Feature- Black Velvet- with a twist of lemon

FEATURE:

Black Velvet- with a twist of lemon

_____________________________________________________________________

It is the final day of 2013, and I look back on the year; not with resolutions for the future- more of a clear message for what needs to be done.

_____________________________________________________________________

I will keep this short, as we all have places to be- and better things to do...

as we head into 2014.  I have never fully understood the appeal and need to celebrate the new year (and bid farewell to the one just past).  To me the new year is not a re-evolution or rebirth; more a continuation of days.  When we wake up tomorrow morning (with or without a headache), will anything really change?  In so much as we will be saying '2014' instead of '2013' the truth is this: we will all carry on as normal and change nothing.  This is perfectly understandable as this is what should happen, yet it has always confused me what difference it makes that we transcend from year to year.  As well, people go to lengths to make 'new year's resolutions'- a cliché and laborious process where one decides what they want to achieve for the year.  No one ever fulfils their list and far fewer actually bother to attempt it.  You would only ever celebrate new year if it was the dawning of possibility and fulfilment- if you knew for certain that great things would happen.  As I said, this never occurs.  We all carry on unabated, without modifying our routine, or altering things for the better.  This got me thinking, and unveiled a real problem I have found with people this year...

I shall start by getting all negative connotations and points out of the way, first.  This year has been a particularly bad one for myself, personally.  The period has seen a lack of personal fulfilment, a few occasions of near self-extinction, and a real fatigue.  The combination and culmination of clinical depression, insomnia, neurological strife and anger has worn my down.  It happens to a lot of people, I know, yet makes living a 'normal' life, impossible.  I started 2013 by laying out goals that I wanted to achieve and get crossed-off.  These included recording an album, setting up my own business; finding a girlfriend and finding a new flair- amongst many others.  As I look back now, I wonder why my aspirations were so high.   Life itself has gotten in the way, and the sheer lack of energy I have has suspended any musical desires, and also curtailed any chances of finding any personal satisfaction.  Home life has been a necessity, but one of the top priorities for the coming year is to find a place of my own: and to live alone, with my own space.  This year I have also made connection with some variegated music peeps.  This has brought its own drawbacks.  As touched as I have been by the positive feedback many acts give me (when reviewing their work), there have been notable exceptions.  Quite a few people I have featured keep in touch and are always supportive and appreciative.   There have been some, however, that have giving no feedback at all.  This has infuriated me, and made me less willing to want to help anyone.  Some musical 'friends' have received a lot of attention and help from me, yet have offered nothing in return; nothing real: just keen to take without necessary reciprocity.  One of my ideals for 2014 is to cut those people out, and become a lot more wary.  It is a sad situation to arrive at, yet it has been compounded by people being people: you have some that are wonderful and brilliant, yet most that are self-absorbed and selfish.  As I say, I will be making strides to delete (these offenders) from my conciseness (and social media pages).  I love reviewing- as well as writing my own stuff- so will continue to do so, rampantly.  Those whom have been sweethearts- I will mention them more below- will continue to receive my patronage and time; whereas those 'better off' will clearly not notice my absence.  As much as it has been the toughest and most depressing year of my life, I feel that I could not have done things differently.  For every moment of desolation and destruction I have not regretted it- and will not when it happened again.  The next year will probably be as tough as the one past, yet I am keen to put the black and stressful moments behind me, as try and cope as best as possible as I can with what is to come.  It may turn out dreadfully, but as I say: new year is just another series of days, nothing more, nothing less.  Being single has been one of the hardest crosses to bear, yet is something that will be a prominent feature of 2014.  I have confessed feelings for some, and have not heard back, and I have resigned myself to not repeating this pattern, as it often leads to heartache and emptiness.  Dating websites are not the solution.  From my experience, embarrassment and an odd equilibrium mandates those sites 'charms'.  After a while, it becomes an agonising slog, and it makes you doubt your own positives and worthiness.  As you can see, it has been a tough year, and there needs to be some drastic decisions made.  In spite of all of it, I have learnt one thing: I know what I need to do in 2014.

There have been some brighter aspects of this year.  I found employment after an ageing and hellish- year, and although it is not a dream job or my distant future, it is providing me with a purpose and I have some wonderful colleagues around me.  Our company move to Epsom in a couple of months, and the office there is awash with veritable near-supermodel-like women: hey I'm single, I can but dream!  I have money coming in, and I still have the same focuses.  Moving to London is still the goal, as truth be told, I do not like Surrey.  I have always found it so, as it is just filled with people who hate London.  People moan about how overcrowded and polluted it is, and seem happy enough to live their lives stuck in the same routine.  That is fine, if that is what you want to do, but it is the worst possible life I can imagine.  London offers opportunity for the ambitious folk.  I want to record an album, set up a band; design and complete a music café/bar; find love and create a comedy series.  The positive in all of this, is that I know where I want to move to and where I want to be.  I know the people I do not want to give my time and efforts to, and this has freed me up.  I realise that I do not need to help everyone and spend time on the unworthy: simply those whom deserve it.  If I can find a way to manage my problems and illnesses better, then I may be able to find a way to record music.  I am optimistic in that sense, but realistic enough to know that it may never be possible.  I guess the biggest upside to everything is, that I have made some great connections and have some good people in my life.  I will continue to do good, and help as much as possible; and spend as much time as I can trying to help them.

The message I want to put out is this.  Look out for yourself, first and foremost.  It is great to be good to others, but too many do not appreciate it.  It is not selfish to focus on yourself, it is positive.  I am dedicating more effort to try and keep afloat, to move on and try and get to where I want to be.  There is no use in making resolutions, as no one sticks to them and they are utterly pointless.  Instead, aim for some achievable goals and be realistic.  Celebrate new year if you want to, but remember that tomorrow if another day... next year is another year... if you really want to fulfil and justify the merriment that you will experience tonight, then make a real effort to make real change: stop blowing hot air.  As from tomorrow, I am trimming people out (that I do not need); I will be carrying on, but at the very core, continuing as normal.  Balance your time between assisting and making other people's lives better, but do not forget about yourselves in all of this.  Too many people do, and it makes things so much unhappier than they need to be.  There are 'friends' I have and have never met; which I want to change.  There are priorities I have not adhered to, that need to be.  In all of it, there is the most important thing: wake up tomorrow with a clear mind, and not a sore head...

Make it your only true goal for the following year.

________________________________________________________________

Single Review: Emily Kay- Now or Never

TRACK REVIEW:

Emily Kay

Now or Never

9.3/10.0

Now or Never is available from

http://www.youtube.com/watch?v=Kxrcyl3siko

The E.P. Now or Never is available on 12 January 2014, or available as a pre-order via iTunes:

https://itunes.apple.com/us/album/now-or-never-ep/id756944254

_____________________________________________________________________

Ahead of the release of her E.P. (of the same name), comes an intriguing sonic slice.  Many solo artists come, and shortly fade.  Miss. Kay should have no fear, as we head into 2014...

_____________________________________________________________________

FOR the final time of this calendar year, I am once again casting my mind....

to the world of the solo artist.  I have spent the past year or so vicariously living through a variety of musicians.  From the band, through to U.S. solo artist, I have spewed crescendos of praise and admiration- and sometimes, hyperbole- all of the time, pitching tent on the same common ground: how difficult the music business is.  The 'difficulty' arises when plotting and planning your ambitions.  Whether you have three or four band colleagues watching your back or are by yourself, it is a tough and unpredictable climb.  Leaps of faith have to be taken; compromises arrived at; futurology and telepathy are enflamed lovers.  Overall, there is a labyrinth of obstacles and pitfalls to predict, negotiate and overcome.  When surveying and considering a new talent, I am always filled with a pre-requisite of admiration and respect.  As a semi-licensed songwriter myself, I have spent years (about fourteen in fact), scribbling scenes, dreams and frustrated inner visions, all the while speculating whether these words and ideas would ever reach the studio.  As it stands I am a theoretical singer/songwriter: all the words are written (and an album's worth of material completed), yet none has been committed to tape.  I have found that the transition step between thought and reality is an oppressive one to realise.  In previous blog posts I have stated how expensive it is to record music.  It may be axiomatic, but even a simple (or uncluttered) acoustic number can cost hundred of pounds to record.  Many of my (musical) friends have completed recording E.P.s and singles, and although most were recorded at home/friends' studios, the plain  truth is this: the cost is a pivotal demon.  Whether finances are raised through crowd-sourcing or employment, it takes a lot of time, effort and patience to acquire the necessary capital.  I have bridled when faced with the cold hard truth: realising my (wildly ambitious) songs will be a costly- and perhaps impossible- horizon.  No matter, for my personal woes, proclivities and depressions are for another day (and another blog).  Financial constraints are a big barrier for the new songwriter, but there is another- and perhaps larger- problem: the vast competition.  When reviewing new acts, most have left me a little tepid to be fair- there are a rare few that capture my attention fully.  The band market has its own idiosyncrasies and personality quirks, yet it is the solo market which throws forth the most draconian gravity.  All of the creative input, financial considerations and foresight needs to be generated and sustained by just one human.  Few are fortunate enough to acquire a manager or record label off the bat, so the infant years of one's career can be a lonely and fickle one.  The music industry (and the media especially) gleefully toys with new talent: wrapping them in gold-threaded blankets one week; throwing them off a cliff top the next.  When codifying and solidifying plans of (musical) action, the solo artist often can implode from the stress.  I have always been impressed that the lone star gets as far as the studio- let alone makes it past E.P./album one.  Once you have pressed and distributed your music, it is not a case of sitting back and waiting for kudos.  New released have to be considered; gigs and tours planned; creative chess moves plotted.  Wheels are constantly in motion, and the mind and body are conjoined in perpetual motion.  Throw in the fact that the burgeoning market continues unabated, there is a territory- and no-less-foreboding- concern: overcrowding.  Whether you are a skilled and wonderful songwriter or a plastic pop muppet, there is always going to be dozens (or hundreds) of like-minded musicians on your back.  Whether you're a northern soul/pop act or a European disco outfit, there is always going to be inevitable competition.  As much as I love the solo artist, I am wholly conscious of the fact that they are amongst the largest sect of musicians there is.  Too many seem to lack the heart and bite necessary to sustain appeal and plaudit, whilst too many subjugate originality and a unique voice, in favour of a homogenised bore.  As I look towards the next year, and pour wine on the embers of the past 360-odd days, I cannot help but wonder what trends will be promoted towards the solo market.  It is clear that a staunch and hearty resilience are tantamount to longevity; a unique talent and sound needs to be moulded; a vote-winning campaign is crucial.  With the likes of Justin Bieber- and I hope, Miley Cyrus- not long for the music world, perhaps 2014 will favour a mature and sophisticated sound: one where instrumentation, range and intelligence are preferred over nauseating platitudes and saccharine ineptitude.  As eyes and ears are primed towards January, it is vital that early- and lethal- shots are fired, in order for the solo star to augment their potential and claim a spot at the dinner table.  This- perhaps ineloquently- bring me to my subject...

Emily Kay is perhaps a name unfamiliar to many.  I was introduced to Kay via record label Brick London Ltd.  A couple of kind contacts I have acquired have been singing her praises; encouraging me to seek out her music and dissect her songs.  When looking into the biography and bibliography of Emily Kay, there is plenty to suggest that she will be a name synonymous to many this time next year.  The first thing one will notice is that is a mesmeric sight.  Beauty and sex appeal are an irrelevant digression when it comes to music, yet one can not help but to be spellbound by Kay's beauty.  She is a mix of girl-next-door cuteness and raw sex appeal: there is a beguiling mix of reserved class and poster girl potential.  The current market is awash with diminutive and cutesy solo acts.  A few stunning Sirens drop jaws, yet there are fewer now than ever.  It is a minor chord I know, but when inspiring young women or older men, the look and aesthete of the solo artist can be an important factor.  Kay has a loveable and gorgeous smile, and a stylish and elegant wardrobe.  Before one investigates her words and history, you get the impression that here is a role model for the modern age- yet one that has the elegance and bewitching allure of jazz and soul legends such as Billie Holiday and Nina Simone.  Kay is a young, vibrant and hungry talent, and one whom has been making waves and impressions around the U.K.  She is based out of Birmingham, yet has enjoyed residencies in London and various venues throughout the country: bringing her unique voice and sounds to many adoring ears.  Kay's E.P. is imminent, yet I have cast my attention to her single, Soldier.  This is a striking and mesmeric song; one which perfectly highlight's our heroine's golden voice, as well as displaying a mature and imaginative lyrical mind.  Soldier has been garnering a lot of praise and compliments from social media as well as YouTube.  Radio stations and music-lovers alike has been hypnotised by a rare talent.  That single (Solider) was a stand-out from her previous E.P., and is by no means a wonderful aberration.  Kay has been recording and releasing music for a while, and singles such as Hold Me Closely as well as her E.P. Emily Kay Unplugged has won favour from vast sectors, as well as acquiring patronage from stations such as M.T.V.  In many of my reviews, I have emphasised the importance of geographical location; not just in terms of providing a unique reference point, but also giving some historical basis too.  I have seen some wonderful acts from Yorkshire arise triumphantly.  From soulful pop through to electro-swing, it is a county that offers ripe bounty.  Mancunian and Liverpudlain solipsistic bands have engaged and enflamed the senses, whilst London-based solo acts have provided much thoughtfulness.  When it comes to a reconnaissance of the Midlands, there has been little to recommend.  Emily Kay is a proud Midlander, and she mixes the sounds and sights of her native ground; blending in jazz and gospel influences.  When Kay visited New York as a teenager, she become enamoured of jazz: this in turn spurred her to persue a career in music.  As well as some folk-tinged edges, one can hear influences of Billie Holiday and Angie Stone in her mandates.  Kay's voice is a truly individualised sound, and a stunning instrument that has won her many fans.  Having performed across London- including sets at Camden Lock and Underbelly of Hoxton- she has cast her spells across the capital.  In addition, Kay has won the Unsigned Hyper award; as well as being nominated for 'Best Female Act' at the 2012 B.E.F.F.T.A. Awards.  With an illustrious and impressive background, and a high-resolution desire on the present, Kay is sure to evolve rapidly into next year.  As it stands she has a fair few hundred followers and fans across social media- yet not as many as she deserves.  I am confident that her ensuing E.P. will address my concerns and confusion.  I have postulated that the reason so many great acts are overlooked early on, is because of the sheer number of acts available on the market.  It is evident that Kay has received some much-deserved accolade, as well as winning over legions of support; but I feel that there is still a lot more attention required.  Kay is a singer whom focuses on the vicissitudes and vagrancies of love.  Whilst perusing the track list to her E.P., there is evidence to support this.  Amongst the five tracks of Now or Never, one gets the sense that broken hearts and broken promises have enforced the themes within.  Songs such as You Hurt Me and Missing You Like Crazy display flipsides to romantic endeavour: there is regret and blame as well as longing and loneliness.  Now or Never and I'm In Love also wear their hearts on their sleeves, and are stocked with panaceas for mediocrity.  There is imagination and intrigue within each song, and colour and light burst through each note.  Even within tales of sadness and disarray, there is a redemptive spirit: one that would make the likes of Holiday and Stone proud.  Previous songs and releases have proven what a bold and ambitious talent Kay is, and Now or Never continues this consistency.  The next month will see a whole host of new acts vying for attention and fans.  Whilst the solo market can be seen as a packed and competitive arena, Kay should have no fear or trepidations.  Her singular voice will set her aside from her peers.  This, tied to lyrics and sonic layers that are filled with nuance, completes an intoxicating parabond- there is never a sense of anything other than fascination and mystery.  Directness and honesty also come to the fore, and it is clear that our heroine has honed her songs and spent a great deal of consideration ensuring that the maximum emotional resonance is evident throughout.  All of my honeyed words may seem like lip service or empty praise: you only have to hear Kay's music to know this is not the case.  Now or Never is but a few weeks away, and I would implore everyone to investigate the annals and treasure chest Kay has already produced- before tackling her latest tracks.  Once this has been done, one will get a much greater sense of where Kay is coming from, as well as enhance the overall listening experience.  Now or Never features a selection box of romantic assortment; filled with rich centres and complex flavours.  The title track and lead-off single is a perfect assessment of this metaphor: it is a track that lays out Kay's intentions and emotions within its chords and words.  Kay has ensured that she says as much as is necessary in order to bring the best out of her E.P.  Whilst most musicians may plump for a three-track E.P., Kay has given consideration to range and fullness: fewer blanks and spaces need to be filled in by the listener.  Of course throughout everything it is the central voice of our heroine that says the most.  The title track is possibly the clearest demonstration of her vocal prowess.  Sit back; relax; press play, and let it wash over you.

The opening few seconds of Now or Never allows a transitory musical moment, before Kay's rich vocal swoons into view.   At first a wordless coo is elicited, before a romantic plea is enunciated: "So, will you come away with me?".  Within the space of this brief sentiment, Kay manages to unfurl a true sense of conviction and emotion.  The first thing one notices is the voice itself.  There is perhaps a little of early-career Macy Gray- without the divisiveness or same degree of gravel- and the sweeter edges of Billie Holiday.  In a sense, the voice has a child-like insouciance, coupled with a weighty gravitas.  Kay loves her sweetheart "crazily"; her innermost confessions are backed by a breezy and sensual soundtrack.  In the video for the song, our heroine is bedecked in style.  Her clothing is fashionable and striking; Kay is the antidote the immature over-sexualisation of many young female (and male) stars.  Her music is doing the talking, and there is no need for flashing of the flesh.  Kay conveys dignity and panache enough, and circumvents any preconceptions one would have, when they approach the video.  As the song concerns longing and remembrance, it is perhaps appropriate that there is an semblance of demure.  Backed by a drum beat that is metronomic and punchy, Kay lets her voice pout, pop and slink as she recounts experiences past, as well as home truths ("I know you love me/And I love you").  Within the initial third of the song, the listener gets a clear sense of things.  We can detect the influence of the strong female role models such as Aretha Franklin and Nina Simone, with a touch of the (perhaps more promiscuous and controversial) ones such as Billie Holiday and Amy Winehouse.  There is the mannerism and restraint of Holiday, as well as the power of Winehouse to be heard.  The vocal sound is a modernised and fresh variation and regeneration of those (idols), but has the uniqueness and distinct personality that is Kay's alone.  One can also tells that there is fondness and a sense of uplift within the initial lines.  Negativity and recrimination are not at the forefront, as Kay sets out her thesis.  As we head to the chorus, our heroine asks questions of her beau; searching and probing as she lays her heart out.  There is a sense of daring and deadline.  Kay has a sense of ardent longing, as well as coquettish glee to her words and voice, and as the infectious chorus is unveiled, a smile is plastered on her face (as the video demonstrates).  Perhaps the wordless interjections that accompany the coda of "It's now or never" are a touch extraneous, yet in a way they add sway and ballast to the sentiments being offered forth.  The video helps to accompany and emphasise the necessity of the words.  When the words "It's now or never" are repeated and spun with perpetual longing, Kay points her finger to a table.  There is a look on her face that suggests she means business, and wants her lover to step up and shape up.  As Kay prepare another verse, a great sense of understanding has been implanted in our minds, and it is clear what the themes and cores of the song are.  As we settle back down, our heroine recalls some fond- if perhaps sexually-charged and evocative- visions: "If the phone rings/We act like we're not home".  As elegant and tony as our subject is, she has a sexual and passionate side- there is never a sense of a reserved lover waiting in the shadows.  Kay continues her survey of glorious memories; recalling impassioned clinches and dimly-lit bedroom scenes.  The listener is taking inside (not too graphically, mind) into an intense and concupiscent stage, where two lovers are letting their tongues and desires do the talking.  In that sense, there is as much as a relation to the modern-day soul and pop core, as there is to the more sensualised cuts from the likes of Franklin, Holiday and (Angie) Stone.  The sweat and decibel levels increase as Kay elongates her amorous recollections.  Her lover and she clearly have a unique simpatico.  Within the ecstasy ("We're going nowhere"), the pair have a mutual longing and affection, which Kay channels through her voice.  As the chorus swings with braggadocio glee, the listener is afforded opportunity to reflect and piece more of the tale together.  As well as the sound of her voice and vocal style, there are stylistic comparisons one can levy towards Now or Never.  A hint of cross pollination and amalgamation from Macy Gray's On How Life Is-cum-Songs for Distingué Lovers Billie Holiday.  After the sexual exsanguination has abated, Kay reminisces about gilded travelogues, where she took long walks in the park with her sweetheart.  Sun-drenched scenes and holiday memories are recounted:  "On the beach/catching rays/Sipping sweet wine".  Clearly a vast amount of precious and treasured memories are locked within Kay's mind, and the clear smile remains on her face (as you can tell, once more, from the video).  Towards the final third of the song, the mood becomes more fractured and sombre.  Kay explains that (if her lover) stays, then she will have to go, "'Cause my heart/Can take no more".  In spite of the regret and near-disconsolateness, our heroine still projects power, dignity and panache through her voice.  There is no drop in tempo or emotional resonance: the constant force and engagement that Kay projects does not drag the listener into a storm of sorrow; instead simply state a plain truth.  Knowing what we have just learnt, the reintroduction of the chorus carries a different weight.  Whereas before there was romance, happiness and longing defining "It's now or never", it seems that a slightly dislocated and discontent sigh has crept in.  The song ends with questions hanging in the air.  It is unsure if Kay is united once more with her love, or whether the bond is broken beyond repair.  Such is the intrigue and structure of the song, that one has a cliff-hanger left.  It is obvious that the two were in love and has some wonderful times; but there may be no way back for the two.  Within the indigo masquerades and moonlit seductiveness, Kay unleashed romantic firepower and incredible sexiness through her voice and words.  One cannot help but be cast asunder and drawn into her world; her tales and her passion.  There is a glimmering of Erykah Badu in the way that our heroine bears her soul so honestly.  Kay's single Soldier (http://www.youtube.com/watch?v=DxZwC7zQVAo) was a more slowed-down, stripped-back and introspective gem; one that crackled with vintage touches (the black-and-white video and crackling on the record) and tender affection.  In that song, her sweetheart was her soldier; brave and noble.  That track has a more conclusive and satisfactory resolution, and was one side to Kay's emotional coin.  Whether the same man is the centrifuge and subject of Now or Never is unclear, yet it seems like a continuation of the saga.  Kay- over the course of those two tracks- shows her versatility and dexterity as a songwriter, singer and Siren.  Soldier was a swaying and gorgeous paen to a staunch ally; whereas Now or Never has an ambiguous charm and multidirectional lustre.  After repeated plays of Now or Never, I cannot help but be won over and in awe of Kay.  She is clearly a sophisticated and strong woman, but one whom has a tender and sexually-charged side.  She is captivating to watch, and is a stunning and striking human, but one whose voice is the synonymous gem in the chest.  It may not strike you instantly or fully; yet given enough time and consideration it will seep into your veins and swim freely.  I have made comparisons between Kay and other singers; yet it is remiss if I were to see her as a supplementary singer.  She embodies her heroines and heroes; incorporates some of their timbre, majesty and style, but does so as a means of keeping their legacy aflame.  At its epicentre, Now or Never is a lovable and evolved beast of Kay's own making.  She sparsely sources her words, managing to convey the maximum evocation and force with as few syllables as possible.  Her phrasing, articulation and delivery is individualised, and this, parabond with a bare-naked but potent musical backing kicks up a plentiful and heady brew.

After sitting back and considering Now or Never and Kay as a whole, it is obvious that the next year will be productive, indeed.  I am not sure what styles and sounds are going to be favoured, but I am confident that intelligent, gripping and stunning solo artists will have a place, high up the pecking order.  Kay's voice may not appeal to everyone, and it may take a few listens to truly appreciate her sound and music; yet it is well worth repeated listens.  There are too many bland and pointless singers on the scene, whom assume that anyone will listen to their music, just for the hell of it.  They seem to labour under the impression that there is an ear for anything they write.  I- as well as countless others- are sick of the lack of ambition, quality and consideration that new artists provide.  If you want to involve yourself in music, then at least have something to say that is worth attention.  Kay is an artist that has the power and determination to succeed and flourish.  The following year will see its predictable flood of candidates- some of whom will be truly worthy of merit; most will not.  The nature of success and patronage is built around a pre-requisite of quality control and personality.  Kay has an engaging appeal and a backstory that is worthy of closer inspection.  I have been affiliated with, and attached to her music, for only a few weeks, yet have done some serious listening and investigation.  Soldier is, and was, a bold statement and perfect distillation of what our heroine is capable of- as well as hinting at what future songs will contain.  Her previous E.P. gained plenty of praise, yet was deserving of more.  Now that more ears and eyes are aware of her music, it is probable that Now or Never will make up for that.  The self-titled single is a great start, and the remainder of the E.P. is chocked full with emotion, romance and vivid imagery.  Truly pioneering artists are those whom not only can win you over with their music, yet inspire fellow songwriters.  I have found much to recommend from the chords and lyrics of Now or Never.  There are musical flourishes and lines that have captured my ear and invigorated me to spin some multi-coloured webs.  Vocal tones and atmospheric touches have caused rejuvenation, and as a consequence, some of my songs have been bolstered and galvanised.  In spite of my words and proclamations, the true test will come down to one thing: the public vote.  As fickle as music journalism is, it is nothing when compared with that- as well as lack of foresight and appreciation- of the public.  Too many have too little knowledge of what came before, and what constitutes great music.  There are children and young adults whom naively subjugate music because it was 'before their time'; genres and legends collect dust because they are not being shoved directly down their throats.  It is a sad sign of an appalling generation, and a disturbing hint at what the world will become in (short) years to come.  The 'digital age' has taken away people's imaginations, and there is still a strong desire for 'newness'- fewer older bands are being retained and gaining new fans.  Kay is a talent whom has a fond appreciation and fascination of past masters and mistresses, and soul and jazz greats can be detected in her music.  The '50s, '60s and '70s legends deserve perennial reappraisal and tribute, and the best way to do this- as well as playing their music- is to incorporate their D.N.A. and blood into fresh and vibrant modern sounds.  Anyway, I shall curtail my rant, and leave you with a final thought.  It is crucial and mandatory that there is less derision and imperiousness from the so-called 'music-lover'.  The only way that great new acts get just-rewards; and past masters are kept within people's hearts is by being bolder and more patient.  Too many acts and acts are buried and past over because of short-attention spans on behalf of the listener.  If you dig deeper and give music time to grow, then the inherent benefits will be revealed.  Kay is an artist whom may not have been familiar to many, and she may have a sound that seems 'unusual' to many.  If you are determined to force yourself to have a 'new year's resolution', then bravery and boldness should be that.  In life, that can begin with taking risks and pushing yourself out of the comfort zone.  When extended to music, that can lead to new discoveries and broadened horizons.  When that has occurred, it means that endorphin ripples happen.  You begin to notice music that you may have not considered before.  This leads to a more variegated music collection.  From there, you expand your mind and maybe, perhaps, pick up pen and paper and start to write yourself.  From there, well... who knows.  The genesis and seed is planted when you take that first step.  This means beholding artists and songs that have been foreign or undiscovered up until now.  As far as first steps go...

EMILY Kay is a sure-footed and safe one to take.

_____________________________________________________________________

Follow Emily Kay:

Twitter:

https://twitter.com/msemilykay

Facebook:

https://www.facebook.com/msemilykay

ReverbNation:

http://www.reverbnation.com/msemilykay

YouTube:

http://www.youtube.com/user/MsEmilykay1?feature=watch

Feature: Music of 2014: Something for Everyone.

 

FEATURE:

 

 

Music of 2014: Something for Everyone.

 

 

 

 

 

 

___________________________________________________________________________

I have reflected on 2014 and where new music may head; it seems there is an option for all kinds of music-lover.  I focus on a few acts that could be making waves come next year.

___________________________________________________________________________

 

THE last few months have provided me with a lot to think about...

 

With regards to new music.  As I type- and as we speak- I am sitting in my cold-ridden state, thinking back at what I have witnessed this year.  I have been unanimously impressed by the integrity and ambition of all of the new musicians I have reviewed; their goals and sights have been set firmly on greener grass- I hope that it pays off for all concerned.  When looking at the wider sphere- the mainstream for instance- I have been a little less impressed.  Those new acts that are lofted atop a plinth and idolised, have not resonated with me: the media have a habit of acting as a centrifuge to these acts; propelling them in undeserved and fickle gravity.  The reason I have been more impressed with the merits of 'underground' new music it is this: they do not have the expectation and weight of the media on their shoulders.  Whether my attentions have been drawn to Bradford or Edinburgh; London or Surrey, I have always found much to recommend.  Many of my musical friends are preparing their calendars for 2014.  Between them, there are E.P. releases; album plans; illustrious gigs afoot; new ventures and steps are being plotted- much to be excited about.  It is always an extremely difficult transition to bridge between aspiration and reality.  A great deal of time and effort needs to be concerted; finances and sufficient funding is paramount, and there are a great deal of stages and peaks one must negotiate before any sounds are committed to tape.  Each time I have reviewed and summated a new act, I always take into consideration the fortitude required to get where they have- before I have even assessed the quality of their music.  It is even more comforting to me when the music I am faced with is of the highest quality.  Few acts manage to get the quality as high as is desired, yet most of the bands and artists I have reviewed have really worked hard to get their songs just right.  As the final musical moments of 2013 have been presented and considered, I am looking into the new year and wondering what is coming next.

 

When looking around for musical inspiration and directionality, there is a little of something for anyone.  If you want the sound of San Francisco streets, via some imperious beats then Huntermoore may provide some food for thought (https://soundcloud.com/huntermoore).  There is memorability and effectiveness in their mandates, and they manage to fuse edge and melody to create a invigorating blend.  I have been alerted to the presence of death metal band Bloodbath as well.  In spite of the fact that they are on a hiatus at the moment, they have rekindled in my a desire for something a bit more primal.  Perhaps their inflammable tongues and savage strut is not for everyone, yet again there is melody and intelligence in their music.  It will be interesting to see if the Swedes will be producing any new music next year; there is certainly room in the market.  From Leeds, Andy Doonan is a possible name to watch.  If you catch the video for Sky on Fire (http://www.youtube.com/watch?v=Kn50Qt8wGYg) the handsome hero has a voice that is rich and encapsulating.  It is going to be interesting to see what is contained within his Sky on Fire E.P.  His voice is original and strong, and his music is filled with tenderness and romanticism.  Hailing from Leeds, musical neighbours City of Lights (https://www.facebook.com/cityoflightsmusic) have big plans for next year as well.  Their music is anthemic as well as ubiquitous and will make a big impact in 2014- a year that will be synonymous with diversity and change.  Completing the trifecta of northern beauties is the stunning Jen Armstrong.  She has a modern and enlivened voice that has scored tales of love, life and tribulation.  From surveying her work on YouTube (http://www.youtube.com/user/JenArmstrongMusic?feature=watch), she comes across as very humble and ambitious.  Her music and voice blends together in a symphonic harmony, and she has a very modern sound.  In spite of the fact that she has- until now- mostly recorded cover versions, there is enough to suggest that her own work will be impressive and mesmeric.  Just from those few names, one can see that there is a range of genres, artists and sounds on offer: whether you like your music raw and carnivorous or soft and soothing, there is much to see.

 

In my recent reviews, I have featured a few names that are likely to be making huge imprints in 2014.  Issimo (https://www.facebook.com/issimomusic) are a band that I have reviewed and evaluated quite a bit recently, and with good reason.  The pairing of Abi Uttley and Marc Otway has caused me to smile a lot.  Their voices blend superbly, and their individual talents add a lot to their music.  Marc is a multi-instrumentalist and striking songwriter, whilst Abi is an alluring heroine with a terrific voice.  The duo have offered up a selection of covers and original songs, and have given me a lot to salivate over.  I am keen to see if an E.P. or album will be in the offering.  I would imagine that whatever is in their minds, will be spectacular indeed.  They are a pairing that have a knack of being able to transcend any genre and style, and making it very much their own.  The following year will be prosperous and bounteous, indeed.  In terms of solo offerings, I have also had a lot to be excited about.  Chess is about to launch her E.P. very shortly, and I am one of the lucky ones who has heard it in its entirety.  You can follow her progress via Facebook (https://www.facebook.com/chessofficial); but it is clear that big things await our heroine.  Her single Vanity is going to be forthcoming and it is a song that is memorable and bold.  Having loved her work in Babygirl, her new E.P. Tuxedo continues the momentum, but offers some edge and punch to the pot.  In the same manner that Michael Jackson offered romance, longing, hopefulness and a little self-doubt during Bad; then evolved to hard-edged and impactful punch on the follow-up Dangerous, Chess is providing to be equally intuitive and progressive.  Surrey-based Elena Ramona has her own ambition and sounds imminent.  Her E.P. Hold On will be the survey and soundtrack of a young woman with a huge desire and hunger.  Her previous single Rise has garnered airplay, adulation and respect from many quarters, and follow-up Ok is gathering plaudits and excitement.  It seems that the E.P. will be a tantalising offering, and will be the start of a busy year for Elena.  In addition to her debut disc, the young star will be looking towards London and destinations far when it comes to performing.  I know that she is keen to get her music heard far and wide, and has been surprised and bowled over by the attention it has already received.  Keep an eye on her portfolio (https://www.facebook.com/pages/Elena-Ramona/323928237668916) and see what is in store for her over the next year.  Another group that are sure for some sure-fire success are Universal Thee.  The Scottish wonders (https://www.facebook.com/universalthee) are showing new acts how it is done.  Recent songs have gone to show how much ambition and focus is at work in their camp.  They mix the quality and sensations of Pixies, and provide modern-day updates of the U.S. legends codas.  Tied to this, they have an original flair and drive that will see them being adored and adorned on the walls of music fans within the U.K.- as well as the U.S. and Europe.  Their sound has the potential to see them as one of the big names to watch in 2014.  I know that the gang are preparing to launch more new music, and it will be a joy to see just how far they can go.

 

I have provided some insight into the worlds of some unique and diverse bands and solo acts.  There is pop, rock, punk, grunge, death metal and soul; there are layers of intrigue, romance and forces of nature.  My overall point is there is a lot to find if you look hard enough.  New music is going to be a specimen that will come under great scrutiny in 2014.  Each of my musical friends will be heading in different directions, with differing plans.  I am wholly confident that each will be sitting atop a loaded treasure chest this time next year.  I have been disappointed with what the mainstream has offered up this year.  Aside from some obvious triumphs and notable albums, the output that has been proffered forth has been somewhat underwhelming.  This lack of quality has lead my to derisively finger-wag at the musician: wonder what the hell has been going on in their head.  I know it is a difficult and cruel industry, yet there is enough scope and wiggle-room to produce something memorable.  I feel that too few bold statements have been made; the acts have not really tried to scale heights as heady as one would hope.  When I look towards the new musicians making their first tentative steps, it provides me with enough ammunition to reappropriate my pessimism.  If we are to purge and overthrow the bland vermin of reality show dirges and tiresome plastic pop idols, then it is these acts that we need to encourage.  The ambition and momentum that I have witnesses from the new, young starlets has provided me with the push required to create my own music.  I have been pushing myself to be a bolder and more confident songwriter.  Artists such as Nightwolf (https://www.facebook.com/nightwolfuk) have shown what results can be produced when splicing and co-mingling genres and sounds.  Within the templates and playlets Ryan Wilcox has offered up, there is nuance and complexity: both of which has encouraged me to incorporate this sense of boldness into my own sounds.  We have a few more days to go in 2013, yet it is clear that the following year will be more exciting and merit-worthy than the one we have just encountered.  It really needs to be too, as I have long-feared that music is de-evolving and collapsing upon itself.  If the quantity of new acts is to burgeon with unabated abandon, then the quality needs to be of the highest order.  I have seen too many acts buried under the wave of pressure that comes with the territory.

 

I am excited myself to see what I can do with my own music, in no small part down to the inspiration that new music is offering up.  It is worth being introspective and self-examining, and asking yourselves what you desire and crave in terms of new music.  Whether it is currently being provided, or whether you are being left unsatisfied, the point is this: there may be redemption and re-evaluation.  Of course there is going to be a lot of sub-par meandering, yet amongst this there is going to be revelation and succinct focus.  I am publishing one more blog before the year is done, yet I hope that each and everyone that reads this will be looking forward to what is to come in 2014.  I am keen for everyone to surmise and evaluate your own musical experiences of this year, and consider whether you have been excited or left cold by what you have heard.  I feel that the secret to fulfilment is to seek diversity and difference.  I have provided some alternate views and directions one can take, and whatever your personal tastes are, it is boldness and bravery that is required- if you get out of your comfort zones, then you will find much to love and inspire.  Take care during the Christmas period, and relax.  If you are a musician or merely a music-lover then look forward to a year that will be busy and bustling indeed.  I am wishing the best to my musical friends, all of whom are preparing to unleash their own sounds and sights.  Follow them as they navigate the stormy and fickle waters, and wish them all the best, as they deserve the support and backing.  We shall meet in these pages very soon; talk and evaluate music of all kinds before you know it.  For now, however we should keep warm and avoid the weather; give ourselves time to reflect and plan, but above all...

 

Look forward at what is to come.

____________________________________________________________________________________

Feature: Singers- The Voices Behind The Words.

FEATURE:

 

 

SINGERS:

 

 

The Voices Behind The Words.

___________________________________________________________________________

WHEN it comes to music, I am focused primarily, and passionately, on the nature...

of the voice.  It is a bit of an obsession for me, as I feel that the voice is at the forefront of all music.  In terms of my own plotting, I structure everything around the vocal performance.  Words and lines are sculpted, shortened and re-written to accommodate a particular frame of mind and desire.  When I look at the current scene, it seems that there is a great emphasis on 'the voice'.  If you disregard the horror and hatefulness of so-called 'talent shows', you can find examples of some great voices.  Under-the-radar artists such as Sam Smith have been tipped for big things in 2014.  Current market leaders such as James Blake as getting just-rewards: his ethos and appeal is largely centred around his vocal prowess.  Elsewhere, there are a few solo artists that are projecting a vocal tone that is very much their own.  Whether it is effective or potent or merely promising, it is vital to possess your own appeal.  There is still an over-reliance for acts- especially new ones- to copycat and replicate an established star.  It seems that every new band that has an Indie or rock feel has an essence of Alex Turner.  A large amount of female solo artists mimic Rhianna or Mariah Carey.  It is due to the poison of talent shows that this is being seen as acceptable.  Those programmes actively encourage their participants to sound like a recognisable star.  The sense of individuality and originality are left at the door, and a real problem is created: we have clones of clones of clones.  We do not need another Mariah Carey or Rhianna- we don't need the originals to be honest.  Outside of this realm, a great deal of new acts are guilty of this indiscretion.  It is probably the solo artists that are most culpable, and I have heard multiple examples of a fresh artist desperately lacking any identity.  It is not a coincidence that the great albums and songs are made by those with an original voice.  The artists whom seem determined to be a third rate wannabe are eventually buried. It may be the case that being truly unique is difficult- as so many different vocal styles and sounds have already been presented.  You only have to look on my blog pages to find plenty of evidence to the contrary.  The likes of Issimo are particularly inspiring, as both Marc (Otway) and Abi (Uttley) have distinct voices.  You can hear their native accents coming to the fore, and they infuse their songs with personality and distinction.  I have featured many artists from the Cuckoo label, from Cissie Redgwick through to Little Violet.  In these examples we find not only an ambitious and oft unheard-of musical template, but very strong and original vocals being emanated forth.  This all bring me to my main point and thesis for today.  I have been looking back at the past year and shrugging somewhat.  There have been some great artists and albums coming forth, yet there is still a certain spark missing.  I have found that bands generally will be okay, as they have their own market and potential.  The members can support one another, and even if the overall sound (or voice) is not unique, they tend to still be quite profitable.  The life of the solo artist is a little more fraught.  It is one of the largest expanding markets and subsequently the most fickle and precarious.  A lot of times the potential for sonic evocation and projection is limited (as one person is creating the sounds); so it is harder to capture attention and keep it focused.  Of course talent shows are partly to blame, but I feel that there is still myopia prevalent on the scene.  Those whom are original and have a stunning songbook usually come out on top; yet too many artists enter the scene and look for a voice to emulate.  Vicarious 'success' is an ignoble and fraudulent way to carve out a career, yet there is a lesson in there.  You don't need to be completely out there and distinguishable to be considered a unique artist.  Employing a supplemental from column A, and infusing it with a hint of column B can often be an effective measure.  So long as the overall voice is not glaringly plagiarised, then it is quite prudent to employ some of your musical heroes' essence.  Whether there is fear or a lack of understanding I don't know, but the point is this: too few of the all-time greats are being aimed for.  A lot of male and female solo artists tend to concentrate on the last few years of music, when seeking for a voice to try and match.  There is an overall naivety and shocking lack of understanding for what has come before, but few are aware of the past masters.  Few  have knowledge of Nina Simone, Prince, Neil Young and other artists; disturbingly claiming that there are "before my time".  The Battle of Hastings was before my time, but I know about it because I have a brain and can read.  Unless you are deaf or monumentally stupid, there is no reason not to know about artists such as this: as well as blues greats and jazz legends.  I think this lack of appreciation is stifling potential, and it is a crying shame.

I have thought long and hard about the singers that inspire me most.  I have trained my voice to incorporate a slight flavour of each of them: it expands ambitions and makes your overall tones more flexible and diverse.  For music to develop and evolve, and for voices to encapsulate and inspire, there needs to be a greater understanding and knowledge of the greats that have brought us this far.  You don't have to rip singers off or obsessively listen to them.  Delving into the annals of the past not only broadens your musical mind, but also gives fresh avenues of discovery.  If you stumble upon a terrific voice and artist then it primes your logic to become focused.  It is because of the fact that I listen to so many different types of voices, that I have been able to write a lot of songs; to pen so many different lyrics; and become hugely ambitious when it comes to my own voice.  The voice is one of the most sensual and powerful tools at your disposal.  It is the gateway to every thought, dream, interaction and conversation, and in musical terms it is the most vital component of your arsenal.  I feel it is important to narrow attentions and craft a concentrated and distinct voice, yet there is something primal and exhilarating to see what you can achieve with your own voice.  There is a stigma and fear when it comes to being 'unusual' in this sense.  If you are a woman, why not want to sound like Tom Waits, Howling Wolf or Bob Dylan.  It may be physically impossible for some, yet if you are able to achieve this (as well as keep your own tones in place) imagine what you can achieve.  As well as potentially freaking people out, you offer yourself greater potential as a songwriter and artist.  If you are a man, what is wrong with wanting to employ a bit of Kate Bush or soprano oeuvres?  It may be seen as unusual, but who the fuck cares?  Too many people are too concerned with being 'acceptable' or 'traditional' that they do themselves a disservice.  In thinking of my vocal heroes, each one is distinct and hugely ambitious in their own way.  All of the aforementioned have a unique potency and instrument that has not only enlivened millions of minds, yet tend to find themselves unmatched.  Many have tried to replicate some of the artists, yet in terms of one or two of my examples, no real effort has been made to to to match them.  This baffles me somewhat.  If a voice is planet-straddling and beyond belief, then why just listen to it and assume you cannot equal it?  If you try and fail then fair enough, but most don't.  As I say, you do not copy the voice pound-for-pound, but follow its example.  Anyway, I shall get on with things and explain why the following five artists have inspired me so, and why we need to find new artists that can equal their ambitious and legacies:

Freddie Mercury: The King of all Voices.

A great deal of people share my view that Freddie Mercury is the greatest voice of all.  In spite of this protestation and claim, few are compared with him or have come within accessible reach.  It is partly true that the legend may be impossible to top, yet I feel again that fear and fear of being branded a 'copycat' scares people off.  Mika made- as continues to make- a disastrous attempt at being Mercury-esque.  He has taken the example a bit too far.  He writes songs in the vein of Queen, yet possesses only a morsel of Freddie's vocal power.  Adam Lambert and others have a bit of a range, yet none of the potency, emotional range and conviction of Mercury.  If there is one idol that should inspire the masses, then Freddie is just that.  It is not only his phenomenal (octave) range that staggers me, but also his emotional one.  If you listen back and hear songs such as Love of My Life, we hear the tender Freddie: pouring his heart out and laying it bare.  His agile and angelic falsetto is broken out, and you hear the man as a sensitive romantic- in this case, penning a paen to his former girlfriend.  Conversely songs such as Don't Stop Me Now is a testament to gay sex under the influence of cocaine.  It is a song where Freddie is playful and impassioned.  As well as Freddie did tender and romantic, it is not a side of him that too many identify with.  Songs like Love of My Life and Somebody To Love are incredible songs, yet many focus on Mercury's power and conviction.  It is this facet that overwhelms me truly.  The key to being an idol and inspiration is the conviction in which you deliver your tracks.  Whether singing about late night liaisons or fat-bottomed girls, the moustached god gave it his all.  It cannot be denied that Mercury has an unbelievable pair of lungs.  Listen to songs such as Barcelona, Who Wants To Live Forever and The Show Must Go On, and you can hear what I mean.  The latter is especially impressive, as Freddie was barely able to walk during the record; yet it remains one of the greatest vocal turns ever.  I especially adore Under Pressure, not only because Mercury blows David Bowie clean out of the water, yet runs such a gambit and range of twists and turns.  From high-register whistles, to emotional belting, it is a perfect example of what Freddie Mercury could achieve.  He recorded into his 40s, and his voice never faltered or diminished.  His tones were operatic and awe-inspiring, pin sharp and shy- there is something to admire in all of his songs.  I love Freddie because he is an (honorary) Brit whom I feel will never be equalled.  Alas, there is a lot of room and a great niche that needs filling.  Aside from Lambert and Mika, few people have tried to recapitulate or attempt anything akin to Mercury.  Instead of replicating his exact tones, it is the range and scope of his voice that should be converted.  Queen were able to write such a diverse range of songs due to their frontman's voice.  Freddie did what he wanted and didn't gave a damn.  He loved opera as well as music hall; he loved being playful as well as bare-chested.  It was due to this freedom and expressionism that he remains such a phenomenal vocalist.  We need someone who has a rebellion and a sense of freedom; whom can project that power and conviction, yet have such a range that they can tackle anything and make it sound mesmeric.  Mercury was- sadly- mortal and although he may never been trumped, he should influence more to at least try.  Some skirt around the shoes of Mercury, yet few dive head-first.  In an industry where people are crying out for vocal idols, ambition should run this high and far.  If you could hone your skills and create something with the force of Barcelona or Bohemian Rhapsody, then you have the potential to blow the scene away.

Key track:

The Show Must Go On:

http://www.youtube.com/watch?v=-cn-hbYZrFY

Michael Jackson: The Prince of Pop and ubiquitous Man-child.

In recent years, Michael Jackson has been alluded to with regards to his death and the manner in which it happened.  Too much controversy and whispering has occurred, and too little focus on his music has been provided.  Jackson is in my top five because he is the singer I envy the most.  Mercury is the greatest singer ever, yet Jackson remains a huge challenge.  It is the tone and delivery of his voice that means he is practically impossible to replicate.  Just today I was revisiting his album Bad, and marvelling at the wonder of his voice.  It is not just the vocal tics and mannerisms that make Jackson so distinguished, but it is again the range and force of his voice.  Whereas Mercury has that power and gravity, Jackson conveys his brilliance differently.  Jackson is skilled in the upper ranges and has a castrato ability.  His voice was that of a choirboy and he could achieve things that no other man could.  I listened to Dirty Diana and was amazed at the nuances and fascinations contained within.  He could go from a gravel to whimper within a word; scream passionately and tenderly convey within a line.  That track shows just how good Jackson was- and is- as it shows him at full-throttle.  Just listen to the outro. where he screams "C'mon!".  Try doing that first of all, and tell me who else could.  During the Bad era, Jackson focused a lot on romantic themes and songs.  He told of picking his girlfriend and painting the town.  As the second half of the album unfolded, the themes shifted towards anger and finger-pointing.  Leave Me Alone is self-explanatory, where as Smooth Criminal dealt with seedier and violent themes.  During the Dangerous period, Jackson focused more rigidly on anger and introspection.  It was an angrier and harder album and tracks such as Why You Wanna Trip On Me? and Who Is It? highlight that.  Mingling alongside were sweat-dripping love notes, and in the case of the album's standout (Remember The Time) a song about remembering fonder times in a relationship.  Perhaps it is the tone of Michael's voice that means he is beyond compare, but there is a lot that is transferable to any modern-day singer.  For a start there is still a stigma around men singing angelically.  The male falsetto has been given enough light, yet few take that further and extrapolate fonder tenderness from the art.  Like Mercury, one can try and aim for that range and diversity.  Jackson employed a gravelled tenor as well as a high-reaching falsetto to deliver his songs: conveying the maximum amount of potential.  If you leave the individualities and idiosyncrasies of Jackson's voice to his legacy alone, there is still a lot of land to be conquered.  How many singers have tried to adopt that scope and range- in terms of octaves and emotional ground?  Again, Jackson was a mortal and not beyond comprehension.  Too many people merely are content to listen to the music, rather than try to incorporate Jackson's lessons into their own voice.  Justin Timberlake is a flyweight example of someone whom has attempted to update Jackson's sound.  I feel that there is great potential and reward if someone had that ambition and fortitude.  The man was a legend for his voice and song writing abilities: the two are not mutually-exclusive.  If you try and learn lessons from Jackson's sermons, and marry them into your own cook pot, then great adore will await.

Key Track:

Dirty Diana:

http://www.youtube.com/watch?v=F6Rd7xjrum8

Jeff Buckley: Much More Than Just 'Hallelujah'.

Mr. Buckley may forever be associated with that one song. A lot of younger- and ignorant- listeners assume it is an original; many more assume that Alexandra Burke did it better.  The fact of the matter is this: Leonard Cohen wrote it; Buckley owns it.  If it weren't for the majesty of Cohen's words, which remain some of the greatest ever written, Buckley would not have been able to sing it at all.  That track shows Buckley at his transcendental best: he goes from a whisper to a desperate cry, via sexual longing and religion question.  His version and interpretation was a testament to the power of the orgasm, and there is a raw and sweaty sexuality to his delivery.  As much as his voice sends shivers down the spine, it also thrills and exhausts too.  Buckley sadly recorded only one album, but he shares two common facets with the aforementioned duo of singers: he died tragically and needlessly, and his voice was a paragon of conviction and power.  Mercury and Jackson has a raw and primal power, yet Buckley had a sweeter and more sensitive potency.  If you listen to cuts from Live At Sin-e such as Calling You and Sweet Thing, and you hear that seep through the speakers.  Buckley could hold a note that would go on forever; he could hit notes that most women would envy and could reduce grown men to quivering wrecks.  As exquisite as his falsetto was (just listen to Corpus Christi Carol); he also has a hugely powerful middle range.  Buckley's tenor was like no other, and his lung capacity beggars belief.  If you listen to Grace's title track, his performance defies logic.  Most people would run out of breathe or have their vocal chords stripped clean trying to keep up with it.  Songs such as Last Goodbye and Lover, You Should've Come Over have power and romantic longing; Mojo Pin is a trippy dream come true.  Buckley is a singer that has had many people following in his wake.  In the sense that Mercury and Jackson have had no one really attempt to replicate the vocal notes, Buckley has had (all too) many attempt this.  Every male singer invariably is compared with Buckley, and it has always infuriated me.  Buckley was not a synonym for 'falsetto' or 'sensitive' or 'sweet'.  No one past or present has matched his grandeur- I'm not sure anyone will.  No singer, be they Matt Corby or Patrick Watson has the same crystalline falsetto; neither has the range; neither could ever get anywhere near Buckley.  Thom Yorke is a singer in my top 10, and is there because of what he owes to Buckley.  If it weren't for Buckley, The Bends may have sounded entirely different- and Yorke's voice would have centred around a completely different orbit.  That is the kind of parable that inspires.  Yorke is a unique singer in his own right, yet one can trace lineage and D.N.A. to Buckley (circa 1993-4).  Instead of trying to cover Hallelujah for the 10,000th time (everyone is wasting their bloody time), focus should be paid towards Buckley's key elements.  Sensitivity was the forefront, for sure, yet there was a lot more at play.  Buckley see-sawed his falsetto and tenor: shifting gears and notes within a line to create the most expeditious sting.  Singers like Matt Bellamy have employed some of this logic into their own voices, yet few of-the-moment singers get that point.  It is not good enough to make an attempt or simply replicating Buckley note-for-note.  Buckley's voice is something that should be tampered with, yet his range and majesty should be aimed for.

Key Track:

Grace:

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

Chris Cornell: The Most Powerful Growl One Can Imagine.

The last of my male icons is Soundgarden's Chris Cornell.  I love metal and grunge and admire singers like Kurt Cobain, Rob Halford, Robert Plant and Axl Rose.  Between those singers a whole wealth of raw power and manful chest-beating has been elicited.  To me Chris Cornell is impressive, not only due to his huge power, but also the nature in which he achieves it.  A lot of metal and grunge singers pull out the falsetto wail and banshee scream to achieve their honours, but Cornell favoured- and does- the lower registered scream.  I have listened to songs from Badmotorfinger and Superunknown and drooled.  Listen to the throat-shredding examples Jesus Christ Pose, New Damage and Limo Ride.  It seems to epitomise power itself, and each of those tracks stun and tack you back; forcing you to the floor in submission.  Tracks like Black Hole Sun and Drawing Flies showed what it would sound like to smoke 10,000 cigarettes and drink 1000 litres of whiskey.  Such is the gravel and husk to the vocal edge that I have envied it for years.  To attempt to equal those feats, one would need corrective surgery on their vocal chord- or else lose their voice altogether.  Cornell is a man's man, but also a man of the people.  An intelligent and witty songwriter, he is no knuckle-dragging meathead.  His themes often deal with depression and suicide, yet he does not croak or whisper in resignation and woe-is-me histrionics.  Cornell rallies against the world and stick a middle finger up.  His defiance and masculine punch strikes his messages hard, and seems to have been overlooked by a large chunk of the market.   A lot of people tend to avoid genres such as grunge, thinking is a throwback to the early-'90s, and should as such remain there.  Others feel that metal is too violent and divisive, lest their ears bleed from listener to it.  This goes to show the largest sphere of ignorance that is prevalent.  A great number of bands within these categories do scream and spit their messages: they are reserved for the predetermined few.  Vocalists such as Chris Cornell have a passion and sensitivity to them, that many miss.  Their voices- like Rob Halford as well- have such a power and potency to them, yet also can drop you in with their vulnerability.  In idolise and include Cornell, because he is a singer that is overlooked when we consider the 'all-time greats'.  The point I am trying to make is, that we need someone with his power to blow away the cobwebs.  It is true that is still recording, but his better- and most impressive- days may have past.  In order to introduce the joys of grunge and metal into a wider franchise, it is important that new singers keep Cornell's legacy constant.  Every new singer seems to err towards the softer and more restrained end of the spectrum.  It is not true that heavier and more primeval enunciations should be reserved solely to the band leaders.  If a solo star were to go for the same kind of grasp and power as Cornell, then it could have impressive repercussions.  Messages such as depression and insularity should not be subjugated into the shadows and identified with a bygone era.  They are ever-present and mandatory themes that many can identify with.  Dealing with them in a redemptive and never-give-in manner could inspire not only musicians to highlight these themes, but inspire those whom deal with depression to help deal with it.  Cornell is an inspiration to the music industry in the same way Buckley was: both have their demons, yet they address them with indefatigable resilience and foresight.  In an industry where focus is diffuse and blacker themes are dumbed down, we need someone like good king Chris.

Key Track:

Black Hole Sun:

http://www.youtube.com/watch?v=KfLs9JJ_p7M

Bjork: Iceland's Queen of The Quirky.

There is possibly nothing more synonymous with Iceland than that of Bjork.  As much as I admire various forms of the male voice, there is none as unique and mesmeric than Bjork.  I find her sexy; I find her endlessly fascinating.  She has a charm, candour and power like no other.  It is the way she projects her songs that is the heart to her appeal.  Bjork elongates words, weaves sentences within one another and offers growls, squalls and screams into the mix.  If you listen to It's Oh So Quiet, it is a symphony of infant innocence and vivacious jubilation.  Although the themes deal with love and passion, Bjork sings as though her face is on fire.  She infuses the song with so much glee and quirkiness, that one cannot help but smile and sigh.  It is not just the uniqueness of the delivery, but the sound of her voice.  Bjork manages to climb from a gravelly growl to a glass-breaking squeal; going from growls and wails through to appropriate whispers.  Throughout her career, Bjork has displayed this frightening ability.  Listen to Human Behaviour, Play Dead or Army of Me: one can hear that range and bipolar mood shift throughout.  Bjork is also notable for her child-like innocence and coquettishness as well.  A lot of Bjork's music deals with strange themes, evocative imagery and surreal wonder, so it is fitting that her voice is comparably fascinating.  It is not just her native accent that enforces this ability, but Bjork's knowledge of the essence of music.  She puts the sound and sensations at the forefront, placing importance towards aural and sonic projection.  By introducing odd time signatures, minor instruments and juxtaposition, she creates a cacophonous joy.  If one were to try to dissect and compartmentalise Bjork's musical codas, it would take many brains and hours to do so.  Similarly, her voice is as inscrutable.  It contains ferocity and intense power, yet has a sweet and shy cuteness where necessary.  Like Jackson and Mercury, Bjork has a devastating range which enables her to pull off these feats.  In terms of female vocalists, there are none that have tried to sound like Bjork.  Perhaps it is impossible from a linguistics and logical stand-point, yet one does not need to be born in Iceland to be Bjork-esque.  Bjork writes themes of far-away lands, strange love and the physical world.  If more were to take inspiration from her songbooks and thesis, then their voices would naturally adapt.  I would love to hear a singer that has the same sort of mannerisms and quirks as Bjork's.  There is a huge gap to be exploited, as Bjork is not only an idol for all singers, but also a fearless and pioneering singer and composer.  Too many female singers go for the sweet-natured or bluesy take, bypassing the avenues of Bjork.  Her time is not up- far from it- yet her days of Post and Debut heights has past by.  Bjork is also an idol for women, as she is not concerned with image, attention-seeking or sexual exploitation; she is a role model for musicians who adore music.  You cannot say that of too many alive today, as there is always a tendency for many to introduce personal problems or controversy into their music in some form.  Bjork has always tried to externalise these themes and regenerate them in more detached and storybook terms.  By employ striking imagery and melting them into mouth-watering sonic landscapes, here is an artist that needs some suitably-ambitious acolytes taking the mantle and sticking it up the backsides of the status quo.

Key Track:

Human Behaviour:

http://www.youtube.com/watch?v=6ml8KDumTO0

I should give honorary mention to Nina Simone, whom I consider to be the finest soul voice there is.  Her cigarette and chocolate tones have dropped me to my knees more than once.  Her low and husky voice convey so much passion and conviction that you cannot help but listen.  Similarly Kate Bush fascinates because of her delicate and golden voice.  Bush has a voice that is beyond compare, and she should serve as an inspiration to all young woman.  There are many more such as Thom Yorke, Tom Waits, Otis Reading, Prince and Robert Plant that I can mention and investigate in full.  It is the five names you see above that have inspired me most.  I also think that they are vocal icons that have provided value lessons and give much food for thought.  Next week I shall look into my top 5 albums and how they can translate and resonate today.  My intention was that many starting out (or already established) take heed and note, and readjust their ambition barometers.  A hope it does not take a epidemic blitz of knowledge, where by the preceding core is realised after a tontine, it is just a suggestion that things take a small change; that acts integrate some of their heroes into their voices.  Of course, this already happens, yet it seems that some of the big names are being overlooked.  It is admirable that many acts aim high and push their limits as much as possible.  I dream of the day an artist as monumental as Freddie Mercury or Michael Jackson can arise- an idol for the '00s- and instil some soothing anointment into the aching joints of music.  I know I tend to protest and moan wholeheartedly, but resolution and rectification is within reach.  As much as anything I was wondering whether anyone else had five favourite singers they feel influences them...

WHAT do you say?

____________________________________________________________________________________

Track Review- Royal Blood: Out Of The Black.

TRACK REVIEW:

Royal Blood

Out Of The Black.

9.7/10.0

Out Of The Black is available at:

http://www.youtube.com/watch?v=AFnsDgXH-uI

___________________________________________________________________________

These princes of Brighton have noble D.N.A. indeed.  Their heady and exhilarating raw blend serve up a tantalising sound that is hard to resist.

___________________________________________________________________________

IT may have been down to the fact that this year has been a bit inclement...

in terms of new music, or maybe something else.  There has been a malaise and disquiet that has weighed my mind down, and caused me to become somewhat introverted.  Let me qualify for you.  Over the course of 2013 I have witnessed and experienced some exciting and plaudit-worthy new musicians come through the miasmic fog of the music industry.  The colour chart of originality has been dominated by grey and beige shades, and there has not been a whole lot to by inspired by.  Over the courses and pages of my blog, I have examined and celebrated some great new acts, from the likes of Universal Thee, Issimo- as well as some fantastic solo artists.  Each time I have sat down to review a new act, I have always scrutinised them in the context of the current scene: harking back- possibly unfairly- to a 'better age' of music, and seeing how they shape up by comparison.  For those inoculated to my brand of high octane drooling, will attest that I have droned on about one particular (musical) decade: the 1990s.  I was a six-year-old when the decade began, yet hade indelible imprints stamped into my mind, thanks to the hypnotic and overwhelming banquet that was being offered up.  I have always felt that that decade (the '90s) was the last example of when everything perfectly fell into line: the range and quality of genres and artists galvanised public consciousness and offered something mesmeric.  From the extraordinary- but perhaps comparatively innocent- style of dance music, we also witnessed the birth of Britpop.  Great new bands came and played; tugged at the heartstring and campaigned robustly.  The definition of 'mainstream' was not seen in cloudy or sybaritic terms: there was something for everyone with little filler along the way.  By the time the new millennium hooved into view, your music lover (as well as casual listener) had been enriched and cultivated by a strange and rare phenomenon:  a musical decade that provided little to loathe.  I am not an embittered and belligerent old man (although I sometimes feel so), but my point has meaning.  I am not saying that we cannot recreate any essence of what the '90s offered- that would be incongruous.  It is likely that we will never see the sheer explosion and spectrum of quality of those years, yet that is no reason to bridle.  My concern has always been that the talent out there are not looking too firmly into the distance.  Some of the new acts local to me have been campaigning and striking hard to realise their musical dreams, yet I see a wider fatigue in the industry.  Ambition seems to have stifled somewhat, and the past eleven months have offered up some greatness- although not nearly enough.  I don't know.  I have adored a couple of choice offering from some established acts this year (I won't bore you with the details)- which has given me inspiration as a song writing.  When I go to delve into the capacious melting pot of new music, I am often left empty-handed.  Social media and a wider network has meant that getting music out is easier than it has ever been.  The flipside is that the sheer quantity has meant that finding quality is harder than ever.  That is my abiding point.  As the years have progressed, the market has filled and swollen: it has meant that some truly great artists have been suffocated amongst the surge.  My reticence and reservation has been firmly set over the last few months or so.  It has been solidified by the rise and unabated evolution of twee and faux music stars such as Miley Cyrus: artists such as her have stolen too many headlines and shifted focus away from the truly worthy.  Sounds and originality have mutually exclusively capitulated transversely; offering brief sparks but essentially imploding.  I can sympathise whole-heartedly with the new musician.  There are many whom want to make a genuine mark and ensure that they provide influence and leadership.  It is still the case that there are still too many acts that are here for the fun: little regard or mind is provided towards doing anything worthwhile.  If you accept that a surging population growth will distil genuine quality and consistency ever more, then the question is this: how do you detect the minority of nebulas and hope-bearers?  I have alluded to social media, yet there is a double-edged sword at work.  The benefits are only evident if you happen to be in the right place at the right time.  If you happen to share the words and work of a particular artist; in turn that is spread further and wide, then you often miss out.  Too many people are reluctant to connect with one another.  This marries to a self-absorption of many to shy away from spreading music beyond their own grasps and ears.  What we are left with is a huge potential network, that is compartmentalised and drip-fed.  The way I have detected and discovered great new music is thus: talking to real people.  It was by talking with like-minded folks that I have discovered some truly terrific new music.  Essentially everything I have reviewed over the last year has come about and originated from discussions with music-loving peers.  That has compelled me to concentrate my time to disseminating the work and wonder of (worthy) new music.  I hope that technological development and focus will find a way of funnelling great music to the collective masses, but for now it seems that you still have to search (too) hard.  Over the past few weeks I have examined some great bands from further north, such as Issimo and Universal Thee.  Southern beauties such as Lydia Baylis, Elena Ramona and Chess have excited my mind.  Great bands such as Crystal Seagulls have been doing great work, and pioneers such as Nightwolf have been enflaming the senses.  In all of my reviews I have focused on three distinct themes: location, value and originality.  It seems that the majority of my focused-upon stars have been based north of London.  The subjects for today's review have bucked the trend.  I will explain more about our Brighton duo, whom have made strides at putting the south coast on the musical map.  Being a southern boy, I am always keen to promote any local artists, as I feel the north (as well as Scotland) have been making all the best moves (as-of-late).  When we consider value, it is important to look in terms of how memorable a band or song is; how besotted or alive you after hearing them; how long their legacy will last.  I have often highly-praised a new musician, only to become weary or disappointed upon further listens.  Originality has been a big issue for me as well.  Few whom I have had the pleasure to review have been truly original.  Most new music employs some very familiar strands.  A great deal of those I have investigated have reminded me strongly of past (or current) artists.  I feel if the three subjects are expertly dealt with and a balance is perfectly struck, then that is enough to grab your attention- and keep it for a very long time.  When it comes to my subjects, I feel that in them, this has been achieved.  I only encountered their majesty a couple of weeks ago, yet have been compelled to share their music further.  The boys are been hotly tipped for greatness over the next year, and on the evidence of Out Of The Black, they are not false prophets.

They are probably going to unfamiliar to many (if any) reading this.  I will go into more about why this is, but it is the unique nature of social media that has lead to a delay with regards to realisation.  In spite of any ignorance or lack of awareness, it seems that the music media have firmly grabbed onto the two-piece.  Paul Lester in The Guardian featured the band as one of his ones to watch.  Lester was keen to promote how potent the lads are, with just vocals, drums and strings at their disposal.  They are no replicates of Black Keys or Arctic Monkeys: there are echoes of Led Zeppelin as well as some of the gods of '60s and '70s music.  Lester went onto say that there are no real limits to what the band can achieve, with regards to their own sound, as well as their festival potential.  Over in The Independent, lofty adjectives has been put their way.  In their summation of the coming year, they have ranked the lads as one of their 'Ones To Watch'.  This all arrives vicariously from BBC's poll, and their estimation of who will be storming the music world in the coming year.  I have always found their 'Sounds of...' list to be somewhat variable- in terms of the quality and potential.  Over the years the likes of Jessie J. have been included amongst the ranks- who can genuinely say they feel anything but nausea when it comes to her?  However, there have been some genuinely good names on the lists, and it seems that Royal Blood are worthy include-ees.  It has been the case (recently) that stations such as XFM and Absolute Radio have been the bastions of championing guitar bands- it seems that the more mainstream stations have been remiss.  Radio One has been criticised for focusing their minds away from where it needs to be- they have been letting the ball drop as it were.  It is hoped that the new year will see a re-appropriation and rethink amongst the commercial masses.  If the likes of Radio One spin music by Royal Blood, then it will bring them to a new audience, and will go some way to raising awareness of genuinely fantastic music out in the ether.  The two-piece band may be a formula that has been tried, tested and exhausted.  I feel that the four of five-piece configuration is over-used, whereas the old adage of 'strength in numbers' seems less relevant when applied to our Brighton heroes.  If the likes of The White Stripes (as well as Brighton folk Blood Red Shoes) have shown, is that two can be as potent as four.  The White Stripes especially demonstrated what focus and concision can do with regards to their output.  The somewhat militaristic approach adopted by leader Jack White compounded and confounded preconceived expectations and stunned the music world in the early '00s.  Since then there have been a range of garage and rock bands that have plumped for the two-piece structure- finding it beneficial when distilling their essence and reducing membership.  Of course a duo requires a great deal of kinship and friendship.  It seems that there is a fraternal bond between Mike Kerr and Ben Thatcher.  In our paradigm of Detroit husband-and-wife-brother-and-sister paragons, Mike is our Jack: the voice and bass are his.  The drums are Ben's territory.  Of course it would be short-sighted to instantly compare the Brighton duo to the now-defunct Michigan pair.  There is much more of an equal foothold within the band: each makes an equal mark on surroundings.  The bearded duo as well strike you not only as men you would not mess with, by a ubiquitous duo that have a universal appeal.  They are not bound by uniformity and rigidity: casual clothing and an all-encompassing charm mandate their coda.  The two-piece are adept at instilling a sense of triumph as well as excitement into their music- as well as a raw sexuality as well.  If you are still unfamiliar or lost with regards to our subjects, then let me shed a little light.  The simpatico between the ersatz brothers seems to be a key component to their alchemy.  Each musical component extends and augments the music: listen carefully to what Thatcher does in the background in order to bolster Kerr.  Although a lot of wordplay has been exhausted towards the shores of Jack and Meg, it is also prudent to note that U.S. idols such as Pixies, Guns 'N Roses and R.A.T.M. are also detectable- as well as home-grown idols such as Arctic Monkeys.  As much as it is important to try to link musicians to a common thread and comparable shoreline, it also quite discrediting too.  Far too many music journalist are keen to tie bands and solo artists to an existing example: determined that that is the only way they are relevant; as thought that is a panacea of self-fulfilment.   Let me think way outside of the box here.  The boys from Brighton have nuances of America and are clearly influenced by the inter-generational and inter-denominational sounds that have emanated from here, yet are very much a band of the U.K.  The boys do not want to be directly lumped in with another band as they are very much their own men.  Their music is direct and primal on the one hand; complex and multi-layered the next.  As I say, the lads have an everyman identity and look to them; they are poster boys for the 21st century music lover: those whom want to negate and dispense with image obsession, yet want to adore musicians they can relate to.  I have been hearing some fond whispers near my way (Surrey): it seems that the vibrations are travelling steady north.  In the same way as Bradford duo Issimo have been sowing their seeds to the south, Royal Blood look dead-set to be residents amongst the London scene (over 2014).  In the sense that they have a transatlantic and international sound, it would be no surprise to hear them taking to the highways of the west coast of the U.S.; the busy cities of the east coast and the charming and curious bars around Sydney and Melbourne.  In an industry where relatability and focus as cachets that are gilded and sought-after, it is only right that their hard work is rewarded.  Before I get on to the song itself, I shall talk about their social media demographic.  Over on Facebook (at the time of this review), they have 6,387 'Likes'; as well, they have no sense of vainglorious boasting: their page is a awash with encapsulating imagery and down-to-earth narration.  There are status updates talking of recent interviews with Steve Lamacq- as well as ones promoting a Brighton-based tattoo artist.  On Twitter they have 1,945 'Followers' and have amassed a great deal of loyal support.  I am predicting the next year will see their fan army rise considerably, and it is hoped that they can lay siege to the plastic pop muppetry; raise their swords and slay the ineptitude of a large swathe of the music industry.  If any band are likely to do so, then it is Royal Blood.  Their name literally beckons imagery of variable tableaux: war, prestige, musical illuminate as well as rebellion.  You can hear the influences in their songs, but you can hear the originality and intention: they want to be around for a very, very long time.  As much as I have been excited and in awe of mainstays such as Queens of the Stone Age and The National this year, there have been some new musical expresses that have derailed my cynicism; given my food for thought, and given my a sense of hope.  As a (fellow) songwriter it is always inspiring to be inspired, and Royal Blood provide just that: Out Of The Black is a blissful representation of just how big these boys will become...

There is no room to breathe in the opening gambits of Out Of The Black.  Peppered and pulsating drum beats are thrown up front, electrifying and mood-setting.  The intro. has all the hallmarks of a classic- Back In Black, Smells Like Teen Spirit, Smoke On The Water- as it creates a heightened sense of intrigue and momentum.  There is an electronic shudder and stutter; it moulds and spars with the percussive slam and the combination is a mesmeric one.  One cannot help but be reminded of Killing In The Name by Rage Against The Machine.  There is that same fists aloft, f*** you mentality about it.  It implores you to dig deep and shout loud.  In its exploration and build-up the introduction baits and switches, it punches and retreats and has sonically-speaking is a fighter on tip-toes- bouncing and entering the ring, eyes staring straight.  Once the Ruy Lopez opening has commenced, we settled down into the song.  Initial words paint vivid imagery: "Out Of The Black/It broke your skin...", our hero crepuscular and tempestuous.  Kerr's voice is dark but not divisive: it contains a pleasing soothe to it, just has the right amount of menace and conviction.  When the initial parables are delivered, with words like "Every part of you" repeated- ensuring that the message is drilled into the skull and soul.  Before the 0:45 mark, we are back under the wheels of a sonic assault.  Kerr and Thatcher strut and shoulder barge.  Again the twanging gravity of the foreground sucks you in, as the drilled and hailstorm drumbeat completes the seduction.  Before you can settle in and dissect the weight of the composition, Kerr returns to the mic., spitting "You made a fool out of me!".  Whomever the unnamed sweetheart is that has caused such derision, is being given a stern lecture.  As Kerr rebukes, slams and waxes lyrical, he talks of having his skin taken "off of my back".  Imagery is very much at the forefront, and the evocativeness of the lyrics twinned with the rolling ball audio spikes your attention.  There are similarities one can draw to California's R.A.T.M.: a similar vein of quality can be tied to the band's 1992 debut.  Perturbation swings and wallows as Kerr wraps his tongue around his teeth as he mandates: "Don't breathe when I'm talking/Because you haven't been spoken to!".  Evisceration and exhortation are prescient.  There are demons and anger at the surface which come to the forefront with rambunctious clarity.  I know that Arctic Monkeys are a fan of the band, and perhaps some of Alex Turner's drawl and croon can be heard in Kerr's enunciations.  Unlike the Sheffield boys, Royal Blood mix '90s west coast U.S.A. with smatterings of '80s and '90s U.S. grunge and metal.  Our hero has a "gun for a mouth": evident and apparent as he puts the world to rights.  Thatcher is elementary in creating a force majeure- his drumming not only strong-arms the song's sway, but also emphasises the vocals and bass.  It is rare for a band with such a heavy (metal) heart to have talent for nuance.  Most similar bands just go for an aural torpedo: throwing as much noise into the atmosphere in the hope of winning you over with violence.  Instead, Royal Blood carefully structure the composition so that each note and line are given maximum weight- and repeated listens pay testament to that statement.  The stockpiled inner tension is restrung and swung as Kerr continues his sermonising.  At around 1:08 he steps back from the mic. again, as another musical rattlesnake is released into the streets.  This time the guitar is more frantic.  It grabs you by the throat and launches a flurry of gut punches; the percussive wingman stands by loyally, ensuring that justice is meated-out.  It is not long before vocals are back in the spotlight, as Kerr re-examines and launches his stinging attack.  The beauty of the track is that no one facet is allowed too much time to fester and stagnate.  Vocal lines are sharp and short: they retreat and allow a sonic whirlwind, before Kerr steps back up.  In this manner the track has a constant gravity as well as disjointing intoxication to it.  Just after the halfway mark, the potency and tattoos of the introduction are in your face again; resetting your emotions and preparing you for another thrill ride.  The boys intertwine and integrate electronic and percussive lines together, bolstering the overall sound and pulling your focus and brain in different directions.  In the twilight stages lyrics are repeated.  The ideas and images that struck hard in the first half are reintroduced: making sure that the message is not forgotten and that brevity is synonymous.  There is no need for wasted words and a lack of economy: Kerr's words are direct and chiselled.  Whether the inspiration for the track lies in fiction or reality it is hard to know, yet there is clearly a lot of resentment and frustration.  As the remaining 30 seconds tick-and-tock there is a final sonic blast.  Thatcher keeps his muscular slam consistent, as Kerr's guitar work batters and kicks- with hobnail boots.  With a closing trip, pummel and retreat the song comes to an end, and we are giving the chance to breathe (and reflect).

There is a hell of a lot to recommend about Our Of The Black.  As well as the clever wordplay of the song's title, the lyrics are memorable and concise.  A lot of bands that pervade and trade blues and metal tend to be lacking in any intelligence or sophistication.  Their lyrics often drag their knuckles and employ profanity- assuming that their average listener wants to be enraged and assaulted.  Royal Blood employ enough conviction and anger, yet it is done so with regard to all strands of the market.  Inventive and original is their sound, and their music begs for repeated listens.  In the way that tracks off of ...Like Clockwork had their instant-classics as well as slow burners; here the song has an instantaneous impact, yet reveals its true dynamic after half a dozen listens or so.  I have often criticised bands for lacking any clarity when it comes to vocals.  The kids do like to mutter, stutter and drawl, so that you can't understand a damn word they say.  In addition under or over-production tends to force sound and guitar noise above the vocal: so that the frontman/woman is buried in the avalanche.  Here Royal Blood consider the listener.  Not only are the twin pillars of the participants passionately spliced- so that equal weight is given- but the vocals are clear and concise.  You can hear what Kerr is saying; impressive as I imagine the studio take would have been epitomised by a ferocious and hard-hitting vocal turn.  The track may not convert those whom prefer their music softer and more subtle, but it will recruit a host of undecided voters and fence-sitters.  In addition, those affiliated with metal, grunge, rock and punk will find much to recommend here.  As well as encompassing some embers of '80s and '90s legends such as R.A.T.M. and Pixies, there is a fresh and vibrant buzz to the music, which is contemporary and urgent.  I know, alas, I have somewhat 'rambled' with regards to 'new music'.  I apologise.  Being besotted by the legacy that has gone before, I am intuitively predetermined to seek out golden progeny.  As much as I am convinced that the '90s will never been revisited- in terms of the quality and sensations that were offered up- I am not completely resigned to pessimism.  I feel that there is just a great deal of music out there.  Of course, this can be a good thing: there is something for everyone essentially.  There are just a couple of problems when it comes to the burgeoning open-door policy.  For one thing you have to work a lot harder in order to identity and detect the best of the bunch.  In addition, social media is rife with self-obsession and the facile.  When it comes to sharing great music and promoting it to the masses, there are many kinks in the chain.  Information is surreptitiously discovered; drip-fed fragments are offered up- there is a sense that most people are not concerned with new music as much as they are themselves.  I may be coming at this from a subjective angle, but if bands like Royal Blood are to gain the market share that they richly deserve, then these 'trends' need to change.  Music media is quick enough to idolise and drool with saccharine regard towards any new act that can write their own lyrics: often they are cut down with a fickle disregard shortly after.  The responsibilities that new musicians are charged with is primarily to inspire and influence.  Too  much focus is paid towards retrograde and reminiscence.  If we do not take flavours and colours from the present and integrate them into our consciousness, then there is a fear that music will slowly fade away.  There has been enough on offer over the last year to suggest that the musical beaten track and highway can integrate to form an unbreakable infrastructure.  It is probably apt that some established and recognised acts are getting plaudits and certification: it is the natural order.  I am hoping that the current generation are quick and decisive when making their mark.  Royal Blood have shown that a lack of pretence, ballast to a sturdy work ethic gets you to where you need to be- in an instant.  They have been working hard for a long time, but have seen their stock rise considerably lately.  Out Of The Black is just a morsel of what they can achieve.  Black Mammoth Records have a prestigious band in their stables, and I am hoping that an E.P. or album is in the works.  It is always exciting wondering what a future E.P. or L.P. will sound like, and what will be contained within.  On the basis of the couple of tracks I have heard, I am in no doubt that it will be a triumph.  It is important that Royal Blood take their time and plot their next moves carefully.  They have the momentum and the backing of the music industry and fans alike, so a sense of expectation will be upon them.  In Mike Kerr and Ben Thatcher are two men who have the arsenal and mind-set to be as big as they want to be.  The next year will, consequently, be jam-packed for them: festivals and touring is an imminent proposition.  It is not only noteworthy that a home-grown act have put their town (as well as country) on the map, but they have created a sound and sensation that seems- strangely- foreign this year.  Whilst the likes of Arctic Monkeys and Miles Kane have provided a semblance of hard-hitting flair, there has been a shift towards the more introverted and sensitive songwriter.  Artists such as James Blake (Mercury Prize winner no less) as well as Laura Marling and The National have gained focus; as well as some tender and heartfelt solo artists.  It seems that the likes of Q.O.T.S.A and Arctic Monkeys have been in a minority.  In that respect, Royal Blood have timed it perfectly.  They are coming into an overcrowded market, but are entering with a sound that is sought-after, yet not vulgarly in vogue.  As a- for want of a better term- 'pissed off' writer and music-lover, I have been waiting long for a sea change; biting my lip when presenting with another soulless cretin.  Arise Royal Blood, survey the kingdom, and take the throne.  They came, they saw, and they will surely conquer, surprisingly...

SOMEWHAT out of the blue!

____________________________________________________________________________________

Follow Royal Blood

Official site:

http://www.royalbloodband.com/

Twitter:

https://twitter.com/royalblooduk

Facebook:

https://www.facebook.com/RoyalBloodUK

SoundCloud:

https://soundcloud.com/royalbloodband

YouTube:

http://www.youtube.com/royalblooduk

Vanity Mirror: The Impossible Song

FEATURE:

Vanity Mirror: The Impossible Song

___________________________________________________________________________

A track I have been working on for (almost) five years, I muse on the proclivities of musical ambition; as well as what has driven me to push forwards- in spite of everything.

___________________________________________________________________________

OVER the past few weeks I have been extolling excitedly, the virtues and ambitions...

of many of my music friends.  Just yesterday I was grinning proudly as Fran Galea (Chess) unveiled her E.P. (Tuxedo) as a pre-release.  She has been excitedly preparing for its full release (in January), and has been in the midst of recording a music video for its lead-off single, Vanity.  She is one of a few young artists I know, each of whom have their own ambitions and agendas for the coming year.  She (Chess) is a stunning talent whom has worked tirelessly to fulfil her ambitions- the forthcoming E.P. will lay testament to her three-fold talents.  In  addition to Chess, solo artists such as Second Hand Poet, Lydia Baylis and Elena Ramona have been making their marks; whilst bands Universal Thee, Crystal Seagulls and Issimo have been striking hard.  It has been playing on my mind, this thought: how will 2014 shape up for them?  The stunning girls and handsome boys, each with their own sounds and songbooks have a lot of drive and courage: it is not happenstance that they are earmarked for great things in the coming years.  I have seen their embryonic rise; each step and frustration being documented throughout social media- and have been proud of their determination.  The tapestries of determination that are woven by the young elite are equally inspiring as well as unsettling.  Most of the musicians I know are in their 20s- those in their 30s are leaping and bounding at the rate of knots.  I often query my own mind and thoughts, looking for reasons why I have not made similar movements- not even an infant totter.  I have been toying with the idea of something simple: maybe a simple- but ambitious- cover version.  How about a simple ballad or punk anthem?  Hmmm.  There are two main reasons why these answers do not provide answers.  On the one hand, I have no band.  I will go on to (try to) rectify that in the closing remarks, yet I have always gravitated toward being a band leader: part of a four or five-piece crew of blazing ideals.  The life of a solo artist has never appealed as much, because I do not believe I could ever create music that focused and concentrated.  Big sounds and big ideas have always been at the forefront of my hippocampus: that idea of putting something out that is truly mesmeric.  That leads me to my second thesis: the nature of ambition.  I have postulated in a previous post (http://musicmusingsandsuch.wordpress.com/2013/07/07/new-music-the-death-of-grand-ambition/) as to whether we will ever witness another 'multi-part epic' such as Bohemian Rhapsody or Stairway to Heaven- or even Paranoid Android.  Bohemian and Stairway were completed in the '70s- even comparably-diminutive anthems such as Hotel California were from that period.  The last truly great epic was Radiohead's Paranoid Android.  This track was the epicentre of their 1997 album OK Computer, and stunned the world back then.  In the 16 years that have followed the Oxford chaps mission statement, there have never been any- genuinely- true attempts to replicate and appropriate that track's majesty.  Before I get to the matter at hand, my point is this: why have musicians- new or established- hesitated when it comes to penning songs as large and complex as Bohemian Rhapsody?  It has confused me greatly, and I can only assume it is down to two reasons.  I feel that people are scared in a sense; concerned that they will fall hopelessly short- or less be guilty of sticking to closely to the shadows of the aforementioned megaliths.  The other reason, I feel, why an updated version of Bohemian Rhapsody has not been attempted is that musical tastes have shifted.  The '90s was the last decade that truly offered up diversity, transmogrification and originality.  It has been harder to carve a niche in the ensuing 20 years, simply because most styles and genres of music have been thoroughly exhausted.  The current trend errs towards simplicity and single layers- songs can be shape shifting, yet tend to have a sense of domestication about them.  This brings me to my first point...

The Current Predicament.

It is 2013 and- in terms of the mainstream artists- it has been a so-so year.  I have been stunned by the continued genius from the likes of The National and Queens of the Stone Age; barrelled over by the wrecking balls of James Blake and Arctic Monkeys- yet there has been little else to recommend.  New music has been wetting my appetites, yet I feel that there should have been better- and more- on offer.  My favourite songs of this year have predominantly been straight-laced- yet adventurous- rock (and stoner rock) parables.  Ballads and Canadian rock has also featured in my top 5, but I have been tirelessly searching for something...bigger.  I understand that the music industry is a fickle and absent-minded maiden: beckoning at will, and spitting out on a whim.  A lot of bands and solo artists tend to favour concentrated music, through fear of alienating existing fans and scaring potential customers.  Consistency and originality are tantamount to success and renewed profitability, so a lot of time it is not wise to stray too far from safety.  I think a lot of my discourse- as of late- has been aimed towards scepticism.  I have been dubious when it comes to a positive outlook: whether a band or artist could ever achieve the giddy heights of the all-time greatest songs.  I have been befuddled as much as anything but the lack of free spirit dreaming from the current crop.  It is no coincidence that many critics, fans and music-lovers feel that Bohemian Rhapsody and Stairway to Heaven are two of the best songs of all time.  It is nothing to do with the time in which they were created; the albums they were a part of; or any peripheral influence.  The reason is simple: they are songs which drag you in and blow your mind.  I feel it should be mandatory for every band or solo artist to try and aim that high.  If you do not, then how much is really left in the memory- decades on from now?  I realise that writing something as complicated and far-reaching as the classics requires a lot of effort- as well as a hell of a lot of money.  It is perhaps the time needed to write these songs that is putting most people off- whom fear that it is not a productive use of their time.  It is anger, as well as a desperate hole to fill, that has lead me to put pen to paper- not only to craft my own attempt (at a classic), but to write here.

The Background.

I guess my musical output can be compared to epistemic ambivalence.  No one can really be sure if anything has been written or recorded- or whether a whole load of white smoke has been blown.  Mimetic epidemiology has created expectation; personal restraint and mystery has caused some inner anxieties.  I can report that a solid foundation has been laid, and many words have been written.  To date I have written about 12 completed tracks, ranging from rock tracks, through to soul and metal.  I have been pleased with the ideas I have concocted: they have excited me and even the titles themselves have lit my senses.  I have an album title, a band name; photo ideas are fully formed and most of the red tape and paperwork is ready to be processed.  As confident as I am that my hard work will reap rewards, my mind and attention has been sucked by a gravitational force: one that keeps me up and fills many a dream.  I have always been determined that my very first musical impression will be a multi-part epic: something that is vast and compelling- which may not seem like a good idea.  I am fully conscience that the song would cost tens of thousands (of pounds) to complete; weeks and months will need to be earmarked, and stress levels could well push breaking point.  But these obstacles have never really seemed like deal-breakers.  I can get the money some how, whether I have to raise it through Kickstarter, or through selling my organs.  I hope to find three of four ambitious boys (or girls) to complete the band line-up; I feel that I will never bore of wanting to make the song a reality.  It began about five years ago when the idea came to me.  Originally I entitled the song Infamy As Child, and it started out life as a six verse love song.  There were choruses as well as hotspots; rising verses and swooning middles- I have been working on it ever since.  I have removed the choruses and kept quite a few of the lines from that song.  The title has changed by the end goal has not: to have a genuine stab at trying to equal the greats.  At this present stage it appears that most of the lyrics have been written; most of the music has been conceptualised, and the structure set in place.  When it comes to lyrics and ideas I am a little bit of a 'perfectionist'- never truly satisfied until every line is as a good as I can get it.  The theme of the track has been something that appeals to me most.

The Concept.

In terms of the song itself, it is essentially a love song.  Unlike most love songs, there is a bit more of a twist in the tale.  Each verse charts the projection of a relationship.  We begins with impassioned and tender outpourings- documenting the first flourishes of a romance.  As the verses progress, the passion grows, to the point that doubts and cracks appear.  Towards the middle of the song, resentments set in, and arguments begin- with lines being exchanged between the two warring parties.  The song tells the story from the perspectives of both parties: each of the lovers has a chance to contribute and voice their side of things.  Once the song reaches its central point, the tension reaches fever pitch.  Explosions, fights, doubts and bile is exchanged.  Both of our subjects spiral and descend into bleakness.  The male protagonist hallucinates and dreams: bold and scary images sit alongside honest proclamations.  The heroine considers an affair; caught in a vortex of anxiety and sadness, her mind awash with recriminations and questions.  As the song's central ideal is unveiled, there is a turnaround.  Fortunes change and once again the relationship starts to get back on track.  Almost as though reversing time, events start to repeat and we work backwards to the starting point.  By the end of the song the love is very much alive, as a delirious and augmented smile is procured.  In spite of a redemptive ending, there are still ambiguity and prescient questions posed.  Cliff-hangers and twists are left in the air, and the listener is left in two minds as to whether things actually worked out for the best.  As a companion and counterpoint to the storyline of the song, there are existential mysteries and conundrums put forth.  As well as being unsure as to whether the two lovers reconciled, the nature of reality is questioned.  It will not be obvious whether the song was a dream, or a hallucination.  In addition, it is not clear whether the song charts two different relationships, or whether events transpired as documented.  Inspired by my favourite all-time film Memento, the song follow's the film's idiosyncrasies and originalities.  I was keen to write a song that was not a straight love song, nor an impersonal epic.  I adore Bohemian Rhapsody because it is impossible to equal or replicate.  It is so individual a personality, that if you were attempt to make a song as good, you would end up plagiarising it.  Its lyrics are the blood and butter: damned if I know what they mean or what they were inspired by.  Similarly, Stairway to Heaven seems almost mythical in its oddity: again it is not certain what the song is truly about or influenced by.  Paranoid Android- the final of the Holy Trinity of epics- has its roots set towards the personal.  That track was inspired by Thom Yorke's experiences of some unsavoury characters.  Cocaine-snorting cretins, Chanel-owning bimbos and "complete and utter fucking chaos" inspired the track: with our hero truly disgusted by some of the things he saw.  I guess it is anger and release that kick-started that track.  I was keen to write something that was perhaps more universal, yet perhaps not quite as individualised.  Love songs account for perhaps 85-90% of all of the music ever written, yet I have never heard of one that aspires to be a track like Stairway to Heaven.  I guess Layla is the closest attempt, and is another track that is considered amongst the all-time greatest songs.  Getting away from the origins of these songs, yet sharing D.N.A. and common blood was of equal importance.

The Ambition.

If anyone is reading, or if anyone has made it this far, there may be one clear-cut derision: it seems quite pretentious!  It is true that the song thinks a lot of itself, and that the concept is a little overly-ambitious, yet that is the point: there are few people out there that are trying to do anything similar.  I love a great song that says its piece simply with the maximum of focus.  Yet the market seems to be swamped by those type of tracks: this is especially true of new artists.  Whether it is financial restraint, fear or simple avoidance, the truth is this: the music world needs more songs like this.  Truly great and legendary bands contain a song like this in their cannon, from The Beatles through to The Beach Boys.  It is all well having an identity and a sense of logic, yet it is that one moment where you throw the rule books out that things get interesting.  The most interesting people have a sense of oddness about them; the greatest love stories are fractious and bipolar; the finest albums and films complex and filled with nuance.  In that similar sense, the best songs have ambition and a hungry desire.  I have been in awe of a great deal of new artists, yet feel that it may be decades- if at all- that a gigantic track comes along that confuses and scares the crap out of people.  It has been many years since the feint genetics of Vanity Mirror were put to paper.  I worked on the song today, and I will work on it tomorrow- as well as right up until the point I am in the studio.  It is because the song is so large and compartmentalised that I have been so besotted by it.  I can hear every segment in my head, and know what it will sound like when it is completed.  I realise that I will have to go to drastic lengths to raise the finance for it.  I realise and accept that a certain sense of nervousness and stage fright has compounded previous attempts to record music.  Personal depressions and anxieties have stifled my output throughout my 20s, and my focus has been somewhat diffuse as-of-late.  In spit of everything present, past- as well as future- the one shining light keeps cracking through the clouds: The Impossible Song.  It is going to take many additional musicians and many weeks to create.  It is not a song that can be completed in a few days or will leave its participants satisfied and relaxed.  This song of a bitch is a constipated monster that will test the patience and loyalties of all whom dare to take it on.  Stress and insomnia will be the mother lodes of tolerance, and the aftershocks will be long-lasting.  It seems like a far-fetched dream to me, yet something that I will not quit on.  I understand that when it is completed that many will hate it; many will be confused by it, yet the abiding fact is this: if it is completed as I hear it in my head, it will make the past 30 years of poor fortune that much more acceptable.  The idea of music is to fulfil and enrich.  For the musician, there is always an ambition to be better than anyone else; to reach as high as possible.  I have spent too long dreaming and speculating, and want to enter the scene with a bang- I feel that this song will be the best way to do it.

The Lyrics.

I will go into more depth with regards to the sound and structure of the song, yet have composed quite a few of the lyrics.  I know what each verse will relate to, and have most of the 'rough ideas' formed.  Below are a few of the lyrics of the song- giving a sense of the diversity and mixed emotions the song will contain:

My final words were the very same as my first

Silver nights in satin's regard, oh how I long for you

My mother tonguie came undone to sing a farewll midnight kiss

In the disatnce between the Jasmine Chrous and the edge of the abyss

As the Angel of Battersea she'd heard every line in the book

But the cover to the rules of love is never judged upon its looks.

You asked me which came first: the chicken or the egg?

Yet I've been running scared long before I was ever bred

With your fingers teasing shivers I didn't have a choice

I was born with the burden of a platinum voice

Love and faith are double-blind, their truths diving rods

When bad point to vengeful man, when good a loving God.

Intention out of pure context should be word enough

Not all the cards I hold to my chest can call the Devil's bluff

The cat swallows the poison, the dog runs to the bell.

It's all really just a front/To leave the past behind.

And knowing that you're never alone

Is the lonliest thing of all

The Woman and the Dictionary's a classic play on words

We saw it blind the minor fifths, to silence its major thirds

But it doesn't take a cardiologists to know abandoned ships will rust

Better to fail at acting the punch-line, to succeed at acting the joke

Love songs only say it best if the best is good enough

Not all the cards that I hold to my chest will call the Devil's bluff

I was sent a Christmas card from the city morgue

Talking of new year's plans and enquiring about my health

I'm the murderer in the romantic comedy

The mime artist in the film of the great war

The extra in the lavish musical

The hangman in the epic story of the lord

You can laugh at my condition

If you think it makes you tall

Although my scream is never heard

My silence says it all

The third-rate joke; second-chand smoke; first-class bitch

I've blown them all to scratch an itch

Well you like chasing ghosts

Because they won't come back to haunt you

I'm saying goodbye to a God that never believed in me

Because beauty shows no mercy for beauty

Infamy's Child has found

When the fearless shall be crowned

Alone

Wilderness, broken water and silk are on your side

And I can't bear to get over you

The kiss upon your hair lyring naked on the floor

Love is not for heroes but for those who win the war

Awake in the arms of the man of my dreams

Because tonight we have too much in common

The sun and moon switched place

The night I saw your face

We'll pray together to think for ourselves

Hold me like your brothers-in-arms so that we relate

Lost in your eyes because I can't go on this way

To sink the cedar witnesses and trip the tongue of fate

Eulogised the truth that lies in disguise and rhyme

I'm learning to be older in the balance of all time

When you're a man who looks like me

It's not such a gift to see... what you do to me

I bit your lip, cut your thigh to see doves fly the flood of your rags

Felt conquered flat by black language and frozen tall by the rip in your flag

You want the kind of love your mother used to love

A common muse for the chosen few

Alone in a room with life, death and you

And each of them are only thinking of themselves

We both know the love that we make

Will never be equal to the love that we take

Clouds hold only memories from all who've ever been

The woman of my dreams wakes in her sleep.

There are another dozen or so lines that I have with.  Some lascivious and sexually-charged; some tender and romantic; others cutting and witty- and there are some which are anger-filled and harsh.  The idea is to have the song be multi-part and diverse, but the lyrics need to be as memorable and wonderful as possible.  Inspired by the likes of Turner, Dylan and Cohen as well as a host of other songwriters, I wanted there to be strange scenes, epic romance and psychotropic images: all of which are as finely-crafted as possible.

The Music and Sound.

The music is going to be diverse and ever-changing.  The intro. begins as a sledgehammer riff: something akin to Smells Like Teen Spirit, Back In Black or Smoke on the Water.

The intro then stops around the 0:17.  This continues for about 8 seconds before restarting.

It then transforms into a sweeping orchestral passage.  Similar to Clair Du Lune or The Cinematic Orchestra, it rises and swells, before setting as the first verse is introduced.

During the first verse the mood is romantic, with a mix of The Cinematic Orchestra.

As the next two verses arrive, the sound is a mix of Queens of the Stone Age, Oasis as well as Led Zeppelin.

At the 3:26 mark, a guitar passage begins.  Inspired by the likes of Sweet Child O' Mine and Stairway to Heaven, it continues : it rises and mutates, ramping up the tension.

In the middle part of the song, we begin with a spacey and trippy segment.  It is inspired by psychedelic music as well as Paranoid Android, and is filled with strange sounds and interlinking motions.

In the second half of the middle section it changes and becomes amplified.  I will explain about the vocals, but the music will contain a multitude of genres.  Acid jazz, world music, electronic, rock, and pretty much everything else you can imagine.

As that segment ends it becomes harder and more brutal.  It is more akin to Soundgarden, Guns N' Roses and Judas Priest.  Heavy guitars and pulsating drum work comes into play, and the song- briefly- becomes a grunge and heavy metal affair.

Then comes a drum break.  There is a solo which switches between a multi-layered military march as well as a Zeppelin-esque flail.

Then the drums merge with guitar as a fierce and wailing riff begins.  Influenced by All Along The Watchtower and Sweet Child O' Mine, the guitar passage from before picks back up, and merges with a psychedelic fury.

A soul verse takes shape next, and this means that parping and ecstatic horns come into light; tied with slinky and sexy piano and guitar duets.

The next verse is Beatle-esque so has a '60s sounds, that is part-Abbey Road, part-Sgt. Pepper's.

There is then a brooding and dark orchestral sway, that has elements of Massive Attack.  It is an epic and rising segment that mixes classical styles and leads into the outro...

The outro is aimed at being one of the best parts of the songs.  It is an infectious and delirious segment that mixes instruments and styles to create an intoxicating and overwhelming.  It is a passage that is brief but repeats itself about six times.  It starts up for the seventh time, but suddenly stops dead.

The music entangles within the sound.  The sound itself is intended to push every boundary possible.  Whereas Bohemian Rhapsody was the most ambitious song of its time: it pushed technology to the limit and has never been done before.  Vanity Mirror aims to do likewise, mixing old recording techniques with new; bending sound and fusing sound styles together.  This means that it overwhelms and seduces, creating a psychological effect on the listener: both exhausting and exciting.  The intention is that by the end one has to take a moment to take it all in: not quite sure of what has come before.

The Vocals.

The vocals are intended to match the music, and follow its template.

In the first verse, as it is pin sharp and tender, the vocal style will be falsetto/soprano,  trying to match the likes of Eva Cassidy and Kate Bush.  It will be a tender and cherub vocal that attempts to do justice to the lyrics.

Towards the harder following verses, the vocal style is part-Freddie Mercury part-Robert Plant.  There is backing vocal, by this ties a lower vocal range together, with blends of Roy Orbison and Antony Hegarty.

In the spacey middle section, the primary vocal line is inspired by Thom Yorke and Jeff Buckley, with a falsetto and tenor.  The secondary line mixes operatic belt as well as Tim Buckley-esque gymnastic.  The tertiary layer mixes Bjork-esque ambition, with gravelled tones such as Tom Waits and Howlin' Wolf.

In the middle of the song there is a multi-layered vocal section.  Each line introduces a new vocal sound, and there are about 1,000 different vocals.  There are two different lines here; the first sung by 500 voices; the second likewise.  The intensity and volume builds like a choir- it hits its peak in the middle before dropping one by one.

The harder, metal verse, will have elements of Rob Halford, Axl Rose, Robert Plant and Chris Cornell; layering one another and blending together.

Soulful verse will have layers, with Prince and Michael Jackson elements, Marvin Gaye, James Brown, Otis Redding, Smokey Robinson and Jeff Buckley elements in the mix.

Towards the final elements, different vocal elements from Bjork and Hayden Thorpe sounds mixing with Lennon and McCartney.

The Point.

The point of the song is to fill a gap, as well as make a point.  It is not a show-off piece or a self-indulgent dirge, but to test a band to the limit.  There have been no attempts to replicate the ideas of Paranoid Android since 1997, and it is long-overdue that an attempt is made.  It may fail spectacularly or it may fall short, but with all the elements (almost) in place, it is almost ready to go.

The Aim.

It is hard to tell what the song will sound like, just from words alone.  It is going to take proof before the pudding can be savoured, but I am excited to go.  It is hoped that it will be the first thing I record, and will form the swansong to a future E.P.  It is also hoped that the song will appeal to potential band members; that like-minded souls will come together to challenge it- spending time and money making it happen and getting it as good as possible.  I want to push myself as much as possible as a songwriter and singer, and make each facet of the song as strong as possible.  The music itself will be the biggest force, and the overall sound will be king.  This will be played by fellow band members, and by mixing so many different segments and genres into one song, it will challenge the listener.

The Future.

The future consists of making concept a reality.  At the moment I am one man with ideas and no others.  I want to get together four other musicians to form a band.  I need two guitarists, a bass player and a drummer, to form the band (whose name I know and want to unveil).  Once that is all in place, the song will be pitched.  As I do not write music, all of it is my  head, so will need a co-conspirator to help compose the score, as well as the melody.  From there, I hope to raise the money for the track so that the song can make its way into the studio.  As I say, it is difficult to do justice through a blog post.  The full effect will not be known until the song is complete, so I am keen to make everything a reality as soon as possible. Lack of finance and confidence are the biggest drawbacks, so I want to rectify these very shortly.  I am unsure how I will find the finances, but will try everything possible.  Once I can recruit a band, it will provide a chance to rehearse and try out some simpler songs as well as cover versions but Vanity Mirror is the first song I want to have my name on.  If all the parts can come together as hoped, the idea is to try and challenge the big hitters and all-time greats: big ambition I know, but you need to go in as hard as possible to really make your mark.

The Outro.

There are fragments, self-flagellation and self-indulgence as well as over-ambition, but do you know what: that is the idea.  The song is designed as a test of what is possible as to be as ambitious and idealistic as possible.  For a long time I have watched others make their names, and restricted myself and resigned myself to merely watching.  Personal factors as well as limitations have penned me in, but in the midst of all this, has been the song itself.  It may seem like an impossible chore and something that can't be done.  This piece was not designed as self-promotion or as a pitch, but more to highlight what can become.  I am no more talented than anyone else, but have a sense that the most ambitious and epic tracks are a thing of the past.  In a crowded and full industry, there is a niche that needs to be fulfilled.  Whether the song's title is a self-fulfilling prophecy or an exercise in futility, I am not going to rest trying to make it happen.  If it fails, then at least I tried.  If there are roadblocks: I shall try and overcome them.  Normalising and restraint is important and something you need to as a musician.  By for one song- one fleeting moment- there needs to be a sense of reckless abandon and bold statements.  After all:

Who wants to be normal?

____________________________________________________________________________________

Feature- Crystal Seagulls

FEATURE:

Crystal Seagulls

 

The high-flying boys whom will be making big impressions over the coming few months. 

The new E.P. by Crystal Seagulls will be available in January.

Toetapper is available through

https://soundcloud.com/crystalseagulls/toetapper

___________________________________________________________________________

The unsigned four-piece are ending a year that has seen them play the Isle of Wight.  It will not be long until a label snaps them up.  Based on the evidence here, it is a long time overdue.

___________________________________________________________________________

IT is once more back to the diatribe of today's band market...

It has been a while since I have focused my thoughts on this subject.  It is not one I enjoy revisiting for nefarious reasons; I just find it fascinating how the market seems to evolve and mutate- within the space of a few months.  Just yesterday I featured a host of six different artists- four solo acts, and two very distinct and diverse bands.  I was amazed by the range that the solo acts contained.  From the soulful, sexiness and diversity of Chess, through to the intriguing and pulsating sounds of Nightwolf; there was a captivating anthem from Lydia Baylis and a gorgeous and devotional track from Elena Ramona.  Each of the four acts have either an E.P. or L.P. our, or in the works.  Being acts in their 20s, they are still in their infancy, yet have a hearts and heads filled with huge ambitions and plan-making.  At various times I have reviewed each of the four solo stars, and am always taken aback by how determined and strong they are, with regards to fulfilling their goals.  As a songwriter myself, I have always seem to been overcome by reality and the limitations and roadblocks that are thrown up- and how difficult it is record and write.  The solo stars have to do everything on their own (well the majority of things anyway), yet seem to always make it work.  Songs are recorded, E.P.s finished and live gigs are planned and hypothesised.  I am keen to add my support and promote them as much as possible, as the solo market is one of the most tightly-packed and competitive ones there is.  If you cast your mind to the current 'mainstream', there contains a mixture of established and recognisable stars- Lady Gaga, Tom Odell, Rhianna etc.- whom between them have their fans, but have a brevity of quality and guts.  There is another more 'underground' sector of solo artists whom have a greater degree of quality and are much more hard-hitting and bold- the likes of Tom Waits and James Blake can be labelled in this food group.  The third- and largest- sect is that of the up-and-coming newbies.  For every nauseating twee-voiced waster you hear on John Lewis adverts (inevitably butchering a well-loved track), you have a large voice that are genuinely worthy of praise and further scrutiny and attention.  It takes a lot of foresight, resolve and bravery to stay faithfully in love with your musical machinations: so many can fall at the first hurdle.  If anything the smallest percentage of legendary and memorable albums are produced by your solo artists- certainly true in the current climate.  I am not sure of the reasons, and whether this is because of the financial hardships, or the lack of collaborative creative input- it could be a number of things.  I am pretty confident that the new lone artists I have recently featured will be huge successes regardless of market forces and limitations- they have the talent to be able to carve out long-running careers.  Eyes and ears always seem to be more primed towards the band market.  In terms of the classic albums of the '60s and '70s, it has usually been bands whom have produced the greatest works.  This trend and track record was enforced and cemented during the 1990s, when the likes of Blur, Oasis and Supergrass were amongst a bulk of household names enlivening the music world.  Over the past 15 years or so, there has been a distinct dip in overall quality.  The heady rush of Britpop has long since subsided, and the brand new musical diversity that was fresh in the '90s, has been recycled and misappropriated in the current day.  There is less room for mobility; fewer opportunities exist to be genuinely pioneering, and most of what can be said (that is original) has already been said.  With this in mind, I have been simultaneously depressed and excited by what I am hearing.  Within my recent feature I concentrated on two bands: Issimo and Universal Thee.  The former are a northern two-piece, containing the inter-gender splendours of Marc Otway and Abi Uttley.  Marc is a multi-instrumental composer, whom has written a large chunk of the band's material.  His lyrics sway between tender-hearted romance, sharp insight and wit, and universal truths.  I have been impressed and pleased by his songbook, which has shown so much quality and concision.  As well as being a bold and stunning lyricist, his compositional qualities have made a huge impression.  As a vocalist, he has an engaging and authentic croon: a rich tone that is warm and well as witty.  His heroine and cohort is Abi Uttley.  She is a gorgeous and sexy front woman, and someone is as warm and friendly as she is alluring.  She is a modern-day pin-up and has won plaudits, awards and kudos as a musician.  In addition to be a skilled actress, Abi has marked herself out as an original and stunning singer and writer.  Her voice is a diverse mix of cheeky northern humour; captivating soulfulness and sex appeal; stunning power and fortitude; as well as being a versatile weapon.  The duo make a perfect match, and have produced a string of wide-ranging and memorable tracks.  Their song Things About You perfectly exemplified their majesty.  It is a cheeky and humorous two-hander, that tells tales of vanity and a mismatched romance; the two trading barbs and jokes in a soulful and swinging track.  This is a group whom are earmarked for huge things in 2014.  The second band are a Scottish group, fronted by husband and wife team James and Lisa Russell.  The banner of Universal Thee have been stamping modern anthems for a while now, and have been making a name for themselves within the quarters of their native homeland- receiving applause and attention from all across the U.K.  In a sense they have the same sort of potency and thesis of U.S. legends Pixies: there is a similar punch and potency in their track Aranis Natas.  I have not heard a band as immediate as them for many years, and their ear for a great hook has impressed me wildly.  I know from speaking with Lisa, as well as James, that the business means a lot to them, and that success and recognition are vital to them- as well as acting as influential role models for upcoming bands.  Too many critics, reviewers, fans and labels look towards southern climbs for the next 'up-and-coming' group: yet Universal Thee have cast eyes and attentions (much) farther north.  The band are tight, focused and ambitious and the coming months will see new releases and gigs abound- which will see them taking their songs across the U.K.  My abiding point is that between these two incredible acts, it has given me enough reason to regain faith in the band market.

Crystal Seagulls are a band in search of a label at the moment, and will not have too long to wait.  It is probably true that this year has been exemplified and personified by great bands making great albums.  To my mind the best and most impressive work has been stamped by established U.S. acts- most notably The National and Queens of the Stone Age.  Those American boys have produced two distinctly stunning L.P.s.  The National boys' brand of downfall humour and intelligent lyrics have been a dominant facet in the music industry for several years now.  Trouble Will Find Me was a gilded collection of anthems for scorned lovers, downcast dreamers as well as everyone in between.  The Q.O.T.S.A lads album ...Like Clockwork catapulted them back into the critical black.  From the rather lukewarm reception to Era Vulgaris (which I maintain had at least five or six classic Queens' numbers on it), there was a universal vibe of positive that received their current album.  Homme and his crew notched up a remarkable achievement of slow-burning crepuscular gems; a few classic hard-hitting anthems, as well as some soulful and slinky numbers.  It is an album that I have on repeat, and boldly claim to be the best album of this year.  The U.K. has produced a few great albums, yet it has been the U.S. counterparts that have made the biggest noise.  New bands such as Crystal Seagulls are making strides to changing the established order.  In this country, we are producing the bulk of hungry and potentially-giant new bands: all of whom have their unique sound and sensation.  Crystal Seagulls are a quarter of north London boys, whom have been climbing the music ladder with very little ego.  Although members Jim, John, Elz and Ben hail from the landscapes of Birmingham, London, Cheshire and Hertfordshire, it is within the capital that they now reside.  I have given a lot of recent attention to bands located within Scotland as well as the north of England.  There have been few from closer to home that have really spiked my attention and sharpened my thoughts, yet our endeavouring four-piece have made me rethink things.  A couple of singles have been released, and they have played a prestigious set at the Isle of Wight.  In addition, their music has been spun on over 30 different radio stations (at home and abroad), including BBC6.  It seems that a lot of bands of the moment- especially in Manchester and Liverpool- are influenced by current heavyweights such as Arctic Monkeys.  In fact, a great deal of bands seem to counterfeit and mimic these bands, under the impression that a vicarious replication will see residual profitability enforce their own music.  Modern sounds have perhaps overtaken historical genius, when it comes to influencing new bands.  Crystal Seagulls are amongst a small group, still indebted to, and in awe of, the great past masters.  In addition to some modern influence (Oasis), our heroes are inspired by the likes of The Jam and Bob Dylan, and you can hear that mix of anthemic punch and melodic beauty in their back catalogue.  The next year is one that promises some treasure and profitability.  Off of the back of the plaudits of 2013, the quartet are finishing off their new E.P.  There is a bit of mystery and intrigue as to what will be contained within, yet two tracks in the ether will feature on that set.

I have previously reviewed their single Time (http://musicmusingsandsuch.wordpress.com/2013/06/29/crystal-seagulls-time-track-review/).  During that review, I expounded the virtue of the unique motif, stating that that (Time): "As the pleasing and light-hearted composition announces and twirls in the background, up front there are words of apprehension and exhaustion".  That track impressed me, as the lyrics were sharp and memorable ("Attention craved/Intent forgot") and displayed a tormented and eventful backstory.  If this is an indicator as to what the E.P. contains, then it will be a splendid set.  The band have a multitude of confidence and vigour, and have shown themselves to be bold contenders for mass public attention.  As well as Time, I have been listening a lot to Toetapper.  This track will feature alongside Time on the E.P.- in addition to two brand-new songs.  The title (Toetapper) certainty seems apt, given the fiery intro. that leads the track off.  With some punk flavours, elements of The Jam as well as smidges of The White Stripes and Supergrass, it is a pogo-bouncing, fist-pumping and smile-inducing beginning.  In the sense that one can identify small threads from other bands, the abiding sensation is of the London streets, and a fresh and vibrant coda from an endeavouring young band.  The song wastes no time in getting off to the races and infuses a sense of intrigue and invigoration into the opening seconds.  The sensualised marriage of late-'90s U.S. garage, paired with mid-late-'90s U.K. rock sends your senses on a wild voyage.  Feet are certainly tapping as you await the song's initial words.  When the dark guitar rumblings and hard-hitting percussive slam subside, tales to "swell the brain" to "ease the pain" are unfolded by John- there is an immediate sense of atmosphere and vivacity as the band paint some very detailed imagery.  The boys are a tight-knit and focused band, and the track has no gaps or holes: it is a tight and concentrated anthem.  In the midst of the rambunctiousness and sway there is a flavour, perhaps, of early-Arctic Monkeys as well.  Perhaps in the riff and percussive slam detections can be made, yet the vocal is altogether a lot stronger and lighter.  Turner tends to be heavy-voiced with a slight drawl, where as our heroes are a lot clearer and emotive.  Our protagonist has clearly seen a lot and endured some heartache, as he paints pictures of fallout and recrimination, as well as introspection and examination.  The boys have a handy clarity when it comes to their words, and treat listeners with respect.  A lot of bands tend to write too personally; they never let the fans in.  Within Toetapper there is a desire to pull you into the scenes and avenues that the band paint.  The song is constantly moving and exciting and is a tune that the band have performed extensively- including at the Isle of Wight.  It is a track that you could well imagine being a lead-off single as it invites repeated listens- as well as an ambitious music video.  The mark of a great song is one that can compel, intrigue and seduce, yet appeals to the visual thinker: those that formulate multiple music video ideas, inspiring as they are by the words and sounds.  The four-piece play their parts wonderful, injecting as much force and potency into the track.  The percussion is rapid-fire and strong; the bass and guitar infuse danger, heartache and energy into every second, as the vocal sends clear and sharp messages out:  "Well you/What did you say?".  It is unclear whom the unnamed beau is that has got our hero so enlivened, yet it is clear that notable  impressions and shadows have been left.  Around the 1:30 mark there is a lovely little sustained buzz that reminded me a bit of No One Knows by Queens of the Stone Age.  It arrives after a carnival of emotion and prophesising and acts as a reprieve and rest bite.  The listener is able to draw breath and imagine what is to come next, having absorbed the previous 90 seconds of storytelling.  After a brief drumroll and guitar build-up, the sojourn of rest is over, and our protagonist steps back onto the mic.- presumingly having had enough time to wipe the sweat from his busy brow.  Speaking of a need not the surrender and deceptive sweethearts, our Seagull boys once again ramp up the tension.  Tales of clichés "behind the bikeshed" and final thoughts of past events, our quartet go in for a final fling.  Guitars strike and punch; the percussion continues its pummelling; bass bounces and contains as our frontman's repetition of "Well you/What did you say?" ramps up the anxiety, finger-pointing and anger.  The subject of the song should probably think again if she were ever to upset or interrupt our hero, as she is laid bare and put to rights.  As an infectious closing coda ends the song, Toetapper is laid to rest, and a great burden weight is lifted and buried.  As they did with Time, Crystal Seagulls have managed to whip up a firestorm of memorable music in a short time frame.  Clocking in at 2:15, Toetapper is a concise and measured track, and one that will burrow into your brain- and not shift for a good long time indeed.  It is unsure if it will be in the first or second half of the (forthcoming) E.P., yet it is likely to be a prominent fixture of future gigs.  As I mentioned, it has featured highly in their sets over the past few months, and is a song that they have a clearly affinity for, and identity with.  The boys will not have to wait too long until a wave of anticipation is build up...

I have had the pleasure of reviewing the chaps twice (Yours For As Long As You Keep Me available at: http://musicmusingsandsuch.wordpress.com/2013/05/27/crystal-seagulls-yours-for-as-long-as-you-keep-me-track-review/).  Both times I have been inspired by their focus and emotional range.  They manage to mix humour and fun with emotional honesty and directness.  I am excited by what might be contained within the E.P., as the band have proven themselves to be a huge force.  I know how important it is for the boys to be influential as well as respected.  They have put a lot of hard graft and time into crafting their sound, and their spot at illustrious gigs is no accident: it is the reward for the effort they have put in.  They are similarly a group that deserve a lot more attention than they have been getting.  At  the time of this review (01/12/'13, 15:00) the lads have 1,724 'followers' on Twitter; a band of 889 'likes' on Facebook- as well as a loyal following outside of social media channels.  I feel that the past few months have been important to the guys, and they have managed to attract new fans with their incredible live performances.  Over the past few days they have been performing in London, and gathering acclaim and adulation.  I suspect that they will be getting requests from venues through the U.K. very soon, as well as international calling.  It has been nice to revisit Crystal Seagulls, and distract my mind.  Life is a funny thing, when it comes to music.  Me?  Well I am probably a compendium of musician-in-waiting clichés: clinical depression with suicidality, anxieties, a  horrid home life; insomnia, possible M.S., unrequited love; loneliness and financial problems: I am seemingly every tormented troubadour there has been from the past 40 years.  As much as the thoughts on my brain and the girl in my thoughts, it is new musicians that are keeping me focused (to an extent).  The likes of Issimo and Universal Thee have been providing me with salivating glimpses into the band market, where as my solo stars have been giving me food for thought.  In spite of everything, be it large or small, I have been burying my head in music and lyrics.  I always look to take something from every act I review- as well as the bands I am fondly in love with.  The main advantage of reviewing and assessing new acts has its big advantages.  I get to hear the splendour and ambitions of the acts- sometimes long before anyone else.  It is always refreshing and interesting to see what each of the acts can come up with, and where they want to be heading.  From speaking with musician friends, I have got a great sense of what the realities of being a musician involve.  Whether you make an E.P. (or album) through crowd-funding or by your own personal finances, it is always a hard and arduous struggle.  I have seen in the pages of social media the plight that the artists face.  It is an unfortunate reality that you have to suffer a depressing day job to fund what you really want to do.  Personal relationships take a back seat, and the strains of modern life are emphasised and duplicate.  There is always a focus and drive amongst the acts, though.  The end goal is to make the E.P./L.P. that they have in mind- whatever toll it takes or what it costs.  I have always been full of admiration as it is frustrating and tiring to be in that situation.  Music has that odd distinction I guess.  You can be in a 'regular' job and not have to suffer to get 'personal fulfilment'; yet something that is more enriching and vital comes with debilitating obstacles.  It is strange that it should be so oppressive, although the open-door policy that the music world promotes can be the explanation behind this.  In an industry where everyone is welcome, it is harder now- in 2013- than at any other time to really make a mark.  Fickleness and changing fashions can bury or elevate a band with nary a thought for consistency or fairness.  I live in hope that we may live to witness the same sort of quality and diversity that arrives between 1988-2001.  The birth of Britpop, the Grunge movements as well as incredible dance music provided the music fan all the tantalisation they could handle.  It seems that it is unlikely that we will ever revisit the giddy heights witnessed then, yet with bands like Crystal Seagulls emerging, there can be a valiant attempt made.  I have reviewed the likes of Second Hand Poet, Issimo, Universal Thee, Nightwolf, Chess, Elena Ramona, Lydia Baylis, as well as scores of international and home-grown acts alike.  It is probably going to take a while for the resurgence to take place, yet I am seeing enough to suggest that a sea change is afoot.  Hopefully the days of cloying boy bands and irritating reality T.V. acts will be short in numbers, and it is encouraging that so much ambition lies within new music.  Our London-based heroes are in their infant stages, yet have all the hunger needed to succeed in a cut-throat and overcrowded market.  Their clinical and tight songs have already captured a fair few fans, and I am sure that their fanbase will rise sharply as they prepare their E.P.  If they are still looking for a label, I hope that they will not have to search for too much longer.  Too many musicians get too much (undeserved) attention and respect, so it would be great to see a deserving act get their just recognition.  The next year will see some great new acts come through the barriers, and I hope that they fight hard to win votes and compete with the established guard.  Toetapper and Time have given a glimpse into what Crystal Seagulls are plotting, and the next few weeks will see the realisation of their fully-fledged ambitions.  Until then, enjoy what the boys are offering and become immersed in their tales of love, life and pretty much anything in-between.  Become initiated and familiar now, as 2014 will see the four-piece transcend from bedroom idols into fully-fledged stars.  If labels are looking for a great group sure to set the scene alight, then look no further...

The lads are primed and ready to dominate!

____________________________________________________________________________________

Follow Crystal Seagulls:

Official site:

http://crystalseagulls.com/

Twitter:

https://twitter.com/crystalseagulls

Facebook:

https://www.facebook.com/CrystalSeagulls

SoundCloud:

https://soundcloud.com/crystalseagulls

YouTube:

http://www.youtube.com/user/CrystalSeagulls/videos?flow=grid&view=0

iTunes:

https://itunes.apple.com/gb/artist/crystal-seagulls/id558476976

Feature: A Day In The Life of A Musical Youth.

FEATURE:

A Day In The Life of A Musical Youth.

Words by Sam Liddicott. 30 November, 2013, 08:00 GMT.

_____________________________________________________________________

As 2013 draws (nearer) to a close, I investigate six very different musical stars.  I look into what they are currently working on; what this year has brought them- and what is in store for 2014.

_____________________________________________________________________

MUSIC has been on my radar, shining brightly.  In fact, it is a radar it itself....

Twitter and Facebook have been awash with music-themed protestations; manifesto and raw ambition.  I have been wrapped up inside of lyrics and music: obsessed by its variable meanings and mysteries.  I know of many different musicians, all of whom are making big plans for the rest of the year (and 2014).  And whilst it is exciting making your first (and subsequent) steps in the industry, it is also quite nerve-wracking.  The amount of money, time and energy needed to make your mark in the modern scene, can take its toll.  I see many status updates, expounding the anxieties of fulfilling musical ambitions; the way it can devour and enslave.  I have been very proud to see- in spite of the hardships- the affected artists are all keenly hardworking; all with their sites set firmly on the horizon.  The five different music acts that are detailed below, go to show the ambition and fortitude that is displayed amongst the eager young musician sect.  Over the last few months, I have heard many new tracks as well as plans for E.P.s and albums: the artists all excitingly campaigning for votes and listens.  It is the hard work and steadfast resolve that is shown by these artists, that gives me so much thought and inspiration.  Having found it a little hard to ease myself from the vicissitudes of procrastination, the effort and enthusiasm that the musicians have shown, has compelled me to make plans of my own- and aim high and as far as possible.  We are in the tail-end of 2013, and it is a year that has seen much activity and mobility amongst my keen musician friends.  They are a great example of how a lot of planning, hard graft and passion can lead to great results.  The following year is going to be exciting for each and every one of them.  It is probably fitting to see what is happening with them now, and reflect on the events and highlights that 2013 has produced...

____________________________________________________________________________________

ISSIMO:

Northern stars with their eyes on the heavens.

PERHAPS it was an inauspicious introduction to the music of Issimo...

I encountered Abi Uttley.  Having appeared in Coronation Street, she caught my eye playing a vivacious and brassy character.  Sexy and full of life, Abi came across as an engaging and alluring figure.  Through her music, there is plenty of similarity.  The sexiness of her voice, the engaging and stunning looks she possesses is perfectly complimented with the multi-talents and fortitude of her partner-in-crime Marc Otway.  At the present moment a music video is very much in their minds.  The latest single Pretty Simple is going to be released early next year, and the duo are in the midst of recording the promotional video.  On the evidence of their track Things About You, the twosome have lost none of the compelling glory that captured my imagination.  It is a predictably-incredible slice of brilliance from a duo growing in stature and confidence.  They have recently supported Mark Moriss, and have been playing live across the north of England, as well as farther afield.  Abi's voice is a mixture of seductive soulfulness: capable of dropping your knees and making hairs stand on end.  There is also a sweetness and coquettishness to some of her delivery; in abundance there is power and potency, as well as a host of variable moods and turns.  It is quite an incredible facet, and one that makes her above most of her peers.  Her natural beauty and sex appeal are tied with an engaging, warm and bubbly personality: marking her out as a logical poster girl for every new musician starting out at the moment.  There is no air of pretence or faux celebrity about her: she is genuine and has a burning passion for what she does.  Marc Otway shares many similarities.  He is incredibly hard-working and devoted, and has recorded many solo songs (as well as Issimo numbers).  Dapper of dress and possessed of a rare talent, he is a perfect sweetheart to Utley's enticing Siren.  Otway is a multi-talented and prodigious musician, whom can pretty much handle any instrument you throw at him.  His song writing is mature, intelligent and poetic, and future years will mark him out as a writer as celebrated (and striking) as the likes of Alex Turner.  He mixes motifs of modern life, and mixes them with tales of love to deliver a incredible and diverse workbook.  Both he and Abi have been honoured to have played Latitude this year: a hell of a notch on their musical love bed.  Gathering positive and salivating reviews (including myself), I have been settled and uplifted by their rise to prominence.  Phil Cass of Cuckoo Records has been keeping his eye on them- I hope they are signed to the label next year.  Our intrepid two-piece have been enlivening and thrilling the environs of Yorkshire, the cities and towns of the north- as well as taking their brand of uplifting music to many a-venue.  I can see 2014 being a clear-cut banner year for them.  London will be hungry for them, and I am confident that an E.P. or album will be in the works.  In a music scene where quality seems to be divorced from quantity, it is a rare treat to witness an act that are so deserving of praise.  In the past few months, the intrepid duo have marked themselves as a potential U.K. White Stripes equivalent.  Whereas the gender alignment has been transposed, our northern stars bear many familiar birthmarks.  The voices of Abi and Marc blend superbly: our heroine has a vocal prowess that says so much in so few words.  Otway is an incredible musician and can summon up the style, sensation and emotion of a five-piece act all by himself.  The tableaux and stories that the two write are diverse and consistently stunning.  Their themes change and their lyrics take you in various different directions (and convey a host of vivid scenes), yet their quality is unimpeachable.  Keep your eyes peeled in the next few months, as Otway and Utley will be names engraved to the tip of their tongue.  I cannot wait to imagine what their debut album will sound like, or whether they are planning a string of singles or E.P.s.  Two things are for sure.  For one, they will be playing many gigs, and will be commanding the attentions of festival organisers and fans alike.  The second (point) is this:

THE future will be very bright- as well as busy.

____________________________________________________________________________________

Things About You is available at:

http://www.issimomusic.net/listen.html

Follow:

Official:

http://www.issimomusic.net/

Facebook:

https://www.facebook.com/issimomusic

Twitter:

https://twitter.com/ISSIMOMUSIC

YouTube:

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

____________________________________________________________________________________

CHESS:

Smart-moving Queen topples the King: takes the night.

When it comes to new talent, Chess (Fran Galea) is certainly making huge waves.

It was Chess that got me into music reviewing in the first place.  It seems like only a few weeks ago that I was reviewing her previous E.P. Babygirl.  I was stunned by the quality of that collection.  Not because I was stereotyping all young artists as ineffectual; it was for a very different reason: there was so more confidence contained within.  Chess has since moved on to complete her 2nd E.P., Tuxedo.  The two releases are testament to a young artist whom is eager and ambitious.  The Maltese-born artist has covered a lot of ground in the months between E.P.s.  Babygirl had influences of the likes of Christina Aguilera, Etta James and some of her male heroes: Michael Jackson and Prince.  The trio of tracks were templates of honest emotion and love: tied together with inspiration messages and uplifting codas.  Together incredible projection, the debut set was a stunning example of the talent that Galea possesses.  After the release of Babygirl last winter, Chess has been promoting it and gaining plaudits from fans and the media- in the U.K. and Malta alike.  Gigs in London have followed, and our gorgeous young heroine has embarked on a campaign of personal endeavour.  The as-yet-unreleased E.P. (Tuxedo) takes off where Babygirl finished: there is essence of the positivity and uplifting lyrics, as well as a fierce talent at work.  However, the new E.P. promises different directions.  There is a harder edge and more sexiness and soul.  In the way that Michael Jackson followed the sweetness and edge of Bad with the harder and more diverse Dangerous, Chess has completed an accomplished 1-2: she has retained her core talents and components, yet infused elemental strikes and new influences into the melting pot.  I shan't- and can't- give too much away, but have been fortunate enough to hear the E.P. before most others, and can confidently say this much: it is a tremendous achievement and will see the 21-year-old very much in demand over the next year.  The results are hardly serendipitous, as Fran has worked exceptionally hard to make it happen: raising money through Kickstarter, as well as tirelessly writing, planning and location-hunting.  A new video is being shot...well, pretty much as we speak, which will introduce Tuxedo to the world.  Chess has been plotting her moves carefully and has spend a great deal of time and consideration making sure that the music we will hear is of the highest order.  Miss. Galea has a natural charm and smile that will melt most and a stunning beauty and sex appeal.  She is capable of turning heads and hearts, and has proven herself to be a prolific and thought-provoking songwriter.  It is certainly going to be an eventful and exciting next couple of months, as Chess continues her evolution and rise for the top.  The embryonic moves showed what a voice and artistry was contained within; and current footsteps further enforce this, as well as making a bold statement: Fran is ready to conquer the scene.  Within Surrey (Chess is based in Guildford) there a few names that are poised to crack the big time- and it is clear that Chess is amongst them.  Having enjoyed a taste of the London gig scene, I would expect that bigger and more prolific dates and gigs await.  I have known of several lesser-talented musicians (of a similar age) performing in the U.S. as well as across Europe, so it would be fitting if our young star was to be seen on American and European stages in the coming months.  I know that Fran has some anxieties and nerves ahead of Tuxedo's release.  She has put so much hard work and personal time into its development, that there is a maternal concern as to how it (the E.P.) will be perceived.  The following sentiment need not be expressed, yet I will do so anyway (as the world awaits her new music):

MISS Galea: the very best of luck!

____________________________________________________________________________________

The Babygirl Remixes E.P. available from:

http://chessofficial.bandcamp.com/

Follow:

Official:

http://chessmusic.co.uk/

Twitter:

https://twitter.com/chessofficial

Facebook:

https://www.facebook.com/chessofficial

SoundCloud:

https://soundcloud.com/cesca18

___________________________________________________________

UNIVERSAL THEE:

All-encompassing makers of beautiful music.

When one thinks of bands and acts beyond the climbs of London...

There can often be a temporary mental block.  It is systematic and endemic of a lack of musical education.  The pages of Facebook and Twitter are aware of the presence of Universal Thee: although far too many are unaware.  The Edinburgh-based band are supported by two supporters of mine: Lisa and James Russell.  The patriarchs of one of the best bands on the scene have been relentlessly positive when it has come to my music writing: in turn they have encouraged me to continue writing and being far-reaching when it comes to my ideals and aims.  In the past few months, I have been lucky enough to review and absorb several of the band's songs- which make up an impressive and mighty back catalogue.  Robin Spivey, Andrew Perrie and Kevin Haddow complete the quintet, and the five have been plying their trade- and delighting crowds- in their native homeland.  As well as the Scottish crowds, the husband and wife-led band have also been invigorating crowds throughout the U.K.  The band are synonymous with a quiet-loud dynamic: the likes of which Pixies and Nirvana have popularised and canonised.  Our Scot warriors are capable of penning beautiful melodies, as well as hard-hitting anthems: underpinned and augmented by the multifarious vocals of the inter-gender kind.  As well as the likes of Queens of the Stone Age being considered as influences, Universal Thee have been leaning towards a gentler, folk-ier sound as-of-late: hoping to mingle more soothing tones amongst their core tones.  A grand tour and debut L.P. are mooted for early-2014, and it arrives as a tail to a musical beast that has been growing by evolution: stronger and more developed with each passing song.  As well as previous tracks including Wolves of the Netherworld (love the title!), the band have been planning the video for Aranis Natas.  That song continues from where their previous work lead; displaying all the trademarks and hallmarks of the group: swirling and crunching riffs; compelling and intoxicating vocal duet.  To my mind the song is the epitome of the Doolitle-era Pixies.  You can hear Black Francis/Frank Black and Kim Deal in the way that James and Lisa combine: there is a similar growl and power from James; a comparably fiery spark from Lisa.  The song has elements of modern-day Q.O.T.S.A., as well as Pixies: it bridges the '80s and '00s with ease.  I have been fascinated and tickled pink by the band's innovative titles: they can go from the humorous (Bear In The Hospital), ambiguous (Bone Collector), to the neo-Byzantine.  The quality that shines through is axiomatic, and one senses that it will not take much for the everyman Scots to transcend the local scene with ferocious menace.  They have a chest filled with glorious sounds, beauty and grace, as well as ear-catching memorability.  The tracks that I have heard are a salivating glimpse as to what the forthcoming album will hold.  I would urge that you head to their SoundCloud page and investigate further.  In addition, they need a few more 'Likes' and 'Followers': so please do so.  I tend not to (or not at the moment), give my thumbs-up and gold standard to too many musicians.  Universal Thee employ the gilded threads of some of their heroes, yet act as a ballast to a consecrated individuality that is a rarity in the current climate.  The likes of Edinburgh are initiated to the swagger and seduce of the quintet- how long before the rest of the U.K., nee world, follows suit?  With some liberal affection and some level-headed distributing, the band will see their hard work pay off.  The south will embrace them with open arms, and their transatlantic sound means they could well be playing the clubs of L.A. and New York this time next year.  With new singles being teased and a new L.P. in the near-distance, it is time that a lot more people are in tune to the beat of Universal Thee.  They have seduced me wholly, so I am in no doubt that a horde of like-minded folk will soon be cast asunder and compelled by their sonic spell.  I have no hesitation in my mind saying this:

THE next few months will be some of the best that the quintet have ever had.

____________________________________________________________________________________

Aranis Natas is available at:

http://www.reverbnation.com/universalthee/songs

Follow:

Twitter:

https://twitter.com/universalthee

Facebook:

https://www.facebook.com/universalthee

Reverb Nation:

http://www.reverbnation.com/universalthee

YouTube:

http://www.youtube.com/channel/UC-C70-KSoSJXgNifHO_Ip_A?feature=watch

____________________________________________________________________________________

LYDIA BAYLIS:

An artist who has inspired me more than any, caps off a bounteous 2013.

In my recent review of Lydia's single Life Without You...

I may have come over as a little tumescent- in terms of the written word.  I apologise to her, but the effect was profound as well as it was genuine.  Such was the uniformity of Baylis's charm, that it is helpless to resist.  In interviews she is the epitome of friendliness and vicariousness: coy as well as charming.  Her voice (spoken) is at once light and sunny, as well as being silky and husky.  Lydia is also possessing of immense beauty and has an encapsulating smile.  Whereas a lot of modern musicians comes across as quite boring or inarticulate (in interviews), Baylis is cognizant and engaging: she always seem to be in a good mood and keen to gives as much to the interviewer as possible.  My first experience of Lydia was whilst listening to her track Mirrors.  Its combinations of rippling and lacustrine guitars and orchestral lustre meant that the song was a statement that defined Lydia's intentions.  Her voice is an instrument of curious intrigue: both soft and powerful; alluring yet empowered.  That track sparked my interests, and compelled me to investigate more of Baylis's history.  Lydia studied history at Oxford and grew up several miles from where I was born.  There is a lot of chatter around Surrey, Hampshire and London concerning Lydia's music: many are hotly-tipping Baylis to be a permanent fixture of the festival scene.  She is an artist that can just as easily play a set on Later With Jools Holland, as well as headline a summer festival.  Over the last few months Lydia has engaged in the Coffee House Sessions: playing at various different cafes and venues to students around the U.K.  I would urge you to check out the videos and reviews concerning those performances, as it is clear that Baylis has a clear love of performing, and is a compelling artist to watch.  Near the top of my wish-list for 2014 would be the opportunity to interview Lydia, as she comes across as a mature and focused young woman whom has all the necessary ingredients for a luminescent and long-lasting career.  When Lydia was growing up there were influences of the '60s and '70s masters such as Joni Mitchell and Fleetwood Mac were oft-heard.  Baylis is keen to state that she would not try to emulate or appropriate any of the tones of those particular artists: she has a very individual and unique stamp.  It is clear that a high quality of music was presented to a developing child, and it has reflected itself in Baylis's current work.  The single Life Without You was possessing of an inspirational and f***-you coda: our young heroine experienced heartbreak and sadness, yet has a very potent and direct message (to her former sweetheart).  Lydia has confirmed that she is drawn to subjects other than love-gone-wrong.  Within several of her tracks there are darker and more anxious themes: influenced by the works of Virginia Woolf and the Bronte sisters.  Mirrors contained enough brooding and irascible wonder to show that our heroine has a shades of darkness in her soul.  It is refreshing and inspiring that an artist can cover so much ground and contain so much range- upbeat and light songs mingle alongside more shadowy mandates.  Lydia will have a busy 2014 ahead of her.  Her Mirrors E.P. was met with critical acclaim and heaps of praise throughout the social media channels.  It has recently been remixed (and is available on iTunes): it displays the affection that collaborators have for her music, and the results are appropriately fascinating.  I am confident that the album A Darker Trace will be met with even fonder approval.  It began (life) in 2012, and is a project that is will soon come to full fruition.  After a string of recent performances, there is a definite demand for her music and voice: many are keen to hear as much as possible from her.  As a lyricist, Baylis is mixes literary touches with personal openness, and marries that to some cinematic and widescreen (perhaps thanks to production cohorts Richard Cardwell and Owen Parker).  I have been beleaguered by a recent spate of hollow and insipid 'talents' whom have approached the music scene with nary a whimper.  I stated in my last review (http://musicmusingsandsuch.wordpress.com/2013/11/14/single-review-lydia-baylis-life-without-you/) that Lydia had inspired me to write quite a few lyrics.  I have gone out and bought a new lyrics notebook (yes I am a geek); I have also designed a photograph that I cannot get from my head, and made strides in a song that I am writing.  It may seem improbable that one artist can have such an impact on another person, yet that is what Baylis is capable of.  She is still taking her tender, infantile steps in the music business, but has shown what a class act she is.  There is no good reason not to check out her music, share its majesty and eagerly await her forthcoming work.  I will not end this particular piece quite as flirtatiously (is that the right word?).  I am keen to meet Lydia and give personal thanks, as she has brought about reinvigoration in me.  For those whom are looking for an ideal paragon and common muse, then they would do good to investigate Baylis with considered passion.  If songs such as Mirrors and Life Without You have demonstrated anything is...

THIS young talent will be a huge fixture very soon.

____________________________________________________________________________________

The Mirrors Remixes E.P. can be purchased from:

https://itunes.apple.com/gb/album/mirrors-remixes-ep/id663578254

Follow:

Official:

http://www.lydiabaylis.com/

Twitter:

https://twitter.com/LydiaBaylis

Facebook:

https://www.facebook.com/lydiabaylis

YouTube:

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

SoundCloud:

https://soundcloud.com/lydiabaylis/

____________________________________________________________________________________

ELENA RAMONA:

A stunning talent and huge prospect to watch in 2014.

Elena is someone that has impressed me more than most as-of-late.

When I interviewed her recently, I was struck by how enthusiastically she spoke of music- and how much it means to her.  I was bowled over and overwhelmed by how naturally she talks about music and what inspires her.  In addition to possessing stunning beauty, Elena also has a down-to-earth quality: she is a ubiquitous artist that wants to be identifiable because of who she is naturally.  There is no façade or costume design with Elena: she strives to be the embodiment of an everyday and modern-day role model: someone who speaks to young woman and all other sectors, just by being completely natural.  Within Surrey, she is building a name for herself as an artist to watch with great interest.  Elena has been working hard to ensure that she brings life to her musical imaginations.  Her single Rise was meet with a wave of adulation and fanfare.  People were struck by the quality of the song, as well as the clear and simple messages that were being put forth.  At the moment, Elena is preparing the music video to her latest single, and has been speaking excitedly about her forthcoming E.P. (Hold On).  Although it is has been a steep and endless climb, Miss. Stathaki is not a woman who is ever ready to quit or compromise.  She promises that her E.P. will be a collection of varying themes and sounds.  In the past, Elena has been involved in dub-step as well as pop, and has marked herself as a boundless performer and writer.  The E.P. will contain some sexiness and sweat-inducing lasciviousness; there will be some honest and heartfelt directness, as well as mystery and motivation.  It is clear that friends and family mean a great deal to her, and have compelled Elena to work hard to achieve her dreams.  She has a drop-dead-gorgeous beauty and a vote-winning personality that means she will draw in a huge number of supporters and fans.  At the moment she is a one-woman army of publicity, promotion, planning and perfection.  Everything that is being done and plotted is done so with as much sweat as love.  Elena has been speaking with desire when it comes to her music video present: she is excited to be able to release videos as well as her tracks.  In the present climate, there are so few musicians that are prepared to put in the hard graft: in the age of reality T.V. most expect success and fandom to put on a plate ready-made and pre-heated.  The future of the Greek-born starlet will be bright, because Elena is unflinchingly direct and strong when it comes to her own music.  I know from speaking with her that success means a great deal.  Elena has put a lot of her money, as well as time towards making music that she wants too: on her own terms with no public funding.  There is a homemade and predetermined logic to Elena's music.  She is making sure that she differentiates herself from her peers and contemporaries, and wants to separate herself from the rest.  Rise showed what a mature and talent songwriter she is; showing that she has a voice that is as compelling as it is memorable.  Whilst it is easy to compare most current artists to a pre-existing idol, Elena seems to resonate with originality: it is near-impossible to compare her directly with anyone else present or past.  She is a woman that is doing things on her own terms, and does not want to be compared with any of her local contemporaries.  The past year has seen Elena mature in terms of her confidence and talent.  She has told me that her producer Martyn Corbet has helped her to hone and develop her voice.  Before lengthy recording sessions were conducted between the two, Corbet insisted that our heroine practise and make her vocals as strong as possible.  The results that have been shown in Rise (as well as subsequent recordings) have shown that Elena is getting better and better.  It is a busy whirlwind for the 23-year-old at present.  Whilst she balances her daily job (in retail), by night (and days off) she works on music videos; lyrics and songs are written; the future is planned.  The E.P. Hold On is not too far away, and it will act as testament to, and summation of, a bright and vibrant talent whom will be beyond compare.  There will be a myriad of diverse steps, as well as surprises and quality.  I hope that London venues prick up their ears, and give Elena a chance to shine in the capital: making it easier for her to win a London-based fan base.  I am sure that the release of her E.P.- as well as the coming year- will mean that she is in hot demand.  As much as anything..

I am confident that 2014 will be Elena Ramona's year.

____________________________________________________________________________________

Rise is available at:

http://www.youtube.com/watch?v=M8smsMbqXxo

Follow:

Facebook:

https://www.facebook.com/pages/Elena-Ramona/323928237668916

Twitter:

https://twitter.com/elenaramona90

YouTube:

http://www.youtube.com/user/TheStathaki1

SoundCloud:

https://soundcloud.com/elenaramona90

___________________________________________________________

NIGHT WOLF:

Ambitious maestro is filled with crepuscular menace, brave ambition and a beautiful heart. 

THE past year has been quite a hectic one for Ryan Wilcox.

The man behind the Nightwolf has been collaborating, writing and conspiring with a breathless canter.  I encountered the Nightwolf moniker a few months ago, and was fortunate enough to (be able) to review Watts the Time Mr. Wolf- the previous E.P. from Wilcox.  I was mesmerised by the fusion of different sounds and styles.  Our curator seemed deftly able to be able to weave together pulsating and jumping piano rolls; dark and cinematic orchestral waves as well as menacing dub-step (steel toe-capped) kicks.  Amidst mini-operas about financial decay in the U.S. there were hard-hitting anthems.  It was clear that the man behind the menace had a tender heart and creative mind-set.  As 2013 closes its curtains, a final glimpse of light emerges from a restless talent.  Hot off of the heels of 'Watts' arrives Night Wolf Presents The Co-Lab Vol. 1.  Move It On ()featuring Elsadie Smith) opens the current E.P.  With a throbbing and stirring beat, Smith coolly intones: ""Just move it onto me"; her voice displaying sexiness and a seducing charm.  It is a slinky number that parabonds classic strands of Destiny's Child and En Vogue; tying in some of-the-moment R. 'n' B.  Smith is a alluring and engaging voice, showing hints of modern singers such as Rhianna and Ciara; but having a distinct and memorable personality.  The song's title is used as an infectious coda: repeated by our heroine to create a hypnotic pull.  The steady and punching beat that backs the voice lynchpins the two vocal stages.  As Smith departs, a staccato and syncopated rap enters- its darker hues contrasting strikingly following a sweet and light vocal.  It is a syncopated stream-of-consciousness that implores: "Focus on the destination".  It is a great location to begin our travelogue.  As with Abbey Road or Rated R, Work Rate (featuring LIV The Pilot and J.A. (Soul Rhymaz) immediately follows the opening track.  With no room for breath, J.A. continues his prophetic mandate, as a twinkling electronic tapestry is woven.  J.A.'s voice has elements of Tine Tempah, containing a similar tone and delivery.  The song's messages deal with the potency of a redemptive spirit; how you can get through the worst days if you focus: the power of ambition, music and fortitude can keep you strong.  The arpeggio electronics (and beat) propel the song and create a bow-wave of force, perfectly supporting the twin vocals.  With a dominating and stormy electronic heartbeat, Sucker Free (featuring J.A. (Soul Rhymaz) will be familiar to anyone affiliated with Nightwolf's previous E.P.  The sound of modern Britain; the hard street life and reality of modern youth is laid bare.  The sonic backdrop acts as a physical presence: it glares and stalks; beats and retreats to create a sense of (violent) reality.  The vocals are once again rapid and powerful, as J.A. (once again) spits truths such as: "you're such a wannabe".  The vocal trips and waits; stutters and rolls to keep the atmosphere engaging and compelling.  The penultimate track Enemy List (Remix) (featuring Gregory Style and LIV The Pilot) begins as a soulful and stunning track.  The sonic elements are well-composed and subtle.  The vocals take prescience as you are drawn into the smooth and tantalising vocal delivery.  Towards the end of the track a coda of "run away" is delivered: implored as a direct message, a paen to choosing the right path- it is at once inspiring and chilling.  Downgraded (featuring Centrist) brings the E.P. to a close.  It is a swansong that begins its embryonic climb as immediately as anything Nightwolf has produced.  With classic strings and pummelling electronic beats duet-ting, there is a different element at play.  The emphasis is on the sonic atmosphere (sans vocal interjection).  The strings bow and constrict, romantically swaying as a savage- yet restrained- beat crackles into view like a boa constrictor on the hunt.  That light-dark contrast symbolises the song's majesty: your mind and heart is drawn in, and your breath halted.  It is a perfect way to end a scintillating and fascinating E.P.  I have known Ryan Wilcox for a few months now, and know how much music means to him.  A great deal of attention and consideration have been put into the E.P., and I hope it reaps (its just) rewards.  Few artists are as daring and prolific as Nightwolf, and the future will be busy and exciting indeed.  Given what we have just received- and what has come before- it begs the pertinent question:

WHO knows what is to come?

____________________________________________________________________________________

Various Artists- Night Wolf Presents The Co-Lab Vol. 1 is available via:

http://www.digital-tunes.net/releases/night_wolf_presents_the_co_lab_vol__1

Follow:

E.P. Launch:

https://www.facebook.com/events/537238406361069/

Facebook:

https://www.facebook.com/nightwolfuk?directed_target_id=0

SoundCloud:

https://soundcloud.com/nightwolfuk

Twitter:

https://twitter.com/ryanwilcox6

____________________________________________________________________________________

Biography: Second Hand Poet

 

Second Hand Poet:

 

 

Second Hand Poet is the moniker of Jamie- a Surrey-based musician sure to make huge waves very soon.  The music scene around Surrey and London is producing some notable and exciting prospects for 2014, and Second Hand Poet ranks alongside them.  Jamie's acoustic tales have captured many hearts and minds, and will continue to win support throughout the coming years.

   I experienced the magic of Second Hand Poet through the appropriately-named Bedroom Acoustics (I reviewed one of its tracks, Little Sun: http://musicmusingsandsuch.wordpress.com/2013/05/20/second-hand-poet-little-sun-track-review/).  That E.P. demonstrated a sound that was sparse and captivating.  There was no clutter or over-production: the songs came through clean and pure, and you could picture yourself, sitting in the room with him.  It was a live E.P. that layid down the foundations that have been firmly built around.  Our hero has since gone onto play The Boileroom (in Guildford) (http://secondhandpoet.bandcamp.com/album/boileroom-radio-live-session), performed at acoustic nights throughout London, as well as being interviewed for Boileroom Radio.  A local folklore and legend had been laid down, and the personal themes and poems displayed a sensitive heart with a resilient and optimistic soul.  Within the Bedroom Acoustics E.P. was a haunting sound characteristic of Nick Drake's Pink Moon, and there was a flavour of the '70s, married to a modern-day coda and ambition.  The voice that radiated from the songs was a unique and unheard-of instrument, and earmarked Second Hand Poet as an original voice (in a homogenised scene).  Second Hand Poet has recently played Oxjam in Clapham (supporting a fight against poverty), as well as playing shows around London and Surrey.  There are more tantalising dates to come, but the main focus is the debut album.

   In an appropriately homemade fashion, Second Hand Poet is making the album 'D.I.Y': there are no shiny gimmicks or needless over-done polish: the album will pick up where the (Bedroom Acoustics) E.P. left off and give our young hero a full-length disc to display his craft.  The 12-track L.P. will be debuted in December, and will promise much to love: the same haunting and breezy mix of the E.P., as well as a whole host of fascinating tales of modern and personal life.  Cards are being kept close to Jamie's chest, as the details and touches are still be added and amended.  The track Lost At Sea is a glimpse of what to expect.  Its intro is a cacophony of flowing beauty; it bounces and flows.  It brings to mind Nick Drake (circa Bryter Layter)-cum-Think Tank Blur.  Romantic interplay between acoustic guitar and piano sets hairs on end, and images where "fish dance" are scored by a far-off and effecting vocal performance.  There is blood on the rock; the sea crashes and home seems far away.  The song is based around a dislocated tale: a wife sitting at home not knowing whether her husband (serving in the navy) is alive or dead.  You can hear the ache and anxiety in the vocals; the sonic backing adds chills and beauty to each word.  Second Hand Poet's vocals is a symphony of drama and tenderness: there is no need for histrionics as the plaintive and direct delivery strikes hard.  It is the combination of effecting vocals, backed by beautiful finger-picking and delicate piano, that makes the song such a triumph.

  Based on the evidence of Lost At Sea- and knowing what I have witnessed during Bedroom Acoustics-  there will be some much-anticipated talk and excitement when the debut album arrives.  Second Hand Poet has been making impressions on the local scene and reaching out to as many people as possible, and the following year will see a lot more from the bright young talent.  In a generation and decade where there are few genuine and worthy talent out there, Second Hand Poet is deserving of a wide audience and considered ear.  Check out what is already on the official BandCamp page (http://secondhandpoet.bandcamp.com/track/heaven-knows), and follow Second Hand Poet on Twitter (https://twitter.com/SecondHandPoet); as a bedroom-dreamt, modern-day acoustic star is preparing an L.P. (and future) that promises much rewards...

 

And that's a first hand guarantee!

Feature: Kate Hollowood

FEATURE:

KATE HOLLOWOOD:

A future prospect to watch very closely.

Words by Sam Liddicott. 16 November, 2013, 09:00 G.M.T.

_____________________________________________________________________

As the year nears its end, I focus on an actor whom has her sights firmly set.  I look back on a diverse and important year; signalling what is to come in 2014.

________________________________________________________________

I can remember clearly the first my first encounter with Kate, and the word that stuck out:

'Force'.  It seems a perfect word to sum up the essence of Kate Hollowood.  An actor whom is a meteorological whirlwind of focus and foresight.  In all the time I have known her, she has never quit on her goals- nor will she ever, I hope...

  That word (force) came to my attention via her blog post called Music: Its Power' (http://mylittleponderings.com/2011/01/15/thepowerofmusic/).  That blog post was posted back on 15th January, 2011 (It was seventeen days after that blog entry was posted, that I found Kate).  Within the post, Kate talked of her passion for music; how she daydreams to it; how it soundtracks her life, and how- certainly at the time- it gave her some (much-needed) hope.  It was a particular phrase that struck me:  "Music has always been a passion but in the past two years, it has become more a way of life".  For me- at the time, and more so now- music is very much a "way of life".  Not in the sense that it is my steady job: more that it fills my mind completely.  For me, it is something that dominates my passions and desire; and- like Kate said- it is a passion that is hard to live without.  It may seem like a digression (given the fact that Kate is an actor); yet sums up this feature perfectly.  Before I'd even found out anything more of Kate- her interests, job, favourite song, what she sounded like- I was already hooked.  It was that one blog post that compelled me to go after her; to mail her and say how much it meant to me.  The post showed so much openness and honesty; so much genuine passion as well as a vulnerability as well.  It acted at once as a perfect metaphor for Kate as a person; and as an actor: there is modest present as well.  On 1st February, 2011, I mailed Kate (via Facebook), telling  her how struck I was by her words, and- given what I had read in her previous blog posts- how impressed I was by her fortitude, bravery and focus.  I had never done this with anyone else: never felt so bound to pay tribute and kudos in such a way- it was a moment that changed my life...

   It has been thirty-three and a half months since I sent that email.  Kate and I have been in communication ever since, and to this day have not met face-to-face; but do you know what: it is not something I would ever rush (to resolve).  From such a serendipitous initial encounter I have found so many common threads; so much shared familiarity with her, that has meant that I want the friendship to last for as long as possible: it has meant that much.  The reason for this feature was not to say "look how great my friend is; isn't she great etc...".  She is (of course); but my intentions are two-fold: to demonstratively show what a talent we have in her; as well as leave you with an indelible and crucial coda (which will arrive at the very end).  Through various different stages of my life- mainly through studying in Cambridge- I have had the pleasure to see a fair few actors )who have gone on to appear in Downtown Abbey and The Inbetweeners amongst other things) blossom.  I remember watching them eagerly, thinking about where they would be years in the future, unsure of what path their careers would take.  In retrospect, it is hardly surprising that they made it big and are having such an illustrious time.  When I watch Kate's performances (and look back at the experiences she has been through), I am in no mind that similarly brilliant opportunities are awaiting.  The industry (acting) is phenomenally tough to crack (and flourish in), yet windows open for those whose focus is strongest and most inflamed.

   My mind- even now- floats back to that blog post (Music: Its Power). As I type now I am listening to music (a kick-ass selection of Radiohead's finest); I am thinking about it (lyrics are springing to my mind); I am singing (in my best Thom Yorke-esque impression).  It is rare in this age- a digital age- that a human being has such an instantaneous connection with another; often connections are subjugated; forced down in favour of banality and the trite 'connection' usually only occurs when meeting in the flesh.  It was from Kate's impassioned manifesto that I learned a few things.  She was- and subsequent blog posts proved- that she was someone who was determined to succeed; someone keen to connect with as many people as possible, and above all: someone who would never let obstacles stand in her way.  Marilyn Monroe said: "Fame doesn't fulfil you.  It warms you for a bit.  But the warmth is temporary".  Kate is someone who wants genuine respect: to inspire and encourage others.  It is what she has worked at for years; and something that she will work tirelessly towards.  In her there is a genuine talent; someone worthy of close introspection.  I have had many a conversation where Kate has modestly downplayed any adulation I have given.  I know how much her career means to her, and how high she sets the bar for herself.  The past few years have seen her make an impact; change events and leave some sizeable footprints.  Foundations have been laid down, and we have in our midst a talent that has proven a lot already, and has a limitless amount of firepower and potential waiting to be unleashed.  Let us get down to business then...

   Kate Hollowood is a (recently turned) 26-year-old actor, hailing from Dorset.  Having attended the Arts University College at Bournemouth, she has achieved a great deal since graduating.  Her acting work has taken her all across the world, and spanned several continents.  As I type this, she is currently on her way to South Africa, and I am wondering if Kate will be embarking on any acting projects whilst out there.  There is something alternatively quintessential English, yet at the same time international about Kate.  Her voice is perhaps as soothing and calming as they come.  She has a great talent for accents, but her natural speaking voice is warm and intelligent.  Obviously music is a source of happiness and inspiration for Kate, and I have heard few that are as passionate about it than her.  She has a great affection and respect for lyrics, and is a big fan of The National, yet has an ear for a wide range of genres and bands.  Our young idol also displays an enthusiastic and detailed eye for photography, and has a keen visual eye and imagination.  Through Instagram updates and Facebook posts, Kate has captured many a beautiful and stunning image, and I feel that directing is something that would come very naturally to her (would be quite a double major).  In the months I have known her, she has faced a deal of stresses and pains of the heart (both physical and emotional); yet has soldiered doggedly through, making sure nothing gets on top of her.  It is her positive attitude and energy that enforced her ambition and hardy work rate.  In addition to extra circular interests and pursuits, modelling is also another string to her bow.  Her heartbreaking beauty is something that is emblematic, and her smile incredibly infectious.  Kate divides her time between London and Dorset and has a love of the bustle of city life, yet is possibly at her happiest when encapsulated by the coastal splendours of Mudeford and Christchurch.  There is a utilitarianism in her personality as well as her abilities that means as a person- as well as an actor- range and diversity will be synonymous bedfellows.  Many actors can be typecast and honed in by limitation, yet Kate has an adaptability that will see her moving in many different- and multifarious-directions.  It is early days (still) and the infant steps are starting to evolve, yet a great swathe of land has been covered.

    Kate's showreel is something that shows the range of our young heroine (http://www.youtube.com/watch?v=JczdeHpvv9M).  As well as appearing in a number of different advertising campaigns (for the likes of Arena Flowers: http://www.youtube.com/watch?v=EpZQ5SEF9Jg and Comedy Central: http://www.youtube.com/watch?v=oJMcJiMbaAE), she has also leant her name and talent to the likes of The Underwater Realm and Toploader (she appeared in the music video for their single Never Stop Wondering: http://www.youtube.com/watch?v=C-6_0YIQ6-w).  It is not just her work in advertisements, music videos and T.V. spots that has impressed me: there is a whole host more!  Recently I smiled broadly as I witness Kate on BBC One's Doctors.  There she played a 'promiscuous' and flirtatious patient, Ellie Barratt.  Appearing over the course of two episodes (http://www.youtube.com/watch?v=dycMogl-3zc and http://www.youtube.com/watch?v=4o450CtVsLg) Kate's performance was solid and scene-stealing, and was an important foothold.  I remember discussing (and praising) her performance on Doctors.  As well as being a little nervous about seeing herself on-screen, I sensed some doubt in Kate's mind.  Modest to a tee, she had nothing to fear.  The feedback and praise received from social media demonstrated what a great job she had done, yet I know one thing for sure: she wants to challenge bigger and bigger projects; stage shows and hard-hitting dramas.  It is always great seeing the lighter side of Kate, whether it is in Doctors; as the heroine in advertisements; or in music videos.  As much as that smile can intoxicate, the straight-faced side of our heroine can be equally if not more- powerful and potent.  Kate has appeared as Sarah Goddard in the Internet-based series Steffi, as well as the forthcoming Still Waters (appearing alongside John Hannah).  There is one character that strikes me; one role Kate has inhabited that has struck me hard: Myra Hindley.

  This is a woman who has been portrayed by the likes of Maxine Peake; had biographies and documentaries dedicated to her; as well as on-going news focus and scandal.  Even 11 years after her death, Hindley is still portrayed on-screen and stage: many are keen to try to understand the mind of one of the U.K.'s most prolific murderers.  Kate played the role of Hindley back in 2011, in the self-penned play, We Made It Happen.  Showcasing at the Southwark Playhouse, it was a production- and performance- that received positive reviews and proved what a fine dramatic actor Kate was (and is).  Since then Kate has also appeared in Myra: a short film where again she portrayed Hindley (http://www.youtube.com/watch?v=Lszl7HE2SiU).  I know how proud Kate is of the film, and how much time and effort she has spent honing the characterisation of Hindley and given her unique take on a much-discussed figure.  If you look at the film (above), it is scary just how convincing the portrayal is: there is something quite terrifying and unsettling; yet gripping and compelling.  The role of Myra Hindley is something that I am sure Kate will be giving life to in the near-future.  A drama or film similar to See No Evil would be a tantalising prospect.  What Miss Hollowood has in mind with regards to a third outing, will be wonderful to see.

   Perhaps even more impressive than her chilling turns as Hindley, is Kate's activism for gay rights.  Last year Mike Buonaiuto directed the short film Invisible Parents.  It was a film that helps promote equality for gay couples hoping to become parents.  In a 21st century society where racism, sexism and homophobia are rampant and- sadly- too common, it is a campaign that has helped to redress the inequality gay couples face (when it comes to adoption).  Kate leant her voice to the film (http://www.youtube.com/watch?v=aeBy_q4i40s) and tirelessly promoted and supported the campaign; as well as giving the film's images and scenes emotion, life and huge resonance.  Over the last few weeks, the film #LoveAlwaysWins has been viewed over 900,000 times on YouTube (http://www.youtube.com/watch?v=6AeqOFo7MRw&feature=youtu.be).  In spite of some truly disgusting and shocking YouTube comments, the campaign is striving to overturn a hard fact: that animalism and prejudice is still so widespread.  It is still illegal in Russia for gay couples to publicly show their love: a shocking fact in a modern-day society.  Russia will be hosting the Winter Olympics next year, and have a lot of growing to do.  As well as a homophobic ignorance, the country has been the subject of negative press due to racism in football as well.  #LoveAlwaysWins has received support and praise from the likes of Stephen Fry, and features Kate as one of the leads.  I was immensely proud of her, and- judging by the hoards of positive comments on Facebook and Twitter- many others are as well.  The issue of gay rights is something dear to Kate's heart, and something important to many millions.  So many actors are overly concerned with shallow endeavours and hollow projects, Kate has spent a lot of time and effort promoting and supporting worthy causes: something that has earned her an enormous amount of respect.

  The woman behind the characters is someone I admire hugely.  She is someone who is incredibly modest, with a restless ambition.  Our shared love of the likes of The National and Arcade Fire have fuelled many a pleasant conversation, and it is Kate's passion for music which has inspired a lot of musical inspiration in me.  She is someone who loves to encourage ambition and drive in others and has spent a great deal of time and energy helping friends (actors and non): spreading their messages, promoting their causes and pushing their ambitions farther and wider.  I have written a comedy with Kate in mind (as my blog post The Equality State highlighted); and have a grand music video idea (that she would be perfect for).  It is the talent that she has laid down, allied to the faith she shows in others; tied with the limitless potential, that has inspired me- and many others- to up their game; put their minds to use and write their little behinds off- with our heroine in mind.  With her immense beauty, down-to-earth and all-encompassing personality as well as her modest and drive, Kate will be working hard and striking high: a determination that will reap rewards and plaudits.  I know how hard she has worked this year; how many auditions she has been to- she has worked harder than anyone I know to make her voice heard.  The body of work that she has put out prove a tantalising glimpse of what the future holds, and what dedication she has to her craft.

   Of course all of my effusive words and proclamations are not to be taken lightly.  Over the last thirty-three months I have watched Kate go from an ambitious young actor, to someone who has done a great deal of important work- and helped a great number of people.  In a world- and an industry- with so much unspectacular talent (most of whom take their opportunities for granted), I am excited to see exactly what Kate achieves throughout 2014.  Whether it is starring roles in huge comedies and dramas; opportunities in the U.S., or appearances on the London stage: we can only guess.  She herself has clear goals.  I know how much the business means to her, and how strong a love she has for what she does.  Acting is not just a job (to make ends meet): it is something that she wants to dedicate her life to, and be as busy as possible.  I have known of very few actors whom have such a versatile adaptability.  The facets that Kate has in her arsenal, mean that future opportunities will come flooding in.  In the U.K., we are producing some quality dramas, and getting a lot more prolific and confident with regards to new comedy.  I hope that a mixture of theatre, drama and comedy will be featuring on Kate's C.V. in the coming years, and it will be exciting to see what is forthcoming and what adventures are ahead.

   Our heroine has already proved her versatility and set our her stall.  I would not be too surprised (far from it) if she were to appear in something as gritty (and mind-bending) as Breaking Bad; a huge long-running comedy, as well as some terrific films: her previous work demonstrates her versatility and abilities.  So keep your eyes peeled dear readers- as well as hungry casting directors!  It was Kate's blog (and her post Music: Its Power) that brought her to my attention; and now her to yours.  It is always worth taking risks; to connect with people and giving credit where its due.  If it hadn't been for that afternoon in February 2011, I would not have met Kate (and missed out on a great friendship).  Too many people are overly concerned with celebrity movements, fame-chasing and self-absorption.  There are a lot of great actors out there that will be coming through the ranks, and Kate is someone who will be making big impressions very soon.  I hope that broadcasters, directors and T.V. companies (at home and abroad) prick up their ears and open their eyes (and minds), as here is a young talent with the ability to do pretty much anything.  Acting means a great deal to Kate, and it is a passion and career that she is devoted to: and one which she wants to grow and grow- as the months and years pass.  If reading this compels or influences you in any way, it should be towards the realisation that leaps and risks should be taken; thinking and attitudes should be reassessed: it can lead to incredible things.  I know the subject will read this and demur (modest to praise); yet the plain truth is this: I have followed her trajectory for a while and immensely proud.  Many, many others are as well.  I am in no doubt that my prophecies and predictions will be fulfilled: you only have to look at what has been to know exactly what will come.

   I shall leave you with a final quote from Kate's Music: Its Power post, that perfectly distils our subject.  It described honestly her feelings about music- in January 2011, as of now- yet can equally be attributed to her desire to perform.  I hope that there will be a lot more blog posts coming from Kate very soon, as I have always found something personal and relatable in her postings.  Her infectious and undeterred resilience and determined soul will bring its rewards.  In terms of Kate's passion for music; her strength and fortitude in life; as well as her goals and desires towards acting, perhaps no one but her can say it better:

"It’s a passion and a need that I don’t think I would be able to live without".

________________________________________________________________

All blog quotes are sourced from:

http://mylittleponderings.com/

____________________________________________________________________________________

Follow Kate:

Twitter:

https://twitter.com/k8hollowood

Facebook:

https://www.facebook.com/officialkatehollowood

Official Site:

http://www.katehollowood.com/

Official Blog:

http://mylittleponderings.com/

YouTube:

http://www.youtube.com/user/kisses2usir

Spotlight:

http://www.spotlight.com/interactive/cv/5495-7861-4508

Single Review- Lydia Baylis: Life Without You

Lydia Baylis

Life Without You.

9.7/10.0

Life Without You is available at:

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

The E.P. Life Without You is available via:

https://itunes.apple.com/gb/artist/lydia-baylis/id308029239

_________________________________________________________________________________

The London-based young sensation has been providing a breath of fresh air (into a stagnated market); her current footsteps promise to leave indelible (and staggering) indentations.  The effect one is left with: heartbreak.

_________________________________________________________________________________

ALAS dear reader, for it has been a while since I have done this...

So forgive any waffling or dewy-eyed ramblings.  I have postulated- on more than one occasion- the reasoning behind my blogging celibacy.  I have been aghast recently by a number of things.  In the course of my duties- as a blogger; as a friend- I have always been surprised- both good and bad- by the imbalance of appreciation.  I have given a lot to many- through words, deeds or material wealth- and received (from a few) very little.  On the other hand, I have been fortunate enough to be on the receiving end of some very generous words- from people I have never met.  It seems that music- and music writing- is as unpredictable and inscrutable as music itself.  For all those I have spent a lot of (wasted) time on, I feel angry; for those I have given scarcity to (yet feel honoured) I feel very proud: the point is on its way.  I am in the process of nailing down my music ambitions and credos.  Being a 30-year-old, one would expect- in musical terms- an evolutionary development.  For me, I am the amoeba crawling from the swamp.  Because of personal misfortune- depression, lack of finance, neurological issues etc.- as well as some musician-in-training clichés- nervousness, self-doubt, needless perfection, my canvas has remained (for now) blank.  Today, in fact, I am taking a (brave) step: advertising for band members.  I have been writing since I was 18, and have been 'honing' my voice for just as long.  I feel proud because of what I can do, you see.  I consider myself to be above-average as a lyricist (no Alex Turner or Bob Dylan but no slouch) and an ambitious singer (insanely so); and all the ideas are in place: the band name; album cover design; song titles; most of the lyrics, too.  I always feel regret by procrastination- it makes me feel sombre.  As much as I know what I can achieve- and what I want to- I am held back by financial, psychological and logistical limitations.  I am working hard to rectify this, but it leads me (not balletic) to my main thesis: the determination of others.  I have always been impressed by the ambition and steely-eyed drive of new musicians: it seems to be an art form that brings out quite a heroic foresight.  It seems that many (new musicians) would sacrifice their home and hearts to do what they love: writing and performing 'their visions'.  I have never been of the attitude: "Why the fuck them and not me"- I have always been immensely proud.  In my itinerant travels as a blogger (and music obsessive) I have reviewed, surmised and theorised a great many bands and solo artists.  And while there has been a disparity of quality and a variable see-saw of memorability, there has been a gravitational constant: the determination of the associated artists.  I have reviewed dub-step artists, pop purveyors; the European disco-cum-rock machinations of Swedish goddesses; as well as U.S. rock manifestos.  I have always felt about ambivalent towards one particular sector of new music: the band market.  I have been concerned that too many, for too long, are too concerned with sounding like too many others.  In the north: Manchester, Liverpool, there has been homogenisation.  With the success of current thoroughbreds such as Artic Monkeys, many bands have tried to- bafflingly- emulate their potential through borderline-plagiarism, and at the very best shown a total lack of innovation and personality.  So too, many groups (in the north), have attempted to recapture the magic of Oasis and the '90s heroes: not with feint brushstrokes but sodding tins of grey paint.  I can understand the appeal of influence; every band or artist is influenced by someone and there is a temptation to employ a little similarity.  The issue is thus: if you are trying to be someone else, why bother making music at all?  The likes of YouTube and iTunes are awash with historical music: you can access '50s and '60s rarities and modern-day wonder: there is no need or desire to hear a counterfeit.  My concern is not geographically universal: there are areas (of the U.K.) where there is a pioneering diversity.  Up in Scotland bands such as Universal Thee, solo artists such as Steve Heron and main stayers alike are flying a very bold flag.  Down near my way (in Brighton) there is elliptical and calypso multifariousness courtesy of sunshine pop and bonhomie- without a hint of sarcasm or irony.  Calliope would be proud of some of 2013's musical entrants.  In spite of my subversive mutterings I have been taken aback by the sheer force of some acts.  I shall not name-check (check my previous reviews), but bands and solo acts from the U.K.- as well as the U.S., Europe and Australia- have rekindled my faith in originality.  I have been endlessly trying to pull a double-edge sword from Camelot for a while now; it is entitled: 'The Fate of the 21st Century Solo Artist'.  Unlike a band, solo artists have to helm the workload by themselves.  With your average group the stresses and anxieties are divided triplicate (into four; or five-fold).  Your lone star has the responsibility of making all the moves; shouldering all the weight, and putting all of the creative energies forth.  In the modern scene, there are quite a few solo artists: each of whom are putting their own stamp on the landscape.  The XY D.N.A. is represented by some spectacular progeny: wunderkinds such as James Blake and Jake Bugg; less-than-spectacular moppets such as Justin Bieber: there is 'something for everyone'.  For the XX there are the glib and unremarkable: Lady Gaga and Katy Perry spring to mind; as well as the perennial market leader: Laura Marling.  With the spate of X-Factor cretins spraying their lipid residue all over the airwaves, a lot of genuine and deserving talent gets overlooked.  In any solo artists the market needs- and expects; I also desire- a number of imperishable ingredients: great words; variegated sounds and a beautiful- ethereal or entrancing- voice.  I have been depressed by the large number of bland and anodyne voices: many of whom have sound-tracked John Lewis adverts (take a bow Thoroughly Modern Milly).  It is a rarity that you are truly staggered by the alchemy proffered by a solo artist.  The music market is a sardine can at the moment: bright new things tend to follow the projection of population growth.  I admire the statements, bromides and song sheets that are produced, yet if there is little to linger in the memory, the poor subjects risk being buried- and forgotten about.  In a respect it is bands that lead the way with regards to the upper echelons.  The best albums of this year (aside from Laura Marling's latest) have been band-made; the great musical forces of all time (with a slight majority) tend to be bands: it is a safer and more glamorous lifestyle for the wannabe musician.  I have always been admiring of the human whom forgoes company and fraternity- making music the way they want it.  If the patron abides by the golden rules- making music that is truly memorable- then they can grasp a much-needed foothold in Music Mountain- and remain at the peak for considerable years.  As I type I am listening to three different bands.  The video for Radiohead's Jigsaw Falling Into Place sees Thom Yorke- one eye half-closed; head a-wobbling- proclaiming "Words are a sawn-off shotgun".  The Beautiful South's Paul Heaton is seductively crooning: "Either you are simply beautiful/Or I am simply dumb" (in the much underrated Dumb).  Nirvana are rattling Pennyroyal Tea riffs, via a coda of: "I'm on my time with everyone".  There is no shared lineage between the three disparate acts, yet there are two very relevant points.  The diversity outlined by the three groups summon up crepuscular and mind-altering majesties.  The defunct Hull-based legends are fronted by a genius wordsmith: witty, sarcastic and endlessly quotable.  The Seattle grunge idols were fronted by a idol with an admirable attitude towards music, and what is considered a 'credible career path'; whilst the (hopefully no defunct) Oxford icons are synonymous with gorgeous vocals, monumental songs and endless creative scope.  The tectonic plates are not mutually exclusive to the band market: solo artists have been remiss in their recruitment.  There are too few that push the envelope (for want of a better phrase); there is little vocal diversity; too few quiet-loud dynamics, and an overall sense of 'playing it safe'.  I shall return to this point later, but a second point is to be made: the lyrics quoted could be attributed to, and be affiliated with the personality, intent and musicianship of one: Lydia Baylis.

Before I get down to the bedrock, I want to make a frank admission: I am incredibly jealous of Lydia.  There are a number of different reasons. For one- and with nary an ounce of hyperbole- she is possibly the most beautiful human I have ever seen.  Although it bears no relevance to music itself, she is an entrancing and heart-stopping portrait.  With flowing blonde hair and an infectious smile, she has the looks of a '50s and '60s U.S. movie idol (Marilyn Monroe or Audrey Hepburn) yet has a very modern beauty.  She is the kind of woman that is devoid of any arrogance and can drop jaws with very little effort.  It is perhaps peripheral to my objectives but it is worth noting: here is a heroine that can seduce, psychotropically.  I shall put my testosterone into Alice's (of Wonderland) Shrinking Potion and say this: her personality is even more mesmeric.  I have not met Lydia in the flesh- I would be rendered a babbling Hugh Grant-esque floppy-haired mess if I did- but I have read (and heard) several interviews Lydia has done.  Very few solo artists whom have a gorgeous voice have an 'appealing' speaking voice (Paloma Faith and Adele spring to mind).  It is not me being a Home Counties snob, I just find it important for music idols and forbearers to be as influential through interviews (and in the flesh) as they are in their music.  Lydia's speaking voice is honeydew and caramel; calming and soothing.  If you listen to any of her interviews (http://www.youtube.com/watch?v=mK9avt9SBN8 and http://www.youtube.com/watch?v=438kazm_d-w); you can not help but smile.  Lydia always seems to have a smile on her face and speaks passionately about her music.  Unlike many of her peers, Baylis has a remarkable intelligence: there are no 'umms' 'ahhs' 'like' or faux positivity: the artist is a down-to-earth and everyday icon.  Baylis has the starling beauty and personality that can sway undecided voters and dedicated acolytes alike.  There are a few solo artists (sorry to mention her again...) like Laura Marling whim display a similar intellect and wit; yet I have always been left a little cold by Marling: she seems very detached and unconcerned with the act of winning new support- there is a dislocation abound that I hope can be abated as she has relocated to L.A.  Lydia Baylis is a British songstress with an arsenal of ballistic weaponry.  As well as her chocolate voice, she comes across as very humble and coquettish in interviews.  She is a confident and strong woman, yet someone whom has split sides: she has a pre-deterministic game plan, yet goes with the flow; she is sweet and positive yet has darker tones in her lyrics.  She has a personality and appeal that is capable of ubiquitous election victory: someone who can draw in the metal heads and rock-lovers as well as those familiarised with the paragons of jazz and soul.  There is a great sense of reality about Baylis.  She wears leather and cotton; she speaks fondly but modestly: there are no shock tactics; no fake plastic trees and no twerking.  Baylis recently gave a short interview to Channel 4, in reaction to the various Miley Cyrus controversies: her twerking disgraces as well as her feuds with Sinead O'Connor.  I have no sympathy for Cyrus: many feel sympathy towards her.  Cyrus is a grown-up (supossed to be), whom can make her own decisions.  Smoking pot on stage, bending over in front of Robin Thicke (possibly the most nauseating dickweed on the planet) and taking pot-shots at O'Connor are not befitting of a- supposed- role model for women: she is a disgrace.  She is one of several solo female acts that are setting back women's rights 10,000 years.  Her U.S. counterparts such as Gaga are no less to blame.  There is too much 'look at me' histrionics and attention-seeking: too little focus on music.  It is important to forge a personality when you enter the music world, yet the likes of Cyrus have no business being anywhere need it.  Luckily, Baylis has a head on her shoulders enshrined with maturity and a clear mantra: 'Music is the focus'.  The latchkey child of a 'media personality' is not an issue: Baylis is genuine and dignified.  With the emperor's new clothes being strewn over the charts and airwaves, Lydia is a refreshing sea breeze that deserves huge adulation and longevity.  As well as audio interviews, I have been reading several other interviews (she has recently given).  When chatting with The Huffington Post (this summer), Lydia (with her "wonderfully throaty" voice) discussed many things with David Spencer.  One of the things I am jealous about (with regards to Lydia) is her youth: she is in her early-20s, yet is confidently assured and focused.  She explained to Spencer (when quizzed about why it has taken her 24 years to record an E.P.) that: "You have to have a conversation and dialogue going on about what you want to sound like".  Lydia has spent her adolescence and music life honing her voice: perfecting and moulding it; she has been making her initial moves to lay the foundation: the foreplay has been teased and shivering.  The results of Lydia's labours are scintillating.  Her E.P. Life Without You contains themes of love and life; and- as she explained to The Huffington Post- "darker music".  Baylis went on to explain that she is influenced by the likes of Joni Mitchell and Fleetwood Mac, as well as having a great love of the current scene ("I love watching live music").  Lydia has been speaking with Female First as well.  In June, Lydia discussed the process of recording: "The recording is interesting because you do have to sing the same thing again and again and again and then sing it like you mean it; by the time you have sung the same line for the seventy fifth time you are like 'I don't care anymore' (laughs)".  She also recalled (fondly) her father's love of music and how Van Morrison and David Bowie were common muses: her honest and confessional lyrical style has been enforced by these heroes.  Lydia has also explained how social media can be a mixed blessing: how Twitter etc. can be useful providing you are in the right place at the right time.  I can emphasise fully with that assumption.  Twitter, Facebook and SoundCloud are a great way of pushing music into the ether; but it is hard to connect with too many people: unless your 'followers' or 'friends' listen and share, music can often go unnoticed.  Lydia is an artist whom is going to be around for many years to come.  Her father served during The Falklands War, and experienced hardship and horror during the campaign.  After coming back to England, it was a few years later that Lydia was born; in the Hampshire town of Aldershot (being Guildford-born myself, I am familiar with the surroundings).  Within the environs of Surrey and Hampshire, Lydia was only 2-years-old when the family relocated to Germany.  In fact, Lydia's early life was a little nomadic and born of frequent relocation.  Having spent time in Russia, Lydia returned to England where she studied (until the age of 18, when she left school).  It was not too long until Lydia was on the move once more, and spent time in New York: she was lucky enough to perform in theatre productions; whilst there she fell in love with the city- and has made frequent trips back there.  The second-born Baylis child eventually went on to study history at Christchurch College, Oxford (I studied history up in Cambridge, so can appreciate her fascination with it).  Perhaps it is unsurprising that Lydia is so worldly (and wordy).  She has studied and lived in various different countries; straddled Europe, North America and Asia, and has a prestigious degree from a phenomenal college to her name.  It is the mixture of encompassed nationalities (and environments); married with a constitutionally British soul, that has epitomised and driven her musical ambitions.  Lydia's debut album 'A Darker Trace' will showcase the potential of Baylis.  The tracks contained on the album mixed meditations on love and modern life, but also channelled the works of the Bronte sisters and Virginia Wolf: darker subjects and anxieties lingered within several of the tracks.  My favourite track from the album is called Into The Water, and was influenced by the works of Virginia Woolf (https://soundcloud.com/lydiabaylis/08-into-the-water).  It is a touching and haunting track that is helmed by Lydia's incredible voice.  Backed by a stirring and emphatic backdrop she tells of: "The stones inside your pockets/Make confusion melt away" (a reference to the suicide of Woolf).  The debut album marked Baylis as a major talent to watch and highlighted a range of influences and styles.  I was first made aware of Lydia's music through her song Mirrors: another terrific and atmospheric hymn.  The route to here and now has seen a steady and promising trajectory; Lydia has incorporated her past (her musical influences as well as upbringing); fused it with her very distinct personality; sprinkled some literary greats (into the pot) and come up with a new E.P. that is alive with wonder and layers.  Before I get to the single Life Without You I will make two more points- if that is okay?  My green-eyed envy extends concentrically to another subject: her Coffee House Sessions tour.  With A Darker Trace being almost completed, Baylis has had an opportunity to take songs to the public: mixed together with some choice cover versions she has been road-testing and displaying her sonic plumage to the noble public.  Lydia is still arrange the tracks for her debut album (she wants them in the right order; I am a man who listens from start to finish and getting the tracks sequenced just-so is vital in order to achieve maximum evocation); but the E.P. is a beautiful introduction to a wonderful talent.  Lydia has been touring venues such as Curiositea (sic.); performing to public and student audience- and receiving a whole heap of adoration.  I have been fascinated by the idea of performing in coffee shops, tea houses and cafes, solely because of my music idol: Jeff Buckley.  Back in 1992/3 Buckley was a sensation around Manhattan and the Lower East Side of New York.  Performing in venues such as Sin-e and CBGB, Buckley would often play to audiences of a dozen or so- yet the recordings captured are truly staggering.  If you get a chance to get a hold of his double-disc release Live at Sin-e, do so: it is a testament to a sensation talent with the voice of a love-struck angel.  When Buckley's spine-tingling falsetto floated over songs such as The Way Young Lovers Do, Sweet Thing and Calling You, I would lean into my speakers: wishing I was there; that I could applaud; that I could fall in love.  Lydia is- perhaps vicariously- turning into a potential musical sweetheart (for me):  someone whom has a lot in common with myself, yet a person I can aspire to be.  The caffeine-fuelled travelogues are still in progress, yet festivals and prolonged tours will be something Lydia can enjoy before too long.  Anyway, I digress.  The final reason why I am jealous of Lydia is her tremendous cannon of music: Life Without You ranks amongst the very best...

The title track to her E.P. has hallmarks of, and is a bedfellow to previous songs such as Mirrors and Into The Water.  With a staccato and syncopated juddery beat, the intro. clatters and broods.  To my ear there are echoes of Portishead's work during Third.  In the same way as Machine Gun and Hunter propel and beat box, there is a comparable fascination and quality within the first few seconds of Life Without You.  As well as having some comparable Portishead markings, there is a soussance of synth pop and mid/late-'90s club music: a veritable cauldron of bubbling emotions.  Backed by the bouncing and perpetual beat-and-electro-combination, Lydia portrays heartache: "Love won't make you stay".  Within the first minute the mood is slightly subdued: the emotion and sadness are evident.  Within the contemplation and recollections, Baylis is tender of voice, emotion and conviction at the forefront.  In the video, Lydia- at first- has an upside-down-smile; her eyes are cast downwards and her smile missing at sea.  When the chorus rises above the waves the atmosphere changes.  The smile comes into life, and the mood of our heroine is lifted (and more enlivened).  Lydia proclaims (to her unnamed former-beau) that life without (you) is like "every other day".  Our heroine has said in interviews that the single is one of the most confessional and direct songs she has ever written.  There is little literary reference; no mysterious and ambiguous tones- her words cut to the core and are forthright and honest.  It is unclear whom has affected Lydia's inspiration, but it seems that her former suitor is better forgotten about.  Baylis explains that she is "slowly falling away"; and that although her mind has been eaten away, she reveals one thing: "I don't want you this way".  It is hard to call to mind a direct comparison- when considering Lydia's voice.  There are some slight hints of current artists such as Florence Welch, yet the tones, intonations and evocations are very much Lydia's: you would have to be spectacularly annaly-retentive to compare her too closely with anyone else.  It is the unique and spectacular voice that emphasises her mandates.  The production is sleek and tight and the musical backdrop is subtle yet punctuating: adding extra meaning and punch to her words.  The video features our heroine in a number of different settings.  She appears misty-eyed with mascara running; stylishly dressed with a frown, as well as standing in the sunlight, casting her gaze asunder.  The visuals show Lydia as a contrast.  At one moment (when the lyrics suggest a heavy heart) she can be seen in a bath, tears running and her thoughts very much pointing towards the bleak.  As the song rises and the mood lifts (in the chorus) she can be seen dancing gleefully:  a smile evident on her face.  It seems that whatever happened during the failed romance has lead to better things.  As the chorus reintroduces itself, Baylis states that: "I'm finally making my own way".  She seems to be a stronger woman for the experience, and although there have been scars left, the abiding dictate is thus: no one will get me down.  Lydia's voice floats and annotates; it mesmerises and strikes.  Whereas many contemporaries fail to inject any emotion or plot into a song, our heroine unveils a multitude of turns.  When the lyrics indicate heartache and anxiety, Lydia's voice is appropriately mesmeric and heartfelt.  As the mood lifts and a positive coda is unveiled, her voice is hugely atmospheric and uplifting.  As much as the sonic backing does its part superbly, it is the central voice that lingers in the mind: Baylis's voice is tender and soft, yet powerful and potent.  Our heroine confirms that tears she has cried have long since dried; she is in a better place (emotionally) and has overcome the fallout from a bad situation.  It is not just the lyrics and voice that encapsulate during Life Without You.  Before the 2:42 marker we have just witnesses a wonderful musical passage that connects the verse to chorus: it is soothing at once, yet cinematic (as well as the electronic notes I swear I could hear some strings forcing their way into the soundscape).  In the video, our heroine is seen in a bath cradling and clasping her knees.  When we move into another room (with Lydia dressed in white) her head starts off bowed, before looking up to camera (as the chorus comes to view).  Satisfied grins and merriment have replaced sadness and self-reflection.  The story of the song has taken us on a spellbinding course.   To begin there was turbulence and discontent as Baylis painfully trod over the embers and broken shards from a broken love story.  As the track progresses there is redemption and an emotional rebirth: happiness seems a very real prospect.  Baylis combines a natural charm and seductiveness with a talent for memorable lyrics.  The chorus will not budge from your brain for months, as the repeated lyrics of "feels just like any other day" and "finally making my own way" surmise and summate the mind-set of our inspired heroine.  Baylis lets it be said that any doubts- any fear or tears- "belong to yesterday".  By the end of the song you are very much left in no doubt that Lydia has emerged from a chrysalis with strengthened wings.  The anonymous ex-love has done her wrong and caused her a lot of pain, yet she has not let it get to her- far from it in fact!  In the way that the song is honest and direct, it is also openly honest and universal: nearly everyone can relate to Baylis's words and experienced.  Whereas A Darker Trace and (the E.P.) Life Without You will deal with suicidality and depression, the messages put forth here are clear: darkness can lead to (greater and stronger) light.  The lyrics are memorable yet not too cluttered.  There is great concision and a taut ear for storytelling that means there are no wasted words: instead a great impact is made with as few words as possible.  The combination of an uplifting and catchy chorus, as well as stunningly-tender vocals during the verses, are incredible twin pillars.  The overall sound is very much unique to Lydia.  Her tracks such as Mirrors and Into The Water show what a diverse palette she has.  Our heroine is as adept and skilled during paens of love-gone-wrong as she is when recounting the horrid fate of a beloved literary figure.  It is the diversity and originality that Baylis offers that sets her aside from her peeps.  I dare say- very soon- she will be receiving the same acclaim as the likes of Laura Marling and Adele.  Lydia has a huge talent for evocative and inspiring words; which she ties together with a stunning and planet-straddling voice.  When this is fused with interchangeable and sensational sonic tapestries the effect is blinding: not something you can say about too many people.  Life Without You is a suitably brilliant representation of a brilliant E.P.  Baylis has spent a lot of time and energy getting the songs just right and on the evidence of the title track, she has a lot of praise and appreciation coming her way.  Baylis confirms that the track (Life Without You) was therapeutic to write and perform, and you can  hear the burdens melt from her shoulders.  The song will speak to young women, as Baylis is a heroine whom has galvanised her spirit and resolve in the face of acrimony and heartache.  Men and women alike will be inspired by the core message and the scintillating vocal performance, which casts itself in its own light.  In my previous reviews I have always been able to compare a song or band with another: I can always clearly hint at influences within a track.  Baylis takes the themes and colours from Joni Mitchell and Florence Welch without sounding too similar to either: she incorporates the strongest facets and ensures that the central voice is very much her own.  In a year- and decade- where originality is hard to come by and distinction is even rarer, our heroine has pulled off a wonderful trick: she creates music that is beyond compare yet instantly relatable.  I finished viewing the video to Life Without You with a huge smile.  I was constantly enamoured of, and rooted for Lydia; entranced and pulled in, and have been listening to the song on repeat for a long time now.  It is axiomatic to say that Lydia is a talent that will be picking up awards and playing festivals for many years to come; so I will leave you with this: seek her out without delay.

In the past I have reviewed a lot of talent from Leeds-based record label Cuckoo Records.  Their stable is abound with electro-swing wonders as well as folk pearls and I hope that their ears prick up, as the likes of Baylis would do them very proud.  I am a boy with a vinyl soul, 8-track heart, radio face and digital mind, and Lydia appeals to each contour.  She has evocations and reminiscences of '60s and '70s legends such as Joni Mitchel and Van Morrison; she has the intelligence and passion of literary great such as the Bronte sisters and Virginia Woolf, and a sexiness and vote-winning personality that is unequalled.  The Pentacostalism that one experiences when hearing her speak; and the diluvial awe one gets from hearing her sing mark her out as a major future prospect.  The current state of music can be seen in the same terms as Schrodinger's Cat: there is uncertainty and ambiguity with every passing second.  There is never going to be a time period that rivals the early-late '90s: where a flood of variable talent ruled the scene.  There is as much Schadenfreude as there is admiration: artists have a tough time establishing themselves and making their name.  In spite of the disparate range of quality and sustainability, artists such as Baylis should be held tight to the chest.  Music can be seen in terms of the a mechanics matrix interpretation (when speaking of The Uncertainty Principle) as equally as you can see it as a Kobayashi Maru scenario.  Lydia's words and songs have renewed faith and ambition in me.  Whilst listening to her music and hearing her interviews, I penned a few lyrics:

"The third-rate joke; second-hand smoke and first-class bitch/I've blown them all to scratch an itch"

"Well you're unafraid to chase ghosts/Because they won't come back to haunt you"

"I got a Christmas card from the local morgue/Speaking of New Year plans and enquiring about my health"

"I'm the murderer in the romantic comedy/The mime artist in the film of the great war/The extra in the lavish musical/Hangman in the epic story of the lord/You can laugh at my condition/If you think it makes you tall/Although my scream is never heard/My silence says it all"

"My final words were the very same as my first/Silver nights in satin regard oh how I long for you!"

"As the angel of Battersea she'd heard every line in the book/But the cover to the rules of love is never judged by its looks"

"For us wallflowers hanging in the Tower of Babel, I didn't have a choice/I know too well I was born with the burden of a platinum voice"

"My mother tongue slipped undone to sing the farewell midnight kiss/In the distance between the Jasmine Chorus and the edge of the abyss"

"Love and faith are double-blind /Their truths the diving rods/When bad point towards the vengeful man/When good a loving God".

There are many more (I won't inflict them upon you), but it makes a point: an artist that good should be idolised.  She is my ideal woman; the perfect counterpart; and the most sought-after collaborator.  I have formulated a music video I am besotted with that would be perfect for her: although it will probably never happen.  She has inspired me to write new songs and complete an album's worth of material.  The fact that I am band-hunting this week; continuing a design of a huge music café/bar, as well as willing myself into the studio is because of her: so too is this review.  I hope it does not come over as too effusive or sickly; for it is not my intention.  I have spent many a day giving too much praise to those undeserving; too much time has been dedicated to those whom proved to be unremarkable in the long-run.  The Drake Equation can be applied to music: there is a wonder that extends beyond our own consciousness that postulates what sort of extra-terrestrial life is out there.  Humans are always searching for further meaning and seeking not to feel so alone.  As a music-lover, writer and singer I have always felt the need to find connections with a musician that seems similar to me: that has the same ideals and similar ambitions.  Lydia Baylis is a woman whom is as inspirational a writer and artist as she is a human.  I hope that anyone who reads this are compelled to study Baylis at greater length.  Myopia is a common side-effect of a jaded and fickle industry and it is prescient and essential that the best talent is given their dues.  The ensemble within Life Without You is testament to a truly focused and communal talent: someone whom can attract fans from all walks of life.  There are a lot of barriers and obstacles the new musician faces.  Market forces and trends are unpredictable and subject to entropy and profitability.  Predicating the future musical climate is as difficult as predicting the future meteorological and financial climates.  There are a lot of bands on the scene: some spectacular; most not so.  The solo market is similarly-inconsistent: there are some truly great artists, yet most seem rather unspectacular.  I have always been more in awe of the established acts and most of my record collection contains the likes of Queens of the Stone Age, Queen, Bob Dylan, Kate Bush, Radiohead, Pixies, Nirvana, Nina Simone, Tom Waits etc.  I have fallen in love with London Grammar and am fondly ensconced within the camp of James Blake, yet am a man whom feels that music peaked (and saw the last great wave of wonder) towards the late-'90s/early-'00s.  I feel that a re-appropriation is in order; that a recapitulation of the '90s sea change is forthcoming.  Baylis is a talent that is the definition of engaging: her smile and words can melt you; her song entice and overwhelm.  The Welsh-born starlet is going to a fixture of the festival scene and- I know this is an ambition of hers- will appear on Jools Holland's 'Later...' in less than a couple of years.  These are not hollow proclamations and predictions: I know great music when I hear it.  Over the last few months I have heard a great many words spoken by Baylis and encapsulated her audio profferings into my brain.  Her songs have inspired me and made me grin with Cheshire Cat proportions.  Baylis has some cafes and coffee houses to conquer, and is putting the finishing touches to her debut album.  Her E.P. is a bold and stunning statement and not a self-fulfilling prophecy: it is a stepping stone that cannot be faulted.  Baylis will be bringing her voice and thesis to many venues over the coming months, and she will be attracting the attentions of many publications and reviewers.  I hope I have done her full justice and represented her fairly.  Absorb her beautiful words within Life Without You and investigate her back catalogue.  I will leave these final words for miss Baylis:

Diolch i chi!

____________________________________________________________________________________

Interview quotes from The Huffington Post sourced from:

http://www.huffingtonpost.co.uk/david-spencer/lydia-baylis-interview_b_3819800.html

Interview quotes from Female First are extracted from:

http://www.femalefirst.co.uk/music/interviews/lydia-baylis-interview-298651.html

Follow Lydia:

Official site: http://www.lydiabaylis.com/

Twitter: https://twitter.com/LydiaBaylis

Facebook: https://www.facebook.com/lydiabaylis

SoundCloud: https://soundcloud.com/lydiabaylis/

YouTube: http://www.youtube.com/user/LydiaBaylis

MySpace: https://myspace.com/lydiabaylis

Tour dates available at:

https://www.facebook.com/lydiabaylis/app_308540029359

Interview- Elena Ramona

 

 INTERVIEW:

Elena Ramona: 'I want to make an impact... be a bit of a legend in my own right'.

Words by Sam Liddicott. 03 November, 2013, 13:00 GMT.

__________________________________________________________________________________________________________________________

The Greek-born 23-year-old 'Rise' sensation reveals the title (and themes) of her forthcoming E.P.; her future ambitions- and how simplicity is the key to her success and memorability.

__________________________________________________________________________________________________________________________

Elena Ramona: Surrey-based songwriter Elena Stathaki is poised for the future.

Photograph: Martyn Corbet

____________________________________________________________________________________________________________________________

AS I sit stirring a half-drained cappuccino and ruminating on life- my mind wanders ....

There is a sense of nervousness and trepidation as I prepare to meet Elena. I have known her for a while now, and spent many (happy) hours in online conversation- yet never met her face-to-face. Through Facebook (and Twitter) conversations, I have felt a connection and admiration of Elena: her passion for music and her individuality are a breath of fresh air, considering the manufactured and plastic nature of a lot of modern music. She has always been appreciated and enamoured of anyone willing to appreciate her music, and spread her gospel. Having reviewed her last single 'Rise', I found myself an instant fan of her music. The ensuing plaudits and feedback that that track received from online channels must have been pleasing for Elena; and I was keen to pose that question to her. Arriving at our interview, Elena is dressed casually; there are no layers of make-up and distractingly-overpowering perfume. In the flesh she is incredibly striking; possessed of a startling beauty and a very cheeky smile, it is very relaxing being in her presence. In conversation, Elena is incredibly down-to-earth; someone whom you could chat to for hours. Her natural warmth and friendliness will separate her from many of her peers.

My initial question focused upon Elena's forthcoming E.P.: how was it to write, record and prepare her innermost current ambitions. Leaning back, the question is given a little consideration: "Quite stressful" has been the experience, yet it has been a necessary process of perfectionism.; some sections have had to be rewritten, and ideas changes. With a smile, Elena stresses that it is "definitely happening". She was keen to state that she did not want to rush a release. Elena has made sure that her first E.P. is one that is distinctly 'her' : time has been taken to make sure that the quality is of the highest standard. Elena realizes that by unveiling her work in stages: interview; review; E.P. etc., there will be a gradual build-up; and hopes that the overall effect will be more potent ; that her music will reveal its charms and will remain in the memory for a long time.

The E.P. is to be entitled 'Hold On', Elena tells me, named after one of the tracks from the release. Also included within the three-track release will be 'Rise'. When I ask what one can expect from the E.P. Elena has a think, but then sits straight up. The overall sound of the E.P. will be "very different to Rise". That track, she states, is a "ballad/ pop song"- simple and effective. To compliment 'Rise' there will be a track which is "upbeat and poppy" and well as a more "emotional/sexy" number. It is obvious that a lot of hard work and focus has been paid to 'Hold On'. As exciting as her first step is, Elena emphasizes that she has not gone "too crazy". She does not want to make her work too diverse and fragmented; whilst the E.P. promises range and surprises, the abiding coda is one of personality and individuality. Elena explained that she is happy with the overall sound of the E.P. and how it is coming together ("I am where I want to be right now"). Elena's voice is all her own: a distinctive and personal tone will run through the E.P.

As we relax into conversation a bit, I ask about 'Rise': whether she was surprised by its success and popularity (to date the music video has gained 1,696 views on YouTube). There is no hesitation as she answers: "Yes". Elena did not expect to make a video for it, and was taken aback by how much the song resonated with people. Happy that it "meant a lot to people", it has provided her with impetus to go on recording and aiming high ("It shows that there is a fan base out there"). Regardless of the success of 'Rise', Elena points out that her career is in its infancy. She has been singing for only a year or so, and has not as yet been gigging.

I was made aware of Martyn Corbet a few months ago. He is a close friend of Elena, and- as she attests- someone who was the "only person that believed in my passion". Elena slyly grins and points out that Corbet was pretty firm with her, with regards to getting her voice and talent to its peak. Before embarking upon the E.P., Corbet advised Elena "go away and practice for 3 months". Having collaborated with and produced Elena, her friend was eager to make sure that she was at the peak of her power before setting down songs on tape. Elena used the three months (or so) to work on her vocals, hone her talent and make sure that she was fully ready to record. It is clear that Corbet's influence- as a producer and friend- has meant a great deal to her. He is someone who clearly has a lot of belief in the budding star, and is as determined as anyone to make sure she gets the credit she deserves. I am keen not to interrupt as Elena praise Corbet's legacy and influence. He is an important figurehead for her that has helped to mould the music that Elena is making.

The coffee shop starts to empty slightly, as we approach 3:45pm. I notice that the rain outside has abated, and there is a relaxing stillness about us. Elena is a genuinely positive and good-natured conversationalist. She is someone who is happy to talk about her music, and provide as much information as possible (she was worried she may have talked too much- I was quick to point out that she did no such thing). It is a comfortable conversing with her. Answers are full and complete, and fascinating titbits and factoids are interspersed with personal recollections and insights. The voice that encapsulated and seduced 'Rise's wonder; is one that sounds like no other. There is no histrionics nor emotional overacting: it is straight-forward and stunning. I was fascinated to know where that voice came from; whom influenced Elena's sounds and consciousness. The Beatles are an influence for Elena. She explained that growing up in her family home on Skiathos Island, her mother used to play 'Yellow Submarine'- a song that she adored for its childish silliness. She goes on to say how much she respects what The Beatles did and achieved: a magnum of gilded songs that were simple, memorable and life-affirming. It is the way in which the '60s legends managed to burrow into your skull, that Elena hopes to achieve with her music. 'Rise' was built around a repeated coda of "Thank-you"; a sentiment that sums up the song's themes, and one that remains in your memory for a long while. It is the way in which effectively simple tunes and lines can get into your brain, that Elena hopes to accomplish with her music. Her lyrics have a brevity and directness that she hopes will be quoted and talked about for years to come. If the sound or words are too complicated or cluttered one runs the risk of being passed over. As well as the Liverpool quartet, a wide-range of artists are beloved and remembered fondly. Pink Floyd were big names in the Stathaki household.

I was very keen to know what Elena has planned for the rest of this year- as well as 2014. She is keen to get E.P. number two (and three as well) released "hopefully by next summer", and says that she "wants to play as much as possible and collaborate with as many different people as possible... I want to get my name out there a bit further".

After we finish the recording we, linger for a while. Elena is a bluster of adorable smiles, humour, intrigue and layers. She talks fondly and openly about her personal life and family. I listen fondly as she paints pictures about her childhood in Greece. She is a very honest person whom wants to embrace as many people as possible. In spite of setbacks, heartaches and a lot of hard-work, her diligence and determination are starting to pay off. In spite of our pre-existing friendship, I have gleamed and learned more about Elena in our interview than I had done previously. We discuss the local scene (in Surrey), and it seems that as far as the future goes, Elena may be setting her sites far and wide when it comes to gigs. But as she has stated on many intervals, we are witnessing her first steps. In the coming months we will be seeing and hearing a lot from Elena, as she begins to reveal her songs to the world. In a way she has little in common with her contemporaries, as she favours a natural look; being who she is all day- not hiding behind cosmetics and fake clothing. Our heroine wants to appear as a role model to young women, men and everyone else. It is not a publicity trick; nor a cheap ploy. It is who she is, and who she will always be. By being genuine and natural she appeals more real and relatable; so if you see her in the street you can say:

THERE'S 'El'!

__________________________________________________________________________________________________________________________

Elena Ramona's single 'Rise' is available at:

http://www.youtube.com/watch?v=M8smsMbqXxo

The E.P. 'Hold On' is available shortly.

Follow Elena Ramona:

Twitter:

https://twitter.com/elenaramona90

Facebook:

https://www.facebook.com/pages/Elena-Ramona/323928237668916

YouTube:

http://www.youtube.com/user/TheStathaki1

PSYCHOACOUSTICS Bar/Café:

 

I have been having quite a think- when it comes to music.  On my own terms, I have managed to write a double L.P.'s worth of material.  The diversity and range is, well... ambitious.  I am happy with all the titles; the lyrics, and- although I can't read or write music- the compositions.  There is little in the way of pretention (Moi?!).  My voice is shaping up to be quite...um, 'interesting' and for all purposes, the foundations have been laid.  I keep wondering where the band are going to come from.  Where is the money going to come from.  Where, in fact, is the impetuous going to come from?  It easy enough to sculpt a song; a voice; an action plan, yet when practicality and reality rear their twin behinds; they often fart clean in your face.  I have wished it is easier to find band members and connect.  I hope that in the next couple of years I will be in a studio; a list of songs recorded, and all of my (music) ambitions satisfied.  It is always the case, mind, that a little help is needed.  Similarly- and for a fair few months- I have had three 'fantastic' music video ideas rattling around my skull.  Two are quite ambitious (in terms of scale and possible cost); whereas the other is simple- yet effective.  I know a few local musicians in the midst of making videos, yet the budgets- as one would expect- are reigned in (and directors already attached).  I find myself wondering: where are my ideas to go?  I don't want to bin them as are exciting me greatly, yet there are few opportunities, networks or portals to place my ideas.

 

Above all, I have found myself unable to relax.  I frequent coffee houses in order to absorb an atmosphere as well as inspire my mind to write.  It is often the way that one cannot find a local coffee house that is not awash with infantile screaming, irritating throat clearing, coughing, irritation and shiver-inducing cackling.  I am not against conversation- far from it, yet feel that coffee houses- as well as bars- should be havens of chatting, ideas and relaxation.  People in their diluted form seldom have manners or outward consideration; causing patrons such as myself to depressingly stare from the window wondering: where is there a place for people like me?

 

I have tried to find a way to tie all the ambitions, considerations, concerns and tentacle together: to place them under one roof.  My personal music ambitions will continue unabated, and hopefully Psychoacoustics can run in conjunction with, as well as foster all of my dreams.  Below is the 'plan': the layout and strands that will be the venue for the basis of the master plan.  I am hoping that enough public appeal and need will mean that the transition from 'ideas' to 'reality' will be smooth- as well as short on obstacles...

 

Logo:

The logo will depict a gorgeous woman in a black dress.  In her left hand is a blue rose, whilst in her right, is a microphone.  There is a microphone stand in front of her, whilst we see a spotlight shine to the side of her face; whilst drops of rain are overhead and on the other side of her face.  She has brown fair and green eyes, with red lipstick.  To the side of her is a gramophone, as a vinyl plays.  She looks focused but relaxed; enjoying and entranced by the music playing.  The main logo will be centred, whilst either side of the logo will be 'Psycho' and 'Acoustics' in red lettering.  The letters will be in a stylised font, but easy to red; with the letters bordered in white to give a modern and striking design.

 

Intended Destination:

Hoping to have the premises located either Piccadilly Circus, Covent Garden or Soho.  Due to the size of the building it will need to be located in these areas; and are also locales that attract huge amounts of tourists and attention- providing the most possible custom.

 

Building:

Inspired by Café De Paris, the building will be very large as well as decedent.  The premises will comprise two floors; with the intension of each being large enough to contain all the incorporated properties of the business (see below).  Hoping to have it opened no later than 2018.

 

Opening Hours:

Mon-Fri:

8am to 12pm.

Sat:

8am to 12pm (when gigs are performed it will be extended to 1am).

Sun:

9am to 9pm.

 

Staff:

Around about 50 in total.

 

Policy:

It will be over-18s only: no babies or children allowed.  Dress code is not strict and open to the public.

 

Funding:

I know of websites similar to Kickstarter that provide funding opportunities for businesses.  I hope to pitch a business plan and raise as much of the funding from there.  Aside from a business loan, I am hoping to raise as much of the remainder of the funds myself.  I am not sure of the exact cost of the entire business, yet hoped that over the coming few years the entire amount can be raised.

 

 

Ground Floor:

 

Bar and Kitchen:

As you enter, to the left of the premises is the bar.  The bar will be very modern with a wide and long counter, in order to allow maximum custom.  The bar logo will be emblazoned above the bar, and will be unique.  As well as serving coffee (and tea, hot chocolate etc.) alcohol will also be served.  There will be a range of beers, wines and spirits- as well as an extensive cocktail menu.  The menu will be extensive.  There will be breakfast, lunch and dinner options- with a dessert menu.  The range will include British, American, Mexican, French, Chinese, Thai, Italian, Australian and Spanish food; from savoury to sweet.  The kitchen will be next to the bar, and will serve food from opening through to close.  There will be themed dishes and cocktails that will incorporate band names, lyrics and album titles etc.

 

Seating: 

There will be a large amount of sitting, to accommodate around about 100 people.  The seats will consist of sofas, leather sofas and chairs, as well as wooden chairs.  It is designed to be a relaxing and comfortable environment; it will not be cluttered or compacted- space and openness is a huge key.

 

Jukeboxes and Speakers:

This is one of the main features of the business.  The music will be the epicentre of the bar/café, and will be a constant.  As you enter, to the left and right hand corners; to the back left and right corners; as well as in the centre, will be two digital jukeboxes.  It will be free, where anyone can select a song.  There will only be allowance for one song per customer; with a continuous playlist being selected.  The jukebox menu will be interactive, so you can select a song by searching; or find by genre/decade etc.  There will be access to over 500,000 songs, and will include every genre and style.  There will be screens in the centre of the room (overhead) that will show which song is next- running order etc., and everyone will be able to hear the music.  There will be four speakers suspended from the ceiling- on each corner of a chandelier.  The music will not be so loud that you cannot converse, yet will be crisp and true.  Using latest technologies it will be possible to blend the sound of music and conversation so that neither becomes too distracting.

 

Stages:

As you enter, to the right hand side of the building is a small stage.  It will measure 15 by 20ft, and will host intimate performances.  At the back of the building will a main stage.  It will be 25 by 30ft, and will have a retro feel.  There will be a blend of modern, gothic and American; giving the stage a unique feel.  The stage will host larger gigs; whereas in front of the stage, will be an orchestra pit that can host 30 musicians.

 

Décor:

The décor will be a main attracting.  On the walls will be paintings and landscapes depicting famous album covers, music photos, as well as band portraits and designs.  It will encompass a large range of artists and there will also be canvases on the wall.  There will be modified street signs and portraits, giving it a retro and classic feel all at once.  There will be a white wall as well, where lyrics can be written and designs drawn.  The entire interior will mix modern and vintage, with artefacts and designs reflecting this.  It will not be like Hard Rock Café where it is a sort of music museum or attraction; it will be subtle and will play second fiddle to the key components.  Overhead will be several chandeliers as well, providing a romantic feel.  At night these will be on, and soothing lighting will bathe the interior.

 

Access:

There are two methods of access from the ground to upper level.  There will be a staircase to the right of the entrance; in addition there will be a small lift giving disabled access (and to allow transportation of equipment, stock etc.)

 

Upper Level:

 

Store:

This is a store with Rough Trade in mind.  The store is split into different sections.  There is an extensive store that offers music by genre, decade etc. and has a large stock- similar to HMV's largest stores.  As with the lower level of the bar, there are paintings, designs and artwork on the walls- and ceilings.  There is also band merchandise and memorabilia, signed memorabilia, as well as musical instruments.  The idea is that there is everything under one roof that a musician, music fan or music lover could want.  There is a charming décor that mixes '90s Seattle, modern-day U.S. as well as Rough Trade.  It is homely as well as modern and cutting-edge.  As well as being an all-inclusive store there is a profit-share initiative.  Schemes will be set up to allow a small percentage of profits going to independent record stores, as well as local bands.

 

Charity Office:

There will be a small office, next to the store, which will house the Psychoacoustic charity.  It will employ around 10 people, and is a charity which aims to raise money for musicians, struggling bands and children from difficult background persue their goals.

 

Consoles and screens:

This will incorporate everything from the Psychoacoustics music website:

http://musicmusingsandsuch.wordpress.com/2013/10/.  There will be about two dozen consoles arranged within the middle of the floor.  These allow direct access to the website.  As mentioned, the website aims to make it simple to create music, music videos; collaborate online and distribute music.  It incorporates all of the best features of the major music websites, and offers so much more.  People will be able to access the website through the consoles.  There will be two large walls which will display music videos, or can alternatively project images from any of the consoles- for instance is a music video has been created, it can be instantly projected.

 

Studio:

Dominating one half of the level will be the studio.  It is a medium-sized studio that will offer all the benefits and technologies of the biggest studios.  It will encompass a studio, rehearsal room, control room; as well as lounge and bedroom.  There will be an in-house engineer, producer and representatives and offer rates that are very competitive.  The hope is that is will appeal to new bands, but also drag in big names and established acts.

 

Garden and Tranquillity:

In the centre of the level will be a small garden.  There will be a water feature, as well as plants; aimed to relax and inspire.  There will also be a balcony, that will provide a small garden as well as seating.

 

Décor:

There will be chandeliers as well on this level, but a more toned-down feel.  There is impressive lightning and a warm and relaxing vibe.  Again there will be leather chair and sofas- located near the consoles.

 

I am still in the initial stages, yet see everything in my head: the look, the sounds and smells and all besides.  I am open to idea as there are many whom would frequent a place like this.  What do people want?  What needs including?  I know if is going to be costly, but hell, it shall be done.  Above all..

 

Would people come (and make return visits)?

 

X

Psychoacoustics: A More 'Musical' Future?

 

Psychoacoustics: A More 'Musical' Future?

 

FIRSTLY...

 

FOR a fair while I have been (somewhat) procrastinating.  A combination of pernicious self-hatred and depression have somewhat anchored my ambitions.  In order to focus my attentions away from variable horrors; grand ideas (most of them musical), have seemed like a worthy (if possibly, temporary) panacea.  I have been formulating and building a comedy series- The Equality State- attempting to make all my ideas coalesce.  As much as that has been giving me something to focus on; to create a T.V. series that is new, original, and above all, ambitious; has given me something to distract my mind towards.  As much as anything, my excitement has been spiked by a common muse: music.  It is axiomatic to say that it (music) is a mistress which provides fertile dreams; but I have seen a gap in the market.  I have been rapidly- and excitedly- writing my own material.  An album's worth of original material has been penned; topped off with a bizarrely-ambitious and huge swansong, Vanity Mirror.  The band name is decided; the album title (and cover) is in mind and fully-formed; the ideas, promotion and sounds all lodged in my brain.  As much as I have been laying groundwork: deciding upon ideas; honing my voice; diversifying my cannon of work etc., another thought comes to mind: I need people to make it happen.

   A lack of finance has shackled my deepest wishes.  As much as I long for a music-orientated future, I have realised how expensive it all is: even to record just the one song.  It would probably require many thousands (of pounds) to realise my blueprints: to make them real.  In lieu of a generous benefactor (or lottery win) it seems that the future plans will be very much on hold.  It is a shame, but something I will never give up on, and will find the money to do it- however long it takes, and no matter how many organs I have to sell.  In the midst of the fog of reality, ideas have come to mind.  These ideas concern business.  Music business.  Charity as well.  Let me explain...

   In previous blogs, I have formulated an all-encompassing music website: one which integrates all of the benefits of the existing market; but one which offers so much more (details can be seen below).  It require money (a lot), yes; yet with that one thought, came a tangling thread of possibility; a brand if you will: Psychoacoustics.  It would be a brand and idea that is designed to inspire musicians, old, young and impoverished alike- as well as raise money for worthy causes.  Below is what I want to do...

 

'The Business Model':

 

False economy and macro management of the music industry, has meant that there are far too many bands and artists going unnoticed; too many small labels and studios struggling.  The idea is not to create an imperialistic faceless brand: I do not want to become Bill Gates or Richard Branson.  The idea is to parlay as much as the existing market together; making it easier for new and existing musicians to make themselves heard.  Psychoacoustics will be a singular brand that will have a base in London.  I am hoping that an impressive, if small headquarters can be set up in central London; somewhere between Soho and Covent Garden.  The business will have a distinct logo, a 'face of'- and have several musicians/bands etc., acting as 'ambassadors' to the company.  It is not exactly going to be Google or Microsoft in terms of empire; yet will be the central hub that maintains and manages the various arms of the company.  The hope is that that there will be a few dozen employees, including volunteers, whom will assist with the day-to-day running of Psychoacoustics.

   As well as being inspired by some local- and U.K.-based- musician friends (see bottom of article); I have been invigorated by a European pal: Chloe Jane Sparrow (

https://www.facebook.com/pages/Jane-Sparrow/324260300959130); a woman whom is fanatical and in love with music.  I started to review artists and bands because of her wonderful blog: http://sparrowjane.wordpress.com/.  She is a tremendously generous and skilled reviewer, whom has turned me on to some wonderful acts, from all around the world.  It was her passion for new music that encouraged me to form my own blog.  As well as being chief editor for NYMY Magazine, Chloe has kept her ear to the ground; seeing what is hot and inspiring in the world of music.  Being so young, she has impressed me with her busy and entrepreneurial spirit; managing to create an impressive kingdom, and is someone whom will have huge future success.  I mention her- as I will be mentioning others too- to show that there are a lot of keen and hungry young talents out there; keen to be heard, and deserving of your time.  Miss Sparrow is a key example of someone whom is beautiful and tenacious, and has a genuine passion and love of multi genres of music.  It was whilst perusing her blog, and listening to her 'suggestions' that I have decided to take the first steps.  I am lucky to have friends and connections that spark ignition in me: people whom I hope I can work with closely in the near-future; so to her (first): Merci beaucoup pour tout (excuse my rudimentary French) x

   Below is a summation- albeit lengthy- of what I want to create.  I am already 'unofficially' the 'founder' of Psychoacoustics- shall have to rubber stamp it!  I know it will take money, but if there is interest amongst any that read my words, I will labour day and night to collate the necessary cash to get the seeds planted; to make the initial baby steps promising ones.  So bear with me, be patient, and above all, let me know what you reckon.  In a generation with more music than ever; where so many new acts are born, raised and fostered (by the public); it is vital to encourage the good and great; manage them and importantly: make people aware of their existence.

 

'The Five-Prong Attack':

 

The Website:

 

Idea of the site:

There are quite a few music websites at the moment, between the iPhone, Facebook and the Internet. Most of them offer roughly the same things- music sharing, free downloads, and Internet radio access. There are a lot offering the same things, and quite a lot of things are not being considered. The idea of Psychoacoustics, is to pull all the existing qualities of these sites, together, as well as offering new features, and great networking opportunities- for free. The plan is to top Spotify, iTunes and the biggest sites, by offering what they do, plus much more besides. Specific areas and pages on the site will be named after musical figure, albums and events. For instance, a lyrics section will feature Bob Dylan’s name and be themed around here. It is sort of like a music Disneyworld- different zones and characters. This makes it more interactive and interesting than most music sites and is engaging.

Interface:

By accessing

www.psychoacoustics.info, (website currently under planning/construction), you will be able to access the site. From there, there will be a home page. On the home page is a main design. It is an animation of a studio, called Psychoacoustics. It is designed like Abbey Road, and there is constant movement on the page. There will be a bank of about 200 different musicians, who will walk into the page and interact with each other; leave and enter the studio, and keep the user amused. The icons as well as the animation will be colourful and interesting and better designed than most of the music websites out there. The icons and options displayed on the homepage are as follows:

Chat:

There is a chat/Skype option where you can interact with any of your contacts or friends. This can be done via a Facebook-style message service, or Skype. When you add contacts- like Facebook or Twitter- you can chat with any of them at any given time.

Mail:

Your personal inbox; you can mail your contacts, as well as any musician or venue.

Search Engine:

This is a bespoke, specialist search engine. It is similar to Google but responds to questions and searches effectively, returning only relevant websites. It also can record via and audio, so if you were searching for a song title or name of song, it would be able to locate it. The search engine is able to answer specific music questions and ties together information and resources from Yahoo, Google and Bing.

Updates/Events:

This is a diary of important music events and updates specific to the user.

Music Player:

You will be able to create a playlist or jukebox of up to 2,000 songs.

Personal Profile:

You can create your own avatar, and enter all of your information. It is similar to Facebook, but more detailed, and upload photos, videos, and designs. I will go into more detail later, but on your personal profile, is all of your information, favourites, and links. The profile works like Twitter and Facebook but more in depth with fewer faults. I have described the social side of things in a previous mail.

1. Studio and Rehearsals:

This is an animated studio and rehearsal rooms (about 3 studios with control rooms and one rehearsal space). Unlike sites where there are a list of features, you access the features via icons; so for instance you would click on a T.V. or a guitar to access the relevant feature. The tab on the interface is red, and will consist of different shades of red. The specific names and designs for each feature are to be decided, but are as follows:

Music video:

Here you can pitch ideas for music videos to bands, acts and labels. You can protect your idea and sell it for money or use it to gain points and exchange for a reward in the future. There is also a music video store, where you can access any video from any song, and search by genre, artist or time period. Also, there is a software where you can put ideas into and create videos through animation, film or various other techniques and apply them to your own songs.

Album cover:

Here you can view any album cover, and search for it like the music videos. The features here allow you to design covers using animation, photography or a photography edit where you can mix and edit images and merge together to create incredible designs. From here you can publish them or share, or pitch ideas to bands looking for ideas.

Photography:

This is like Instagram where you can upload photos or designs and edit them, using hundreds of options. Here too you can search for photographers and view images, websites and famous images from music history.

Music video player:

This utilises YouTube where you can view music videos for free and have a favourites list, or share the video to social media.

Song dissect/mix:

On this page, you can take any song- from rock to classical and dissect it. You can see what notes are played, and what instruments are played. This helps when writing songs and can learn easily about music. Also you can take sections of various songs and mix them together, and edit the sounds to create new songs.

Entrepreneur:

Here there are guides, links and ways to set up your own record label, festival, or music magazine. You can interact with others online, and get funding in order to set up your own business, and then network on site to attract users and business. Also you can invent new music ideas and instruments; design them on this page and pitch them.

Broadcast:

There is a software where you can design and broadcast your own podcast and radio station. Broadcast over the site or YouTube, play your own songs and broadcasts and get fans and followers as well.

License:

On here you can sell songs to T.V. and film companies and productions.

Band sites:

I will explain more on the registration but when bands and artists sign up they can create their own website and include a wealth of information, and make it easy to promote and get fans.

Sounds:

This is a sound library with thousands of sounds, effects and mixing options.

D.J:

If you are a D.J., here you can mix tracks, scratch and broadcast your own set, via the site and promote your gigs.

Home Studio:

This is a software where you can record vocals, instruments and effects and then send your songs to fans or broadcast the tracks online. There is also software for tuning instruments as well.

Recording and Production:

This allows you to record songs professionally and easily, and provides every technology a modern studio would. You can record vocals and instruments, mix and layer them, and create a professional sounding track. From there you produce the tracks, and broadcast them, and burn them onto C.D. It also allows for album covers to be printed and gives links to sites where you can buy C..D. case and additional software.

Rehearsal and Live Room:

These are simulations of studio spaces where you can play live or rehearse. Via Skype you can jam with the rest of your band or solo and be seen by contacts and have your performance saved and shared. There are options for recording. There are guitar, drum, piano, vocal and orchestra options where you can simulate any guitar or piano etc. and get the most realistic sound possible. Unlike software where it is flattering, here you have to know how to play. Like Wii it reacts to touch and you can simulate yourself playing, as if it were real. From there you can either mess around or record the sounds, or join with others or your band members, and jam together. You can tune the instruments and it is as good as the actual instruments. You can do the same with vocals and record as many tracks as you like, and access different mics, and effects. It is able to work with recording so you can record full songs and albums using this. it is not to replace real life but more act as an easy way to share and record demos for when you are in the studio.

2. Bar and Venue:

The venue is downstairs of the studio and the bar upstairs. It is animated like the rest of the site and acts as a portal for socialising and broadcasting. The tab for this is green and appears with different shades of green on the interface.

Radio player:

You can access tens of thousands of digital stations from around the world and stream them live, as well as access archive broadcasts and songs.

Links:

There are links to all music magazines and publications, as well as music websites as well.

Donate:

Like PledgeMusic where you can donate to get album made, and respond to pitches. Artists can offer rewards or treats, and get a % of funds raised. Can network and swap and record vocals or write as well.

Share:

Due to revenue coming from advertisers and labels, the site can pay royalties to artists whose songs are downloaded, and means that songs can be downloaded free, but artists get paid.

Food and Drink:

Links to music venues, as well as music bars and cafes, anywhere in the world, and you can get alerts of any local to you as well as any events that are happening, and share them on the site.

Leagues and Competitions:

There are various leagues for new bands and directors etc. that are updated and points given to the winners. These charts reflect download amounts, most hits as well as popularity too and there are leagues and competitions for new and unsigned bands.

Music Fantasy League:

This is like football fantasy, but you choose a 5-piece band. You have to choose at least one drummer, and one singer, and can choose from any musician from history. You also select 2 songwriters as well and an album and song. There are various points awarded to each depending on how many times they have been downloaded and mentioned, and there is an overall league that updates each week.

Read and Write:

You can publish blogs and reviews of bands and gigs, and albums and publish them and share them, as well as gig reviews and album reviews.

Social:

There is a dating website and connection site for musicians, as well as connect and promote music charities. There are event postings and updates for your local area as well as internationally. You can also tie all of your contacts and friends in from other social sites into this one.

Connected:

Once you have created a profile you can search for potential band members or venues. When bands or acts register, like a dating website you answer various questions such as favourite music, bands and albums. If you are looking for someone you can either type in a search and the site matches people for you, or you can click on a map. From here you can click on any country or city and search for any member located in that area and contact them. There are sections where you can connect bands and venues, labels to acts and band members and bands together. If you make a successful match, you gain points that can be exchanged.

Actors:

This links actors to bands looking for people for music videos, and also can join actors together, who can share links and tips with regards to music, and best contacts and agents.

Contacts:

I have explained all of the social side, but the site works more like Twitter where you can ‘add’ any band or musical act, and follow their progress and updates. There is a LinkedIn style site too where you can connect with employers or contacts and build up a network of fans and followers which gives you greater opportunities.

Live:

You can broadcast live shows and gigs and stream concerts here and share them.

3. Living Room:

This tab will appear shades of yellow. The living room will consist of a sofa, chairs, jukebox and notice board as well.

Music download:

Like Spotify you can download any track for free, and either play them, or create your own playlists and sections. You can compile songs into albums and burn a C.D., or you can share songs via your phone or social websites. There are also links to Spotify and iTunes, as well as music apps too.

Promotion and Distribute:

You can listen to recommended music depending on your mood or find any new music depending on your tastes. You can then share them via social media, or you can promote new bands and artists, and share acts with promoters and venues, as well as labels. It works like ReverbNation but more in depth, and gives tools to find new music, as well as share and get your own voice heard easily.

Jukebox:

You can have a playlist of up to 2,000 songs, and play them, whenever you like.

Reference Library:

You can view information about every band, artist or album released. It is like Wikepidia where you can find out anything about music, and gives info about bands, videos, links and merchandise; which allows you access to new music, old music you may have forgotten about, and can access any information whenever you want.

Music Trends/Stats:

There are tables and graphs that show music trends, sales figures and stats relevant to you, that are updated daily.

Charts:

These are all of the charts from home and abroad, updated weekly, with links to all of the songs featured.

Search engine and lyric finder:

The search engine is also available here, but is a lyric finder, where you can type words or lyrics and it finds the song. Also you can input audio or video if you are unsure of the song or artists, and it will find out for you.

Pitch Zone:

If you have spare lyrics or ideas, you can pitch them and trade them with artists. You can earn points for anything that is bought from you, and you can pitch and find ideas for songs. Also you can pitch music, so if you have no lyrics you can match them, and also collaborate with people on site and join your music and lyrics together. From there you can create songs together and share them.

Music Notation and languages:

There is a software where you can learn music and translate your music into musical notes, so that it makes it easier to write music. There is a link to a language site where you can learn any one of 30 different languages for free. This makes it easier to communicate with international contacts as well as write and sing in a different language.

4. Bedroom and Kitchen:

This tab appears as different purple and the bedroom has a bed, wardrobe and table, T.V. etc.; the kitchen is a smaller room connected to the room.

Updates:

You can access all of your updates, information and messages here- as well as directly from your personal profile.

T.V. zone:

This allows access to dozens of music T.V. channels as well as archived videos and shows as well, and relevant T.V. shows and performances.

Links:

There are links to music teachers, studios, websites and bars and venues; everything anyone could want.

Creative Zone:

You can chat with anyone; share ideas, stories, gig reviews as well as photography and videos etc.

5. "Acoustic Vinyl":

This is a specially designed shopping site. The animation is designed like a large Rough Trade store and the tab will be a specially designed one.

Music:

Search by genre, period or artists and find music from them to buy. It pulls together Amazon, iTunes and all music websites so you can compare prices for the album and gives you the most choice you can imagine.

DVDs and Merchandise:

You can search for DVDs and merchandise from any band. This gives you links to shopping sites as well as band sites, so again you can find the best deal.

Others:

You can purchase band and festival tickets, music books, apps and instruments. You can also purchase gift cards too.

Stores:

There are links to shopping websites as well as info for independent stores, with website and address details.

6. Join/Log-In:

This tab is in shades of black and grey.

Registration:

Different registrations. For casual user, browsing, solo, band, promoter, venue, label and other. They ask for different details and different lengths but all very simple and easy.

Log-in:

It allows a simple log in and a feature where you can log in to all of your music and social accounts at the same time.

7. About Us:

This tab is going to be detailed in shades of orange.

Studio history:

There is information- fake of course- of how it was set up in East London in 1969, and the story behind it. There is a ‘mock’ Vevo-style video and video history of the studio and founders. It is comical and is also like a guided tour.

About the site:

This is a serious description of what the site aims to do and how it will evolve.

Press and links:

This displays any links to relevant sites and partners, as well as software sites so you can create your own music website.

8. Music Player:

This tab will be in shades of blue. This ties together all of available and your downloaded music so you can play it on-going and create smaller playlists.

9. Advertise With Us:

This tab is in shades of pink.

Adverts:

This is a separate page where all adverts from sites, and venues can be displayed. This means it doesn’t interfere with your profile or browsing but can access it any time from this site. Advertisers and sites pay to be published on the site. There are contact numbers and an online form if you want to advertise or subscribe.

10. Contacts/Links:

This tab is in shades of whites and grey.

Contacts:

This details all e mail and phone contacts for every department.

Enquiries:

Up to 6 different contact email and phone numbers depending on the query

Address:

This is the address of the H.Q. and map.

Social media:

This gives links to the Twitter and Facebook sites, as well as YouTube.

Feedback form:

Provide feedback on the site.

Suggestions box:

If you have any ideas for futures or designs, then let us know and will take into account.

FAQ and Troubleshoot:

If you have trouble with any part of the site there is support. Also an FAQ if you have a question and can report abuse or any issues day or night.

 

Designs and Features:

 

Points system/Profile:

As well as a detailed profile, on top of everything there is a points system. For every event you promote or song you share, a certain amount of points are awarded. When certain amount of points are awarded, you get a reward. These will mainly be cash prizes and increase in amount. For 100,000 points, a ‘Fantasy Package’ will be awarded, where you can meet any musician or have any experience you want paid for by the website. The profile will be displayed like an album cover, where there are track listing relating to each section (1-10), and details of everything you have done. There are also graphs displayed that represent your progress and updates.

Avatar and animation:

When you register you can create your own avatar, to give it the feel of a video game. You can personalise and update it as much as you like. As I said each section is named after a musician or album, to include everything from The Doors, Bohemian Rhapsody and Abbey Road. There will be animated of musicians interacting in each section, and great designs, to give the whole site a feel of a game, or as I mention, a sort of musical Disneyworld.

Ambition:

The idea is to raise money to improve the site constantly, and give royalties to all musicians whose music is downloaded. I want to top iTunes and Spotify and have everything any music lover or artist could ever hope to want. As a singer, who is curious about my vocal range, there are tools for that, recorders, and I can locate a band easily, as well as produce music video ideas, and record songs.

Access and use:

Available on P.C., and can be downloaded to iPhone or your T.V. This means that anyone, anywhere can access and use it any time. There will be a virtual keyboard to type, and can be touchscreen, so if using it on T.V. makes it a lot faster.

 

The Record Label:

 

Named Psychoacoustic Records, I am determined to create a small record label that will give a warm home to some great talent.  In my previous role as music reviewer, Scottish band Universal Thee were one of my favourite 'subjects' (see them at

https://www.facebook.com/universalthee).  I have been communicating with their lovely members James and Lisa Russell for a while now; having been bowled over by their brilliant and original sounds.  Between the three of us (as well as the band as a whole) we summated that there is a lot of great talent that emanated further north- Scotland especially.  Most of the musical money; including the big labels etc. are based in and around London.  I have been blown away by the sheer quality from bands such as Universal Thee- a stunning band that are starting to get the attention they deserve!  In addition wonderful bands like Issimo (fronted by the phenomenal lead Abi Uttley, and multi-talented wonder Marc Otway), as well as talent such as Nightwolf, Katsuo, Lisa Marini, Steve Heron and Jade Barnett have been featured amongst the pages of my blog.  I have mentioned these illustrious musicians as they are the epitome of the modern-day idols: those nauseated by the cheap X Factor fakery and noxious fame; talents whom let their voices do the speaking and are deserving of a huge audience.  They are all going to be huge one day very soon, and it is artists such as these I am trying to recruit. 

   Of course there are hundreds of small record labels- some fail; some succeed- that are trying to do the same as me.  I want to set up a label not restricted to the U.K.  As much as I want to entice the likes of Issimo, Universal Thee, Steve Heron etc. to the books of P.R.; I want to look farther afield: to the U.S., Australia, Europe and Africa- aiming to help those who have a stunning talent, and need a record label to help them out.  I have been speaking with, and reviewing for, Phil Cass' brainchild, Cuckoo Records:

http://www.cuckoorecords.com/.  With the help of a couple of his friends and music colleagues, he has raised and built up a brilliant Yorkshire-based music label.  They have some stunning talent on their books- including Cisse Regwick, Annie Drury and Raglans- giving a voice to some superb northern (and Irish) talent.  There are precious few southern/London-based labels that share the ethos of Cuckoo': encourage a wide range of genres and talents; with the intention of sharing their brilliant sounds to a wide audience.

   In conjunction with the studio (below), the label would initially attempt to attract a dozen or so local artists.  The long-term aim is to tie and bind international and local acts under one roof: to provide assistance (both financial and creative) to the patrons and participants.  Not only that, but provide opportunities for the acts to work with each other and generate publicity and gigs for each other too.  It is hoped that I can find premises either in Surrey or London- but I will mention that more later.  There are a lot of merits one can assign to and ascribe, with regards to the big labels.  They provide a home for some superb artists, yet I feel that too many have limited quality control.  I don't want an X Factor/The Voice parasite in the team; no generic and faceless U.S. act: just concise and staggering bands and artists.  Bigger labels such as Rough Trade are the exception that prove the rule; as it seems that there are few smaller labels that have their voices heard.  I hope those labels can kick the dust aside and break through.  I want to to assist them, and work alongside them.  I have an idea for a band of course, and it seems logical to parabond the twin desires of music-writing and talent-hunting.  I have an idea for a logo; I have some names I want to approach; and have a location in mind- who wants in?

 

The Studio:

 

Whereas the idea of a record label is to provide a business for new musicians; and a website would encourage an easy way to make great music; a studio is a physical home that can bear witness to some great moments.  I am going to mention several other musician friends, but Luke Oldfield (of Gypsyfingers) has a glorious haven in Little Halings Studios (https://www.facebook.com/littlehalings).  Luke has managed to make a great success of the studio, and lured some top names to the studio: I have watched on with admiration.  One of the reasons that it is so idyllic is its location.  Surrounded by arable and bucolic splendour, it is synonymous with peace and tranquillity.  Because of this, bands and artists are able to create sounds in beautiful peace: thus leading to a more harmonious and less anxious end-result.

   It will be styled with Little Halings' merits in mind: a wonderful location to record in.  I am off to London either the 28th October, or 1st November: as a reconnosense mission.  I know for a fact that there are ideal buildings in London, facing closure.  Around central London and in east London are former shops and old buildings with no current purpose.  I will not be a big studio: not an Abbey Road-style mecca; more a cosy yet attractive base.  On its outer shell will be psychedelic and psychotropic adornment: something akin to a Beatle-esque mural; not gaudy, but striking and stand-out; front and central will be the studio name and logo.  Inside it will be more modern, but not sterile.  Housing a veritable smorgasbord of homely comforts, there will be a few bedrooms, living/communal area, as well as a garden, reception; forming a circumference around the centrepiece: two adjoining studios, complete with control rooms and rehearsal space.  Its design and layout will be different from anything else; its purpose: to provide a cocoon for a handful of artists (with the sister record label as well as guests); tied to a centralised and focused motto: Create an environment that inspires great music, affordable and accessible to all.

 

The Music-Themed Bar/Café:

 

Okay- not strictly related to 'new music' or talent-hunting; more of a new type of bar.  I have long bemoaned the plight of the coffee shop (the multinational one anyway).  It used to be the case that you could grab a coffee, in a relaxed environment; and relax.  Unfortunately it seems that they are glorified nursery.  Aside from the fact that babies and children have no business being in a coffee shop; the associated and combined noise is enough to cause an aneurysm.  I have no quarter with conversation; on the contrary: it is just noise and irritation that gets my goat.  It is a sad reflection of the times that most public spaces are being child centric; or at the very least, all encompassing.  There are few places one can go to unwind without the looming threat of juvenile delinquency and petulant screaming.  In the U.S. there are a lot of music cafes and bars, yet in this country there are relatively-few.  If you travel to London, Leeds, Manchester, Glasgow etc. there are a fair few: although that said, there aren't as many as there should be in London.  The idea is simple: have a spot that is devoid of irritation and calamitous infancy; instead a wash of music and conversation greets the willing patron.  It will be have the Psychoacoustic name, yet will try to marry modern as well as 'retro' and vintage flavours.  It will be a spacious bar that will serve coffee as well as alcohol.  The décor will be a mixture of jukeboxes and music players- where anyone can select what they want to play.  There will be a small stage for live performances, as well as two floors.  The stage will be downstairs, where as upstairs it will be slightly different.  Here there will be a lot of music memorabilia: photos, scenes, souvenirs and instruments from famous bands and acts.  There will be lyrics written on the wall, a space where you can create music of your own, as well as a communal wall where anyone can write and share inspiration.  There will be vibrancy as well as calming touches; sofas and comfortable seating areas, but above all, a clear credo: a space that appeals to the musician, with none of the unnecessary noise or disruption.  It will have a combined feel of a bar and coffee shop and will try to combine charm with modern sharpness: the combination will be a unique bar that hopes to attract many.

   Of course places like Planet Hollywood exist; yet are a bit gaudy and touristy (sic.).  There are plenty of pre-existing music bars and cafes, yet most are smaller and less well-heard of.  My intention is to create- at first a one-off-a name that can lead to global representation and franchise.  I do not want something faceless and corporate: more a bar that is unique and fascinating, yet can be transferred and incorporated by an international market.  I feel that there are few venues or spaces one can sit and talk; write; listen to music; create music, as well as have a quiet drink or see a gig: all under the same roof.  It may seem like pie-in-the-sky thinking, yet is not beyond anyone's reaches.  The design would be easy enough-given time; and it would be something- I hope- that would attract a wide range of people- from all around the U.K.  I hope so, anyway....

 

The Charity:

 

The final tentacle of my five limbed squid is a charity: a benevolence that helps to prosper musicians, and non-musicians alike.  Let me elaborate.  There are a few charities around which aim to provide funds to the new musician- not many mind.  The idea is to filter and tribute the profits and finances gained from the other arms of the business, and funnel it into the charity.  Of course it will not receive ALL of the profits: there are staff, expenses and other costs that needs to be dealt with, yet will (hopefully) benefit from a sizeable chunk of revenue.  The charity will aim to provide funding to new musicians: those struggling, as well as those finding it hard to fund their projects.  In addition, finance will be assigned to worth music-related projects: invigorating struggling venues; providing support to record labels as well as independent record shops and larger chains alike.  Aside from music digressions, it will have an intention to provide support to a multitude of other charities.  The idea is that an assigned percentage of donations will go to charities, such as cancer charities, those whom support the elderly etc.; yet will also aim to benefit many others.  I would hope that the charity could entice established as well as new musicians to act as ambassadors and supporters: whom would help to raise funds for the charity- as well as raise awareness for worthy causes.

   All of us have experiences tragedy of life: either first hand or indirectly.  Whether a relative has died of cancer, or a local business has faced ruination; there are many things and events that can shape a human being for the worst.  Of course we have established charities and great causes, yet few that are music-based.  It is hoped that not only Psychoacoustics' profit-share benefit a multitude of charities and ventures; but it would inspire multinational companies, organisations and huge bands to kick in some funds; help raise revenue and assist in rejuvenating people, causes and lives.  There is a lot of focus based around self-involvement and self-enrichment; yet small mind is paid towards those less fortunate.  This would be a way of helping to raise money, yet also be involved with music and musicians.  The idea is that the charity would have a website and you could pledge an amount.  Like the Psychoacoustics website, one could download and access music- at a cost; the idea being that as well as purchasing a track or album a small amount would go to the charity- thus benefiting the associated musician as well as others.  Gigs would be organised and events (runs, bake sales etc.) would be hosted; with the intention of encouraging as many different people- from all around the world- to donate their time and effort to symphonise a more stable future.  Who could object?

 

'The Ambition and Long-Term Goals':

 

Inspire others (myself included):

 

I have about 5 or 6 great (well, pretty good) music video ideas in mind; yet nowhere to put them.  I am looking to find a song that can fit the images.  There are a lot of different emotions and thoughts that occupy my mind; yet there seems to be little change of having them heard.  If it's easier to connect, to make music, to find a voice etc. then it is easier to create as well as inspire others.  I am aiming to give an outlet to as many as humanely possible.  Music is the singular-greatest thing in existence: something that unites as well as divides.

  

Raising money for musicians and charity:

 

Sorry- almost at the end!  I want to mention two different musicians, if I can?  The first is Fran Galea (https://www.facebook.com/chessofficial?ref=br_tf), A.K.A. Chess.  I became aware of Fran a while ago and was instantly struck by her ambition, as well as her great taste in music.  A fellow worshipper of Michael Jackson, Prince and Freddie Mercury, here was a woman with a great eye for quality.  I had the pleasure of reviewing for her; her E.P. Babygirl included.  I was struck by her voice: at once powerful and dominating, the next sleek, seductive and romantic.  Her sheer range and power could not be denied; nor her quality or desire.  She is a hungry artists whom is doing her native Malta proud.  I have spoken to her (verbally) only once; yet have been in frequent communication; keeping a keen eye on her progress.  Fran also teaches too, and has dedicated much of her young life to realising her dreams and doing what she loves to do: making music.  I have watched with nerves, Chess' plight, with regards to raising money.  Previously, Fran has been able to raise money through Kickstarter: relying on the generosity and support of some loyal fans.  In addition to working incredibly hard to raise money, she has worked tirelessly to have her music heard.  It is a sad realisation that in order to record music and realise ambition, a lot of money is needed- a huge amount in fact!  Recently the funding for Chess' forthcoming Tuxedo E.P. has completed (well done again!).  As I speak music is being created; ideas bursting forth, and a young musician is preparing to make her next moves in the music world.  Fran is very excited- if nervous- about the next few months.  There is expectation, yet above all, there is personal expectation.  She wants to create something memorable, and something that is true to her and shows how good she is.  I am a big fan of Fran and Chess and will continue to lend my support: as a listener, funder and reviewer.  She is a very down-to-earth and lovely person, and someone whom is deserving of accolade and huge attention. 

   The second person I want to mention is Elena Stathaki.  She is based in Surrey, yet hails from Greece, but is someone whom has a very different voice, ambition and personality.  I have been lucky enough to recently review Elena Ramona (https://www.facebook.com/pages/Elena-Ramona/323928237668916) and her wonderful single Rise.  It is a wonderful song that displays the young artists talent and gorgeous voice.  I am very jealous of her in fact.  She is working her backside raw to raise money to make music- she has an E.P. coming up.  I know from speaking to her, that an E.P. is in the works; songs are taking form, and big plans are afoot.  She is not wanting to give too much away, but one thing can be confirmed: the ensuing release will be fantastic.  Aside from being pretty damn close to my dream woman, she has a very admirable attitude to music.  She wants to work as possible to make her own music; to bring her sounds to a wider public, and to realise an ambition she has had for...well, ever.  I will do all I can to help her, and am keen to be involved with her music in the future: as a reviewer, and fan.  I know she will a huge star and do not need to blow smoke: it is waiting to happen.  I know that Elena has worked tireless to make music and to raise awareness, and feel that there are still too many unaware of her sounds.  I hope to meet her in the future to help foster her ambitions, yet for now the main thing I have noticed is how much she loves music.  Her mind is taken up with what the future holds and what she can achieve: I get the feeling that few things in life are more important.

  I know many others that have been working hard.  I have mentioned Lisa and James from Universal Thee; Abi and Marc of Issimo; Alex, Ryan, Luke, Jack of Jingo, Chloe and a host more (my previous reviews will show you how many new acts have struck me).  I see cases of local talent whom are hungry and headstrong with regards to making music, yet are having to work themselves to the bone to make it happen.  It is admirable that such effort and passion is put in; yet one feels that it should be easier for tremendous talent to make their dreams a reality.  I am hoping that the website will make the business of making music easier; as well as providing links, fans, venues and support to artists; so that they can dedicate more time to making music.  I hope to attract some aforementioned local names to the record label, studio, as well as the charity: to make it less costly for them to record and provide a future home for their future developments.

   There are many musicians out there that toil away; too many worthy people that have to work too long and tirelessly- many of whom never manage to record anything.  I am hoping that finance can be raised to provides huge support to artists, as well as connects them to a global audience, as well as a multitude of adoring faces.

 

Make necessary changes:

 

From my own perspective, I have found recording music a task.  I know full well what my voice can do: dear God how I want to back that up.  I suppose I can write a good lyric; if I haven't quite mastered the whole 'traditional song writing' formula.  I have ambition to record music, yet find that a combination of nerves, lack of money and energy have rendered my boldest intentions a mere orphan.  I know that there are a lot of bedroom idols; a great deal of bands and acts that are wanting to poke their head above the parapet: yet are struggling to find a grip.  There is plenty of money out there, as well as potential.  I am aiming to create a brand that makes it easier for music to be made; making it easier for worthy people to record music- as well as bringing as much music as possible, as far and wide as I can.

 

Reality Check?

 

Lot of dreaming huh?  Surely not possible?  Well...yes and no.  Sure it is true that each facet and chain of the link will require money- a hell of a lot.  That is true, and where does one even get the money from?  A good question as well, but one that can be readily answered.  The initial hope is that the idea will appeal to many: that it will strike a chord with as many as possible.  With a less-than-hectic social life, sans girlfriend, I have a lot of restless energy that needs satisfaction.  I do not see any of it as a distraction, nor an idea that will ever become boring.  The premises will be out there somewhere; the need is there; the website can be created and realised; and a charity set up, it all comes down to two different things.

   Demand is one thing.  On Facebook I have few 'friends'- slightly less on Twitter.  Getting the word beyond this blog and my Facebook page is going to be a task in itself.  If it strikes the ear of even a few people then it will be worthwhile, yet its future success and creation can only exist if there is a larger market awaiting.  I will try as hard as possible to spread the word and get some feedback.  It is so often the case that people are only willing to pay attention when something is complete: they will only consider a website when it is live; a bar and studio when build and a record label when it is set up.  It is a sad reflection on people's attention spans and considerations for others, yet is fair enough I guess. 

   The second, and most ominous beast, is money.  Just recording one track can require hundreds of pounds, so surely realising all of this will require hundreds of thousands?!  Well...yes.  The plan is to not do it all at once.  The first stage is going to be set up a website.  I have most of the designs in my head and know what I want it to look like.  The record label is at the forefront as well, and will spend as much time as possible trying to get the funds raised.  I can think of ways and means to do that- it may take a lot of personal sacrifice, mind.  The initial goal is to see if people would ever be interested or gripped by a Psychoacoustic concept? It is not one man's bid to become a multi-millionaire; more a way of galvanising the music industry and providing a support to new musicians.

 

AND FINALLY...

 

It may be one hell of an ambitious plan: why would I do it any other way?!  The idea of me posting is to see if anyone would buy into it.  Wold there be a hungry market?  Would it flourish many years from now?  It will take a lot of money to get everything off of the ground: which is a curse that is a hamstring to most people.  My Big Question is this:

 

Who would want to see this happen?

 

Let me KNOW...

 

X

"The Equality State"

Where as my last blog was a bit of a window into my personal doubts; issues etc., this is more forward-thinking and positive- alas, not about music... would have been a hassle to create a new blog site for comedy!

I have been exhilarated by Breaking Bad.  I am sad that it ended, and cannot believe it existed- seemed to be a wonderful fever-dream: the likes of which we may never see again.  Comedy shows like The Simpsons, Family Guy and such are past their best, whilst others like The Big Bang Theory never seem to tire.  As much as I muse on these events, one thing springs to mind: they are all American.  The U.K. is capable of producing great work.  There has been some terrific comedies and dramas, but the U.S. always seem to lead the way.  We can do drama very well- not quite Breaking Bad great, but great none the less.  Because of the comparative lack of money, it is often harder to be ambitious.  I believe that the U.S. has more money and a bigger creative industry, but not the greater talent.  We have some of the best actors, funniest people and finest directors in the world.  As I am typing this, I am watching a classic episode of The Simpsons.  I am always amazed at how many jokes the writers could jam into a single page; let alone an episode.  Comedies such as The Simpsons, South Park and Curb Your Enthusiasm are cornucopias of intelligence and outstanding break-neck comedy.  Dramas such as Breaking Bad are a dramatic equivalent: astonishing performances, terrific writing and compelling stories.  In this country, we seem to be a bit quieter.  In terms of comedy, we have been a bit hit-and-miss.  I love The I.T. Crowd; I love The Thick of It.  If I were to cast around for my favourite British comedies, most of them would be from the '80s and '90s: there are few modern equivalents that excite or inspire me.

I had the pleasure of being part of The Cambridge Footlights for a couple of years and have seen some terrific talent go onto appear in shows such as The Inbetweeners, Downtown Abbey and Him and Her.  I have always admired the drama and comedy of this country, but feel that we may be stagnating.  In terms of comedy there are too many studio-based variations on the a theme: two many family-based comedies that are gentle, but not exactly gut-busting or adventurous.  We have produced a few gems, but it is still the U.S. that leads the way- by a long way.  I have been wondering why.  I suppose we have less money;  but above all networks such as The BBC are the only station that commission unsolicited comedies: there is still an aim towards inexpensive, family-friendly comedies.  It has always annoyed me, because the finest comedies of the moment are as far from this as possible: they are ambitious and unique and take risks at every turn.  For years there have been attempts to replicate the majesty of early-'90s The Simpsons; classic South Park; cutting edge Curb Your Enthusiasm, Seinfeld and the like: yet few success stories.

Anyway, below is an idea: something that is an animated comedy: something that this country never really dabbles in, but is much-demanded.  It will be posted through the doors of the BBC; it will go to a few production companies, but I have the feeling it may rely on a Kickstarter-like financial campaign, tied to a willing and ready production company.  I admire any new comedy, but have been thinking about animation.  The Simpsons, Family Guy and South Park are three of the best comedies of all time.  It allows you to be as ambitious as possible; it costs relatively little; it takes a few hours to record each episode, and allows you to bring to life anything your imagination comes up with.  There are a few animation companies in this country that are looking for projects.  I have been meaning to make a show for two people: Raph Shirley and Kate Hollowood.  The former is an old Footlights colleague whom is an everyman with impeccable timing; a superb comedy talent.  The latter, a fine and brilliant actor whom is a versatile and very funny human.  Both can knock comedy out of the park; and both will appear in many in their careers.  I have been excited by the prospect of creating a comedy that can grab a foothold and make an impact- see below.

Once it is written, I will be thinking of ways to make it a reality: whether it is a Kickstarter campaign, a pitch to the BBC; a project that needs to go to an independent company- but most of all, I want to know from people: is it something that people would watch and would be popular?  I hope to make it as terrific and funny as possible; to have great lighting and beautiful scenes.  Take the cinematic beauty of Breaking Bad, and cheekily incorporate some of its themes into an animated comedy; have some of the adult humour of South Park, the sharp pace of The Simpsons, and a British sensibility.  A tall order perhaps, but like music endeavours, the ambition is all there...would it be something that could make it?

"The Equality State"

Pilot episode

(29 minutes):

"London, Wyoming"

Desired Cast:

Kate Hollowood

Raph Shirley

Sarah Solemani

Male- major role

Female- minor roles

Male- minor roles

Desired Soundtrack:

No One Loves Me & Neither Do I- Them Crooked Vultures (Theme)

Lotus Flower- Radiohead (Opening track)

Familiar Feeling- Moloko (Final scenes and end credits)

Synopsis:

The pilot focuses on two different couples in their 20s, who come together; during Hallowe'en of 2013.  Their coming together will have a huge effect on each other; that will change their lives and cause huge waves.

Alice Yorke is a Jehovah's Witness, she is down on her luck and a mother-to-be.  She has just learned she is pregnant and tries to balance her daily life, coping with it.  She goes door-to-door in east London; trying to spread 'the good word'.  The local citizens are not so accepting, and as she meets some weird and wonderful people, she starts to doubt herself.  As the sun rises over east London, Alice and her 'colleagues' try to change people's minds; before a huge song-and-dance number breaks out: D.E.N.I.A.L.  As a hard morning drags on, Alice returns to her Canary Wharf apartment she shares with her boyfriend.

The boyfriend in question is a one Stefan Buckley.  He has recently been fired as a teacher, and spends his days obsessed with Radiohead; smoking, drinking and preparing for an upcoming court case: a harassment charge made by Thom Yorke.  The two sit down and discuss the future possibility of becoming parents; both knowing that they do not have the money or security- or stability- to be able to handle it.  They weight up their lives, and recollect how and why Stefan got fired: both aware that they need to change their lives.

Over in Camden, P.C. Natalie Mercury is on the beat- and on a crime scene.  She is a controversial and 'bent' police officer, and has been in trouble constantly.  From drag racing The Red Cross; wrongful arrests, parking in disabled spaces and tampering with murder scenes, her boss is fuming.  Natalie arrests some 'freedom-hating terrorists'; lays down the law and not strictly playing by the rules- not realising they are Hasidic Jews.  When they complain, she tells them to 'tell someone who cares'; as there is a smash cut to her Chief Inspector's office; as a stack of complaints and written warnings are piled on the desk.  She is given one last chance, and told she is on very thin ice.

In a local hospital, her high-flying and dashing boyfriend Dan Bush is experiencing a typical day.  In the clinic he is dealing with some strange and depraved patients, whilst dealing with the advances of a gorgeous co-worker; as well as fending off a tyrannical boss- who is rather violent and angry.  In his spare time, he manages a successful band (Famous Atheists)- as well as looking after his sick and cantankerous parents (two 80 year olds).  After a rough money, he catches a quick break at his flat; located opposite a kebab shop in Camden.  He meets Natalie there, as the two discuss a recent event: Dan proposing the previous night.  With Natalie's job at risk and pressures in Dan's life; Dan starts to feel the strain; as Natalie makes lavish- and very unusual plans!  As they prepare for the evening's Hallowe'en party, the day ticks on...

Alice deals with the effects of morning sickness; choosing inconvenient and embarrassing places to fall ill.  The day continues, and the four prepare for the evening.  As the guests arrive in various costumes, Alice's niece is round as they have to babysit her.  She is a very 'mature' and strange 4-year-old and causes all ends of issues; not helped by Stefan teaching her how to smoke.  The party swings on, as each of the couples confide in each other; and their various doubts.

As the morning arrives, the four go separate ways.  Alice is left to clear up the mess and carnage of the night before; before having to go onto the streets, in a desperate attempt to bring the word of Jehovah to Elephant and Castle and Hackney.  Dan has a nightmare morning as his colleague makes a pass, and his fellow doctors tease him about settling down.  Natalie is fired for letting a drunk meth-head drive her home after the party- in a police car.  Natalie has her badge, car and clothes stolen, and is now out of a job, being pursued by angry criminals, with the Met. Police angrily demanding the return of the stolen assets.  Stefan spends his morning trying to invent the perfect hangover cure; looking for a new job, as well as being embroiled in a battle with a neighbour- with disastrous  consequences.

The two boys meet up at a local bar- Homme's; they discuss their situations and both feel trapped.  They are making plans for the future when Stefan gets a phone call with terrible news- he may only have 8 months to live.  The two girls meet at an Australian bar in Soho.  With Natalie fired and Alice dislocated and lost, they both feel a change is needed.  After both drinking a well-known cocktail; Natalie still has drugs- taken from a local gang.  After dropping them in the cocktail; she accidentally takes a sip.  The effects start to take a hold; leaving her sedate and ecstatic.  As the girls make their way home on the tube, they see the depression of London life; the inequality as well as the beauty and fascination.  As Alice finishes her day, arriving at the door of a chavy couple, Natalie calls.  Suddenly a master plan is struck, and the girls strike upon a way out of their problems.

Stefan and Dan have a heart-to-heart and asses the news.  Stefan decides that he has been a disappointment to Alice, and decides to make a list; a sort of Bucket List, where he will do as much as possible- as well as achieve as many goals as possible.  The girls realise that Natalie has stumbled upon an addictive and potent invention.  The two set up premises in the empty basement of the kebab shop (opposite Natalie and Dan's flat), and come up with a name: The Equality State.  It refers to the effect the cocktail has where everyone- rich or poor- is levelled and equalled: everyone feels the same.  It also refers to Wyoming, a U.S. state which is mountainous and sparsely-populated.  It seems like a metaphor for their business, and how they customers will blend into London life.

As the police close in on Natalie and Dan's flat and the walls close in, Natalie still uses her pull and power as a police officer to round up customers and make money and connections.  Stefan and Dan begin a list of 30 'to-dos' or tasks; starting with number 1- with the help of Dan's band, Famous Atheists.  The two forget about work and life.  Dan does not mention that his colleague made a pass, as well as his doubts about the wedding; Stefan does not let Alice know about his illness.  Meanwhile neither girls mention their business venture, as well as Natalie's firing, and Alice's doubts about motherhood.

In the closing scenes, Alice and Stefan talk about the future, and possible abortion.  Outside an inappropriately-named abortion clinic, as the rain lashes; the two realises that they want to stay together and need a future to hold onto.  Knowing that each of their lives will be very different and turbulent, they continue as they are: making sure neither knows of each other's fate.  Natalie and Dan spend the night together; neither revealing truths, but promising to stick together.  As Moloko's Familiar Feeling plays, the conclusion plays out.  The girls find that they are being pursued.  Alice has her colleagues, as well as some of her 'faithful' chasing her; angry at her betrayal and revaluation; as Natalie finds that her flat is taken over by the police; keen to find her, as some disgruntled criminals also close in.  Stefan has a court case; illness and fatherhood to think about, as Dan's colleague announces her intentions- leaving each pair with much to ponder.  The screen splits as each of the couples go separate ways.  Stefan and Dan head to Essex to fulfil the next 'task'- both trying to escape from life; unaware what ramifications could be in store.  Natalie and Alice have a huge queue of customers, as word spreads.  As the siren's flash across the street and the flat is turned over, the girls both join hands and smile; realising that London will be changed, and that their lives will never be the same again...

The idea of the comedy is to cheekily reference Breaking Bad, as well as have potential for multiple episodes.  The show focuses on the two couples, but has a whole host of peripheral and secondary characters from episode to episode.  As the girls' lives untangle and progress, they find that their discovery is attracting a lot of attention; as the two balance trying to earn money, but stay clear of the law.  Dan and Stefan bond and try to fulfil Stefan's wishes, but both couples have a hard time hiding the truths from each other: at the end of the pilot cliff-hangers are unveiled and a few surprise twists as well.

I hope it gets made; I hope it lasts; it may not, but will try my hardest- surely there is room in the market :)

Music: How Everything Comes Back To It.

Sunday. 

 

A day of rest.  A day to reflect.  A day of...

 

Well, stress.  The last day of escape before a return to (working) reality.  The roads are crammed with idiots; the streets littered with slow-moving people; above all, a creeping sense that in less than 24 hours, you'd wish you'd made more of the previous day.

 

There has been a creeping sense of doubt coming to my mind recently.  Later I will be posting a blog about a new comedy (I have devised); something that is causing some excitement in my mind.  My working week has become a lot harder as of late.  A combination of increasing stress, growing pressure and personal circumstance have made the thought of another week almost unbearable.  My brain has been letting me down.  Dizziness, migraines, falling down, mood swings; deja vu, trouble walking have made me think something is badly wrong.  If you live with clinical depression and insomnia, you hope that nothing else impinges upon your life; you hope for enough positives to impose some sort of balance.

 

I have been very proud of some of my friends as of late.  At work, I have some very nice and supportive colleagues; who make the stress and sense of fear manageable- and there is a lot of fear.  I have some musician contacts whom have followed their dreams, and put voice to microphone- creating songs, making plans and raising anticipation.  I deeply admire that: that ability to do what you want to do in life; not what you think you should.  My actor friend, Kate Hollowood, has had some recent success- and has inspired a blog that is to come later...

 

As I sit here and think of others; buying gifts; hoping couples are well; that people I know are fine, and that everyone I know is good.  A combination of ill health, uncertainty, and a lot of stress and growing fear and sadness have sharpened my mind.  For all of the terrifying neurological gut-shots; clarity creeps in.  I have been thinking more of companionship: you get to a certain age where being single is not the most logical and sensible option.  I have been making plans for other things: save for a holiday; move out; treat others, and above all- make plans for the future.

 

I have never thought too hard of the long-term.  Having come out of a year-long spell of unemployment, the only priority was finding work.  Now I have, I find myself thinking ahead.  I want to be near London; to move on- I want to be in an environment where I am secure; where I can thrive, and essentially where I feel safe and happy.  I have been very unhappy for many years, and want to change that: I want to make the most of what time I have.

 

Music has always been an obsession: a mistress; a lover; a sister; a loyal friend.  Some will know that I have been reviewing music (on and off) for a while now.  I have witnessed many different acts and bands come in: ranging from Swedish electro, to London punk.  Few people know the other side of the story: me as a musician- well an 'aspiring' one at least!

 

I have been writing music since I was 18 (12 years now); and have a double-album's worth of song titles, designs, names, lyrics and ideas.  I yearn to find 4 super musicians to complete the band; to help put life to the songs.  I have been working on my voice.  Whether it is a side effect of a deeper trouble or a strange (if pointless) talent; I can stretch the thing quite far.  I have always been obsessed and enamoured of the voice; from the likes of Kate Bush, Freddie Mercury, Otis Redding, Bjork, Thom Yorke: I adore 'em all.  Rather than be inspired by them, I have sort of trained my voice to sound like them- all of them.  Being a 6"3 white guy from the Home Counties it may sound incongruous to have the tones of Kate Bush or Howlin' Wolf in your armour; unnatural and strange.  That is what has always compelled me to do it.  No other singer has tried to make their voice that, well- flexible.  Whether it leads to ostracising looks and fear, be damned: it makes me excited.  I don't want to hone or reign it in; every weird robusto soprano; contralto; falsetto; bass and tenor movement excites me; I want to sound a bit like London Grammar, Mazzy Star, Tom Waits, Pavarotti, Chris Cornell- whoever.  It gives you range, and possibility, and it forces people to listen.

 

What is the point of all of this you may wonder (or not)?  I guess it is a call to arms.  I have been watching friends go through hell; some through doubt; have had a woman on my mind for too long- causing sleepless nights.  I have had stress, near-death misses and fear and horror over the last few months.  As the week unfolds I am glad that there are people that like me, appreciate me and will look out for me; yet cannot shake the fear and sense of instability, illness and sadness.  I am 30 now, and feel there is little time to follow my dreams, if I don't start making plans.  I feel that you should do what you want to do in your own life, and not exist in uncertainty and fatigue.  I have witnessed a few of my favourite people growing and encountering success.  In work, relationships and life in general, big strides are being made.  People that were formally unhappy and lonely, have managed to turn things around.  The 'relationship' 'financial' and 'personal' boxes have not been ticked by me yet: I want to them to be. 

 

I only have 3 goals over the next year: find the money, bravery, enthusiasm and luck to be able to make music: if only one song, to show what I can do and what I can accomplish.  I want to be less alone; to have someone to help foster my ambition, and finally, I want to feel safe- not happy (it may be a stretch), but secure and safely ensconced.  Having a job has afforded me the chance to earn money to make plans and look ahead.  Whatever I am doing at the moment is not working out; and whether it is impossible or not, I want to be where I am now, to where I want to be: to have everything in its right place, and to be part of a happier world.  It all comes down to music: I am listening to it now; it distracts me; it inspires and is compelling me to get back to reviewing again...

 

The simple message is this: if you are the type of person whom has ambition and wants to set the world alight, then do it now: too few people do and have that impetus.  I hope everyone- who wants to- gets there.  A lot of people I know are doing that, and I want to join them- very soon...

 

Because one simple change... can change everything.

 

P.S.- new reviews to come soon; new blog to come in a few hours.

Music, Lyrics and Voice: Sam Liddicott

It has been a fair while since I have put finger to key; to write about music....

There are two (unflinching) reasons for this.  For one, I have been introverted by work transition, financial difficulties and personal ups and downs: all things music reviewing-related have taken a back seat.  It is the minor key of a major symphony: a lack of inspiration.  Not so much from me (I have been writing my own stuff quite expeditiously and unabated); the lack of inspiration comes from others.  As much as I enjoyed trying to find new acts and artists- in a hope to give them some spotlight- after a while the creative stagnation, lack of originality and over-familiarity become too much of a burden.  It became quite laborious to find new things to say about the emperor's new clothes; to be sagacious and effusive about musicians; many of whom were saying the same thing as dozens of their contemporaries.  It is easy to become jaded and fatigued (whilst reviewing music).  With the birth of new acts (seemingly) running parallel to the growth in human population, sifting through the seas of sounds does become arduous.  I am always filled with admiration each time I see a new act enter the scene.  It is a brave thing to do, and- considering what a fickle and unpredictable mistress the music industry can be- something that I envy (more on that a bit later).  My bane and primary malady emanated from a deep-set and troubling realisation: there was precious (little) spark.  Sure, many made a noise; created electricity; kept the senses primed, but when it was all over: where was the memory?  The mind and body may have been (briefly stimulated) but the lingering sensation was oft one of quasi-afterglow: not a cherished and unforgettable memory.  It is true that the last decade has introduced very few plaudits: no contenders for the greatest album, song, band or a act of all-time (with a few exceptions).  It was the roaring '90s which saw the last real and relevant wave of fascination and majesty.  Since then, there has been the odd masterpiece; a few good men and great women; a novella of pointed lyrics- but very few sounds have stuck in my mind.  My last blog post examined the lack of huge ambition in the music industry (http://musicmusingsandsuch.wordpress.com/2013/07/07/new-music-the-death-of-grand-ambition/).  I theorised that there has been scant purveyance of mind-blowing and gravity-defying music: too few attempts at grand multi-part epics; far too many simple and uncomplicated songs.  It is simultaneously depressing and prescient that my favourite album was created in 1994; my all-time favourite song was pressed in 2003; my favourite singer died in 1991, and the band whom I admire the most disbanded in 1970.  The '00s have unveiled a paradigm shift away from adventurous originality and variegated and polemic invigoration, and towards a consecrated and immobile predictability.  I have postulated- and will continue to speculate- as to the reasons why behind the how; the where between the when of how things have ended up how they have.  The bottom line is this, though: the ambition and daring is not there... not that I've heard.  A single song- in its most homogenised and spendable form boils down to three core components: the lyrics; the music and the voice.  There are boxes within the headings; sub-headings within the bullet points, and a checklist within the checklist that has been unfulfilled and under-examined for too long now.  Perhaps I am over-simplifying and displaying some naivety and fecklessness.  I do- however- feel that the catalyst for a resurgence; a sea change towards divinity is not out of reach (far from it, in fact).  With a wealth of consumer finance, talent and potentiality, it is simply a matter of time before a revelation occurs.  If one were to examine the three pillars of a song's architecture, it is easy to see how (and where) changes can be made; re-appropriations can be formed- and how music's somewhat inconsistent name can earn back its reputation...

Music: 

"Without music, life would be a mistake."

This is an element of song writing and composing that is overlooked.  It has been the established guard that has created the biggest splashes when it comes to stunning musicianship.  The likes of Queens of the Stone Age have upped their game and come up with some of their strongest moves; acts such as Laura Marling and The National have continued their Di Maggio-like winning streak; deftly cranking up the quality meter (all the way) to 11.  Many new bands and solo acts overlook the importance of writing encompassing and surprising music: something that excites, seduces and surprises.  I have heard a few solo acts whom have had a decent voice; yet their strengths are outweighed by lazy and uninspired songs: the chief culprit has been one dimensional compositions.  It is not a case of cramming every instrument, genre, style and sensation into every song- far from it.  The thing that amazed me about the recent releases from Queens, Marling and The National was not the consistency; it was more to do with the quality.  Between those three acts, over two dozen albums have been pressed; yet their ability to confound, supersede and shock is inspiring.  It may be asking a lot to expect that level of consistency from all new music; yet it is surprising that there is not the ambition to rival the greatest acts around: how many brand new music acts go in that hard and passionate?  I cannot name one single album or song that has left me drooling and grinning (except for tracks by the aforementioned).  I have a lot of nerve saying this (as my songs are on paper at the moment, rather than on tape), but it can be as simple as an original and intriguing song title.  When I was writing my not-yet-released-or-recorded-or-started album, the most important step was this: strike memorable note.  Get the band name right.  Make the album title compelling.  Make sure the song titles were largely unique, and interesting.  I was hoping that just by having the track listing (see below), fascination and wondering would be elicited...

Death of the Sweetheart - 'Marriage: The Beautiful Revenge'

Black Majesty Blues- 6:19 

Ultraviolet Robot- 4:24

Emma Cool and the Boston Dance Party- 5:20

I Fall To Pieces- 5:13 *

Minnesota- 4:11

Six-Figure Surname- 1:54

In The Word of the King- 3:23

We Have Seen Better Days- 4:16

Last To The Trigger, First One To Shoot- 3:30

The Uptalk Epidemic- 5:11

Vanity Mirror- 8:02

Running Time:

51:42 minutes.

Barring one cover version (I Fall To Pieces), the idea was to have a selection of songs that covered huge swathes of ground, but above all, stuck out.  Track names were inspired by friends (The Uptalk Epidemic); rejected song titles from another band (Ultraviolet Robot) and a fevered and surreal dream (Emma Cool and the Boston Dance Party).  When you hit upon an unusual song title, oddly, the musical ambition becomes bigger and bolder.  I have come across some great song titles from various different acts; yet there is an over-reliance to phone it in: choose the mundane and the predictable, in the hope that it will not alienate too many people.  I think that one of the secrets to longevity and future-demand is a diverse sonic palette.  If you take a band like Radiohead, think how much ground was covered on albums such as Kid A and OK Computer!  From one song to the next, there is such a wealth of land covered.  I feel that so many new acts are instilled with fear and anxiety.  Due to the huge influx of new artists, combined with a small and finite budget; there seems to be trepidations to push the envelope.  For bands, there is perhaps more scope to make some noise, yet there seems to be hesitation.  Even with guitar, bass and drum, a myriad of moves and directions can be summoned.  Some new bands such as The Strypes (stupid band name aside) have employed elements of '60s pop and punk; combined it with something modern and fresh, to create a more impressive whole.  I guess the first song, debut E.P. and initial album are- as well as being the most never-wracking- are also the most important.  As crucial as it is not create a unique 'sound' and identity, as well as be original; it is even more crucial to make a huge mark.  And the plain fact of the matter is this: if you don't make bold moves with regards to the music, you won't be remembered in years to come; you won't inspire legions.  One of the reasons why I went into a music reviewing hiatus, was the fact that so many solo acts and bands sounded so similar.  A lot of bands were ripping off other (well-known) groups; whilst a great deal of solo artists came across as dull, ordinary and unspectacular.  There are notable exceptions to name, but most of the most stunning acts were European or from the U.S.  With regards to the U.K. swathes, too many limitations were evident.  It does not cost a huge fortune to employ a string quartet; use a range of guitars; throw in some ghostly church organ; maybe mix some blues and classic elements together?  I am not sure where the exact problem lies.  It could be that the sheer overpopulated music scene is subjugating genuine pioneers.  It may be that there is a need to replicate what is considered 'popular' or 'fashionable'.  It might be something as simple as a lack of ambition and talent; yet I doubt it.  I just feel that the reason that most acts show little range and ambition is that they are scared they will fail.  Whilst it is imperative to hone your sound, and make impressions (in order to be in demand), the price of fulfilling of the market need comes at the expense of bravery and innovation.  Who the hell cares about what the general public want?  The likes of One Direction and Justin Bieber command more respect and patronage than credible and wonderful bands.  The charts are a redundant insult, and the vast majority of the music-buying public are fickle and uneducated.   If I had a pound for every time someone said they are "too young to remember..." I'd be crapping banks.  I'd said 90% of modern music; and by that I mean 'mainstream' stuff is insipid and homogenised.  If you have to work three jobs to be able to afford an orchestra; if you have to sell your own blood to be able to create a phenomenal epic, then why wouldn't you!  Music is like the perfect partner: someone and something that keeps you awake, you'd do anything for, sacrifice yourself for; knowing that the rewards and sense of comfort and safety was worth it.  If people stopped giving a damn what people thought and what critics want; rebelled against the charts and the verminous boy band/crappy pop scene mould that seems to be an incurable ill, then something wonderful will happen.  Imagine what it was like in the '90s.  With the likes of Oasis and Blur battling it out, each creating anthem after anthem; a dance wave that was genuinely gobsmacking; acts such as Jeff Buckley and Britpop darlings causing your average muso to salivate and ejaculate at the faintest string or note, it begs the question: isn't it essential that lessons be learned?  There is a need now more than ever, to recapitulate the feverdream decade; to make this generation proud and inspired...and it doesn't take much.  Listen to a wide range of (stunning) music; don't be afraid to try and equal them; get the song titles right and original, and more than anything remember: a phenomenal song begins with a phenomenal composition.  So stop playing it safe, and take a risk.  By all means stick with guitar, bass and drums; but be bold and daring.  If you do, then a new wave of peerless music will be created, and more importantly something much-needed will happen: the sappy, retched boy bands and mainstream core will dissipate (along with their irritating and moronic fan base) and music will once and for all belong to the worthy: isn't that what we all want?!

A quartet of brilliant compositions:

Strawberry Fields Forever (1967)- The Beatles: http://www.youtube.com/watch?v=9r4mJ3aEhHo

Stairway To Heaven (1971)- Led Zeppelin: http://www.youtube.com/watch?v=8pPvNqOb6RA

Unfinished Sympathy (1991)- Massive Attack: http://www.youtube.com/watch?v=Nc1SdL3_Xmg

To Build A Home (2007)- The Cinematic Orchestra: http://www.youtube.com/watch?v=QB0ordd2nOI

Lyrics:

"I still don't belong to anyone - I am mine" 

Lyrics are my dream girl.  The woman at the back of my mind, whom makes me smile and keeps me awake at night.  The one that can blow my away with a smile and will never disappoint me.  It is a lust and fascination that few people I know, share.  A good friend, wonderful woman, and one of the finest human beings I know shares the passion.  She is someone who recites, shares and is in love with a brilliant lyric: it is one of the main reasons why I admire her so much.  In a larger sense, the lack of this phenomenon is troubling.  In the music world there are some notable wordsmiths such as Alex Turner: a man whom has a consistency for quote-worthy lines, memorable snapshots and stunning poetic works.  When you think of the greatest lyricists, you may head to the shores of Bob Dylan, Leonard Cohen, Morrissey, Neil Young, John Lennon and Joni Mitchell.  Over the last couple of decades, artists as diverse of Bjork and Pixies have offered up some rather fascinating and impressive sets of lyrics.  Whilst the former can weave tales of innocence, beautiful landscapes and childlike fascination; the latter have a knack for the darker side of life: inbreeding, rape, murder, hatred and repression.  Neither act alienates or confuses: both inspire legions of adoring fans and are synonymous with brilliance and originality.  I am not sure what percentage of modern songs are written about love, but I am going to say that it is a vast majority.  Every song or side of love is new: every human being has a different experience, with a different person; from the perspective of a unique mind.  And whilst that is an axiomatic truth, the more worrying truth is this: how many songs do you ever quotes lines from?  Historically there are going to be a lot, but recently: how many bands and solo artists inspire your mind and take your breath with their penmanship?  I adore Matt Berninger's ability to make the morose and depressive beautiful.  He is a man whom dishes out tales of love and longing and imbues them with vast intelligence, wit and fascination; such as:

"Famous angels never come through England England gets the ones you never need I'm in a Los Angeles cathedral Minor singing airheads sing for me"-

England (High Violet)

"Karen, put me in a chair, fuck me and make me a drink I've lost direction and I'm past my peak"

- Karen (Alligator)

"Jo I'll always think of you As the kind of child who knew This was never gonna last"

- Sea of Love (Trouble Will Find Me)

Over the course of six albums, The National's lyricist has peaked a mountain of adversity, trouble and anxiety; and he keeps climbing, determined to conquer the insurmountable.  In my mind, he is in the top three modern lyricists.  The other two would be Laura Marling and Alex Turner.  Below are my favourite two examples for the two- each lyric demonstrates why they are so ahead of their peers:

"Late into the evening They would take each other screaming Looking darkly to the back of her eyes A careless beast was bleating"-

Salinas (A Creature I Don't Know)

"He greets me with kisses When good days deceive him And sometimes with scorn And sometimes I believe him"

- My Manic And I (Alas, I Cannot Swim)

"Fake Tales of San Francisco Echo through the room More point to a wedding disco Without a bride or groom"-

Fake Tales of San Francisco (Whatever People Say I Am, That's What I'm Not)

"In my imagination you're waiting lying on your side, With your hands between your thighs"

- 505 (Favourite Worst Nightmare)

I could recite on and on from these holy trinity, but my point is made: a terrific lyric can elevate a song to sainthood.  I began writing poetry when I was 10; I was published by aged 16 and have a notebook filled with lines and lyrics; like some sort of huge geek, and you know what: nothing gives me purer pleasure than writing lyrics.  There seems to be a correlation between depression and loneliness and lyrical majesty (perhaps Alex Turner is the exception).  If you look at the likes of Dylan, Cohen and Morrissey; each of these folks have suffered and gone without sex, love, happiness and satisfaction for large chunks of their life.  Break-ups, pain and suicidality has inspired some beautiful and mesmeric lines.  I am not suggesting that those well-adjusted, happy or fulfilled cannot pen a line- far from it, in fact.  It just seems to be a trend and observation, as most of the greatest lyrics- and as you can see from the above- do not resolve around depression, hate or emptiness: the tormented mind digs deep to introduce something striking and bold.  The greatest poets, writers and philosopher's of all-time could be considered insular, lonely and depressed.  From my perspective, when you have no arms to wrap around you; few truly contended days, and an upsetting inability to be able to 'fit in' and be a 'normal person', the brain buckles down and the words come out.  In a way, lyrics and poetry are a way of communicating where conversation fails: a way of getting out your most honest thoughts and purest emotions without becoming too vulnerable.  Music is a sociability that brings greatest rewards for the shy, upset and reclusive.  We inferior beasts yearn for love and passion and to wake up with a smile on our face; too few good days arrive and too many dark thoughts creep into our mind.  We are people; we are brave and this is how we communicate.  I am not comparing myself with the greats (the nerve would be galling!); yet I get things off of my chest and disguise my pain through lyrics; and I wouldn't have it any other way.  Too few modern idols pay attention to the vitality of a superb lyric.  It is the soul of a song, and get the words right, and you can pretty much win any heart or mind.  There is precious little to recommend about today's crop of lyricists.  If you subtract the likes of Marling, Berninger, Turner and the much-admired stalwarts of the golden pen: how many other greats can you name?  The blank page can be a terrifying place, but is also an opportunity to create something spectacular.  As vital as it is to be adventurous with regards to composition; making sure that the words are precise and memorable is of equal importance.  There seems to be too many clichés; far too many unspectacular thoughts and half-finished intention.  I am always keen to seek out a great writer, and feel that if there were more great lyricists, then more would be inspired to make music and let their inner most desires, demons and witticisms come to life.  I have been searching my own annals and notebooks for three personal (if not my best work) examples.  They are not my sharpest observations, but examples that make me smile:

"From the dust of the letter scented in lilac dew/The sun touched your face to fool the moon/Well fate's just a word that lovers blame/When the god of music stops playing too soon" - Minnesota

"I got a Christmas card from the city morgue in July/Talking of the weather and enquiring about my health"- Six-Figure Surname

"I'm the murderer in the romantic comedy/The mime artist in the film of the great war/The extra in the lavish musical/Prophet in the epic story of the lord/You can laugh at my condition/If you think it makes you tall/Although my scream is never heard/My silence says it all" - Last To The Trigger, First One To Shoot

"My dying words were the same as my very first" - Vanity Mirror

"It doesn't take a cardiologist/To know that abandoned ships will rust" - Infamy As Child

"You want the kind of love your mother used to love/A common muse for the chosen few/I'm a wallflower in The Tower of Babel/So how could you ever know how much I need you?" - Infamy As Child

A foursome of lyrical awesome:

Tangled Up In Blue (1975)- Bob Dylan: http://www.youtube.com/watch?v=ZN4GcOOSfuA

Hallelujah (1994) Jeff Buckley (comp. Leonard Cohen): http://www.youtube.com/watch?v=vIw0ewEsNHs

My Manic And I (2008) Laura Marling: http://www.youtube.com/watch?v=92QkdzlxeGs

England (2010) The National: http://www.youtube.com/watch?v=8Hl6GnmvMMA

Voice:

"He who sings scares away his woes."

I shall try and keep the last step of my musical trifecta, brief.  It is hard because here is a subject that I am more obsessed with than any other: the human voice.  You can keep your fine breasts, killer legs and pert bottom; if a woman has a voice that is seductive, calming or sexy, I can be reduced to a quivering jelly of a man.  In my mind (and in a perfect world) the woman whom shared all of my ideologies and theories about music; together with a similar musical taste; and has a gorgeous speaking (or singing) voice, would be damn-near perfect!  I have always been curious by the capabilities of the human voice.  Having watched endless animated comedies and having performed on a Cambridge stage many years ago; I have heard and witnessed comics adopt a host of accents and personas in order to amuse.  On a base level, vocal disguise adds mystery and a certain edge to a human.  It gives you the option to be someone different; somebody bolder, better and less fearful.  If you extrapolate from that what you will and apply it to music, there is a similar impetrative.  Many singers are shy and anxious; in actual life they may seem timid or nervous, yet singing allows a different side of them to be heard: the person whom they want to be; see themselves to be; an identity that is inaccessible in every other form.  As much as I have bemoaned the lack of keen wordsmiths; a paucity of innovative composers; my biggest peeve and concern is thus: the scarcity of truly great singers.  Historically- once again- there have been plenty of wonderful vocal forces- but what about today?  It would be incongruous to say that there are no truly great singers today (and by that I mean new singers; not pre-existing singers whom are still performing).  The likes of Adele and Amy Winehouse are- to my mind- the two greatest female singers of the past 10 years.  In the modern milieu and arena there are a few brilliant singers.  Male newbies such as Sam Smith and Matt Corby seem likely successors to a vacant throne.  Where as demigods such as Antony Hegarty seemed to define male vocal brilliance of the late-'90s/early-'00s; today the mantle is up for grabs.  I have heard few candidates whom provoke the same sort of reaction and visceral combustibility (as Hegarty).  For the female market, there are a lot of pretty wonderful singers, yet few that remain long in the mind.  For both men and women, there is a growing trend when it comes to singer.  Whether the voice is soulful, powerful, transcendent or unique a couple of exclamation points hove into view.  Even if the voice is unique and has a certain potency to it, you often wonder how long will the public react to it?  The greatest singers of all time have either had a huge (emotional as well as literal) vocal range; for those whom have a comparatively-limited range (Otis Redding for example) a sheer force and power has personified their lustrous wonder.  In 2013- and in fact for the past decade or so- there have been few new singers whom have- or do- posses a wide and multifaceted range, combined with an emotional conviction and unbelievable power.  Sans Adele, Winehouse et al.; answer me this: can you name five singers (from the last decade) whom you can say rival the all-time greats?  Perhaps it is because I adore the voice; or because I'm a borderline anal obsessive, but I can't help but wonder whether we will live to witness a vocal idol whom can rival the likes of Freddie Mercury, Jeff Buckley, Kate Bush, Marvin Gaye (or even the disreputable scumbag, Axl Rose).  Great lyricists are admirable and to be applauded; bold music innovators are to be commended highly; stunning and untouchable singers deserve the secret to eternal life.  My attention seems diffuse; I hear a great voice, become enraptured in its charms, only to lose interest by album number two.  I crave to bear witness to an artist whom carries a gilded songbook; one whom can compose varied, wonderful melodies and possesses a towering, platinum set of pipes.  The last female to do all three consistently is Bjork.  She is still performing, yet one suspects that her album-making days are limited.  I feel that the last male to be able to achieve this (again with unabated longevity) is Thom Yorke (of Radiohead).  Bjork has the extraordinary lungs; a voice that can go from a seductive whisper to an impassioned belt.  Her lyrics and music can range from imperious to romantic; giving the eager listener endless joy and fascination.  Likewise Mr. Yorke has a voice that can be quivering and vulnerable; yet can transmogrify in all directions; arriving at an animalistic scream.  A sharp penman, he can weave tapestries of loneliness, love and mysticism; wrapping it together with multi-layered and intricate compositions.  My favourite vocalist of all-time is Freddie Mercury.  His voice is a peerless and untouchable force of nature: something that is oft-admired yet never equalled.  An underrated songwriter, he has managed to inspire millions, yet seems to be under-represented in terms of modern-day wannabes (maybe a good thing; I'm not sure).  Jeff Buckley and Kate Bush complete the other two nominations.  Bush has an ethereal and child-like tone that can overwhelm and conquer hearts and minds.  Her range is phenomenal; her emotional ground vast and geographical diverse; her glorious pipes a thing of beauty.  Mr. Buckley is- to my ears- the possessor of the most beautiful male voice since...well, anyone.  Songs such as Hallelujah, Corpus Christi Carol and Dido's Lament demonstrate just how heart-stopping his voice can be.  Yet he was also the owner of a voice that could knock you down with its power; have you leaning into the stereo to be in the studio with him, and a twisted tongue that can turn a straight, tattooed, butch bruiser of a man into a sighing, swooning post-coital woman- cigarette in mouth, stains of the bed sheets.  If you look at the 'All-time Greatest Singers' lists; consistencies are to be found.  The likes of Mercury, Buckley, Bush, Axl Rose, Robert Plant, Aretha Franklin, Marvin Gaye, Elvis etc. are to be found.  Some polls include modern idols such as Amy Winehouse; older gods such as Roy Orbison, Chris Cornell and Paul McCartney.  I scan the electronic pages looking for a modern example (between the year 2000-today), yet come away disappointed.  Modern talent shows compound the problem.  Presided over by vapid judges whom parade desperate fame-hunting morons, each copycatting an existing singer; none of them worth their weight in horse manure.  Their nauseating sob stories and talentless minds brainwash an audience (mostly young women between 11-18) that this is the epitome of the modern-day singer: this is the best we can hope for,  Perhaps there are- again- legends-in-waiting that can extinguish my cynicism: writing songs as I speak, ready to unleash their firestorm voices onto the waiting public- I may be a little too hopeful.  There is so much potential and possibility that a singer can achieve and proffer.  There is too much focus on having a 'singular and unique' voice- something that is a signature sound- that there are limitations and an inbuilt obsolescence.  Why can't a singer have a voice that is capable of operatic glory; Grunge rawness; seductive beauty and all-conquering elasticity?  Again, I think it is fear (as opposed to a lack of talent) that is negating this drought.  On a planet where seven million humans call home, surely there is at least one human being that can allay my reticence, and dispel a large and unwieldy public dissatisfaction?  It would be arrogant of me to say I could be that one: the who-gives-a-crap purveyor whom stretches their voice in all directions, regardless of what people will think and how it will be perceived.  I can say, however, that I have that ambition.  I feel that getting the music side of things right- being a restless composer capable of endless shades and styles- is paramount and the biggest first step.  Someone who can get some original song titles together; songs that posses lines of grace, wit, raw emotion, vast intelligence (not in the same song necessarily, but over the course of an album for example) will be ahead of the game.  Throw in the third and final facet of vocal prowess: an instrument that can do and say anything- in order to match the associative lyrical and musical imperialism, and you have yourself a solution.  It is not that far-fetched to think that if one new artist could achieve this (I can name no new artist whom truly achieves this), this could inspire a wave of a followers to do likewise; and before you know what, the barrel-scrapers and here-for-the-hell-of-itsers (sic.) are relegated and buried, and a retrograde phenomenon is born: a new '90s for the 21st century.  I have a list of all the things I want to do with my voice- and can do now.  Attached to existing singers, the list below is something I want to disseminate over the course of an album: not in a copycat way, but take the elements from the singers and pull them together.  I see the voice as a paint colour chart; as a cocktail list.  My speaking voice is okay, I guess.  Deep, convincing and- I have been told a few times- sensual.  If I translate that to music then it comes across as rather directionless; pleasant enough, yes, but not a world-beater.  I have such an ambition when it comes to words and music, that the voice has to be, not just an equal; but better.  On a paint chart you have hundreds of different names for colours; yellow, blues, greens and reds given unique and weird names.  It is amazing to think how many variations one can choose for something as simple and basic as paint.  In the same way, cocktail menus have a similar charm and mystery.  All sorts of innuendo-laden, bizarre and eye-catching names are given to various alcoholic brews; a menu filled with flavoursome-cum-decorative allure.  I think every singer should aim as high as possible.  By identifying what your voice is capable of, you can push and stretch it; build it up and make it as varied as possible.  If you can achieve a great deal with the voice it causes a chain reaction: the musical palette adapts and matches the ambition, creating a wealth of diverse and wonderful songs; the words range greatly too: soulful and romantic lust mingles with raw-throated belt; pin-sharp falsetto cohabits with feminine beauty and tenderness.  Why would anyone not want to?

Male pop/rock: Jeff Buckley, Freddie Mercury, Michael Jackson, Tim Buckley, Tom Waits, Roy Orbison, Hayden Thorpe, Thom Yorke, Josh Homme, John Lennon, Paul McCartney, Jim Morrison, Roger Daltrey, Sam Smith, Matt Corby, Matt Bellamy.

Male Grunge/heavy metal: Robert Plant, Ron Halford, Axl Rose, Chris Cornell, Frank Black, Ian Gillian.

Male soul: Prince, Marvin Gaye, Otis Redding, Smokey Robinson, James Brown, Antony Hegarty. Male miscellaneous: Captain Beefheart, Pavarotti, Howlin' Wolf, Screamin' Jay Hawkins.

Female pop/rock: Kate Bush, Eva Cassidy, Bjork.

Female soul: Nina Simone, Aretha Franklin.

Female miscellaneous: Yma Sumac, Claire Torry.

Other: Between 900-950 other voices/singers (male and female).

Octaves (estimate): 5-6

3+1, of singing fun:

These Arms of Mine (1962)- Otis Redding: http://www.youtube.com/watch?v=jqVrNK4uiB4

The Great Gig In The Sky (1973)- Pink Floyd: http://www.youtube.com/watch?v=GeWavBBeVmE

The Show Must Go On (1991)- Queen: http://www.youtube.com/watch?v=4ADh8Fs3YdU

Human Behaviour (1993)- Bjork: http://www.youtube.com/watch?v=KDbPYoaAiyc

The aim of this blog was not to showcase any of my wild claims and over-ambition (I'm negotiating here); moreover it is to show what needs to happen in order for progression to occur in music.  Stagnation and insipidness are bywords for a majority of new music.  A band or solo artist may posses a charm, a sense of immediacy and a fascination; yet after a while those initial plus points equate to immobility and predictability.  There is so much disposability and fickleness within the industry that I would love to see someone (or many) come along whom can rival the greats: those whom have the potential to last for years and years; get inside your head and wet the tongue.  Music need not be complicated.  A song boils down to the three pillars of music, lyrics and voice.  There is a lot of mobility and potential within these spheres, yet the ability to be able to succinctly dominate all three is not as hard as one might imagine.  Listening to music that you would normally not do so; trying to do something different with your voice; taking pen to paper and writing down each line that comes to mind (however small) are all vital and admirable necessities.  Away from the legends and established greats, the new music scene is awash with pretenders and hard-working musicians- whom have to share stage space and airtime with some rather loathsome cockroaches.  The lists of the greatest singers, lyricists, musicians, bands; solo artists, songs and lines are dominated by older acts.  You get a fair deal of late-'90s/early-'00s examples- if you are really lucky you may get some relatively-current entries too.  That said, there is still a dominance of '60s, '70s, '80s and '90s acts; little has changed over the past 10 years.  Check out the lists and search your mind and C.D. collection and I dare you to defy me.  A few modern artists can fascinate- I have mentioned the likes of Q.O.T.S.A., Marling and The National- but my record collection is largely composed of your Queen, The Beatles, Led Zeppelin, Bob Dylan, Radiohead, Kate Bush and Nina Simones: music that never disappoints and remains timeless.  I have reviewed- in these very pages- some incredible new acts: ranging from Swedish disco-electronic acts; U.S. rock acts and home-grown brilliance.  I am in regular contact with a lot of brilliant new U.K. acts, all of whom I am hopeful will dominate the music scene in 2014.  My disappointment is not aimed towards them- not even for a single second.  They are acts giving me renewed hope; I guess my depression is aimed towards the great majority: the music that you and I hear on a daily basis.  I am annoyed at myself that I have not put voice to tape and proved my own self-worth: although I have obstacles, and trust me, I will get there soon enough!  I am 30 years old now, and have been song writing for 12 years (or so).  I still do not think I have hit my peak, and constantly work to hone my lyrics to make them as staggering and inspiring as possible.  Many people get lyrics tattooed onto their bodies: I want someone to do that with one of my lines/songs.  I cannot compose or play music (or read or write it); yet keep compositions, riffs and melodies in my brain; my ambitions are hugely over-the-top yet it is not something I am going to sublimate and temporise.  My voice is- as well as being bizarre and strange- something I want to keep as it is: varied and a strange child.  I will not stop and be content until the first album I release is something that is as a result of blood, tears, sweet, pain and endless endeavour.  I think every artist and new act needs to come in that hard; to aim for the all-time greats (in terms of the greatest songs, albums and voices etc.): not be content to do what is expected, but to aim for what is uncommon.  I'll end my rant and thesis, but I hope that it gets through to someone at least.  I love music more than anything in the world, and have a knot in my stomach: I think I may live to see the day where all of the all-time greats have passed, and in their place are comparative minnows.  I hope it is just the wet weather talking, but only time will tell!  I am hoping to return to reviewing very soon, but feel compelled to work on my own material; try to figure a way I can summon the money, band mates, confidence and determination to realise my long-held dreams and ambitions...

Personally... I cannot wait to join the (overcrowded) scene.

X

New Music: The Death of Grand Ambition?

New Music: The Death of Grand Ambition?

Queen

Will the 21st century bear witness to a song that can rival Bohemian Rhapsody?

I am departing from my (daily) routine of music reviews- due to a variety of different pressures and obstacles.  Until I can muster up the fortitude and resolve to reinvigorate some passion for reviewing, I am concerning myself with some personal questions (regarding music)- and this is one that is of the most-urgent concern: what happened to ambition in music?  Until as recently as a few weeks ago, I was contented to seek out new music; separate the proverbial wheat aside, and proffer their majesties to those whom were interested (usually just the band/artist themselves).  A series of recent (and current) events has soured my disposition and energies.  Due to a serious financial funk (debt in fact); health and emotional issues; an welcomed and unsettled home environment; loneliness; creative frustrations, I have had to focus my mind elsewhere- people have ended their own lives, having witnesses fewer set-backs and heartaches.  In light of my current burdens, I have changed my ambitious sights; turned my creative energies towards personal preservation- as opposed to assisting others wholeheartedly.  There are a few disappointing issues (one faces) when seeking out and reviewing new music.  For one thing, it is near-impossible chancing upon great sounds.  Most of my 'leads' were obtained from the likes of The Girls Are and The Guardian- I probably owe them a wealth of debt.  Having had to spend so much time and energy trying to find good music, I asked myself: why the hell is it so difficult?!  There are no websites (or music-based ones) that provide connections to new bands and artists in need of reviewing: nothing geared towards the likes of me.  As much as I have bemoaned the lack of good music websites (they all have serious flaws to be honest), I have also been trying to get my own music website up-and-running; getting it off of the ground level. As much as there is a difficulty when trying to find (great) new music; it is even harder trying to get assistance with regards to launching a website.  If you do not have thousands of pounds and a huge knowledge of web design, it is phenomenally hard to make ambitious web sites a reality.  I accept that finance is needed (with regards to building a webpage), but that is not my biggest woe.  Recently I have mailed student-based web designers; professional design consultancies- even acquaintances and trusted people in the know.  Weeks and months have gone by, and not a single human being has responded to me- not even with a bare-minimum "Thanks but no thanks".  In music; in business and in life a lot of people are incredibly selfish and narrow-minded.  Perhaps my standards are high, but if someone like me (whom has a lot of details worked out for my music website) approaches someone- even a Facebook friend- asking for some basic advice, it is common courtesy to respond: why do people feel the need to be so unlikeable and unprofessional?  It is not as though my website proposal is unfeasible; nor is it a huge money-maker: it is for the benefit of new musicians, music-lovers and a whole wave of people- and fills a desperate, desperate market need.  Between getting angry at people's lack of manners and help; and the difficulties of finding new music to review, I have gone a bit 'off' of the idea of assisting others and making their lives better.  It sounds cynical and cruel, but so few people are willing to help out those deserving, I am wondering why I do it so much?  I don't believe in anything as asinine and ridiculously unscientific as karma or fate, but I do believe that there should be some give and take- with some 'give' aimed at my shores.  As well as personal issues and a lack of wider appreciation, I have been influenced by two others factors.  The first thing is that too few people are willing to help out new musicians.  Over the course of my reviewing career (so far), there has been few occasions where my work has been shared.  Sure, the band and artist is thankful (although in some cases they are not); but few people 'retweet', 'share' or promote my reviews- meaning it is usually only the artist themselves that read them.  I work 4-5 hours a day and write over 2,500 words (on an average review)- is it too much to ask that a few people spend 5 seconds spreading my work wider?  It is the lack of common consideration; self-absorption and selfishness that irks me most.  I spend as much time as possible helping others raise awareness about their music, charity work, personal needs etc., so it appalls me that there are few genuinely unselfish people out there.  In addition to- for want of a better phrase- wasting my time reviewing music, my biggest concern is this: there are not enough great new artists out there.

Everyone I have reviewed does their bit for music- with varying degrees of success and passion.  I have examined some Surrey-based solo artists whom are doing the county proud.  There are great bands and acts whom have a keen sight for quality and endeavour: willing to rise above the homogenous and predictable core- offering up something truly unique.  I am aware of the huge irony at the moment- nobody will read or share this article- but I am raising a genuine concern.  We are in 2013, and are fortunate enough to have witnessed the greatest music of all-time; the best bands and solo artists; the most wonderful albums- as well as having experienced a wealth of differing genres and movements.  There is all of this resource to hand; we have so much past music to be inspired by; yet by-and-large the aspiration and ambition being offered up is... underwhelming.  In the last year I have heard of a small amount of acts whom are actually doing something bold and exciting- most are great but hardly worthy of huge excitement.  My bedrock point- and base argument- can be boiled down to this: when was the last time that an 'all-time classic' was witnessed (in terms of an individual song)?  I have been flicking through music polls and charts; looking at what people consider to be the best songs of all time, and one think occurs: the vast majority of the tracks are older than 15 years.  I shall go into more depth below, but I am wondering what is causing a lack of glorious music.  There are some brilliant songs to be heard, yet no-one approaches a song (today) and exclaims: "This is one of the best tracks I have ever heard!".  It seems odd, given that you can create whatever sound or song you want- there are endless possibilities available to the truly-ambitious.  Financial pressures have been consistent within the music industry- music is comparatively inexpensive to produce.  For the new artists there is an acute awareness of how much recording costs: hiring a studio; buying/leasing equipment (if needs be); producing and mastering the final product etc.  Even if one has a 'home studio' then costs can still be apparent- I know this from talking with a couple of Surrey-based solo artists- yet producing something approaching a masterpiece need not cost much more than producing any other track.  I think that the direction that a potential 'future classic' is going to emanate from, is the band market.  My trouble with bands revolve around the lack of individuality and differentiation.  There are still too many Arctic Monkeys-lite groups; too many dull Indie bands; too few great and daring acts: where are the modern idols lurking?  Historically some of the all-time best songs (and albums) have been created by bands (if you look at the 'best of' polls); so it seems that we should be getting the whiff of a potential all-time great forming: but is that really possible in 2013/'14?

To my opinion, the greatest track- but not my favourite- of all-time is Bohemian Rhapsody.  Everything about the song 'ticks the boxes'.  There are epic guitar solos; strange and thought-provoking lyrics; majestic vocal layers- all centred around the wonderful performance given by Freddie Mercury.  It was Mercury whom wrote the track, and practically brought the song to the rest of the boys fully-imagined.  It is under 6 minutes long, yet covers so much ground; strikes so hard, that nothing else needs to be said.  It is a song that is unimpeachably ambitious and flawless- peerless in its sound and emotional effect.  It is widely considered to be- if not the greatest song ever- within the top 3 greatest tracks of all-time- it should be in everyone's top 3!  That track was released nearly 40 years ago, and yet few comparable tracks have been created.  Bohemian Rhapsody is pretty unique and individual: it is not a track you can try to emulate without ripping it off.  Muse have made a few attempts at being a bit Queen-esque: infusing some of their tracks with Bohemian Rhapsody elements- coming off pretty short by comparison.  Songs that are not imbued with epic strides and multi-part layers also vie for the top spots (of the 'all time best' lists).  Imagine is a track which is beautiful and timeless: born with a direct and universal message of peace and hope.  Tracks such as Like A Rolling Stone are synonymous with sharp-tongued lyrics and incredible electric fireworks.  Even a song such as Life on Mars? are comparatively simple- although it does twist and turn a few times.  Between the respective artists' reputation, ambition and quality, the aforementioned songs are defined thus: they are phenomenal and unique, yet not unbeatable.  It seems that the 'epic'- the 4/5 part multi-segment odyssey- is what is needed when trying to challenge the top spots.  Aside from Bohemian Rhapsody; A Day in the Life, Good Vibrations and Stairway to Heaven are consistently considered as the all-time best songs- especially Stairway to Heaven.  These 'epics' are not considerably long- Stairway to Heaven is a little over 8 minutes long.  The reason that these types of songs are unanimously popular and classically timeless, is that they are restless; constantly engaging and emotionally-stirring.  Most of the grandest songs ever tend to have originated in the '60s and '70s (one or two took place in the '80s).  Imagine was released in 1980, and since then, how many truly stunning songs have been created?  Tracks like Live Forever, Smells Like Teen Spirit and One were all created in the (glorious) '90s, so my question is this: what has happened over the last (15 or so) years?  My favourite songs (and ones that will always remain in the memory longest) are the huge epic and sweeping tracks; and the last time that we witnessed such an example was 1997.  When Radiohead unleashed Paranoid Android, it was met with open jaws and drooling mouths.  It contorts, bites; spits and yells.  It is a song which turns direction; takes your breath away and is always unexpected and unpredictable.  It is longer (in terms of running time) than Bohemian Rhapsody, yet is considered as the modern-day equivalent to that golden theme: it is the best challenge to the crown since 1975.  Yorke and co. had realised what a gem they had created.  It is a song which takes years to rehearse (in order to play live), and has never been equalled...but why?  Paranoid Android came out 16 years ago, and there has not been a single track since, that has ever ranked alongside Radiohead's OK Computer stand-out.

Many new acts and bands aim too low: there is too much fear, reservation and hesitation.  I have been scratching my head, when trying to theorise why we have not heard a song with the same majesty and fascination as Paranoid Android.  Perhaps because of Radiohead's situation (they had a bit of money; were on their 3rd album; had a weight of public approval to inspire them) that means they were uniquely-placed to write such a track?  Is it simply a lack of finance that is holding ambition back?  Breaking down that track, one wonders if that is the case.  Songs like Bohemian Rhapsody, Paranoid Android and A Day in the Life are synonymous with attention to detail and time-consuming effort- as much as they are huge budgets.  The tracks may call for huge orchestration; multitudinous vocal tracks as well as a lot of instruments into the pot, but when you consider Bohemian Rhapsody (in particular); the biggest two truths are this: the talent of its creator, as well as the ambition behind it.  If this song has not existed, the cost of theoretically 'making' it are not huge compared with your average 6-minute song).  If you are a band then the biggest cost is studio time.  That said, if you have the song worked out; rehearsed and 'perfected' in your heads, then it would not necessarily take more than a few days to record- presuming you worked your arse off and buckled down.  Similarly Paranoid Android is 'obtainable' as well.  These are songs that are not enforced by huge budgets and resources out of the reach of us mere mortals- they are perfectly possible, considering that far more complex tracks have been created since.  If it is not cost, then the problem stems from two possibilities: a lack of talent and a fear amongst new talent/media expectations.  There are a number of great singers out there at the moment; there are some superb lyricists; there are some great bands with a keen sense of sonic adventure and range: how many acts or bands tie together all of these facets?  Radiohead are still existent (although past their prime), and it seems that there is plenty of scope with regards to writing the next grandly-ambitious epic?  Since 1997, there have been few songs that have ever troubled critical 'best of' lists.  In terms of emotional simplicity and directness, as well as all-sweeping majesty, no artist has turned in a single song that has featured on the list.  To be able to (realistically) create a truly staggering song you would need a tremendous and attention-grabbing voice; a phenomenal and unexpected composition behind it, as well as a distinct and unique sound.  I fear that there are few bands out there (or solo artists) capable of producing such a masterpiece.  If you have a wide and varied voice; an agile and ambitious mind, as well as a keen ear for quality then you can come up with the goods- money be damned.  There are websites like Kickstarter that means money is not a (huge) issue: the biggest problem is lack of ambition.  There is a fear amongst acts- especially brand-new ones- that subjugates ambition.  They think that if they crank out an 8-minute huge epic of a track- complete with huge riffs, orchestration and warped and wonderful avenues- that they will be laughed at; written off and buried.  The best music this year has been produced by the likes of Queens of the Stone Age and The National.  These are established U.S. acts whom are comfortable in their skins- and do their thing better than anyone else.  In the solo market as well as the new band core, I have not heard of anyone whom is trying to pen a future epic.  It saddens me somewhat; as it would be such a sumptuous and brilliant treat to witness a breath-taking and 'mind-blowing' song: something that sucks you in and intoxicates you completely.  The media tend to like their acts and artists 'just so': they favour bravery and ambition, but are hesitant of anyone whom challenges the established order.  16 years have passed since Paranoid Android came along, and if you consider the greatest tracks of all-time: how many are from the past 15 years?  I am going to say 1 at the most (if you know your music then there are in fact 0 that are worthy of a top 10 place).  We have more advantages and opportunities now than we ever have.  There are more artists; a greater number of potential partners-in-crime, and a growing need for something truly breathtaking: but do you ever think we will live to hear a contender for Bohemian Rhapsody.  The modern market is aware that simply ripping off an established epic will win you no points: you have to try something different.  I just worry that new music is synonymous with boundaries and predictability.  It is fantastic to hear of a great lyricist or a pleasing voice, but damn it to hell: when will we witness a track that is talked about in fervent tones; pulled apart, examined and drooled over (for decades to come)?  It may beg one question in your mind: if you know best, why not write one yourself?

 

The point is valid, but the sentiment is moot.  The 'moot' part arrives because of my situation.  Having no money and no short-term potential for musical collaboration, it is not a realistic prospect; yet there is a 'but...'.  I have not idly been sitting criticising and moaning: I have been writing.  I have spent months writing a song which challenges the orthodox order, and is something that differs entirely from the current scene.  It is composed of 8 or 9 differing parts; orchestration and multi-layered vocals are in the mix; as well as huge intrigue and augmentation atmosphere.  The title is there; the lyrics are in the mix, and all the various components are in place.  I know what each vocal section will sound like; what the lyrical themes will consist of and how it will sound.  If I claimed what I could do with my voice; what I could write and what the song is capable of, is another case.  I wouldn't bother writing so much and spending so much time on a single song if I did not think I could live up to my ambitions: huge and varied vocal swathes; different and fascinating lyrics and an overall epic and sweeping sound.  It is all on paper and in my mind, and just needs some band members to add the colour to the palette.  Of course a song such as mine cannot be realised for free: between finding a band, recording and realising the track it may run into £5,000 or so; yet here is the thing: if I have to sell my kidney on the black market I will make it so.  I have been writing music since I was 18; dreaming of being in a band since I was 20, and salivating over the possibilities of creating a huge multi-segment epic for years now.  If it takes months of trial and error; months of rehearsal or whatever, then that's what will be done.  Even if you don't win everyone- or even make a mistep- then who cares?  How many new artists attempt such a thing?  I don't care that I have written another song; and understand that a few more 'traditional' numbers will have to be in the public consciousness beforehand; but that does not mean I am not going to work my heart out to make my realisations so.

I have heard too many simple tracks; too many songs that are impressive but not all-time classics.  That is not to say that the song I am working on has the potential to rival any of the greatest songs ever; although there is not empirical proof to the contratry: it is only when it is recorded and released that judgments can be made.  My point is this: if I am willing to try- life situations and hardships in consideration- then why are new acts and bands not trying to?  If you don't have the potential or talent then that is fine.  If you have even the slightest inkling, ambition or leaning towards creating something monumental then why not go for it?  Screw the media; screw expectation and if you can afford the time and money, then why would you not go for it?  The best you can do with a new song (in this climate) is having people remember it for a few months or so.  If you take a chance- even if it fails- then why would you not take a stab at recording a track that has the potential to be talked about in years (and decades) to come?  Musicians need to be braver and more conscious of market needs.  There is still too much fear, and a fear of what other people think- as oppossed to what they want and need.  The reputation of modern music is not great; and the fact that a worthy rival to Paranoid Android/Bohemian/Stairway etc. has not been created, speaks volumes.  With a burgeoning and packed scene, there is too much emphasis on creating songs quickly and cheaply: every artist and act has a disposability; a distinct lifespan and a lack of huge surprise.  Maybe it is just me, but I would wait 5 years to hear a song that was truly staggering than listen to dozens of tracks that are unadventuorous by comparison.  This is where my depression and lack of motivation has stemmed from: as much as I respect a lot of new acts; I don't feel that any can blow the market away with a biblical track.  Maybe it is alchemy, and in 2017 such a song will be realised, but the hard truth is this: it seems very unlikely.  I hope that I am wrong.  I hope that a band (or artist) is crafting a meticulous and memorable epic, that will be on the 'top 10 songs of all-time' list.  I also hope that I can reconcile my drawbacks and ambitions: find a band whom are on my wavelength and will campaign tirelessly to summon up a track with epic- and perhaps underserved credentials.  It is 2013 and more risks have to be taken...

This is more of a plea/challenge than it is a derisive mandate.  The world has witnessed enough pleasing love songs; we have heard too many Indie 4-minute tracks about love/loss and the like: even though there is some diverse and wonderful other music out there.  It is not a coincidence that the likes of Stairway to Heaven, Bohemian Rhapsody and A Day in the Life still are at the tops of the lists (with regards to peerlessness): the public wants to hear something exciting; scary and mind-blowing.  I would not be upset if I heard a dozen bands each take a stab at producing a modern masterpiece: as long as they were not rip-offs or soundalikes.  In fact if a song as touching or epic as Imagine or Like A Rolling Stone were proffered I would be equally enamoured and relieved.  I can only do what I can do (axiomatic and tautological as it seems); so I hope that others take heed and note- but I am aware that the message may never stick or be spread.  I think my fears and anxieties stem from the state of modern music.  There is a lot of music being produced, yet so few people share great songs and help great artists.  I try to do it with as many people as possible; yet your average social media user has little consideration with propagating the best interests of new and worthy musicians.  The media promotes fear and limitations; so there needs to be a rebellion against this.  Maybe once grassroot issues are ironed out: no truly great music website; selfishness; too much music clouding your thoughts etc, then maybe a resolution and resurgence will be possible.  I hope that the huge wave of new music is not burying and burning the potential for a new grand epic: a track that truly stands out because of its ambition and multi-part flair.  It only takes one artist/band to do that; to put a track out there that gets people talking.  Once you do that, then a wave of inspiration and ambition is created, and- so long as there is not a sheep mentality with regards to creativity then an improved and strengthened scene will be created.  As much as I love the '90s and the music that was offered, I feel that we need to challenge its majesty: it has been 14 years since 1999, and I fear that things will never be as good.  We all need to champion a unique voice; a sharp and intelligent lyricist, as well as a unique and quality band.  That is all possible and on-going, but at the same time we need to produce a track(s) that confounds and inspires: something that is as ridiculously grand as Bohemian; as epic as Stairway; and as twisted and angry as Paranoid- or maybe a combination of all three.

When this happens- and if it does- the ramifications and results will be spectacular.  I hope that I live to see the day, as a huge prize await those willing to take the risk: we need to get out of the homogenised and limited nature of ambition and quality.  People should not be intimidated by the all-time great songs- thinking that they cannot be equalled- as the musicians whom created them were human, and the songs were not superhuman.  It just takes trial-and-error; effort and a desire to aim that high.  If bands don't have that spirit from the off, then why bother?  Every new act should have lofty sights: thinking that they are capable of turning out one of the best songs of modern times.  In a market where many come, and few are remembered, the task at hand is clear...

Snow Ghosts- Murder Cries- Track Review

Track Review:

 

 

Snow Ghosts

 

 

 

Murder Cries

 

Snow Ghosts

 

 

 

9.6/10

 

 

 

 

Hauntingly-named; atmosphere-driven; solemnity proffering from Tones and Cartwright's moniker: intrigue-aplenty guaranteed.

 

 

 

 

 

Availability:

Murder Cries is available at:

http://www.youtube.com/watch?v=fzy6dE46vm8

The album A Small Murmuration is available from July 8th, but can be streamed at:

http://www.spin.com/articles/snow-ghosts-a-small-murmuration-album-stream/

___________________________________________________________________________

MY discourse will not stray too far from the nature of bands (tomorrow...

 

it will be back in full force).  Today, moreover, I am curiously hooked on the idea of duos.  It is somewhat of a rarity to see a two-piece making music together: well, in this country at least.  Across the U.S., and especially in Europe, the idea is not so foreign: there seems to be a boy-girl compositional set-up.  It is a bit of a surprise- to me at least- that there are not more examples of the form.  If we consider the current likes of She & Him- a U.S. duo fronted be actor Zoeey Deschanel- the formulae is producing some wonderful chemistry: critics and fans are fully on-board with the two-piece's unique brand of '60s/'70s power/sunshine pop revitalisation.  Deschanel has- as well as superseding expectations about actors-turned-musicians- proven herself to be a talented and merit-worthy pen smith: able to blend swooning melodies and sharp and impressive lyrics.  Any more members (to She & Him) would spoil the mood; too many cooks and all; three's a crowd etc... I feel that the burden for the solo artist is quite great: they have to shoulder all of the creative effort themselves; the existence can be quite a lonely one too.  By pairing with a like-minded musician, a creative paramour is created that can herald some superb and focused results.  Simon and Garfunkel are perhaps the most obvious example of a duo whom go to prove my point.  Aside from their break-up; the music that the two produced during their career remains some of the best there's ever been: it is the combination of the two's individual talents that make it such a wonderful sound.  Modern examples such as Outkast are keeping the flame burning in support of the duo; yet it seems that-aside from the U.S.-heavy examples- there are not many current U.K. examples.  I have been puzzling my mind as to why there are so few duos in this country.  I have reviewed one or two over the last few months- including Bradford-based twosome Issimo- yet tend to notice that music acts are divided between two defined sects: the solo artist and the band (predominantly 4 or 5-piece).  The band market is bursting at the seams at the moment; hardly able to contain its own weight- and we find that there is a lack of quality control.  For all of the Indie bands out there (yep- I am off on my daily rant) it is hard really to distinguish the great from the sub-par: it is a meritocratic scene that tends to focus too heavily on specific genres.  I feel that being in a band (with 3 or 4 other members) there are inherent goods and risks.  On the plus side, there are plenty of creative participants: each of whom can offer their own ideas and suggest different sounds and avenues.  There is little emphasis on one particular members; it seems that the creative and day-to-day weight is shared amongst each member- which means that there is not an intimidating spotlight shining in one particular person's eyes.  The negatives can be multitudinous.  For a start, relationships can break down.  Even the most tight-knit and bonded band can suffer entropy and obsolescence.  At the same time; going into an over-crowded market means that you have to work that much harder to make an impression- no matter how good your sounds are.  I do worry slightly with regards to music in general (a bold statement I know).  There seems to be too much predictability and preconceived ideas when it comes to new musicians.  Solo artists- on the whole- fall into various categories.  For the most part the sound and flavour of a solo offering is either folk/acoustic-based; or else their mandates lean towards pop, soul and the like.  Certain voices are heralded and celebrated; some solo artist's lyrics are championed: sometimes you get lucky and the two are married together.  I am tending to notice that few surprises are to be discovered, when one investigates a new artist/band.  If a voice is striking, then the emotional range or overall ambition is lacking; if a band has a terrific sound, then their lead is charisma-lite.  With a wealth and abundance of technology and previous sounds to borrow from (and be inspired by), it should be easier now- as much as any time- to foster ambition and grand designs.  The fact that there have not been many challenges to the all-time greatest tracks begs one thought: do we have the ambition and talent in the U.K.?  I have found that the best and most exciting sounds have been coming from foreign lands.  Between the U.S. (and North America) and Europe (particularly the Nordic nations), a great variation and mobility has been offered up.  I have been surprised by the pick 'n' mix offerings that one can experience.  Sharp and tangy electronic sounds nestle alongside fresh and ripe bubble-gum disco.  If you dig deeper you can find flavoursome and delicious Indie-pop treats, as well as darker-shaded Gothic artists.  From the likes of Open 8, NoNoNo, Say Lou Lou; through to the majestic Kate Bush-esque sounds of Anna von Hausswolff, the nation of Sweden has been showing the way with regards to diversification and surprise- many of their best artists are duos (Say Lou Lou for example).  I have long said that U.K. artists need to take inspiration from European examples: not copying their example, but learning from their authoritative and far-reaching music.  I find that, when eyes are trained further to unfamiliar (but fantastic) shores; new inspiration and a fresh creative lease is available: this can lead to a whole wave of pioneering and variegated new acts.  You may wonder why I am making this particular point (today)?

 

Having been in existence for the last three years, our featured duo are making the right sort of impressions.  Aside from the fact that there is a glaring lack of two-piece artists, I was fascinated by a lot of the (in this context) small details.  Their ethereal and thought-diverting name suggests something quite otherworldly and ephemeral (although the music itself is far from ephemeral).  The history and derivation behind Snow Ghosts is a fascinating one.  Ross Tones is a Bristol boy (although he lives in London at the moment), and performs as Throwing Snow.  In a modern music climate, where a great majority of music can have some predictable and homogenised roots, the sounds that Tones proffers, offers up myriad delight.  Bristol has been synonymous with primal, dark and fascinating sounds for many a year now.  The legends that are Portishead call the place home.  It is that trip-hop/experimental outfit whom- to my mind- are one of the best bands of the past 30 years.  Even their most recent album (Third) displays as much of the innovation, bravery and surprise as their early work did.  The sounds contained within Third goes to show how much fascination and wonder can be created, by being bold and adventurous- the act shows no signs of slowing, and I hope that another L.P. is imminent.  It is Tones's trip-hop passion and conviction that has marked him out as a local idol: he has garnered many impressive plaudits from fans and critics alike.  As part of Throwing Ghosts, Tones weaved dub step, hip hop and boogie: something that you cannot say about too many acts.  I know that there are many 'pioneers' and multifaceted artists at the moment; yet I find that they are still underground talent: how many music magazines and publications regularly promote trip-hop, experimental and Portishead-esque artists?  Tones combined with Augustus Ghosts' Siren Hannah Cartwright: the two combined formed Snow Ghosts; and the rest, as they say is something-or-other.  Many music magazines have noticed that there are a few acts and artists whom have the words 'snow' and 'ghost(s)' in their name- but one can guarantee that none of them sound quite like our talented duo.  The duo have unleashed their debut album A Small Murmuration: a collection that promises a host of wide-ranging genres, sounds and styles.  The duo claimed that they wanted the album to sound as cohesive and together as possible (rather than a sprawling The White Album-type L.P.).  As much as I hate musicians (and people in general) describing their music/experiences as a 'journey' (experience does not have a geographical or travelogue nature; and it is a word/phrase that is cloying, cliché and a little overly self-important).  Regardless, the duo's musical summation certainly has the appearance of a crystallisation; a transmogrification or beautiful coming-together: perhaps referring to them as musical paramours is more apt (or more pretentious perhaps?).  The duo appear in monochrome, sepia and black-and-white photos (their band palette and uniform consists of light and darkness); appearing as heroes of a new wave of experimental and prodigious new sounds.  The gloomy and down-turned expressions (that is sometimes projected in some of their shots) is in keeping with the Portishead/Massive Attack trip-hop-cum-experimental mould: the sounds are quite sombre and moody (at times) so one would not be constantly beaming and grinning.  In spite of the great qualities and majesty each member had with their respective outfits; it is when they combine that their ambitions and potentiality is augmented, galvanised and emphasised.  Although the album is only available to stream at the moment (see the link at the top of this review); it will be fully-fledged and readily-available as of Monday (July 8th). Spin magazine has recently profiled the duo; having witnessed and absorbed the album, they can attest to (as can I), it's interchangeable and ever-mobile manifestations: ranging from dynamic drum and bass; crepuscular fireside parables; through to charming and lasciviously-driven folk movements.  As part of Augustus Ghost (still in business and going strong) Hannah Cartwright comes across as a modern pin-up/idol.  With an intelligent mind, agile creative and stunning talent; she blends her beautiful pipes to the moody and intoxicating aromas of her music.  Being somewhat good-looking (read: gorgeous and alluring) she extrapolates those merits and aspects; blends them into Snow Ghost's bubbling boiling pot, and lends some very crucial aspects.  Cartwright has an understanding and intuition when it comes to atmosphere.  From the macabre; esoteric; sleep-deprived and lustre-filled, she is a multi-talented composer- one whom brings her knowledge and past experiences to the new venture.  Bristol local legend Ross Tones has a weight of conviction- born from his impressive back catalogue- and binds them together with Cartwright's shades.  When the two combine- regardless of the differences and divergences from their pasts and present- a strange and beautiful love affair is created.  There is a keen affection for one another- both musically and personally- and this kinship and mutuality is what gives the debut L.P. such a conviction, tightness and spectral quality.  The duo have spent two years honing and perfecting their songs: pragmatically digging down and hunkering into work; making sure that the final product is the best it can be.  As much as I have been exhausted as-of-late by wanderlust- searching fervently for a great new act to become passionate about- I have found solace and redemptive light, in the form of Snow Ghosts.  I am not the only one whom has been seduced and startled by the pair's dynamic sagacity.  On Twitter and Facebook, followers and coming thick and fast; glowing and lust-filled comments and praise has been heaped at their feet- something that will triplicate and evolve as the album arrives.  Before I get down to examining and wrestling with Murder Cries, a few more points are worth bearing in mind.  The first (negative-positive juxtapose) issue concerns recent reviews (of the album).  One of the reasons that a lot of acts are passed over or dislocated, is because of the lack of critical awareness: reviewers whom are narrow-minded and miss the point entirely.  Some reviewers have stated that the L.P.'s organs are too dysfunctional and distorted: dark and alienating to your average listener.  Although these reviews have- by-and-large- been intelligent and cohesive, they have focused on some (unwarranted) negatives.  Some have offered that the album is too humourless (how many albums does one laugh their arse off to constantly?); claiming that it is a tad morbid and dangerous.  The point of the album is to project a slightly eerie and resplendent ghostliness; but this is a gleaming talisman in the bigger picture: the quality is consistently brilliant; the sounds relentless ubiquitous.  As much as anything, the biggest plus has been given little credence: the songs have a great range as well as cross-pollination.  The Guardian (as much as I disagree with a lot of their reviewers) hit the nail on the head.  Paul Lester noticed the L.P.'s hints of folk metal- a connation of polemic styles- as well as stentorian and impressive sounds.  It was noted that the variegation, wide-ranging motifs as well as variegated styles- when fused together and nestling alongside one another- creates a harmonious (strangely) and sumptuous whole.  Many people will not fall in love with the album (and duo) because it is not 'their cup of tea'; yet criticising an act for showing ambition and being adventurous is a cardinal sin- and something that is causing a lot of perturbation in me.  Anyway... before I get to the song (I know- sorry!) I will summarise my biggest pleasured discovery: how the two-piece manage to evoke spirit and semblances from past masters.  With their codified majesties the duo elicit sensations from '90s idols such as Massive Attack and Portishead (the Bristol connection); as well as current beaus such as Atoms for Peace.  Tones recently completed a supporting spot with the aforementioned Atoms' (as part of Throwing Snow): there are evocations and colours of the Radiohead man's ethereal sidewinders within the work of Snow Ghosts.  I am always on the lookout for songs (and albums/E.P.s) that can reintegrate and reinvigorate sounds and slices of previous decades- the '90s especially- and mix them with modern-day energies.  A Small Murmuration is awash with such explorative potency, and it is an album filled with fascinating steps and moves: each song has a different gravity and set of patterns that inspires and overwhelms.  Untangle Me is gaining a lot of effusive investigation at the moment.  It is a dark paen sporting some lustrous and spine-chilling string, a towering and burgeoning sonic force and a towering ambition.  As much as I love that track, it is the recent single Murder Cries, that has been on my mind.

 

Beginning with a swelling and orchestral electric rise, Murder Cries contains the briefest of intros.: whipping up a stirring rush before being joined by a vocal proclaiming: "We wander through the darkness of the days".  Cartwright's voice is authoritative and strong; showing some weighty conviction as well as emotional undertone.  As our heroine implores and strikes; letting the words burrow beneath your skin (and into your brain); Tones builds up a forbidding and atmospheric mood piece: complete with twitchy and anxiety-ridden electronic interjection: both subtle and stirring.  As our hero takes control of the sonic black smoke- containing traces of Third's aural fascinations- our Siren-esque heroine continues to campaign; speaking (to an unnamed central figure) about dark nights; grave digging and a deathly and malefic coda: "So give your fingers what they crave".  With tales of blooming blood-red flowers, stabs and sparks of fire are unveiled: electronic strangeness and fascination continue on as a symphonic sway purges and retreats- it pulses and teases the listener with gleeful abandon.  Our heroine has a unique and striking voice- controlled yet filled with nuance and passionate conviction- with subtle blends of the Grand Mistress of electronic/trip-hop music past: Beth Gibbons.  The two have the same haunting evocations and alluring layers, and Cartwright has a way of making the most forbidding and deathly scenes seem almost common-place.  With powerful summons and forceful intent, our heroine lets it be known: "You'll find me where the crows fly"; her voice emotional and dusky- she seems to be speaking to a past lover, but there is mystery in the lyrics that hint that inspiration may be more literal and less autobiographical.  Violin swells and keep the energy levels high, as our heroine's voice is doubled-up and dueted: layers of sultry mesmerisation are presented; pulling you under the song's dark spell.  Cartwright steps out into the spotlight, her back straight, her voice true: talking of shadowy and windswept scenes.  An anonymous female figure is tear-stained (our heroine continually asks: "Why does she cry?"); wracked with pain and sadness "Where the crows fly".  In the way that the vocal spar with one another; echo and reverberate with each other, a layered and hypnotic mood is created.  Before long the compelling vocal line gets eerier and more distant, as Tones' influence comes to the forefront.  The violin, electronics and spacious crawl that has been supporting Cartwright's sermons, now comes more to the fore.  Whereas the lines and parables (before) set mood and were campaigning in the background, now they come to the fore as an explosion is heralded.  Our hero unleashes a fist-pummelling and insatiable electronic percussive thud: it is like an iron giant punching the ground, such is its weight and impression.  Our heroine builds endless scenery; filled with Gothic imagery, murders of crows and storm-addled landscapes.  The jittering and menacing machine gun fire continues unabated; Tones whips up an insatiable and pulverising smash that barely relents: combines with Cartwright's voice the effect is quite startling and effecting.  There are touches of Massive Attack's Mezzanine clout: similar weight and majesty is all present here (without sounding too similar to the collective's past work).  The percussive and electronic gravity pulls you in every direction, gets into your head and pulls your brain in ways that it shouldn't be allowed to.  As much as there are feint touches of Massive Attack's influence, parts Portishead (circa. Dummy) lurk beneath the surface.  The sound is very much modern and essentially fresh, yet the duo have managed to evoke the sound of '90s trip hop; fusing this together with drum and bass influences: it is an incredible combination that gives the track a conviction and originality that is not often seen in the current scene.  As the sound of Satan reacting after missing his train to work end (there are probably more eloquent similes; but that'll do), things are calmed as our heroine is back in full focus; her vocal lines intertwined and possessed.  I was truck by the way that the song was structured, and how its unique composition heralds big returns.  Few modern bands (or duos/solo acts) spend a lot of consideration, with regards to unique structure.  Snow Ghosts mix a combination of quiet-loud music dynamics (the unnerving drum pound contrasting with more seductive violin) together with vocal and lyrical consideration (fewer different words are elicited, but pertinent lines are repeated for maximum effect; the voice is constantly engaging but not too overwrought); that makes the song so special.  Our duo play their respective parts superbly and each bring something very unique (and diverse) to the table.  Tones is a master of mood-setting and sonic sting.  He mixes classical and romantic edges (especially in the initial stages) as well as drum and bass violence (mostly from the halfway mark onwards): fusing them together and creating a sublimation.  There is no sense of predictability or obviousness in his presentations and composition.  Just when you think you have the next move all figured out; something wild and startling is pulled out- causing you to be dragged and torn asunder; recollecting your thoughts as you are.  Not to go on too persistently about Bristol masters Portishead, but comparables can be drawn.  When the percussive assault arrives, there is evocation of Machine Gun/We Carry On (Third); as well as the heavier moments of their debut (and self-titled album).  Cartwright similarly has all of the hallmarks and qualities of the Bristol outfit's front-woman: the alluring and smoky side; the stronger and more powerful edge; a similar conviction and ear for a great lyric.  Between the two, a great range is covered.  Each of them brings a distinct and essential element to the fold; which makes Murder Cries so potent.  It is a track that has garnered a great deal of praise and committed honesty, and clearly makes a big impression (to those whom hear it).

 

With A Small Murmuration a few days away (and available to stream), it is going to be a busy few weeks for the duo.  I have listened to the album in full, and can attest to the strengths and talents of the endeavouring twosome.  So much range and diversity nestles within, and it is a restless and varied collection of songs.  Cartwright and Tones may have come from different pastures and make different sounds; yet when they come together it works perfectly.  There is a clear affection and affinity between the two, and one of the album's big strengths is the conviction and passion evident in every track.  Big publications such as The Guardian have latched onto the joys and layers of the L.P., as well as the brilliance of Murder Cries.  The track earns its stripes with its bold proclamations, heady mixtures and incredible ambition. It may not come as a shock to the duo themselves, but it is quite an unexpected sound in the U.K.  Whereas there are drum and bass, electronic and trip hop artists working today, few make it into your thoughts, and fewer still manage to mix so many different genres and styles together.  I have been stating for a long time, as just how stifled and stuck the band market is at the moment.  For every original and worthy new band that come along, they have to fight their way through a sea of similar-sounding and homogenous acts.  In terms of solo talent, there is a problem whereby acts rarely surprise: if the voice is good, the lyrics aren't; if the words are good, the voice is not great- rarely do you ever hear of something whom ticks all the boxes and sticks in the memory.  I started by saying how baffled I was at the lack of duos in the U.K. market.  It seems like perfectly good sense and wise to form a twosome: in the case of Snow Ghosts, they have proved what results can arise.  It is going to be interesting to see where the duo go from here: another L.P.; an E.P. or interim single?  They will have plenty of options following on from A Small Murmuration: but it is crucial to let the album come out, and be shared and listened to as much as possible- and seeing how it is perceived.  I am confident that a mass of new supporters will be attuned to Snow Ghost's sounds: each one hungry to hear as much as possible from the two.  I hope that once the L.P. is released that they stick together and make a lot more music together (as opposed to returning to their past lives).  Individually they had extremely viable and prosperous careers; making music that gained a lot of attention and support.  It is when they join together that their individual talents are soldered and reinforced.  The duo have hit upon a bit of a goldmine.  By employing sounds of the '90s and modern-day; pulling in some past masters and current idols; they have achieved the best of both worlds: sounding fresh and essential, but steeped in the authoritative strengths and majesties of the past legends.  Time will tell whether any similar-sounding or similarly-ambitious duos will form- in the midst of A Small Murmuration's release- but one thing is for sure: plenty of new talent should take note and inspiration.  On Monday the intriguing duo will unveil their L.P. to the world; wait to see what responses they get; and decide where they go from here.  The two should have no fear, as response and feedback will be effusive and positive; demands will be high (with gig demands being a very real future-prospect).  And as for the future itself?  For our heroic twosome...

 

IT will be exciting indeed.

______________________________________________________________________

Official:

http://www.snowghosts.net/

Twitter: 

https://twitter.com/Snow_Ghosts

Facebook: 

https://www.facebook.com/SnowGhosts

__________________________________________________________________________________

 

 

The Sundowners- Don't Come Knockin'- Track Review

 

Track Review:

 

 

 

 

 

The Sundowners

 

 

 

 

 

Don't Come Knockin'

 

 

The Sundowners

 

9.3/10

 

 

 

 

 

 

 

 

 

Wirral-based quintet have the gravity of a recent Glastonbury performance  to their name; judging by their sonic lustre, they will be future festival main-stayers.

 

 

 

 

 

 

 

 

 

 

 

Availability:

Don't Come Knockin' is available at:

https://soundcloud.com/thesundowners/dont-come-knockin/s-020w4

___________________________________________________________________________
MY reticence about the band market (and its qualitative issues) has...

 

been enflamed as of late, by the sheer number of Indie-based bands.  A lot of my recent reviews have focused upon the bands of North West England- Manchester, Liverpool etc.- and the relative homogenised nature of the scene.  As much as I like band music- and feel that it is essential to the music industry- I have had a bit of a frown on my face as of late: something that has been hard to shift as well.  Diversification and range has been apparent when looking towards the music of Yorkshire, Scotland and the North East- yet in the North West there has not been a comparable quality coming through.  Many bands have taken on the mantle of Arctic Monkeys/Oasis (regular readers will be familiar with what I am about to say); sticking too literally to their sound and essence.  I can understand the appeal of appropriating a well-known band's sound, and incorporating familiar sounds into the mix: it will mean your songs are relatable and will be crowd-pleasing.  My concerns arise because of this: a lack of originality is the worst crime a new band can commit.  I have reviewed a great deal of acts (over the months); and the strongest examples are those whom employ and inject some familiar tones into their music; yet have an abiding air of originality and pioneer.  Given what we have experienced over the last 60+ years- in terms of music- there are plenty of options available (to the new artist) when looking for some integrated sounds.  Bands such as Arctic Monkeys are still operating and recording, and by clinging too closely to their coattails, many bands come off as copycats: which alienates and frustrates people like me.  I guess this one specific issue has clouded my view of the entire new music scene: there are plenty of worthy acts out there doing things their own way.  I mention Yorkshire and although there is a heavy leaning towards solo artists, the band market has also impressed me.  A lot of U.S. blues sounds; country rock and '70s alternative movements are being presented: mixed together with the modern-day sounds of the county.  Newcastle and Sunderland are offering some bold rock acts: heavier sounds, reminiscent of the '60s and '70s masters such as Led Zeppelin and Pink Floyd- yet only containing a hint of the aforementioned.  It is Manchester- or the Mancunian scene- that has perturbed me the most.  Historically, it is not a city that has exactly been dragging its heels (with regards to presenting superb music).  Considering obvious modern examples, a lot of the all-time great bands- The Smiths, The Stone Roses etc.- have called Manchester home.  Entire movements and waves have formed from the city's artists, and was- rather than is- a mecca of wonderful and inspirational music.  In 2013- as well as over the last few years- there has been a bit of a cessation of diversity; a weakening of ambition and difference.  The influence of the current Indie champions is being taken to heart too literally: rather than having feint shades taken from them.  Away from original and striking champions such as The 1975; the area is playing host to too many so-so and like-minded groups- most of whom have a one-dimensional quality to them.  As much as I have been bemoaning the lack of motivation (in the North West); I have been extolling the virtues of past sounds.  Artists whom I have recently featured, have managed to dip into the '90s and '70s: taking bits and pieces from the decades; and infusing that into their sound.  I always admire a group whom have an appreciation for the old masters- and wonderful music of the past- as their majesty and potency is just as relevant today as it always has been.  It is not a surprise- or shouldn't be- that a lot of foreign acts are making big strides.  From the rock acts of the U.S., through to the disco and electronic groups of Sweden; I have been stunned by the fortitude and variation that has been offered up.  In particular, the softer and more seductive sounds of Sweden (and the Nordic countries) has struck my mind the hardest.  The artists and talent there tend to be a bit more experimental and daring when it comes to their music: their songs are infused with unexpected twists and euphoric touches.  I have postulated that another issue we have in the U.K, regards the role of the media (and the music press).  A lot of the time, the imputes and direction a new band takes, is enforced by the proferrings and reviews of the music press.  A lot of modern publications have been focusing too solely on British music; the new acts and artists we have here- without offering alternatives.  As it is important to highlight U.K. talent, it is also necessary to bring international talent to our attentions.  Some of the best music of the moment is being recorded in Europe, Australia and North America: how would you ever hear of it were it not for the media and social media sources?  Sources such as The Guardian and The Girls Are bring to my attention (regularly) terrific music from across the world: yet there seems to be few others doing this.  If new acts in this country are not made aware of what is happening elsewhere, then is an inherent danger that a lot of potential influence is being missed out on.  I would have regretted missing out on great acts such as Say Lou Lou, Club 8, HighField and The Open Feel- terrific international talent, whom I feel can provide fresh energy and inspiration to the U.K. scene.  Homogenisation and lack of variation is an issue that has been apparent for quite a few years, and I have been wondering whether some areas (geographical) will ever break away from their bad habits?  As much as Manchester has been holding itself back, I have been pleasantly surprised by talent from Liverpool and the Wirral.  There seems to be a more diverse and expansive palette- and a different work ethic- that has made me excited for the future.

 

When considering new bands (and solo artists), it is always difficult to mark out and differentiate quality.  Most artists start out at the bottom: playing local gigs, recording their tracks; trying to spread the word as wide as possible.  With such a crowded and bustling scene being formed, it is difficult and near-impossible for new acts to rise above the rest; get into your thoughts and remain there- it is something that established acts are better at.  I  have reviewed a lot of new talent, and most are campaigning for support; trying to get as many people to listen as possible, and above all, attempting to make sure they have longevity and a future-demand.  Even if your sound is fresh and alive; infused with originality and essentiality, it is still incredibly difficult to make yourselves knows.  The Sundowners are already a few steps ahead of most.  Their striking talent should be examined (I will mentioned it shortly); yet a recent appearance at The Glastonbury Festival has surely provided them with fresh urgency and patronage.  They have recently played the BBC Introducing Stage: showcasing their diverse and gripping songs to a host of new (and existing) fans- and gaining a lot of critical praise in the process.  It is axiomatic to say that the band have got themselves there with their talent; yet it can't be ignored that such a lucrative and high-profile performance will draw in legions of supporters: making them a band that will be much demanded amongst festival organisers of the future.  With a newly-augmented C.V., the group have an excitement and passion for their future careers: which will make their next steps and sounds very exciting indeed.  The Sundowners are a five-piece act whom hail from the Wirral.  Composed of siblings Alfie and Fiona Skelly, as well as Niamh Rowe, Tim Cunningham and Jim Sharrock; our endeavouring band are setting their sights on what is to come: ensuring that their current sounds are heard as much as possible.  Given that the name 'Skelly' appears in the band line-up, it is hardly a shock that The Coral rank amongst the group's influences.  The band have already supported James Skelly & The Intenders: joining them whilst they played gigs in the U.K.  I have always been a huge fan of The Coral, and I see them as one of the most under-rated bands of our time.  One of my all-time favourite albums is Magic and Medicine, and I have always been enamoured of that L.P.'s myriad sounds and inflections.  Many critics consider The Coral to be a bit 'far-out' and an acquired taste, yet it is their exceptional songwriter and unique music that cannot be faulted.  Few other modern bands have been as ambitious and striking as them; many reviewers and fans are talking about The Sundowners with the same excitement and fervency.  It is the close-knit kinship that the five members have, that can heard in their songs.  Each of them has affection and complete respect for the other; they teach each other new skills; support them in their troubles and come across more like five siblings (that a band).  A lot of current groups (and defunct acts) have tumultuous and fractious lives together.  If you have a genuine and strong affection and respect for one another, then your future together will be more prosperous: this strength through joy is also reflected in the songs- which will bring in more fans as well.  The likes of NME and John Leckie have poured praise on the band: highlighting their clear identity and impressive ambition.  Aside from the high-profile fans and effusive praise, the main reason why The Sundowners command such attention, is their unique sound.  In a scene (and part of the U.K.) that still favours Indie-centric flair and familiar sounds, our quintet have a different approach.  The acts and musicians that are included as influences range from Fleetwood Mac through to Tom Petty.  It is the mix of U.K. and U.S. influences from the '60s and '70s that can be detected in their boiling pot.  Sharp edges and sense of electricity are key to the five, yet it is aspects of melody and musicality that set them apart: like their idols they have a soulful and soft emotional core, as well as a keen ear for melody, evocation and remembrance.  Too many bands go fro pure force and unadulterated punch: negating the need for something more restrained and impressive.  I have long gone on (very long in fact) about the importance of retrospect and reinvigoration in music: adding tones and colours of past wonders into your songs.  Whilst it is admirable to portray a modern and essential energy to music (in order to sound unique and fresh); I feel that combining this with some older influence maximises your overall sound, potential and appeal.  Aside from striking this balance just right; our amiable and talented five-piece have a deft talent for image and projection as well.  If you consider their name- The Sundowners- one is already intrigued.  The 1960 film (of the same name) was set in Australia; focusing on the Carmody family- whom resided in the Outback and were sheep drovers.  Robert Mitchum and Deborah Kerr starred, and it is a film that- although not an all-time classic- was well-received and regarded- even if many people will not have heard of it.  I am not sure if our North West quintet were influenced by this film- or are fans of it- but one cannot help but smile when hearing their band name; knowing that its namesake is a charming (if slightly boring) Australian film.  Apart from their intriguing name, the five-piece are all very sharp and stunning.  The boys are cool, handsome and clean-cut (dark secrets may lurk): possessed of awesome heads of hair and a detached and far-off look that suggests they know how cool they are.  Likewise the girls are striking: stunning beautiful, but coming across as your girl-next-door idols (again they may have dark underbellies).  One gets the impression that the band are a band of the people: humble and hard-working; whom want their music to do the talking, as opposed to controversy.  Too many modern idols (I'm looking at you Liam Gallagher) spend too much time bad-mouthing and insulting others: knowing that their best musical days are behind them.  Our quintet are an all-imposing and all-inclusive group whom have a lot of respect for their contemporaries; as well as a fond affection foe the market.  They want to succeed and play for many years to come, and as well as a memorable stay at Glastonbury, they will be enjoying a lot of touring and demand- I for one would love to catch them in London as soon as possible.  There is no excuse for not turning yourself on to the group: they have an impressive and comprehensive online portfolio, including a great official website (http://www.thesundowners.co.uk/).

 

A lot of talk and praise has been heaped on the band's previous efforts; the likes of Roll the Dice and Wild As The Season have been received with acclaim and adulation; with many critics and fans hungry to hear more.  I was not in the crowd for their recent Glastonbury performance, yet can imagine that their songs were fantastically received.  Having investigated their previous tracks, I can attest that their sound is filled with intrigue, nuances and memorability- they are songs which stick long in the memory.  As well as the quality of the music itself, their range is also impressive: they have their signature sound, yet show such a mobility and adaptability that they constantly catch you by surprise.  With so much love and admiration being paid to Shifting Sands- the B-Side to Don't Come Knockin'- it goes to show how much quality is evident throughout their music.  It is with considered and hungry ears (and eyes) that I approached their single- eager to hear what moves and surprises the band could offer up.  With a brief hint of electric feedback and a heady rush of guitar, we are under way (and instantly hooked).  It is the initial hook-up between Skelly (Alfie) and Sharrock that is most present.  With that evocative and enthralling electric guitar work- which snakes and sparkles with heavy and heady undertones- it is the drum work that makes the biggest (early) noise.  Sharrock unveils a hard-hitting, punchy and impressive percussive line: one which stands you to attention and blends beautifully with Skelly's guitar work.  Before too long, the influence of Skelly (James) can be heard as a Coral-esque coda is let loose.  The guitar wobbles and buzzes with jubilant energy: displaying some of debut album-era The Coral (Skeleton Key and Spanish Main can be detected).  As is  a key (and obvious) hallmark with any great band: the influence is there, but it is not obvious.  The way that the swaggering and rambunctious intro. gets into your head is something that is intoxicating; making you hum and tap your feet along in time- and wondering what is going to come next.  Guitar, drum and bass work is impressively endeavouring (from each member), and it is the way that they combine that gilds and cements their incredible confidence.  Instantly you notice how tight the sound is; how well rehearsed the song is, and how much intuition and affection is present within the bands ranks: the blending of individual parts is seamless.  With an infectious introduction- which takes in '70s U.S. elements as well as '60s U.K. ones- you are settled in, and on board with whatever comes next.  One of the things that impressed me is that the band is female-lead.  It may sound like a weird thing to say, but most modern bands- and a majority of northern groups- have male leads: in fact a majority of modern bands are all-male.  When you hear of inter-gender groups (a rarity in the U.K.) there is often one female voice- or the male takes the lead- which often sounds superb, but one wishes there was an additional voice to bolster the overall sound.  I have encountered a few new U.K. bands (whom are composed of boys and girls) whom have a female lead.  I find that the combination of incredible and impassioned music and a striking female voice, provide the best (and most intriguing) music.  A lot of male voices (especially within bands) come off as a little harsh: lacking in real emotion; a lack of seductive and sex appeal; too hard sounding.  The female voice has always struck me hardest, as I feel that the tones and qualities they can display adds greater weight to songs as a whole- especially bands and their music.  Whilst the boys inject the mood with some impassioned and rumbling sounds; a wordless vocal is introduced by Rowe and Skelly (Fiona).  There is a fundamental and unswaying energy that is detectable; and is something that continues for a while: the song's fledgling moments are a myriad of sing-along vocals; an endeavouring and intoxicating composition, and a abiding and heady rush.  As the wordlessness abates, and a spiralling and tumbling guitar line is deployed; the song settles down to business.  Early words speak of "In the deep of the night" and "In the arms of solitude"; our heroine imploring: "You hear my call".  Whomever is being addressed- a current love; an ex-paramour; a friend- is all alone and by himself, as he does not come knocking; he has resigned himself to a lonelier lot in life.  Our heroine's voice has harsher and strong edges that enforce and reinforce her words; yet there is an honest and openness as well.  Sonic evocation is an important facet and weapon for the band.  As much as the scene-setting and winding intro. sparks your imagination and gets the blood rushing; the band punctuate the verses with similarly-exhilarating rushes.  No sooner have the initial words been proffered and laid bare; then we are witness to another buzzing, fizzing and pulsating guitar coda: the words "Knockin' no more" are chorused and deployed with alacrity.  The way that the insatiable guitar parable plays off of the vocal, is impressive indeed: the voice is composed but potent, where as the guitar work is bursting with vigour and expression.  When our heroine's voice comes back in, there is a little bit of Alison Moyet and Stevie Nicks to be heard (a similar weight and comparable power can be detected).  Those are probably not names that get attached to many other modern singers (so is a pleasure to hear), but it is the way that a striking originality is tied together with some legendary edges, that makes the vocal performance so impressive: alive with passion and energy as it is.  The band never let the pace slip or the energy relent; going from guitar-heavy jam, through to percussive pummel.  At the 1:11 mark, a rumbling drum layer is introduced- it succeeds the guitar fuzz and introduces a line stage/movement to the track.  As the drum kicks and dances lower in the mix, a new- and more potent- guitar attack comes in: it buzzes, warbles, wails and thrashes; pulling you into its sights and not letting go.  The tribal call-and-response that opens itself up is the most immediate and potent part of the track (so far).  Each band members adds to the mood, as a veritable sonic storm is whipped up: guitars and bass rain, clash and strike like lightning as percussive thunder and wind adds additional majesty.  It is quite a brave move for any act (established or new) to unveil a fairly extensive musical line (rather than fill each moment with vocals).  Groups such as The Coral were masters of it (able to intoxicate with their mastery), so it may be the Skelly influence/effect that has influenced Don't Come Knockin'.  A sense of atmosphere and gravity is unveiled- the lead guitar wails and howls demonically at one point- saying an immense amount (without a word being sung).  You cannot help but let yourself be mesmerised by the twirling and psychotropic fireworks.  Evocations of the '60s and '70s masters can be heard, from Hendrix and Clapton-esque guitar weight, through to Fairport Convention swathes and colours: it is as essentially modern as it is effortlessly classical.  One cannot help but smile when listening to the track, gleefully caught up in the rush and primal urges the music proffers.  The song could just as easily soundtrack a taut and tense thriller as it could a balls-to-the-wall action blockbuster: it has that ubiquitous and utilitarian quality and strength to it.  As the musical coda continues (unabated) and the swaggering bonhomie and confidence has played its part, another wordless vocal is introduced (bookending the track quite neatly).  The girls melt their voices together; projecting as much muster and kick as the sonic parable it follows.  As our heroine proffers for one last time; addressing the anonymous beau- amidst a sway of consequence and circumstance, conspiring to make a "fool out of you".  As a final sonic plunder is evoked, the song comes to an end- and a chance to catch your breath, and reorganise your thoughts.

 

The overall impression one is left with is one of surprise.  For a while now I have postulating as to the reasons why a lot of northern-based music has been in a funk: too limited and unmoving.  I have heard of a few Liverpool acts whom are making some impressive steps, yet with the majority of focus still aimed towards Mancunian shores, I am relieved that a band from the Wirral  are inspiring my thoughts.  The five-piece have proven themselves to be a formidable and potent musical force; impressive given that they are still in their infancy.  The Glastonbury aftermath will see a lot of new subscribers and followers flock to the feet of The Sundowners- our quintet should prepare for a busy and jam-packed future schedule.  As well as the incredible and original sounds that the group proffer, it is their image and presentation that makes its marks.  The boys have a cool and charismatic look, whilst the girls are stunning and alluring.  When you tie the two together, the band seem ready-made for the modern scene; as well as being steeped in authoritative edges that the likes of Fleetwood Mac and Tom Petty are synonymous with.  With a handful of songs to their name, the group are still in the early stages, yet have won over so many minds and made such impressive steps, that their careers will be very long indeed.  The close ties the band have can be heard in the music; everything is constantly engaging and tight- displaying a fond affection for one another.  In a modern scene where the majority of new acts take a long time to make an impression; the quintet have already achieved a hell of a lot- making them the envy of their contemporaries.  The influence and patronage of The Coral can be heard in the band's music, which contains a comparable intrigue and enthralling sound.  Don't Come Knockin' has swathes of fascinating guitar lines; primal drums; taut and tight bass, and sharp and alluring vocals (which blend beautifully).  The quintet have managed to introduce and infuse their influences into their sound, and married it with an essential and urgent original voice- one that is a rarity these days.  I have been down on Manchester bands as-of-late; wondering whether there was going to be anything that could soothe and ease my mind.  The Sundowners will go a long way to restoring my faith in the modern scene: I am keen and excited to see where they go from here.  It has been a frenetic and spellbinding last couple of weeks for the group, whom have been awash with Glastonbury preparation; festival chaos- now they are focusing on the future.  I am not sure what moves the five-piece are planning to make: whether an E.P., L.P. or future singles are favoured?  I would love to hear an album from them (but it may be a while off); although an E.P. would be just as tantalising.  There is going to be a lot of demand and fervency aimed at them: fans will be hungry to hear as much from the group as possible; so it is going to be interesting to see what happens.  Don't Come Knockin' is a bold and potent signal from the band; and is a song which is untraditional and innovative.  Few groups would give more ground to the music (compared with the vocal); yet the way that the song is balanced works perfectly.  There are not too many needless interjections; no unwarranted diversions: everything is balanced and employed to maximum effect.  The vocals are both authoritatively strong and alluring too: at once emotional and at the next quite punchy.  Guitar, bass and percussion layers are unexpected, memorable and heady: the combinations and various representations are quite spellbinding.  I am sure that the five-piece will be playing Glastonbury in the future- perhaps making to the Main Stage.  Festival bookings are a very real prospect for the future, and swathes of fans will want to catch the group in person.  Plenty of plaudits have been aimed towards them, and I hope that the quintet have some big plans afoot.  Few new acts have the luxury of being able to carefully consider their next moves (although I am sure the group are taking things very seriously).  Whatever is going to arrive in 2013: another single; an E.P.; plans of an album; I am convinced that The Sundowners will be in receipt of a lot of new followers and supporters.  They have shown how good they are- and what they can accomplish- so many eyes will be trained in their directions.  With so many new musicians coming across as second-rate versions of existing acts, it is a breath of fresh air that a unique and passionate voice is breaking through.  Take your seats; absorb the music being offered up and...

 

BRACE yourself for what is to come.

________________________________________________________________________

Official:

http://www.thesundowners.co.uk/

Twitter:

https://twitter.com/TheSundownersUK

Facebook:

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

SoundCloud:

https://soundcloud.com/thesundowners

YouTube:

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

MySpace:

https://myspace.com/thesundownersuk

__________________________________________________________________________________