiveness, guilt and subversion unfold; the lines and thoughts are syncopated and tumble: running into one another and producing a breathless and frantic rush.  When our front-man is calmed, he puts it out there: "So tell me a different story".  Where Time is autobiographical (or more fictionalised), it seems that hope is fading, and too much has been seen and done- our hero is at the end of his tether.  Such is the song's intent and potency, that you second-guess yourself- wondering if your initial interpretations are correct.  Just before the 2:30 mark, a heavier punch is brought in.  A harder-hitting guitar strike is unveiled; which leads into a stormy and persuasive riff.  Bass keeps tight and intently, as percussion clashes and strikes heavily.  A vocal chorus is unleashed; it is both laddish, yet has a heart and tenderness to it as well; as it is championed: "Let's go if we wanna go".  The guitar work during this phase is particularly impressive, with edges of U.S. groups such as Green Day and Foo Fighters; together with some '90s U.K. edges.  Such is the awareness of the band, that they keep the energy and intrigue of the song constant: without losing rigidity and potency.  The track is at once epic-worthy and sing-along: filled with crowd-uniting uplift; and the next it becomes more introverted and mandated.  I guess the guys will keep cards close to chest; yet it is clear that the song's themes are enforced by personal experience.  The heroine is never named; yet is seems that she is both worthy of admiration and passion; yet is causing some negative feelings in our hero's mind.  Where as previous efforts from the four-piece have presented oblique and indirect words: fascinating and intelligent as they are; here they are more direct; focusing on the vicissitudes and anxieties of love.  It is not known how the story ended: whether a satisfactory resolution was arrived at- yet with the infectious and uplifting sound it never bothers you; instead it just carries you away. 

Fascination is built around the group's future.  They have a core and cemented sound that marries '60s and '90s swathes; tying them together neatly; built around their striking individuality.  If the Isle of Wight Festival is a career-high, they will have a lot more to come.  I have long-said that the band market is the busiest and most hotly-contested sector.  The northern plains of England are probably producing the majority of new bands (Manchester especially), yet it is refreshing that a London-based group; and one that have a keen ear for uniqueness, are doing so well.  The band sector- as opposed to the solo market- is always going to present the best and brightest sounds; and it is perhaps the U.S. that are doing the best at the moment.  Legends such as The National and Queens of the Stone Age have produced possibly the two finest albums this year (Laura Marling is not far behind); and it seems that the new artists there are making strides to have their names etched into history.  It seems that outside of the U.K. there is a commitment to diversification, quality and huge ambition.  In this country, a lot of potential is being squandered because bands try to emulate an existing act.  A huge crush and waves of new acts are being witnesses (by the week it seems), so it is near-imposisble when trying to pick out some genuingly exciting and worthy talent.  As much as I have been featuring some great bands, I have also been stating how difficult it can be to come across them.  The social media channels (and music webistes) are only effective if you are well placed: you often stumble across terrific music by accident.  It is so difficult to easily connect with great sounds and acts.  My desire for a website that takes care of everything is still strong: is all-encompassing; has an exhaustive list of music (seperated by genre and location); connects bands to fans, band-seekers with band members; ties together everything from existing sites and offers a hell of a lot more.  Until the day comes (will it ever?), I am glad that I can experience groups such as Crystal Seagulls.  I was impressed greatly by Yours For As Long As You Keep Me- its intention, qualities and effect- and have been similar inspired by Time.  Our endeavouring quartet have a clear public approval, and have found inspiration in this.  Let's hope that there is an L.P. imminent: something that will showcase all the ranges and moves that they have to offer.  It is clear that each member brings to the band their own personality and experience.  The group are consistently tight and mannered: able to whip up a great deal of emotion, curiosity and quality.  Jim, John, Elliot and Ben are intent on making their prescence felt- they are here for the long run.  As time goes on, a great many new acts will come onto the scene; yet Crystal Seagull should not worry at all.  Tracks such as Time are a timely-reminder (no pun intended) that if you begin with some great quality, then you are already ahead of the current crowd.  It is not simply good enough to throw together a few guys (or girls); put some so-so songs together, hoping that that will be enough- and then sit back and assume that success will come your way.  Hard work, persistence, an impressive online coverage; as well as diversity, quality and festival time are required: otherwise your lifespan will be limited.  It is still the early days for Crystal Seagulls, yet they have the manner of a band that have no intention of letting quality and ambition slip: future tracks will pay testament to that, I am sure.  I am not certain whether an E.P., L.P. or another single are top of the band's priorities, but I hope that they are making some big plans.  I said that Time has a summer-ready feel to it; and strangely it does.  Although the strains-and-games-of-love central motif is apparent; the light and breeziness of the composition will have you smiling and kicking your feet: rooting for our hero and following his plight.  Keep abreast, follow their going-ons; and keep your eyes on their social media sites (for song/album news).  A lot of (new) bands will arrive in the coming months- yet few will stick long in the memory.  With the London four-piece that...

WILL not be an issue.  Watch them rise on and on.

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Facebook:

https://www.facebook.com/CrystalSeagulls

Twitter:

https://twitter.com/CrystalSeagulls

SoundCloud:

https://soundcloud.com/crystalseagulls

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Crooked Hands- The Stream- Track Review

Track Review:

Crooked Hands

The Stream

9.6/10

Self-proclaimed as "Newcastle's shortest band"; the quintet compensate with epic evocation- that will only leave you short of breath.

Availability:

The Stream is available at:

https://soundcloud.com/crookedhands/the-stream-1

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TODAY's topics of discussion will centre around northern bands, as well...

as the male voice.  My eyes have stared towards northern skies, for quite a while now.  I have developed a fascination with the region (as well as Scotland), due simply because of this: some of the best and brightest in music reside there.  I have looked towards Manchester quite fondly, simply because of the rich history the city has.  As well as Liverpool, it is considered a modern-day mecca of busy and ambitious talent: bands and artists whom will be lodged in the collective mind in years to come.  Liverpool has its bands and acts; yet seems a little quiet and muted as of late.  It is Manchester that seems to be producing some of the most excitable and fascinating acts.  As well as being band-heavy, the area is producing a distinct 'sound'- something that strays between Indie and Alternative.  Whilst it is great to have some choice (and believe me there are masses of Mancunian bands) it seems that the overall sound seems to be stray into familiar territories.  A lot of the front-men are portraying the Liam Gallagher/Alex Turner paradox: slurring and swagger aplenty.  The sounds of the groups- as well as being guitar-focused- are largely heavy-edged, yet not too heavy: flirtations with heavy rock and hardcore are attempted, yet mostly we hear Indie flavours.  Aside from the likes of The 1975- a band whom have supersede expectations and risen to the fore, due to their immense talent- are an exception that prove the rule.  I feel that there are too many similar-sounding acts here: not in terms of the style of music perhaps, more the sound made by guitars and voice.  Whilst it is great to have an Indie surge (it is a genre that produces some incredible acts), there seems to be less mobility and variation; compared to say, Yorkshire.  Bradford are producing great duos like Issimo (Abi Uttley and Marc Ottway); Sheffield have a clasp of rock and indie bands, trying to follow in the footsteps of their idols Arctic Monkeys.  In cities such as Leeds, labels such as Cuckoo Records are taking care of diverse and far-reaching talent.  From swing and doo-wop revivalists such as Cissie Redgwick and Little Violet; gorgeous female solo sounds of Annie Drury; through to U.S. blues rock stylings from Johnnythefirth- the county as a whole seems to be painting its native colours quite brightly.  I have postulated widely and regularly, as to why this sensation is happening: how certain counties vary in terms of quality and range.  I suspect that the harry and density of the larger cities such as Manchester and Liverpool foster talent; all keen to emulate and pay tribute to their local idols.  Considering the talent that has passed through these two cities, from the early '60s (The Beatles), through to the relatively-modern-day (Oasis); the abiding sound of the new breed, tend to stray fairly closely to past sounds.  The anxiety of modern-life as well influences the type of music made: predominantly busier and pulsating; filled with energy and sharper edges.  Whilst the band markets are Indie-focused and male-dominated, there is a swell and over-proliferation of talent: making it hard to detect and highlight the best of the crop.  Yorkshire has greater arable climbs; a comparative lack of inner-city hostilities and fewer constraints.  The acts here are less compartmentalised, and collaborations and cross-pollination is more common.  Newcastle and the North East is a region that has produced its share of talent.  If you consider Newcastle (as well as the conurbation of Tyneside) AC/DC's Brian Johnson; Dire Straits; Maximo Park and Bryan Ferry hail from here.  Hell, even Jimi Hendrix spent a lot of the '60s busking in Newcastle!  Modern up-and-comers such as Nadine Shah are going some way to putting Newcastle 'on the map'; yet the band market seems quiet at the moment.  Whilst the quality of the city's current crop is extremely high; the output is not as fervent as that of other parts.  When acts such as Crooked Hands come along, it is always more fascinating: seeing what the sound of the modern-day North East is.  In the same way that geographical diversification has spiked my interest, the nature of the male voice is also a subject of intrigue.  The northern band scene- by-and-large- is synonymous with a rich and enthusiastic sound.  The tones can range from chocolate-coated to slightly-gravelled; tending to be energised and persuasive: a combination that is applicable to the core of northern bands.  I am always fascinated when something unique and unexpected happens.  Namely, when a group can fuse together an exciting and enrapturing sound: tying this sound to a voice that is stunning- and stunningly different.  Whilst the solo artists tend to receive the majority of kudos- with regards to the potency of the voice- bands tend to have to settle for  close-seconds.

Dubbing themselves as "Newcastle's shortest band", a sense of humour is evident.  They are not exactly homunculus; yet are not Queens of the Stone Age-tall.  For the last few weeks, I have reviewed a surprising amount of bands with the word 'the' in their name.  Crooked Hands sense of originality and surprise stretches far behind their choice of band name.  Christopher Brown, Liam Smith, Robbie Houston, Nick Blaszczysyyz (I can imagine how often he has to spell out his surname) and Tom Booth are out endeavouring quintet.  Although the guys play within the Indie/Alternative realm; their reputation seems to have been built on differing pillars.  As well as their true and unflinching sound: encapsulating and memorable; it is their front-man whom has been garnering a lot of praise.  The likes of KYEO.tv and Generator have noted at the exceptional soulfulness and shiver-down-your-spine etherealness of the voice.  Being inspired by the likes of Sigur Rós and Grizzly Bear, it is perhaps not hugely surprising that vocal potency and projection is high up the list.  In the way that the front-man's has gravelled tones, that can mutate into spectacular soul evocations; it is a weapon and facet that Crooked Hands have utilised- and has got them some seriously impressive reviews.  The other four chaps are certainly not second-fiddle: their talent and contributions are what make the band's music stand out and stick in the memory.  Many may be unfamiliar with the band: the guys have been quietly honing their sound, and electrifying local audiences; making their presence cemented in the North East.  Whilst the groups of the North West are noted their similar-sounding nature; Crooked Hands are doing the North East proud: at the core of a scene noted for its evocative and spellbinding artists.  I was staggered and stunned by Nadine Shah's voice and songs not too long ago- a woman whom can produce eerie and haunting songs about the day-to-day.  Shah's Pakistani-cum-Norwegian heritage; combined with a rich group of influences, has been making some impressive waves: many critics are hailing her as a serious talent to watch.  Crooked Hands are adding their unique flavours into the boiling pot of the North East- Manchester and London take note!  With over 500 Twitter 'followers'; 842 Facebook 'Likes' the group have an impressive (if slightly modest) following: one which is going to burgeon and expand over the coming months.  Cracking the band market; making your way to the top of the pile, and swimming through music's waves; can be tiring and near-impossible.  With the increasing quantity and compaction of the modern scene; combined with the ease with which music can be shared and downloaded, it is an on-going battle to win ground: pull in fans, and get your music heard far and wide, and remembered appropriately.  I have surveyed many acts whom I have been impressed by, yet know that they have a limited life-span.  In the case of our five-piece, a tenure will be guaranteed: due to their individuality and work ethic.  Their biography sections are sparse and to-the-point: making them accessible yet not too disposable.  Our boys have an impressive online coverage;  having managed to earn fans and stripes from all across the U.K. (and further afield).  With connections to Glasgow and the Scottish music scene, the guys are steeped in quality and conviction; and modest about their achievements.  Recently The Line of Best Fit profiled the boys; highlighting their fist-pumping and supernatural aesthetes.  As well as mentioning their parables of densely-textured alt-rock outpourings; they were filled with praise about the single Under.  The song was featured in the U.S. drama 90210 (and an impressive feat; a below-par show); with the publication heaping praise towards the song's Bon Iver nature: For Emma, Forever Ago-esque swooping and swooning vocals; guaranteed to shiver the spine.  Whilst it has been ear-marked as a defining sound and song for the band; plenty of attention has been heaped upon The Stream's banks.  Riparian serenity, wave-rushed energy and cooling sips enforce the track's core; whilst its power will pull you in; drag you under; and drag you away.  Chris Brown's men are keen to make big impressions.  The Stream is the first taste of their upcoming E.P., Penitentiary.  It has been slated for early 2014, and in the meantime, its first-born is making its voice heard- loud and very, very clear.

When approaching any song(s); having familiarised myself with the band: their codas, ambitions and background, I separate these facts from the music: judging the sound on its own merits.  Newcastle is very much folk-centric at the moment, orientated around a scene that favours softer and tender sounds; so I was expecting something that tied these lines.  Gently mesmeric acoustic guitar arpeggios soundtrack early scenes, offering sights such as: "dirty faces in the mud" and "All of lives/Raised by wolves".  Our hero's voice is impassioned and gentle: drawing your mind to the log cabin landscapes of Justin Vernon.  Whilst there are touches of Bon Iver, as well as Jónsi (of Sigur Rós; sans 'Hopelandic' oddity); our hero's voice has touches of the legends of the '60s and '70s (Gram Parsons; Crosby, Still and Nash)- although you would not pick up on influences unless you were quite anally-retentive.  Such is the striking originality of the voice, it is near-impossible to compare it to someone else's.  A fair few modern-day solo troubadours present a sensitive and haunting vocal projection; yet few stick in the memory in the same way.  Whilst you are settled into The Stream's initial wistful and touching peacefulness; the tide soon changes.  Words expounding "Father's cruelty..." lead-in a rush that is a startling sea change.  Now, we are cast under the spell of twanging and swelling guitar lines (that could easily fit into Portishead's Third).  The percussive clashes and crashes, seemingly acting as a metaphor- as do the guitars and bass.  At first the water was calm and safe: we lay on our back in the sun, floating serenely down stream.  Acoustic guitars and a gorgeous voice eased us along stream; navigating turns and twists- promising a memorable and uneventful afternoon.  With little warning, a bow wave washes over; you fight for breath and struggle as the current dares you drag you under.  There is a moodier and darker edge: storm clouds, rain and inner turmoil unleash a forbidding weather- both persistent in its intention, yet measured and rhythmic in its sound.  Before our front-man returns to the mic. (to survey the scene), the rattle and lightning of the guitar and bass-combined with an epic and spiky percussive smash- is a cold splash of water to the face.  When Brown returns to the fold, his voice is reliably convincing and touching: going from a whispered seduce, through to a heady rush.  With the central vocal and the hallmark sounds: guitars that go from arpeggio, to twang; through to metronomic brood; bass and percussion that shivers and shakes, there are flavour notes of Sigur Rós, as well as Two Dancers/Smother-era Wild Beasts.  I particularly love the almost quiet-loud dynamic of the song.  You can never really sense what is around the corner, as the song swings its mood and force so quickly (and unsuspected); it takes you by surprise.  When lines are disseminated ("I loved you/But it was not enough" for example) the vocal rises and falls gracefully, as the band inject an energetic riffling of emotion; mixing percussion, bass, guitar, (and jubilant) piano.  'Anthemic' and 'epic' are hardly hyperbolic, when describing the song.  It is the constant energy and shifting, that gives it such a relentless gravity and snowballing effect.  Sharply deployed musical parables are unleashed with nary a warning: lasting a few seconds before retreating.  The vocal can shift from a measured and playful (?) nature; before a word is held- repeated and redeployed to provide maximum emotional resonance.  Mood and the nature of atmosphere seem important to Crooked Hands.  Lesser- and in fact, most- bands would keep with a single line or thought (maybe deviating slightly), yet our quintet constantly keep energy and intrigue at the fore.  One would have the Devil's time trying to keep up with the shape-shifting and mood-switching evocations.  By 2:44 a gorgeous and romantic guitar coda is presented- with shades of Five Leaves Left-era Nick Drake).  It is a calm-before-the-storm-after-the-storm break; and one which allows our hero to sing; layer his voice and harmonise with himself- creating a mini-choir; a round robin of etherealness.  I may have misheard the line (at times the intelligibility of a line gets lost in the sound); but "Out in my eyes" is repeated mantra-like (the band will forgive me if I have misquoted slightly).  With a brief piano-led bridge, a final swell of emotion and mood is whipped up: a last wave that brings you back to life, and deposit you safely onto the riverbank- where you lie in the sun, stunned at what has happened.  The Stream never really lets up, when it comes to suspense and unexpectedness.  I hate the over-employment of the word 'epic'; yet is seems very apt and apropos when summarising Crooked Hands' approach.  The song contains at least five or six distinct sections; blending and existing within one another; mutation and evolving to create strange and wonderful surprises.  Like modern classics such as Paranoid Android, the pace and fascination is planted by the song's multi-part mood shift.  Our hero drapes his voice around the song's lyrics; going from a softer and more tender side, to a soulful burst of passion.  It is an instrument and facet that is striking, bold- and above all- distinct.  Homogenisation and over-familiarity are bywords one thinks of, when considering (vocals) from bands of the North West (not that I am on a downer; it is just an observation).  Our front-man's silky tones and seductive charm give the track a sense of energy and momentum, that is nobly galvanised by the band.  As the song does leap from phase to phase- tenterhooks are indeed baited and dangled in choppy waters- the guys are constantly on top of the situation.  Bursts of sound are stuffed with rampant percussion, stormy guitars, and evocative piano and bass; lighter and darker shades are mixed to elicit a heady brew.  Whilst not in the same mould or league as Radiohead's 1997 masterpiece, it is a key and worthy comparison; as few bands attempt anything that have the same sort of potency.  The Stream is a tantalising and atmospheric cut, that hints at what their future E.P. will sound like.  Whereas previous singles such as Under are available- and possessed of the same sort of brilliance as The Stream- the quintet are constantly pushing themselves to improve and grow; keep their sound pure, but improve from song-to-song.

It is hard to fault the band, or hint at constructive criticisms.  At times it is hard to decipher some of the lyrics (apologies if I have quoted incorrectly): the strength and force of the composition does overwhelm the vocal at times- maybe bringing the voice higher and clearer in the mix would counteract the issue, and keep the potency high.  I have heard only a couple of the band's tracks; yet am already compelled to dig further; find out more and discover- they could well be one of the best bands of the moment.  As much as kudos and celebration has been levied at Brown's pipes, the entire band deserve equal credit; as each play an integral and vital role.  I have longed bemoaned about how difficult it is locating great bands (without a lot of luck and help).  Social media as well as music channels and avenues need to tighten and improve, so that it is easier for the likes of me (as well as the general music-lover) to locate bands such as Crooked Hands.  With the disposals there are at hand, and the amount of resources available, there seems no excuse for such issues- we are in 2013, not 1997.  The proliferation and unabated rise of social media is making it easier for stranger to connect (as well as friends), yet there is not a comparative music site.  I have been formulating a website that can take care of all of the needs and necessities not currently offered; and have been stymied and depressed by the lack of appropriate network and social websites for musicians.  Anyway... before I go on an interminable rant, my point is, that too much vanilla and sub-par music is shoved in our faces; where as serendipity and dumb luck are required when happening upon golden nuggets.  For now (and until I can bash some heads together) I am grateful to have 'come across' the Newcastle five-piece.  They may joke (I think) about their shortness/hirsute nature; yet what they lack in terms of height, they make up for it in stature.  Newcastle may be renowned still for its folk scene; yet Indie and gothic pop artists such as Nadine Shah and our five-piece are diversifying the scene, and making sure that a wealth of new (and different) talent are noticed.  There is still too much focus on Manchester, Liverpool and (God knows why), London, when looking at new music and acts.  Whilst the likes of Manchester promise enough, the most electrifying and memorable music is found in less-obvious spots.  When Crooked Hands unleash their new E.P., and gather some more reviews and plaudits; they surely will have venue managers and festival owners at their feet.  What with the sheer mass of new music- unregulated and free to roam- it is vital to proffer and raise the great (and bury the bad).  If Crooked Hands' pace and potential continues like it has, then they will be making some serious impressions in the future.  The Stream is an intent and modern anthem; with sharp and atmospheric lyrics; stunning composition and a memorable central voice.  It is the tight kinship of the five boys, as well as the tight sound, which make their songs seem effortless- as well as infused with sweat, tears and blood.  Alfred Lord Tennyson wrote (in the poem, The Eagle): "He clasps the crag with crooked hands/Close to the sun in lonely lands/Ringed with the azure world, he stands".  The lands (of similarly-proportioned bands) may be lonely; the current scene may seems like an azure world (underwhelming); yet our Newcastle men should fear not:  the sun will not burn or harm...

IT will help them grow and flourish; high above the current crowd.

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Official:

http://www.crookedhands.co.uk/

Facebook:

https://www.facebook.com/crookedhands

Twitter:

https://twitter.com/crookedhands

SoundCloud:

https://soundcloud.com/crookedhands

BandCamp:

http://crookedhands.bandcamp.com/album/crooked-hands

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Radkey- Cat & Mouse- Track Review

Track Review:

Radkey

Cat & Mouse

9.5/10

U.S. teens have a Grunge spirit (no puns from me sir!)- and a hard set of teeth, which suggests they could be big business pretty soon.

Availability:

Cat & Mouse is available at:

http://www.youtube.com/watch?v=f5K0ZOH-koY

The E.P. Cat & Mouse is available via:

https://itunes.apple.com/gb/album/cat-mouse-ep/id656670636?affId=1930871

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I have been thinking about the issue of age and youthfulness when...

it comes to new music.  I have touched on the issue before, and the pitfalls one can experience- where reviewers and fans focus too much on the youthfulness of an act.  I have witnessed many new acts and bands come through and be focused on too wholly because they were young.  Critics often drool over these artists, proffering them as modern-day idols: simply because of their age.  Back in the '60s, there were a lot of young bands, such as The Beatles, that were very young: yet were very good, right away.  Solo idols such as Bob Dylan were also tender of years; instilled with an instant sense of authority, quality, and- I hate to use the word, but it seems apt- genius.  Throughout the decades there have always been examples of sapling talent coming through: fresh-faced and eager, with a hint of naivety.  Predominantly, the youngest new musicians tend to be in their early-20s: few teenage stars make a big impression early on.  As much as I am impressed by the ambition and focus of musicians so young, I often wonder as to their future.  Here in the U.K. we have Laura Marling: the modern epitome of a tender talent, making mature and epoch-making steps.  Although she has relocated to the U.S. (in order to pursue a new creative lease of life), she is an example of a young talent that has old, wise shoulders, and is an exception that proves my rule.  I tend to find that a majority of young artists- especially solo stars- tend to make underwhelming first steps: releasing some so-so songs; an okay-ish album, before being forgotten about.  I am 30 (almost ashamed to say it) and am still refining and defining my 'voice' and style.  It is axiomatic that the best experiences of your life come a little later along the line: thus making the best inspiration for great songs.  Because of a number of factors: a lack of living, a limitation of worldliness, the subjects and thesis of the songs offered by young artists, can be someone homogenised and predictable.  If you are lucky enough to make some small impressions right away- making sure that intrigue levels are high- then you have a chance to improve as you go along- managing to forge a long and prosperous career.  There seems to be a lack of ambition and potency from the young acts and bands: leading to quite a predictable entropy.  What with the music industry being fickle, as well as over-populated, in order for any new act to strive and survive; those initial steps are crucial.  From the perspective of the music-lover and reviewer, a focused and relentless microscope is always pointed in the direction of the new talent: hungrily waiting to see what treasures can be unearthed- if any at all that is.  For all the four and five-piece bands I have encountered; all of the solo artists I have heard, as well as the rest, an apparent factor comes through: age is important.  If the talent coming through is young- teenage/early-20s- then the focus can have negative effects.  Too much pressure is put on the shoulders, and a lack of experience and acquired knowledge can mean that the artist has a limited life-span.  I am not sure how the issue is going to be rectified and counter-acted, given the sheer size and vulnerability of the marketplace.  It is vital to advise caution to a new act: make them aware that some of your best work/ideas can arrive in their late-20s and 30s; experience and getting older can equate to musical supremacy.  Too often too many begin their creative life too young; with too much enthusiasm, only to burn out too soon.  I mention these points, because you arrive at the feet of new talent- whom are very young- that have the potential for long-term regard and glory.  Those artists- whom make big first steps- are the ones that need the most consideration and care: to ensure that they are recording some great music years and decades from now.  I have come across some truly wonderful young stars-in-the-making in the U.K.- Kiran Leonard springs to mind, with his multi-instrumental mandates.  I suspect that now, as well as the near future, critics and fans should cast their eyes across to the U.S.

It is imperative that younger artists- that have a genuine and worthy talent- are allowed to flourish and grow in the marketplace.  The U.K.'s press and overall scene needs an overhaul: someone to regulate the current codes of practise, to ensure that positive change is made.  It seems that whatever is being done- or not done- at the moment, is working against new music: not giving a lot of due attention to artists in the long-term.  In the U.S., it seems that young talent are given a fairer shake; a better and more diligent sense of care and support.  There are a lot of (teenage) bands that are plying their trade in the big cities- New York, L.A., Chicago and Miami- that are making big waves, and winning the patronage of the local inhabitants- as well as a wider community.  The cities and towns of the U.S. tend to be less suffocating and subjugation towards creative expression and mobility: musicians are treated more fairly, and given more time to prove themselves.  The streets and localities are also more inviting and inspirational.  Cafes, bars and music venues are more varied and welcoming; meaning that inspiration is easier to come by.  When those artists make their own sounds- buoyed and inspired by the local sounds- their respective work tends to be more quality-assured and convincing: displaying a sharpness and awareness that perhaps a majority of U.K. acts do not.  For as long as I have been saying that it is better to be more experienced- and older- when recording music (making sure that you put your best feet forward straight away), I am keen to promote young talent, whom I see as having a great longevity.  Radkey are a U.S. trio, whom may be foreign and unknown to many here.  Teenage brothers Dee, Isaiah and Solomon are making some great sounds at the moment.  They are a punk band, hailing from St. Joseph, Missouri- a state that does not often spring to lips when thinking of great U.S. talent.  Situated between Iowa and Arkansas, Missouri has historically been the home to terrific jazz and blues acts.  The likes of Scott Joplin put Sedalia on the map; but throughout the '40s and '50s, areas like Kansas City were hotspots for the music of the time.  Into the '80s bands like the Blue Moons put garage and rock into the consciousness; shifting the music demography.  Where as Branson is still an epicentre for country music, St. Louis is fostering a much-needed alternative.  Hardcore bands and rock idols are making their home in the Midwestern climbs; invigorating the young wannabes, and providing inspiration.  Our trio probably can relate to what is happening in St. Louis, as their sound has more in common with the hardcore bands, than it does with the country and blues edges, of other towns.  The brothers grew up listening to the likes of The Ramones and The Who- pulling together English influences as well as American.  The boys have been playing together since 2011- having taught themselves everything they know- and have been playing local gigs; to appreciative and receptive crowds.  In 2013 they have already performed at the SXSW showcase: enlivening and scintillating the festival-goers there.  They are still in their musical infancy, yet are making some impressive headway, given their combined years (the lads are aged between 15 and 19).  Where as home-grown talent such as Strypes (possibly the stupidest band name ever) are recapitulating and rebranding the '60s R&B and pop; the U.S.'s Radkey are bringing a sense '80s hardcore to the present-day.  Softer sounds and voices may be in the back of the boys' minds, but their list of influences leans heavily on the...well, heavier: Nirvana, Iron Maiden. The Ramones, Wolfmother etc.  My reticence and scepticism regarding young talent (and their long-term potential) is taking a bit of a bashing- in a good way you understand.  It seems that youth and inexperience does not always equate to a demarcation and cessation of quality, as Radkey are proving.  Bolstered by an impressive cannon of influences and icons; combined with a welcoming and cosmopolitan local scene, it is not a surprise that the lads have been on the minds of many festival promoters.  They have managed to supersede and break out of Missouri borders, bringing their music to N.Y. as well as SXSW- in fact they have some international dates coming up soon.  The trio have just played dates in England, and it is will not be too long until they are needed back here- well I hope it will not be too long!  In the U.K. we have plenty of new bands- and fewer young bands- yet the U.S. influence seems to be more present here.  As well as providing an insight into another country's music culture: one which is proving more welcoming of new music; it is important to have as much diversity present as possible- in order to inspire and motivate new groups and acts here.  The Radkey boys have brought Cat & Mouse to our waiting ears- a track that lives up to its chase-and-retreat name; energy and to-and-fro abound.

The initial guitar rush and twang may bring to mind some images of Whatever People Say I Am, That's What I'm Not-era Arctic Monkeys-cum-Wolfmother.  It is immediate and persistent, driving and striking; dropping missiles of electric strings into the landscape, and infusing the track with an instant indie and punk edge.  As the percussion joins the scene (as well as some Brianstorm-esque evocation), there is a delicious fusion of U.K. indie; U.S. and '70s punk, as well as hardcore too: all combined to brew up a barn-storming and flailing dance that hooks you in, and implores your feet to do some moving!  The wordless build-up lasts only 16 seconds or so; yet by the time the vocal arrives, a huge amount of intrigue and expectation has been amassed.  Dee's tones are not menacing or bellowed; there is no metallic thrash or Grunge growling to be heard.  If anything there is a measured calm.  The dark and baritone croon seems more at place in a stoner rock milieus; yet proffering words like:  "He had you in his gate/He let you get away..."- it seems to fit perfectly and seem wonderfully suited.  At times it is hard to decipher the words; intelligibility and clarity take second fiddle to mood and sound: the boys seem to want to project energy and slam first; subjugating other concerns.  It may be a sign of inexperience or an intentional ploy (to draw you more into their sound), but it is the vocal tone, rather than the lyrics; which strike fastest and harder.  The song's themes stray closely to the song title's implication.  A game of cat and mouse is afoot, and whether it is with malice-of-forethought; someone is being toyed with.  Whether there is personal relevance and first hand experience, it seems that the protagonist (let the unnamed Mouse) "get away for fun".  If the compositions tried-and-tested template (with some unique touches thrown in) draws in the band's influences and heroes, then the vocal is more complex.  The malevolence and dark croon bring to life the song's words; making sentiments like "He's coming for you" hit the mark pretty hard.  The Guardian compared the voice to Dave Vanian, but to my mind, the voice is more unique and rarefied: no obvious names jump to mind.  Although the song's heart has some spiked blood to it; and inspires an anxious and nervy story, the boys still manage to infuse plenty of fun into it.  A hybrid between The Ramones and The Kaiser Chiefs seems to seem through in the chorus- if you can imagine such a love-child!  In spite of the limited years between the boys, they summon up a hell of sound!  The percussion is persistent and dominating; drawing to mind a young Dave Grohl (it will be interesting to see how Solomon's stick skills develop into his 20s).  Guitar and bass work trips on a razor wire; fuzzy and infectious the one moment; brutalised and pugnacious the next.  Our hero keeps promoting a chilling question: "Are you scared?"; speaking to an anonymous heroine, whom is constantly in fear of a metaphorical mousetrap.  Our Missouri boys keep the mood brooding and menacing: between the Jim Morrison-cum-Iggy Pop vocal lasciviousness and the fractious and infectious sonic technicolour, the energy and intrigue never gives in.  Our hero manages to play the part of the villain (although to be fair he is villainous narrator, rather than perpetrator) expertly- one could see him recording his vocal with a pair of shades and gel in his head; a sly grin on his face.  Protestations including: "You better run" are dolloped out; imploring the song's Mouse to find solace and shelter- although the intention may not be the most sincere.  Whether the central theme of the song is love-gone-bad or something more violent, the imagery and scenes that the band summon up will get under your skin.  Everything has a shadow following it; there is a constant sense of movement and chase- at times you are sucked inside the song and feel like you're being perused.  At the 2:00 mark the lyrical menace abates, as a rumbling and bullet-ridden explosion is elicited.  The guitar and bass twangs and slaps, but it is the drums- psychotic, menacing and Grohl good- that make the biggest sound.  As much as Dee is a stirring and memorable vocalist and axe man; and Isaiah a stunning bass player (and vocal support), it is Solomon's riffled drum work that will be a huge future-prospect.  With some feint heavy metal edges, and a lot of '80s hardcore; it (drums) is a key component and force.  Just when you think that the middle eight will be defined by the percussive majesty, a bloodthirsty and electrifying guitar arpeggio is pulled out the bag: it is fairly brief but undeniably impressive.  Atmosphere and reinforcement are the bywords that define the track's final moments.  Wordless chorusing of "Woahs" and "Ohs" are summoned: duplicating and triplicate; rising ever up to create one last menacing grin.  With some feedback and electric hold, we come to the end.

Minor niggles aside: the vocal needs to be higher and clearer in the mix for instance, there is little to fault here.  The young brothers have an impressive authority and conviction- given that they are in still in their teens.  From the handful of available songs they have produced, they also have a nimble and surprising range.  Their barometer is dead set on heavy and stormy weather, but it is the way they can move and surprise- within these confines- that marks them out.  Songs and sensations go from the shores of Grunge and metal, through to hardcore and punk: everything is tried and experimented with to present a more memorable and diverse whole.  Few established bands (or solo artists) have such an impressive sound, which makes Radkey's youthful vigour all the more impressive.  My caution regarding age and inexperience remains to be assuaged.  Too many bands and artists have faded out or had their careers ended by their 20s- simply because they have expended so much energy trying to stay current and relevant in people's minds.  Wonderful moves and songs can be discovered when you get into your 30s (and 40s upwards).  Think of legends such as Bob Dylan and Queens of the Stone Age.  The former produced Blood on the Tracks in 1975 (when Dylan was 33-years-old).  It is considered a masterpiece of break-up albums; and remains one of its author's very best and most memorable albums.  The latter's latest album (...Like Clockwork) may be their strongest yet.  It arrives 15 years into the band's careers; with the frontman (Josh Homme) now in his 40s.  As much as the debut moves are the most important, longevity and future prospects are almost as vital.  I suspect that the Missouri three-piece will not have to worry too much.  With a sound that is both relevant and a little under-valued, they will be able to fit seamlessly into the marketplace, and ensure future dividends.  In the U.K. we are familiar with some of Radkey's shades and edges: many bands try to do what they are doing; few are successful.  They will be welcomed warmly here- and are, as they have a lot of fans in the U.K.- and will have a dedicated fan base willing to stand by the guys.  It may be early days, but I predict that the brothers will have a successful and varied future.  Cat & Mouse is just one piece of their puzzle.  Within the space of a few songs, the boys have accosted the attentions of a wide range of music-lovers and sectors.  The Cat & Mouse E.P. is a testament to a band whom are ambitious and striking: its five tracks cover a lot of ground and genres.  Their native U.S. has taken them to heart- a little now, but it will be more fervent into 2014.  The U.K., Australia and Europe will surely follow suit, and future E.P.s and albums will see the boys gain legions more supporters.  Each of the band are deserving of praise.  From the crooning, intoxicating and emotive vocals; through to solid and succulent bass work; via some sensational drum and guitar work, they have a talent and commitment that will be rewarded highly.  Cat & Mouse is an intent and hard-hitting punch, and is a song that will remain in the mind for a while- especially because of its dark and shadowy menace.  There are no subjective tones to my predictions- even if their type of sound falls right into my wheelhouse.  I have witnesses and born testament to many young bands- each proffering a different sound and mandate.  If the trio keep their heads and minds focused; keep the quality rate high, and get out on the road as far and wide as possible, they will be able to relax a little.  Those tentative steps can seem like you are walking a tightrope; yet the debut E.P. is a solid foundation that will ensure deciduous flowering and glory.  They may be unfamiliar to a lot in the U.K. (and farther afield)...

BUT that is all going to change soon enough.

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Official:

http://www.radkey.net/

Facebook:

https://www.facebook.com/radkeyband

Twitter:

https://twitter.com/RadkeyRock

SoundCloud:

https://soundcloud.com/radkey-band

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Elena Ramona- Rise- Track Review

Elena Ramona

Rise

9.4/10

Greek-born Stathaki has a fondness for multiple genres, including dub-step; yet turns in a celestial track of personal relevance and eulogistic regard: guranteed to impress.

Availability:

Rise is available at:

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

The official video for Rise will be released shortly.

Photo taken by Jessamine Cera; whom is also creating the song's official video.

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NEW female artists and talent, are probably under the microscope...

more than any other type of talent.  First moves and the initial steps of each new talent, are watched and studied carefully- trying to hint at what being offered up.  Over the past few years, there have been various different types of female talent that have come through: each one earning a fair amount of attention- whether it is good or bad.  At the forefront of the folk and acoustic movement, are the likes of Laura Marling.  She defines the pinnacle of what you want from any talent (male or female): sharp and fascinating lyrics; a strong and unique voice, and an ambition and quality that is hard to top, and even harder to fault.  There is not a great deal of genre diversification: little cross-pollination; more of a consistency.  To my mind the likes of Marling, as well as her ilk are the modern-day embodiment of the likes of Bob Dylan and Neil Young: updating their sound and style, and proffering the same degree of (early-career) quality.  It is the consistency of these artists (from album-to-album) that is also impressive- in fact they seem to get stronger as their careers go on.  Away from the fascination and continued quality of this sector and genre, there is the more traditional 'pop' core: the likes of Lady GaGa and Rhianna can be seen to be leading the way.  It is never my favourite genre, as there tends to be a less-consistent quality of output from the participants.  An austere critical reception, as well as some balkanisation, means that these artists are never fully beloved and regarded.  It is impressive that they manage to inspire and motivate young talent to record; they have a fairly common sound that it easily replicable, and is an obtainable style of music.  I guess these artists are always going to speak more directly to- and inspire more heavily- women; and young women, due to their messages and themes.  The quality tends to be quite variable with the likes of Beyonce turning in songs that can be quite universal; as well as superseding any preconceptions-Dangerously In Love contains a fair few tracks that will appeal to all music-lovers.  When considering the likes of Lady GaGa and Rhianna (as well as Katy Perry) the quality and strength tends to less evident; songs and albums occasionally get some support and merits, but are largely seen as quite throwaway and insubstantial.  From my perspective there are not enough genuine elements and great songs- it is vital to appeal and win more than the young female vote.  The issue of femininity tends to pervade and dominate this scene- and I have never understood why.  In 2013, there is still a large amount of equality and injustice towards women- especially in the workplace; although it is not an issue in music.  It is an art form (like acting) that is free and open to all.  There is no subjugation or discrimination, and anyone can (and is welcome) record music.  Popularity and pay are not issues (as it is dependant on sales, and not gender-defined) and there are no barriers placed on women in music.  Simply if the music is good enough, then you will get fans; if it isn't you won't.  Restrictions and limitations arrive when you make music that is not up to par- when critics are waiting to write you off.  There are the same rules applied to the men as well, and success and failure does not discriminate.  It is understandable that these artists will use their music to try and inspire young women; but with this you are always likely to alienate the male market-essentially half of the voting public.  If the music was fantastic then you would embrace it regardless, yet there are aspects lacking.  Lyrics and ideas tend to be too narrow and unadventurous; some of the lyrics and words can be quite insipid or juvenile and there is not a great deal of depth to them.  Beside which, a lot of the example's stars tend to be more concerned with image than the music itself- again appealing solely to the female audience.  Another sector of female artistry concerns the remainder.  Within this sector are a great range of artists: those whom are usually willing to be diverse and ambitious.  From soul and endeavouring pop acts, through to rock and indie acts; it is a core that is on the rise.  The likes of Adele and Lianna La Havas are amongst the pack, and are showing that a powerful voice, as well as a talent for stunning song writing, can win support right across the board.  There are always a lot of eyes trained to the new female artist, simply because of this: there are far fewer of them.  If you look at the music magazines and broadsheets (as well as music websites), they are usually filled with male talent: both solo and in terms of bands.  I am not sure why, but I guess the band market is the largest sector, and they tend to be male-only, or male-dominated.  In that respect, there is a lot of ground and support the new female artist can gain: if they make the smartest early moves.  The likes of The Voice are giving a bad message to new musicians.  The participants of those shows are usually fame-chasing wannabes whom do not want to make music the honest way: there is literally no other reason to go on these shows.  A lot of the participants tend to mimic other artists and come off as second-rate.  If you take Leah McFall (runner-up of this year's The Voice), she goes to prove my point.  She is merely a Christina Aguilera/Adele/Mariah Carey hybrid, and has no individuality or substance.  Proffered and raised on a pedestal (by a fickle and under-educated viewership) she contains no original elements, and will suffer the same outcome as the majority of talent show contestants: make an album with dozens of writers and producers; come off as sound exactly like another artist; have no creative mobility; fade from the scene pretty soon, before being forgotten about.  Hopefully these shows will die a speedy death, as it seems that the shows are inspiring the wrong type of ambition.  My point is, that the new talents whom do things honestly: write their own tracks; make their own way, and work hard on their original voice, are the ones whom are going to last the longest.  Whether they are great lyricists and folk-orientated, or have a wide-ranging ambition in terms of genres and styles, then the market is going to be more receptive and welcoming.

Elena Ramona (or Elena Stathaki, to give her real name) is a 23-year-old artist, whom is amongst a growing band of talent that are bringing their own voice and identity to music.  She is based in Guildford, Surrey and I have known her for a little while now.  Being a local artist, I have charted her progression and- excuse the pun- rise, for some time.  Elena is inspired by the likes of Beyonce and Rhianna, yet has a wide-range of idols; from Maria Callas to Joss Stone.  The diversity of influence is hardly a surprise, given her upbringing and musical training.  Growing up on the island of Skiathos, she wrote and sang songs as a young child; fostering her love for music.  Whilst at boarding school, Elena appeared in many plays; honing her eventual vocal identity.  After moving to England and attending the Academy of Contemporary Music (in Guildford, where she obtained a diploma in Vocals and High Vocals), she gained valuable contacts and friends (many of whom she has kept, ever since she  started at the A.C.M. in 2008); which helped to foster her love of music and desire for the spotlight.  Over the past few months I have reviewed and featured a few other Surrey-based solo talents, including Chess (Fran Galea) and Emma Nadine Stevens.  Between those two artists, a great swathe of folk, pop and soul is covered.  Each has a unique style and set of songs, but there is one constant to be found: they worked hard to get where they are; and have done so by having a unique and individual talent.  Elena is another artist whom is long-overdue some attention and praise.  I noticed her work several months ago, and one thing hit me straight away: her range and diversity.  Not being beholden to recording pop songs and more 'mainstream' tracks, her passion for the like of opera, rock, dance (and even dub-step) has meant that she has worked with a host of very different artists.  She collaborated with sub-step artist Backspace on the track Addiction: a track which has amassed over 14,000 YouTube views and a lot of fervent praise.  I know for a fact that Elena has been working on the operatic side to her voice, and is a hungry artist whom is not content to stand still and restrict herself to one genre or style of music.  Her voice has a power and ability that few other's posses: capable of employing soulful prowess; sweetness and operatic lust.  In the mainstream there are very few solo artists as a whole, whom seem capable of having a long-term and focused career.  Either their voice is too thin and ineffectual, or their songs are far too predictable and limited.  For every new solo talent that comes through each week; very few will survive in the long run.  Elena Ramona seems intent to make big waves and use her talent and abilities to enjoy a lucrative and rewarding career in music.  Her background of classic training, a great music school and exciting and varied collaborations, has put in her good stead: giving her a confidence and step that few others can attest to.  Elena Ramona is not a pop artist that is pure image, and too overly-concerned with being a fashion statement.  There are no Gaga-esque theatrics and shock tactics: she is an honest and down-to-earth woman; one who loves meeting new people and connecting.  Her natural friendlessness and reliability enhances her image as an artist and will draw in a lot of female fans- whom will be inspired by her personality as well as work ethic.  In terms of her sound, she has a diversity and ear for quality and range that will draw in a great deal of male fans.  Myself, I am prone to heavier sounds and experimental music: that which- for want of a better phrase- "pushes the envelope".  Elena Ramona's endeavouring and variegated palette draws my ear in, as she has a deft ability to weave different styles of music into her cannon; going from operatic power to delicate seduce within the space of a line.  She has a stunning and quite startling beauty as well (it'll be those Greek roots) and an incredible and alluring sex appeal that marks her out as a modern-day idol: one whom can win a wide range of hearts.  All of this well-travelled musical background has lead Elena Ramona to the present-day.  She is still in her early-20s, yet our heroine has an ambitious and busy future ahead of her.  There are plans for a future release, and whisperings of future songs to come.  Elena has been in the studio and making some fascinating moves for the last few weeks; and Rise is a track that is both personal relevant and a milestone for her: a piece of work that highlights the young artist at her very best.  She has worked tirelessly and long in order to get her music and visions recorded- I know from talking with her how happy she is with her progress.  I have been lucky enough to survey and a review a wide host of varying and diverse talent: each with their own stamp and style.  Elena is an artist whom marries a huge vocal talent, with a touching and personal set of lyrics: tied around a swelling and evocative sound- with some fantastic production values.  Our young heroine has had a difficult and challenging last few years.  She has had to face the realities of life on a shoestring; working continuously, and bidding her time in order to achieve and realise her dreams.  The story behind her single Rise has an air of tragedy.  Elena's father died of cancer and the track is dedicated to him- and inspired by him.  It's themes and lyrics revolve around her father's influence and passion: it is a remembrance of a great man, and what he meant to her.  It is a bold and brave step from our star, whom has forgone issues of love and issues-of-the-bed, to concentrate on something more original, meaningful and emotional: paying tribute to a hero of hers, and doing him great justice.  It is not often I get to form a personal relationship with an artist- prior to review- but I know how much the song (as well as her music) means to her.  Her touching tribute is not a forlorn or introspective tear-jerker.  It has an upbeat and invigorating warmth and energy to it; one that will seduce as well as provoke: tied around a coda that is tender and heart-warming.  Our young heroine is putting Surrey; the south, and new talent on the map.  Pushing away from the fallowness of the modern scene: employing an ambitious spirit with an original flair and direction, Elena is looking towards a long-term career and regard.  With her great promise, memorable music and jaw-dropping looks; she is a young woman that can effortless fit into the current scene: and with a ready-made and natural openness she is a young artist that will speak to (quite literally) fans of all ages, genders and musical persuasions.  Having overcome personal tragedy, setbacks and obstacles, and doubts and hardships; it is fitting that Elena is poised to make a surge for momentum and memorability: with a track that is filled with conviction and passion.  Our heroine is keen to tease and intrigue as much as possible: there are plans afoot, but no firm details yet- building suspense and intrigue further.  Rise is the opening gambit, in what is sure to be an incredible future prospect.

Before going into depth about the track, it is worth giving kudos and special mention to Martyn Corbet.  He was the co-producer of the track (and also recorded it); and is a major inspiration, according to Elena.  He is someone without whom it may not have happened, and it is his production values and touch that can be heard on Rise.  The two of them met in 2011; Martyn helped Elena gain confidence and ambition- leading her to cover Eagle Eye Cherry's Save Tonight.  Having written/produced an original dub-step piece together- Addiction- they continued to enjoy working with one another.  Elena- hungry to expand her ambition and move into pop- joined with Corbet to bring Rise to life.  The initial, romantic piano parable is tender and touching: summoning a soft and touching mood ahead of the vocal entry.  When our heroine begins; her voice is passionate and soft- with hints of modern-day U.S. stars such as Rhianna, but imbued with a very natural tongue.  Early words speak of childhood; or how her career and dreams began: "Just a little girl and a tape recorder" flows into ambition and a dedicated persistence: "Keeping my spirit shining bright".  The emotive and simple piano line augments the words, as well as creates a calm and gentility: one that blends perfectly with Elena's voice.  On the subject of that voice.  It is hard- not that you would ever particularly want to- to think of obvious comparisons.  Its core has roots within the modern scene- it is a fresh and relevant sound.  Where as the likes of Leona Lewis and many contemporary U.S. solo females may linger in the back of the mind; in the initial stages, it is difficult to invoke a particular name.  The combination of Elena's native accent, as well as her natural voice, drags you away from any obvious names; instead making you focus on the words themselves.  "Thank you/From the bottom of my soul" is how the chorus begins: a message to her family and father; paying tribute to their support and influence.  Elena's voice lifts and contains some added sweetness: an audible smile can be detected.  Themes of thanks and consideration make up the majority of the chorus; with a special message paid to her father:  "You taught me how to rise".  When the words have been delivered, piano is employed; keeping the mood consistent, whilst bringing images to mind: emphasising the lyrics visuals, whilst offering a playful coda.  The following verse builds upon the chorus's messages; paying homage and due to her father (and family), whom have "kept me on track" and "Rooted me down". Whereas a majority of modern songs deal with the negativities and cynicism within love (although there are exceptions); Rise proffers from its tender core, and espouses honest thanks and appreciations.  It is hard to see fault with any of the lyrics, either from an emotional or intellectual standpoint.  The balance between quality; quantity and potency is struck well: the words are simple and affective; with a consistency and consideration present throughout.  Elena's voice is kept tempered and focused: possessed of a U.K./U.S. pop core, but also other facets too.  At times the voice has country-tinged edges; when Elena's voice quivers during "You saw in me...", there is an element of blues and soul: there are hints of U.S. idols such as Alicia Keys.  In the way that the song presents its key themes and cores ("You taught me how to rise" is probably the most meaningful) our young heroine makes her feelings and message felt.  No need is there to deviate or to present too many words (thus distilling the song's essence): the verses are touching and thought-provoking, whilst the chorus has an uplifting and redemptive coda (and a catchiness to it).  From the 2:00 marker, Elena's voice is replicated: providing wordless chorus and interjection- backing her central performance.  This adds extra potency and atmosphere; and emotional sway.  Towards the closing moments the chorus is introduced once more; a final thanks and praise dedicated to the song's focal hero.  The overall impression one gets is one of satisfaction and surprise.  Rise is a song which is surprisingly selfless; infused with warmth and genuine sentiment, that you cannot fault its intentions and themes.  With an evocative and impressive composition- both serene and sparse- the main focus on Elena's voice, which is solid throughout.  Her more operatic and dramatic tones will get an airing very soon; but here the emphasis is on tenderness and passion: making the meaningfulness of the words stand out.  With a tiny sprinkling of the likes of Leona Lewis and Rhianna apparent, Elena's vocal strengths lie in its originality and dexterity: able to go from a softer and seductive whisper, to a powerful rise (during the chorus).  Martyn Corbet's production galvanises and shines the sound: making everything crystal-clear and concise.  Each word and note can be heard concisely; with the emphasis placed on the voice- it is placed high in the mix, so that it stands out strongest.  The duo work well together, with Corbet possessing a clear understanding of mood and clarity: he ensures that the track is tight but not too polished.  Overall the track is an intriguing and impressive cut from a young talent whom has plenty more to say.  The music video for the song is forthcoming, and from what I have heard about it; it will be a fitting testimony to the song's values and spiritedness (a great deal of feathers are involved!).

From Rise's evidence, our Greek-born heroine has an undeniable ability to tap into the sound of the modern-day scene.  Her anthem has a utility that can see it nestle alongside her idol's sounds; yet has a personal and uplifting message that means it defies any conventional barriers or limits.  In a modern scene that concentrates too hard on the vicissitudes of love- something that seems to be the sole theme for some artists- it is unusual and refreshing to hear that Elena's first solo step is a bold one.  Whereas she could have presented a typical love-gone-wrong tale- in order to fulfil a preconceived demand and predictability- instead a more meaningful and personal song has been created: something will win a lot of impressed nods of approval.  There is some exciting whispers of future release, and it will be interesting to see what directions and sounds Elena Ramona chooses to include.  Knowing that she is similarly at home amongst operatic and pop sounds, as well as dub-step avenues and balladry, it seems that she is not limited for options: and that sense of emotional and creative range is something that is important to her.  Too many new acts will think about a future that involves several similar-sounding songs- normally concerning love and relationships; break-ups and the like-without considering diversification of theme, sound or direction.  Our heroine has been working hard and thinking about her future with a smile and consideration: imaging what could be, and what the next track(s) will sound like.  Although Elena has a passion and fond regard for her idols and influences, the striving for originality (in terms of her songs and sound) are as important anything; so where as new mainstream artists such as Tom Odell are being reprimanded for their lack of emotional depth and range, Elena is going against that; keen to explore as many possibilities as she can: pushing her voice and keeping her identity true.  Rise is a track which lays down the (intriguing) groundwork: the expansive and striking voice; the professional and accomplished production; emotive and subtly composition, and impressively mature and accomplished lyrics.  Given the tough subject matter (paying tribute to her late father), the issue is dealt with, with a great deal of reverence and restraint: no histrionics or over-emoting; just a measured and passionate performance.  With Martyn Corbet's helming and guidance, a tight and impressive song has been produced: one that has been receiving a hell of a lot of plaudit and appreciation.  Whatever is in the pipeline (our star is keeping cards close to her chest, to build suspense and curiosity), it is sure to be an intent and confident work; whether it follows Rise's themes, or goes in other directions, is to be revealed.  I had begun by listing the typecasts and categories that female solo talent usually falls into: the mature songwriter; the pop princess; the cross-pollinating genre-crosser.  Our gorgeous Greek has an already-mature and tempered song craft (a rarity for any new artist in their 20s); a girl-next-door-cum-Siren allure, and a potential portfolio that will see many different colours, shades and movements.  She fits into the two brightest and most-prosperous categories, whilst able to elicit influences from her pop heroines.  The first steps are always the most interesting- and most difficult from the artist's perspective.  Getting it 'right'- by being utilitarian as well as original and diverse- is an alchemy that is much-required yet seldom-found.  Elena Ramona has created a song that is has already impressed many; will impress many fans-to-be and potential labels alike; and- I am going to go out on a limb here; quite confidently- pays great homage and tribute to the song's muse: her father.  This year has been a busy and exciting (as well as fraught and challenging at times) for Elena, but one which has served to foster her ambitions and push her further on.  Further consecrations and hallmarks will be met with excited minds and focused eyes: each curious to hear what will arrive next.  Whilst many of her contemporaries use subterfuge to achieve their limited goals; Elena is ambitious and determined to realise her potential: and do so honestly, letting only her talent and voice do the talking.  It is still early days (where twitterpatted plans are made), but I know how much music means to Elena- and how hard she has worked to get where she has gotten to today.  Our heroine has a very steadfast and all-inclusive mantra: " I want to touch a chord in everyone's hearts with my lyrics and music". With a selfless attitude, and bustling talent, she is an artist whom will have...

A very bright future ahead.

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The official video for Rise will be released soon.  For further updates:

Facebook:

https://www.facebook.com/pages/Elena-Ramona/323928237668916?fref=ts

Twitter:

https://twitter.com/elenaramona90

SoundCloud:

https://soundcloud.com/elenaramona90

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The Chase- You- Track Review

Track Review:

The Chase

You

9.4/10

The romantically-explosive five-piece bring their blend of classic English majesty and current-day U.S. rock forth.  Prepare to jump right aboard.

Availability:

You is available at:

http://www.youtube.com/watch?v=hsth3NjnMxA&feature=player_embedded

Their latest album, Slings & Arrows,  is available at:

https://itunes.apple.com/gb/album/slings-arrows/id487340544

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TAKING gambles in the music industry can take many different forms...

with consideration to bands, and newer acts.  From the off, eyes and ears are focused to your sound, look and projection- a lot of time critics are waiting to pick acts apart.  I have long harped on about originality- or lack thereof within the market- and it is harder now, more than ever, to set yourself apart.  International acts seem to have an easier time of it, when it comes to original sounds and making an impact.  Recently, I have been summarising the potency of new bands from the likes of Sweden, Canada and EIRE.  It is always refreshing and exciting hearing great acts from other nations.  With the media being overly-concerned with the home-grown act; as soon as a foreign sound gets through, it is always fascinating.  European acts and talent from the likes of Sweden are producing intelligent and punchy music; mainly indie and disco/dance-flavoured vibes.  Across Canada and the U.S. there is a bit more of a variation: from rock and indie clout; through summery, simmering pop; and all the way through to folk.  As great as it is to hear some international groups, one suspects that more need to come through.  Not to topple our acts, but to provide influence, support and alliance: creating a more vibrant and diverse market.  In the U.K. there are no barriers with regards to making music.  If you are based in the bedroom; gigging in the garage; or if you are a fully-fledged studio act, there is an outlet and audience waiting.  Problems occur along the way, invariably.  Due to the sheer mass of talent coming through, weaker bands and acts tend to die out or get buried.  Some never really hit their stride, and spent a career in a creative quagmire: always fighting against the tide.  For all of the fly by night groups; all of the second-rate acts, there are some incredible and exciting talent lining up- imperiously waiting for patronage and due respect.  There are some key considerations and formulas that are present, when summating a great band's appeal.  Lack of constrictions, both in terms of geography and creative movement is one aspect; so too is the particular band's influences.  For all the horrors and errors that you see with regards to incorporating influence: leaning too heavily towards another band, and sounding too similar; if you add just the right touches to the mix, then the results can be quite something.  To my mind, if you have all other considerations sewn up, and there is just one consideration left; you often leave one question out there: if I am going to mix and incorporate a few different sounds; then what should they be?  It is always wise to include some influences of Australia, as well as Europe: in terms of the great sounds of the '70s- and yes-'80s; bolstering that to some modern-day shades.  The best mix is, and always will be; combining U.K. and U.S.  Currently the U.S. have the best acts and bands around (The National, Queens of the Stone Age etc.); yet historically it has been the U.K. which has turned out the greatest music.  The U.S.A. are showcasing stoner rock and psychedelic sounds; sharp and fascinating lyricism in terms of the words and sound; as well as terrific movements from new and established bands.  I have my eyes firmly focused on the shores of Q.O.T.S.A, The National, and Laura Marling (honorary American-elect); as well as the new breed such as The Technicolors and The Open Feel.  The nation is producing a wave of exhilarating, inspiring and awesome music.  There is also a huge bank and reserve of phenomenal music, that is distinctly unique: it belongs to us.  As far back as the '60s where the likes of The Beatles ruled; through to the explosive range and peerless-ness of the '90s; through to the modern-day clan, our nation has produced the greatest music there has ever been.  This is especially true when considering the band market, and there have been few challengers from the U.S., by comparison.  So it seems that if you are a band whom have your sound worked out; you have your kinship cemented and are confident in your skins; then the final consideration seems axiomatic: mix together older U.K. and new U.S.- in order to put that cherry on the icing.

There a few bands out there named The Chase.  One hail from Arkansas; and another is from France- although they may not be, as I don't speak French (joke, by the way).  Blighty's example are far better than their namesakes; employing a sound which has been making waves and winning plaudits since 2004.  Like a lot of great bands, the line-up changed a bit; until the final, current formation was cemented in 2010.  The guys consist of guitarist and vocalist Michael Turvey; rhythm guitarist Harry Street; bass player Luke Jerome; Ralph Humby's percussion, and saxophone, backing vocals and keys from Ben Riley.  It is a galvanised and solid band of brothers, that are not lead by dictatorship or an imposing centre.  Unlike U.S. giants such as Queens of the Stone Age, the intrigue and dominance does not come solely from the front-man; and neither do most of the creative decisions.  The Chase have a greater collaborative spirit, and have shown themselves to be very business-like and wise, with regards to their output and designs.  As well as am impressive official website, which is easy to navigate and very informative, they have a full and dedicated online coverage, that makes it easy to track the guys down.  Together with this eye for detail, they have a terrific ear for blending sounds and influence.  Our boys have a love of the current- and fairly recently defunct- bands such as The White Stripes and Kings of Leon, but also have a passion for the classic English acts such as Small Faces, The Who and The Jam.  As you can probably tell (from the aforementioned) the guys have a penchant for the more electrifying and harder end of the spectrum: they favour more masculine and dominant sounds; choosing heady rush and rock spirit, in order to create their signature sound.  With a large online following, and a great live reputation, it is safe to say that they are definitely on the right course.  They understand how overcrowded and jam-packed the current scene is- and just how many musicians have no place being where they are.  Tying in their level-headed business aesthete: getting out onto social media, and drawing in worldwide support; the band also took their sound as far and wide as they could on the road: exciting and winning over clans of fans from all around the country- as well as the globe.  Combined with a core sound which is at once steeped in history, and fresh and essential; they are fully-deserving of their status and situation.  Their debut album 'Ever, Never or Now?' was released back in October of 2010, and saw them met with acclaim and high regard: critics and media were fast to promote the merits of the endeavouring five-piece.  Their follow-up L.P. Slings & Arrows, was launched at a home-coming gig in Southend and met with huge local pride.  Reviews in the media, as well as on iTunes has been rapturous, with listeners impressed with the urgency and authority that lies within; songs that marry the polemics and D.N.A. of U.S. and U.K. young and old; tying it together around lyrics that speak to everyone.  The boys are sharply-dressed and cool, and look very much the part: no awkward band portraits or nervy imagery, just confidence and conviction.  This comes through in their tracks, and it gives the impression that the quintet have been doing this for decades- rather than a few short years.  Plans for the future vary, but resting and relaxing do not count amongst them.  A third album is on its way, and promises treasures aplenty; touring and live dates are also on the calendar, and the quest to recruit as many fans and followers will carry on unabated.  Their summer schedule contains some illustrious and sought-after gigs, and the lads are preparing by playing some more low-key venues at the moment- combining their new tracks with classics from Small Faces.  The weight and potency that was produced by their Slings & Arrows album is still very much present; with the single You, causing quite an excited stir.  On YouTube, the video for the song has amassed over 10,000 views, with 171 'Likes' (and no 'Dislikes'-quite a mean feat!).  For a website that contains so many contemptuous and sex-starved morons, spilling hate and bile in the 'Comments' section to every video; The Chase have received nothing but glowing praise and support.  Having steered clear of the pitfalls and cockroach traps of YouTube, our five lads should be proud (of many things).  They have managed to rise above the parapet of critical disregard and naivety; circumvented the will of the most jealous of new bands, and managed to strike out on their own; calibrating their sound and potency by the month.  Where so many bands have failed: going in too hard with little sense of direction or long-term future; a poor and bare-boned business plan; a derivative and cliché sound; the five-piece from the south of England have; well... done rather bloody well.  As anticipation rises for the third L.P.; it is You's hallmarks, swathes and subtleties that I have been investigating...

The opening salvos and moves that You pervades, is awash with youthful energy and potential. Anyone wanting to hint at initial influence may have their minds taken to the camp of The Stereophonics as well as Arctic Monkeys- but will have a hard time making any solid comparisons with regards to a song or album companion- such is the immediacy and sound of the intro.  A few brief drum beats join with a striking and blazing riff: one that sways and hits, but is not too heavy-handed or distorted- instead refreshing and intriguing.  When our front-man's voice arrives; it is a slightly easier job when hinting at possible comparable/similarities.  As much as I have been on a quest to tirade against any obvious mimicking; our hero, however has some very distinct personal shades.  Sounds of Liam Gallagher and Alex Turner can be heard; joining a Manchester and Sheffield divide together, to present a vocal that has mid-90s Britpop-cum-modern-day indie/alt.   If your senses and intuition pulls you towards thoughts of a Definitely Maybe/Suck It and See hybrid, the vocal mood and lyrics will drag them clean away.  Whereas the aforementioned may mix cutting cynicism and tales-of-the-modern-street with '60s-esque pop thesis; our boys have something modern and more relevant; and something that is both upbeat and impassioned.  Our hero speaks of tales from the heart: "I miss your face" and "you're always on my mind".  There is a sincerity and earnestness to the sentiment, which when tied to the uplifting and spirited backing, augments the song and unveils a smiling and energised stride.  The unnamed paramour that is alluded to, is causing our hero to ask why a pretence is kept up; why the two are apart and fooling themselves- our hero "see no sense" as to the logic of it.  There is no spite; no diatribe against love and no sense of bitterness (that a vast modern core would project): there is an honesty and tenderness that is at its core, that is hard to ignore.  The sense of longing and belonging is emphasised in the chorus, which is the embodiment of a good-time vibe; a heady rush of a summer-ready anthem.  Our front-man goes to sleep thinking of the anonymous heroine- someone whom is causing more of a stir as the song progresses.  The band performance is tight and emotive throughout, with the bass and guitar providing a controlled and elastic centre; whereas the percussion counterpoints and ballasts with some persistent punch and energy.  In a way the group have more in common with the British groups of the '60s, displaying the same infectious spirit and heart as the likes of The Beatles- with enough Small Faces in there too.  Thoughts and revelations are kept on the positive and romantic side, as our hero sings:  "I just need to see you smiling"; the themes and verdancy of the song shares more with the 'Madchester' and London bands of the early/mid-'90s (crosses between The Bluetones' Expecting to Fly and  The Charlatans' The Only One I Know come through).  It is the ear for melody and catchiness (not in a bad way; a very genuine one), that The Chase get their messages across.  When the chorus comes back around, it seems as if the guys are constitutionally incapable of being down; of portraying anything negative.  Our hero is caught up in the sunshine of the mood, proclaiming (to his unknown beau): "You're the only dream I have".  The way in which the composition- with its classic '60s sound-cum-modern-day U.S.-via '90s Britpop- displays an unbeatable energy and enthusiasm, the vocal does not come off as too doe-eyed or sweet-natured.  The vocal display is authoritative and convincing, but has enough northern England edge to the tones to make it both romantic and harder-edged: giving the song a much more relatable sound.  With some impassioned and empowered guitar work showing its hand towards the closing moments; the momentum and wave of energy gets a new lease of life, to keep you hooked to the end.

I have been delving deep into the music archives lately; expanding my palette, and reintroducing my brain to some rather incredible sounds.  Lately the cut-and-paste plunderphonics of Australia's The Avalanches have stuck in my head.  Their debut (and only album to date) Since I Left You is in need of a long-overdue follow-up, as the tracks and innovative spirit that lies within are in dire need today.  Aside from the title track and Frontier Psychiatrist, there are a wealth of variegated and fascinating cuts, that to my mind, have yet to be topped- in terms of their effect and potency.  Full of summery son, hip hop twists and sound collages, it is a testament to a hungry young group, whom seem to encapsulate the spirit of the time- late '99-'00.  I mention it because the amount of hard work, dedication and attention to detail that must have gone into that L.P. are apparent in every note.  Even the early-mid '90s pop and indie pioneers loaded their anthems and albums with such due care, that it is hardly a shock that they were so adored and emulated.  Over the last years- not that music is being 'phoned-in'- but there is less attention and consideration given to the intricacies, nuances and aftertastes of music: what can be achieved- at that moment and retrospectively- if that extra ounce of effort is put in.  Pushing the envelope is not enough.  You have to stuff it with fireworks and shove it in a bonfire, just to get- a somewhat fickle and homogenised- media to pay attention and keep you in mind.  The Chase's trump card comes in the form of simplicity.  Where as lesser bands and lesser minds may see simplifying music as a regression; it is the pure-hearted honesty and openness of You, which is near-ineffable.  Attempts are made to recapitulate the glories of '60s/'70s U.K. and modern-day U.S., yet few successfully do.  In the band market there is still an over-reliance on sound, force and power in every track: little thought is given to subtlety.  It is the hook-laden joy of the track, as well as the earnest openness and romantic heart which gives the song its stripes.  The band are tight and focused throughout, adding layers of richness to the track, and not spooning in various components too liberally: everything is given due consideration for atmosphere.  The southern boys are very much a band of men, yet many would say You is the type of number a boy band would normally attempt.  If the central heart and blood flow suggests similarities it is the projection and quality of the track that steers you away from such sloppy comparisons.  There are no saccharine touches, no cloying lyrics; and a complete lack of naivety: it is simply a great and memorable number.  For too long there have been too few bands from the south of England, whom have caught my ear.  Many of the current best reside in the north as well as Yorkshire (and Scotland) yet London and the south tends to be under-represented.  It is refreshing that The Chase are making waves to putting the southern counties back on the U.K. music map; with their unique brand of song.  With a new L.P. on the horizon, it will be interesting to see which direction the 5-piece take.  Whether they will stick with their tried-and-tested sound; or expand to incorporate heavier underpinnings and a certain swagger, is to be seen.  They should have no fear, as the Slings & Arrows set show that the life they have in them, is fertile and in need of progeny.  The remainder of the year will see the boys tour and bring their current songs to audiences far and wide- as well as ready themselves for their next record.  For the moment take a listen to You, and all it offers, as the band's trajectory will be an exciting and busy one:

AND much-deserved too.

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Official:

http://www.thechase-online.co.uk/The_Chase_Official_Website/Home.html

Facebook:

https://www.facebook.com/thechaseonline

Twitter:

https://twitter.com/thechaseonline

YouTube:

http://www.youtube.com/thechaseonline

SoundCloud:

https://soundcloud.com/thechaseonline

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Nancy Elizabeth- The Last Battle- Track Review

Track Review:

Nancy Elizabeth

The Last Battle

9.7/10

Wigan-born Cunliffe summons a riot of beauty, from a track that is Dancing music...straight from her sleepless, thought-provoking nights, to your brain.

Availability:

The Last Battle is available at:

http://nancyelizabeth.bandcamp.com/track/the-last-battle

The album Dancing is available at:

http://nancyelizabeth.bandcamp.com/album/dancing

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IT is the subject and issues around the female voice that once again...

comes to mind; today particularly.  I have gone into detail before about the limitation one faces when encountering a solo voice: the build-up and inevitable limitlessness.  The men have a job on their hands trying to supersede and avoid expectation and lazy comparisons; with many being penned in and written off within a few moments of their careers beginning.  For the female artist, there is a similar pressure.  I think in 2013 there has been as little mobility and curiosity given towards the female voice, than there has been ever.  In the last decade, as well as the '90s, there was always fervency and excitement to be found.  The 1990s especially was a decade that- debatably, but to my mind definitely- produced the last great waves of dance and trance music.  Within the shallow shores of trance and dance, diverse and unique vocalists such as Sophie Ellis Bextor and Sonique, sound-tracked some of the most memorable tracks of the decade.  Established singers such as Elizabeth Fraser (from Cocteau Twins) were lending their hypnotic tones to incredible dance numbers (Fraser provided lead vocal on Massive Attack's Teardrop).  The dance and trance movement- that hit its peak at around 1998/'99 (and into 2000 too)- was only a small segment of the market.  Away from such idiosyncratic music, there was a burgeoning and inspiring pop and folk scene; in fact there was a lot to get excited about.  It was a decade that saw established legends producing great music alongside brilliant new artists, and to my mind it was the female acts whom were at the pinnacle.  Whilst it was the bands whom were creating the best songs and anthems of the decade, it was the new female voices that caught my attention.  As the years progressed, bands and the band market became more favoured- possibly in reaction to the greats of the '90s such as Blur, Oasis and Pulp.  Over the last few years there has perhaps been little to shout about, with regards to the solo market.  There has been Laura Marling, Adele, Amy Winehouse and Lianna La Havas: varied and unique in their own way; each proffering a different sound and style.  For all the modern-day icons and influences, there is precious little in the way of future potential- those artists whom you could see being around 10 years from now.  Too often is the tendency for the new artist to underwhelm.  Their words may be personal and concerning the usual themes: love-gone-wrong, determination; ambition and the realities of relationships; yet the sound and vocal tends to be less-than-impressive.  When hitting upon a sound that is both memorable and unique, greater ambition has to be shown.  Many of the female voices at the moment tend to be too sweet-natured: quite cutesy and pleasant, yet lacking in either bite or etherealness.  Likewise the abiding sounds stray within the acoustic/folk/pop mould- little mobility is shown with regards to mixing genres and pushing boundaries.  To my mind, the most impressive female talent tends to be those whom show consideration for every facet.  Laura Marling- I have mentioned many times here- is the epitome of the modern-day female icon: stunning wordsmith; unique and powerful voice, and an electioneering and exciting sound.  A great deal of R 'n' B and soul talents display a powerful set of pipes, and marry this to themes that are relevant as well as original.  Outside of the obvious examples, the best female voices are hard to come across.  I have reviewed several recently, including The State of Georgia and Sophia Bastian (and a few others).  I feel that the market and public will always favour the bigger and more powerful voice: that which can elicit immense power and potency, whether it is through sheer force or raw emotion.  When searching for inspiring female talent, the media perhaps is not overly helpful.  Great websites such as The Girls Are promote female artists fervently, yet aside from that there is still a male-dominance apparent.  Although, when one does discover a great voice and talent, it is a rewarding experience indeed.

Nancy Elizabeth has a stunning and knee-trembling soprano voice, that has won her many fans.  It was My Brightest Diamond's Shara Worden- a similarly crystalline vocal idol- whom was one of the last female singers to really invigorate my senses and get me excited.  Nancy Elizabeth (or Nancy Elizabeth Cunliffe, to give her full name) has a voice that is as impressive, yet her sound palette and ambition is even higher and harder than the American's.  She is a multi-instrumentalist whom has been playing for many years now.  Hailing from Wigan, she has been wowing crowds and capturing supporters since her first E.P., The Wheel Turning King was released (in 2006).  Over the past five years, Nancy Elizabeth has been very busy indeed.  Her first L.P., Battle and Victory was released in 2007, and was well received critically; drawing favourable comparisons with contemporaries such as Joanna Newsom.  The follow-up L.P., Wrought Iron gained even more praise; many pointed towards the sparse sound, layered instrumentation and stunning vocals as hallmarks; promoting the likes of The Guardian to feature and profile our heroine: giving her invigoration and impetus to keep pushing and bringing her music as far and wide as possible.  On her official website, Nancy Elizabeth states that she has been most of her 20s playing pretty much everywhere and anywhere; from a derelict Mexican church, through to a run-down pub in Paris- oh, and a gig at London's Barbican Theatre.  With great demand and a growing fan base, the pressures and relentlessness of performing became overwhelming, with our heroine retreating to the vicissitudes of home- where she remained ensconced and began work on her current L.P. Dancing.  Having spent so many years recording and performing, it was only natural that rest bite and relaxation was in order.  Nancy Elizabeth spent many sleepless nights listening to music; becoming fascinated by vocal harmonies- perhaps not relaxing then, but certainly inspiring.  Within the walls of her cold and small Manchester flat (her words, not mine); surrounded by guitars, amps and instruments, the young artist become immersed in what was to become Dancing.  The L.P.'s title was inspired by our heroine's last-night tendencies: awake in the early hours she became acutely aware of time's passing; a physicality was very present.  Perhaps the album's epiphany and inspiration came from Nancy Elizabeth's own personality and desires.  She is a young artist unconcerned with incongruous photos and imagery of herself.  The designs and landscapes contained within the album's artwork were created by her, and depict scenes and sights that sum up what the album is trying to say- the music is very much the primary concern.  Likewise, whilst the L.P. does contain electronic samples and passages, it is not a traditional dance album; instead it enhances and utilises our heroine's extraordinary voice, and combines with innovative and exciting compositions and sounds.  Over the course of the 12 tracks that comprises Dancing, a lot of personal relevance, as well as mystery, are presenting in the song titles.  Desire, Early Sleep and Shimming Song seem to project different sides to our heroine; whilst Mexico and Debt have very literal suggestions.  I have been aware of the track Simon Says Dance for a little while, and know that it has gained some huge praise and plaudit from various sources.  It is not a shock that Nancy Elizabeth has been earning impassioned words.  From the hard days (and nights) spent in her flat: solitary and cold; small and familiar, a great deal of inspiration has been found.  The L.P. shows a natural progression in terms of the overall sound, but the album sounds more personal and ambitious than her previous efforts.  The album displays a lot of longing- mainly personal- and Simon Says Dance's line about "a flame burns inside my belly" goes to show that there is a strengthened and steely resolve in our heroine's heart.  A great deal of the all-time legends produce some of their greatest work, in relation and as a reaction to separation and heartbreak.  Bob Dylan's Blood on the Tracks and Joni Mitchell's Blue display some of the greatest- as well as deeply personal and introspective- work of the lyrical legends; and unsurprisingly these albums are considered to be amongst their best work.

"Won't wait in a cage/'Til someone comes to rescue me" is perhaps one of the most haunting and personal lyrics on the album, and are the first words of the L.P.'s lead-off track The Last Battle.  The song itself begins with a gentle acoustic strum, alongside Nancy Elizabeth's seductive wordless vocal.  It has the evocations of a medieval battlefield or an Elizabethan feast.  The atmosphere and stillness (the calm before the storm as it were) presents the former; whereas the latter seems appropriate when considering the tranquil sigh one hears.  It is if our heroine is a queen, watching from afar; surveying a battlefield.  Or she could well be the central focus: maybe a Joan of Arc representation?  The sway and intoxication of the intro., with the exquisitely pure vocal and tender guitar, is a smoke that  wafts and envelopes- and one which sets a peaceful and romantic tone.  As the influence of a gorgeously-picked harp is played in; the vocals double and are triplicate: creating a small choir that augments the haunting and gentile aroma and mood-scape.  Up until 45 seconds, one is subjected- or more accurately rewarded- to the sound of the ethereal chorusing; a mesmeric and tender armoury that makes you sigh and smile somewhat.  It is pretty difficult for the casual listener; if they were to grasp for any potential 'influences'- there is a little of Joanna Newsom's magic to be detected.  Such is the unique and idiosyncrasy of Nancy Elizabeth's template, that you really can't focus too hard on anyone else.  Its harp and soprano coo subsides slightly, to make wave for an energised and upbeat acoustic/electric guitar combination.  The tone has indie/pop edges- there is a The Bends Radiohead-cum-Oasis-cum-The Killers.  In the same way that the operatic and soothing sway brought certain images to mind, it is the second half of the intro. which makes you think of something more modern- the inside of our heroine's Manchester flat; as she sits alone and imagines.  The vocal that arrives is more measured and composed than the wordlessness of the start: the tone and presentation has a measure of folk; yet Nancy Elizabeth's voice is sweeter than your average example of the genre.  Our heroine is in a cage; although she says "I'd stay there/But I can't let myself be weak"; her voice seems determined and matter-of-fact: not overwhelmed or emotional.  Where as the musical backing is enlivened and the vocal is pure and unflinching; the themes and words have a surreal and dream-like nature to them.  Talk of the devil- female no less- are elicited; the succubus has "been pulling the wool over my eyes for all this time".  The words come, and the intention and message is plain to see.  Where as lesser talent would stick with a single vocal line, and not deviate too far; Nancy Elizabeth weaves other vocal patterns in the mix; sprinkling a weaving and snaking coda in; one which rises and falls, creating a vocal sway that is extremely effective.  Our heroine is "longing for someone to care for": there is a sense of loneliness and emptiness that you can detect.  Between the Siren vocals and dancing guitar there is a sense of romanticism, yet Nancy Elizabeth's tones and words suggest a heart that is yet to find peace and satisfaction: there is the suggestion that too much pain has been experienced for too long.  The words themselves are as impressive as anything- even if the voice is the most immediate facet- displaying a maturity and intelligence one hears from the likes of Laura Marling.  Snatches such as: "love is letting you go love/Not tying you by my side" and "Hard to tell it from control/Because they look so alike"; shows an endeavouring originality and voice.  There are no sloppy metaphors or over-used themes of love; no obvious and worn similes or histrionics: the lyrics are intriguing and vivid, making you imagine and project some rather strange and wonderful scenes.  In every song I always wait for a moment that will take you totally by surprise; keep you on the edge of your seat, and quite frankly, knock you back.  In the case of The Last Battle this occurs at the 2:50 mark.  Having completed a sensual and imploring coda of "(I won't be the devil's whore) no more, no more"; our heroine's voice sways and seduces, before a sea change occurs.  Drums play powerful and rhythmically; portraying an army approaching.  Nancy Elizabeth weaves her vocal lines into a tapestry: higher "ahhs" are mixed with lower "ohhs"- presenting a chilling and beautiful blend.  Whereas the intro. had its instantaneous effect and potency, likewise the current passage has its striking charms.  You are captured and pulled under by the gorgeous vocals; carried along by the pulsing and bouncing percussion.  Just as you think we are going into battle; swords and horses; blood and pain, there is a calm unveiled.  Our heroine returns to the theme of "Won't wait in a cage/'Til someone comes to rescue me"; the voice still possessed of all of its magic and potency; swaying and playfully twisting and turning- and bringing the song to its conclusion.

I reviewed Joe McKee yesterday, an Australian solo artist whom has had an illustrious and successful past.  From his roots as a frontman, he moved to London to change scenes (he was born in Brisbane); yet decided to return to the Darling Ranges of his native soil; captivated by its majesty and peace.  He seems like an artist whom prefers tranquillity and does not favour too much bustle and hassle.  His voice (on the track Darling Hills) presents a mesmeric and luscious baritone, that tempts and draws you in; making you acutely aware of your surroundings, as well as those which his song present.  Coincidentally, Nancy Elizabeth has a similar predicament.  From her time spent touring and being caught up in the day-to-day anxiety; she has retreated to a safer and more familiar haven, to produce something quite staggering.  Even if there is little money and a less-than-idyllic backdrop to her predicament, it seems that the four walls she calls home inspire the greatest thoughts and movements.  In the shadow and poison of insomnia, she was able to utilise the time; turning her thoughts to music, and creating an L.P. that is brimmed full of serenity, passion and intensity: a record that does not stand still and does what few others can claim to do.  Nancy Elizabeth's personality, predicaments, work ethic- and yes her voice- bring to mind the greats such as Kate Bush, Joni Mitchell and Patti Smith: she has drawn comparisons with Joni Mitchell fairly frequently.  The legendary female stars of the '70s and '80s found that there seemed to be a causal link between a more secluded life, and musical alchemy.  Where as the likes of Bush, Mitchell and Smith had their romances and highs; their greatest music was enforced by breakups, ghosts (metaphorical of course as ghosts don't exist) and longing.  In the case of Bush, surreal and dreamy scenes are worked into Nancy Elizabeth's songs, and it is the ingredients and flavours that are put into the boiling pot, that makes her album such a success.  The lyrics speak of love, love-gone-wrong, dreams, nightmares; mythical predicament, wars and battles and so much more.  A multitude of instruments are worked into the palette to augment and invigorate tracks, giving them a huge ambition and unique sound.  It is our heroine's voice which is the calling card and golden nugget.  It is an instrument that is pure and crystalline, yet has a power and passion that few can boast.  The likes of The Girls Are have highlighted at just how majestic Dancing is, and The Last Battle is a perfect example of how good she is.  Little consideration is usually paid to intros. yet here it is filled with so much promise, intrigue and potency, that the song instantly makes its mark.  The themes of rising up; shaking off the shackles (cages, the devil in this case) and determination come to the fore: there is an abiding sense of wanting to break free and find space (with some longing and sensitivity present).  It is a gorgeous song filled with striking and atmospheric instrumentation, and that stunning voice ruling the kingdom.  It is a track that you can't compare to anything else- or any other artist- yet has some lingering qualities of Newsom and Mitchell.  As I write this (the morning of Sunday, 23rd June), the U.K. has witnesses the finale of another series of (the God-awful) The Voice.  It was won by what's-her-face? (she is blind I know).  The show's winner was a predictably lamentable and irrelevant sob story- it seems being blind is enough to get you votes in a singing contest.  Such is the sappish and stupefying nature of these shows and its voters, that some woman's predicament and disability superseded talent and potential.  Apparently it should have been won by some other woman; to my mind sounds like a bag of cats being put through a ceiling fan.  In fact she sounds like a bizarre Christina Aguilera/Leona Lewis/Minnie Ripperton hybrid, and is as deplorably irrelevant as the show's winner.  My point is that these shows ('talent' contests) foster this type of irrelevance.  Even the artist whom apparently 'should' have won it, is nothing more than a copycat of other artists.  Her voice is stolen (and hardly appealing or unique); I doubt she could write anything memorable or original if she tried, and she has a personality and projection that means she will be dead and buried in the water within a few months.  The paradox is always the same: artist comes; writes album (with 15 producers and 25 writers); doesn't play any instruments; has a boring L.P. cover; sounds exactly like existing artists; gets forgotten about all too soon.  It is the stupidity and credulousness of the broadcasters, the public, as well as music fans that these shows are allowed to exist, survive and annoy.  My point is that if you want to find someone genuinely worthy; a talent whom is doing things honestly and inspiring people- and is not a hideous fame-chasing cretin.  Nancy Elizabeth is a hard-working, tireless and ambitious talent, whom is a hugely impressive writer and singer, and one whom is original and captivating.  If you haven't immersed yourself in the wonders of The Last Battle and Dancing...

DO so now... it's one of the best albums you will hear this year.

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Official:

http://nancyelizabeth.co.uk/

BandCamp:

http://nancyelizabeth.bandcamp.com/

Facebook:

https://www.facebook.com/nancybeep

Twitter:

https://twitter.com/nancynancybeep

YouTube:
http://www.youtube.com/playlist?list=PL646361ED72B6F960

SoundCloud:

https://soundcloud.com/nancynancybeep

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Joe McKee- Darling Hills- Track Review

Track Review:

Joe McKee

Darling Hills  (Dot Dash Recordings)

10/10

Striking Australian brings you the wistful grace of the Darling Ranges; combined with a well-travelled mind; culminating in a song of rare beauty and epoch-defining potentiality and pulchritude.

Availability:

Darling Hills is available at:

http://www.youtube.com/watch?v=1EtS-5_xh48

The album Burning Boy is available at:

http://www.amazon.co.uk/gp/product/B00D66MGY8/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&camp=1634&creative=6738&creativeASIN=B00D66MGY8&linkCode=as2&tag=propemusicd05-21

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THE arrival of a new male voice, can cause a wide range of emotions...

from the media and fans alike.  Whether this vocal talent is a brand new talent, fresh on the scene; or one whom has gone from a band leader to a lone wolf; there is always a great deal of consideration and hyperbole provided.  I am always attuned to, and interested in, the prowess of a great voice; and what components and ingredients go into making one.  Historically, there has always been a choice of vocal idols.  Whether you prefer the potency and raw power of Chris Cornell, Axl Rose, Roy Orbison, or the king of them all Freddie Mercury; or if the beauty of Eva Cassidy, Kate Bush and Thom Yorke is more your thing: there is plenty out there to investigate.  One of the biggest problems with this generation, is that there seems to be a lack of interest in the past. Attention spans and focus tends to concentrate around present-day; or if you are really lucky, a couple of years back.  Most are seemingly unaware of the likes of Janis Joplin, Nina Simone or Leonard Cohen- blank faces and haughty derision usually awaits.  This lack of understanding and myopic fandom is responsible for a lot of miasma in the current scene.  A great deal of female solo talent either present themselves as, or are compared with your Aguileras, Careys, Houstons or Winehouses; your boys tend to be 'the next' Jeff Buckley or Alex Turner.  There is a little variation, but predominantly one can trace roots to an existing singer: making your listening experience seem second-hand and stifled.  It does not help that the media seem to sweat with hysterical joy at the sounds of a man who can sing in falsetto; or a woman who has a gin-soaked or belting set of pipes.  As much as the over-reaction and false praise is grating; it is also giving wannabes and rising talent a bad message: if you want our praise, throw away an original voice.  Greater reward and accrued success will come more readily and more deservedly, when you strike an original chord.  Naturally sprinkling some influences into the pot does no harm- in fact it can enhance a voice.  It is also okay to be a little endeavouring: defying convention and having a wide-ranging and unfettered voice.  Perhaps reintroduce strands of under-appreciated vocal idols such as Tim Buckley, Bjork or Scott Walker: be a bit more daring?  However it is to be achieved, there needs to be an about-face when it comes to the voice.  In spite of some familiar edges, troubadours such as Matt Corby are reappropriating a genre that is coming under some scrutiny.  For all of the dewy-eyed adulation the likes of Tom Odell and Ed Sheeran get; Corby is more deserving of praise.  With a wide-range and powerful set of lungs; that can go from a gravelled roar, down to a seductive whisper: it is much more of what is needed on the scene.  In fact, it is the likes of Australia, which are producing some of the most diverse and memorable modern talent.  Having given the world some of the greatest music of all time, the nation is also producing some terrific and heavy-sounding bands, brilliant female talent, and worthy male voices.  The U.K. seems to be a little stifled at the moment, with regards to creative diversification.  The mind-set is either firmly planted on fostering below-par solo talent, or generic-sounding bands.  One suspects that a large amount of genuine wonder is being lost; dropped through the cracks; simply due to lack of attention and underwhelming social and media channels.  It a shame, I guess, yet we here can take notes from the likes of the U.S., Europe and Australia.  The latter has an almost stereotypical bonhomie and sense of relaxation: at once endearing, but also business-orientated.  The lack of subjugation and suffocation has allowed indigenous talent to move and gain creative space; yet at the same time the more favourable records label/media source to artist ratio, has allowed for greater and more long-term fostering and consideration.  The likes of Corby have been given the opportunity to flourish and grow; due to the fact that there is less caging-in and repression.  As much as the U.S. and Canada are producing some of the finest bands of the moment, our northern and Scottish climbs, as well as Australia, are bearing forth the most exciting and meritorious talent.

Having spent some significant time as part of Snowman, Joe McKee is a name that may be familiar to quite a fair few- he is certainly a beloved name in Australia.  Our hero's sense of identity and ambition is enforced by the mellifluous majesty of the Darling Ranges.  Sometimes referred to as Darling Scarp, they lie south of Perth; are noted for their tremendous beauty.  It is a low escarpment, and extends to the south of Pemberton.  Dams such as the Wungong Dam and the Canning Dam are to be found; as well as bauxite mines, railways and quarries.  It is probably a quintessential destination for one who wants their mind to be inspired, relaxed and seduced.  For those whom are aware of, and in love with Melbourne, Sydney and Canberra, the likes of this Perth wonder.  Because of the area's very hot summers, the Darling Scarp has been affected by huge fires as of late.  In early 2011, a massive fire plagued the area for four days: forcing many to evacuate and seek refuge elsewhere.  McKee originated from here- and barring a sojourn in London- has spent most of his days here; nestled within the quixotic and intoxicating beauty that the landscape has to offer.  A long-held belief and tristesse of mine, has concerned the correlation between location and quality.  In areas and countries where there are tightly-packed and busy communities, anxiety and hostility can be experienced- causing a drop in music quality and ambition.  Where there are wider plains; greater distance as well as more inspiring landscapes; the mind is free to wander and imagine: causing a much stronger and free-range creative output.  It is perhaps not a coincidence that McKee has been praised for his music- given where he spends most of his free time.  As well as a productive spell in London, McKee has drawn influences and sights from his native Australia, and injected them into his work.  His work with Snowman was widely praised- especially 2009's masterpiece The Horse.  The mesmeric sounds and limitless ambition lead the band to London; where they gained fresh inspiration and a chance to record Absense.  After the band went separate ways- some to Europe, some stayed in England- McKee was a lone wolf: one filled by the majesty of London, and remembrances of home.  Having tried to forget about Perth, McKee invariable returned there, where he recorded the 10-track opus Burning Boy.  Under the auspices of his illustrious past and extraordinary talent, McKee has a lot to work with.  Where as his band regency was noted for driving and pulsating rhythm sections; the solo McKee portrays and teases and unexpected and lush baritone- one that is causing a quiver amongst the music press.  Where as your average solo man: think Ed Sheeran for example, turn in 10 or 11 variations on the meditations of love and personal strife, McKee has a golden nugget in his satchel.  Where as a lot of our talent (as well as U.S. solo stars) are too beholden with filling E.P.s and albums with tales of love and wrong-side-of-the-tracks-romance; McKee has more in common with the likes of Bon Iver.  McKee draws from the experiences of his landscape: Open Mine talks of Western Australia's recent gold rush; where as the title cut has a more vulnerable edge.  The range of themes and the dexterous nature with which McKee presents his songs, shows a talent whom understands keenly how a terrific set of lyrics, and a brilliant voice; will get you noticed and remembered: take note beige middle-of-the-road acoustic core!  Burning Boy was released back in May, yet has lead to a huge swell in social media fans: 855 'likes' on Facebook; 566 followers on Twitter (at the time of this review).  Rolling Stone Australia dubbed the album "A near masterpiece"; whereas The Australian called it an "accomplished debut".  The Guardian recently included McKee in their (misnomer aside) 'New band of the day' segment.  Online music sites such as Beat Magazine and Mess+Noise have heaped praise on the L.P., highlighted McKee's encapsulating pipes and his superb set of songs.  He has looks ready-made for the market.  He is a handsome chap; where as like Corby he has a liberal amount of facial hair (including an astonishing beard), and a stare that will bore into you, he is the antithesis of the boy band Muppet: all hairless femininity and weak-limbed effete.  He is A Man; recording songs of beauty and stirring resonance: the effect is one that will see him being welcomed back in London- as an inhabitant as well as a touring musician.  One suspects that it will not only be Australia and the U.K. whom will be vying for McKee's attention: the likes of the U.S. and vast swathes of Europe will soon be attuned to Burning Boy's nuances and rewarding layers.

As well as the title song; Flightless Bird and Blue Valeria; which have struck and captured me with their beauty and variegated plumage, it is Darling Hills which lingers longest in my thoughts.  The album is not available on Amazon until July 1st; yet the songs are available online- or most are.  Blue Valeria's success and wisdom drew in a lot of new (and existing) fans; and if Darling Hills is shared liberally; many new fans will take McKee to heart too.  For all the press and adulation that the title track has garnered; I was struck by the autobiography and tender passion that is evident in Darling Hills.  As you can tell by its title, it has geographical significance, and a great deal of personal relevance to 29-year-old (maybe 28; he was born in 1984, although I am not sure which month) McKee; whom was given a great investigation by The Guardian.  I am often ambivalent (read: angry) towards Paul Lester (who writes the daily page); he often seems glib and fatuous with regards to the talent he features; sometimes bordering on the hate-filled.  With McKee (whom he praises liberally), he is spot on.  Highlighting his intelligent song craft, which as hallmarks of '80s greats such as Prefab Sprout and Go-Betweens.  His songs are imbued with sensitivity and orchestral majesty; mixing lick-lipping string sweeps, with spacious piano codas.  To my mind, Darling Hills is the epitome and summation of all of the positive attributes and seductive D.N.A. that Burning Boy promotes.

The atmospheric and heady rush arrives immediately.  Cinematic and epic strings; lush and romantic sweep in.  Where as the likes of contemporaries such as Lana Del Rey employ swaying, dark string sections; Darling Hills' intro. has more in common with the work of The Cinematic Orchestra: it shares the same immediacy and stirring quality.  McKee's vocal arrives; both tender and striking.  It has a quality of Jim Morrison: there is that weight and potency; with an echoed/reverb effect to the voice.  Our hero appears far away, with the song sounding like it was recorded in a tunnel; or empty valley- such is the sound of the voice.  This gives the track a dreaminess, as well as emotional cadence that emphasises and augments the mood.  Early thoughts and confessions point towards the beauty and majesty of where he is: "Darling Hills/Rolling in the dust".  Our hero's voice is backed and supported by a gentle-picked and sighing guitar; tenderly played, summoning up some bare-boned beauty and evocativeness.  McKee's voice floats in the atmosphere; like the breeze it gently blows; caressing the words and it gives the listener the feeling he is actually in his Brisbane haunt: him and him alone, letting its natural wonders roll over him.  Everything about the song and its projection would suggest a devotional love song- in a way I guess it is- as it seems like McKee is calling out to a lover.  Scenes and thesis mix sensual and vivid imagery with delicate regard ("I dream of your/Burning skin").  It is the way that McKee brings you into the song, and gets you to appreciate the beauty he sees; that makes the song so captivating.  It seems near-impossible that he recorded the song upright, in a studio, with a microphone; as you would think he was relaxing in the Darling Ranges, surveying the landscape, playfully teasing the grass in which he lays.  As much as I have mentioned the older legends, and referred to Jim Morrison/The Doors; McKee has a Thom Yorke-cum-Jeff Buckley hybrid: not to employ an over-used comparison (as I hate to do so); yet it is that stillness and etherealness that was synonymous with these icons, that can be heard in our hero's voice.  The emphasis is very much on the word; letting it speak its truth and draw you in.  Musical backing is never too heavy or overwrought- quite the opposite in fact.  Gently plinking piano plays like soft rainfall, where as the articulation of strings is designed to elevate the emotion and tenderness; whilst embodying sunshine, moonlight, romance; joy, wistfulness- it manages to bring all of this to mind.  The mix of the romantic and geographical mix perfectly, blending a heady and drunken kick, that will melt and seduce.  McKee's talent- amongst many- is to calm your mood and mind; no matter how you are feeling.  The vocal is poured like chocolate, and has that enriching tone to it.  Critics and reviewers may not have alluded to some (possible) influence, but there is a touch of Nick Cave.  In fact there is a little of Matt Berninger from The National.  Like these vocal wonders, McKee's (voice) has a similar conviction and headiness.  Unlike Berninger, McKee's vocal is not rooted in sadness or introspection (quite as much); his words are not as oblique, and are more literal and romantic:  "Through the trees/I can hear your voice".  So hard is it to find any link- direct or not- to any other artist, that you sort of hint at 'maybes': hearing a tiny bit of him; a whisper of them- the originality is what gives the song its purity.  In the accompanying video for the track, we see images of the water; the ocean and rivers tumble with riparian smile; our hero lays down, eyes closed: the images are his thoughts and dreams, and a calmed peace seems to be present.  Acoustic guitar and piano melt into one another; the guitar occasionally goes out in front, creating its own gravity and beauty, before dropping back slightly.  In the way that the blues and jazz legends of the '50s and '60s could leave you spellbound with the voice and carefully-considered instrumentation; McKee does likewise.  So much attention and hysteria has been paid to his country mate Corby.  Matt Corby's strengths lay in his power and guttural roars; where as I feel he is lacking when it comes to the more sedate and romantic side of things.  In fact, over the course of Corby's E.P.s and singles, his voice has not wavered too much from its core- it is great but you get the sense that he will need to expand it if he brings out future albums or E.P.s.  McKee has proven he has a similar power and masculine power; yet he has the stillness and devotional spirit that Corby- as of yet- does not posses.  Similarly the way strings are carefully employed; adding extra layers of intrigue and beauty, are something that Corby has not quite mastered.  I only use the comparison to show that McKee deserves a similar attention and appreciation.  Darling Hills is a paen to the nature of home: where the heart and spirit is.  It would be axiomatic to say that the vocal and lyrics are convincing: this has been noted by everyone whom has heard the song.  The sense of tenderness and stillness is what makes the song stand out.  When you marry the words: part love letter to McKee's native climb; part romantic calling out; and tie it together with the stirring and gorgeous composition that all of the various parts make a magnificent whole- one that sticks in your mind for a long, long time.

I have been a little down on U.K. talent for a while now.  From listening to Darling Hills and Burning Boy, perhaps we suffer an incurable ailment: we just don't have the scenery to inspire.  Even if you travel to the hills and countryside of Yorkshire or Scotland; nestle in the busy cities, or take a trip through to a quiet environ, one thing will be apparent: it is not quite as majestic as Australia.  I suspect that if a U.K. solo artist were to reside within the Darling Ranges, a similarly touching and beautiful song could have been produced.  McKee has drawn in his influences from London and his time spent here, and brought them into a track that is very much Australian.  It represents and speaks of the beauty of where he calls home; what many of us can only imagine in our minds.  With these thoughts and evocations in our hero's head, it is perhaps not surprising that a song of this quality and vividness has been made.  Let us not give all of the credit to the landscape and inanimate objects: the lion share of plaudits go to McKee himself.  As a writer his lyrics here- as well as throughout Burning Boy- are striking; able to mix metaphors, literal, tender passion and starkness together.  There are few genuinely great lyricists on the scene at the moment.  For the obvious indie-flavoured examples, the leaning tends to be on negative aspects of love, or a tristesse on modern life: the city streets, dangers and heartaches etc.  McKee instead has taken a different approach and is speaking about what he knows and where he comes from.  Little consideration is given to the negativity of break-ups; there are few examples of resentment in a relationship, and the constant power struggle.  There are few evocations of the harshness of modern life and the horrors and realities of where we live today.  Greater leaning is put onto the shoulders of tenderness, positivity and remembrance: these are key themes that are enforced throughout the L.P.  In that sense there is an air of Patrick Watson: a Canadian artist whom has a majestic voice; and someone whom projects gorgeous and evocative tableaux.  The composition of Darling Hills is measured and tender: strings, piano and guitar don't force their way in; they simply back up our hero's central voice.  To that note, it is the vocal turn that is most impressive.  Devoid of any obvious comparison, it is a unique instrument that says more than anything else on the track.  At once relaxing, tender and romantic; the next pure and aching.  That breathy and unforgettable baritone washes over you and pulls you in: such is the potency of the song that you let it, gleefully.  Perhaps my reticence of the U.K. scene will abate in time, but our current crop can learn a lot from McKee.  Over the course of Darling Hills, I have been jotting down notes and lyrics; ideas and thoughts.  For a while I have been attempting to hone and complete a love song: a paen to a particular muse; yet have been unable to locate all of the appropriate words.  I have come a lot closer to satisfying my thirst, and how many songs can you say influence you so immediately?  Darling Hills is certainly no fluke- far from it, as this track is relatively under-reviewed.  Where as the likes of the title track have been garnering most attention, it says a great deal when other tracks on the album hit just as hard.  In fact the consistency of the album goes to show just how strong McKee's talents are.  Most acts and solo artists turn in an album with at least one or two filler tracks- yet if you survey Burning Boy, there are none to be found at all.  I hope that McKee plays London very soon, as I will have to come and see him and experience Darling Hills live.  It is a track that not only takes you to where McKee speaks; but makes you want to move there and experience the beauty first-hand.  Given what we know of the new music scene...

HOW often can you ever say that of a song?

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Official:

http://joemckee.co/Joe_McKee/home.html

Facebook:

https://www.facebook.com/pages/Joe-McKee/179357768741590

Twitter:

https://twitter.com/Joe_McKee

YouTube:

http://www.youtube.com/channel/UCARthoqsLtDncVsGCKrtzHA?feature=watch

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The State of Georgia- Reaper- Track Review

Track Review:

The State of Georgia 

Reaper

9.6/10

Leeds-based majesty, bursting with otherworldly wonder.  Miss Jakubiak's moniker may suggest weird evocations of The Peach State; with a song title of morbid seduce.  The only certain truth is this: prepare to be mesmerised.

Availability:

Reaper is available at:

http://thestateofgeorgia.bandcamp.com/track/reaper

The album The State of Georgia is available at:

https://itunes.apple.com/gb/album/synesthesia/id591951681

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TODAY my mind is occupied- once more- with questions of Yorkshire...

as well as band formations.  I have alluded to Yorkshire in recent reviews, and my mind keeps coming back to the subject.  Ever since I encountered the likes of Cuckoo Records and its current stable including Little Violet, Annie Drury and Amber States; I have been waxing lyrical about the nature of talent that can be found in the county.  Even between the clan of musicians in the aforementioned label; as well as some great bands and acts like Issimo (based in Bradford), a positive tsunami of potential future-talent is arriving.  It is not just the concentration of quality: it is also the unexpected diversity as well.  Outside of Yorkshire there is not a lot of swing music and doo-wop being produced- aside from established acts such as Caro Emerald.  Between Little Violet and Cissie Redgwick, there are others whom are promising some golden evocations of the '20s-'40s.  Some fantastic folk and indie bands are making moves around Wakefield and Sheffield, and blues rock; reminiscent of the 1960s/'70s and The White Stripes are being championed.  Of course there is a lot more still: stunning solo pop; jazz and blues solo work, as well as electro pop tunes afoot.  It should perhaps not come as a bit shocker that a lot of range and challenging music is present in Yorkshire.  Between the inspiring and gorgeous landscapes, through to charming towns and cities, there is less hostility and suffocation, than in built-up areas such as London.  I have been trying to find a correlation between music productivity and quality, and location; arriving at the conclusion that where you are based and what is around you, has an affect on your output and inspiration.  It seems that the further north you travel, the best sounds you will hear.  Being based in the south I always try and defend the acts based here; yet feel that there is a bit of a glut and cessation of incredible music: perhaps a mass relocation is required?  Anyway, The State of Georgia are proving my point (about Yorkshire) pretty well; and it is the 'formation' and make-up of the band, that gets my thoughts racing.  In the market at the moment, new acts tend to be somewhat unisex.  By this, I mean that the groups are either all-male or all-female (usually the former); where as solo talent tends to be a little underwhelming or predictable.  By and large, if you hear a solo artist; their voice or sound does the talking: rarely both.  If you are faced with a band, their tones are a little predictable; lacking in any ethereal touches.  When I encounter female talent, whether solo, or with backing certain thoughts crop up.  I wonder about the song writing, and whether the themes will be deeply personal and predictable, or whether poetic and surreal elements will be introduced: think of Laura Marling as the current epitome of how this should be done.  Does the talent have the song writing chops of your Marlins, P.J. Harvey, as well as older idols such as Joni Mitchell, or will their lines and thoughts be too twee; too familiar, and composed of little focus or remembrance.  Another thought concerning the overall sound comes to mind- including the vocal performance.  It is too easy to copy the likes of Mariah Carey, Whitney Houston, Amy Winehouse and Adele: going for huge vocals and emotion, supporting lyrics that tend not to be overly quote-worthy.  It is a practise that is being done more and more; and with cockroach traps such as The Voice encouraging this sort of deplorable artistry; finding something captivating is becoming harder.  If you are more folk-influenced; acoustic guitar, twangy/gravelled vocals may be preferred; wrapped around sharp narrations of love and itinerant travelogues, taking in smoky bars, windswept deserts and smoky-eyed harlots.  Away from the compartmentalisation and balkanisations: the 'cool kids' competing against the 'U.S.-wannabes'; my ear and mind's eye always looks for something more haunting; more cerebral and much more affecting.  Finding such hallowed and rarefied sound is a challenge; but the rewards are so much more satisfying.  With the likes of Anna von Hausswolff turning in haunting epics and Kate Bush-esque anthems, people are turning their attentions and focus to this side of music.  If you are capable of unleashing a staggering voice; tying in U.K. and U.S. influences, and producing a majestic and mythical sound; then a great deal of fascination will be created.  If you are capable of doing this, and are based in Yorkshire; well, it sort of ties my two points together quite succinctly...

The State of Georgia consists of Georgia Jakubiak; the Siren-esque and alluring front woman and centre.  Augmenting and supporting her bewitching sounds are Dave Knowlson on  drums; Mark Crossley on guitar and 'Graingerboy' on syths.  Our heroine comes out of Leeds, and is a gorgeous and striking young woman; intelligent and likeable.  She is not your overly-cutesy or anodyne pop idol, nor the elusive and overly-shy folk artist.  With a confidence and passion for music, she is instantly relatable and populist; not giving too much away (in terms of biography), yet giving just the right amount away- ensuring that fascination and intrigue are sustained.  Mixing alternative pop sounds with ethereal and haunting movements, Jakubiak and her talented men are embodying a rostrum of new talent, whom understand the importance and relevance of getting a song inside of your head; and not letting it shift!  Like Sweden's von Hausswollff, whom mixes her Kate Bush-esque voice, alongside sweeping and anthemic organs and funereal moves; The State of Georgia have a similar eye for sweeping and epic songs, as well as more intimate and no-less-fascinating numbers.  Jakubiak counts Bush as one of her influences; putting her alongside Tori Amos, and the U.S.'s Regina Spektor.  Our heroine has a voice that you can compare to the aforementioned legends: she possess the same degree of beauty and otherworldliness.  This year has been a busy one for The State of Georgia, beginning with the release of the 10-track album Synesthesia.  The word 'synesthesia' relates to a neurological process, whereby stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway.  Sound-colour synesthesia transforms music and sounds into fireworks, colours and shapes; the individual experiences quite an overwhelming and memorable experience.  It is perhaps an appropriately-prescient name for the album, which covers huge territories over 10 tracks; sweeping and romantic strings (The Beast) mix with balletic piano (I Can't Help Myself); distorted vocals (Earth Angel) can be heard with Hound of Love-esque grandeur (Hitched).  There is barely room for breath; steps vary in terms of length and direction, and the abiding sensation is one of impressed breathlessness.  From Deaf Dumb & Blind's scattering and exhilarating opening rush, through to Harmony Song's multi-layered and haunting vocals, it is a record that is alive with ambition and potency.  Our heroine and her musical comrades do not let predictability become a factor, as each track portrays a different personality and projection; meaning that by the L.P.'s plaintive and captivating final moments, a great deal of longing is left, leaving one thinking: when can I hear more?  Deaf Dumb & Blind was released in December of last year, and has gained a raft of new fans for Jakubiak; whom is collecting a growing swell of fans through social media.  Live performances are being spoken of with sighs of delight, and a solid reputation is forming.  It is no small part due to the attention and passion that has been put into each song; the craft and solid ethic that has made each track memorable and unbreakable.  The State of Georgia have a knack for a memorable title, as well as a talent for an original and striking album cover.  On the cover of Synesthesia, our front-woman is drawn in black-and-white three times.  With one representation covering the mouth; another the eyes, and the third the ears, there is a lot of curious intrigue and mystery contained within.  Aside from red lipstick and red nail polish, the scene is awash with greys, blacks and whites and it is a stirring and intoxicating image; one that leaves you wonder what it means, and what was being said, considering the very studied and carefully-composed tableaux.  It is details like these, which most solo acts and bands negate, that gives Jakubiak and the boys an huge edge.  As I delved further into the nuances and layers of the album, it was the fourth track- Reaper- which compelled me to sit down, and take stock.

It is with a creeping, mood-setting arpeggio piano coda, that begins Reaper's intentions.  Displaying some of Kate Bush's sonic influence; in the way that beauty and tension is teased from the piano: notes stutter, flow and stop- creating a strange and striking atmosphere.  The capturing piano suggests a lot of what is to come; as well as building images in your mind.  In the way that the into. builds and seduces; flies and dives, there is somewhat of a romantic evocation- in my mind at least- that is rain-swept and cold; our heroine steps out of the light of a doorway; a perplexed and inscrutable look on her face.  The potency of the mood which the piano creates, summons up filmic scenes; dark and light paradoxes, and epic sweeps, all at once- without a single word having being sung.  It is the combination of 1985 Kate Bush, and the majesty of Tori Amos' From the Choirgirl Hotel: the seductive charm-cum dark-edged storm that embodies the title; causing an intoxicating aroma.  From the elliptical and tenderness of the piano comes quite a sharp rebuke.  We are presented with a pause; your ears strain, wondering what is coming next; and then it hits: a thundering and tribal drum smash that continues (toned down slightly), enlivening the senses and making you sit upright.  On Portishead's Third, the band juxtaposed the ukulele-lit track Deep Water, with the menacing and psychotic Machine Gun.  It is a shift that is quite as sharp, but from a calming and mood-setting beginning; the introduction of a pervasive and punching percussive smash is quite a (pleasant) surprise.  The drum and piano pair with one another; moving inside of each other's sound; augmenting the tension and beauty and keeping you hanging on- wondering just what is going to happen next.  After 1:39 of some masterful build-up that ranges from syncopated diving; a sudden track stop (worthy of Queens of the Stone Age); swaying and seductive breaths, and balletic dance.  You are pulled in all sorts of directions; as a projection shines from your mind.  The rain-addled street and its neon lights causes our heroine to run through the street; in the dead of night, searching for a shelter from the storm.  Reaching upon a charming but under-lit bar, she walks in; wipes the rain from her face, and approaches the barman.  The song has such an evocative sense, that when the opening line approaches: "I don't do things by halves if given half a chance"; a second scene begins to make its way to the brain.  If the enchanting intro. reminds you of Kate Bush at her very best, the vocal has a different sensation.  There are the breathy lows, yet Jakubiak is more composed; keeping her voice straighter and more serious, in order to make her words stick clear in the mind.  The lyrics switch between ambition and passion: "I play so we can dance"; and unflinching honesty: "I don't fear the reaper so I definitely don't fear you".  There is a strong and steely eye that our heroine possesses; she is someone whom wants to do what she does best, and not let anything get in the way.  Whether the governance of her dissatisfaction is aimed towards a lover (former or current), friend or whether it is purely fictional; a sense of conviction, as well as anger can be heard: the emotions definitely come from a very real place.  As with the rush that was experienced at the end of the song's intro, another explosion is elicited as our heroine asks: "Who ooooo do you think you are? ".  As firm and impassioned as Jakubiak's voice is, there is a sweetness and softer edge to it.  Where as Amos and Spektor are influences, our heroine has a similar quality to her voice; yet makes her tones and style very much her own.  The band are army-like in their assault.  Knowlson is consistently powerful and potent; able to keep a relentless pace going through most of the track.  The bass and guitar work is tight and solid; adding flecks of electricity and fire into the mix.  In fact The Cribs' Ryan Jarman plays guitar on the track, lending his reputable indie edges; adding an extra layer to the song.  When the "Who ooooo" codas are presented; Jakubiak elongates and coos; holding the notes and rising ever up.  It is when the line's second half ("do you think you are?") is delivered, that some U.S. inflection and shades come through; its sound and evocativeness has a mixture of the modern-day indie scene, as well as '70s/'80s female pop.  After the rush and persistence of the previous verse; where our heroine was filled with scorn and accusatory intent, another piano line is upon us; proving a sea change and calm (after the storm).  It is said that our heroine is "possessed by the devil of music", and she "won't stop 'til I'm dead".  The lines are delivered with calm; everything is matter-of-fact and composed, without the need for histrionics or over-emoting.  In the current scene of the female songwriter, there are few whom have a similar ear for conviction and potency.  Too many songs are either overly-twee or sedative: there are too few that actually invigorate and intrigue as much as Reaper.  For the likes of Florence and the Machine and Adele- contemporaries whom mix powerful voices with multi-layered compositions- their lyrics and themes usually stick too closely to love and first-person narratives.  Jakubiak and the boys back up the ghostly, echoed vocal (starting at 3:45) with a propulsive and spirited backing: crepuscular and stormy, with lighter edges.  Just when you think you are settling in for a calming ending, the haunting vocal ramps up to the point of bursting; before the chorus is brought back in; riding to the end of the song.  The overall impression that is left is quite indelible: the feeling that something genuinely memorable has been performed.  Like contemporaries von Hausswolff, The State of Georgia has a talent for building up huge atmosphere and emotion from the very beginning.  Where as the Swedish counterpart employs organ and a Gothic crawl, Jakubiak uses piano; weaving and tempting notes out.  The lyrics are diverse and original; drawing in a sense of rebellion and steadfast.  The chorus- with its acidic finger-pointing- is perhaps the most memorable facet, employing a catchy pop sensibility, yet enlivened with the mystique and flavours of Jakubiak's idols Regina Spektor and Tori Amos.  The composition is completed with power and strength; tenderness and feather-light which combined and juxtaposed, creates a big impression.

Reaper is a track that takes your thoughts to some rather unique places.  My bar/heroine/stormy tale sticks clear- though I am not sure of an ending.  The song's strengths lie in the way that it can remind you of some of the '70s and '80s greats; mix it together with a modern relevance, yet have a very unique and original voice: one that deserves to be heard and heralded widely.  The State of Georgia's Synesthisia is chocked to the brim with myriad sounds and diversions; packed with nuance and memorability.  Jakubiak is an impressively strong talent, whom mixes intelligent and sharp lyrics, with an educated ear for melody and evocation.  Her voice is striking: lilting and seductive when required; able to rise and belt in the upper reaches, which can be ranked amongst some of the best voices today.  The album will stand up to a lot of repeated listens, and shows a young woman with an ambitious agenda.  Her band are by no means second fiddle.  Each member is tight and professional, able to inject a huge amount of mood and colour into the palette.  I was especially pleased by the percussive work in Reaper; synths and guitars come alive and at the forefront throughout many tracks; and guitar, bass and piano have their moments to shine throughout.  For all the hoopla surrounding current and established talent from Kanye West to Laura Marling; it is nice to see a new act whom are capable of stealing your attention.  The State of Georgia fill a niche in terms of their sound and range, and have turned in an album with no filler: just challenging and great music.  For too long there has been a reliance on giving too much airtime and consideration to the undeserving.  The U.S.-named; Yorkshire-based talent will be busy throughout this year; and I hope that another album is in the back of Jakubiak's thoughts.  For now, take in the power of Reaper and investigate The State of Georgia further.  It is music that will speak to everyone, yet...

BE equalled by few.

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BandCamp:

http://thestateofgeorgia.bandcamp.com/album/synesthesia

Facebook:

https://www.facebook.com/thestateofgeorgia

Twitter:

https://twitter.com/stateofg

MySpace:

https://myspace.com/thestateofgeorgiamusic

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The Technicolors- Sweet Time- Track Review

Track Review:

The Technicolors 

Sweet Time

9.5/10

Sounds awash with musical sophistication and a blend of incisive song writing, and rock swagger- mean the Arizona four-piece will linger long in the memory.

Availability:

Sweet Time is available at:

http://www.youtube.com/watch?v=Gz47Fde2AJM

The album Listener (Deluxe Edition) is available at:

https://itunes.apple.com/us/album/listener-deluxe-edition/id571243587

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SOUNDS and sensations from the U.S.A. are subject to a rigorous...

inspection at border control and customs.  For the serious music lover, as well as the casual observer, we in the U.K. need a varied diet, in order to grow and tempt the palette.  The majority of sounds and acts that we are subjected to, tend to be British- with a few exceptions here and there.  Whether it is northern rock and indie; Yorkshire swing and electro pop, or London-based urban grit, most of the focus still errs in favour of home-grown talent.  It is understandable that it is near-impossible to keep an eye on all of the new bands and acts springing up throughout the world; yet emphasis should be placed on quality; and by broadening one's horizons, a great quality can be found.  It is quite obvious that the U.K. has its share of potential future-stars.  The ambition and intention is all there and in place, but for every act that promises some fascination and closer scrutiny, there are a mass and horde of similar bands and solo artists, whom have very limited appeal and stock.  A big problem that our musicians have, is that ambition and potency are passed over, in favour of force or diversity.  Too many rambunctious and fervent indie acts are present on the scene: we can do with quite a few less in all honest.  A lot of acoustic solo acts are around, and there seems to be an influx of rock/indie bands that tend to sound like one another.  Once you form a band and put out an E.P. or album, or whatever you make as your first move; importantly, you have to do your research.  Being in the position I am in, I am able to draw a Venn Diagram of 'likeable acts' and 'challenging acts', and tell you which (of the seldom few) names forms the intersect.  I can also tell you which of the new acts, sound like another act.  I tend to find that after a little while, an indie/rock act from Manchester says more-or-less the same as an indie/rock band from Wales.  The songs may have slightly different themes, yet the abiding sound and tones tend to be too close for comfort.  It is those groups whom are willing to be different, and toy with genres; mix sounds and influences; as well as push the creative envelope, whom gain the most impassioned regard.  Over the last few months there have been a fair few acts that have understood this.  From some '50s doo-wop and swing sounds of Yorkshire, through to stoner rock-cum-psychedelic movements from Scotland, it has been a pleasure when discovering unexpected joys.  The U.K.- as impoverished and struggling as we are- can still pull out all of the stops and inspire the young musician.  We have the proud history and past glories to draw from; inject them into some modern-day motions, and elicit a fascinating and heady brew.  The overall and worrying issue that I can see, if that there are few international and foreign influences to be heard in this country.  Occasionally publications like The Guardian will point to a new European or Australian act; I may happen upon a group from Canada; and be compelled to read more about them; but by-and-large there is little consideration given to acts outside of the U.K.  It seems quite insane when you think about the predicament we are in.  With Twitter and Facebook giving so many people, the chance to connect with so many other people; it seems so easy to do it there.  Yet when it comes to music: connecting the fan to different bands; reviewers to international flavours, and such; here we have the big problem.  It is axiomatic that there are some phenomenal treats to be found throughout Europe, Australia, and beyond, yet how will we ever hear about it?  One day I will figure out a way to galvanise the social media strands, and evaporate the balkanisation that exists; creating a source where bands from all countries can find a willing audience.  It seems simple!  On the website, we have a big map of the world.  If you want to find a band from a particular country or city you would click (the city or country) on the map.  From there you can funnel the results by genre, and find a list of the bands and acts present here.  Or, if you want to do the reverse, and search by genre or acts that are influences by X, Y and Z; you would be able to find out that way; having various sections of the map highlighted accordingly (so you could then narrow down the results yourself).  It seems like such a time-saver and would not only make people like me a lot less anxious and perturbed; but would assist the songwriter- like me- find band members and influential contemporaries.  I sigh and rant of course; yet my point seems to be relevant and of-the-moment.  If I hadn't come across The Technicolors via Twitter- quite surreptitiously mind you- it is debatable whether I would have come across them so soon- a fact that annoys me greatly.  Anyway, circling back to my mind thesis: we (in the U.K. and beyond) and missing out on a lot of talent, from a fertile and prosperous musical landscape...

To my mind, it is the U.S. which holds the most weight, in terms of the best non-U.K. music.  From the Midwestern territories, through to L.A. and Seattle, along to New York and New Jersey; it is a nation that promises even more than our very own.  Over the last 60 years or so, the U.S. has produced some of the greatest music ever.  The best lyricists, most daring acts and most impressive current bands all emanate from America.  With the proliferation of social media, there is no real excuse for ignoring U.S. acts and bringing them to the ears of us here in the U.K.  As much as there is a homogenised scene and stifled ambition at our shores, the Americans seem to have a lot more clout and mobility about them.  The Technicolors are a four-piece whom have struck upon a rare combination.  For all the acts out there that have rock swagger; and all those whom have a sharp ear for classic song writing; there are few that marry the two, to proffer a stronger whole.  Brennan, Michael, Nico and Kevin hail from Phoenix, Arizona: something that may confound many in this country, and bridle them somewhat.  Territories like Nashville are only apparent to many, due to the music scene, and many here will not even know where Arizona lies; and what significance the state has.  Apart from the likes of Authority Zero and Dead Hot Workshop, the state has had its fair share of musical representation.  Towns and cities such as Tuscon have given us a lot of punk and indie music, from The Bled right through to The Deadbolts.  Phoenix, however, is a positive mecca for musical innovation and potential.  From the '80s hard-core punk scene and the likes of Meat Puppets, through to more modern-day bands like Jimmy Eat world, Phoenix has seen a great many bands rise from the city's embers, and inflame the music world.  The hard-core punk scene, as well as metal have been prevalent and well-covered: a wide range of genres are represented and given fair assessment; and given Phoenix's proximity to California and the Western Coast; it is not surprising.  A lot of Hispanic influences are experimented with (as New Mexico is a neighbour), and bars and joints from Albuquerque to Santa Fe are inspiring Phoenix bands.  The Technicolors have an appreciation for the local scenes, and have kept some punk and rock cores; blending that with sharp and intelligent song writing.  Inspired by the likes of George Harrison and Roy Orbison, the band have an appreciation for British influences such as Led Zeppelin too; meaning that they will have a natural second home over here.  The band's 22-year-old front-man Brennan Smiley produced the band's album Listener: a concise and authoritative record that shows the bands strengths and ambitions.  Throughout 2011, the boys spent a lot of time playing in Arizona: enthralling the native crowds, and honing their sound.  Bringing their big songs and big sounds to tiny bars, their reputation grew; many were enthralled by the sheer volume and passion of the band, which soon saw them in demand in California.  The young band divide their time between touring and recording: dedicating little time to taking breath; devoted as they are to the art and business of music.  They are aware that you need a relentless work ethic and a tireless energy in order to succeed, and this has contributed towards the respect and adulation many hold for the band.  A wide range of influences go into their song writing: defined by quotable and insightful lyrics and brilliant swagger and beautiful melodies.  Bruce Springsteen, Thin Lizzy and Tom Petty are key idols for the guys, and a sense of anthemic punch and stomp can be drawn between these legends and The Technicolors.  More modern idols such as Oasis are important for the quartet, but a majority of their heroes played in the '60s and '70s, and were defined by their brilliant song writing.  The band's debut album has been described as: "The result is a mature collection of effervescent rock songs that echo late night summer drives as a young vagabond who doesn't focus on the destination rather choosing to enjoy the journey at hand".  The track- and single- Sweet Time has been garnering a lot of praise and consideration; being seen as a typical slice of quality from the band, whom seem incapable of putting a foot wrong.  The song goes to highlight the band's mandates and ambitions: deftly weaving together tiny hints of influences; but very notably bringing their unique and original brand of music- fresh from Phoenix, to you.

Sweet Time begins with a rush and swagger, that proves its intentions straight from the off.  With a scintillating and sexy riff, which has some classic blues edges, as well as some early-career Oasis, it is an intro. that is hard and passionate, and will get you standing to attention.  When the percussion joins in on the act, it begins composed and measured; adding some weight, yet not encroaching too much or seeming too intense- it is a blend that shows shades of Led Zeppelin, circa Led Zeppelin IV.  In just over 20 seconds, a lot of ground- both musical and emotional- has been covered; and a solid base has been formed.  When our front-man makes his presence know, his voice is authoritative, yet relaxed: it is has a cool, laconic edge; an original and striking voice that has the delicate wisps of Liam Gallagher and Gaz Coombes, yet does not remind you too much of either.  Initial thoughts show some doubts and implore: "Last night I just about took your hand/I wish I would".  Certain words are elongated; others given special consideration; bringing the words alive and adding emotion and relevance to certain sentiments (the word "brilliance" in the 3rd line is a particular example).  If you beat and swing of the song portrays a band with some classic roots- where bands would not perhaps have the strongest grip on lyrics- the simplicity and intrigue that The Technicolors summon up, show a band whom can give the best of both worlds.  For all my talk of the song having some classic and bygone roots, Sweet Time is a track that seems very much of-the-moment: fresh and electric, with themes that are as relevant today as they have ever been.  From the initial bursts and rush that the group whip up, they take the pace down, allowing our front-man to show his softer side.  With a delicate and quivering falsetto, it is said:  "It's alright if you don't quite believe me/But only if you come a little closer to me"; the words are delivered with conviction and dignified restraint.  In the way that kicking swagger-cum-sensitive edge blend seamlessly; gives the track a ready-made mobility, that could see it scoring a tense, taut T.V. drama, or a U.S. comedy-drama.  The pervasive sense of bidding time ("I'm right here waiting to breathe"), and waiting for the girl to make her moves and mind up; are augmented by dirty and licking riffs, tight and solid bass, and clattering, punchy drum work.  Our front-man's voice is not limited to the potent single thread of sheer power: it has an impressive high; notes are bent and sparked, and the sense of movement is unerring.  It is unsure who the object of the song's affections is, yet she is causing quite a stir in our hero's heart and mind ("So take me if you please/Yeah I think you should").  It is clear that there is a little hesitation in the heroine's mind, regarding commitment and making a move.  Our hero is standing firm and waiting for her: the song's title seems to be delivered with a carefree abandon (although whether sarcasm is intended, I apologise).  The hallmarks of a great band, and a great song, is the ability to mix mystery with directness; marrying hypnotic sounds with delicate and softer touches.  The Technicolors have a knack for blending these facets together effortlessly; the abiding sound is alluring as well as to-the-bone.  If the nature of the vocal confidence, as well as certain elements draw your mind to the shores of Oasis; then it is the barbed riffs that will take your mind away from the Manchester boys.  Whereas Oasis had a habit of 'borrowing' heavily from past master such as T-Rex (with regards to riffs), our Phoenix boys have a far stronger originality.  The guitar sounds are rooted in the U.S., and have a combination of '70s style and modern-day bliss: the result is unexpected as well as exciting.  It is always a difficult and precise job, when it comes to lyrics.  Too many bands use too many words; fewer use too little.  The Technicolors do not employ too many different thoughts, instead repeating lines like "If you hold your breath" and "come a little closer to me": making these sentiments stick in your head, and project vivid scenes as well.  Sweet Time's strengths lie in its structure.  The initial moments of the song are bustling and stuffed with energy.  The song gradually defragments and becomes softer, so by the closing stages the track has more of an indie flair.  In the same way that Elbow's One Day Like This ends with its infectious coda ("Throw those curtains wide/One day like this a year would see my right"); Sweet Time has a similar epic and stirring finale, anchoring the notions: "If you hold your breath/Then maybe you'd see I'm right here waiting to breathe".  The delivery is given a considered approach; the boys still keep the mood invigorated, but a touch of romantic longing and heart-tug are to be heard.  Our hero has a voice that aches and implores; strikes and hugs, and that combination of soft and strong gives the song an extra layer of effectiveness.  By the closing stages, the tale has been told, and one wonders whether the situations are resolved.  The anonymous girl is being spoken to, yet one wonders whether the words made their mark; did things work out in the end, or are there lingering questions marks?  Such is the strength of the track, that it leaves you wondering; but you are satisfied with either explanation, as the charm and smile of the track wins you over.

Many will reach for Oasis comparisons, declaring the song has a '90s feel; yet there are bits of Wolfmother in the vocals too.  It has been a comparison that many fans and reviewers have made, yet it is not an overwhelming issue; it is not something that you will keep jumping to.  One of my pet peeves is a lack of originality: bands and acts that tend to just want to copy someone else out there.  The Arizona quartet have a long and varied list of idols; and in the same way that some of Led Zeppelin's 1970/'71 work can be heard in places (predominantly in the intro.), likewise it is not too heavy-handed or pertinent.  The group have a fond and dedicated passion for music; combining swagger with intelligence and consideration; so it is only natural that some familiar shades will be detectable.  Above all, the sounds and spirit of Sweet Time, have a unique and valuable sound, that shouldn't be cheapened by too-obvious comparisons.  The Listener album expands upon the bands mandates; stretching their sound and adding all sorts of different colours and moods into the pot.  The guys have a huge following across social media- a regard that is not purely U.S.-born.  Many other nations and sectors are latching onto their appeal, and becoming assimilated with their sharp and memorable songs.  The swaying and potent riffs and compositions will appeal to the modern-day indie/rock fan, as well as champions of '70s and '90s greats.  Intelligent and sophisticated lines will strike a chord with those whom favour cerebral edges to their music.  When you join the two- perhaps polemic- strands, then (as well as it being a rarity), a whole wave of fans are won: both young and older.  I naturally assume that the future for the band will see another album(s); as well as a lot of touring.  The boys have a sound that will seem second-nature to the U.K., and I hope that they play a lot more over here.  It is the likes of Australia, South America and Europe that will also clasp the band's motifs to hear.  The sounds will be familiar to the inhabitants here, and The Technicolors will have a ready-made audience waiting- providing that the media can spread the word effectively, and help give the boys their dues.  It seems that a majority of the U.K.'s new bands are favouring heavier sounds: forgetting about aspects other than potent projection and rock stomp.  In that sense, there is a bit of a stagnation happening; one that is crying out for some international assistance.  The U.S. is probable the largest music market, and is possibly the fastest-growing market too.  It would be great to see The Technicolors ply their trade in the U.K., and bring their blends here.  With so much emphasised put on young bands and acts here, some U.S. talent would ease the burden for our fledgling artists.  The four-piece are going to be around for some time, and it is probably wise...

TO grab tight, and let their music take a hold.

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Official:

http://thetechnicolors.com/

Facebook:

https://www.facebook.com/thetechnicolorsmusic

Twitter:

https://twitter.com/TheTechnicolors

SoundCloud:

https://soundcloud.com/the-technicolors

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The Castro's- Cracks- Track Review

Track Review:

The Castro's

Cracks

9.1/10

Liverpool's four-piece have an energy and excitement, that is almost near-forgotten in today's sounds; and could pave the way for big future success.

Availability:

Cracks is available at:

https://soundcloud.com/thecastrosuk/cracks

The E.P. Roads is available at:

https://soundcloud.com/thecastrosuk/sets/the-castros-ep

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LIVERPOOL and the band market at the forefront of my mind today.

For a long time now, I have been suggesting/banging on that there are issues with new music- depending on what region that act originate from.  This year, I have seen a resurgence and rise from Scotland; the likes of which has not been seen: it appears that the best and brightest are to be found in Scotland.  The freedom to roam; lack of city constraints, and a blasé attitude of the media, has given the talent here room to move; as well as a desire to impress.  Focus seems to be honed on London: it has been for decades now.  With every passing month, the media waits with baited breath, watching to see what wonderful music the capital will produce- yet it never really seems to materialise.  I shall not riff on my over-worn theme, but it is still noteworthy that there is an obsessive need to put London above every other region.  With an expanding market, that largely consists of bands, in all parts of the U.K.; differing and diverse groups are springing up.  Manchester has produced a great deal of these new acts, but to my mind, the talent there seems to be stuck in a rut: with a lot of the bands hanging onto another group's influence.  The swathe of Arctic Monkey/Oasis-type bands has left be a little annoyed frankly.  I appreciate the appeal of these bands; and find that they are going to be relevant for many years to come, yet do not see the point of emulating them that closely.  Originality and diversity is as much an issue now as it has ever been.  During the '90s there was some over-familiarity; yet when you consider the range of music, it is alarming at just how much was on offer.  With the likes of Oasis and Blur doing battle, Britpop's warning parents were inspiring like-minded acts to strike up their own majesty, with the likes of Suede and Pulp churning out some unbeatable anthems.  Dance and trance music was being cemented and solidified.  Massive Attack were creating dangerous and exhilarating sounds; fusing genres and producing music that will remain timeless.  Those boys paved the way for late-'90s/early-'00s dance and trance artists such as Spiller, Sonique and Groove Armada- as well as a liberal assault of one-hit wonders.  Legends and older idols were still going strong, and pop music in general was in a good state.  Bands were capturing the spirit and fever of the time, and infusing that energy with relevant shades of the past: drawing in some '60s majesty, as well as '70s and '80s touches.  Today, we the public- as well as the aspiring musicians- are faced with a bit of a glut.  It is the more established acts whom are producing the finest sounds, and the new act are faced with daunting challenges.  Because of the comparative lack of excitement, difference and epoch-defining music, the overall scene is stuck somewhat.  There is a diversity; yet not one that contains as many dissociative and unique strands; but worse still, is that the ambition is not there.  With the sheer number of groups (as well as solo acts) forming- seemingly there are several dozen new bands by the week- there are artists out there, whom are capable of instilling a sense of resurgence.  When we look to cities and towns where this may happen, one consideration has to be Liverpool.  Whilst Manchester is lacking behind Yorkshire and Scotland's diversity and potency, Liverpool is making waves.  From the early-'60s, when the likes of The Beatles called it home, the city has been capable of turning out some gems.  Through The Zutons, The La's; right across to Cast, Lightning Seeds, as well as Miles Kane and The Coral, Liverpool (as well as The Wirral) has been at the forefront.  As well as producing some of the best acts of the '90s, and '00s; the city is playing host to some of the strongest acts of the moment; those whom are capable of bringing about a sea change: dragging music back to the '90s, when it was genuinely inspiring and exciting to hear what was on offer.  I'm not entirely bereft of compassion for current music- far from it in fact.  It is just baffling, that in a year that is modernised and developed as any we have ever seen; with the resources and retrospect on hand; that so few new acts are making huge impressions.  I have theorised that the sheer quantity of numbers has been responsible for distilling and subjugating a lot of potential, yet it seems that there is still opportunity.  As well as a lack and unfocused media scene, poor and under-used chains in social media; lack of appropriate music sites, and a repressive market; it is a tough chore for sure.  If you hold out long enough, you find some potentiality.

The Castro's intrigued me, by their name alone.  I am never a huge fan of bands that begin with 'The': there have been too many past, and too many present.  That said, The Castro's- with their intriguingly-placed apostrophe- do draw images to mind.  If you Google 'Castro's' you will get some 'interesting' search results; and to my mind it sounds like a Cuban bar or curious haunt one would find in the underground of London.  Evocations of dark and smoky doorways, strange-looking patrons, and a red and blue neon lights bring to mind a charming, if volatile location.  Cigars would be on tap; Latin music would be on the jukebox; and bearded barmen would nod as you walked in.  Perhaps I am over-thinking things, but the band's name, as well as their music (and song titles) draw to mind so many oblique and filmic images, that they create fascination with nary a note being elicited.  Our Liverpool quartet, consisting of Mike, Peter, Daniel and Oliver have the classic formation: each member has their instrument and does their role; keeping a true and rock/indie sound at their core; whilst never over-stuffing their sound with needless wallpaper or trinkets.  Perhaps it is Fidel Castro's ethics and ethos that has inspired about a comparative musical drive and aggression.  The boys have been heralded by critics, whom state that their sound is ahead of its years; their live performances are tight and energy-packed, and they are a group whom are ear-marked for future fame.  On their Facebook page, the four-piece claim their interests include 'Music, chicken, drink & girls'.  Maybe my Cuban-themed bar parable is not too far-fetched: the boys seem like they would be right at home there.  The list of influences that the band have, is wide and varied; including the likes of Gary Numan, Kasabian and The White Stripes.  It is the variations and energies that the different influences have, that The Castro's infuse into their sound.  Over the past few weeks and months, the boys have been busy indeed.  The E.P. Roads, has gained a lot of attention and praise.  A sense of keen design and imagery is important to the guys; their covers are awash with quaint and humorous imagery: Cuban themes, charming scenes, and plenty of appeal.  Their songs too possess such strengths and swathes, and it is these pillars that has seen them build a sturdy foundation.  The E.P. 3 tracks surmount and capture the band's ambitions and sound perfectly; whilst paving the way for some exciting future moves and potential.  Whatever axiom, aphorism or statement you can levy at the band, the one thing that rings true, above all else is: how tight and alive their music is.  It is a component and facet that is not overly-evident in the current scene; and something that should be noted by any up-and-coming band/act.

Roads' second track Cracks, is a song that spares no time in getting under the skin.  From a frantic and tumbling percussion clatter, it kicks off straight away, sparking with energy and invigoration.  The drum beat has a jerking and dancing energy; and when the guitar joins the scene, the combination provides a big rush of excitement; providing a memorable and striking intro.  With a brief hint of debut album-Arctic Monkeys, the sound has indie roots, and marries the quality of the Sheffield boys, yet contains its own drive and potency: something that a lot of Manchester-based bands have neglected to do.  The guitar rattles and rumbles, rising and braying at intervals; backed by bass and percussion which are solid and foreboding too; with so much relentless force and energy, that a calming vocal influence is needed.  When our front-man comes to the mic., his voice is strong and infused with a natural energy, yet never overwrought.  Themes such as "we've got nobody" are unveiled; our hero and an unnamed companion also are not making problems for anyone either.  It is the sheer rush and momentum of the track that grabs you; as the guys keep the mood very much alive throughout.  Our front-man sings with confidence and conviction, and has "nothing to lose".  I suspect that the theme and intention of the song is to portray a relationship paradigm.  An anonymous beau is present in the song's themes, standing beside the hero: the two of them fighting against the world and fending for themselves.  Ward's voice has tones of the U.S.; both present and past, and tying that together with a sonic rush that is very much U.K.-based, the combination is very affective.  His voice has some shades of Eddie Vedder and his Pearl Jam work.  There is a similar sound to the voice as well as a comparative passion and strength.  Ward's fellows give a sense of urgency and electricity through, providing a rampant and overwhelming roll and rock throughout.  The key themes and mandates about having "nothing to lose"; and having "nobody" are employed throughout, providing a sense of anxiety as well as free-spirit, that at once has you rooting for the front-man and his plight; and at the next wondering where he is going and what will happen.  If there was ever a sense of uncertainty and doubt in some of the lyrics, then the way that they are presented, give the impression that there is little fear or reticence in our hero's heart.  The Castro's do not waste words or change course needlessly, keeping true to the song's core and making sure that the words strike you hard, and stay with you.  The song is a little over 2 minutes, and it leaves you wanting more.  From an intro. that throws so much weight into the pot so early on, the pace and energy never abate; instead the song has elements of Grunge and Detroit blues rock; where artists would never let the momentum drop: think about The White Stripe's Fell in Love with a Girl.  There is a little bit of eponymous- album- The Libertines, as well as Pearl Jam, yet there are only the faintest of touches.  Above all the song does not stand on anyone else's coattails; choosing boldness and originality as the key themes.  The track wins you with the tight and focused composition.  Each of the boys are superb and unwavering, and give the track so much muscle and spark; backing up our front-man whose pure tones and gravelled edges add emotional weight into the mix.  If I had one reservation it would be that, at times,  the vocal was hard to understand, and some of the words got lost.  Whether it is a production issue, or the sound around Ward became too imposing I am not sure, but it is a tiny niggle.  The merits and huge strengths of the song, far outweigh any drawbacks at all, and Cracks is a song that, as mentioned, will leave you wanting more of the same.  The band tease the listener by not expanding it out, yet if it were any longer its impressions would not be as large: thus ensuring that the absolute perfect balance has been struck.

I am always encouraged by bands that are willing to be different, as well as ambitious.  Too often one or the other are achieved, and the second is neglected.  It seems that Liverpool has a similar ambition to that of Yorkshire and Scotland, with regards to producing the brightest new talent.  There seems to be little restriction or barriers that are being faced, and the bands and acts are showing that it is possible to make great music; without having to compromise, or pretend to be someone else.  The Castro's reputation is growing, and it is not surprising to see why.  Their live performances are packed with power, energy and authority, and the band are tight and memorable.  Their sound is not one that you will hear a lot.  Indie and rock movements are being made, but it is the way that different sounds and styles are seamlessly fused; creating a stunning whole, that is very much belonging to our four-piece.  A future of stardom and vast popularity awaits, and it would be good to see the guys take on an L.P.  It will be intriguing to see what they would do with 7 or 8 tracks more.  Vedder comparisons are not unjustified, and whether there would be any emotional, yet epic anthems in the boys' back pockets, is to be seen.  They would be able to enliven the scene, and keep their fans dedicated and excited with such diversions, but of course the choice is all theirs.  The band market is becoming more packed by the week, with each competitor promising much: with very few managing to remain in the mind for too long.  Our boys have laid some impressive groundwork, and will be building on it this year.  Their E.P. is abound with confidence and ideas, and shows that they have plenty of options when it comes to future releases.  I hope that I get to see them as well, as their live reputation has been well documented.  Summer is going to promise meteorological and musical uncertainty; so it is best you do yourself a favour; not be fair-weather, and stick to a group whom will always...

GIVE what  the public want.

________________________________________________________________________

Facebook:

https://www.facebook.com/TheCastrosUK

Twitter:

https://twitter.com/thecastrosuk

SoundCloud:

https://soundcloud.com/TheCastrosUK

YouTube:

http://youtube.com/thecastrosuk

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Everywhere- Eddie- Track Review

Track Review:

Everywhere

Eddie

9.2/10

Swedish quintet offer up wave-breaking percussion, delicate piano; set to themes about 'a plan that completely backfired'.  Intrigue and fascination follow.

Availability:

Eddie is available at:

http://www.youtube.com/watch?v=gKBTtOW7vMQ&feature=youtu.be

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BEING one that does not subscribe to, or believe in a predetermined...

universe, predicting musical trends and sensation is a hard task.  I have always erred on the side of caution and pure science.  As much as I believe that the world is determined by random events, and there is no control over people's action- there is no fate, destiny, God, or karma- things that happen in the future are impossible to predict, and dictated by human events and interaction, not some predestined structure or path.  There are some that stick to falibilism; some approximation; others agnosticism, but for me, it is insane to think that everything has been worked out in advance.  It is a cosy theory to believe in fate and destiny; thinking that everything that occurs- be it bad or good- was meant to happen, and it will lead to bigger things.  Being one whom has had a lot more bad occur in his life, reality and logic beats those kind of theories clean out of you.  I have no time or consideration for people whom stick to the notion that things happen for a reason, and control is ultimately down to a higher being or force; not human beings.  It is a naive and flawed assumption, and has massive holes that you cannot ignore.  Truth, and to a lesser degree, solipsism are the best courses of belief, as they offer facts and certainty, rather than theories and uncertainty.  If one lives their lives in control of their own future, and does not hold out for some cockamamie idea of a higher power or spiritual force, then things will be a lot better for everyone.  This is a paradigm that can be applied to the music business.  There seems to be an unbinding sense, amongst media, critics and fans, that great new music is the result of a predetermined path; that the current state of music is pulling strings, and causing a wave of new and exciting talent.  Too little consideration and wisdom is being applied to hard work, and a solid work ethic.  Music, as much as any industry, is subject to a great degree of fickleness and volatility.  Fans change their mind and opinions with each blow of the wind; critics can raise a band on a pedestal after hearing their debut; knocking them into a tar pit upon its follow-up.  Unrealistic expectations, ridiculous standards and belligerence seem to dictate the mandates and themes of modern critics; each of whom never seem to be satisfied.  A lot of the problem with current music, is that the first moves are often underwhelming and unambitious.  In 2013, after decades of varied and diverse music, it is not good enough to simply be cautious or even great- thinking that that will get you noticed and highlighted.  Too often I have felt that new musicians thing that the universe will look after them; that because they put effort into their songs, naturally that will see them through.  As will success in life, musical plaudit relies a lot of genetics as well as luck, but above all, imagination, incredible hard graft and determination is needed.  Acts and solo artists will be buried and forgotten about if their sapling moves are not spectacular: how many of the greatest albums of this year were made by brand-new acts?  International air, and a welcoming landscape goes a long way to fostering creative brilliance, and a sense of movement.  I have encountered a lot of U.K.-based acts that have suffered from reduced imagination and potency, because of the stresses and anxieties of the city.  London is not producing a huge host of great music, in part due to the bustling and vulnerability nature of the city.  It is not a coincidence that the best music (in the U.K.) emanated further north; into Scotland, and more arable and less congested climbs.  If a busy city is willing to support musicians and provide them inspiration, then great creativity can be fostered.  New York artists such as Sophia Bastian and Chalk And Numbers are based in New York; enlivened by the huge array of music cafes, bars and venues the city has to offer: this leads to a resurgence of creativity and determination in them.  I feel that London, and even Liverpool and Manchester are not making great strides to inspire inspiration and creative energy; where as other European neighbours are.

Sweden is a fascinating country, that is an ideal location for the struggling or new musician.  Aside from the busier locales, the nation has inspiring landscapes and gorgeous scenes, that can invigorate and relax.  Hailing from Stockholm, Everywhere are a band that are proving my points.  Although they emanate from the nation's capital, there is no sense of anxiety about their ambitious and sound.  They have worked hard and fervently to put their music together, and haven't relied on existential force and guidance; choosing to knuckle-down and work hard.  The band are noted for their uncompromising desires, and the boys strive to hit hearts and minds hard.  The five-piece are looking to redefine the term 'indie'; taking it away from its current definition: bands that can portray interesting sounds, yet seem to be lacking punch, imagination and diversity.  The band consists of front-man Max Berga; pianist Filip Severinson; drummer Alexander Heige; Marcel Karlsson on lead guitars, and Mikael Ingegaard on bass.  One gets the sense that a huge amount of time and effort has been spent honing their sounds; and it is perhaps not surprising that recently the group have supported Palma Violets and Django Django.  I have witnessed a great raft of European talent coming through lately, from Everywhere's countrymates Club 8- with their bright and infectious disco gems- through to some great folk movements coming out of EIRE.  There seems to be a different set of rules and expectations in Europe, as opposed to the U.K.  Here, due to the huge mass of new acts, there tends to be less need to redefine genres and lazy tributing; too many bands and artists that sound exactly like someone else; too few spectacular and epoch-defining sounds; and above all, poor bonds in social media.  Often I have stumbled upon a great act by accident.  In an information age, there is still a great weakness when it comes to connecting bands and fans; reviewers and great music.  There is no one website that offers an extensive and unimpeachable connection between music and fans; and none that offer connections for a new musician, hoping to recruit a band.  It is wholly achievable and feasible, yet has not been achieved in the U.K.- and it really does not to happen soon.  Also here, critics and a lot of band managers provide little long-term care to a group.  Many acts get lost in the cracks, as fickleness and lack of consideration take effect; managers, labels and representatives tend to put initial effort in; yet seem less concerned with taking care of their artist, and ensuring that their every step is watched carefully.  Our Swedish wonders have a terrific label and management behind them, and have not been buried amongst a wave of new acts and artist, each trying to claw their wave to the surface.  This lack of subjugation and pressure has made them focus inwards; concentrating on their sound, and driving themselves to achieve and win over a large fan base.  Reviewers have noted, universally, that their sound is incredibly tight and focused; and that their live performances are spectacular and memorable.  Their tracks tend to be original as well: in terms of theme and sound.  Too many bands paint generic pictures of love-gone-bad-what-shall-I-ever-do? themes; bereft with mundane platitudes and pedestrian lyrics.  Everywhere have a keen eye for sharp lyrics, drawing in personal experiences (that differ from the norm); tying it together with their electrifying sounds and colours, to create something striking and bold.

The history of Eddie is an interesting one.  Berga wrote the song, after his girlfriend got sucked into the murky and cut-throat world of fashion; basing the song around her events; where she was (unfortunately) 'used and abused'; resulting in a 'plan that completely backfired'.  The track was recorded within the majesties and uncertainties of Los Angeles: a city that is a popular destination for recording artists, in terms of inspiration and incredible recording facilities.  Our song in question begins with some rather pervasive and persistent drums; joined with distorted and ghostly guitars, and taut bass.  I detected some hints of early-career Supergrass: a mixture of I Should Coco and In It for the Money's adventurous spirit, with a little of Supergrass' brooding nature.  Where as a lot of bands would begin with clattering, noise and as much punch as is possible, Everywhere sprinkle the mood with subtlety, delicacy and an ever-building weight that gets stronger and stronger.  Atmosphere is summoned and a sense of mid-late '90s alternative rock, mixed with some modern-day indie styling; mix beautifully.  The intro. provides anticipation and intrigue; you are never sure what is coming next; compelled as you are to hang on to every note.  When the vocal comes in, it is not rushed or overly-urgent- it is begins restrained and brooding.  Our front-man tells of "All this time spent with you"; his voice dripping with conviction and intent, recalling that it has been worthwhile, but also "so frustrating". The thoughts and evocations are supported by that percussive flair, which works away in the background; unflinching and perseverant, eliciting a solid and weighty strike.  Tension builds in the track, as our hero says: "Show them what you've got"; which invariably involves a striking message:  "Take your skirt off".  As the song is inspired by our front-man's ex-girlfriend, and her ill-advised foray into fashion and modelling; your mind is taken there: on a studio floor, in front of cameras, a reluctant and nervous woman being ordered to 'perform' for the camera.  Berga's voice has an emotional weight to it, where you are not sure if he feels sympathy for his former love, or a little contempt: there is a matter-of-fact poker-faced quality initially that adds mystery to the words.  Just as you are enveloping your senses in the measured calm and seduction of the music, the chorus explodes into life.  Berga's voice growls and ignites, proclaiming: "Eddie!/Get out of here!", his voice trembling slightly; now bursting and bellowing with emotion and foreboding.  The band are up to the task as well, infusing the mood with rumbling percussion, tight and measured bass and guitar, and impassioned piano.  As it is advised that the ill-fated heroine: "Go hide your tears", the band whip up a sparkling and heady gallop that digs and wallops in equal measures.  Berga has some refreshing influences- intentional or not- in his vocal tones; bit of early-Placebo as well as a hint of Ash, mixed with up-to-the-moment indie evocations.  Whereas Everywhere's contemporaries are too concerned with force and rabble; Berga gives a more considered approach, quivering and softly prophesising during the verses, whilst unleashing a pained Jim Morrison-esque bellow during the choruses.  It is a blend that lifts the track and keeps it constantly fascinating.  There is no need for histrionics or trying to sound like someone familiar; his tones and projection is his (and the band's) own, and supersedes any expectations you would have of an indie-style track.  A little bit of Simple Minds/U2 lurks underneath the skin of the sonic sway, which heralds more thought-provoking words: "What could have been/If you had moved/To your hideout" is sung, inflected, twisted and tempted, so that every word hits the mark.  As the song progresses, there is a sense of empathy and sympathy to proceedings.  Whether it was the intention to portray the heroine as a sympathetic character is unsure, but you find yourself rooting for her.  The chorus has a drive and urgency to it, which makes you imagine our hero running in, grabbing her by the hand, and taking her home as soon as possible- whether this is deliberate, once again, is down to Berga.  The chorus is particularly strong musically; as the band employ a tempting and tantalising piano line that adds some light and romance; bolstered by and differentiated from the clashing drums and harsher guitar and bass.  Our front-man seems to be watching events unfold from above, seemingly viewing events as they happen; seeing everything as it unravels.  "If you can't find your way out of here/Then maybe those flashing lights/May lead you there" sums up the song's core values and intentions; it invokes the chaos and prurience of the fashion world; marred and dressed in proclivities.  You get the sense that the heroine, throughout, regrets her decisions and is seeking a fast way out; restrained as she is by the seedy figures that try to control her.  It is the urgency and potency with which the band present their words, that gives such vivid life to their tales: bursting with sights, smells and sounds that put you in the mind of our author, as well as Eddie.  There arrives a (albeit) brief rest bite; the mood is calmed and sedated, as Berga composes his thoughts.  "If it ain't right/If they don't care" and "What comes to mind/It does seem fair" are sung, hooked to the coda: "Those flashing lights/May lead you there"; suggesting that maybe there is not total sympathy in our hero's heart- self-fulfilling prophecy and finger-wagging mixes with cautionary tale and incendiary warning bells.  It is the sense of mystery that continues; making you wonder, and asking yourself questions: how much is this is a song of judgement?  How much of it suggests empathy for our heroine?  How does our hero feel about what has happened to her?  At the 2:24 the scene changes; harder-edged and heavier guitars grumble and burst in, rolling like an avalanching snowball; before the striking and clashing percussion joins in, welcoming the arrival of the chorus.

As well as the unique subject matter of the song, Everywhere are a band that understand the importance of projection and emotion.  The band are consistently tight throughout, and are able to tempt a great deal of atmosphere and intrigue.  Percussion is dominant and impressive throughout; clattering, rumbling and firing relentlessly, yet able to temporise and seduce when needed.  Similarly piano codas have a driving quality to them, and add colour and light as well as darker shades too.  Bass and guitar are impressively strong as well as impressively understated.  They hold the track firm and give it a solid backbone, yet never become too dominant or overwhelming.  Each of the boys plays their roles perfectly, and never do too much or too little; instead everything is finely balanced and wonderfully composed.  This creates a fresh and original song, that will not have you making comparisons with any other act out there.  Indie bands tend to be too guitar and drum-heavy; rarely able to present compositions that are musically rewarding as well as intelligent; still there is an emphasis towards force and meandering riffs and diversions.  The fact that the track sticks in your memory is part down to the great band performance, but also down to Berga, whom has a strong and enthralling voice.  His tones have the slightest flecks of '90s U.S. (Placebo) as well as '80s Scotland (Simple Minds), yet has a strong and native accent that is all its own.  It is an instrument able to almost whisper in the verses; pull you in and calm your sense; yet climb and fire during the choruses.  The lyrics are impressive as well, capable of painting some sharp and- at times- unsavoury scenes, as well as tie that in with a chorus that has both an anthemic sing-along quality, as well as a more emotional and thought-provoking depth.  In my mind, I was following the words; building up scenes in my mind- trying to picture what our heroine looked like, and how she moved.  The sense of flashing lights and chaos is persistent and the key theme; building a sense of fear and uncertainty.  I would like to imagine that the heroine was a likeable woman who made a bad choice, and got a lot worse than she deserved.  At times the lyrics suggest that our hero feels sympathy and sadness for her; yet at intervals there may be some lingering resentment and reticence.  Such is the power of the song writing and performance that one may be over-thinking or throwing red herrings into the mix.  What is clear is that the Swedish five-piece have a clear knack for melody, musicianship and evocation; able to breathe life into a genre that is in danger of mass homogenisation and a drought of inspiration.  The band's E.P. is due for release later in the year, and the guys will be entering a market that has a lot of players and contenders, all hoping to remain in the public consciousness for as long as possible.  Most will fall and fail of course; whilst many more will have a limited lifespan.  If Stockholm's Everywhere keep their ethics and morals strong and unpolluted, then they will be able to inhale rarefied air.  First steps are the most important, and if you put a foot wrong, it is incredibly difficult to climb back.  The band are relentless and hard-working; knowing that success is not destined nor will be handed to them: this leads to tracks like Eddie.  It is a track that will appeal to the indie sect, as well as capable of cross-pollinating and drawing in different sectors of music-lovers.  Alive with emotion, intrigue and melody, it will stick in your mind and leave you wanting more from the boys.  But fear not...

THEY'LL be more soon, and it will certainly worth the wait.

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Official:

http://everywheretheband.com/

Facebook:

https://www.facebook.com/everywheretheband

Twitter:

https://twitter.com/Everywhereband

SoundCloud:

https://soundcloud.com/everywheretheband/eddie

YouTube:

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

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Sophia Bastian- Breaking- Track Review

Track Review:

Sophia Bastian 

Breaking

9.7/10

Gorgeous New York-based soul wonder has a psychotropic voice that will sway, stagger and leave you on a potent, heady high: Breaking Good.

Availability:

Breaking is available at:

http://www.youtube.com/watch?v=zu9v7nAG5as

The E.P. Sophia Bastian is available at:

https://itunes.apple.com/us/album/intro-breaking/id408547344?i=408547356&ign-mpt=uo%3D4

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COBWEBS have been building up in my mind for a while now...

in part, due to music; and its nesting instincts.  For the last couple of weeks, Queens of the Stone Age's latest album has been cemented in my brain and stereo.  It is not a shock why.  The songs keep on revealing nuances and subtleties I had not picked up on upon the fledgling listens.  Being a band that I have been in awe of since the mid-'00s, I have spent a lot of time performing retrospective listening and admiring, and have jumped upon ....Like Clockwork.  For all of the slightly underwhelming music from the current scene, it was frankly a relief that Josh Homme and his men still posses the power to confound and inspire.  As much as that album will be in my thoughts for many months to come, it has raised some deeper questions in my mind.  Having thought about the current climate, I first of all wondered: will the talent show 'stars' of this decade, form the basis for future music and sounds?  After giving The Voice (or The Voice U.K. as it is bafflingly called) a fair shake of the dice, my initial reticence and hesitations were all justified.  Aside from the nauseating and repellent judges; will.i.am seems to be from a different planet, and is to music what Mussolini was to international peacekeeping.  Jessie J. is as repellent; self-obsessed and a rather repulsive figure.  The duo form a half of a judging panel, apparently handpicked to decide upon the best and brightest singers of the moment.  Alongside The X Factor, whom I harbour an equal hatred towards, my negativity is part of a larger malaise.  As much as the world needs stunning new talent and voices; they sure as hell aren't going to come from talent shows.  Aside from the fact that the shows are designed to attract the credulous; those whom are hungry for fame- and not self-respect or influence.  Aside from Rebecca Ferguson, who can be seen as the exception that proves my rule, none of the winners from the shows have ever turned in anything worthy or even palatable.  I hope these shows die a much-needed death, as there is a disturbing trend forming.  Every 'talent' that appears on the show is moulded to sound like an existing singer.  For the girls, Mariah Carey, Christina Aguilera and Whitney Houston are still the favoured idols; for the lads, a composite of old soul greats, as well as modern-day rock stars.  Individuality and potential is already beaten out of the participant- yet there is a bigger problem.  It seems that musicianship; writing your own songs, and chiselling a likeable and universal personality are foreign terms, and the resultant projection sees a built-in obsolescence and entropy.  It is a relevant point with regards to Sophia Bastian, an artist whom has a talent and voice that are difficult to top, and yet is capable of appealing to, and drawing in, a legion of diverse music fans and lovers.  Her work ethic and codas are the antithesis of what is favoured in the mainstream; and is why she will find larger and lasting success.  My second issue is concerning range within music.  For all my love of QOTSA and that style of music, it is ensconced within my thoughts so firmly, because quite simply: there is nothing alternative that really appeals.  Still there seems to be a tendency to either promote and herald guitar bands or variations there on; or favour the solo artist, whom usually stray towards acoustic and folk waters.  Of course there are exceptions and differences, but for the most part new bands tend to be predictably unadventurous and not in the lease bit captivating.  Female artists have shown greater mobility and ambition with regards to diversification- yet still there is an over-reliance to project yourself as a sweet-voiced and girl-next-door acoustic solo artist.

Sophia Bastian dovetails my two points together quite elegantly.  She is not a talent show winner, nor does she seem to associate with those shows, or display any sort of patronage for them.  Her artistry and focus is based very much around making her own music, on her own terms, and doing so the honest way.  In pictures, she is every inch a modern pin-up.  Both statuesque and sweet, she has a somewhat profound beauty and striking sex appeal, that will inspire new female talent, as it will enflame the male audience.  Bastian is based in New York, yet spent a lot of her youth in Europe.  In interviews she seems to want her music to come across as real and honest.  She favours diversity and substance in her songs, and has a trusting nature to her, that sees her believe in the goodness of people; yet she has a reserve and natural shell that is aware that the music scene contains many fickle and dishonest people in it as well.  As a mixed race artist, she has embraced the music of white and black artists.  In terms of Bastian's inspirations and influences, the likes of Stevie Wonder, Billie Holiday and Nina Simone are in there; as too are the likes of the U.K.'s very own Portishead.  On paper it may seem like an odd anomaly, given the list of names that have come before.  As much as Bastian admires the works of Ray Charles and James Brown, she attests that the music of Florence and the Machine and Fiona Apple are as important.  The sounds of the school yard, as well as the music of her youth has enforced this diverse mix of idols.  From her travels and time in Europe, Bastian has picked up on the varied mix of music that was present there in the '90s, and has tied this together with older icons, to form the core of her music.  Clearly soul and the soul legends are huge idols and important people to her, and if you listen to her E.P. Juvenile Blues, this shines through.  The songs within are crammed full of blues and soul touches and styles; displaying as much authority and majesty as the greats of the past, but updating their sounds for the present-day.  Bastian has a fond love for a raft of different genres; something that was honed and instilled in her from an early age; enforced by the fact she lives in New York.  In Interviews she has stated that New York is very much her identity.  It is a city where there is live music every night; ranging from underground clubs, to jazz cafes and charming bars.  It is a busy and bustling metropolis that offers 'something for everyone', and is a positive haven for aspiring and established musicians alike.  Bastian's time in The Big Apple has built a sense of urgency in her.  Songs are written around personal experiences, yet are written with passion and consideration too.  Her love of performing has probably been aided by the myriad of music in New York; live performances for Bastian can sometimes be nerve-shredding but always memorable for her: each gig is a separate and unforgettable moment for her.  There is no homogenised limits to Bastian; and there are no obvious influences that define her sound.  Unlike the talent show puppets, our New York girl has a freewheeling appreciation of multiple genres, and draws this together with her love of soul, blues and reggae, to create songs that are a swirl of intrigue, passion and above all, quality.  The travelling soul has picked up a lot from the road, and the countries she has visited.  A lot of great fans have been met; a great deal of fascinating locations have featured on her itineraries: promoting a fevered passion for song writing and performing that has taken her to the current day.  It was her recent track GloryBoxed, that has gained Bastian a host of praise and adulation.  As may have guessed from the title, it is a tribute to Portishead's 1995 single, Glory Box.  The nature of Portishead's song concerned sexuality, and the video for the track saw singer Beth Gibbons in a 1950s jazz club; on stage and being watched by an audience in drag.  The track's sensuality and mystique was something that Bastian used in GloryBoxed.  She has kept the stirring composition, and brought her own set of lyrics to the party; marrying the two together to create a modern and fresh sounding track that has mid-'90s trip hop and electric elements; tied together with soulful and ethereal wonder.  The aforementioned gem is the swansong to Bastian's self-titled E.P., and forms one of seven tracks on the record.  The E.P. has warranted huge praise from iTunes reviews, as well as the media: all in love with Bastian's incredible songwriter and stunning voice.  Sophia Bastian is the summation of a stunning young woman whom has worked hard to get where she is; and that reflects in the tracks.  It is the second track from the E.P., Breaking, that has caught my ear, and is a concise and ambitious cut that shows where Bastian has come from, and where she plans on heading next.

"I get so angry/Every time I hear your name" are the words that open Breaking.  It is a mandate that is acapella and striking.  Our heroine delivers the words intensely and intently; infusing the early seconds with some strong emotions.  These pointed words are joined by a subtle but enlivened percussive line; that teams with funky strings, unleashing a dancing and punchy mood that has blues and jazz evocations right from the off.  Bastian carefully considers her words and delivery.  At once a line can be syncopated and jerking; the next smoothly flowing and seductive.  Maximum emotional weight is provided, which means that each sentiment burrows as deep as is possible.  Where as lesser artists may stick to a rigid and unchanging pace and delivery, Bastian keeps her words fresh and invigorating.  Early themes peak of games within love; an anonymous beau is being chided and rebuked; he is willing to be in the relationship, and be loyal; yet predictably when he is needed the most; our heroine states: "You reclaim your distance".  The man seems to only want it easy and his way, as it is said he only will "take on low resistance".  At the sapling stages of the track, some notable aspects present themselves.  Bastian has a voice that is at once stunningly original; yet has layers of some of the greats.  Detected in the mix is a little of Amy Winehouse: a similar style of projection is elicited; so too are some of her blues tones.  Adele's power, as well as Gabrielle Cilmi's lower, slightly gravelled tones are lurking within too.  As much as there are modern influences within the vocal tones, a little of Billie Holiday's smoky and haunting shades are present too.  Bastian is able to employ some elements of the all-time greats both modern and past, yet keep the overall sound very much her own.  Her voice is smooth and whispering, with power and force combined; resulting in a heady blend.  Bastian is breaking her heart on this bounder; this reject; this man of disrepute.  As her voice strikes and seduces, the music propels and keeps the mood energised and electric.  Percussive and guitars have a soulful and jazz-tinged jump to them, with the romantic sway of the blues, that augments the words and well as voice.  As much as it is "sad but true"; that so much heartache has been caused, our heroine has a tear in her soul.  In the video for the song, Bastian is bathed in red: red-painted walls and red lighting are employed, whether to denote the heart or blood; or a bleeding heart is unsure, but it gives the video a romantic but urgent sense.  Bastian appears relaxed and stunning; appearing in the shadows with her eyes cast down and her mind occupied by the man she once (or still does) love.  It seems that both parties are playing it cool and trying to not lose their heads.  Bastian lets her words stride and trip, ensuring that each word and line is imbedded into your mind.  As much as a sense of composure and calm is required and sought, our heroine is breaking her heart, and struggling against a tide.  Backed by evocative and stirring brass and the continuing jazz/blues atmosphere, an impassioned soundscape is summoned that adds sadness and power to the song's cores.  The Adele/Winehouse parables will arrive back into your mind when Bastian's voice rises and crackles.  There is a bit of the former's intense power and the latter's whisky and cigarette-drenched emotion; and a notable consideration to the soul legends of the '60s and '70s.  As the chorus is reintroduced and struck, Bastian's voice rises and falls; enveloping your senses with its potency and heart-breaking intensity.  You get a sense of conviction from the words: lines are delivered that make you think she means every last painful word.  In the way that the '50s jazz icons as well as the soul greats ably did; our heroine possesses a rare ability to make common themes of love-on-the-line seem both fresh and steeped in history; it goes beyond and above what her contemporaries are attempting.  There is also a sense that there may have been mistakes made in the past.  As much as Bastian's heart is being broken, she states that it is "my fault that I do"; giving the impression that her man may have caused similar pain once before.  Just before the 2:00 marker, a musical coda is proffered.  Our heroine steps away from the mic., letting her backers strike a pose.  Brass, percussion and strings are subtly and tenderly deployed.  They calm your brow and allow your heartbeat to slow, following on from the intense and powerful protestations that have come before.  When Bastian returns to the stage, she is briefly temporised and reflective.  "Nothing moves me like your caress", it is said.  Our heroine seductively and fondly teases her words; remembering what it is about her man that causes the intense feelings within her.  Just as Bastian's voice is kitten-like and dripping with sexiness, it shifts and mutates into a empowered and galvanised.  Her words speak of reluctance and uncertainty: "I don't have it in me", she sings; repeating the lines and linking them with wordless quivers that send a shiver down the spine.  In fact, the wordless cries and evocations that follow produce a gravity and effect, that says as much as the words that it follows.  When the chorus is delivered once more, Bastian's voice is alight with passion and dripping with pain.  The conviction with which the likes of Nina Simone and Ray Charles used to infuse their songs with, is equalled by our heroine, whom carries the song to its conclusion, with a sense of longing and torment.  It is unsure how things worked out: whether the two reconciled or came together; or whether the bonds are broken and irreparable.  Such is the mystique and mystery, we may never know; but it is clear that a weight is on Bastian's heart.

Breaking is the sound and theme from a woman whom has seen her share of pain, and wants to find happiness, but seems like the relationship with the song's 'hero' will never be a smooth one.  Sophia Bastian is a name that will be familiar to most very soon.  Although she is based in L.A., she has an affection for the U.K. and will hopefully be here more often in the future.  Breaking is a memorable and stirring song about one woman's experiences in love, and will be relatable to everyone.  As much as the words chart Bastian's feelings and experiences, the themes and sentiments are not too personable that they alienate any listeners.  There is a perfect blend of personal narrative as well as universality, that means the song will be familiar and fascinating all at once.  The musical elements are evocative and tight.  A mixture of jazz and blues sounds, fused with '60s and modern-day soul, is especially pleasing, but it is Bastian and that voice that are the star of the show.  Many interviewees and media sources have proclaimed at its effect; fans and followers have also noted, making it axiomatically-redundant of me to say: it is wonderful.  As I have mentioned, there are traces of the powerful and emotional tones of Adele, Amy Winehouse, Nina Simone and Billie Holiday, yet its core is very much Bastian's.  It is not just the nature of the voice: at once sexy and alluring, the next heartbroken and pained; it is what she can do with it.  Certainly lines are smoothly delivered, relaxing you and have a sedating and mesmeric quality.  With nary a warning, that same voice can contort into a burdened beast of an instrument: never too overpowering, possessed with just the right amount of strength and conviction.  Certain notes and wordless vocalisations are bending and held; similar to the work of Woah-Nelly!-era Nelly Furtado.  Youthful innocence mixes with mature and experienced words, making the overall experience impressive indeed.  Bastian is an artist whom will gain cross-pollination and inter-gender appeal.  With stunning and captivating looks, she has a potent sex appeal that will strike a strong chord; she has the strength and determination of spirit that speaks to the young female market; as well as a varied and authoritative power that will spark the imagination of all.  Being a young male whom prefers the heavier side of music, in all its indie/stoner rock/Grunge manifestations, I have been seeking an artists capable of providing a link from the past masters; through to the late-'90s/early-'00s, through to modern day.  The fond affection Bastian has for the greats such as Charles, Simone, Holiday and Brown, as well as modern wonders such as Apple, Portishead, as well as Winehouse and Adele, does just this.  There is a great and balanced mix between classic soul and modern-day sounds; between jazz and blues edges and reggae too.  The Sophia Bastian E.P. is an acute and pragmatic collection of stunning songs, which chart our heroine's loves, fears and hopes; which blends personal songs with multi-genre moves; creating an ambitious and impressive collection.  Breaking is a stirring and emotive song that can win hearts, minds and souls, and provides an insight into the wonders that the E.P. holds.  It is worth seeking out the N.Y.-based chanteuse, as her stock is on the rise, and people are latching on to just how good she is.  I always end by wondering what the future holds for the artist.  In Bastian's case I am sure an album or another E.P. is probably on her mind, and following from the success of GloryBoxed, it could be tantalising to say the least.  The combination of soul, reggae, blues and trip hop influences could spell and incredible future prospect.  In the same way that singers such as Martina Topley-Bird have a voice that can score grime and trip-hop tricks, as well as blues and soul numbers, so too does Bastian.  Topley-Bird is one of the most versatile and impressive singers of the modern day, and should Bastian decide to take a similar direction, then the future will be very busy for her.  I hope that she is in the U.K. more, as I am yet to see her live, and would love to experience that first-hand.  So few modern singers have a similar affection for soul, and are capable of penning songs that have the same striking quality.  Whatever is next on the horizon, one thing is certainly crystal-clear:

IT will be memorable, indeed.

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Facebook:

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

Twitter:

https://twitter.com/SophiaBastian

SoundCloud: 

https://soundcloud.com/sophiabastian

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Chalk And Numbers- Things You Do- Track Review

Track Review:

Chalk And Numbers 

Things You Do

9.8/10

Brooklyn indie duo have some similar shades to a well-known current U.S. boy-girl duo; yet supersede them with their glorious sounds of the '60s.

Availability:

Things You Do is available at:

http://chalkandnumbers.bandcamp.com/track/things-you-do

The E.P. Parade is available at:

http://chalkandnumbers.bandcamp.com/album/parade-ep

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TODAY there are a few things that have come to mind, when focusing...

on boy-girl duo Chalk And Numbers.  The first point concerns the compositional nature of bands.  For a start: duos are a rarity in any era.  If you look back as far back as the '50s, bands have always consisted of four or more people.  Throughout the '80s and '90s two-pieces become a little more common; yet it seems that there is still a reticence amongst new musicians to pile as many members into the pack as possible.  I guess if your music is on the 'heavier' side of things: heavy rock, Grunge, even indie, then you may well need extra hands in order to elicit the sounds that you require- although this is not always the case.  If one were to study the like of The White Stripes, a Detroit-based blues rock duo; it was without extraneous bodies and input that they managed to bring their explosive and incredible sounds to the world.  You have to wonder, given the groups that have followed: were they a rare exception?  There is still an over-reliance on the four or five-piece construct, and because of that, the associative sounds tend to be packed and dense.  On the flipside, solo acts may have potential and a true talent, yet their palette may be too sparse or inactivating.  Duos are a pleasing compromise, where you have the potential for bigger sounds and ideas, yet there are no so many members that you fill compelled to pack songs with too much; simultaneously ensuring that there is focus to the music.  I hope that the problem of bands being too restrictive and predictable, is something that lessens in the next few years; as it is when you think differently and are not beholding to unwritten band laws- concerning the number of members in the band- that some wonderful results are presented.  It is something I will return to, but for now, there is another point worth raising: U.S. music.  For those of us in the U.K., there is a slight famine taking place.  We here are raised on a rather stodgy staple diet of home-grown flavours and foods: bands and solo acts that have their hearts in the U.K. (even if their sounds have foreign influences).  Occasionally, if you are lucky enough; you may happen across a new act that emanates from a warmer climate or fascinating landscape.  Over the past months I have featured sounds from Europe (particularly Sweden); Australia, and EIRE; yet it is the acts from the U.S. whom have given me the most food for thought.  Historically, they have always been the main rival to Britain, with regards to the all-time best music.  As much as they have given us some of the greatest legends, their new music is also producing some potential future-greats.  Whether it is the fickleness of the media, or the weakened ties that bind social and music media; it is uncertain.  One thing is clear, mind: us in the U.K. are missing out.  I have bemoaned the nature of finding great new music; how you seem to stumble across these acts by serendipity- rather than having them brought to your attention.  Later on I shall go into more depth about the good ol' U.S.A., but the final point concerns the 1960s.  Having born some of the greatest ever acts such as Bob Dylan and The Beatles, it is a decade that is talked in admiring tones; yet when it comes to reinterpreting and representing the sounds of that era, few music acts seem to be doing it.  Where as here we have the likes of The Strypes, whom have a certain air of 1963-era The Beatles to them, there are not that many others that are attempting the same kind of sound.  Whereas originality is a key pillar, and it is essential to dissociate yourself with any obvious references, the '60s was a decade that created psychedelia; power pop and swathes of diverse sounds- that have stood the test of time.  I hear a lot of groups and acts whom employ '60s threads in their music, yet they seem to do so wistfully and infrequently- scared almost at being too heavy-handed and unoriginal.  To my mind the '90s was responsible for the best and most diverse music ever: a decade that was awash with polemic sounds, and some of the best music of the modern era.  The '60s is a close second, and neither decade (really) is re-appropraited and re-examined by modern-day artists.  It is pleasing when an act comes along, whom seem to understand these themes I have raised.

The first thing one should say about Chalk and Numbers, is that they have some D.N.A. in common (I think) with a fellow U.S. act: She and Him.  Chalk And Numbers has a tall and cool-dressed, sharp male influence, and a gorgeous and sweet-voiced female member.  The two duos each have a fond affection for the melodies, potency and majesty of the '60s; and both too have a stellar reputation when it comes to their songs and presentation.  The Zooey Deschanel-led duo have been making albums for a number of years, and have built their name around the pillars of strong song writing, a powerful chemistry as well as a consistency that seems unerring.  The 33-year-old Deschanel is a songwriter whom employs the majesties and influences from the 1960s, and updates the sound for a modern age; wrapping her dulcet tones around the songs, backed and augmented by the guitar work and production of M. Ward.  It is perhaps ironic, then, that my featured duo are Chalk And Numbers, and not chalk and cheese; as numerical similarities are not the only things the two partnerships have in common.  Where as She and Him hail from Oregon: a state in the north-west of the U.S.A., with Portland being seen as the most environmentally-sound and beautiful parts of America (Portland is referred to as 'Rose City').  That state is built around busy and modernised city-scapes: sleek towers and business-filled skyscrapers, mingle alongside beautiful towns and pleasant and verdant mountains.  Our Chalk And Numbers duo hail from Brooklyn; perhaps not the most obvious destination one would assume the two-piece to hail from.  For an act whom project gorgeous '60s styling.  Brooklyn is the most populous of New York's five boroughs (above Manhattan, The Bronx, Queens and Staten Island).  It is a tight-packed and multi-ethnic community that stands by its motto: "In Unity There Is Strength".  For those of us whose only exposure to New York comes about from watching CSI: NY, Friends, and U.S. television, there may be an assumption that Brooklyn has a threatening or uncertain air about it.  The population is largely white or black (42.8% for the former; 34.3% the latter, as of 2010's census figures).  There is a large Asian population too, and the communities of Brooklyn are very loyal and centralised: a majority of those employed work within the borough.  Brooklyn contains Coney Island, the Botanic Garden; Soldiers' Arch and Park Slope also live here.  Inside of the diverse neighbourhoods; from the large Russian population, through to Chinatown and a gentrification that sees a large Jewish and Pakistani community cohabitating with a large immigrant sector; it is a borough that is the definition of unified.  It should hardly be a shock that a decade where community and harmony were bywords, that it should inspire '60s influences in Chalk And Numbers.  Tall, bespeckled and dashing Andrew Pierce is our hero; gorgeous and mellifluous-voiced Sable Yong.  The duo have a fond affection for one another, that comes across in the music.  The duo also have a passion for some of the 1960s/'70s greats.  Dusty Springfield, The Zombies and The Beach Boys are idols of the duo; and these influences can be detected in their Parade E.P.  Their song writing is sharp and filled with vivid imagery.  Where as contemporaries such as Lana Del Rey present too much of the girl-meets-boy-removes-red-dress-rides-in-a-fast-casr-needs-to-get-money-fast-because-here-lies-a-broken-girl themes; rock bands of New York tend to be too vague and generic with their ideas; it is perhaps Californian influences that come to mind.  Bands around Burbank, Pasadena and Los Angeles are more adept at portraying True Purple shades; peaceful and uplifting sounds and a cohesive and focused coda.  Songs on the E.P. such as Boy, Pretty Colors (sic.) and So Much For The Bay are part of a 5-track odyssey that marries the Flower Power drips of the 1960s, and galvanises it with a fusing of modernity and sleekness.  It is perhaps apt that the duo's work has been dubbed "timeless" by Filter; "dollop of wonderfulness" by The Guardian (whom actually manage to get it right for once); and "Delicious" by Irish Times.  Our intrepid heroes spare little time cheapening their social media sites with needless backstory and too much biography.  They are a duo not content with being seen as 'throwaway': keeping their websites tight and fascinating, and letting the tunes shout the loudest.  As I drank in the praise that the two have levied, and took the flower out of my (male) hair, I span Things You Do.

This track is the swansong of the E.P., and is the shortest track as well (clocking in at 2:38).  The duo believe in uniformity: many of their photos see them in black-and-white/black-and-red clothes- usually striped-and they have a chic-geek-cum-effortless cool vibe about their style and designs.  This sense of consecution as well as free will is evident immediately. Things You Do builds on a foundation of flourishing and delicious electric strings.  It is part debut album-era The Beatles, with hints of psychedelic-era bands such as Strawberry Alarm Clock.  The guitar sways and strikes harp-like, backed by a propulsive and measured percussion.  It sounds like it could soundtrack a kooky indie film; as well as having hallmarks of a epic undertones: a potential Bond theme perhaps?  It is a brief intro. that elicits so much grin and smile, with no strum und drang.  There is a razor-sharp modernity and sleekness to the sound, yet it is bubbling with classic '60s touches and sounds.  Our heroine Yong has a voice that contains a little of Deschanel's harder edges; yet has some influence of 1962 Carole King and a dollop of girl groups of the 1960s like The Shangri-Las.  Our heroine has a great way with words.  Lines are not overtly-linear: some are delivered swooping and syncopated; some straight-laced and punchy.  It is a facet and calling card that bring vividly to life the lyric's themes.  Early evocations about tug-of-wars within love are highlighted.  An unnamed paramour is treating love like a game; it is not one "Although you try to play".  The words are given consideration and almost onomatopoeic regard (when the line "Consuqneces that tumble on through" is sung, the word 'tumble' is tumbled from Yong's tongue).  The guitar work is striking throughout.  Signs of Hank Marvin's almost Wild West twangs are fused into the mix: always light and evocative; yet never impinging or imposing in any way.  Likewise, the percussion is considerate as well as bolstering: it keeps the pace and energy very much alive, yet never creeps too far high in the mix.  With there just being one female voice, it is quite stunning that the evocativeness and chorus of a full group is presented.  As much as our heroine elevates lines such as "You can wonder what it means to you" higher than any other singer would; it is Pierce's words that are equal partners in the success story.  He can mix lighter and feather-light kisses with more cynical and forbidding lines: "You can poison all the others around".  Where as the themes and mandates talk of love-gone-wrong, with a side order of nerve-shredding mystery, the music does something quite extraordinary.  Where as most writers and musicians would tie some shadowed words with similar sonic evocations, Pierce is a master of the '60s girl group pop-cum-psychedelic edges; managing to evoke elements of The Shadows, as well as The Zombies.  It is this positive Henry Mancini-esque ability to shift and integrate different style into a cohesive whole, that adds clout to Yong's silky tones.  It is perhaps the chorus that strikes the hardest chord; having an infectious bounce to it, with our heroine wrapping her tongue around the words, around the music: like an intoxicating slinky-Matryoshka doll hybrid.  It is the byplay and affection between the two players that adds an additional layer of quality to the song.  It is a kinship that has an asexuality: they have the byplay of siblings almost, that adds authority to their sweet-sounding protestations.  If one thinks that the emotional and gender transposition of The White Stripes is the key facet that 'makes' the song: think again.  At the 1:26 mark, electric guitar is deployed to slither and snake; twisting and twanging with abandon and adding an extra smile to the lips.  The guitar ramps and swoon; as the rattling percussion gallops behind.  It spends its time creating as much atmosphere as possible, before Yong returns with words of "Don't you know it's true".  An intent and repeated chorus of "Think about the things you do" is unleashed, making the anonymous beau take note, and learn from his (many) mistakes.  In spite of the song talking of a man-done-wrong parable, there is an innocence at its core.  There is no sense of vengeance or bile-filled lines; no cussing or feuding- very much contained of '60s peace; but with an instructional message throughout.  The chorus is spoken once more before the end, with it being said that all the things that (the man) has done wrong:  "They'll catch up with you in time".

Things You Do, as well as the Parade E.P., are notable due to the utilitarian and borderless appeal of their sounds.  Whether your patronage is focused towards dub-step or county, there is something for everyone within the songs.  As much as I have belittled bands for not being considerate when it comes to unifying clans of music lovers: trying to get them out of this culture of compartmentalisation; it is refreshing that the Brooklyn duo are making waves in this regard.  Each of their E.P.s five tracks are chocked with influences of classic 1960s song writing.  The duo have said that they record everything in analog and use lo-fi equipment and technique to get an authentic feel to their music.  The songs sound like they could have been recorded in Toe Rag Studios (in Hackney).  The White Stripes recorded Elephant there, and that record is a testament to the benefits of recording music that is not beholden to studio trickery and too much polish and gleam.  Where as Oregon's She and Him produce records that sound a little too modern-sounding (in terms of the polish and shine that each song is given), Chalk And Numbers revert to past decades, yet never regress.  The song writing and ambition is as much 2013, as it is 1963.  It is well worth seeking them out- the music is free after all!  As much as I have carped on about the '60s: the girl groups, the legends etc., the music on display only hints at the nature of these components, yet never appropriates them strongly.  Originality, freshness and the idea of a unique voice enforces the music: influences are incorporated in order to variegate the songs.  Song influences range from umbrellas, through to doomed romance.  Pierce manages to vary his themes, and the fact that sunshine pop and country-tinged sound line up alongside moodier and more insular numbers, is a testament to his talents as a songwriter, musician, and producer (Dennis Pierce co-produced).  Yong is a modern pin-up, with girl-next-door beauty and sex appeal, and a voice that has a girlish charm as well as seductive sense of foreplay to it: at once the voice is come-hither; the next coquettish.  A great deal of ground is covered over 5 tracks, and one can tell that a lot of work and effort has been put in, as the E.P. is boundless in its energy, creativity and ambition.  The way that Pierce and Yong combine gives the tracks their gold stars.  Clear affection and understanding negates and invigorates the mood, and gives the already-terrific songs an extra cherry on top.  I hope they can get over to London very soon, as the U.K. (as well as Europe and Australia) will welcome them with open arms and a long-term fan base.  They have 712 'likes' on Facebook, and 139 followers on Twitter.  With the likes of pop cretin Justin Bieber amassing millions of credulous- and one assumes deaf- fans, it is a crying outrage that our New York twosome have a comparatively-meagre base.  I suspect there is a predominant-U.S. core to the current audience, but they should fear not.  Parade is a confident E.P. that is universal in its appeal, and will win them a lot, lot more followers and lovers.  It will be great to see what they do next: another E.P.; an album; a worldwide tour maybe?  They are playing a lot of U.S. dates, and there will be venues such as The Roundhouse and Electric Ballroom (both in Camden) that would be packed to the rafters.  With the likes of The Guardian paying homage to their wonders, it shouldn't (I hope) be long before the intoxicating aromas, make their way from the East Coast; and waft to the U.K./France/Western Europe; across to Italy and most of Europe, and emanates into Asia and Australia (as well as Africa).  It is because the songs are so strong that they will not have barriers when it comes to finding fans and venues willing to take them on board; so Chalk And Numbers:

WHAT do you say?

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Official:

http://chalkandnumbers.bandcamp.com/

Facebook:

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

Twitter:

https://twitter.com/ChalkAndNumbers

SoundCloud:

https://soundcloud.com/chalkandnumbers

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Los and the Deadlines- Watch It Fall- Track Review

Track Review:

Los and The Deadlines 

Watch It Fall

9.3/10

International squadron have had a busy touring schedule and past; hardly surprising given their live reputation and stunning sonic palette.

Availability:

Watch Me Fall is available at:

http://www.youtube.com/watch?v=h66V2k5sqAE&feature=youtu.be

The E.P. Metro Talk is available via:

https://itunes.apple.com/gb/artist/id546248397?affId=1736887

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The comingling and blending of different nationalities within a...

band can either be seen as low-yield bonds; a risky experiment, or a bold and daring move.  I have been moaning on- well protesting- about the homogenous nature of bands in today's scene.  Too often; whether a group is from the north, south or wherever; the members of said groups tend to be from the local area: all too tend to be of similar race, age and background.  I can understand the reticence with regards to mixing foreign cuisines.  Even if the amuse-bouche seems to be a wise concoction, strains can occur over time- if the members are from different walks of life.  It is a myopic mistake that has probably starved the world of some great music and excitement.  Terrific legendary bands have always mixed international sounds into their albums and songs; and a lot of great new bands coming through have struck a golden chord.  Recently I have been privy to reviewing the sounds of HighFields: a band whom has a great mixture of nationalities.  In that illustrious group, members hail from the likes of Norway, Jersey, South Africa, Canada and Singapore.  It is not a coincidence that the music that they are producing is some of the best of the moment.  When you draw in a diverse and wide-ranging influence of sounds into your group whole; the results can be as exciting and diverse as any of the best bands of all time.  Where as the majority of new bands have a set format: meet at school/college/a local bar; gig together and form friendships; cement your band.  This is the bedrock for the band formation paradigm; where groups of friends whom live near one another, form a common bond; and decide to bring their music to the masses.  Great results have been seen from this mould, and the friendships, kinships and close ties that bond the members can enforce a strengthened unit and lead to a harmonious working relationship.  When you consider the task that falls at the feet of the band mixing foreign members: will cultural differences enhance the sounds or cause frictions?  How will relationships go, and will they last?  Will we have similar musical tastes?  If you consider all of this; these types of questions can be stumbling blocks.  Groups such as The Mars Volta have mixed American and Puerto Rican heritages into their sound; I have seen London-based bands mix European and Australian players together; as well I have heard of Irish groups with Scottish members.  The abiding sense I get from these variegated bands is this: the music seems more vital and authoritative.  There is rarely a need to fit into a preconceived local scene; nor play to expectations or parody another band- in the hope that that will equate to success.  Countries, ecosystems, economies and communities always thrive and grow stronger and more assiduous.  A blend of differing histories and experiences can help improve a person's outlook on life; and teach them a lot that they didn't know before.  If you apply this approximation to music, then the same is true.  Different genres and band influences are brought to the party; points of views tend to be more unique, and a sense of galvanisation is formed within the group.

Los and The Deadlines, cool name aside, that mix eclectic sounds and- as they attest on their official website- bring "ear-soothing" as well as "ear-pounding" sensations to your brain.  The boys; consisting of vocalist and guitarist Alex LoSardo; guitarist Niels Bakx, bass player Agostino Collura; and drummer Alberto Voglino.  Having formed back in 2011, success and demand came about pretty quickly.  The group have played some pretty prestigious venues including The Southbank Centre and the O2 Millennium Dome.  If one were to hint at why the band enjoyed such a steady projection to prominence, one should attend one of their shows.  Noted for their high-energy and lively performances, the group have a stellar reputation in the live arena, bringing their music alive and giving people their money's worth.  Looking at photos of the band, and you get a sense that they could be a '90s Grunge band or modern-day U.S. band like The Foo Fighters.  Beards, cool hair and sharp fashion are hallmarks of the four-piece; whom project a breezy and casual vibe- making them more approachable and fascinating.  Little is know about the individual members, in terms of their origins and musical tastes; but the sounds elicited by the quartet have warranted some heady comparisons.  As well as counting them amongst their influences, the boys have been compared to the likes of Queens of the Stone Age, The Mars Volta and Foo Fighters.  James Brown and Rage Against The Machine are also idols for the group- highlighting what diverse tastes they have.  Being a fan of The Mars Volta, I have been surprised at how few new bands are inspired by them, and aim to infuse their sounds with that of the progressive rock legends.  Between all of the influences I have mentioned, an abiding sense of passion, energy and high-octane intrigue are common; each has a way of getting into your brain and unleashing a psychotropic sense of wonder and potency.  Similarly Los and The Deadlines have those objectives.  Drawing all of their various idols together, as well as assembling their different nation's sounds and styles into the pot; the resultant sound is one that is unique and exhilarating- bursting with flavours and wonderful avenues.  The chaps are based in London and have been bringing their mandates and manifestos to the capital over the last few days and weeks; as well as planning for a busy future.  Last year, the E.P. Metro Talk was release, and met with huge acclaim and adulation.  The five-track release showcased the band's strengths and ambitions, and has ensured that they have a growing legion of fans.  Over Facebook more than 2,000 people 'like' the band; they have over 200 Twitter followers, and an army of supporters from far-flung places and cities alike; all intoxicated by the band's keen chops and electric kicks.

Having achieved a modest amount of views on YouTube, the video for Watch It Fall details a collection of clips from the band's gigs; fondly looking back on the wonders and achievements of 2012.  If the video has not pulled in too many views (just yet), the song itself has been warmly received; and is not a surprise to see why.  The initial few seconds mix The Mars Volta and Queens of the Stone Age.  There is a great deal of the former's experimentation and winding electric guitars; as well as the latter's current-day bold experimentation and brutalisation.  Before the vocal storms in, a frantic firestorm of arpeggio guitar is unwound, and the relentless pace and sense of danger lingers over the track.  With the front-man imploring: "Give 'em more", backed by twiddling and twirling guitars: part Red Hot Chilli Peppers; part The Mars Volta-cum-Grunge, it is a pulsating sound that keeps the tension high.  This is augmented by bass and percussion, which, when combined, strike and storm with maximum intensity and intention.  Where as certain bands like The Mars Volta and progressive rock bands, tend to employ lyrics that are oblique, Byzantine and surreal; Los and the Deadlines are more direct.  Themes of  the unusual are in there too; but messages such as "Buy it all for a bit of hope" strive for a more emotive punch.  As the players play- mixing brute force with some endeavouring, channelling undertones- a chorusing of  "Right...left...right!" is chanted; with militaristic force and power.  As much as there are touches of the U.S. pioneers in the guitar work, the overall sound and style of the track is more rooted elsewhere; modern-day U.K. as well as Europe.  With some disgruntled and desert-infused tonnes of Josh Homme, our front-man has some Californian notes, but his voice is more forceful and swaggering, with a bolder kick to it.  Where as the QOTSA leader- now at least- is favouring some delicate falsetto as well as filth-ridden/sexy-as-hell vibes, our leader here- and the band as a whole- have punk edges that injects Watch It Fall with sharper teeth.  It is perhaps their riffs, and sonic detours that are most impressive.  The percussion remains forceful and persistent throughout; employed with great power and drive; yet the guitar and bass lines snake, twirl, rush and roll in all sort of ways.  It shows an endeavouring and ambitious creative mind at work, when a band can create a multi-part and highly mobile number, that does not lose its focus or gravity.  When the chorus erupts- probably the most apt word- the band burst at the seams; our hero practically steroidal as a whirlwind of sound augments thoughts such as "You say it's my fault".  With some foreboding scenes and some nervy protestations our protagonist yells: "I've seen everything"- his pipes awash with gravel, grit, gasoline, gin and barbed wire.  The chanted and punched coda, is a weapon that is deployed again more extensively after the 2:00, providing a sea change that sees a shift to the darker and more hypnotic.  The backing is still bustling and alive with static and sparks; and once the vocal chants have erred, those threads rolls and tumble: guitar, bass and drum build up and down; up and down, hinting at some progressive rock edges.  As a whole the song very much has an anthemic tone.  Certain sections are chant-worthy; whilst the ever-mobile nature of the music keeps you hooked and invested.  I hope that the band get into the studio and release an L.P. soon.  Songs such as Watch It Fall would benefit from some crisper production and polish.  It would nice to hear Alex's vocals in better clarity, slightly higher and crisper in the mix.  If you listen to an album such as '... Like Clockwork', the incredible songs are boosted and given breath by the terrific production and a bit of polish, and Los and The Deadlines' tracks would gain a similar majesty, with some of those consideration.  Watch It Fall is a solid and compelling track.  Vocals are domineering and enflamed; as well as being impassioned and potent.  Guitar, bass and percussion are consistently sharp and fascinating.  Each member is tight and powerful; infusing a huge amount of force and wonder into the track.  Lyrics are sharp and interesting and kept focused and literal- for the most part- making the words meaning more tangible and relevant.  As a whole the song trips and fights through various shifts and phases; winding and biting at various intervals, that will surely win over the most stubborn music fan.

My point about multi-nationality and variation within a band is proven here.  The various backgrounds and personalities do not juxtapose or devise one another; they blend seamlessly and brilliantly, to create a stronger whole.  Los and The Deadlines are a tight and memorable band, and on the strength of the remaining tracks off of Metro Talk, I am not shocked that they have such a following.  It will be great to see where the boys go from here, as they have a huge arsenal and range to experiment with.  Whether they stick with the stoner rock/prog. rock leanings (with those Grunge and punk edges), or employ some more melodious edges is yet to be seen.  As the likes of Josh Homme's crew have demonstrated so deftly, is that revisiting the past as well as toying with mood and melody, mingling sweet balladry with sex-laden jams can result in a stunning record.  It would be great to see our boys go the same way; stick to the sound they have cemented, but incorporate some other key elements into the fray; augmenting and emphasising what they are duly capable of.  It is not a band that is dominated by the front-man; it is a democracy that has meritocratic and egalitarian values, where each of the members is equal.  This shared affection and consideration is clear in the music, and it is rare to hear a band that are so confident.  A goldmine will be struck when a group can mine and create the sounds of the likes of Queens of the Stone Age, Foo Fighters, The Mars Volta, and make it sound like their own.  Los and The Deadlines are very close, and if they continue down the path they tread, and grow in confidence, then we could have a band that can stand alongside the U.S. giants; which is sorely needed in a climate that is dictated by mediocrity.  Take a gander at the quartet's songs and it will give you a sense of a young band that are hungry for longevity and success.  Should the lads keep their head and focus their sights, very much into the distance, then they will be creating some cracking songs for a long while.  Too often great bands have been passed over, in favour of the inconsistency of the mainstream.  It is with the power of social media, and a continued following...

THAT the four-piece will be able to prove how good they truly are.

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Official:

http://www.losandthedeadlines.com/

Facebook:

https://www.facebook.com/losandthedeadlines

Twitter:

https://twitter.com/LosDeadlines

SoundCloud:

https://soundcloud.com/losandthedeadlines

YouTube:

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

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LAC- When I'm Around- Track Review

Track Review:

LAC 

When I'm Around

9.4/10

Acronymically intriguing; Michael Davies' LAC alter-ego has a curiosity, which is surpassed only by that of his incarcerating, ignoble punk strut.

Availability:

When I'm Around is available at:

https://soundcloud.com/lacmusic/when-im-around

The E.P. Borstal Boy is available at:

https://itunes.apple.com/gb/album/borstal-boy-ep/id656190644

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THE task for the male solo artist, is one that has Herculean undertones.

For the past decade or fifteen years, there has been a little bit of a struggle when searching for stunning solo male acts, or strong frontmen, that you could pin your hopes to.  Since the mid-late '90s, the job of presenting yourself as truly original and diverse has become a lot harder.  In the sense that so much music has already been sung: so many styles; genres; sensations and anthems have been recorded; by each passing year, the nature of originality and potency becomes difficult to define as well as supersede.  Talent shows do not help: in essence they are the antithesis of originality; with hopeless fame-chasing wannabes being moulded to sound like certain existing artists.  Outside of that, there is a lot of solo movement.  Some can be seen as quite pleasing; shades and tones within a voice or set of lyrics that suggest something promising, but by-and-large, how many artists can we say that about today?  Whilst female solo artists such as Laura Marling are producing great strides and albums, that are filled with maturity, striking themes and an abiding air of quality and conviction; aside from her, there are not many whom promising the same.  For the men, there seems to be no natural leader, setting the bar and showing how it should be done.  It is true that some are rising up now, and are capable of yielding crops years down the line; in the here and now, there is a greater issue: no one in modern music today; in the male solo artist division, is capable of taking your breath away.  I may be missing someone, but having my ear practically cemented to the ground, I know what is out there; and I am aware of Bon Iver, Matt Corby, Jake Bugg and a myriad of differing talent; but I still arrive at the same conclusion: there is no one that truly inspires me in every aspect.  If the lyrics are tremendous; the voice comes off as lacklustre or unspectacular.  If an artist has a great voice, the words are too narrow-minded, and they are there is little true range to their palette and subjects.  It is frustrating, and in all honesty, I am not sure who or how the pandemic is going to be cured- in the female genre as well.  Recently I have featured some great solo artists that I hope will make their way into public consciousness; yet fear that due to the growing market, and the hardships of trying to promote your sound, it may not be fully realised, or they may have to downscale their ambitions.  Still, eyes are trained towards the band market, as a sense of strength in numbers dictates the public consciousness.  This year has seen legendary and established bands making biggest waves, and there seems to be a trend emerging: diverse and innovative bands with a strong frontman/woman tend to draw in the biggest bucks.  I have been downhearted at the amount of new acts, where the sound, singer and lyrics are awash with cliché, sloppy iambic pentameter; vague resulting in esoteric appeal and an inherent (un)planned obsolescence.  For success, immediate impressions and lasting success- aside from terrific and encapsulating song writing- you have to have a captivating and worthy (literal) voice; a sound that is stunning and meritocratic; tied and binding by a collective whole, that is inspiring and capable of historic and of-the-moment prosperity and fascination. U.S. acts such as The National, Queens of the Stone Age- as much as I have mentioned them recently- have these facets, as do the other bands whom are currently making huge impressions in 2013.  Uniqueness and differentiated sounds are as vital as anything too; and were a band to crack this, then their future is almost safe- regardless of prevailing winds and economic outcomes.

On paper, Michael Davies, A.K.A. LAC may seem somewhat the anti-hero.  In a recent profile writing by Paul Lester of The Guardian, there seemed to be as much back-handed praise as there did derisive snickering and sarcasm.  The Guardian is a publication I have always had an issue with.  As useful as they are for introducing new talent to my eyes, when I read their profiles and articles about said artists, the majority of the time there seems to be a modicum of insincerity and Trojan Horse venom behind their intentions.  Paul Lester is the man responsible for my umbrage and discourse.  A middle-aged- and one can only assumed- failed musician, he spends his professional days, seemingly searching for new bands and acts; so he can simply employ his own twisted brand of subterfuge.  Lester proclaimed that LAC is unlikely to "Be the daddy", summating the appeal of LAC: you'll like it only if "you like shouty bloke punk".  Aside from Lester being a credulous and musical illiterate buffoon, there is a great malaise at play at the paper.  Their reviewers are subject to more derision and negativity that they put in their reviews; usually a few lines long and going to no lengths to give an overall opinion or anything bordering on insightful.  Factor aside my reticence and hang-ups with The Guardian, my abiding point is, that they have missed the point: LAC is not a band-fronted by a man- whom should be passed over; cast aside, and dispelled- as Lester has done so reverently and confidently.  I shall crib from that aforementioned article, as the facts about Davies' past are the only factual aspects; so let me tell you about him.  Davies spent some time in a young offenders' institute at aged 15; a cellmate hanged himself, and it was the Spartan resilience, augmented by painful experiences that inspired Davies to go into music.  Having gown up in an area of south-east England, that, in Davies' own words: "depressing".  The music of LAC is intended not to scare or even inspire a raft of musical acolytes and tributes; more represent the reality and harshness of certain sectors of society, and the problems and hostility that is an ever-present threat.  In the way that Plan B and a great deal of Grime artists- as well as rap artists- present the streets and city life in all of its mangled and dystopian glory: like The Divine Comedy-cum-Irvine Welsh.  The three-track E.P. that has been created by LAC, whom are: band leader and vocal laureate Michael Davies; backing vocalist and bass boy Damion Sheppard; and pots and pans man Andrew Mardle.  Situated between Oxford and London, and drawing in collective experiences and day-to-day life, the E.P. Borstal Boy is deeper and more layered than its title would have you think.  Being a man whom is at the mercy of, and reliant on, the (dreaded) Jobcentre: in all of its hell, horror and vileness; themes and songs speak to me as literally as they do figuratively.  It is not an E.P. reserved for punk fanatics; nor working-class bands such as myself.  If you negate Paul Lester's repressed sneering and insincerity, and listen hard, the music works on so many base foundations: it has huge energy and excitement; it is modern and relevant, as well as being great music.  Whilst LAC may be near Google-proof- and locating all of the social media pages is a task in itself- when you listen to the music; preconceptions and judgementalness (sic.) are gunned down, stomped over, and buried- see what I did there?

When I'm Around is- to my ears- the standout from the trio of tracks off of the Borstal Boy E.P.: the title track and Dead Generation make up the other two.  If certain stuffy newspapers compare the songs to being interlopers and encroaches: deflecting any hint of praise, and preferring cynicism; then take it from one whom knows music better and more intimately: it will strike chords.  In fact the initial stages of the intro. will project images of The Libertines' Up The Bracket: a sort of Time for Heroes-cum-Begging begins its gestation.  At once the mood has touches of the early-'00s punk attitude that the boys in the band popularised; as well as flavour notes from mid-career The Clash.  That pummelling, almost militaristic percussion assault; and the way it mixes- and spars with- a familiar electric strum brings to mind the modern and iconic punk pioneers, and gives the track authority and ambition in the early stages- with just the right amount of remembrance.  As the intro. opens up and stretches its legs, so too do the guitar and bass: sprawling and striking in a move that is simultaneously self-actualising and literal.  You get the impression a prison riot or street brawl is being sound tracked; awash as the song is, in vibrant and spiky riffs.  If you were to compare the sound to another band- and I won't do liberally to avoid cheapening the band- then there are some early hints at an influence of early-career The Jam; mingling alongside that Libs. vibe.  That coalescence of '70s punk and modern-day youthful energy marries well- promising no imminent divorce or disagreement.  The energy is too not forbidding or menacing thus far: it is light enough to draw in indie and rock fans, yet has an edge and perseverance that suggests spittoons will soon be needed.  There are also some undertones of The Who to be found.  One can imagine that a great deal of the band's records, as well as other '60s and '70s legends, are to be found in the homes of Davies, as well as his band mates.  A lot of turf has been covered and won by LAC within the brief intro., and when the vocal arrives, you are already on board with their sound and ambitions.  Tales of "me and a mate called Pete", give you an impression as to the narrative and direction the lyrics will take; and the boys that are running around "smoking cigarettes", paints a tableaux of lads-on-their-uppers; swaggering around town and- whilst offering no hostility (early on)- classic and reliable themes are presented.  In the same way as The Libertines infused their albums with stories of f*****-up parties, semblances of abnormality and Death on the Stairs; LAC continue the (neo-)punk theme; and like Messrs' Doherty and Barat, a tangible and explicable sense of fun is present.  The song's strong efficacy gets you listening sharply, and following our protagonist's plight.  Our hero talks about the changing times; his voice dripping with intention and clout- suggesting parts Lydon, parts Strummer.  The guitars rumble and spring as the percussion and bass thrash, solidify and stomp.

As our hero is "Putting myself on the map", the pace and energy of that riff, as well as the percussive and bass augmentation keeps the song intent and relentless.  Yes, Mr. Lester, portions of the song may have a punk shoutiness; with Davies and Sheppard duel and swagger their vocals together, summoning a rabble that is not supplementary or a nuisance: instead it is elicited to bolster and emphasise the themes of the track.  Whether there is any regretful missive at its core, our protagonist never shows it; as all that is happening- good or bad- is inevitable "When I'm around".  As much as the song is designed to display autobiography as well as honest (as well as home) truths; it is also meant to project a fun and lads-about-time swing; it is infectious in its own way.  If you try and compare LAC to The Clash, Sex Pistols or The Jam; they may come up short: the boys are not trying to emulate them.  They fit very much in a post-Libertines mould, and take elements and weapons from their war chest, and add in some explosives and chemicals that are very much their own, and born out of first-hand experience- which creates the potent bang of the track.  The boys yell and 'nah nah nah' boisterously; instruments smashing and marching, and concoct a boyish and impish chorus; before the track comes to its end.

LAC may not win over too many hardened critics like Lester, not galvanise the compartmentalised groups of music fans whom tend to 'like what they like'.  For me, whom has never been a fan of '70s and '80s punk, and preferred more modern stabs at the genre, it is a song and sound that appeals to me.  The key themes include modern relevance, realities of street life as well as modern life, rather than subjects more cerebral.  In the way that The Libertines combined cigarette-strewn scenes of inhospitable and unsavoury climbs, LAC and Davies anoints When I'm Around with some comparable weight.  It may take a few more E.P.s or albums before our hero matches the dizzying heights of Carl and Pete (and co.); yet Borstal Boy is an E.P. that promises intention and future-potential.  The tracks are crammed with menace as well as fun; the riffs and compositions are always focused yet have a slightly drunken sway to them.  Above all the band are tight and focused.  Percussion is powerful and masculine; the guitars and bass display some familiar movements, as well as originality and potency, and the vocals from Davies are always authoritative and meaningful; contained youthful edges of a young Weller, yet different enough that you wouldn't even notice it.  In a 2013 landscape where punk is hardly a common theme or thread, LAC fill a niche and market that is crying out for contenders.  Too much indie and generic rock is present.  Some of the bands, and especially new bands show signs of potential and star appeal- The Family Rain come to mind; and blues rock is on the up as well.  In the same way that swing and doo-wop is being updated and revitalised; sounds of the southern states of the U.S. are being experimented with; it seems prescient and vital that an (almost-forgotten) core has been neglected.  Punk was a genre that has influenced most bands today in some form, and there is a need for a more direct approach, when reappraising and reintroducing the genre.  Bands infuse flecks of punk here and there but never delve too deep into sound.  LAC are going to busy working on future songs, and are along the right lines now.  Between the three boys, and Davies especially, there is a wealth of colourful- and often painful- history and backstory, that gives the songs their unique edge.  They have cemented a sound and intention, and just need to expand on this and produce a full-length release.  I hope the likes of The Guardian will not chase away potential buyers; as it seems that the profile piece they completed does injustice to the group.  Yes, there are shouty and chaotic edges; beer-stained highs and cigarette-puffing middles; yet no lows.  It is music that sets out and achieves what it wants to do: recreate punk's mandates and appeal to a modern crowd.  It does pretend to be anyone it is not.  It will be interesting what moves LAC make next.  Hopefully many new songs will be forthcoming and more people will get on board.  Even if you are unfamiliar with or not hugely in love with punk in general, you will find much to recommend.  In a year where there is precious little diversity or force...

OUR endeavouring trio are out on their own.

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Facebook:

https://www.facebook.com/LACBandUK

Twitter:

https://twitter.com/LACBandUK

SoundCloud:

https://soundcloud.com/lacmusic

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Little Love and The Friendly Vibes- Sunshine- Track Review

Track Review:

Little Love and The Friendly Vibes 

Sunshine

　9.2/10

An Edinburgh band in need of a Twitter account; as their brand of 'Fun Pop' could see them gain a lot of attention, as well as hearts.

Availability:

Sunshine is available at:

http://littleloveandthefriendlyvibes.bandcamp.com/track/sunshine

The E.P. Fun Pop is available at:

http://littleloveandthefriendlyvibes.bandcamp.com/

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'SCOTLAND' and 'sunshine' are diverse terms that can cause polemic.....

to-and-fro.  When one thinks of Scotland, perhaps sunnier weather, at least, is not one of the first things that spring to mind.  Amidst cliché, stereotype and preconception, a lot of the U.K.- as well as a large percentage of the world's population- know very little about Scotland, and what is on offer.  It is true that climate and good weather is subject to unpredictability and entropy: but so is that true everywhere.  It is true that very few music fans and media outlets give enough credence and passion towards Scotland, and the music that it present here.  Recently I have been subjected to revelling in the myriad joys and invigorations within the music of Universal Thee, Steve Heron and Ded Rabbit.  Here are just three examples of a growing wave of great music that is emanating from Scottish climbs.  Commonly, one assumes- quite falsely- that the best new music and most prodigious sounds herald from London- how often have I been mentioning this?  Whilst it it is true (to a degree) that the capital is giving birth to some brilliant new bands and acts, by-and-large, there are very few brilliant artists and worthy songs/albums coming from London.  I have been at a loss to explain this phenomenon, as London has all the right climate conditions: a huge population and huge diversity; a great deal of record labels and studios; the inspiration of the bustling city life.  In the past, I have perhaps hinted that the reason behind the comparative lack of quality in music, can be explained by the stress and anxiety present in London.  With there being little room to move, and large and busy crowds pretty much... well, everywhere; one is often starved of the necessary space and energy needed to create fantastic music.  Historically at least, the best music has arrived from other areas aside from London.  Liverpool, Manchester, Seattle, Minnesota and Oxford have spawned some true legends, and there is evidence to suggest that these areas are more conducive to create wonder.  As much as the busier cities can suffocate creativity, if one travels further north, then something quite different is occurring.  Yorkshire is perhaps the best example of a county that is promoting and fostering huge range and mobility; bearing witness to a great range of music that has ambition as well as a sunny disposition.  If anything, Scotland are producing music that is even more ambitious, and has an even bigger grin about it.  This may shock a lot of those in the rest of the U.K.- although I am not sure why.  The sounds- by and large- tend to be breezier, less anxious, with greater weight and appeal.  In the future months and years, there will be (one hopes) a turning away from the big cities such as London; to Scotland.  The music industry is undergoing suffocation and fatigue, where the majority of new artists and bands seem to be bereft of many new ideas: a lot tend to be too indebted to their idols.  Individuality, mobility and diversity seem to be more prescient bywords for Scottish artists, and it is the music made by them, which is being studied carefully; as the successful artists are making waves all over the U.K. as well as further abroad.

In Edinburgh, Little Love and The Friendly Vibes are making their name because of their bright-eyed and cheerful tones; a style of music that has been dubbed- and lead them to name their E.P.- Fun Pop.  Having formed in 2011, there were several line-up changes and substitutions amongst the ranks, in order to cement the final line-up for the band.  The group came about and were consecrated on sturdy pillars: catchy melodies, quirky guitar hooks; as well as a mix of comedy and punk.  The tracks that the group write are light-hearted with a big heart, and are infused with fun and memorable lyrics and imagery.  It is perhaps unsurprising that the band have been labelled as a 'Fun Pop' group, considering some of their influences.  U.S. legends The B52s are influences, and The Magic Numbers are also named as icons for the Edinburgh band.  Both of those groups are synonymous with bright, breezy and joyful songs: the former perhaps, are the epitome of the term.  As much as there is heart and tenderness beneath the band's skin, they have been noted for some of their more raw lyrics and sentiments.  Our group, consisting Euan, Graham and Stephen, are fans of the likes of The Velvet Underground and The Undertones; some evidence of these bands make their way into some of the more cutting and honest themes.  It is the mixture of fun and comedic overtones and a hint of raw honesty that has lead to positive reviews and glowing feedback from many media outlets and fans alike.  It is not surprising that their music has been taken to heart and so positively received.  In a time where there is still an over-reliance on heavier and more cynical sounds; Little Love and The Friendly Vibes are the antithesis of this, and pioneers of a more all-inclusive and positive sound.  The E.P. Fun Pop, is the summation of the band's sound, talents and (sometimes difficult) development.  Their artwork and websites are awash with bright colours, swirling patterns and egalitarian shades and designs, that you cannot help but to be charmed by.  In the future the band should consider a Twitter account, and an official page too, as they are deserving of drawing in a great deal of fans and supporters.  I have connected with U.S. and Australian bands, whom have connected with others and had their sounds heard a long way from home.  Little Love and The Friendly Vibes have a sound and palette that is as ready-made for the Californian coast, as it is for the clubs of Sydney; as well as European cities.  Such is the utilitarianism and universal tones of their mottos and codas, that it won't be too long before they are a name on most peoples lips.  With the tendency still erring towards guitar bands, sour undertones and heavier sounds, it is refreshingly and rewarding when discovering groups that are willing to (gleefully) rebel; infusing the music scene with vitamin C: ultimately ensuing that a murky and overly-familiar quagmire is not created.  Fun Pop is four tracks of pop fun, and was released in September of last year.  Featuring Barry George as well as Rheanna Bryson, our trio have been gathering a loyal band of followers and fans; each of whom is keen to promote the good words and sensations that the E.P. offers.  Due to pecuniary constraints, the group's E.P. has an almost homemade appeal and sound.  The songs were written by Euan, and produced, recorded and mixed by Graham; and the entire band has pitched in and doubled up almost, to ensure that a) the E.P. got made, and b) it was the sound that they wanted and craved.  In the future the group are dreaming of recording an album, and expanding their mandates and stories; in essence fully realising their potential and hoping to draw in new fans and support.  For now their E.P. gives as much an indication of the band's potential as anything: chocked full of lights and shade; quirky and sedate; harmonious and reflective.

It is the E.P.'s second track, and former single, Sunshine, that has been gaining some of the most fervent feedback and exhausted plays.  The song opens with a guitar and drum march.  The electric guitar strides and kicks, before a percussive punch punctuates the line.  It is a coda that is repeated, before the two blend together and rattle and roll with intention and strength.  Within a brief intro., a great deal of anticipation and intrigue has been built up; as one wonders what direction the song will take.  A repetition of "Why love everything about you?" is proffered by our frontman, his voice seemingly swaying and nodding; infused with '6os psychedelic-cum-sunshine pop-via-Britpop-era-swagger.  When he asks: "Why love everything that you do?" there is a seeming haughty disregard in Euan's tones; as it seems that there is a backstory and a bit of history that is being exorcised and exalted within the lines.  It is not sure whom the song's central figure is: a former love?  A current friend?  Many questions are raised- the song is largely composed of questions in fact- and it is wondered whether things are better now: it is questioned if the status quo is the best thing for the two.  In the way that our frontman asks questions and sets the scene, the band create atmosphere and a relentless pace, which keeps the song upbeat and energetic throughout.  Throughout there is an abiding feel of the '60s, both in the sound of the production and the nature of the song- a little punk-edge is present, but largely flavours of that era and time can be heard within the track.  As well as there being '60s evocations, some of the guitar sounds and riffs remind me of '90s blues rock, as well as mid-'90s Manchester too: there is a heady blend.  It is true that the band have a talent for melody, and when "Why love everything about you?" hits, you cannot help but to realise that it has a festival-ready remembrance: a great sing-along quality that is the staple of a modern anthem.  Whereas other songs on the band's E.P. may have greater lyrical positivity, Sunshine has a pervading sense of the upbeat.  Any lines or choruses that suggest cynicism or derision are presented with a flair and confidence that win you over; augmented by a tight and measured band performance that adds potency and force, without impeding on the foreground too heavily.  Whether the song has been inspired by a break-up or uncertainty within a relationship, we may never know, but it seems that there are few recriminations in our frontman's core.  There seems to be few strains within his heart; the message's evocations and potency is befitting of the song's title.  As that infectious coda has been unleashed once more, the vocal subsides, before a short outro is unleashed.  Combining some chugging guitar and firm percussion, as well as some solid bass work; it wraps things neatly up, managing to present a small flourish and smile right at the end.

Little Love and The Friendly Vibes are a trio whom have big ambitions.  I can tell that they are hungry to record an album very soon, and it is a desire that will be bolstered by public consumption.  It is imperative now, as much as it has ever been, to promote and support bands and acts that 'differ from the norm': those that are not concerned with sounding exactly like someone else.  Their E.P.'s four tracks are each fairly short (Typical Teen runs in at 1:56); and they have mastered the art of producing short, sharp and memorable bursts of songs.  Were they afforded the finance and professional studio space to emphasise and polish their sound a bit more; as well as get an album's worth of material laid down, then they will soon find themselves at the mercy of the festival organisers and venue managers: each keen to get them on the bill.  Each member of the band plays their role superbly.  Vocals are fresh, uplifting and bold one moment; with a little cockiness and spit the next.  The tones are original and varied and you are never left thinking of any other singer.  Guitar, bass and percussion is employed expertly and played solidly; again pervading an original sound that is filled with equal measures of force and sunshine.  For an E.P. that runs in at less than ten minutes, the group's tracks cover a lot of ground and promise much reward.  Few bands spent much consideration with regards to concentrating their sound, and being concise.  E.P.s are usually a little long and stuffed; acts and bands are too concerned with saying as much as possible, through fear of being forgotten about if not.  Sunshine is a track that sticks in the brain because of the sound, as well as the catchy lyrics.  Like Muse's Time Is Running Out, it employs relatively few individual words; instead taking its potent chorus, and weaving it into your brain.  As soon as they can get a Twitter account and official website sorted, and reach as many people as possible, then success will not be far away.  Websites such as Kickstarter are bound with musical projects- less impressive- which get funding and allow new acts to get albums recorded.  If that were a route that the Edinburgh clan were to take, then it might see them in the studio laying down an L.P. very soon.  Although there should be no fear.  From looking at their Facebook page, they get plenty of great feedback, and have live dates ahead.  At the time of this review the band are priming themselves in preparation for recording new songs, and figuring out their next moves.  With an arsenal that is as fully-loaded as it is unique, they will be able to carve out their own path; providing that they can get the funds to help them realise this.  Sunshine is a great example of a band that have plenty of potential; a great deal of ambition, and are asking just one thing in return:

THEY need you.

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Facebook:

https://www.facebook.com/littlelove.official

BandCamp:

http://littleloveandthefriendlyvibes.bandcamp.com/

ReverbNation:

http://www.reverbnation.com/littlelove

SoundCloud:

http://littleloveandthefriendlyvibes.bandcamp.com/track/sunshine

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