Track Review: Salt Ashes- Little Doves

Salt Ashes

Little Doves

9.2/10.0

Little Doves is available from:

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

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Brighton-based chantuese is exotic and striking to behold; her music is filled with darker crevices and starburst of hope.  Her overall sounds mark her out as one of the boldest and most restless talents we will hear all year.

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THIS week- in particular- has been one of the most fraught and nerve-shredding ones...

I have ever had to go through.  I'll not go into the testimonial details, but it has been a 7-day period where I have cogitated and re-evaluated more than ever.  Transitions and self-doubt has exasperated the overall mood, yet the abiding point is this: music is a constant that always manages to dig my mind out of a hole.  I have been investigating material from the past as well as some current-day stuff.  Music has the ability to transcend any negativity, and stabilise inner turmoil.  When things are particularly unpleasant and unpredictable, it is always a comfort to have a reliable matriarch, ready to balm wounds.  Over the past couple of weeks I have surveyed everything from Surrey-based Pop; through to London Rock- right across to female Soul/Pop.  At this very time, I find myself looking for something both primal, yet soothing.  There tends to be polygamy and narrowness in modern music- which is understandable.  New music is the burgeoning sector that will see the future kings and queens crowned.  With so much variety and choice being offered forth, it is quintessential that the best and brightest should be synonymous with keywords: surprise and range.  It is all well and good having an individual 'voice'- a distinct sound and indentity- yet too many times we have witnessed a new band (or solo act) burst through, filled with promise; only to disintegrate and capitulate after an album or two.  When you consider all the greatest acts of all-time, they have been defined by their bold fearlessness; the ability to conjure a myriad of movements and sounds- yet keep their inner core solid and relatable.  I mentioned last week, that 'the voice' tends to dominate most of the music-based attention: we have been somewhat remiss.  There is a lot to be said with sheer lyrical talent; compositional flair- as well as a strong consistency.  I feel that if music is to grow and evolve with as few abnormalities and defects as possible, the entire whole needs considering- not a single facet.  My last few reviews have been so 'glowing' because the participants have latched onto this point (by themselves, not with my assistance).  Alison Levi has a voice that has evocations and whispers of the late (and great) Eva Cassidy.  Her songs are intelligent and awash with nuance; lyrics speak of poetic darkness as well as girlish highs.  The sonic backing is invigorating and full of life- her overall sound creates a mesmeric awe.  Elena Ramona has a more straight-forward model, yet delivers her material with as much conviction and passion as any I have ever heard.  Her lyrics are personal and honest; simple and catchy- her music emotive and solid.  When I surveyed Crystal Seagulls and their new E.P. (last Saturday), I knew I was going to hear some quality (I had reviewed them several times before).  Their guitar-based majesty is ever-changing and surprising; concentric and hypnotic; focused yet louche.  In future weeks I will be investigating some European Indie, as well as U.S. music: trying to see what the wider world has to offer.  I have little time or interest in musicians and acts whom play it safe: contended to present mediocrity as a viable alternative.  In terms of a career projection and progression, it is invariable that side-steps and shifts will be made.  If you look at current players such as Beck, he has managed to keep his unique identity intact, yet change his sound and soul between albums.  Little has altered in terms of quality- there have been few misfiring L.P.s- but the diversions and differences have been phenomenal.  If artists such as Beck take a retrospective glance, they can be comforted by the fact that their embryonic steps were solid and daring- meaning that their longevity is not the result of luck or market shifts.  As I type this, I am listening to a trio of acts: Arcade Fire, Laura Marling and Radiohead.  No D.N.A. lineage connects these three disparate acts, yet they have a genealogical tie.  Each of the artists started quite strong (even Pablo Honey was not a complete write-off).  Their initial movements were intentful and stunning, and their ensuing careers have been steeped with a similar quality.  Radiohead have been a little dormant as-of-late; Arcade Fire's latest L.P. was a qualitative departure and back-step perhaps (aside from the stunning title track, Reflektor).  Marling- tender of years and cynical of tone- has managed to keep her pyschotropic treasure chest burning brightly.  With so much choice and variance being proffered by new music, it is vital that the first movements- tracks and E.P.s- mean business: making their points with hob-nailed boots.  For every dozen vague and yawn-inducing artist, there seems to be only one or two genuinely startling counterpart.  As a result entropy and consequence will extinguish the most lipid; and offer up a hungry market for those whom display the most imagination.  This is a cyclical process that sees many new internships and regencies- some survive; most don't.  In a blood-thirsty amphitheatre, the lions will feed upon the bones of those unconcerned with fighting hard; those that battle and re-invent will be victorious.  I have every faith that 21st century music will see paradigm shift and new genres crystalised- I just hope that a lot of the music twenty years from now will be made by some current competitors.  Over the last few months I have heralded some pretty unique artistry that leads me to think that the modern-day masters will have some worthy successors.  It is difficult to know what public's gastronomic desires will be in years to come (fickle as we are), yet if large imprints are created early on, then there is every chance that adoring ears will not waver far from their sides.

This brings me, rather ineloquently (as is my nature), to a prosperous young artist.  Her moniker may be steeped in images of Carthage and smouldering pyre; yet her projection and sound is even more fascinating.  Before I get into biography as well as any analysis (regarding her music), the name itself beckons interrogation.  When I came across the two words 'Salt' 'Ashes', I was struck by the neatness and sympatico; the division and autonomy; the stark contrasts and vivid imagery.  My brain- being a rat's nest filled of attention deficit proportions- scurried in different courses.  I initially pictured a bonfire being extinguished by salt; one that played host to a ceremonial burning of a historical figure.  That seemed far-fetched, so I then summoned up scenes of a strange cartoon-ish figure having been melted; maybe still with a smile on their face.  It is a name (Salt Ashes) that grabs your brain and focus- before any music has been heard.  I have bitched- with eternal damnation- about a sin of omission: inventiveness.  Soo many acts have a name or title that does nothing to compel your attentions.  Ensuring that your song titles (and band or artist name) is original and thought-provoking is as important a virtue as any in the world of music- yet one that most negate.  Salt Ashes obsesses your thoughts and imagination right from the off.  When you have a name that is so expressive and inspiring, then in turn your L.P. (or E.P. and song) titles demand similar ingenuity.  Once those components have been galvanised, then the ensuing cover art (yes 21st century kids, artwork and hardware still exists) is eye-catching (as well as polarising).   Once the 'peripheral' itinerary has been ticked-off then that gives creative energy to the artist; whom then can inject that gravity into their music.  As a result, the overall package is a stark and capable of fond affection.  It is not only the music of my featured artist that grabbed me, but the attention to detail provided towards her outer skin.  The artist in question is one Veiga Sanchez.  Paul Lester of The Guardian opened his feature (of Sanchez) recently, pondering "What on earth would possess Veiga Sanchez to change her name to Salt Ashes, we have no idea. Maybe Veiga Sanchez is too Eurodisco, too pop, when really she's using a heavier sound to seek a heavier reputation".  It is a protestation that I find baffling, as I have always felt that (when you're a solo artist) it seems second-nature to use your real name.  It is fine, yet why should only bands employ a fictional nominal device?  Salt Ashes is so much more evocative and mysterious, and something that Sanchez knows well enough- tongues out to you cranky Mr. Lester!  Sanchez is a 22-year-old solo act whom has drawn comparisons to the likes of Kylie Minogue and Kate Bush.  It is perhaps an unlikely pair of names, yet Salt Ashes marries their individualised qualities into her own pallette- mixing in plenty of original colours and sensations.  To look at her is to be startled.  In terms of looks, there is some Hispanic and European influence.  Smoky-eyed and gorgeous, Sanchez is an artist that can warrant breathless sighs of admiration, yet she has a natural aesthete that is ready-made for European, U.S. and Australian audiences alike.  It is axiomatic that she is a beautiful and striking woman, yet is someone whom has a savvy intelligence.  When you look at her official site (http://www.saltashes.com), there are links to her social media portals of course, yet in the foreground are video images of our heroine, writhing with a semi-naked male.  Salt Ashes is an act whom will grab your attention with vivid imagery, taut and compelling titles and stylish design.  There is no need post-teenage histrionics and media-seeking activities- that so many of her contemporaries have chosen to employ.  Our young heroine is as natural an artist as we will see, both one whom will grab headlines with her music.  On her Facebook page, the following is displayed: "Obsessed with Giorgio Moroder's blend of disco and epic dark atmospheres, Salt Ashes first sprang to attention with her cover of Depeche Mode's "Black Celebration." Salt Ashes, aka 22-year-old Veiga Sanchez, has spent the past year honing her own songs in the studio, creating her signature electronic grooves, and drawing influence from artists as diverse as Madonna, Kate Bush, Daft Punk and MIA".  Gleaming details from this paragraph, it is clear that Sanchez has dedicated a great deal of time getting her sound just right; making sure that her resultant outpourings are as striking as possible.  It is not only the intuition and intelligence of Sanchez that has led to brilliant music, but also her (diverse) list of influences.  There are some whom see her as Kate-Bush-cum-Kylie-Minogue; yet this is myopic in the extreme.  That mix of disposable Disco and by-gone Pop glory is not what Salt Ashes is all about.  There are darker, brooding and more fascinating creatures to be discovered underneath the earth.  Our heroine has employed her icons- from '90s divas through to contemporary French masters- to maximum effect.  Her new single Somebody has been garnering a lot of attention and praise, but I wanted to focus on its B-Side: Little Doves.  It is true that Salt Ashes has gained some mixed press.  The majority have latched onto her sound and intentions, and met it with excited reverence.  Middle-class, middle-aged critics such as the previously-mentioned Paul Lester have been a little more damning (with regards to Somebody): "...with a linear groove that takes little account of any rhythmic developments of the last two decades - think 1986 Depeche (Mode), again".  Lester sort of misses the point, which I shall expand upon whilst masticating the sounds and thoughts of Little Doves.

Pulsing nebulas of electronics are the first impressions we are presented with.  There are glimmers of Depeche Mode, yet also of modern Electronica.  In a sense there is also some embers of Radiohead's Kid A work.  It is almost as if an electronic Morse Code is being tapped out, perhaps spelling out a secret message.  The pace and slowness of the intro. is not recalcitrant or moody: it allows for a build of intrigue.  Anyone expecting any Thom Yorke-esque musings to be presented to a microphone will be left disappointed.  The vocal we witness is a lot sweeter and romantic.  Our heroine tells that "pages turn grey/When you are paler"; her voice slightly distorted, but filled with clarity, concision and emotion.  There is plenty of conviction within Salt Ashe's gorgeous voice- it drips with honey and sex appeal.  It is a combination of distortion and repeated vocals that builds the early fascination.  Whilst our heroine tells tales of her sweetheart subject ("Patiently you follow the ghost"), her voice is layered and spars with one another; sounds and lines weave and intertwine.  Past the 1:00 mark there is an sweetly-elicited coo that will bring to mind two previously mentioned subjects: Kate Bush and Kylie Minogue.  There is more suggestion towards the former (hints of This Woman's Work are brought to mind); yet the latter's late-career work is also hinted at.  There is an abiding theme of dark Disco; gorgeously vocals juxtaposed against a slightly downbeat implore.  When Salt Ashes lets the emotions do the talking, there is some earnest  confession: "I'll be waiting for you".  The way in which our heroine's voice is distorted and become more electronic creates a mixed blessing: it augments the words and makes their meaning felt, yet it is often harder to distinguish the words.  Some comprehensibility and concision is lost in the machine, yet the overall effect and sound is more starling and alive.  The combination of bubbling and percolation synths. and secretiveness, combined with Sanchez's alluring voice, creates a gorgeous effect.  As our heroine continues her thoughts ("I'll be waiting/For you to change me"), the sonic interspersing is all twinkle and burst.  There is influence from the likes of Daft Punk in the way that the track manages to blend different strands of electronic sound together; it is modernised and amended to fit around our heroine's unique words and voice.  Little Dove is the type of track that has epic potential, and could score a moody drama or scintillating thriller; yet has plenty of heart that could see it sound-tracking a romantic scene.  As much as influences have been mentioned and comparisons made, the overall sound is unique.  You would not listen to the track and think of anyone particular.  As the song enters its final third, there are some semi-primal percussive beats elicited.  The atmosphere gets a little heavier, yet it is kept from being too foreboding or dark due to our heroine's vocal.  In terms of lyrics, there is a sparsity; words are effectively deployed where needed; repeated to ensure they stick in your mind.  The song itself is as catchy as it is emotive, and the way in which lines and sentiments are deployed and delivered are catchy and highly effective.  The winter years of Little Doves is reserved for some slight temporizing.  Vocals take a back seat, and sonic lines are allowed to work and play- wrapping the song up neatly.

Salt Ashes is, according to her Twitter bio., a "Songwriter. Singer. Lover. Bleeder".  It is a succinct distillation of her varying shades and sights.  Sanchez clearly has worked her socks off in order to ensure her music is as focused and memorable as possible, and this is evident within Little Doves (and Somebody).  She does integrate swathes of '80s Depeche Mode; something that may not be familiar with, or appeal too wholly with many young listeners; yet it is a facet that is under-used in music.  Whilst there may not be a co-joining of several decades of shared music, there is a concentrated essence of past glory; intrigue and fascination a-plenty- as well as the brave and unique voice of a worthy talent.  Too many new artists project predictability and straightforward vibes: neither delineated nor peculiar.  Salt Ashes' blend of mystique, romance and darkness is plentiful enough to soothe the strictest perturbation and anxiety.  The bailment of Salt Ashes' music is something fresh and urgent.  Her voice is one of the stars of the show; steeped and enamoured in beauty and lustre.  The sonic storms that accompany her voice are rich with emotion and compelling.  Sanchez reminds me of another artist I have reviewed: Nadine Shah.  In the case of Shah, I was won over by her fascinating biography and attitude to music- and life in general.  Her music related to more introspective scenes; darker moments and cigarette smoke-strewn avenues- the overall effect of this concoction has left indelible marks.  Salt Ashes is a talent whom will leave the same sort of tattoos upon music's conciousness.  At the moment her Twitter and Facebook pages seem woefully under-subscribed, considering her talent and quality.  I guess she is new to the music scene, so I hope her fan base and army will multiple and duplicate rapidly.  She is on the precipice of a year that will see her make some important decisions.  I am sure that an E.P. or L.P. is in her mind (or already in the works), which will see her sound and music stretched and fully represented.  This year is going to see some interesting and potentially wold class albums being dropped.  The likes of Jack White and Bob Dylan are amidst a whirlwind of media speculation, regarding the timing and nature of their forthcoming work.  Bands new and established will be planning movements, and the job of new talent is to challenge for votes, but also learn from what is being made.  Diversity and mobility are paramount elements every new artist should adhere to, and Salt Ashes is doing just that.  The likes of Little Doves are the molecular basis of a restless talent, whom will be enjoying some critical acclaim very shortly.  Many have already attuned themselves to her brand, and reviews and adulation she is receiving tell you all you need to know.  The likes of Lester and the hardened souls may require a little more persuasion and assurance; and the next few months will surely see their cynicism re-appropriated and extinguished.  Whores of potential supporters and fans are up for grabs, and the undecided voters are always looking for new inspiration.  Salt Ashes has the ammunition and intention to grab the spotlight, and I am looking forward to what she produces next.  I shall end the review, quoting- once again- with a quote from The Guardian's 'New band of the day' segment.  With regards to Salt Ashes, Paul Lester stated the following: "Little Dove also alludes in its use of slo-mo electronics, even its language, with its reference to being "stripped", to Depeche's mid-'80s output. It's nice - maybe too nice - and probably not noir enough or poppy enough to appease those at either end of the aesthetic spectrum. Nor does it find a happy (that is to say, darkly erotic yet commercially appealing) balance between the two".  This particular music feature has alerted me to some great talents- many of whom I have reviewed.  I do not always agree with Lester's findings, and in this case, strongly disagree.  I am predominately fascinated by Rock; heavier sounds- as well as classic '90s-present bands such as Blur, Radiohead and the like.  I enjoy dipping my toes into foreign waters; yet I usually do not embrace all styles of music.  I will be waiting to see what Salt Ashes produces over the course of future releases, but on the basis of the material I have heard, new genres and sounds have made their way into my brain- and have urged me to seek out similar music.  Although my retched mood has not been fully abated, it has subsided a little- in no small part thanks to Sanchez.  Music is perhaps the toughest market there is to 'break'; to get a foothold in and ensure future success.  Too many acts enter with a whimper and never break out of second gear.  In order for profitability to be ensured, one must set their sights as high as possible.  From Brighton, to your ears, comes a young woman whom will be making music years from now.  Her formative echos hint at a musician whom has a fond appreciation for past days (and acts) yet has her heart and mind firmly set in 2014.  Her labours and hard work will not be in vain, and there will be plenty of new listeners flocking to her door in the coming months.  What her intentions are going forward, I am not too sure, yet it will be fascinating to see what is afoot.  If  the weather and personal circumstances make 2014 unpredictable and shaky, then at least music can redress the balance.  As much as I cherish and adore my favourite acts, it is always better if there is some fresh sounds amongst the mix.  We are only a couple of months into the calendar year, yet there are some electric noises being made.  If everything else is uncertain, this is fact is carved in stone:

THIS year will be a very exciting one indeed.

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Follow Salt Ashes:

Official:

http://www.saltashes.com/

Twitter:

https://twitter.com/saltashes

Facebook:

https://www.facebook.com/SaltAshes/info

YouTube:

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

SoundCloud:

https://soundcloud.com/saltashes

iTunes:

https://itunes.apple.com/us/artist/salt-ashes/id778775458

E.P. Review: Elena Ramona- Hold On.

E.P. REVIEW:

Elena Ramona 

  

Hold On

9.6/10.0

Hold On is available from:

https://itunes.apple.com/gb/album/hold-on-single/id814494744

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After the success of the single Rise, comes Elena Ramona's debut E.P.  It is the summation of months (and years) of hard work, and marks a huge triumph for the 24-year-old, and will see many new fans flock to her door.

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I have reviewed the brilliant Elena Ramona before and featured her stunning single, Rise.  Aware of what she can achieve, and how good her music is I was excited by the arrival of her new E.P., Hold On.  It is released today (Sunday 23rd of February) and is gathering a lot of praise and positive feedback already...

The first song from the E.P. is Addiction, and kicks proceedings off wonderfully.  With a gorgeous piano arpeggio and staccato beat, it unleashes a huge romantic energy.  The song talks about love as an addiction; one "without restriction".  With an impassioned, powerful- yet tender- vocal performance, the track documents our heroine longingly imploring "I'm so lost without you" The song mixes solid and punchy beats with elliptical piano flourishes; augmented by a sleek and solid production throughout. It is a perfect opening gambit that gives the listener a chance to hear Elena Ramona's gorgeous voice and skillful songwriting.The voice is hers and hers alone, and sets her apart from most of her contemporaries. As Addiction ends- with its proclamations of "don't ever let me fall down" -there is a cinematic outro.; with shades of Dub-Step in the mix, which succinctly wraps up the song. The title track arrives next and instantly beats a Dub-Step heart.  It slithers, strikes and thumps; reminding me of the likes of Skrilex and Katsuo.

Hold On is a bold statement that sees our heroine proclaiming "I'm not letting go". In spite of a hypnotic beat, the vocal has an impassioned core, yet sees Elena Ramona in defiant mood (striking back at her doubters).  The track is built around an inspirational coda, that urges everyone (as well as herself) to "Keep on believing/Keep holding on".  Whether referring to her music dreams (or not), our heroine intones (to unnamed subjects) that if they do not know how much it means to her, then she is "better off without".  The vocal is potent and empowered, but infused with an air of seductive sexiness as well; bolstered and supported by an energised and convincing composition (with great production values once more).

Rise is the E.P.'s swansong, and a track I have encountered- and reviewed- before.  It is the first single from E.P., and is a beautiful and honest song; one that offers thanks to her family and friends- whom have supported and believed in her.  One of her most personal songs, it sees our heroine take the pace down; backed by tender piano lines, she offers thanks "from the bottom of (my) soul".  The chorus is catchy and memorable, and Elena Ramona has a talent for making sure her lyrics stick in the mind with their simplicity and personal relevance.  Once again, it is a track that is hugely memorable; built around a simple and effective repetition ("Thank you").  As our heroine brings the E.P. to a close, the dust settles, and we come to the end.

Having followed Elena Ramona's career for some months (and having interviewed her too), I know how much music means to her.  She has worked long and hard to ensure that Hold On makes it to your ears- and she should be extremely proud.  Displaying an intuitive talent for multiple genres, she covers  love, defiance, humble thanks and happiness over the course of nine-and-a-half minutes.  It is a precise and bounteous trio of tracks, and a bold and stunning mission statement.  I know that gigs and ambitious future prospects are in her mind, but the music world has so few genuinely talented and diverse young artists, that we need to celebrate the ones we have.  I have witnessed a few new acts that are capable of making huge marks this year, and Elena Ramona is one of them.  She is Surrey-based but will see demand from London and across the U.K. once her E.P. gets the attention it deserves.  It is testament of a beautiful and skilful songwriter with a stunning, emotive and powerful voice; supported by compositions filled with nuance.  Kudos, also, to the production, which is sleek and strong throughout.  I am not sure what our young heroine has in mind for the rest of 2014, but one thing's for sure:

I can't wait to see what comes next.

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Follow Elena Ramona:

Twitter: https://twitter.com/elenaramona90

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

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

SoundCloud: https://soundcloud.com/elenaramona90

iTunes: https://itunes.apple.com/gb/artist/elena-ramona/id814494788

Feature: The Words That Paint A Thousand Pictures.

FEATURE:

The Words That Paint A Thousand Pictures.

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It is one of the most important aspects of any song, yet there seems to be less importance placed upon the quality control of lyrics.  It is all very well having a great voice; if the words behind them aren't strong enough, then there is trouble ahead.

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FOR a lot of music-lovers, there are particularly important aspects they seek out...

when it comes to selecting their chosen acts.  If you think back at all of your all-time favourite albums, songs and moments, what is it that defines them so?  Everyone comes from a different background, and grew up listening to different music.  Being born in 1983, my earliest musical memories were quite diffident.  Michael Jackson's Thriller was topping the charts, yet bands such as Spandau Ballet and Duran Duran were riding a crest.  When it comes to the likes of Michael Jackson, I have always been in awe of his voice.  The music behind it has always been brilliant, yet I find that his vocal tones are more impressive than anything else.  As a songwriter, Jackson is diverse and stunning, yet I never really find myself quoting his lyrics (years on).  Throughout the '90s, my tastes shifted and I started to take notice of composition and the nature of sound.  Vocals were still pretty key to me, yet it was a song's atmosphere and sound that compelled me.  The masters of the decade introduced to me a raft of new sensations and genres, and it is what drove me to become more 'into' music.  Something happened when I reached my 20s.  The background became quieter, and I started to pick up on words: what the songwriter was saying.  I am not sure if this is what happens when you get to a certain age, yet I became more interested in poetry and lyrics- whereas composition and vocals took a back seat.  Don't get me wrong, there are few people in the world more obsessed with the voice than me.  I spend hours working on mine, and seeing what I can do with it- trying to be better than any other human alive.  This is an element that will come to fruition in future years, and is working away in the back of my mind.  I find, however, that there is far too much focus on the voice alone.  If you look at all the so-called 'talent' shows, this is all they promote.  Contestants sing cover songs (and not originals); they have no personality or any sort of appeal whatsoever- all anyone concentrates upon is the voice.  I have protested against these types of shows many times within my pages, and it is an issue that is not going away.  Talent shows are not necessary; anyone can record music anywhere in the world.  If you want to put your voice to tape, then you do not need much money to make a basic track.  The only reason people appear on shows such as The Voice,  is because they want to be famous.  Musicians should crave respect and set to inspire people.  Fame should never be craved as it is an ugly and pointless thing.  It has nothing to do with music, or acting or anything- it is a way of getting attention and money in exchange for nothing.  Contestants on talent shows do not want to inspire anyone, and make no efforts to write their own material or be individual.  Voices are moulded into something overly-familiar and the whole experience is rather disturbing.  There are the odd exceptions that can write material and have an ok-ish ability, yet it baffles me why they appear on these shows to begin with- it makes them look very needy and disingenuous.  My abiding point is, that when these shows and acts are shoved into the public's face, then all you are forced to focus on is the singing voice.  It is vital that great and tremendous singers are promoted, as all of the greatest whom have ever lived are either dead or are well into middle-age.  My generation has not produced anyone even remotely close to matching the likes of Freddie Mercury, Michael Jackson, Prince,  Nina Simone and Kate Bush.  It seems strange as there are over seven billion people on earth and all manner of inspiration and archive to assist the process.  As much as that fact is a huge red flag, it is worrying that the young are becoming less interested in words and lyrics.  It seems that attention spans are shorter and disposable aspects are favoured.  You do not have to concentrate too hard to focus on a voice or composition.  When you love words, you have to concentrate and dig deep- they are a facet that reward those whom truly listen.  I have written- briefly- about the importance of lyrics once before (http://musicmusingsandsuch.wordpress.com/2013/08/24/music-lyrics-and-voice-sam-liddicott/).  Songs require words, and I feel that less importance is being placed upon their relevance.  I guess the voice comes a little more naturally.  It is something that the individual possess, yet does not need to constantly modify and change.  Lyrics demand constant thought and the pursuit of perfection and thought.  If the new artists are going to inspire young minds- as well as be remembered decades from now- then they need to make sure that they work harder on lyrics.

In a recent blog, I sighed a huge sigh of relief, as I had finally completed a song.  It was one that I had been working on for years and since day one had been tinkering and amending the words.  I was never truly satisfied with the words to Vanity Mirror.  You can judge for yourself if they are 'up to scratch' (http://musicmusingsandsuch.wordpress.com/2014/01/26/feature-putting-the-right-words-in-the-right-order/), and it is a song that I will continue to work on- making sure my vocal performance and the composition are as good as possible.  Not every song I write will cause so much craze and obsession, yet it is vital that the nature of lyrics is not given short-shrift.  I will examine the all-time greats and why lyrics are important to me, but my point is this: you do not have to be Bob Dylan to write something truly wonderful.  Most songs are based in personal experience or revolve around love, and everyone has their own trials and tribulations.  I feel that most people write lyrics too simplistically- there is little in the way of intelligence and nuance.  I guess if you are in a band and your music is heavy in nature, the words may need to match the mood.  Solo artists probably have the best opportunity to showcase their words, as their compositions are sounds tend to be less heavy and raw- giving you a better chance to clearly hear what is being sung.  I just feel that there are going to be a lot of up-and-coming musicians waiting for their chance to make a mark, and it is fundamental that music does not purely become all about the voice.  I am not sure it is a sign of the times, but it is clear that there is still a need- and appreciation- for those whom can truly pen a line.   If you can make sure your songbook is as strong as your voice, then you a lot more likely to win fans and make sure you remain long in the public consciousness.  Before I examine the greatest lyricists and why they should be celebrated, I am looking around the current market.  To mind, the best lyricist we have at the moment is Alex Turner.  Of course a song requires a wonderful composition as well, but when it comes to the business of words, then Turner is leading the way.  I will be quoting one or two of his best lyrics at the end of this feature, but he is someone who should be studied closer.  I mentioned that it is harder for people to focus upon lyrics when the music is heavier, yet Arctic Monkeys have a back catalogue that is predominantly on the brisk side.  There is just something about Turner that means his words really stick and almost supercede the songs themselves.  Turner is a modern-day poet whom mixes tales of city life with aspects of love and dislocated romance- all draped around his distinctive voice.  It is not just the quality of his words that are so impressive, but the sheer range.  If you look at the eatly albums, there was a great focus on dance floor calamities, odd local characters and the seedier sides of city life.  Albums like Humbug became rawer and more sexually-charged and AM can be seen as an album that draws all their previous work into the one L..P.- whilst introducing new elements of Hip Hop and nods to classic Rock and Metal acts of the '70s and '80s.  It is no surprise that their latest release has scooped awards and plaudits.  Of course, the overall sound and ambitious range of sounds has counted for a lot, yet it is still Turner's words that are the biggest focus.  Without them, the band would not be as popular and celebrated they would just be another act, cut and dry.  The group pay huge importance to making sure their sounds are as potent as possible, but the way in which Turner mixes poetry, wit and scorn- sometimes within the same song- is truly breath-taking.  Lyrics are a way of bringing the listener into someone else's life: giving them a chance to see behind closed doors; inside a writer's mind, as well as let them experience streets and towns and the characters contained within.  Turner can write about tenderness, but he has also has a charming venom.  The way in which he paints vivid pictures and unleashes Alice In Wonderland-esque scenes within a couple of lines should be applauded.  When new musicians are looking around for inspiration, they should be looking towards lyricists.  If you have an ounce of insight you realise that the voice has to come from you- if you borrow too heavily then you will never get anywhere in music.  Lyrics are harder to make truly special yet there is a lot of scope for glory.  You do not have rip-off Turner to be as good as him.  If elements are taken from his songbook (the witty tales and seedy nature of fame) and mix in other writers, then you can come up with something rather wonderful.  I have mentioned before two other acts: The National and Laura Marling.  Again, here are a duo whom will feature in the conclusion to this piece, but they are again artists whom understand the importance of words.  Marling is a young woman whom has experienced a lot of loneliness and heartache.  She brings that into her music, yet has a lot more to her than that.  Her early albums saw her perhaps as a new Joni Mitchell.  Marling- even at such a tender age- introduced maturity and a stunning eye for detail into her songs.  On songs such as Cross Your Fingers she mixed humour with stark imagery ("...hold your toes/We're all gonna die when the building blows").  Marling focuses on the problems and stresses of love, yet does so with wit and intelligence.  She introduces nods to classic literature; sprinkling in some accusation and violent proclamation as well as romantic implore.  On her latest album, Once I Was An Eagle, Marling introduces a concept album of sorts; focusing on a central figure whom starts off naively, regains something of herself, before succumbing to naivety once more.  She is an artist whom will have a long future, and being so young- 23- she has plenty of time and experience ahead of her.  The National are the final modern act I will mention.  They share a lot in common with Leonard Cohen, as they look at the nature of love and depression, yet survey it with grace, intellect and humour, too.  The voice and music may not appeal to many, as it can be seen as a little oppressive and mordent, yet one cannot fault the words.  Matt Berninger is one of the greatest lyricists of the moment, as he can casually drop like this into songs: "I am secretly in love with everyone I grew up with" (from Demons).  There is a lot of darkness with The National's music, but so much that makes you think.  I shall mention The National more in the concluding paragraph, but for now, let me take you back in time...

When we think of gret lyricists, our minds are perhaps trained to Bob Dylan.  For me, he is the epitome of what a songwriter should be.  His music has inspired generations and his voice- whether you love it or not- brilliantly scores his songs.  Dylan is a case of a songwriter whom found his feet and talent young, and is still surprising and satisfying fans today.  Many have tried to top or equal him as a songwriter, yet none have.  It is not because he 'got their first'; or because of a particular time or age- it is just the innate talent he has.  Inspiration comes in all forms, and throughout the ages.  Dylan wrote about political events and the inequities in society; the atrocity and pointlessness of warfare- but most of all he wrote about love and his personal experiences.  Because we are in 2014- and times have changed- does not mean it is impossible or improbable someone could come along and match Dylan's flair.  His words are abound with deep insight, strange and bizarre scenes; plenty of pathos and some stunning poetry.  If you look at an individual album- say Highway 61 Revisited- it goes to show the depth and range Dylan possess.  An opening salvo such as Like A Rolling Stone demonstrated the young man's biting snarl and skillful narrative;   Ballad of a Thin Man looked at an intruder in a bourgeois world; an interloper whom kept mis-stepping in a world of freaks.  The closing masterpiece Desolation Row was a song that looked at fictional and historical characters interacting with one another; strange and beautiful scenes and vivid imagery was planted throughout.  It is a track that makes you try to picture what Dylan saw, as you get lost in his words.  If you are unfamiliar with Dylan's lesser work- or not listened to him for a while- it is imperative, as his music had been responsible for so many of the great bands and acts we hear today.  His songs were not always flawless, and some albums were underwhelming, yet Dylan is someone whom could make an average album sound incredible and encapsulating.  Songs such as It's Alright Ma (I'm Only Bleeding) are amongst my favourite, and is filled with alarming and Technicolor visions; tender songs such as I Want You showed a romantic side to the man, whilst Blowin' In The Wind could be said to be one of the greatest songs of all time.  Around the same time- perhaps a little later- touching souls such as Leonard Cohen and Joni Mitchell played.  Both were synonymous due to their memorable lyrics and quote-worthy lines.  Cohen suffered- and still does- with depression and a lot of his songs address that; yet he was originally a poet.  You can tell, as so many of his songs contain sentiments and thoughts most songwriters could not touch.  Tracks such as Hallelujah are fileld with biblical references, evocative images and incredible emotion.  Mitchell remains one of the greatest female songwriters of all time, and is no lesser Dylan in my mind.  Her music looked a lot at romance and love, but the way in which she portrayed this was incredible.  Cafe scenes and chance encounters; wistful dreams and inner recriminations mingled within the same line, and she is rightful regarded as one of the greatest songwriters of all time.  She is someone whom inspires current songwriters like Laura Marling- and thousands more, I am sure.  Before I sum up, I want to mention two more- diverse- lyrical talents.  Bjork is the first, and perhaps not someone most would imagine when thinking of the great wordsmiths.  To me, she is one of the most original lyricists there's been.  Perhaps due to her Icelandic upbringing but her music is steeped in native folklore.  She writes about love and anger like us all, yet is adept at weaving fascinating tales of nature, the natural world- and subjects most of us are unfamiliar with.  Tracks like Human Behaviour said how there is "no map to human behaviour".  It told about how unpredictable and cruel people can be; how good some can be- but how marvellous the experience was.  Her voice is perhaps something that most focus on with regards to her music, but I challenge you to read her words: really study them.  Bjork is someone whom encapsulated the entire human experience; from evolutionary beginnings, through to symphonic crescendos of love and war.  I hope we see her continue to inspire for years to come.  Before I round off my piece, I want to give honourable mention to Morrissey.  Here is a man whom defines most people's ideas of a bitter loner- not true.  If it were not for Morrissey we would not have some of the best songwriters of the moment, nor his wonderful words.  A lot of his thoughts and ideas are filled with sarcasm; biting wit and northern humour.  I adore his words so much because he is a man affected by loneliness and being misunderstood- yet can turn it into wonderful music.  Songs such as Girlfriend In A Coma are genius nuggets that make you laugh; Last Night I Dreamt That Somebody Loved Me is heartbreaking and ambiguous; I Know It's Over is haunting and emotional- whereas This Charming Man is a fascinating tale.  In spite of illness and recent setbacks, Morrissey has new material afoot, and some 30 years since he started out, he is still one of the greatest songwriters we have.

Okay, then.  You have heard a lot from me- poor you- but I hope the point is made.  Music is not in total danger of hitting rock bottom- with so much out there it could never die out.  I just feel that the balance of consideration is being paid to vocal duties; the words are being overlooked.  There are many great songwriters out there at the moment, and plenty whom can write lines and songs that take your breath and make you want to write stuff of your own.  Whilst re-listening to songs by Arctic Monkeys and Bob Dylan, I came up with the below:

"Mother, sorry for what I said yesterday/And the 30 years before".

"Equal justice and true love are former charges of mine/He left his money to religion/And hers to the home for the blind".

"The ghost of Isaac Newton haunts my dreams/He ties an apple stem with his tongue/And tells secrets that no one understands".

I am not sure what it means; nor where it came from.  Great lyricists have the ability to be tease words out of all of us.  I always carry around a couple of notebooks to scribble down thoughts.  Some are good; some bad, yet I feel I can always polish a bad lyric, and when you get into a rhythm, entire songs are formed.  Too many bands and solo acts are too concerned with making sure the 'sound' is as stunning as possible- often the base and bedrock of their songs get overlooked.  Not every song has to be a Morrissey or Dylan-esque classic- although every once in a while it is great to have a go.  Over the course of ten or eleven songs, so much range and ground can be covered- and wonderful songs unveiled.  If you are a musician- or not- think about what you write at the moment.  If it purely about love or something more detached and oblique; do you feel a little stifled?  A lot of songwriters tend to stick with the same themes and topics, and this can cause stagnation.  If you look at some of the greats-and what they write about- I am sure that new inspiration can be summoned up and implanted in your mind.  When you find new themes to study, and new masters to study, it not gives you fresh inspiration- but can add weight and diversity to your music.  I guess the point of the piece was to reaffirm the vitality of the written word.  It is the common thread in pretty much every song recorded, and something that will never go away.  Too many modern acts negate the business of honing and stretching themselves as lyricists, and I am always searching around for great songwriters to be inspired by.  The likes of The National, Laura Marling and Alex Turner are well-documented and played, by to my mind, under-appreciated.  It is not plagiarism to be influenced by their essence; there is to their work that can extrapolated and redefined.  Our future stars are the ones whom have to carry the torch and inspire generations.  I admire voices that are truly different and bold; composers whom push beyond the preconceived and well-worn paths; yet I search around and wonder where the great lyricists are going to come from.  There are plenty of great writers out there, yet I feel there should be more.  Perhaps it is a lack of education and appreciation (of the past and present greats); a tendency to concentrate on sonic evocation, or something else.  Who am I to criticise anyway?  I just hope that twenty-or-so years from now (when the likes of Dylan are no longer with us) that the best lines ever written are not confined to history- I hope they are being penned by the current crop.  Just from listening back at some great songs by the likes of Bob Dylan and Morrissey I have been inspired to put pen to paper and amend a song that has taken me years to complete...

OH bugger.

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Ten Examples of Brilliant Lyrics:

 

Bob Dylan: "In this heat room the pipes just cough/The country music plays so soft/But there's nothing, really nothing to turn off/Just Louise and her lover so entwined/And these visions of Johanna that conquer my mind".  (Visions of Johanna, 1966)

Leonard Cohen: "Your faith was strong but you needed proof/You saw her bathing on the roof/Her beauty in the moonlight overthrew you". (Hallelujah, 1984)

Laura Marling: "He greets me with kisses when good days deceive him/And sometimes with scorn and some times I believe him". (My Maniac and I, 2007)

The National: "Famous angels never come through England/England gets the ones you never need". (England, 2010)

Bob Dylan: "The kerosene is brought down from the castles/By insurance men who go/Check to see that nobody is escaping/To Desolation Row".  (Desolation Row, 1965)

Bjork: "I tip-tow down to the shore/Stand by the ocean/Make it roar at me/And I roar back". (Violently Happy, 1993)

Alex Turner: "And yeah I'd love to tell you my problem/You're not from New York City, you're from Rotherham". (Fake Tales of San Francisco, 2006)

Joni Mitchell: "All romantics meet the same fate someday/Drunk and cynical and boring/Someone in some dark cafe". (The Last Time I Saw Richard, 1971)

Morrissey: "I am the son and heir/Of a shyness that is criminally vulgar". (How Soon Is Now?, 1985)

Alex Turner: "Baby we both know/That the nights were mainly made for saying things that you can't say tomorrow day". (Do I Wanna Know?, 2013)

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Track Reviews: Crystal Seagulls- Heart Won't Beat/Hands Inside The Dark

TRACK REVIEWS:

Crystal Seagulls

Heart Won't Beat

9.4/10.0

Hands Inside The Dark

9.6/10.0

Heart Won't Beat is available from:

https://soundcloud.com/crystalseagulls/heart-wont-beat?in=crystalseagulls/sets/crystal-seagulls-ep-1

Hands Inside The Dark is available from:

https://soundcloud.com/crystalseagulls/hands-inside-the-dark?in=crystalseagulls/sets/crystal-seagulls-ep-1

E.P.-1 is available at:

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

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They have been on a steady trajectory (as-of-late).  It seems that this year will see the London boys transcend from the underground, to the echelons of the big contenders.  Make sure you familiarise yourself now; they will be big news soon.

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IT has been a few days since we had to sit through another round of Brit Awards anemia.

I have always been a bit ambivalent- at best- when it comes to music awards.  Sure, they are necessary, in order to reward the most deserving of musicians.  The trouble is this: they don't.  I have always thought that the likes of The Grammy Awards was nothing more than showcases for controversy, attention-seeking and celebrity: where the nature and meaning of music becomes distilled amongst a flash of camera bulbs.  Flimsy and pathetic events like The M.T.V. Music Awards are even worse offenders.  If you like your music nauseating, anodyne and pop-based, then they are the awards for you.  The highlights of these events usually consist of some anorexic pop waste of space, cavorting with a moronic male solo artist- not that I am referring to any specifics!  There is plenty on offer if you want to see degraded acts flash their bare cheeks; if you want to see awards doled out to the ridiculous and untalented.  The nature of award shows is misleading and puzzling.  There are too many events which celebrate a certain sector of music: the teenage pop market.  If one wants to see the true musicians and greatest acts fulfilled, then it is slim pickings.  There was a time when music award shows used to focus upon these acts, yet I suspect that the infiltration of boy bands, flimsy solo acts and trite offerings has somewhat buried any gold.  I am perhaps a little biased- being a fan of Rock, Indie and the like- yet feel that I am not displaying ignorance or any form of narrow interest.  Having been raised in the '80s and '90s, I have seen a shift and move from New Romantics, through to Mancunian Rock; via Dance and the advent of Britpop.  My formative and infant years were spent awash a myriad of vibrant and exciting sounds.  One day would be spent absorbed in The Smiths or Blur; the next may be dedicated to the likes of The Chemical Brothers or The Stone Roses.  The music was never boring or stagnated.  Even the worst and most mediocre of bands or acts at least gave it the old college try.  My point is not tangential to the main theme, as it shows that times and taste have changed a lot.  Of course you cannot recapture the past or expect a glorious era to continue on and on, yet it seems that there has been a sharp decline.  I am always looking out for something new and exciting.  I love Rock and Metal as much as I enjoy classic Soul and Reggae.  I feel that there is still a subjugation and ignorance when it comes to the most ambitious and promising acts.  Celebrity and scandal are as predominant as ever, and an autosomal dominant trait of mother music.  Headlines are being grabbed for the wrong reason, and it seems that there has been a deflection away from great music- and towards titration and pointless journalism.  I keep harking on about how many great acts I reviewed last year (as well as this year), and my excitement is tinged with anger.  A lot of these acts are starting from the ground level; raising their own money and working their backsides off in order to record just a single song.  They gig endlessly, sweat and toil, in order to achieve a glimmer of the attention that so many 'mainstream' acts garner.  It seems strange, and I have been wracking my brain try to figure out why (this is the case).  I shall return to that theme in due course, yet I want to circle back to The Brit Awards.  I watched it, and you know what: I bloody hated it.  Not all of it, to be fair.  It is refreshing that this year saw the celebration of some truly deserving and brilliant acts- a paradigm shift away from recent years.  In algebraic terms, one should expect there to be a mix of great acts rubbing shoulders with plastic nobodies- one cannot dictate the pace and colour scheme of the music industry.  David Bowie is a stalwart and godfather of music, and was rightly acknowledged as such.  Daft Punk picked up an award and I was not too disappointed as a whole.  In terms of pure frivolity and drivel, there was, however, still too much.  The awards are still synonymous with celebrating the underwhelming and I feel some deserving acts walked away with nothing.  Sure Rita Ora looked great, but is an act I do not want to hear at all- for many different reasons.  I have always felt that Ellie Goulding is an endearing and wonderfully down-to-earth figure- and one of the most beautiful women in the world- yet it seemed odd she scooped a gong.  Her last album was out two years ago and hardly caught the attentions and minds of many new fans.  The night also saw perennial soon-to-be-Macdonalds-employees One Direction hoisted onto the stage.  I think they won an award for Best Video- which goes to show that my previous post about music videos raised some genuine concerns.  As much as a fiasco and insult as that was- to video directors and artists- they also gathered attention for their music itself.  I understand that you cannot force-feed good taste into the young, yet the likes of One Direction do nothing to promote the good name of British music.  They are tabloid fodder, and are the most noxious form of music acts.  Just as I was about to vomit a crimson stream of bile towards my flast-screen, and burn myself with a cigarette lighter, up steps one man: Alex Turner.  Technically it was several men, but not let us get caught up in semantics.  The voice and lead anchor of Sheffield's Arctic Monkeys took to the microphone.  Perhaps the L.A. sun and U.S. air had mutated his northern drawl, yet the man has lost none of his insight and vitriol.  Turner's speech has gathered a lot of social media attention- both good and bad- and whatever you think of the man, his point and thesis is right on the money.  I am a fan of Arctic Monkeys, and have always found them to be a cut above their contemporaries; interchangeable and mobile over the space of an album, they are adept at keeping their sound fresh and intoxicating.  Turner- for me- is the best lyricist on the block, and seems endlessly talented.  His speech and words were not intended to herald and uphold his personal merits and intentions; it was a ubiquitous and universal point: Rock will always be here and there is nothing you can do about it.  I was desperately hoping that those words would make Harry Styles choke on his Ribena, but alas, no.  It was not the odd single line that did the shouting; it was the entire speech.  There is a genuine fear and consensus that Rock is in danger of being overwhelmed by the spate of Pop and Soft Pop participants.  Turner not only allayed fears, but sent out a mission statement for the coming year...

Amongst the towns and cities of the U.K., there are a wealth of hungry and agile acts whom mean serious business.  I have seen and heard some terrific examples lately, and am constantly surprised by the range and different between the acts,  Last week I reviewed solo artist Alison Levi, whom impressed me not only with her incredible music, but so much more.  Her voice put me in mind of Eva Cassidy as well as other all-time greats, yet it was her personality that really struck me.  She is a humble and witty figure whom enlivens her Twitter feed with humorous and amusing one liners.  As a package she ticks all the boxes, and is a down-to-earth and gorgeous woman.  Her music is focused and filled with nuance and she is someone whom will go very far.  Away from the likes of Levi,there has been some great U.S. electro; brilliant Canadian Rock/Funk- as well as a great deal of homegrown talent.  Rock bands have featured heavily in my iterations, and the likes of Los & The Deadlines have particularly impressed me.  They are a London-based band, yet their members hail from countries and nations far and wide.  With a nod to the likes of Led Zeppelin, the boys are putting the capital back on the map.  Over the past few months I have been worried by the lack of talent and furtive music emanating from London- wondering what exactly was going on.  Most of my features- with regards to U.K. talent- have looked at artists in the north, as well as Scotland, and there has been scant summation of capital bliss.  Crystal Seagulls are a band I have reviewed a couple of times before.  Back in May I reviewed their track Yours For As Long As You Keep Me (http://musicmusingsandsuch.wordpress.com/2013/05/27/crystal-seagulls-yours-for-as-long-as-you-keep-me-track-review/).  I mentioned that track had elements of Britpop explosion.  It bridged and galvanised the divisive camps of 1994/5 Oasis and Blur- tying together their different sounds whilst circumventing any direct comparisons.  I summed up the song's finale, thus: "The final line reads: "Be here by my side, I’m still here waiting for you". It is a graceful and romantic coda, that encapsulates the song’s majesty".  A month later, I got my hands on their track, Time (http://musicmusingsandsuch.wordpress.com/2013/06/29/crystal-seagulls-time-track-review/).  It is a song that features on their new E.P.- which I shall get to- yet I was impressed by many facets of the song.  It was ambitious as well as focused; memorable yet lovable louche and romantic.  I surveyed it proudly, writing:  "There is no dark musical backing, nor matter-of-fact glibness; everything balances out perfectly. Our hero’s voice is authoritative and intent (yet not overwrought)...".  In fact, I reviewed the boys for a third outing December (http://musicmusingsandsuch.wordpress.com/2013/12/01/feature-crystal-seagulls/).  I may have to go in a brief Crystal Seagulls detox through the spring and summer, yet I always find myself surprised each time I encounter their music.  Today perhaps sees the summation of their recent ambitions, as they unveil their E.P.  It has been on the market for a fe weeks, and already is gaining praise and new fandom.  It is called- appropriately and pithily- E.P.-1, and provides as much mystery as it does honesty.  This is reflected in the songs contained within; over the quartet of numbers, the London men display all of their grit, wit, heart and blood: saying a hell of a lot of the course of twelve or so minutes.  Included in the E.P. is two songs I have reviewed previously: Toetapper and Time.  You can tell- from reviews of those tracks- that I was impressed, not only by the quality of the music, but also by the emotional and sonic range.  The band have their own clear identity and mandate, yet are able to augment their central core in varying directions.  If you are unfamiliar with the Crystal Seagulls boys- shame on you- they are (as described on their Facebook page): "... an unsigned young four-piece indie rock band consisting of Jim (vox/rhythm guitar), John (vox/bass), Elz (backing vox/lead guitar) and Ben (drums/poster boy)".  Although the band members hail from different counties, their home is London, yet when it comes to sourcing their sounds, there are international touches.  As well as displaying an authoritative knowledge and love of the '90s masters such as Oasis and The Stone Roses, they have Beatle-esque psychedelic edges; Queens of the Stone Age primal urges, as well as summery jangle and sunshine edges.  The boys have an endeavouring and pioneering spirit with their music, and are restless when it comes to diversity and acuity,  As much as their have flavours of different acts and eras, at their heart is a solid and unique foundation, which is a rarity of the modern age.  A lot of current Rock acts- away from the mainstream- tend to borrow too heavily from colleagues and idols.  I have mentioned Arctic Monkeys, and this is a band whom inspire many facsimiles.  Too many- mainly northern- Rock bands are a little too concerned with trying to replicate Turner's mob; their sound and sensation- ignorant to the fact that they cannot get to within spitting distance.  It is great when bands inspire others, but in a competitive and crowded market, it is individuality and personality which wins you fans, stripes and album sales.  Crystal Seagulls have been playing and plugging hard over the last year, enjoying some illustrious gigs as well as keen attention.  Their Facebook and Twitter pages are filled with happy memories, photographs and proud declensions.  "The band have performed a fair few gigs all over the country, notably headlining venues such as Barfly, The Water Rats, Proud, The Troubadour, The Notting Hill Arts Club, and their stage at 2012's sell out Brisfest. Last Year they played The Big Top stage at the Isle of Wight Festival, where their music was used as the soundtrack for the entire weekend".  Over the first month of this year, the boys have been completing their E.P.  Elz and Jim have been interviewing and promoting hard; the band have played across London, ensuring their music is heard by as many people as possible- the E.P. is result of many months of hard work.  I shall go into more depth about the E.P. in the conclusion, but for now I must alert you to two of the tracks from the release: Heart Won't Beat and Hands Inside The Dark.

On their Facebook page, the lads describe Heart Won't Beat as: "A song where groove, pop and rock are married polygamously together in harmony".  That sense of polygamy and mellifluous cohabitation is evidenced right from the off.  The pulsing and slinking intro. immediately puts your mind to attention.  It has a whiff of Bill Withers' Lovely Day; a smidge of Another One Bites The Dust- as well a relationship of menace and melody.  The snaking coda certainly has plenty of groove; it has a kiss of funk that you could imagine Prince snapping up.  The lads subtly layer in the audio intrigue.  There is a crackling of electric guitar with a heartbeat of bass.  Building on top of the foundations, the mood and pace becomes a little more enlivened.  Guitar spars with drum and the two merrily dance alongside one another.  It is a pleasing and sun-kissed introduction that borders Reaggae, Funk and Soul, as well as having some modern-day Rock promise too.  Before any words have been uttered, you are already compelled and sucked in.  After a 30-second parable of foreplay, our hero steps to the mic.  Initial implore bids: "Please close the door".  There is evidently some dislocation or dissatisfaction at the core of the track; an entangled love story is concluding, as- with metronome precision- it is said: "My heart won't beat for you".  Whilst our hero prefers to leave the love scenes "for the movies" it is clear that he moving on; picking up his things and heading off.  Right from the early iterations and supplications, the band are tight and taut.  Each note and passage perfectly blends with one another, and a subtle yet potent jam is elicited.  The harmony and intuition between the quartet gives the track an additional shimmer.  Although the track's themes tell of romance-gone-wrong and incongruity, the words are delivered with an air of bonhomie.  The lines are not spat or drawled; instead perfectly delivered and paced that you are sucked in and rooting for our hero.  Even the most evocative lines ("Just scream for absolution") seem catchy and calm when backed by the dizzying and solid backing.  As the vocal becomes more impassioned and enraptured the mood is still kept controlled; it creates a sense of drama and light-heartedness that pull your brain and heart in different directions.  Whilst our hero advises his former sweetheart: "Let go/'Cause you'll never know", the band strike and pervade; ramping up the momentum and introducing some new and invigorating guitar and bass lines.  As the vocal rises to a falsetto the taut-ness starts to slack, allowing the mellifluous jam to swing and dance.  The song has a danceable quality that is hard to shake off.  Your head and feet with start to sway and nod and the track implores you to get up and move.  You almost forget that at the core some soul-searching and finger-pointing is being dished out- so entrancing is the intoxicating groove.  Our frontman lets his disgraced subject know how he feels; it seems that ever second and hour "decays (my) mind".  There is perhaps an evocation of Biffy Clyro in the way that the powerful and impassioned vocals- combined with a polygamous sonic line- creates something epic and anthemic.  The boys whip up a final storm; re-introducing the scornful chorus as the song comes to a close.  Just as you feel they are coming back for one more attack, the track is laid to rest with a wordless falsetto coo.  By the final second you are left wanting more, yet still ensconced within the words and images that have been presented.  The four-piece manage to melt Pop, Rock and Funk into every stage of the song; keeping it focused and tight- and constantly intriguing and mobile.  Whomever has earned the disrespect of our Seagulls is being put to rights.  A lot of songs deal with the purveyance of a broken relationship, yet few do it with so much aplomb and energy.  Rather than unleash a track that is too overpowering and negative, the lads seamlessly pair a bright and elliptical sonic score with direct and powerful vocal-and-lyrics combo- the effect is impressive and stunning.  As opening tracks go, they could not have done a better job.  It is one that will capture listeners and strike their mind: it is a perfect opening salvo, yet stands alone in terms of its sound and storyline.  I have already reviewed tracks two and four from the E.P., so we leapfrog from Heart Won't Beat, along to Hands Inside The Dark.  Whilst Sol Invictus presided over our previous track, Neptune rules over Hands Inside The Dark.  Crystal Seagulls shift through the gears and unveil an interdiction.  The introduction is a lot heavier and harder than Heart' and it is apt that the band describe the track as "A rocky, raw and raunchy tale of infidelity with a touch of the psychedelic".  It is clear that the song takes its belt off and starts to unbutton long before any words have been sung.  Whilst the mood is not entirely oppressive and dark, there is plenty of force and intention offered forth.  It has the feel of classic rock tracks/bands of the '60s and '70s, yet has a vibrancy and off-the-moment sound that puts you in mind of the likes of Foo Fighters and Arctic Monkeys.  It is an embryonic scene-setter that strikes and punches; the guitar retreats and fires, twangs and pulverizes; the percussion slams and there is something else: a touch of the Blues.  I detected an evocation of De Stijl-era The White Stripes.  This remembrance is solidified in the vocal line that follows.  In the way that a young Jack White ran riot over a '00s-circa-'30s Blues jam, our boys update the sound- with an injection of modern-day London.  Initial signs take us, once more, to the shores of romantic recrimination ("How can you love and lie/At the same time?").  Not all is well in the palace of Crystal Seagulls.  Our man steps to the mic. to tear the flesh from a guilty beau (whether it is the same from Heart Won't Beat or another, I am not sure).  Although further revelations suggest that flesh is perhaps not being torn; more tempted and teased.  The 'heroine' is the queen, whilst our protagonist is "(your) concubine".  Roses and poetry feature seldom in a tableaux that depicts kingdoms and dungeons: there is clearly some sweat and raw sexuality at the core of the track.  As the track kicks up a notch before the 1:00 mark, there is an energy rush that puts me in mind of early-period Oasis.  There is an air of Cigarettes and Alcohol/Morning Glory Gallagher.  Whereas most of the Definitely Maybe/What's The Story (Morning Glory) regency examined more heartfelt themes, here there is a bit more fire, spit and lust.  I love the way that there is a stitch-less parabond of U.S. Blues and Britpop-esque Manchester running throughout.  In the verses, the vocal is argumentative and authoritative; the composition is masculine and swaggering.  When our hero steps away from the mic., the boys calm things down- but never let the potent-o-meter drop.  The percussion snakes and slithers, whilst the guitar cooly shakes its hips.  It is a slower and more languid vibe, but one that is crammed-full of cool, cockiness and toothpick-chewing f***-you attitude.  Perhaps my dewy-eyed diversions of love and possible-romance were premature.  The start of the second verse suggests that events are taking a twist: "Your double life is catching up/I saw your friend creep out the closest in the room".  In this tale, our hero questions and probes his guilty subject.  It seems she has been sneaking about; enraptured in a double life, where she is having her cake- and very much eating it.  When the chorus rides into view, our hero surveys the scene: "With your hands inside the dark/Like strangers in the park".  The lines are delivered with a gusto and passion that is hard to match (or fault)- again giving a strange and wonderful quality to some less-than-romantic lamentations.  Whereas song such as Heart Won't Beat has a linear- yet perambulating itinerary, here the pace and sound is shape-shifting and unpredictable.  Just as you have been swept up in the rush and momentum of the previous few seconds, the energy abates.  Sonic picture-painting replaces vocals as the boys summon up a curious coda.  Guitars bait-and-switch; a string of electric guitar bites snake-like; rhythm guitar and bass create a wave- accompanied by heavy-hearted percussion- before the tone and theme changes once more.  At the 2:06 marker, I hear some scents of early Blur.  Rarely can a band marry elements of polar bands such as Oasis and Blur (as well as retaining their original personality and core), yet it is seamlessly achieved, here.  I picked up on some The Great Escape/Blur-era Blur; little flecks of Charmless Man/Country House/Beetlebum/The Universal mingling in the notes.  Hard Rock mutated into epic Rock/Indie; morphs into gleeful Britpop, and comes back to land- all before the 2:15 mark.  Just as the atmosphere lifts into the stratosphere, we are back under the feet of the chorus as our hero comes back to the fore.  The vocal by-play that comes into effect is hugely atmospheric and memorable.  Voices blend and weave inside of one another to create an emotional and effective crescendo.  As the song reaches its embers, the pace and relentless force starts to desist.  You catch your breath, and stand back from the wreckage.  Another sonic gem has been unleashed: one that differs greatly from Heart Won't Beat- yet contain's the band's elementary cores and values.

It may be a fair few months before I get my hands upon any new Crystal Seagulls material.  I feel like I have been watching and writing about them from the start, but in actuality is has been less than a year.  The boys have crammed so much in over the months, that it has been quite dizzying.  The credit and plaudits they have already received is well-deserved and has given them ammunition to create a brilliant E.P.  I have witnessed and reviewed each of the four songs at different stages, and am always amazed by the one constant: the quality.  Each of the four tracks on E.P.-1 is different and offers a new sound and theme.  The boys describe Time as: "A dancey summery jam which brings sunshine to the winter months by evoking reminiscence of the summer months".  Toetapper is summarises as being, "A fast-paced, primal rampage of sex, drugs and rock n roll in its purest form".  Between those two tracks, one could not imagine any common thread.  Such is the ambition and range of the boys that they can seamlessly master lascivious and primitive rollicking; as well as creating paens to summer in its purest form.  Those two tracks appeal to a wide sector of music-lover, including lovers of the psychedelic bliss of the '60s; the glorious sunshine Rock of the '90s- as well as diehards of legends such as AC/DC and Led Zeppelin.  Within Heart Won't Beat and Hands Inside The Dark are two big- and differing- steps.  There is groove and grime; sex and peace; polygamy and the pusillanimous.  Many newer bands and artists tend to make their E.P.s somewhat safe and androgynous.  As much as anything, the releases tend to be quite restrained and un-challenging.  It is okay to have some songs that sound similar, yet if you have an E.P. with three or four very familiar tracks, then you are going to grab the attention of a small minority.  Crystal Seagulls understand the importance of vitality and range.  As much as I keep harking back on this subject, but one of the greatest musical events of last year was ..Like Clockwork.  The latest L.P. from Queens of the Stone Age is still in my head now.  The album hit me so hard because of the unexpectedness of it all.  They are one of my favourite bands of any, yet I was not sure they had much in the tank after Era Vulgaris.  That album was a little tame when compared with their previous works, and I was concerned that Homme and crew were in danger of early retirement.  When ...Like Clockwork was unleashed, it was business as usual- and some.  There was the traditional and mesmeric Rock of My God Is The Sun; the sex-driven groove of Smooth Sailing.  The album's title track was a beautiful and tender swan-sgong, whereas cuts such as I Appear Missing offered something unexplainable.  It was the range and diversity within the album that was so engaging.  The best albums and tracks from any year will always be judged on their quality, as well as the ground they cover.  Queens of the Stone Age produced the year's best album, because there as no filler: just a whole bunch of kick-ass glory.  Crystal Seagulls have produced a similar trick- with a slight truncation.  They can blend and melt sun-kissed slingers alongside sweat dripping sexual amor; brutal kicks spar with delirious licks and within four tracks they manage to summon up a multitude of sin and smile.  I'm sure I will be affiliated with Crystal Seagulls again sometime this year, but for now, I will leave you with a few key observations.  Alex Turner was right when he said that rock was always lurking in the mud; always working away in the background and a threat that you cannot deter.  It is something that is elemental and historical; more inspiring and evocative than any other form of music.  Our London boys are going to be a band whom will enjoy a long regency.  Their lyrics, music and vocals are consistently brilliant and skillful, and their songs bursting with electricity and a unique je ne sais quoi.  The crystalline sea-scavengers have been flying high for months now, and their E.P. demonstrates just what a talent they are.  I always recommend that listeners and music-lovers get on board a band (or act) in the embryonic stages- leet they be seen as fair-weather fans.  The future will promise further E.P.s, albums and tours, but for now the boys can comfort themselves with the fact that they will be playing some very key venues very soon.  I have seen lesser talents be adored and applauded across the U.S.; newer acts go on to play some of the best venues across London.  It seems that Crystal Seagulls will be able to take their pick, and the spring and summer will be jam-packed and eventful.  Their Instagram and Facebook feeds show how much fun the lads are having, and how much their music means to people.  They are having a blast making music, and this energy is reciprocated within their music; the alacrity and drive they inject into each song marks them out as major future stars.  If the likes of Alex Turner are telling this generation exactly how things are, then it will not be long until the likes of Crystal Seagulls are doing likewise.  Sadly, there will always be a need to eviscerate and educate naive and impotent minds, yet so long as fantastic acts play hard and loud, then it is a small price to pay.  I am not sure what is the calendars for Crystal Seagulls (with regards to follow-up music), yet they can be certain of one thing:

THEIR lives are about to get a lot busier and more prosperous.

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Follow Crystal Seagulls:

Official:

http://crystalseagulls.com/

Twitter:

https://twitter.com/crystalseagulls

Facebook:

https://www.facebook.com/CrystalSeagulls

YouTube:

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

SoundCloud:

https://soundcloud.com/crystalseagulls

iTunes:

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

Tour Details:

http://crystalseagulls.com/dates.html

Feature: You Can't Judge A Song By Its Cover.

FEATURE:

You Can't Judge A Song By Its Cover.

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The art of tackling an existing song is a tried, tested- and a little tired- form.  It is almost second-nature for new acts to cover established songs, yet few get it right.  When the cover version is 'just right', however, it can be very special indeed.

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LAST week I focused upon a wonderful year- for me- in music.

The year was- and is- 1994, and I stipulated that it was just a mesmeric year due to the quality of music being offered forth.  Everyone has their favourite decade for music, and for different reason.  I was curious whether a particular period of music is memorable because of the quality of songs produced, or because you are of a certain age.  I was a six-year-old when 1990 arrived, and am curious whether I love the '90s because it was at the same time I was really getting into music.  I have thought long and hard and am of the opinion that it was the sheer weight of the music itself that was so memorable- and not because my infant mind received its first taste of new music.  It was a decade that saw the discovery and continuation of some pretty awesome bands and acts, and entire genres were being popularised.  Grunge was in full swing, and was still a potent and mighty force after Kurt Cobain's death (in 1994).  Britpop saw the likes of Oasis and Blur fighting it out for chart glory, and Dance music was really hitting its stride.  I have looked back fondly, and seen what has come and what was offered up by the participants of the decade.  There was a great deal of original music, and it was a prosperous time for all concerned.  A lot of time has passed, and music tastes have changed somewhat.  New genres and styles of music have been created, and there has been a shift away from the core and credentials of '90s music, and towards something altogether different.  It is true that there are some great Rock and Pop acts about, yet there seems to be less diversity, fewer memorable albums- as well as a dip in overall quality.  As much as new music and original compositions are essential, and a way of demonstrating the prowess and personality of a musician, there is still a common thread running through music: the cover song.

Like a bad lawyer, making a terrific cover version requires a lot of trial and error.  Before I examine specifics and the ins and outs, there is one point that needs to be made.  I feel that there is a bit of a lazy tendency for new acts to cover music.  On every album or E.P. there seems to be too many cover versions and not enough original material.  It perhaps isn't a criticism reserved to new music, as acts such as Michael Buble have made their name covering other people's songs.  During yesterday's review of Alison Levi I mentioned Eva Cassidy a lot.  Here is an artist whom only recorded a few original tracks; spending most of her (short) career playing other acts tracks.  The thing that separates Cassidy from the subjects of my negative discourse is this: the quality.  There was innovation and originality in every reworking Cassidy produced, and they were all synonymous with one facet: that voice.  Cassidy's voice could melt hearts from miles away; capable of delicate and hushed soprano whispers, through to full-blooded roars.  Songs such as Fields of Gold, Over The Rainbow and Wade In The Water were transformed, and given a new lease of life.  This is one artist whom could make any and every song her own, and is still celebrated and remembered today- nearly 20 years after her death.  New acts have a right to attempt an existing song, and it takes some of the pressure off of their shoulders- in the sense that they have the words already written for them.  Artists such as Bob Dylan have had their back catalogue stripped and reworked; it seems that it is almost a right of passage for a new artist to cover a Dyan.  The problem with this is that the greatest songwriter whom has ever lived starts to lose some of his godlike status: when others mess up one of his songs.  It is not the case that every attempt at a Dylan number has been a failure- there have been some greats- but there are few genuinely great versions.  The issue with covering a track lies not with whom performed it first, but the lack of innovation put into reworking the song.  It is all very well taking on someone else's music, but if you are going to do that, it needs to be different.  In my mind the only reason to cover a song is to try to make it better; truly different and something that sounds like your own.  The greatest cover versions of all-time are on the list, not because no-one else thought of covering the track, but because they are worlds apart from the original: and a lot better in many cases.  I shall examine the best and brightest of the art form later, yet for now, I must wag my finger.  If you choose to tackle a particular track and put your own stamp on it, it is like being given a blank canvas.  Of course you have to keep the words in place, but not all of them.  The music can- and should- be very different; the melody can change and the running time expanded or contracted.  A rather limp or lifeless Folk number can be transformed into a multi-part epic.  A song of Bohemian Rhapsody's proportions can be rung from an unheard-of 1960s track; romantic and devotional tracks unveiled from dark and spectral Blues numbers.  Stations such as Radio One have their Live Longue a platform for an act to perform a song of their own; but also tackle an existing one.  I have tuned in a few times and never been blown away by the quality of the cover versions.  It is largely due to the fact that the songs being covered are modern-day songs, and the quality is not there to begin with.  I feel, however, that my generation is less innovative and intelligent when it comes to interpreting a song.  Most of the best covers were reworkings of '60s and '70s songs, and recorded either a short time after the original, or a little way down the line.  When considering my future music endeavours, I have decided that a debut E.P. should contain five original tracks.  When it comes to subsequent releases, I have two songs in mind: I Fall To Pieces and Joan of Arc.  The former, is a track recorded by Patsy Cline, way back in 1961.  It is a country track recounting painful memories for its heroine.  The song concerns the heartache at seeing a former love with a new lover; the pain and jealousy inherent- and perhaps recrimination and regret at letting them go in the first place.  The lyrics are filled with emotion and heartache; yet the delivery and performance seems a little muted.  Cline is a legend, of course, yet I Fall to Pieces is a song begging for reinterpretation.  I shall mention The White Stripes later, and their renditions of Jolene, but in my mind, I Fall to Pieces needs electric guitar, drum; a wracked and pained vocal; and an epic and head-splitting composition.  It is ambitious, but I feel that the lyrics are so simple and good, that there needs to be something done with it- a version where the intensity and full pain are extracted.  Joan of Arc, is, as the title suggests, about the French folk heroine.  Leonard Cohen wrote the track in 1971 for his album, Songs of Love and Hate.  It has been covered a couple of times before, yet none- to my mind- have brought full life to the lyrics.  The words concern Joan of Arc being burned at the stake, and the track is a dialogue between her and the fire.  Lyrics talk about: "Well then, who are you?" she sternly spoke/To the one beneath the smoke/"Why, I'm, I'm fire," he replied...".  In the way that one song can go from a restrained country song, to a heavy-hitting Rock track; the other a Cohenesque rendition which can be given additional shiver and intrigue, that, to me, is the point of a cover.  It is not good enough to just sing a song and put the bare-minimum into it.  Horrid shows such as The Voice and The X Factor gleefully encourage this sin of omission.  As well as being cauldrons for pathetic fame-seekers and appalling sob story merchants, they encourage a lack of creativity.  Every act covers a song- usually the same one that everyone else has- and the renditions are predominantly horrid and pointless.  Even when we get to the end of the horrible series and a winner has been crowned: the resultant album consists of a large amount of insipid and horrible cover versions.  Perhaps this has scared off the core of genuinely great music act- maybe there the T.V. pop muppets have made the cover song a poisoned chalice.

It seems all the perfumes of Arabia will not sweeten my songwriting hand.  I feel it is admirable to include one cover version every couple of albums or so- perhaps more.  If you think hard enough and make a great effort of it, then the rewards can be multiple.  If you make the song your own, then it can not only get you a lot of praise, but alert young listeners to past masters.  One of the best reasons to tackle a song is to make people aware of an act or artist whom has gone before- and ensure they are not forgotten.  Tragically, attention spans are getting shorter and shorter, and there are probably some that do not know who The Beatles are; who wrote Waterloo Sunset etc.  Ignorance is bliss, and it seems, something the young are not keen to be rid of.  I have heard so many people ignore music or not know who wrote a song, because 'it is before my time!'.  Guess what?  I was born in 1983, and I know when The Battle of Hastings took place.  I listened to Swing music of the '20s when I was a toddler; I am familiar with The Kinks, Sonny Boy Williamson and Neil Young.  Music is more readily available now than it has ever been, so it is pretty pathetic when people overlook music because they are young.  So many great albums, artists and songs are being ignored because people are becoming more stupid and self-obsessed.  If it takes a modern interpretation of Tangled Up In Blue to make someone aware of Blood on the Tracks, then I have no complaints.  It is a new Blues tradition that can take place- taking an old or existing song, giving it is a modicum of polish and making it visible to a new and fresh audience.  It is vital and important that old and past songs are paid fair tribute; that new musicians recognise former glory and pay their respects and give their stamp to that song.  If we lose the art of covering songs, then there is a danger of legends and all-time greats being ignored and relegated to the footnotes of music history.  As long as too many obvious songs are not covered too often; that originality and boldness are key considerations; that diversity and fascination are offered up- then it could encourage others to be more adventurous and brave with their own music.  It is true that there have been some  truly wonderful reinterpretations through the years; yet there have been some truly shocking ones...

It is not hard to completely butcher a song.  Ask the likes of Ronan Keating, who, for some bizarre reason, decided to tackle Fairytale of New York.  The song was pretty near-perfect to begin; in no small part because of the chemistry and vocal interplay of Shane MacGowan and Kirsty MacColl.  I am sure MacGowan would be rolling in his grave; if he were dead.  I hope he at least has a voodoo doll of Keating as I am not sure what possessed the man to urinate all over a classic track.  There was no need for anyone to go anywhere near this song- as the original can not be topped.  When it comes to bad cover versions, there have been a few that are truly eye-watering.  Classic numbers have been taken on but some dismal artists- the resultant chaos is enough to put you off of music for all of time.  M People (remember them?) wrecked Itchycoo Park; Will Young made mockery of Light My Fire, and perhaps most despicably of all, Take That covered Smells Like Teen Spirit.  That track (the orignal) is considered to be one of the finest tracks ever written.  It is celebrated because if the conviction and intention from Nirvana; because it represented a very real feeling at the time, and a genuine dissatisfaction and dislocation from Kurt Cobain.  When put in the hands of a bunch of wet and weedy karaoke band, and the track loses everything.  Luckily the Take That boys cannot completely ruin a song as great, yet should not have gone anywhere near it.  It is when events like this occur, it makes me wonder if people are genuinely trying to lovingly pay tribute to a song- or just come across as a sick and annoying jokes.  Madonna desiccated all over American Pie; Mark Ronson destroyed No One Knows- and Leona Lewis screeching over Stop Crying Your Heart Out.  This is an extended list of feeble and unspectacular acts whose original material is not exactly spellbinding (except maybe Madonna's early work).  It is perhaps the fault of the writers of the tracks for letting their music be murdered; and I suspect financial gain overrules dignity and common sense.  In the current scene there are too many examples of the atrocities listed above.  It is difficult to make an average song good; maybe it is difficult to make a great song different- it is phenomenally hard to make a great song bad.  It is perhaps testament to the ineptitude of some artists that they can take a wonderful gem of a track, and make it sound like a joke.  I shall not spend too much time dwelling on some huge music failure, but the point is this: if you are going to make a hash of a song, then do not go anywhere near it.  The point of covering a song should be to improve it; make it different in a good way, and above all, get the word out- in a positive way.  There have been some covers I have heard that has compelled me to seek out the original; in turn I have then bought and discovered albums by that artist and become fans of the song's author.  I guess the mark of an incredible cover version is to both have respect for the original composer as well as the act covering if, and in turn, the necessity to seek out as much music by both as possible.  When the trick is mastered, it can produce some wonderful results indeed...

I will mention three brilliant- and different- cover versions, as well as give an honourable mentioned as well.  It is always going to be hard making a classic out of an average song, or elevating a track to untouchable heights if you stick too closely to the original.  If you are tackling an acoustic number, then make it harder and more electric; if it is an old Blues number, update it and take it in a different direction- and so forth.  The best and boldest cover versions earn their stripes because they take the original track, and completely change it- and improve on it in a lot of cases.  One of the most radical about-face transformations was when Jimi Hendrix took on All Along The Watchtower.  In the way that some musicians can turn a song into a pusillanimous mess; truly innovative artists can make a song utterly memorable.  Of course Dylan is an artist whom will always have a host of people wanting to tackle his music.  He remains the greatest lyricist of all-time and one of the finest songwriters to have walked the planet.  His albums are not always up to his lofty standards, yet there are always great songs in the midst of his most average albums.  In 1967, Dylan has perhaps completed an impossible trick: having created three of the greatest ever albums, in quick succession.  In 1965, Dylan has released Bringing It All Back Home and Highway 61 Revisited.  That year saw him transform from an acoustic guitar-wielding Folk icon, into an electric-guitar sporting Folk god.  The metamorphoses was met with criticism from the Folk elite, yet the year saw Dylan produce some of his finest work.  A year later, Blonde on Blonde was released and a snowballing momentum created.  The young artist was on fire, and not in the mood to slow down.  John Wesley Harding was a celebrated and classic album, but not as good and memorable as his previous three.  There were fewer electrifying moments; less in the way of out-and-out classics: it was more restrained but not exactly impotent.  When the track All Along The Watchtower was witnessed and surmounted, few took a huge amount of notice.  The lyrics were strong and memorable, but there was nothing that jumped out of the vinyl and lodged into the hippocampus.  Stronger songs such as I'll Be Your Baby Tonight were perhaps more long-lasting, but the album inspired one particular guitar hero.  I am not sure what inspired- or intoxicated- Hendrix, but there was something in All Along The Watchtower that compelled him to pick up guitar and lacerate the track.  The song- in its original song- is a relaxed and calm moment.  Dylan's version is like many of his songs: effective yet languid and calmly paced.  Hendrix decided that the fine lyrics deserved a thunderbolt of energy and passion, and turned a minor track into a stonewall classic.  It is not just the incredible and psychedelic guitar work that makes it a wonderful cover, but Hendrix's impassioned vocal.  Hendrix is an underrated singer and does not get credit in that respect, yet his aching and enraged vocal performance almost matches his head-spinning and maniacal axe work.  Dylan has gone on record as saying he prefers Hendrix's version and subsequently plays the song more in keeping with Hendrix's reworking- as oppossed to the original sound.  All of the words were kept in tact by Hendrix, but he took the weakest element- the composition and vocal work- and added punch, grit and mesmeric soul.  If you hear the track (Right-click and 'Open In A New Tab':http://www.youtube.com/watch?v=pJV81mdj1ic) you are captured from the first moments to the very last.  It is rightfully considered as one of the greatest cover versions of all-time, yet is not my favourite.  I shall lead to that, yet there is another that grabs my attention.  Former husband and wife duo Jack and Meg White- of the sadly defunct Th White Stripes- burned a bright and bold trail over their career.  The Detroit couple- whilst pretending to be brother and sister- turned out a string of wonderful albums of Blues Rock that borrowed its heart from the Blues legends of the '20s and '30s- yet introduced Garage elements and modern sounds to create a primal and intelligent blend.  Jack White is one of the greatest songwriters we have, and dared to be different.  Whilst his contemporaries- in the late-'90s/early-'00s- were copying the Garage and Punk bands of Michigan, White was updating the sounds of artists such as Blind Willie McTell and Son House- heroes that influenced and inspired the young White.  The White Stripes produced original material of the huighest calibre, yet were skilled and impressive masters of the cover version.  If you listen to Dusty Springfield's I Just Don't Know What To Do With Myself; it is not a song you would consider to be angry and overwhelming.  In Jack White's hands, the track was given a fresh lease of life and transmogrified into a tale of frustration, boredom and aching love.  Every screamed and anguished vocal stabbed into your heart; his brutal guitar work pounded your bones, and Meg White's solid drum-work bolstered and supported the epic and sweeping mood.  It was when I watched the performance of a particular song on their live D.V.D. Under Blackpool Lights (Right-click and 'Open In New Tab': http://www.youtube.com/watch?v=kS60oTRxh0g) that my jaw dropped.  Swat pouring from White's brow, and looking exhausted, Jolene was given a thorough going-over.  Dolly Parton's original was a Country music great, but seemed a bit merry for my liking.  There was pain at its core, yet Parton's rendition was cheery enough to make you gloss over that.  Step up Jack and Meg who killed the crap out of it.  A wailing and heartbroken vocal performance was accompanied by a spiking and pulverizing guitar tableaux.  With Meg smashing and teasing her kit the duo wowed the Lancashire audience with a performance of raw and unadulterated anger and frustration.  White reversed the gender roles- imagining himself as the man fighting for his man- making the rendition more curious and fascinating.  You can tell from his contorted face and frantic performance that he means every damn word; he took a song that was soaked in Jack Daniels and Nashville rain and took it to Michigan: injected it with a razor blade, packet of cigarettes and a smashed apartment.  Parton may have originated the track, but The White Stripes made it come alive.  It has inspired me to be similarly-ambitious with I Fall To Pieces- these are songs whose lyrics suggest a performance filled with wracked and overwrought annotations.  Before I get to the final- and my favourite- cover versions, I will honourably mention Johnny Cash.  The departed great is considered by many critics to be the singer of the greatest cover versions to ever have been recorded- Hurt.  The track was written by Nine Inch Nails, and appeared on the Goth Rock masters 1994 album, The Downward Spiral.  That album was inspired by '70s icons such as David Bowie, and the album explored a lot of the same territory that the likes of Bowie and Pink Floyd mastered in that decade.  Hurt was the swan song that completed the album.  In Reznor's hands it was seen as many to be a musical suicide note; a plea from a depressed and overwhelmed young man- someone whom wanted an escape from the pain.  It may have resonated with some 20 years ago- those whom felt the same- yet alienated some due to its dark themes and pained performance.  It is a wonderful song, yet you get the impression that it is more important to its author than it ever will be to anyone listening.  In 2002, Cash covered it as part of his album American IV: The Man Comes Around.  That album was released just before Cash's death, and his rendition of Hurt is considered a modern masterpiece.  Whereas N.I.N. focused more on self-harm and depression, Cash took it to be a paen to Christianity and spirituality.  He removed the profanity and gave the song time in rehab.  The ailing Cash gave the song an eerie and emotional core the original did not contain, and it documented a frail legend not long for the world.  The music video- shot in black-and-white- projected images of Cash from his youth to present-day (2002), and was an emotional and striking rendition.  Seek it out on YouTube as it is rightfully hailed as one of the best covers ever, but I shall let you arrive at your own conclusions.  Before I sum up, I will mention my favourite ever cover version.  Leonard Cohen is seen by many to be a minor Bob Dylan- a more depressing and haunted equivalency, minus some of the genius.  Cohen is overlooked when it comes to songwriting, as many are put off by his voice.  It is a dark chocolate tone that means many do not listen hard and long to his music.  It is a shame, as Cohen is one of the finest poetic lyricists of all-time, and no poor man's Dylan.  Sexually-charged, and with asexual innuendo of a title, Various Positions was a 1984 album that saw a slight dip in quality from the Canadian master.  The album contained some brilliance, for sure.  Dance Me to the End of Love was a brilliant opener, and a tender and romantic opener.  The rest of the L.P. does perhaps not live up to this early promise, yet there was a song in its midst that would go onto receive a wonderful 10th birthday present: Hallelujah.  Cohen spend three years writing the song, and completed dozens of verses.  The studio version contained biblical references throughout; mentioning Samson and Delilah and King David.  Biblical mention was woven into a masterpiece of love, sex and the fractious reality of relations.  Cohen toiled on producing the final version, completing over 80 drafts.  The version which appears on Various Positions is lyrical genius and one of the greatest songs ever, let down by only one thing: Cohen's performance.  With mawkish and grating '80s electronics, poor production and a dour and flat vocal performance, the song was overdone and underdone at the same time.  The result was a track which captured you with its poetry but left you sour when hearing it performed.  There have been myriad versions of the song recorded; most of which are totally awful.  The track has been wrongly seen as a funeral march and whored out to T.V. shows such as The O.C.  Dreadful people like Alexndra Burke have helped to nullify its essence, where as credible artists such as Rufus Wainwright and John Cale have tackled it: yet not made any strides to own it.  The man who claims that honour is Jeff Buckley (Right-click and 'Open In New Tab': http://www.youtube.com/watch?v=WIF4_Sm-rgQ).  I mention Buckley quite frequently, mainly in terms of his vocal ability alone.  When it comes to Hallelujah, kudos must be given to his interpretive skills.  Whilst performing at Sin-e cafe in New York, Buckley wowed intimate audiences with his ability to reinvent existing songs.  The likes of Edith Piaf and Van Morrison has their tracks turned into gorgeous gems by Buckley, and many a jaw was left dropping when witnessing the young man do his thing.  Leonard Cohen's 1984 work was premiered at this time, yet it is when it reached the studio in 1993/4, that its full majesty was revealed.  Buckley could not have written it; Cohen could not have sung it- it was a perfect marriage built on a perfectly equally footing.  The story goers that Buckley tried many takes and performed the song in different manners.  There were angry versions; more 'manly versions', as well as faster takes.  The one we hear on 1994's Grace is the result of fusing several different takes together, and is one of the most startling vocal performances ever.  After Buckley's death in 1997, many foolishly have used his version of Hallelujah as a maudlin and sappy death march.  Cretinous YouTubers have covered it in their hundreds and pathetically tried to get within touching distance of Buckley's version.   Jeff himself claimed his rendition was a 'Hallelujah to the orgasm', and is filled with sex, sweat and breathless passion.  It is a spine-tingling and ethereal version that does full justice to Cohen's brilliant words.  Armed with just an electric guitar, the song is 1994 is about Buckley's glorious voice; which turns a forgotten and overlooked song into a meditation on sex, love, death, religion- and life itself.  It is a beautiful version which says everything music should say.  The words were perfect: the result of years of work and reworking.  The vocal performance was as pure and mind-altering as any in music history; backed by a gorgeous melody and sparse instrumentation.  If Buckley had written the song himself it may not have received such acclaim.  The shock comes when considering how radical it is compared with the original.  It is a song that few would have considered covering in 1984, and fewer still in the '90s.  Buckley saw the poetic and mesmeric beauty Cohen had put forth, and adopted it as his own.  Spending years himself working on various versions, Grace's central song is as perfect a parabond as any there has ever been.  It is a perfect cover version and is my favourite as I find nuance and mystery every time I listen to it.  It sends shivers down my spine and is something that few since have achieved with any song: it makes you want to write something that perfect; sing something so flawlessly: although you know you never will.

Thanks to songs like Hallelujah and All Along The Watchtower, we need to keep covering songs.  It is true that masters such as Dylan, Cohen and their ilk are past their best or departed, but that is not to say that it will be impossible to top the greatest cover versions.  There are so many underrated jewels waiting to be picked and adored, and many more songs crying out for a reinterpreting mind.  It does not take the voice of Buckley, the guitar skills of Hendrix or White, nor the ill fate of Cash to make a song- there is a lot more to it.  An average song can be turned into a work of art with the right amount of work; a great song can be made greater by adding electricity and energy; old songs can be made new and alive with the right amount of consideration.   There are plenty of great voices out there; plenty of new acts and bands coming through, but all that is missing is the perception and pioneering attitude.  There have been a few recent cover versions which are impressive, yet the majority of the greats were created between the '60s-'90s.  There is more focus than ever for new artists to write original material, as the competition is fierce indeed.  It does not take much for a fickle industry to push an act through the back door, yet premature death will not arrive as the result of a lack of original material: more a lack of talent and determination.  An act or band can gain fresh fans and huge plaudits by taking a risk; taking a particular song and turning it into something truly wonderful.  If you can do it again then you are on to something; keep doing it and it will give a good name to an art form which has been hobbling into a menopausal mess as-of-late.  If you are a songwriter- or not- there will be a song (or songs) that you have always wanted to tackle- there should be no fear.  If is a rare Dylan cut or a modern-day Folk number, then take heed and think hard: how do you want to approach it and how can you make it golden?  Too few artists understand the importance of making sure they do full justice to a song they cover- too many lazily phone it in.  It is all too easy doing the minimum, and pointlessly mimicking the original; yet when you get it right and marry a song with a perfect melody and wonderful vocal; as well as a fascinating and curious composition, then something special can occur.  My top 10 list shows what I mean, and it is not just the original song that will be improved and appeal to a whole new audience.  A perfect cover version can make a band; it can inspire new ideas and thoughts, and breathe life into an act; into the music scene as a whole- and inspire aspiring songwriters to up their game and help- slowly- to change music.  I hope that the next few years will se a genuine attempt at equalling the greatest cover versions ever.  All the ammunition and impetus is there; all it needs now...

IS for a brave artist to step forward.

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My Top 10 Cover Versions of All-Time:

Jeff Buckley- Hallelujah (Org: Leonard Cohen, 1984).

The Jimi Hendrix Experience- All Along The Watchtower (Org: Bob Dylan, 1967).

Nina Simone- Mr. Bojangles (Org: Jerry Jeff Walker, 1968).

The White Stripes- Jolene (Org: Dolly Parton, 1973).

Marvin Gaye- I Heard It Through The Grapevine (Org: Gladys Knight & the Pips, 1967).

Otis Redding- Try A Little Tenderness (Org: Ray Noble Orchestra, 1932).

Johnny Cash- Hurt (Org: Nine Inch Nails, 1994).

Whitney Houston- I Will Always Love You (Org: Dolly Parton, 1974).

Joe Cocker- With A Little Help From My Friends (Org: The Beatles, 1967).

Kate Bush- Rocket Man (I Think It's Going To Be A Long, Long Time) (Org: Elton John, 1972).

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Track Review: Alison Levi- Boy You Better Run (live).

TRACK REVIEW:

Alison Levi

Boy You Better Run (live)

9.8/10.0

Boy You Better Run (live) is available from:

http://www.youtube.com/watch?v=hv2l2u6hU-A

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She has the heart-aching beauty to distract the soul; the powerful and seductive voice to lodge inside your brain- and a talent that will reap dividends throughout 2014.  Sit back and buckle yourself: a huge future star is in our midst.

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TODAY I am- for the second week running- focusing on a solo female talent.

Although, unlike Australian Grunge/Surf artist Laura Wilde, today's subject is worlds apart.  Wilde was born in Melbourne, before emigrating to the shores of California.  Her music is built around attitude-infused anthems to dislocated love and rebellion; her voice and personality have the hallmarks and D.N.A. of a U.S. teen idol, yet her appeal and sound is a lot more worthy and memorable.  I was impressed by the guitar-playing skills of Wilde and her ability (throughout her L.P.) to switch genres and subjects seamlessly- whilst retaining her identity and remaining focused.  It seems that a lot of young artists are fleeing to Los Angeles and California; it seems that the air and atmosphere is much more akin and conducive to a creative day-to-day.  Away from the wet and wind of the U.K., it is clear that the sun-drenched state provided a decadent haven for busy and ambitious talent.  I think that Wilde will be a success in years to come, but may take a while for her charms to bed in.  She pervades and unleashes harder sounds, yet their epicentre and embryonic lustre are rooted in the '70s and '80s.  It is a retro sound that is mixed with modern-day smash-and-grab sexiness, that when combined, sounds fresh and vibrant.  Her two-year-old L.P. has gained praise in the U.S.- although not so much in her native Australia- and Britain also has latched onto her potential and talent.  I completed my review by saying that this year will be a big one for the Melbourne wonder; she has a lot of tour dates and demand from various corners of the U.S.  I am always impressed by solo acts whom dare to be different and bold.  In previous posts- several dozen perhaps- I have declared how difficult it is for lone artists to make a name and make their way.  The band market is thriving and evergreen as the overall sounds and sensations seem less anxious.  There are maybe four or five members whom contribute to the creative process.  Each plays their part and the burden and lion share is divided amongst the members.  As a result, the music that is offered seems more organic and relaxed.  It is not always the case that a lack of pressure leads to a greater output of quality- far from it- yet it is still the case that bands have the ear of the critical mind- more so than the solo artist.  I shall go into more depth about this point later, yet my abiding core is that there is room and demand for the solo act.  Scientology misfit, and all-round music genius Beck has a new L.P. out very shortly, and I have been drooling rampantly- anticipating what is to come and how it will hit me.  I have been charting his career since his Odelay days, and have been stunned by the homunculus maverick's ability to about-face and effortlessly master a multitude of music themes and genres.  Latter albums explored Hispanic seduction, lascivious Blues licks and Siesta-themed mandates to the power of love.  As much as Beck is a chameleon; never stopping or resting in one spot, the biggest applause is reserved to his undiminished quality.  He is going to be leading the charge of a haughty and loyal band of solo artists whom will be showing the bands- and cynics alike- that there is juice and gold to be found within their parables.  If there is some Modern Guilt inherent in the veins of many music lovers, it is perhaps because new acts are not been given the attention they deserve.  The established guard is there for a reason.  They are the parental trailblazers whom have lived the life; seen the sights and have the experience.  I have surveyed many a new act whom I felt was woefully under-appreciated.  It seems that they had been passed over and negated completely- for no logical reason at all.  This year will be one that is synonymous with new music and fresh sounds.  The originals and masters will be hitting hard, yet I feel there will be a sea change towards the celebration of infant movements.  Wilde was one example to assuage any cynicism many have, and fuel the fire for music's progeny.  As much as I have been impressed by the male solo examples I have examined, I have been a little troubled.  There seems to be an unquenched tendency for the men to, well... be beautiful for an ephemeral spell.  Their voices (literal) have a range and multifarious stretch; yet the abiding themes and topography seems to be narrow.  Most of the songbooks concern the vicissitudes of love; its heartaches and pratfalls- yet there is little desire to pull away from the realms of romantic non-fiction.  It is important and comforting to witness a love song, yet there have been thousands written.  They are treasured for a reason, yet the lack of energy and spark that the boys have infused into them, makes me a little listless.  The sounds of Nick Drake and Crosby, Stills and Nash were done best by the original artists, and the modern appropriations offered hence seem like the result of supplicant copyists.  There is some originality to be heard, yet the overall impression is one of market sect that is begging for an injection of electricity, punch, difference and brain-melting insight.  I have heard glimmers that suggest the sun may poke from behind the clouds, yet I am readying myself for the realisation: this year will see a lot of male acts determined to be the 'next Jeff Buckley/insert any number of other names'.  The bygone gods of music should have an effect on the sapling devotees, yet not so much so to the point where their back catalogue is lazily repackaged to fit into a familar-looking template.  The females, however, have a manifest destiny and intuition that puts them ahead of their male colleagues.  Over the course of last year I surveyed some weird, wonderful and spellbinding female talent.  Anna von Hausswolff, with her Swedish beauty, mingles haunting and languorous church organs with Kate Bush-esque vocals.  Her songs would often beginning with two minutes worth of build-up- sonic setting stones that made you shiver before a single note was sung.  Perhaps her vocal style holds too closely to Bush's coattails, yet one cannot argue with the innovation and bravery on show: the wanderlust and ingenuity took pleasure in taking your breath away.  This year I have surveyed Maltese Siren, Chess.  Her bold themes of desire, ersatz frustration tales and redemptive codas made me think that in her, we have one of the brightest talents on offer.  Her voice and style is influenced by the U.S. stars such as Christina Aguilera and Alicia Keys, yet she has an affection for Blues, R 'n' B, as well as soulful manoeuvres- the resultant witches brew is heady, intoxicating and endorphin-releasing.  There is multitudinous directionality amongst the female core, and a vast ambition that is impressive indeed.  My featured artist has more-than-enough alchemy in her chest to suggest that she will be amongst the names to watch in 2014.

I came across Alison Levi about a week ago, in somewhat surreptitious circumstances.  Her majesty was brought to her attention by a Twitter 'follower' of mine; and I am fortunate to have happened upon her.  I have long-bellied the difficulty one faces when uncovering the best and brightest music talent.  Too many of my review subjects have arrived at my door, due to the fact that I happened to be 'in the right place at the right time'.  I understand that due to a burgeoning and unregulated scene, combined with a tranquil and audacious attitude to quality control, that is nigh-on impossible to separate wheat from chaff.  Twitter and Facebook exist in a self-serving state; where epistemic ambivalence and money-making desires overrule pure motive.  I have not seen a site dedicated solely to connecting new music to the hungry public.  There are sites which offer new music and a lot of tinsel, yet how many offer this: a portal whereby any music lover (anywhere in the world) can, by the press of a button uncover new music that is particular to them- as well as some that will curry favour and unearth a hidden passion.  I am perhaps representing the sceptical voice of the minority, yet it seems that there should be something in the superhighway that fulfils this need.  If there is, I would love to hear of it, but it seems to me that hollow and needless self-promotion is a monarchy which will not be overthrown any time soon.  My point is- amongst the twirling and crepuscular rant- that I am chancing upon artists whom I feel should be in my consciousness many months previous.  One does not take chances when it comes to love or career.  When you look for a new love, a new job or another home there is a lot of planning and experimentation involved.  There is never a point where you feel you have fallen in love with the right person by mere circumstance or happenstance.  Always there is a degree and semblance of logic and hard work.  I feel that music is equally important, yet I am falling in love with musicians because of luck and false providence- as opposed to science and logic.  I shall- you'll be thrilled to hear- continue this theme later, yet I want to talk about Alison.  One of the things that struck my initially about Levi was her sheer beauty.  She has a mesmeric and jaw-dropping beauty that can buckle knees.  I was not shocked to learn that she models, yet she has the looks and grace that I have noticed amongst one of my music icons: Eva Cassidy.  Perhaps it is because Valentines Day has just passed, but I find myself in romantic mood.  Levi is perhaps one of the most stunning and beautiful humans I have seen, yet her personality and music are perhaps even more outstanding.  I mentioned Eva Cassidy, and this is a name I will be infusing in various paragraphs throughout the review.  Like Cassidy, Levi has a comparable look.  There is a sense of shyness perhaps at the core as well as a lust for life.  A comparable smile and look in Levi's eyes reminds me of the departed music goddess, and I am cannot shake the sense that there is a reincarnated spirit within Levi (not literally as that would be beyond stupid).  Cassidy remains one of my all-time favourite artists as she was such a short-lived light.  Having been cruelly taken from her due to cancer, in the brief time she was with us, she produced some spectacular music.  There are some strong women and forceful voices in music today.  The likes of Hannah Reid (of London Grammar) and Adele have the pipes and vocal chords to break granite and seduce hearts, yet I feel that their appeal is perhaps one-dimensional.  Past artists such as Cassidy won you over not just because of their voices, but because they had a personality and core that was not insular or fame-seeking: it was loveable and relatable.  Modern idols will win their places in history by not only ensuring their music stands the test of time, but because their inner-self spoke to people: appealed to, and was familiar with those both bold and introverted.  As a songwriter and aspiring artist I look around for influence and inspiration.  Some bands and solo artist win my over with their music and nothing else; Levi has a hell of a lot more on offer.  I will get more into her trajectory and current movements, but I will finish up on my Cassidy thesis.  It was not just the softness and tenderness of Cassidy's voice that was so mesmeric.  Here was an artists whom sang mostly cover versions, yet she could strip a song to its core; transform it and leave you speechless.  If you listen to tracks like Autumn Leaves, Over The Rainbow and Fields of Gold; there is no doubt that few other singers could achieve such beauty and wonder.  Cassidy has one of the most stunning and mesmeric voices there's ever been, yet one that contained power and huge force.  If you hear tracks such as Wayfaring Stranger, Wade In The Water and People Get Ready (from Songbird) there is he evidence right there.  Cassidy was capable of going from a delicate and hushed whisper to an ecstatic and overwhelmed belt within mere seconds- which she did so effortlessly.  Some modern-day singers have an essence of her talent, yet none seem to encapsulate the whole.  I have seen enough in Levi to think that she is worth paying close attention to.  I will explain her music shortly, yet it is her online portfolio and interactions that have struck me as well.  In her Twitter page, Levi comes across as a good-humoured and entertaining figure.  Her posts are often witty and amusing, and it seems that as well as music, humour and bonhomie are crucial ingredients.  Levi is a genuine article and a bona-fide talent whom has the personable appeal to win over undecided voters and fanatics alike; as well as galvanise the fence-sitters.  The abiding impression is one of an ambitious and determined young woman, whom knows what she wants.  Her career is in its infancy, yet Levi has set many tongues a-wagging.  Just two days ago she performed at The Troubadour.  Online ratings and feedback suggest that the gig was a triumph- a perfect musical storm away from a meteorological one.  The next month sees our heroine embark on some illustrious dates.  Kensington Roof Gardens and York and Albany are the first two of several London appearances.  These character-filled and sumptuous venues will see Levi introduce her gorgeous and hypnotic tones to a new audience, as well as get her name disseminated about town.  On March 18, Levi plays Ronnie Scott's Jazz Club- one of the finest venues in the country- and will lead Londoners into a prosperous spring to be excited about.  It is a gig I hope to attend, and my first chance to witness Levi first-hand.  In the long-term I am unsure as to the blonde starlet's plans, but I am confident that her forthcoming E.P.will be most pressing.  Her original material suggests a talent with a keen ear for a memorable lyrics, and the ability to melt sparse and effective melodies with a striking vocal performance.  Any potential record that Levi has in mind will be met with anticipation and curiosity.  At the moment, Levi is recording and showcasing live tracks- allowing listeners to see her in the studio and on stage- thus unveiling her voice in its purest form.  Levi has recently been scoring and contributing to the soundtrack to a U.S. horror film; revelling at the opportunity to contribute to something atmospheric, haunting and compelling.  For now, the young star is readying the world, and providing tantalising snippets of what is to come.  On the evidence of Boy You Better Run, the future is going to be very bright indeed.

The track was filmed in Sensible Studios, and sees Levi decked in shorts and shirts- a summertime embodiment- guitar in hand, sat a-perch a stool.  It is a casual yet striking look that perfectly mirror's the intro. to Boy You Better Run.  The keyboard introduction is a rolling and streaming arpeggio that puts me in mind of The Cinematic Orchestra's Arrival of the Birds, as well as Arabesque by Debussy.  It is a romantic and portentous opening which builds the intrigue-o-meter all the way to 11.  It creates its own movement and energy; it is part summertime sunrise-cum springtime sunset, as well as having a mobile energy that puts me in mind of some of the classic greats.  Before a note has emanated from Levi, your mind and body is relaxed as well as intrigued- you wonder what the vocal openings will sound like.  Before that approaches, Levi introduces a strumming acoustic line, which cojoin and blends beautifully with keyboard.  For 34-or-so seconds, such a mood of delight and seduction has been levied, which is a rarity in the modern market.  A lot of artists subjugate the necessity of a compelling opening salvo, yet Levi has her name in her genes and the genes in her name; an inherent knowledge and knack of being able to augment emotion and fascination, right from the get-go.  The first sung notes offer some alcoholic and curious recollections, our heroine recounts: "Drunk on lilac wine/Lost in my gaze/No feel for time/False sense of delight".  The words recall hazy memories and love-gone-wrong-milieu.  Levi's lyrics mix baroque and oblique, with direct and impassioned.  I loved the mention of lilac wine, and my mind was drawn to the shores of James Shelton and Nina Simone.  It is a delicate little touch that appeals to music diehards and poetic minds, as well as parabond-ing glorious songs of old, as well as modern-day tableaux.  Whether the story is based in reality and is a painful past memory for our heroine, I am unsure, the conviction which she delivers the lines if flawless.  Her phrasing is effective and striking; ensuring that each word and line is enunciation to maximum effect: an acuity few posses.  Levi's voice is soulful and full-bodied, yet sweet with a soprano edge.  The song's initial moments lay in the mood and ease the listener in.  When matters progress to the second verse, Levi continues her vocal pitch; keeps the mood even and restrained, whilst tempting and intriguing.  Offering seduction, chess metaphor and a wicked game ("I move in closer/I take the night/Taste me on your lips") our heroine builds a mood indigo.  One pictures images of Levi- swathed in a tight-fitting yet elegant red dress- in the twilight and eventide.  A glass of wine in hand, our Siren lures her sweetheart in; whispering promises and tempting him in.  The story goes on: "Darker than shadows on the eclipse/Feel me on your skin/Closer to god than you've ever been".  As the lines are delivered- intentionally or not- there is an air of the spirit of Cassidy in the delivery; a smidge of modern-day U.S. pop idols in the sound, but above all, Levi's unique tones and flavour.  Whilst listening to the song, your mind wonders.  Beyond the evocative sense of imagery portrayed, you also wonder what it will sound like when given a studio makeover.  I wonder whether horns or strings will be included.  As the song progresses and the intensity and mood shifts, it will be fascinating to see if Levi will include any sonic shifts or instrumental layers.  One's mind also shifts back into the story; the movie- the soundtrack to the song.  It is clear that things are hotting-up.  The red dress may be getting dangerously close to the floor; the scarlet lipstick considerably faded by now and our ill-fated hero thinking his luck is in.  Levi's voice intones her words succinctly, and with just a paucity of breath and projection, she manages to summon up a firestorm of vehemence and sexiness.  As we head into the chorus, Levi changes pace, slightly.  As she delivers an ice-cold mandate ("Poison ivy, kiss so deadly"); the words are almost see-sawed; elongated in order to drip feed the message- ensuring her beau understands every word.  Her man soon becomes Buster Keaton in Steamboat Bill Jr. as the reigns down: "Boy you better run oh boy you better/Boy you better run oh boy you better/Boy you better run oh boy you better, boy you better run oh boy you better".  My twin minds both imagine and speculate.  Visually- in the video- our heroine strums intently; looking relaxed yet focused.  Her eyes rarely look up, engrossed as she is within the song.  If a video is ever to be made, I would imagine by the 1:20 mark, the plot is taking another twist.  Having felt and 'tasted' our heroine on his lips, and her midnight spell has been cast.  I envisage the protagonist embroiled in a brief row, by which point the hound-dog paramour is headed for the door; shirt in hand, perhaps unable to extricate himself from his lover's seduce.  The sonic and musical side of me wonders what we may hear.  In the (live) video) it is acoustic guitar and keyboard, switching between elliptical grace and rampant passion; a constant and pugnacious guitar strum put an audible blood rush into proceedings.  Maybe swooning strings (hear The Cinematic Orchestra's Arrival of the Birds (1:21-1:31): (Open in a new tab: http://www.youtube.com/watch?v=MqoANESQ4cQ&feature=g-vrec); perhaps some Blues-infused work on a Gretsch Black Mamba 6120 commingling with snare drum- who knows; such is the potency and evocative nature of the song, you cannot help but wonder.  The first rendition of the chorus is the first emotional bookmark: the end of act one, as it were.  The way Levi delivers the lines is almost matra-like: our heroine sings her lines like a waltz, albeit one between two lovers with different moves and different ideas of coordination.  With barely a breath, and keen to keep the mood electric and unabated, Levi segways into the next verse.  Its initial thoughts promise no sense of relief or light for our anti-hero: "My love a work of art/Blood don't run redder/I leave with your heart/Yeah, I take it apart".  The pace and mood at the point is in second-gear: Levi takes things down a semitone in order to let the words sink in.  Our heroine's talent for words is evidenced once more, and the way she builds images and brushstrokes- both striking and Byzantine- is brilliant.  Within the quartet of lines, one pictures a heart being torn from chest, and although the lines may be meant metaphorically, you get the sense that the late-night film noir has taken another logical progression.  Our heroine has her dress re-clasped and strapped and takes another lilac sip of wine.  Her man has been eviscerated and put to rights, and reduced to an un-evolved mess.  When Levi proclaims: "Sell it for cheddar/Then buy your scars/Your cries won't leave the room/Empty words I now consume", her voice remains impassioned and sturdy, allowing an elliptical sonic flourish between lines.  There is a sense of retribution, justice as well as recriminations: "Half a man you'll be/Better alone than drifting with me".  The chorus homes once more into view, and the song nears its conclusion.  In terms of our mini-movie, our anti-hero has run into the night's rain; regret and fear in his eyes as he runs into the shadows.  Our heroine looks out of the window, drains the glass of wine, before teasing a crooked smile.  Whether a studio version of the song would contain a pace shift or change of instrumentation is unsure, yet again one's mind is filled with possibilities and ideas.  Orchestration, however minimalist would elevate Levi's striking words; the gorgeous and potent keyboard and guitar work in the live video would act as a perfect paramour; perhaps a heavy or rolling drumbeat, sparring with horns and...well you get the idea, right?  It down to the individual listener's mind, yet when Levi's voice heightens and intensifies in the final seconds, you sense a palpable crescendo and explosive conclusion.  You are left with lasting impression and indelible images, as the song is brought to rest.  I hope that the track does make it into the studio- it may have already made it there- and that Levi considers it as a lead-off single, as it is a tremendous song.  Just hearing it in a live enviroment suggests of what could become.  Levi's delivery and performance is stunning; her guitar-playing is consistently compelling, whilst Chris Stones keyboard skills add weight and majesty to the song.  Boy You Better Run has compelled me, to once again, set pen to paper, and  scribble notes and lyrics to incomplete songs.  Having compiled and structured an E.P.'s worth of music (sans band and finance no less), I have been rewriting lesser words; reworking brittle melodies and weaker compositions, upon the initial listen of Levi's opus.  It is not just the lyrics that influenced me; yet they are a huge standout.  The chorus employs repetition to great effect; employing a gravity and momentum that few contemporaries achieve.  In the verses, the words summon up all kinds of spectral and colourful scenes and images, and there is a tangible sense of story and reality.  Whether the lyrics are influences by a past romance or rooted in fiction I am unsure, but it is clear that something has affected our heroine.  Levi marries direct proclamation with poetic and oblique couplets; when combined create a heady and solid song.  The composition is gorgeous and impressive, too.  The introduction has genuine classic overtones; not just pretension, and reminds me of some lilting and romantic songs (a couple of which I have mentioned).  It is perhaps Levi's voice that does the loudest talking.  It is no hyperbole to compare her with Cassidy.  I have been listening to videos of Cassidy performing at Blues Alley.  There, the legend made songs such as Cheek to Cheek, Blue Skies and Stormy Monday her own- the guitar and piano/keyboard style and sound is comparable too.  I mentioned that Levi has an air of Cassidy in her beauty, and it is a genuine observation rather than an attempt of flattery.  I am unsure whether Cassidy is a name on Levi's radar, yet she should be proud.  There is plenty of present-day tones within Levi's voice; the likes of Dangerously In Love-era Beyonce are detectable, as well as Laura Marling and jazz and soul greats.  Our jaw-dropping chanteuse plays Ronnie Scott's soon, and it seems axiomatic that the two will finally meet, as Levi seamlessly appropriates and embodies the sound and quality of some of the best acts who would have played that stage.  In an era and scene where nubile and eager talent often have to swim the tide from day one, it is unsurprising that few flourish.  It is not merely enough to show up- with a vague idea of what you want to say- play your songs and expect a long-term turnover.  Levi will be in the public consciousness for years to come because of everything I have mentioned; because she has a solid set of songs already evident, and is getting herself heard and known.  The litmus test will come when her E.P. is released, but the London-based musician will gather a whole host of new fans, as well as public demand.

Stagedoor F.M. has hailed Levi as one of the key talents to watch in 2014, explaining: "Newcomer Alison Levi has featured multiple times over here at Stagedoor FM. The London-based singer/songwriter has impressed us with her strong vocal range shown in her multiple acoustic videos, and we’re intrigued to hear what’s to come over the next 12 months".  The next 12 months will see transition and forward steps.  The website Musicborn sums up Levi's forthcoming E.P., thus: "'Pale to Grey' is a collection of songs mixing pop and rock with powerful vocals, creating a haunting and captivating EP that naturally fuses genres to make a sound that is hers and hers alone".  The track Pale to Grey is a delicate and flowing number, with parts Laura Marling and that distinctive acoustic sound.  Tracks such as By Your Side and Holding On showcase Levi's songwriting talent, as well as emphasise the tremendous voice that she possesses.  I am unsure as to the track listing, and what songs will appear on the E.P., but is it going to be a record that demonstratively proves what an asset Levi is to the music world.  There are no histrionics; bold and false claims or needless filler material: it will be concise, delineated and stunning.  I have mentioned the live dates that are upcoming, and I know from Twitter and Facebook that Levi is excited about the future, appreciative of the love from her fans; as well as excited about the here-and-now. Even though there are tracks afoot that could well form the basis of Pale to Grey, I suspect that there are even more songs in Levi's mind: those that could be the synopsis for an extremely exciting future.  Levi is a solo star, yet one whom has the musical, lyrical and vocal talent to pioneer in several directions.  There is the vocal belt and power to suggest a natural Blues or Rock talent.  We could witness a smoky and bolstering Blues anthem, or a punchy and riff-heavy Rock jam.  The seductive coo of her softer edge hints as the possibility of Cassidy-esque renditions as well as romantic and heartfelt paens.  That is the mark of a great talent: someone who captures you in the moment, yet invigorates and primes your brain for what is to come.  As a songwriter and itinerant music listener, I am fascinated by what is out there, and any possible influences for me.  Levi's biography and stock is the answer to the frustrated desires of the modern market.  There is too much disposable talent and short-lived fever dream music.  Too few elicit desires for long-term residency within music- or that appears to be the trend.  Bands and acts often arrive in a maelstrom hailstorm of publicity and pomp and circumstance; are labelled and heralded as the saviours of music- only to dissipate after a couple of albums.  Levi may be finding her feet and feeling her way into the arena of new music, yet she should have no fear: this year will be a busy and memorable one fvor the young talent.  Amongst the 2,000+ Twitter followers she has- as well as Facebook fans- the heralded belief is that things will go from strength to strength.  I will do all I can to spread the good word.  I hope, too, that the social media links, with its weak tensile strength and bloated digestive system, gets its act together.  Too many plastic and generic acts are given too much attention, whilst the genuine articles are often postulated and spoken of in word-of-mouth proportions.  "Oh, it's so funny to be seeing you after so long, girl"- it has been a bit of good luck that has introduced me to Levi, yet I am glad that I have heard her music.  She is certainly near the top of my list for future collaboration (to be in the same studio as her...), and someone I will be watching with huge interest.  After a night that has introduced wind-strewn chaos: power failure and depleted garden accoutrement, I have started this weekend addled and rattled.  The stress and predictable unpredictability of this winter has turned an upside-down frown all the way down.  Music and its lustre and comfort is as in-demand now as any time, and Levi is a refreshing antidote to current malaise.  If you are a music-lover whom has narrow confines or prefers a certain genre of music, I would advise some reappraisal and leaps of faith.  Many solo acts cause a shudder, as they can be little more than an acoustic guitar, bland voice and unfocused and cliché lyric; yet there are plenty whom demand closer attention and scrutiny.  Levi is tender of age, yet has an incredible maturity and intelligence when it comes to lyrics.  Her songs are compelling and filled with nuance, and her coordinated ambitions suggest a gilded and rewardingly-long career.  Do not let her hypnotic beauty and seductive smile lead you astray: the voice is- in my mind- the pinnacle of her talent.  At once soft and cooing; the next powerful and planet-straddling.  It has already garnered a great deal of praise and comparison, yet Levi is as unique a voice as I have heard for a long time.  Once the E.P. is released and public perception has been tabulated, there will be many options open to Levi.  I am confident that her range and talent is as bespoke for the audiences of the U.S. as it is for Europe and Australia.  She has a voice and artistry that is a hugely transferable and valuable commodity, and there will be a lot of international demand forthcoming.  For now, I am sure Levi is focusing on the next few weeks, which will see some memorable gigs as well as a wave of new fans flocking to see her play.  This year will be one offering plenty of room for new talent, and rich reward up for grabs.  Many will climb and pervade, yet few will achieve longevity.  Levi is an artist whom has the ammunition, intention and ability to win ears years from now; so it is worth getting in on the ground floor, as this is for sure:

ONCE heard; her memorable songs will be very hard to shake (or forget).

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Follow Alison Levi:

Twitter:

https://twitter.com/alisonlevi

Facebook:

https://www.facebook.com/alisonlevimusic

YouTube:

http://www.youtube.com/alisonlevimusic

SoundCloud:

https://soundcloud.com/alisonlevi

For details about Alison's tour dates:

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

Feature: A Love Song to 1994- The Year That Changed Everything

FEATURE:

A Love Song to 1994:

The Year That Changed Everything.

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Many consider the '60s or '70s to be the finest decades for music.  To me there is no doubt that the 1990s was the most impressive- and mainly because of this one, magical year.

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AS I type this, I find myself- once more- shackled by British meteorological cruelty.

There is some respite at the moment, yet it seems that the days of overcast with no rain will be short-lived.  I also find myself annoyed once more.  Certain people who claim to be friends are not acting as such; those whom I spend a lot of time, effort and money on are being neglectful and terrible friends.  I also am imitated by yet another artist whom has not taken the time to read- or comment- or a review posted.  Over the past few months I have reviewed a few acts whom have not taken any effort to read what I have written- or say thanks.  Yesterday's artist is culpable, and it comes a few weeks after another artist's blind ignorance and refusal to do the bare-minimum.  It makes me not want to really focus on new music or artists; instead focus on times past and those whom might be appreciative.  Anyway, it is another day, another needless and frustrating point of life.  For now, I am taking time to focus on something that is dear to my heart: a terrific decade for music.  I will focus on the birthday girl in question shortly, but for now, I want to focus on the decade as a whole.  The '90s, to me, was the decade that changed everything for music.  I was born in 1983, so when the decade dawned, I was a bright-eyed 6-year-old.  There are some whom claim the '60s was the greatest music decade.  They mention the likes of The Beatles and The Rolling Stones, but in essence there is not a great deal to recommend.  There are some terrific and legendary acts that began playing in the '60s, yet a majority of the music was mediocre or just plain awful.  A lot of innovations occurred and developments made, but to me, here was a decade that could have offered more.  Th 1970s was more prosperous, offering up some great acts and bands.  Rock and heavy rock started to develop; Dylan was still going strong, and a multitude of new genres was bustling through.  The '80s is always seen as a bit of a joke.  It is true that there were too many Hair Metal bands; too many cheesy pop acts and novelty tracks.  In the midst of a much-maligned decade, there was some quality to be found.  Classic acts such as The Smiths dominated the period, and great northern pop and Indie acts were coming through.  It is fair to say, though, that the '80s provided little in the way of quality- as a whole.  Something wonderful began to develop around the end of the '80s.  Towards 1987/1988 an uprising and paradigm shift began to occur.  Club music was developing, and the quality and intensity of music upped its game.  The club music may seem pretty tame by today's standards, yet the quality was much greater.  Nowadays, there is too much noise; too much innuendo and smut and a huge deal of processed and unspectacular vocals.  The clubs are scenes for drunken idiots and stupidity and are arenas I wouldn't dawn if my life depended on it.  It doesn't matter what is being played, as people are too far gone, ignorant and pissed to concentrate anyway.  As a result, the so-called club 'legends' are a poor shower of glorified noise-making amateurs.  It is true that the standard of music has declined quite a bit, but club and dance music especially so.  In the late-'80s acts like Snap! were producing anthems that are still being played and remembered today,.  The ensuing decade saw everything change- and improve.  Dance music was predominantly wonderful, and the overall standard of music was exemplary.  It will be incongruous to state that music has not had any worthy moments since the '90s.  It is obvious that some great bands and albums have been turned out, yet it seems strange that more has not been achieved.  I guess the sheer number of musicians entering the scene has distilled the overall quality.  So many new acts come through each month, that you really have to dig deep to find true greatness.  It is a shame in that sense, but something that will continue unabated.  I feel that too few are looking back to the golden decade, when it comes to inspiration.  A lot of acts borrow from the '60s and '70s; many dip into the modern-day treasure chest when seeking inspiration and guidance, yet there is still too little consideration paid to the 1990s.  If you look in-depth at the wide range of genres offered up, there is much to recommend.  Grunge music was in full swing in the early-'90s and acts such as Nirvana and Pearl Jam were ruling the airwaves.  It was a decade that saw the death of Kurt Cobain, but the Grunge genius left behind a phenomenal body of music that not only inspired every other Grunge act in the world, but is inspiring acts and musicians today.  I have mentioned Dance music, and there was plenty to keep a smile on your face.  The likes of Culture Beat, Beats International, Basement Jaxx and Fatboy Slim all contributed, as well as an impressive amount of shorter-lived acts.  By the time the decade ended, there was a huge legacy left, which inspired the new artists of the '00s.  In fact, the standard of music didn't dip until 2004/5. and it seems that the afterglow of the '90s was a long-lived one.  I am not one of the cynical music-lovers whom think that music stagnated at a point and will never be good again.  I believe that we will see some legendary acts come through, and some new wonders; yet it is true that the best and brightest acts of all time have already played.  I love the '90s so much, because it was a period that not only offered unimpeachable quality, but the range and diversity of music was staggering.  If you consider Dance music and Grunge; Britpop and Indie- how can you possible connect the far-reaching genres?  That is why I love this era, as so much was being offered up.  The best albums and songs of the year still hold up, and are still offering up nuance and joy.  It was not just the range and quality that was so impressive; music seemed more redemptive and joyous.  There is too much introspection, misery and anger with a lot of music- as well as ineptness.  Of course genres such as Grunge were synonymous with depression and anger, yet the majority of music offered up in the '90s had positivity and inspiration in its core.  I feel that one year was particular wonderful; that epitomised the positive and endeavouring spirit- and provided the world with some of the greatest music there has ever been.

I am not sure what it is about 1994 that hits me hardest, but it seems to be the year that saw the greatest acts of my generation come together and produce their best work.  I was 10 when the year began, and was really starting to get into music.  I grew up indoctrinated to the likes of The Beatles, Led Zeppelin, Steely Dan and Bob Dylan, and was more familiar with the music of the '60s-'80s.  When it came the 1990s, my eyes and ears were opened.  There was something new and different on offer, and the music helped me get through the difficult days of adolescence and school.  I was beginning 'high school' in 1994, and it was a hard and scary transition.  A lot of tragedy had befallen my family around this time, and I was looking around for something to ease the burden and distract me.  Having been fascinated by the previous four years of music, it was 1994 that saw a real sea change.  I am not sure what was in the air that year, but music became so focused and pure that I struggle to find any cracks.  A few of my all-time favourite albums were unleashed this year.  Jeff Buckley's (sadly only L.P.) Grace was unveiled.  Buckley is one of vocals and an absolute music hero of mine.  He had been playing the cafés and bars of New York throughout 1992/3, honing his craft; introducing his magical voice to a select few.  The release of Grace showed what the young artist could achieve.  The album showcases what an incredible music talent Buckley is; the confidence and conviction cannot be assuaged.  Radiohead introduced The Bends.  Here was a band whose debut Pablo Honey was hardly met with huge acclaim.  Aside from the odd great song, it was an album that was largely forgettable.  The follow-up is probably the biggest leap forward in music history.  No one expected an album of such majesty and credibility.  The Bends remains one of my favourite all-time albums, as it set Radiohead on a tremendous course that would see the group go from strength to strength.  I mentioned that Kurt Cobain died in 1994, and in the wave of that devastation, Grunge devotees and colleagues released some of their best work.  Pearl Jam released Vitology; whilst Soundgarden produced one of my favourite albums, Superunknown.  Legends departed- or defunct- such as R.E.M. were still going strong, and Oasis were doing battle with Blur.  As much as Definatey Maybe received huge accolade, I feel that Parklife is the sound of 1994- and Britpop.  The album was choked full of anthems and wonderful tracks.  To be fair there were some truly sub-standard songs, and bizarre decisions and production choices; but you cannot fault the classic moments.  This Is A Low would have been the perfect finale- if some moron had not put the dreadful Lot 105 as the last track.  Girls and Boys was a summer-infused romper, and one of the best songs the band had produced.  Their stories of protandrous hermaphrodites and lasciviousness mingled with tender moments.  Underrated gems such as London Loves and Badhead were highlights, and the band produced an album that saw them to continue their run and grow in confidence.  The Britpop battle was one of the stories of the year, and a war that Blur won.  Dance and trance acts such as Massive Attack and Portishead came through and continued their regency.  The two acts unveiled confident albums and terrific songs, and offered another dimension and sensation to a variegated and bustling scene.  Everything seemed to be more mellifluous and carefree.  Bands such as Supergrass were preparing their first steps, and their bonhomie and youthful energy were ready-made for the scene.  It is hard to pinpoint a key moment or greatest act of the year, as there was so much competition.  To me, Radiohead's terrific movements were the most memorable, yet Britpop and the new wave of Grunge are a close second.  Away from the mainstream, there were a lot of terrific one-off acts and songs being made.

My Top 10 Albums of 1994:

Grace- Jeff Buckley

The Bends- Radiohead

Superunknown- Soundgarden

Parklife- Blur

Vauxhall and I- Morrissey

Protection- Massive Attack

Dummy- Portishead

III Communication- Beastie Boys

Dookie- Green Day

Definitely Maybe- Oasis

My Top Ten Songs of the Year:

 

Street Spirit (Fade Out)- Radiohead

This Is A Low- Blur

Hallelujah- Jeff Buckley

Girls and Boys- Blur

Sabotage- Beastie Boys

Caught By The Fuzz- Supergrass

Fake Plastic Trees- Radiohead

What's The Frequency, Kenneth- R.E.M.

Loser- Beck

Live Forever- Oasis

I am optimistic about the future of music.  I think it will not capitulate altogether, but it is important that there is ambition and some renewed focus.  The '90s and 1994 were not apportions and freak events- they are capable of being topped.  It is the sheer quantity of acts that are making it difficult for such a distillation to occur, but there are some gems coming through.  It would be great to hear other people's thoughts on the year, and favourite moments.  Maybe you disagree with my conclusions and blog?  It would be great to hear.  To any new bands and acts whom have a similar passion for 1994, and the great decade of the '90s; ambition is key to success and dominance, so take a good listen at the paster masters and mistresses, and above all...

I hope people take note, and try to do likewise.

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Track Review: Laura Wilde- Sold My Soul

TRACK REVIEW:

Laura Wilde

Sold My Soul

8.7/10.0

Sold My Soul is available from:

http://www.youtube.com/watch?v=L6z2GrhZxDU&list=TLkm3qc2j53mqAyUoUaKourls_joGLiAEh

The album, Sold My Soul is available via:

http://www.amazon.com/Sold-My-Soul-Laura-Wilde/dp/B0073XGIWQ

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This staggering 23-year-old arrives from California (via Australia).  Her Punk palette may not to everyone's taste, but there is plenty of evidence to suggest a big future talent.  Don't let her beauty do the talking.  Wilde is a name to watch closely...

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I may have written off mainstream music a little too quickly.

I have stated in previous postings, that the music being produced this year is not going to be too overwhelming.  Most of my focus is trained towards new music, and I have always felt that this realm is going to produce the most exciting prospects.  A lot of great albums are starting to sneak their way to the surface, and I am left in a bit of a quandary.  This month sees the new release from one of my favourite bands, Wild Beasts.  Their latest L.P., Present Tense, is imminent an album I didn't even know was in-the-works.  I was captivated by their debut album (which left some critics cold), and bowled away by Two Dancers.  After the release of their third album, it seemed that the Yorkshire band had covered so much ground; matured and grown as an act- whilst retaining their mesmeric core.  If you have not heard the band before, I implore you to seek them out.  Their lyrics are intelligent, infused with literary references and tongue-in-cheek lines.  Their lead singer, Hayden Thorpe, has a stunning countertenor (as well as tenor), which was the case of derision amongst some critics when the band released their debut L.P.  The new album will see the stunning pipes put to work, covering a whole host of new ground, and captivating fans and non-fans alike.  This is an album that I will be desperate to hear and cannot wait to hear what the boys have come up with.  Away from the Beast lads, there is also a release due from Beck (both artists release on February 24th).  Beck has been a little quite over the last few years, and he is an artists that has always fascinated me.  Aside from some of his kooky and bizarre personal beliefs (Scientology for one), his music is endlessly brilliant.  I have charted his career since Odelay, and adore the way he fuses genres and sounds.  In the same way as acts like Beastie Boys and Massive Attack mesh and splice sounds and sensations, Beck is a master of cross-pollination and wunderlust.  He suffered a debilitating back injury a while ago, and that put recording duties on the back burner.  Early press indication suggests that his latest album, Morning Phase, and is a down tempo and stunning collection that will rival his best work.  I am still playing his 2008 album Modern Guilt, and am sure the Californian will keep the momentum going.  From the album cover itself, through to the track list, it is an intriguing prospect and will turn a wet and miserable February into something redeemable.  Aside from the two albums I have mentioned, there is other work mooted, and some great albums afoot.  The point I am making is this: great music sneaks up on you.  I had no idea that two of my favourite musical acts were releasing new material, which brings me to another point: why hadn't I heard?  I know there is a sense of secrecy and subjugation with new music.  Acts do not want to disseminate information too freely, in case anticipation is temporized when their music is released.  It just seems that the music press is a little remiss when it comes to alerting the public of new material.  I follow N.M.E. and The Guardian when it comes to music news, yet it seems that a stronger link needs to be cemented with social media.  Unless you follow a particular band or act, it is hard to hear about their music.  It would be helpful is social media stopped shining and buffing their pages; redesigning and updating- and instead made the service more useful and worthy.  I have bemoaned social media for the fact that it appeals to self-promotion and self-obsession.  It caters for those- me included- whom want the rest of the world to hear their every mundane thought, yet there is little utility when it comes to anything else.  I would love a social media site that made it easier to connect to new music; make people aware of important local events; tied every social search tool and function into one site- as well as tied in all the best aspects of the best sites from the Internet.  It would not be too hard, yet it seems that the public are largely concerned with themselves as opposed to other people.  I have many online friends whom promote worthy causes; output terrific music and are kind-hearted.  There are many more whom are not like this, and it is something that needs to change.  As I say, I follow some music sites when it comes to seeking out new music, and stumble upon some wonderful examples.  A lot of the talent emanates from the U.K., yet once in a while an international act arrives that makes me stand to attention.  Last year I encountered a wide swathe of sounds from across Europe and the U.S., and today I come across a quite unique act.  I shall examine her a little closely soon, yet for now, I want to talk about a particular subject: Australia.  Here is a nation that is a little shy when it comes to music.  I know that there are a lot of great acts from that fine nation, yet few arrive at our shores.  I have reviewed the likes of Matt Corby previously, and know that there is a thriving music scene across the country.  It seems that when it comes to public exposure, it is best to be located in the U.S. or U.K.  Many Australian acts have made their way to these lands, yet it is a shame that a lot of native talent are being overlooked.  When I featured Joe McKee last year, I was amazed I had never heard of him.  He was raised in the Darling Plains, yet had spent time in America and the U.K.  He feels at home at home, and it seems that if you wish to remain in Australia, attention is harder to come about.  I am not sure who- if anyone- is to blame for this sorry state, yet it seems staggering that artists feel the need to emigrate to get themselves heard.  In an age that is as technoclogically-advanced as its ever been; where the Internet connects everyone to everyone; where thousands of acts ply their trade- why is it the case that the lines of connection and publicity are so frayed?

Laura Wilde was a unfamiliar face to me as recently as a few days ago.  Before I get down to some biography and investigation, let's get the unimportant (and shallow) point out-of-the-way: she is stunning to behold.  Incredible beautiful and drop dead gorgeous, she is a striking talent.  I hope that her looks will not be the focal point of her music, yet it is something that needs to be gotten out-of-the-way.  There are some incredible and talented solo female acts currently making waves, and Wilde is a name that should rank amongst them.  Solo artistry is possibly the hardest nut to crack.  A lot of the time, the voice has to do the talking- as opposed to the overall sound.  With a band, there are multiple members each contributing to the sound.  The singer often takes focus, yet a lot of time it is the overall sound that impresses the most.  It is easier for a group to impress as there are several minds contributing to the sound, and shouldering the burdens.  When it comes to the lone artist, everything has to be covered by the one person.  It is always impressive when a truly unique solo act comes along, yet it seems that the band market still rules the roost.  As I stated, there is a lot of emphasis placed on the voice (when it comes to solo artists), and the sound and template is often overlooked.  Wilde is an artists whom is synonymous with sound, electricity and sensation- yet still has an impressive voice.  She unveils and offers the anticipation of a full band, yet has a unique and personal voice and style- that is her and her alone.  Before I get down to some personal details, let me unleash two terrifying words: Hair Metal.  As disturbing images flood into your mind, let me go on record by stating that Wilde's music is a lot more credible and memorable than the likes of the Hair Metal acts of the past.  A lot of critics and magazines have labelled Wilde's music along these lines; others have compared her to the likes of Avril Lavine and teen pop sensations.  It is not an insulting comparable, yet it does not do her music justice.  Her sounds may not be to everyone's instant liking and tastes, yet it will burrow into your consciousness before too long.  There are few solo female acts that have any real attitude or punch- there is still an emphasis on raw emotion or cuteness.  It is not the case that the 23-year-old is a relic of a bygone age, or a plastic fad: her energy and personality has all the merit of the legends of rock and metal.  Wilde has drawn comparisons with the likes of Vixen, and she has an edge of Suzi Quatro and the female punk bands of the '70s and '80s.  In spite of whether this sort of music appeals or not, her passion and conviction cannot be faulted.  She is a blonde and beautiful woman whose life began in Melbourne.  This city has produced some terrific modern talent, and is a location that is sun-drenched and picturesque.  The scenic and sunny climbs inspire creative mind, and the bonhomie of its citizens, combined with the bustling city energy has spiked the attentions of local musicians.  Wilde's Grunge/Surf/Punk roots are probably inspired by U.S. talent, yet Melbourne (and Australia) has a large swathe of similar acts and sounds.  Her website quotes the following: "Originally from Melbourne Australia, her talent on both guitar and bass quickly made Laura a heavily sought after musician which led to work with a who’s who of Australian artists. She also worked for a time as a presenter on Beat TV as well as being part of the house band of Australia’s Got Talent which brought her much recognition. "That was all great experience," Laura admits, "but I’m a songwriter and a musician and I wanted to play my own music.  When she was 18 years old, Laura went out on her own 22 show tour, attended university, continued her session work, held down a job at a local guitar store and even played a private acoustic show for the Saudi Arabian royal family.  At 19, she moved to Los Angeles, and began work on her debut album, Sold My Soul, which earned Laura great respect and strong reviews".  It is clear that the teenage years were filled with eventfulness and prosperity for Wilde, and her rise to prominence has a Hollywood sort of story to it.  I can see the appeal of locating to L.A.- it is now home to the likes of Laura Marling.  In some much as it is sunny and warm most of the year, it has a rich and vibrant music community and is in the glare of the music media- as well as being close to the epicentre of the moviemaking industry.  Wilde has not forgotten her homeland, nor adopted a faux-American accent.  Wilde has toured the U.K. and has a fondness for this wonderful land; yet at the moment she is busy in her new home.  Wilde is a lot more than her stunning beauty; a lot more in fact.  Wilde is an incredible guitar player, and is influenced by the likes of Jimi Hendrix and Jimmy Page.  There are few modern soulless acts amongst Wilde's cannon of influences- she favours the greats and aspires to replicate their majesty.  She is a guitarist I would kill for in my band (when it happens), and her axe-wielding skills have seen her play some illustrious gigs.  As well as spending a lot of time performing in Las Vegas, she has toured with Ted Nuggent- as well as been playing across the U.S.  It has been nearly two years since her debut album Sold My Soul was released, yet it still warranting praise and adulation.  Wilde has a clear fashion sense and identity, yet is not a prefabricated figurine moulded by a P.R. company (there are plenty of female pop acts that we can all think of).  Wilde is a strong and feisty talent, and is making music that is at once familiar, and at the same time, original.  There has been some derison and haughty snorting, due to the fact that some critics see her as a Hair Metal throwback.  I feel that there is still too much attention put on to solo artists' shoulders.  Many go into listening to an artist with preconceived notions and narrow-minded cliché.  It seems that many feel that female solo acts should sound like Adele or Amy Winehouse- or else be a cute and meagre folk artist with a sweet-natured voice and not a lot else.  I have reviewed artists such as Lydia Baylis, and found that her incredible voice and songwriting talents were begging for bigger attention.  There are still too many solo acts that sound the same, and sound like everything that goes before.  Unique acts like Baylis, Abi Uttley of Issimo- as well as Little Violet and Annie Drury- are not getting their just rewards.  These are amongst a small band of brave artists breaking from a tired dust-filled mould, and making their own sounds- on their terms.  Wilde will take some time to get her music appreciated widely, yet it is clear that she is going to a huge name to watch.  She does not rely on her voice; her lyrics; her guitar-playing skills: she has so much going for her that it is hard to ignore.  At the moment, Wilde has a heavy period of touring ahead of her, yet it is clear that more music is imminent.  This year will see her play more gigs across the U.S., yet I hope she also stops by London and the U.K.- as there will be renewed and new demand for her music.  In a year where stalwarts such as Beck and Wild Beasts will be keeping me occupied, I am always excited by what new acts can offer.  Over the first few weeks of this new year, I have witnessed diverse and bold sounds.  Wilde is another puzzle piece that is bright and memorable.  Last year was an important one for the punk goddess, and some website snippets give an insight into the day-to-day life of the Australian musician: "... When their hectic touring schedules allow them both the time, she will be writing a song with Geezer Butler from Black Sabbath and is hoping he may even produce a track or two.  Recently Laura received many accolades and rave reviews having just completed over 50 tour dates across America during the summer of 2013. Here fans saw Laura play arenas, theatres and clubs across the USA.  She also recently earned the title of ‘Best New Female Artist’ and was honored at the ‘Vegas Rocks Music Awards 2013′ with the legendary Zakk Wylde and DJ Ashba".  It is clear that the U.S. is treating her kindly and latching onto her potential, so I hope that this is blown across the oceans back to Australia.

With a guitar swing and burst which- upon first listen- resembles Get It On by T-Rex, there is a certain glam rock punch to proceedings.  With hand-clapping accompaniment, the guitar coda struts and swings its arms defiantly; setting up a huge amount of intrigue, energy and testicular fortitude.  The layers and teeth marks of '70s glam rock and punk are laced into the intro.  You can hear the affection Wilde has for the era, as one is instantly put in mind of a past era, where the hair was brighter and more striker; leather-clad legends like Quatro were ruling the scene- and the quality of music was a lot more consistent.  After a few seconds a pattering percussive roll is introduced.  It heightens the tension and excitement, and adds an extra layer of weight.  After a tee-up from the drums, Wilde's vocal enters the scene.  The first verse begins with some itinerant painting.  Our heroine is traversing New Orleans and "Every city in-between".  The vocal is intense and punchy, with a slight distortion.  It puts me in mind of modern singers such as Alison Mosshart, as well as legends like Joan Jett.  Instantly a sense of punk authority and blues rock swagger in introduced.  The roots and embryonic strands are firmly in the U.S., and the sound of Detroit-via-Los Angeles-via-New York is explored.  Wilde is hitting the tracks, and is doing so with staunch intent:  "Kissed my mumma/Said goodbye/Want look back/To see her cry".   A semblance of The Kills-cum-Quatro electricty keeps the hairs on end, and Wilde does not let the mood or pace relent, as she continues her travels.  "From Tennessee to Idaho" our heroine doesn't know where she is going to go, but is keen to get away and get on the road.  The vocal evocations are at the forefront and are clearest, yet Wilde's guitar skills add venom and fisticuffs.  Throughout the percussion keeps the beat and backbone straight; it is not too intrusive and infuses machismo and authority into the proceedings.  In spite of the fact that our heroine sold her soul "to rock and roll" the initial third of the song is a trip around the states of America.  Our Australian idol has been to some far-off places; been travelling wide, in search of...well, I'm not sure.  Wilde is having a ball, seeing sights, sensations and smells that enliven her senses, and living the life of a Punk/Grunge persuader.  There is a sense of rebellion detectable throughout.  Wilde is certainly not coming home, and whatever has compelled her to hit the tracks, is clearly not something that can easily be undone.  When listening to the track, vivid imagery comes to mind.  One can picture and feel the sticky floors of a bar somewhere out west; dust-strewn roads where our heroine drives down; sunglasses on and wind in her hair.  She travelled to Illinois, where- and conveniently from a poetic sense- "met a boy" (not sure how she'd make it work if she was in Oklahoma).  Wilde's heart belongs to Texas, and her soul and blood is running down a multitude of roads throughout the U.S.  Her itinerant mind make be something that Kerouac could write about, but she is in pursuit of music and good times: self discovery and philosophical answers perhaps not.  It is not until the 1:30 mark that the swinging pendulum of guitar and percussion abates.  When it does, the vocal is isolated (and more distorted), as Wilde interjects more truths about her travels and pursuits.  With regards to the subject matter of the song, it perhaps has more in common with the Punk and glam rock themes and artists of the '70s than it does today.  In that sense, Wilde is less the modern-day pop idol and more the leader of disaffected youth.  One may foolishly think of a tattooed, raven-haired chain-smoking singer when they hear the voice; hear the words and let their mind wander.  The fact that our vocalist is a dreamy blonde-haired Siren makes it more impressive- you cannot help but smile.  In spite of the wind and rain, Sold My Soul is infused with sunshine, heat and summer.  In the same way that the Queens of the Stone Age's My God Is The Sun was an axiomatic paen to the desert roads and sun-drenched highways, one gets the same sense here.  Our heroine moves on to Louisiana, yet still is selling her soul to rock and roll; she encounters a new high (and sensation), before moving to the next state.  It seems that home is far away, and lost to a hurricane of fury: we're not in Kansas anymore.  The final line says it all "And I'm not going home".  The girl has become a woman, and is someone not willing to do things according to someone else's way.  By the end of the track you are somewhat exhausted, and left in no doubt as to Wilde's intentions.  Afterthoughts on the track?  The guitar work has some elements of Black Rebel Motorcycle Club's Spread Your Love (as does the percussion); as well as a little bit of Black Holes-era Muse.  Unlike Bellamy and his cohorts, our heroine is punchy and less extravagant with her fretwork.  She unleashes an indelible and ephemeral rift, gathering momentum and pace throughout the track.  The song is instantly and lastingly catchy, and is based on a simplistic and nomadic lyrical theme.  Wilde keeps the lyrics memorable yet straightforward; employing an effective device and stretching it to its ends.  It is an odd introverted 50 Ways To Leave Your Lover-esque track, but one will a lot more middle finger raising.  To my mind, the most lasting and effective aspect of the track is Wilde's vocals.  They were probably be seen as second fiddle to her guitar playing, yet it is her pipes that shout the loudest.  I mentioned Mosshart earlier, and there will be some comparisons with the Dead Weather singer.  A little Quatro/Jett/Bolan affectation and styling is into the mix, creating a '70s Glam/Grunge/Punk-cum-'00s U.S. blues rock hybrid.  I have heard the rest of the Sold My Soul L.P., and there are few comparable tracks to the title cut.  Each song has its own mobility and energy; each sounds different and offers something striking- yet Wilde keeps her voice true and focused.  The album's finest cut is here and has its alarming charms and not-teenage-anymore-kicks.  Its metre and pace almost calls to mind an army drill/marching song, and our heroine has conviction and intention throughout.  Do not think of some pseduo-rebellious teenage punk wannabe like Lavigne: Wilde is all grown up and in her own league.  The album itself may be a two-year-old, yet it deserves wider investigation.  This year will see the Australian preparing new material and thoughts: I cannot wait to see what she comes up with.

It is clear that there is more than meets the eye, when it comes to Wilde.  She is a woman who will be dropping jaws because of her beauty, yet dropping more because of her talent.  There is nuance to her music, which means it will grab people in years to come.  You have to put any prejudices and incorrect thoughts aside.  The song- and L.P.- Sold My Soul are not the creations of a teen idol wannabe; not the makings of a second-string replicant of the punk greats.  There has been too much ignorant negativity placed on Wilde by some.  She has edge, rebellion and force, yet there is no gimmick or false promise within these protestations.  Wilde is a strong and bold woman who knows what she wants, and is going out and getting it.  She is barely in her 20s, yet is proving to be one of the most exciting acts of '10s.  There is a market gap and a hole that needs filling.  Too many examples of the type offered up by The X Factor and The Voice.  There is a soulless clan of dead-eyed singers, each with nothing to say, and a desperate desire for fame and excess.  Wilde is a distinct and impressive figure as she does not seem to be of this generation.  There are plenty whom play music honest and differently, yet it seems that this art is being lost.  You cannot ignore her guitar-playing skills; you would be foolish to overlook her potential, and her focus and drive are to be applauded.  Her album showed that she has the talent and ambition to be around for a long time; it is early days and will be interesting to see how she develops.  I hope that her music gets picked up by more people, as I have grown tired of too many listless and acoustic-driven solo acts.  They have their place in the market, yet I have always favoured music that offers up more intrigue and passion.  I feel that 2014 will see Wilde keeping her sound intact, yet pushing herself a bit.  I feel that there may be bluesy or more romantic sounds mingling alongside '70s Punk and Surf- as well as some modern-day metal edges.  Whatever your opinions are of Sold My Soul, it would be churlish to overlook Wilde in the long-term.  Her L.P. offers up tantalising titles such as Freeek!, Classic Guitar Star and Love Buyer; there is some profanity and stark declarations, but above all, is the sound of an ambitious young woman whom wants to remain in music for many years to come.  She is someone I would be desperate to have in a band with me (I have at least two others I am trying to chase), and it is not often I am as instantly impressed by a talent.  This year is going to see many acts come and go, and there is certainly going to be a lot on offer.  There is a place on the scene for everyone, yet those who remain in the memory are those who do things differently- as well as expand their sound and keep fresh.  Wilde has clearly benefited from the air of California, and seems pretty content there.  I hope that the multitudinous and variegated sounds enforce her next L.P., and it seems that her U.S. fans are taking her to heart.  I want to leave you with a thought; or more of an invocation.  Social media sites such as Twitter and Facebook will see their days numbered, as new and brighter websites come along.  The nature of social media is predicated towards, and synonymous with promoting an individual's every thought.  Few take time to promote worthy causes or bring to light important developments.  I would be naive to think that these sites consider music, and find a way to bring to light great new music- to everyone.  It would nice, however, if there was a music website that offered this.  I have encountered too many acts retrospectively.  It is annoying finding an act and then realising that they have been making great music for years.  I know there are so many acts out there that it is near-impossible to bring all of the greats to the public consciousness, yet to my mind, there is no effort to do anything.  If it weren't for a select few websites, I would be unaware of a lot of great bands- some of whom I stay in regular contact with.  Wilde is a jaw-dropping beauty with snarl and mega talent in her arsenal.  They are dangerous weapons and alluring chalices; I hope that she will utilise her focus and momentum to unleash she fresh sounds this year.  On the evidence of the track Sold My Soul (as well as the album), there is plenty to suggest L.P. no. 2 will be snapped up and brought to the attention of the masses.  Musically, Wilde has a great range and can produce toe-tapping kicks, plenty of psychotropic fuzz and haze, and some evocations of the '60s and '70s masters such as Hendrix and Page.  There is some home-grown AC/DC sounds; pieces of Quatro and Joan Jett- as well as some spike of The Ramones.  These facets account for a modicum of Wilde's whole, and she has her own unique flavour and business plan.  I hope that some diversity and differing themes come into her lyrics.  The profanity and f***-you attitude is needed, and works wonderfully over some songs; yet it would be great to see something more romantic; some different genres and influences thrown into the mix.  L.A. plays host to some terrific new and established acts, and I hope that Wilde employs a little of their majesty into her mix.  Her debut L.P. shows what she has to offer, and it is only a matter of time before that is augmented and bolstered.  Where she goes next is anyone's guess, yet it is evident that she will be busy over this year.  As she states, herself:

"I play the rules to a different game"

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Follow Laura Wilde:

Official:

http://www.laurawilde.com/

Twitter:

https://twitter.com/laurawilde

Facebook:

https://www.facebook.com/laurawildemusic

YouTube:

http://www.youtube.com/laurawildemusic

SoundCloud:

https://soundcloud.com/laurawildemusic

Feature: The Lost Art of the Music Video

FEATURE:

The Lost Art of the Music Video.

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It seems that the music video is becoming less relevant or less well-considered.  In recent years, few memorable videos have been created.  Whether fewer people view them; or the talent isn't out there, one thing is clear: we need to make sure we do not lose them altogether...

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SOMETHING rather worrying has been accompanying- as well as working in tandem with-

Music.  There has been an overall decline in the standard of music, pretty much since the late-'90s/early-'00s.  It is not entirely down to the musicians themselves; standards and tastes have changed; the greatest musical waves and periods have past- and music has stagnated somewhat.  The acts I review on a weekly basis are exempt from my condemnation, yet they account for a tiny percentage of the overall market.  If you think about it; turn on the radio; think about what music is out there at the moment, and ask: how much of it do you genuinely love?  In the way that music is open to everyone, it has led to a decline in quality control.  It is great that it is easy to make music (although not inexpensive), and there seems to be something for everyone.  The downside is that amidst all of the new music, there seems to be few genuinely great acts.  Established acts and the best on the market are working hard, yet one day their reign will be subject to entropy and a natural death.  We always have to think ahead as to whom will replace the best and brightest when the inevitable day arrives.  Everyone has their favourite new acts, and there are certainly a few new acts (aside from the ones I have reviewed) that I am excited about.  In the larger sense, there are few that get me hot under the collar and compel me to write and perform my own stuff.  Thinking about this, I have had a bit of a think.  If the relative few wonderful acts are a precious commodity, then it seems that something has to be done with regards to the overall package.  Since the music video for Bohemian Rhapsody arrived nearly 40 years ago, there has been excitement and attention with regards to the art of the music video.  The form has developed and evolved, and all kinds of videos have been made.  It has always been a vital part of a band or act's mantle, and not just important with regards to individual songs.  When you think about the personality of a particular act, there are few that really win you over.  Today there are so many musicians and artists whom are infamous and laudable; the genuine everyman (and woman) are being silenced by the flashing glare of the paparazzi lens.  I guess the music and the person (or people) behind it can be mutually exclusive, although I feel as long as the music is strong, then it is not overly-important if the artist is likeable- or appealing even.  It means, however, that the music has to be that much stronger.  The music video is a key element of a song, and is the visual representation of your work.  When M.T.V. was starting out, it was easier for people to see music videos, and appealing for artists, as they had a widespread medium to have their songs seen and heard.  Stations such as these have declined and sites such as YouTube have taken their place.  I have been worried by the output of many acts and artists over the past decade or so.  It seems that the quality of the music video hit its peak- or saw its last real influx- about 15 years ago, and there have been fewer truly memorable videos.  I am not sure if it is the quality of music on offer or the lack of talented directors; yet it seems it may be both.  As much as anything, attention spans and desires have changed.  The video used to be a thing that can watched, studied and re-watched.  Today- and over recent years- they have come to be seen as disposable and cliche.  In so much as music is easy to make, so too is it easy to make a video.  If you have a camera and know the right people, then you can pretty much make your own.  This has meant- like the quality of music itself- the music video standard has dropped.  I often look at an E.P. or album cover that an act has put out and sigh.  Little thought is given to creating an image that is memorable, historical and fascinating.  There are too many self-portraits; too many basic images and far too many stale and lifeless attempts.  The likes of Nevermind and Sgt. Pepper seem like forgotten footnotes, and I cannot remember the last time I was mesmerised by an album cover.  Similarly, I struggle to remember a music video that blew me away.  Imagination, creativity and stunning intelligence mandated the scene at certain times, and the boldest and bravest directors came to play.  The all-time great directors are gone- or slowing- and there are very little up-and-coming wonders.  I hope that this is something that is rectified, as the music video is crucial.  Every single needs one- or should- so it is no less crucial that attention and thought is put into them (videos).  I am hampered by lack of funds (and am not a professional director), yet am already looking ahead to my first video (when my first song is released).  My mind is often awash with ideas and scenes, and I have formulated at least half a dozen ideas I feel can rival some of the best.  With the range of technologies, landscapes and possibilities, it is not difficult to conjure up a video that elevates (or makes) a track.  I feel there is not a lack of money or impetus; merely a lack of bravery or forward-thinking and pioneering directors.  Whether video directing is seen as second-best to film/T.V. directing, I am not sure; but the fact is this: even a medicore song can be made a classic by a wonderful video.

This got me thinking about what- for me- 'makes' a music video.  I have seen many a crap track suddenly made wonderful by a great video.  Conversely, a huge number of great songs have been let down by a boring or uninspiring video.  The music video is a way of uniting actors and musicians; making mini films and fascinating stories; creating chances for up-and-coming directors- as well as making something that could be studied and dissected decades from now.  It is important that fantastic videos are created, as we may live to see the day where none are made at all.  I am depressed and sickened by the digital dominance which is putting record stores out of business.  It is horrifying that the compact disc may be put to sleep.  That means that album covers and music artwork  will be replaced by fake digital imagery and intangible products.  The physical release- the artwqork and disc- will be replaced by sterile and digitized replacements.  It may mean that music videos will become obsolete, and more and more videos may be made online- negating and bypassing real life and actual filmmaking.  I was thinking about my favourite music videos, and why particular ones stuck in my mind.  Each of my five choices feature phenomenal musicians, and there is not a single video that represents a poor or overrated artist.  Each one of the videos, too, has something unique and wonderful; a unique selling point- as well as qualities and merits that have not been replicated.  The majority of the music videos were made during the '90s, and considering that was the last truly great decade for music, it is hardly surprising.  It has been 11 years since the last video (from my list) was made, which worries me a bit.  I am hoping that there are a lot of keen directors and bold artists keen to keep the artform alive and burning, and I am sure everyone has their own favourite videos.  Many musicians I know are making some great videos themselves, and considering their budgets are three or four-figured, it is an impressive feat.  You do not need a tonne of money or years of music video-making experience to turn out a classic.  If you have an imaginative brain and a pioneering approach, then you can create something truly memorable.  Take a look at the below, and have a think about your own favourite videos, and ask me this: what makes them so special and incredible?

Blur- Coffee & TV (1999)

I am beginning with my all-time favourite.  The music video was directed by Hammer & Tongs, A.K.A. Garth Jennings and Nick Goldsmith.  The duo have created some of the most impressive and memorable music videos ever.  They directed Radiohead's Lotus Flower, where Thom Yorke danced his way into everyone's hearts.  They directed Pulp's Help The Aged; Supergrass' Pumping on Your Stereo, as well as Imitation of Life by R.E.M.  The directing duo have worked in colour as well as black-and-white, worked with Muppet-like puppets (for Supergrass' video), as well basic D.I.Y.-style concepts (see Radiohead's Jigsaw Falling Into Place).  The boys clearly are a mega talented duo, and it is hardly surprising that they produced such a mesmeric video for Blur back in 1999.  Blur were in a bit of a career quandary in this period.  The halcyon days of Parklife and Modern Life Is Rubbish had past, and the late-'90s was to see something transformative happen to the band.  Graham Coxon was already starting to feel the strain, and would eventually leave the band during the recording of their follow-up Think Tank.  The band's self-titled album was well-received and contained some classic numbers; however their album 13 was not so celebrated.  There seemed to be a sense of fatigue, and the group were clearly tired.  Too much filler characterised the L.P., but there were glimmers of light.  Tender was one of the greatest tracks they ever produced, and No Distance Left To Run is one of the most affecting and personal songs Damon Albarn has ever written.  Nobody expected anything historic from Blur at this time, and a lot of critical attention was moving away from their shores, and towards newer acts.  To my mind, Coffee and TV changed so much.  It was a song penned by Coxon, and remains one of Blur's best and most memorable songs.  It has a huge sing along quality and its lyrics are enduring and timeless.  The video, however, lifts this phenomenal song into something of sheer genius.  The concept itself revolves around a carton of milk called Milky (made by Jim Henson's Creature Shop), in search of Coxon.  Mr. Coxon is missing, and his family sit glumly around the breakfast table.  The narrative of the video splits between the plight of Milky (as he searches for Coxon) and the band performing the song (in what looks like an abandoned building).  Throughout the track, Milky passes dangers and strife.  He falls in love with a cute milk carton- only to see her stomped on.  Hitching lifts and asking favours, he eventually stumbles upon Blur performing; gleefully aware he has found the missing guitarist.  Coxon then gets a bus back home, drinks from the carton, and is reunited with his family- as the milk carton floats up to heaven.  The concept is brilliant, yet simple, but is the way that the video is made that is so brilliant.  The idea of a milk carton going in search of someone has not been done before or since, and it is a charming and wonderful creation.  The song itself is brilliant, yet I cannot listen to the song without the video- as they fit together perfectly.  It is unsurprising that the video scooped awards, including best video at the N.M.E. Awards in 1999 and 2000.  Many magazines have placed it in their 'top 20', yet few have ever crowned it as their number 1.  I feel there is no finer video, as it scores a wonderful song, yet makes it better and more memorable as well.  The concept is bold and stunning, and even 15 years after its creation, I still an enthralled by it.  Blur's existence may be in limbo (and there may or may not be another album in them), yet Coffee & TV remains one of the band's best songs- and their greatest videos.  It turned a rather unspectacular album into a treasure and clearly the band were having a blast filming the video.  It is a template that directors should study closely, and I have not seen any video since that measures up to Coffee & TV's golden standard.  Have a peek of the video, and I defy you to show me a better video.  In fact if you don't come away (from watching the video) you may be technically dead inside.

See the video (right-click on link and select 'open in new tab'):

http://www.youtube.com/watch?v=6oqXVx3sBOk

The White Stripes- The Hardest Button to Button (2003)

This is a video from the mind of a truly remarkable talent.  Michel Gondry may be recognisable to many, as he directed Eternal Sunshine of the Spotless Mind.  Gondry, however, made his name in music videos, and has directed gems for the likes of Beck, Bjork and Kylie Minogue.  Gondry is one of my favourite directors, because he has a childlike and wonderful imagination.  Throughout his tenure directing Bjork, he has presented weird and wonderful scenes; with overgrown bears in woods; monkey dentists as well as weird late-night scenes.  Gondry works on songs that may not be 'commercially popular' or familiar to all, but tracks that inspire the creative mind.  Take the case of Sugar Water by Japanese duo Cibo Matto.  I'll admit that the song is not instantly memorable- or indeed durable- but the video is a bizarre work of wonder.  It tracks a day in the life of the two girls, as they go about their days.  It works in split screen, as one half charts one girl's day in reverse, and the other in forward motion.  At various points of the video the two halves overlap, and the girls interact.  It is a sort of muder mystery mixed with strange thriller, and is mind-boggling to even comprehend.  How Gondry managed to pull it off is testament to his talent and intelligence (watch the video and see if you can figure it out).  Throughout his career, Gondry has pushed the envelope and defied gravity, logic and common sense with his bold brilliance and daring style.  Although less prolific nowadays, Gondry is still directing and has amassed an impressive collection of work.  I will be mentioning Gondry again later, so will not go into too much detail.  One of the bands that Gondry worked with closely throughout the years is The White Stripes.  As well as directing their songs Dead Leaves and the Dirty Ground and The Denial Twist, Gondry created the celebrated video for Fell In Love With A Girl.  In this video he used Lego figures of Jack and Meg White, of them performing the song and involved in various different scenes.  It was the video for The Hardest Button to Button that I feel is his most memorable, and one of the best videos ever.  It is one that demonstrates Gondry's attention to detail, patience and imaginative flair.  The video depicts Jack and Meg performing the song through the streets- and subway- of New York.  Filmed over several days, it is a stop motion video that is arresting and stunning.  The video follows the duo performing, but upon each guitar chord or drum beat, multiples the duo's instruments- as they move along the street.  You start off with one image of the drum or amp; a second passes and they are duplicated and so forth.  Essentially every second or so another image of the duo's equipment appears as they move through New York- from day to-night.  It is impressive not only because of its originality, but it must have been a painstaking process to undertake.  One take would have been filmed; 'cut' is called and then another filmed.  It is like directing stop motion with figurines or puppets- but only with human beings.  The concept and style of filmmaking was a rarity and it is something that was even rarer with regards to music videos.  Peter Gabriel's Sledgehammer did it brilliantly, yet few have done it since.  The Hardest Button to Button was a track from the Detroit duo's album Elephant- seen as their greatest album by most critics (I think their greatest is White Blood Cells).  Although the album was a classic, there were better songs on the L.P. than T.H.B.T.B.  I was impressed at how incredible the video is, as most would have struggled to conjure up anything spectacular when listening to the song.  It is a great track, yet one that does not instantly whip up marvellous video ideas.  As I mentioned with Coffee and TV, it is great to hear a great song, but if you can create a video that is even better than the song, then it makes the band (or artist) look even better.  White himself claimed he had no idea what the video was about (when Gondry called him to explain its concept), and if anyone explained the concept to me at the time, I would have been baffled.  You watch the finished product and can't keep your eyes off of the action, as it moves at a break-neck pace.  After watching you wonder how the hell it was made and how it was put together.  It is a video that is probably unfamilar to most, but I implore everyone to watch it, as it is a visual feast and something that is original, wonderful and without many equals.

See the video (right-click on link and select 'open in new tab'):

http://www.youtube.com/watch?v=zkhz8kYo8Ug

Lucas- Lucas with The Lid Off (1994)

Chances are, you have never heard of the artist- or the song itself.  To be honest, neither had I this time last year.  Having mentioned Mr. Gondry once already, you will not be surprised to see another of his videos on my list.  Lucas is the moniker of Lucas Secon- a Grammy-winning rapper, producer and artist.  Secon resides in London, but has managed to stay under the radar for most of his professional career.  He began his recording career in 1993, and released his debut album Lucascentric the following year.  It was an album that failed to spark commercial interest, and left many critics a little cold.  In the midst of a muddled and underwhelming album comes its only single, Lucas With The Lid Off.  In 1994, Michel Gondry was working with mainstream and established artists for the most part, making the paragon with Lucas all the more extraordinary.  I am not sure as to how the two met or came to work with one another, yet this can be said: if they hadn't then the video for Lucas With The Lid Off would be tripe.  There was something within the song that sparked the imagination of Gondry, who turned out the greatest video of his directing career.  It is not shocking that the song caused fevered excitement for the French director, as it is a stunning cut comprising stonking horns, catchy loops and a confident rap.  Infused with a bolstered and propulsive beat, the track earns its stripes with its relentless pace and energy, coupled with Lucas's proud and boastful rap.  Even when you examine the song fully and dissect it, you would never imagine a video such as the one Gondry concocted.  Most would take the song in a different direction; possibly create something that is a little generic, but gives our central artist plenty of room to shine.  You would probably come away from watching the video pleased with the results- yet it would probably never linger in the memory.  That would be the mark of a good director.  The mark of a truly exceptional one, is those whom can take a song like this, and couple it to a video not only endlessly fascinating, but totally unexpected and original.  It is not just the style of the video that captures you, but it is the technicalities and complexities that hit you hard.  Like The Hardest Button to Button, it is another Gondry video that you can never figure out how he came about it, and how he pulled it off.  It is an example of a video that outweighs and outshines the song it represents, and many magazines and music critics have rightly hailed it as one of the greatest videos of all time.  Before I examine the video, I should mention that it is the inspiration for a video idea I have bene obsessed with.  I have always had the idea of charting the embryonic stages of a musician's career, through to its end- over the course of a video.  It would be shot in colour, and would show our hero or heroine moving through the course of a day, month, year and decade.  The camera would never stop moving, and the entire video would be a single shot.  Scenes would include a recording studio, a cafe where song ideas are created; a music video stage where that video is shot; a radio station where the central figure is interviewed; a street scene, as well as a multitude of sets, situation and scenarios. Everything would be mounted on a huge Lazy Susan, and the musician would move from set to set within.  When reaching the end of one Lazy Susan, another one would connect (like cogs in a watch) and move through that set.  There would be a third one too, so by the time they reach the end of the third set, the first one would be used, and so forth.  There would be no cuts and no separate takes- it would be one shot like a live theatre performance.  Actors would dress off set, run around camera, and sets would be dressed and remounted rapidly.  It is ambitious and I sure as hell want to do it: it is all thanks to Lucas With The Lid Off.  The black-and-white video depicts the creative process of recording a song.  The camera never cuts, and everything is one take.  Gondry moves the camera throygh various sets; panning in and panning out, slowly tracking- yet never stopping the movement.  The action moves from a recording studio, through a bedroom set; into a tube station; it goes into a cinema (with Lucas watching a film of himself), ending up back in the studio.  Slant magazine surveyed it, thus:  "Robert Altman and Orson Welles (in Touch of Evil and The Player, respectively) called attention to their film's opening long takes, and Alfred Hitchcock went as far as to use clever camera tricks to give the illusion that his film Rope was shot in one continuous take. Lucas With The Lid Off represents a fascinating point of departure because Gondry's goal is to call attention away from his remarkable technical achievement. In the video, Lucas plays a recording artist supervising his own creative process and subsequent success. Though the entire video was shot in one long take, the action presented in the video does not transpire in real-time. A series of numbered frames indicates where Gondry's camera will need to stop before recording the next movement in the video's action. More importantly, though, these stoppage points evoke passages in time and call attention to the very nature of the recording process. This rigorous, head-trippy experiment evokes the human mind's own subjective ability to perceive and edit the world around it with as little as a blink of an eye".  It is a live performance.  Lucas and the actors run around the back of camera and between sets; ensuring that they are in their mark before the camera comes back around.  The entire video is a huge technical and creative achievement and the originality of the idea is a wonder.  It is not shocking that it inspired me, and I am confident I could not create something nearly as good- but such is the effect of the video, I want to aim for it at least.  No video in the ensuing 20 years has managed to pull of a technical feat such as this; nor grab your attention and mind in the same way.  Gondry has been responsible for a great number of the best music videos of all time, and I feel that this is his absolute peak.  The best videos are those which inspire- even 20 years after their inception- and force generations of directors and filmmakers to up their game, think outside the box and push themselves beyond their comfort zone.  Part of the reason for my negative discourse, is the fact that there have been seldom attempts to make videos like Lucas With The Lid Off.  There has been plenty of songs begging for it, yet no director with Gondry's brain and imagination, up to the task of making it happen.  This particular video is an example of a piece of work that gives directors and acts food for thought.  It can inspire them to write music that calls for a treatment similar to that of Lucas', and I'm sure is in the minds and ambitions of many young directors.  It is also a video that did not demand a huge budget- it is something a lot of new acts could afford to stage.  Its genius lies in its genius; and that, after all, is the best thing you can say about any music video.

See the video (right-click on link and select 'open in new tab'):

http://www.youtube.com/watch?v=oiA6u-w0uZc

Soundgarden- Black Hole Sun (1994)

They were one of the bastions of the grunge movement, and one of the first bands to challenge the genius of Nirvana.  Soundgarden arrived on the scene a few yeasr after the Seattle legends, and were allows subject to fierce competition from Nirvana, as well as Pearl Jam.  The trio of bands were synonymous with intelligent and nuanced grunge music- a far cry from most of the knuckle-dragging idiots trying to make similar sounds.  From the confident strides of Badmotorfinger, the band (led by the huge-lunged Chris Cornell) moved onto Superunknown- one of the best albums of the '90s.  That album is in my top 5, and is a consistent and stunning L.P.  It moves between genres, covers a multitude of a topics and barely drops its stride over the course of 15 tracks.  Within the album's gems lies one of its darkest and most reflective tracks, Black Hole Sun.  The first time I encountered the song, was back in 1994- the year it was released.  I was an 11-year-old, holidaying on the Greek island of Skopelos.  One evening, my family and I were sitting in the evening heat outside a beach bar.  Outside was a T.V. showing M.T.V.  I remember watching various adverts; one of which was a bizarre advert for Sprite.  It featured an Eskimo and an igloo and was something Bjork would have dreamt up.  After the adverts had finished, the music video for Black Hole Sun came on.  The fact that this moment has remained in my mind for all these years is that the video scared the bejesus out of me.  Its scenes and sights dropped my jaw, and it was one of the most arresting and strangest things I had ever witnessed.  The video was directed by Howard Greenhalgh, and represents a song with very clear ideals and origins.  Cornell explains the son in these terms:  "It's just sort of surreal dreamscape, a weird, play-with-the-title kind of song.  Lyrically it's probably the closest to me just playing with words for words' sake, of anything I've written. I guess it worked for a lot of people who heard it, but I have no idea how you'd begin to take that one literally. The chorus lyric is kind of beautiful and easy to remember. Other than that, I sure didn't have an understanding of it after I wrote it. I was just sucked in by the music and I was painting a picture with the lyrics".  It arrived in a year where grunge's forefather Kurt Cobain had committed suicide, and shocked the world of music.  Grunge has lost its leader and there was a black veil across music's landscape.  The video itself can be described in these words: "The surreal and apocalyptic music video for Black Hole Sun was produced by Megan Hollister for Why Not Films (London, England), shot by Ivan Bartos, and features post-production work by 525 Post Production (Hollywood, California) and Soho 601 Effects (London). The video follows a suburban neighborhood and its inhabitants which are eventually swallowed up by a black hole, while the band performs the song somewhere in an open field.  In an online chat, the band stated that the video "was entirely the director's idea", and added, "Our take on it was that at that point in making videos, we just wanted to pretend to play and not look that excited about it."  Kim Thayil said that the video was one of the few Soundgarden videos the band was satisfied with.  The clip mocks and exaggerates our society's search for truth in television and its gratuitous exploitation of the earth. Soon nature turns itself on the unsuspecting suburb. A tall, thin blonde bakes in the sun as a Barbie doll is scorched on a barbecue. For torturing a cockroach under a magnifying glass, two young boys are burnt under the giant lens of the Black Hole Sun. In the end, the town people's distorted self-images and general arrogance becomes their end".  It is quite something to behold.

See the video (right-click on link and select 'open in new tab'):

http://www.youtube.com/watch?v=3mbBbFH9fAg

Radiohead- Street Spirit (Fade Out) (1996)

Radiohead are one of my favourite bands ever, and have been involved in some of the greatest music videos ever.  Here is a group that require no video director to make them look great: their music does the talking.  In spite of this, the band understand the importance of video making, and have an accompanying film to bring their singles to life.  Their videos for Karma Police and No Surprises are two of the best videos of recent years, and they featured in constantly compelling videos.  Their best video was for the best song, from their best album.  It seems like a perfect storm, but it is just my opinion.  The Bends was a bizarre ababerration of an L.P.  The band's debut album Pablo Honey, A.K.A. The-One-With-Creep-On-It was a sub-par debut.  Nobody expected anything too superb from the follow-up.  Creep was a Nirvana-inspired anthem, and there were many that felt any future albums would feature songs along the same lines.  The Bends, for many reasons, was a pleasant surprise.  It remains my favourite album because it is such a phenomenal leap forward.  Bands such as Nirvana and Blur have pulled off similarly-impressive musical feats, yet it is Radiohead's seismic shift that, to me, can be seen as the most impressive in music history.  The likes of The Beatles and Bob Dylan had that potential from song one, yet Radiohead could not be considered future-legends on the basis of Pablo Honey.  The Bends not only turned out to be the biggest leap forward imaginable, yet was the beginning of a staggering 1-2-3 that would see them produce two of the greatest albums of the '90s/early-'00s (OK Computer and Kid A).  In spite of The Bends being my favourite album, I still feel there are at least two 'filler' tracks.  The opening track, Planet Telext is purely awful.  If you have just produced a wonderment of an album, and need to win over an underwhelmed public, then you need to make sure the first song from the album captures you.  Planet Telex was recorded after a drunken late-night meal at a Greek restaurant... and it shows.  It is one of few songs from the Oxford boys that I care to repeat- I cannot for a second quote a lyric or tell you what it is about.  The track listing seems odd to me, and that is no disrespect to John Leckie (who produced the album).  The title track is the obvious opener, and if you want to include Planet Telex, it should have been buried in the middle of the album.  Bones, too, comes across, as unimpressive, purely because it is a weaker brother of The Bends, Just and My Iron Lung.  That trio of tracks was a solid set of harder-hitting rock tracks and Bones seems lightweight and disposable by comparison.  Those are my only grumbles as the album is a stonewall masterpiece.  Yorke's voice is a staggering feat and entrances from the off; the songs are introspective yet staggering and the tracks are tight, focused and hugely accomplished.  The boys ended the album with the finest track: Street Spirit (Fade Out).  When coming up with a video to visualise the song, it was going to be a mighty task.  The track is a dark and foreboding gem and Jonathan Glazer was equal to the task.  Glazer has directed videos for Richard Ashcroft and Jamiroquai.  His finest work was the black-and-white film for Street Spirit (Fade Out).  Filmed over two nights in a desert outside of L.A. it was a pivotal moment for Glazer, whom knew that he had helped the band discover their voice.  The video is notable for its open-ended interpretations as well as its filming technique.  It was shot using a special camera that films slow motion- usually a camera used to film ballistic missiles.  In single scenes it shows one member of the band in slow motion, and the other in normal speed.  Various scenes are shown: Yorke falling from a Winnebago roof; Jonny Greenwood leaping into a Winnebago back- before he completes the movement.  There are images of Yorke breaking panes of glass with a hammer; Yorke running away in slow motion, as a boy- carrying a chair- runs in the other direction (in normal speed).  It is hypnotic and jaw-dropping as it seems to fit the track seamlessly.  You may have your opinions on what the scenes represent, yet seem to marry perfectly the lyrics, which speak of dislocation, fear and dread.  Whatever your view, the fact remains: it is a stunning masterpiece of a video.

See the video (right-click on link and select 'open in new tab'):

http://www.youtube.com/watch?v=IrTB-iiecqk

Having watched and re-watched the five videos above, I have been compelled to seek out more videos and study them.  They act as a representation of a song, and are an important visual aid.  In the past, there has been huge attention paid to getting it right; making sure that the video is the best possible.  It is not always the case, as there have been some terrible videos, and a lot that are just very ordinary.  The artform really hit it stride- and peaked- in the '90s and early-'00s.  Honourable mentions go to Michael Jackson's Thriller (http://www.youtube.com/watch?v=sOnqjkJTMaA) (right-click on link and select 'open in new tab')- consider by many to be the best video ever.  It is almost a film in itself, boasts a wonderful concept, and is something that- once watched- is not forgotten.  Aphex Twin's Come To Daddy (http://www.youtube.com/watch?v=h-9UvrLyj3k) (right-click on link and select 'open in new tab')gets a mention, due to Chris Cunningham's ability to in grain image and frightening scenes into your mind.  Final mention goes to the Michel Gondry-directed Hyperballad (by Bjork) (http://www.youtube.com/watch?v=26sP2WsA5cY) (right-click on link and select 'open in new tab').  It features Björk as a computer game character who runs through an obscure, two-dimensional landscape of pylons before throwing herself off a cliff.  All of the videos I have mentioned were either made in the early-'00s or sooner.  There is no less money in music, so I am wondering whether the quality of the music is not inspiring creative minds; or whether those minds aren't out there at all.  I always get excited when coming up with a music video idea, and hope that a chance will come when I can realise them.  It is true that videos can be expensive to make, but if you see videos like Lucas With The Lid Off, The Hardest Button to Button and Street Spirit (Fade Out), these win their stripes by their creativity and originality.  Directors like Gondry employ intelligence and a different way of thinking; one that is not reliant on a huge budget.  I fear that less importance is being placed on music videos, and possibly even towards music itself.  Everything seems to be turning towards a digital reality, and the solid product is in danger of becoming obsolete.  I hate to think that album art and videos will be negated, in favour of something sterile, impersonal, unreal and computer-generated.  It is vital that new music gets more ambitious and fearless, and in turn it will spike the minds of upcoming directors.  It would be interesting to see who else has any particular favourites, as there are dozens of videos that capture your imagination and attention.  Sometimes the music inspires something wonderful; occasionally bad songs can be made epic; classic songs can even be overshadowed by an even better music video.  I am sure that everyone has an idea for a music video in their back pocket, so I am curious as to why so few memorable ones are being made currently.  I hope my cynicism is premature, but I feel eager directors are favouring film and T.V. over music.  That would be a shame, as personally the videos I have mentioned stick in my mind for so many reasons.  I can name several dozen others (from the '80s and '90s) which stir something inside me, so I ask this:

WHEN will we see another classic music video again?

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Track Review: Ages and Ages- Divisionary (Do The Right Thing)

TRACK REVIEW:

Ages and Ages

Divisionary (Do The Right Thing)

9.6/10.0

Divisionary (Do The Right Thing) is available from:

http://www.youtube.com/watch?v=-BAU9mKJjdU

The album, Divisionary is released in the U.K. by Partisan on March 24.

_____________________________________________________________________

Oregon gloom-eradicators have a mandate built around consideration and elevation of the human spirit.  Their (seemingly increasing) membership are determined to put a smile on everyone's face.  You'll be powerless to resist.

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I am going to begin today's feature with a couple of charming psychotic rants.

I'm probably being hard on myself, but it may appear that way to the casual outsider.  The first 'point' concerns the geographical distribution of new musical talent.  I have postulated before that the music media is remiss in pointing out international flavours and delicacies.  It has been pleasurable helping to foster and aid home-grown talent, and I am always keen to help enable their growth and ambition.  After a while, one looks farther afield and is eager to seek out foreign influence and wonder.  Over last year I was lucky enough to survey some bands and acts from around the world, including Swedish electro-pop; Australian hard rock- as well as plenty of U.S. music.  It is America that is producing some of the best new music of the moment.  Historically-speaking, it has been the U.K. and U.S. whom have produced the greatest musical output of all time.  The previous couple of years has seen this trend continue, yet to my mind I have not heard many U.S. counterparts come forth.  I know that the music being made across the pond is something special, yet I have had to dig for it and happen upon it by serendipity.  It has been a fortunate and somewhat fluke-laden discovery, and it always leaves me asking the same question: why is it so difficult to come upon these acts?  The established music publications and websites seem to focus too wholly on established music, and proffering the merits and plans of the status quo.  If you expand this theory outwards, there is a helix of vague attention in the musical atmosphere.  The likes of The Guardian are dedicated to seeking out great new musical talent, and there are other websites which do the same; yet to my mind there are still too few whom spend very little time doing so.  I have written (in great depth) about the music acts from our shores; concerning the geographical location of the very best; the various sounds one can encounter- as well as the greatest acts to watch for this year.  It is a daunting task when trying to do the same with regards to the U.S.  In the past year I have come across some great talent from L.A.- mainly sunshine pop and intelligent electro-pop.  Within New York, there has been some great and staunch rock acts proffering their gold, as well as fascinating soul movements.  Towards the Canadian border in Minnesota, I have heard some cerebral, pastoral acoustic sounds; and the southern states have offered up a mixed bag of sounds (and genres).  This still leaves a large chunk of territory unaccounted for, and a huge swathe of land awaiting the manifest destiny of the musically ambitious..  If everyone thinks about it for a second, how many can say that they have heard a lot of music from the Midwestern realms of the U.S.?  This is an area that I shall be looking closely towards over the following months; over Kansa and Nebraska- wondering what music is currently being made here.  My featured act emanate and play the western climbs of Oregon.  The state of Oregon is situated in the Pacific Northwest region of America, and has California directly beneath it.  Because of the situation of the state, it is synonymous with a wide and diverse landscape.  Housing glaciers, volcanoes and the Pacific coastline, Oregon has a large proportion of German, English and Irish inhabitants.  The city of Portland is the most populus in the state, and the 'Rose City' boasts marvellous skylines and scenic views; as well as a rich heritage and history.  I shall examine our featured band a little later, yet for the moment, I want to switch to a different subject.  This particular topic concerns the audio mood of new music.  When I hear new bands and solo artists come forth, I am often struck by the same feeling: there is a lot of introspection and sadness.  I understand that a lot of artists are writing from a personal perspective, and when it comes to the nature of love and relations, a great deal of what is being written concerns dislocation, fracture and heartache.  This is all very well, yet it seems that over the course of however many years, we have probably heard more than enough of this.  There are few bands or artists whom can offer any new tangent or perspective on the well-trodden themes of love, loss and personal anxieties.  Few take the time to originate something fresh and bold (in terms of musical and lyrical themes).  I have reviewed the likes of NoNoNo and Issimo, whom between them, write songs about jubilation and sunshine; witty romantic by-play, as well as vivid and memorable scenes of city life- and drunken nights out.  Some bands have tempted forth playlets around financial crisis and objective tenderness, yet there is still a huge gap in the market left open.  In a time- and season- that offers little in the way of comfort and positivity, it is crucial that music offers up some respite and escape.  The great artists of the '70s, '80s and '90s produced their fair share of uplifting songs, yet the current generation seem to be entrenched in a quagmire of gloom and stress.  It is essential that songs are written concerning the nature of broken love- it provides assurance to many and is eminently relatable to many.  There are plenty of examples that can produce this type of music, so I ask myself why so few are trying to be different and positive.  When you look back at the greatest bands of the previous decades, their catalogue contains plenty of upbeat and diverse music.  If you take a band like Radiohead, for instance.  Many have written them off as masters of the depressive love song, yet if you examine their back catalogue, there is plenty to bully the soul.  Albums such as Amnesiac and In Rainbows contained some lovely and hypnotic music.  The '90s masters such as Blur and Supergrass were notable for their augmentation and inspiring music, and of-the-moment acts such as Arcade Fire and Daft Punk are going some way to keeping this legacy alive.  It is largely solo artists whom are guilty of penning too many blue tunes, yet the band market is not entirely blameless.  We are comfortably in 2014, and I have examined a few bands and acts that have given me comfort and reason for re-examination.  It is true that constant caffeine-infused Technicolor can be cloying, yet the right amount is tantamount when building music that is inspiring and durable.  This year will make or break quite a few new acts.  I am hoping that the well-known and beloved acts continue to show the world how it is done, but I am equally keen to see new music take a foothold, and challenge the masters of song.  There will be some depressive musings on love; I am confident there will be some fragile tales on broken relationships, and there will be a metric tonne of tracks relating to themes of a darker nature; yet I feel that we shall see some of this: positive and sunshine-infused music that can bring a smile to our faces.

Concerning this previous topic, one of the bands that is most likely to replace rain with sunshine is the Portland ensemble, Ages and Ages.  On their Facebook page, they are described thus: "Ages and Ages is more than a band. It’s a collective of like-minded souls that believe in the power of music to change the world and elevate the spirit. Their music is bright and uplifting, with lyrics, penned by bandleader Tim Perry, that deliver serious introspective messages full of insight and consideration for others".  That description may bring to mind a scary cult buried deep in the woods of Idaho, yet the band are collective that are determined to re-appropriate any dour negativity; buck and infuse tired minds, and create music of the highest order.  When one looks around for comparative music acts, your mind is perhaps drawn to The Polyphonic Spree.  I admit I was never a fan of the Texan clan.  I found their music to be uplifting and happy for sure, yet I was never struck by the quality they offered up.  There seemed to be a spiritual and almost religious aspect to a lot of their music, and being an atheist, that is perhaps why they never really connected with me.  In addition to the fact that they often wore white robes and seemed to have a crystal meth-level of effusiveness about them, they came across as a little strange.  I am not sure whether Ages and Ages are directly inspired by the group, yet I find that the 'negative' elements have been stripped away, and the essential and wonderful core remains: the positivity and consideration for the human race.  The roll call of Ages and Ages takes a while to get through, as at the moment, the core membership contains: Tim Perry, Rob Oberdorfer, Sarah Riddle, John McDonald, Becca Schultz, Annie Bethancourt, Levi Cecil, Jade Brings Plenty.  There is no Polyphonic Spree/White Stripes rigid uniformity and dress code; instead each member has their own distinct personality, fashion and mindset.  The group portray themselves as a close-knit family, whom bond over their mutual respect for humanitarian themes.  The group also have an 'extended family', too: Daniel Hunt, Kate O'Brien Clarke, Jay Clarke, Lisa Stringfield, Graham Mackenzie, Wolf Carr, Liz Robins, Tamara Harris, Lewi Longmire, Ben Nugent, Kevin Robinson, Jenn Dolan, Chase Garber, Sharon Cannon, Roberta Gannett, Samantha Kushnick, Teri Untalan.  I am not sure whether this year will see more progeny enter the happy household, yet it seems that there is definitely strength in numbers.  Their album, Divisionary, is released in March, and the band have described it, thus: "When we made this album, we wanted a word to describe how we felt and what we were going through as individuals and a band," Perry says, "so we made one up. ‘Divisionary’ signifies a group whose vision of ‘right’ is upsetting to the existing power structure. It includes a philosophical, spiritual, and physical ‘breaking off’ from the status quo. It also references the individual inner conflicts that arise as you struggle to make the right choices in life. Visionaries don’t always create conflict, but they challenge the establishment with new ideas and with the threat of change. Where there is change, there is usually resistance, controversy, division".  The likes of The Guardian are helping to transition the group to Europe; to bring their music over the world's greatest continent (biased, I know), and help our poor raid-addled heads warm and feel nurtured.  This year and this winter will be made a lot more bearable when the Oregon brothers and sisters come play down my way.  The next couple of months see the band complete a busy itinerary.  They are playing across Germany, Belgium and France- stopping off in London on February 19th.  Whilst the likes of Australia have been burdened by soaring and stifling heat; the U.S. plagued by snow and record (low) temperatures, it is the clement and warmth of Ages and Ages that provide balance, restoration and safety.  Those unaffiliated with the brand of music pervaded by the group, should not see them as a gleeful novelty or saccarine-sweet group of pointless optimists.  Whatever you think about the likes of The Polyphonic Spree, our U.S. wonders are a lot more fascinating and merit-worthy (to my ears).  Their music is positive and uplifting, yet it is not bland and anodyne sunshine and twee merriment.  Nuance and sophistication can be detected throughout their music, and there is plenty to recommend to music lovers of all genres.  The band's first album, Alright You Restless, was described around "a group of people leaving a selfish, destructive society for a place safe from the madness. That was like starting a band, wanting to establish new rules and a language to put some distance between themselves and the noise outside. Those songs were optimistic, energetic and self-righteous because that’s how a group of people who broke off from society would feel. As the group faces the struggles of actually making their community work, reality sets in and things get more complicated. Divisionary details the second phase of the journey."  The interim period between albums, did see some spiritual contemplation by Tim Perry.  Reflection and introspection were called for, and the resultant afterglow saw the bandleader in inspired mood.  Together with Oberdorfer, the duo got to work on the focusing and channeling their energies into Divisionary.  The group have been through their fair share of tragedy, and it seems that most of its members have encountered some horrors over the years.  Cancer, suicide and freak accidents have claimed the lives of sisters, mothers, fathers and grandparents; it appears that a great deal of adversity has befallen the group.  Whereas most would use this as a pretence to project music of the darkest order, Ages and Ages instead have turned tragedy into joy; overcoming the cannibalising nature of death and used it to create songs filled with positivity and redemption.  Whatever your views of the effectiveness and purposefulness of spiritual mediation, it seems to have at least provided solace and life to the group.  Before I leave to focus on their latest track, I will speak a little more about the band.  They have plenty of humour and bonhomie in their bones and are a group whom are tangible and universal.  Their appeal is not going to come from their music and ethos alone; the personalities and collective weight of the members is of equal importance.  They are essentially real and brave people, coming together, determined to make music to uplift people.  It is rare that a band takes time to consider others, rather than obsessively fulfil their own demons and demands, yet the Portland troupe are a revelation indeed.  The L.P., Divisionary is going to be one of the albums of 2014- I shall assess it more in my conclusion.  I am looking at the title track for the moment, and it is something that the band view as: "a secular gospel song with inspirational harmonies, sanctified piano and smooth violin adding muscle to a simple refrain".  Without further ado, let us begin...

Upon the witness of the first few seconds of Visionary (Do The Right Thing), the sense of calm is evident.  Beginning life as a gentle acoustic strum, the song infuses the repeated coda of "Do the right thing/Do the right thing", right from the off.  Our hero leads us gently in, his voice awash with conviction and calm as it is said: "Make yourself bright/Never mind them".  When additional vocal support enters the fray, there is a hostile element that creeps in.  Although the song has been billed as a "secular gospel song with inspirational harmonies" it is not something that is divine or exclusive to the spiritual or religious.  The messages and words are intended for everyone, and as such, are stronger for it.  The vocal pace and sound has a sense of The First Days of Spring-era Noah and the Whale.  Songs from that album such as Blue Skies and the tile track are comparable tracks, and the vocal sound has shades of Charlie Fink.  When the words "Don't you know/You're not the only one suffering" are delivered, it is a sentiment that is designed to introduce context and rationale.  Although it may be axiomatic, everyone has some hidden trouble, and the band enforce this truth.  The mantras and codas are repeated- to great effect- within the first minute of the song.  The sense of doing right and doing it "all the time" are elementary considerations, and the repetition of these lines ensures that they are not easily forgotten- and that their meanings are burrowed within your brain.  There is a feeling that the lyrics are more of a sermon than part of a song; the way in which the vocal builds and multiples puts one in mind of a choir.  After the chorus is delivered, vocal duties are switched, as it is said: "They say formality/This is what they really meant".  Backing the vocals is a single percussive slam (a tambourine, I think), interspersed between wordless vocal accompaniment.   Before long, the chorus returns, and more vocal elements and additions are built-in.  The combination of male and female voices lends weight and range, and the conjoined effect is one of uplift and melodic harmony.  Whether there is any personal relevance or background to the song's themes is unsure, yet one feels that personal history from the band enforces lines like: "But we know better than/Not to take them serious" and "Don't let them make you bitter/In the process".  A percussive beat tees up another build up, and you get an immediate sense that things are going to become bigger, brighter and more epic.  Vocal backing harmonies adds a blood rush through the veins; the sparse but effective percussion adds a metronome heartbeat, as a forceful and effective vocal core implores: "They say it's nothing/But that ain't the reality".  Our hero's vocal is effective and direct; when combined with female vocals the lines "If you love yourself/You better get out/Get out" take on different meaning.  It has its roots in inspirational implore, yet almost takes the form of a call between lovers, perhaps.  There is almost a romantic element to the sound and sensation, and not only does the sound and intensity build, so too does the meaning and interpretation of the lyrics themselves.  Again the chorus comes back in, but on this occasion in the form of a round.  The line "Do you right thing" is sung; it is repeated; the line "Do it all the time" comes in so that it is layered and duets perfectly.  Step by the step the song builds, and you always get the sense that something huge awaits.  Again- inevitably- vocal elements are built-in; the chorus is repeated, and new lines are introduced.  The mood lifts even higher, and the dizzying effect intensifies.  It is impossible to forget the central message that is being delivered.  In the way that Hey Jude is synonymous with its infectious and mesmeric wordless refrain, so too is Divisionary (Do The Right Thing).  The final 90 seconds of the track is a slowly building structure.  The vocal rounds are seeped into your consciousness; the bare but stirring musical backing makes its way to the forefront, and the hairs stand up on end.  If you watch the accompanying video for the track, it is built around a story that the band explain: "For the video, we decided to portray this struggle through the story of a bunch of young kids who set out to make things right, but lose a part of themselves along the way. They may have started off on the same path and with good intentions, but their struggle reveals varying agendas and leads them in very different directions".  It is a compelling and original direction, and it adds an additional weight and merit to the song.  Keeping yourself true and straight in the face of adversity, darkness and struggle is a hard enough thing to do, but the track implores the listener to do so; its simple message and effective delivery goes a long way to making it a reality- for everyone.  In around about four minutes, the Oregon group whip up such a storm of memorable song, that it is hard to forget.  The track builds up from base foundations and grows step by step.  By the closing moments there is a sense of exhaustion and slight wonderment, and the abiding sense of jubilation and redemption is palpable.  It is clear that the ensuing L.P. will be a memorable collection of songs.  The sound and sensations differ, yet the overall sense of positivity and reflection are a constant.  "A stomping, exuberant bass drum pushes the giddy pop vocals of I See More,  as it reassures listeners that, "It’s all OK, I’ll be on your side." The jaunty folk pop of Big Idea holds a flickering candle up to the darkness with intricate hand clapping, gentle harmonies and the candid admission that, "All of my ins are on the outside. And I want you all to notice, cuz I have no will to hide." On Over It, acoustic guitars played in open tunings dance across a complex musical landscape to Eastern melodies and counter melodies, leading to the group declaring over a swaying 6/8, "I have no remorse for the way that I am anymore. No, I feel no shame." The band’s funky hand clapping folk rock rhythms move The Weight Below as Perry and the band belt out a soaring chorus to release the feelings that cause stress and suffering. "And the weight that we left behind, we’re all better off without it, and it ain’t even worth our time, so I ain’t gonna worry about it." The complex structure of Light Goes Out, bounces along on a stomping bass line, bright, piano shenanigans and the band’s joyously dislocated vocals: "I kept up with the verses in my head, running right along beside ‘em all day. At some point, well I found myself wondering if I was even running or just running away."

The future will be a prosperous and bright one for Ages and Ages.  The music industry is one that is bustling and constantly evolving.  There is far too much vague imploring and generic sounds out there, and when it comes to distinguishing the best from the most boring, it is a difficult and frustrating task.  I hope that the music press get their act together, soon.  There are more than enough publications and websites operating, yet it seems that there is scant consideration for international new music.  The links between them and social media is tenuous, with poor tensile strength; the link between social media and the general public weaker still.  It has been said:  "The harmonies and intricate instrumental interplay on Divisionary are carefully crafted, but never sound forced, with complex arrangements that are naturalistic, invigorating and free. The clash between the band’s stirring folkadelic sounds and emotionally thorny subject matter makes for a bracing listen, which, according to Perry, it is "if the internal conflict is happening in real-time,".  Music that offers up this kind of substance and fascination should not be discovered by happenstance.  I always consider myself fortunate if I come about music like this, but angry that I was not made aware sooner.  The band come to Europe soon, and will be enlivening and trying to convert the uninitiated masses.  I hope to catch the group play, and am excited at what is in store for them.  It is going to be curious to see what foreign bands make their way to the airwaves of the U.K., and which remain in the public consciousness.  There will be a smattering of music from Europe and Australia coming this year, but it will be the sounds emanating from the U.S. that will be the most fascinating.  I have already witnessed a few new bands and solo artists offering up some tantalising colours, and Ages and Ages have added their name into the hat.  The Divisionary L.P. will showcase the troupe at the height of their power; songs will feature plenty of serotonin storm; elliptical brilliance, as well as some glorious sounds and orchestrated wonderment.  It is always gratifying and rewarding finding a new music act whom provide temporary appeal.  Those which arrive and offer up sustained quality and appeal are a rarity: yet Ages and Ages do just that.  There is going to be a lot of tough competition when it comes to winning the public's hearts; those willing to be different and bold are always more likely to succeed.  Our Portland heroes are going to be a name to watch this year.  It is not just because of the music on offer, but the way in which the band think and operate.  It is their kinship, as well as their theories which compels and draw you in.  It is probable best I leave you with some apt words from Perry: "We live in a country where a substantial amount of the population would rather discard science than admit climate change is happening. A culture which, more and more, considers higher education to be some kind of liberal indoctrination. A culture that does not value critical thinking and a power elite that perpetuates misinformation, apathy, and ignorance because it preserves the status quo. I don’t blame people for feeling daunted, apathetic, powerless, and overwhelmed, but I believe that facing the darkness is a necessary step in overcoming it.  These songs reflect that optimism, but they don’t do so lightly or try to dodge the struggles we’re dealing with individually and as a band. It was an exceptionally long, hard road this time around but in the end, we’re all really proud and excited to share this record."  I hope that people snap up their L.P., and take to heart the examples within Divisionary (Do The Right Thing).  It is only February, yet we have truly witnessed...

THE start of summer.

_____________________________________________________________________

Follow Ages and Ages

Official:

http://www.agesandages.com/

Twitter:

https://twitter.com/agesandages

Facebook:

https://www.facebook.com/AgesandAges

YouTube:

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

SoundCloud:

https://soundcloud.com/agesandages

YouTube:

http://www.youtube.com/davidwardmusic

Feature: Putting The Right Words, In The Right Order.

Putting The Right Words, In The Right Order.

It has been a bit of an odd last 5 years for me (as a songwriter).  I have been pretty much working on this one track- which I will go into detail about later- as well as crafting a debut E.P.  I have stated that my music ambition projectiles are out of sequence.  I have named and written- pretty much- all of the five tracks, that I want to include on the E.P.  I have designed the front and back cover; every little photographic detail to do with that, as well as clever little design ideas for it (that I am keeping secret).  As a wannabe photographer, I have also designed a few portrait pictures and designs, as well as photos that can be included within the booklet.  Every visual detail is pretty much worked out, and I have also formulated the ins and outs of the E.P.  Each track will flow into one another; barring a four second pause after track 4.  It will be a concept E.P., in the sense that it tells of the relationship between two people, and the development, break-ups and joy across the course of the romance.  The difference is, that it will work backwards.  The first song tells of the recrimination and fall-out from the relationship, whereas tracks 2,3 and 4 work backwards towards the very beginning of the relationship.  The final track differs, but I will get to that.  I am planning to use different recording techniques, employing older recording equipment, together with brand new- pushing the limits and paying as much detail to the overall sound as anything.  In all of this I am keen to keep the release mostly physical.  As unreliable and fragile as C.D.s are, I am determined to put it onto disc- as well as a digital release- and have a clever and eye-catching C.D. design too.  I feel that music is subjugating and forgetting about the visual and artistic aspects.  Less attention is paid towards a stunning album cover, and few artists and bands put much effort into creating designs that are different and classic.  As a- again wannabe- music video director, I have one very clear concept in mind, and hope that track 2- an Arcade Fire-cum-Radiohead-esque track- will be the lead-off; tied to a video idea that I have been obsessed by (inspired by Michel Gondry's video for Lucas With The Lid Off), which will feature an actress moving from scene to scene, with the camera constantly moving.  I know no one wants to hear of it, but I am excited none-the-less.  My point is, that I have all of the 'finer' details worked out; have been working on my voice and all of that, but need one thing: the band itself.  I need a band member to help compose the music for the tracks, as that is the one area I need most help on, but essentially want to find four guys (or girls) to help complete the band.  The plan for 2014 was the get away from the drawbacks of home and my current life, and persue what I want to do in life: not what I need to do for money.  I feel I have spent too long just ticking along and not doing what- I feel- I am best/best-suited to do.  I feel that all of my other creative ambitions- music cafe, music website, setting up a record label; directing and comedy writing- will emanate from the completion of the E.P.- it will give me the energy and impetus to keep pushing.  Below is the final track list and how it will all appear.  I know how each song will sound and what the quality level will be; but as I say, just need the band members.  I am painfully aware I need quite a bit of money, not only to record songs, but to practise with and recruit a band, and make all the moves needed to record.  I am looking on websites but not seeing many available musicians, so will keep trying to find people.  I feel that when situated in London, it will be a lot easier, so am painfully desperate to get to London in the spring- I am not sure how but will need to find a way.

Death of the Sweetheart:

'Marriage: The BeautifulRevenge'

Black Majesty Blues-

6:19 

Communicator-

5:23

Minnesota-

6:09

Last To The Trigger, First One To Shoot-

5:02

Vanity Mirror-

8:02

Running Time:

30:55

I have been excited by the first four tracks, hugely, yet the aim of this post, was to breathe a deep breath- because of the final track.  For the past five years I have been honing and working on the lyrics for the track Vanity Mirror.  It began life as a different track (Infamy As Child), was re-written and re-written again.  It has been a song I have been obsessed with and determined to complete, yet have never been satisfied with the lyrics when on paper.  Thanks to a good friend, Kate Hollowood, she has given the thumbs up, and been very kind, about the lyrics I have given to her to read.  Obviously I write a lot as a blogger/reviewer and sing obsessively (with my weird and all-over-the-place voice), and feel that the hardest aspect to nail is lyrics.  Not many bands or artists are notable because of their lyrics (there is still too much focus on the voice), and I have always been inspired by the older and newer greats, like Dylan, Cohen, Young, Morrissey and (Alex) Turner.  The first time I have been truly satisfied with the final product, is now.  The song is just over eight minutes long, and there has no be enough room for the music itself.  I feel that the words below are some of my best, and have a bit of an emotional range to them, too.  The actual song itself will feature huge orchestration, guitar parables inspired by Sweet Child O' Mine, a huge vocal choir and chorus, as well as incredible still romanticism and an attempt at a classic intro.  The music itself is a huge facet, so I just hope I have not employed too many words- I think it'll all fit.  The full details for the song are available in previous blog posts, but just wanted to put on paper the words: as it has been a long time coming:

Vanity Mirror (8:02).

My final words were the very same as my first

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

Wilderness, broken water and silk are on your side

And I can’t bear to get over you

The kiss upon your hair lying 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

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

Because beauty shows no mercy for beauty

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

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

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

You want the kind of love your mother used to love

A common muse for the chosen few

When you’re a man who looks like me

It’s not such a gift to see… what you do to me

Well you like chasing ghosts

Because they won’t come back to haunt you

And knowing that you’re never alone

Is the loneliest thing of all

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

I’ve blown them all to scratch an itch

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

Alone in a room with life, death and you

And each of them are only thinking of themselves

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

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

The mirror isn't a prophecy, merely a reflection of ourselves

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

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

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

Titancially-built/For survivor's guilt

Arrogance through illness/And reality is the only cure

I was sent a Christmas card from the city morgue

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

My love will you give me your hand

From inside of that young man?

Va te faire foutre, tomber raide mort...

Faire un essai!

There's enough regret in barber shops and your Sicilian Defence is no alibi

I was born out of misconception whilst my father danced to TV static

Sleeping Beauty plays poker with Satan in the big charity game

She offers maternal damnation and he bluffs to her eternal fame

Infamy’s Child has found

When the fearless shall be crowned

Alone

Born into the same old world/So why do it to them? (*10)

If you're not alive today/Then you are missing out. (*10)

My mother tongue came undone to sing a farewell midnight kiss

In the distance between the Jasmine Chorus 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

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

I was born with the burden of a platinum voice

But it doesn’t take a cardiologist to know abandoned ships will rust

The sun and moon switched place

The night I saw your face

We’ll pray together to think for ourselves

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

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

Eulogised the truth that lies in disguise and rhyme

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

Intention out of pure context should be word enough

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

We both know the love that we make

Will never be equal to the love that we take

If I put into words my innermost emotions

It couldn't fill the void between the heavens and the ocean

When you coloured the lights of London because they reminded you of home

The earth beneath my feet trembled more than you could have ever known

Clouds hold only memories from all who’ve ever been

The woman of my dreams wakes in her sleep

I often think of life, and exactly what it means

It's the difference between all I've felt and all I've ever been

I know we're brave my darling so let us take the leap

Your soul inside of me I'll forever keep...

There are going to be a lot of horrors, stresses, setbacks and disappointments this year, but I realistically hope that making the E.P. is going to be the biggest step.  It may be the case that the first song is recorded, but as I intend that to by Vanity Mirror, that will be a big achievement; hell just getting a band formed will be a big leap.  The factor of money is the biggest barrier, and raising enough to record, rehearse and release music will be something I am going to have to figure out.  If I can find a way to get to London, and make a start, that will be good.  I may have to have two or three different jobs, but will try to figure something out.  If my year progresses or ends any other way, I shall be very disappointed and feel a failure- so the impetus to succeed in spite of everything, is there.  I have five goals this year, and one of them is to put some music on to tape, so having lyrics in front of me and knowing what I want to record is a big step.  It may not seem overly-impressive or hugely ambitious on paper, but have worked out enough in my head (compositions, mood shifts etc) to know that the end result will be worth the struggle.  Another 'real life' week begins again tomorrow, but am dreaming of spring, making plans and making moves.  There are people I haven't met and I want to; goals I want to get ticked off; become more independent, and start putting my money where my mouth is.

I know that bad weather and horrible conditions squelch any ambitions or sunnier thoughts.  Hopefully by March or April things will be better, so seems like the time to start getting active and motivated.  I know a lot of musicians and hope that they are making plans; lots of others who have goals and things they want to do this year; so hopefully they can all achieve everything they want to do.  I just have this one request of all: If you hear of four wonderfully talented musicians:

Can you point them my way?

Track Review: David Ward- slowly through the night.

TRACK REVIEW:

David Ward

slowly through the night

9.7/10.0

slowly through the night is available from:

http://davidwardmusic.bandcamp.com/track/slowly-through-the-night

The album, Golden Future Time is released on January 28th (by Golden Future); and available to pre-order from:

https://davidwardmusic.bandcamp.com/album/golden-future-time

_____________________________________________________________________

Invested with a Radiohead-cum-Stevie Wonder admixture, this track sees the Vancouverian (sic.) at an effulgent high.  With an Amber Moon kick and a Zurracapote (seductive) kiss; Ward is strolling a halcyon road.  It is still only January; yet we may be witness to one of the best acts 2014 will offer.

_______________________________________________________________

IT has been a sort of interesting first few weeks to this year, for a number of reasons...

When I have looked into the pages of music journalism, many have predicted the 'Albums of 2014'.  I know many bands and artists will not lay out their intentions for a while, yet the predictions laid out are not filing me with huge intrigue.  Aside from some much-needed releases from the likes of Jack White and (possibly) Radiohead, there is not a lot to get your teeth into.  I have been searching around and trying to see what one can look forward to this year, and have not come up with too much.  I feel the issue is that a lot of the best releases were unleashed last year- the likes of Queens of the Stone Age and Daft Punk unveiled their L.P.s.  The best and brightest from last year will probably not be putting out new music for another year or so, so it is left to a new wave of musicians to fill the gaps.  I have stated in previous blogs about the relative merits of new music, and the potential growth factor of this genre.  Last year I was excited by a small number of new artists and their music, whilst being left a little cold or indifferent to many more.  Over the past few weeks I have heard enough to suggest that sapling talent could make a genuine challenge to the established cognoscenti.  The band market has probably put up the most fierce and immidiate sounds, yet the solo realm is providing much fascination and excitement.  I have reviewed some great solo female talent, as well as some diverse and original male talent, and today another sterling male comes to my focus.  Before I get to the business of summing up and dissecting my featured artist, I will go into a bit more depth about the male solo sector.  In so much as music journalists are keen to compare every new talent with an existing example, it is important to find the uniqueness and personality in each new act.  Although artists such as Adele, Amy Winehouse, Jeff Buckley and Michael Jackson are for instance, they have already existed and amazed.  These artists are better than any other potential soundalike could ever be, and are idols for a reason.  I am not disappointed when I hear too much of another artists in someone's voice, I just feel that if one is going to present themselves as such, they need to have a lot more in their arsenal.  Part of my reticence and abhorrent rage has stemmed from the fact that there is still too much straight replication music.  I have heard so many acts that are pretty much mimicking an existing act, and wonder why the hell they even bother?  Anyone can- with a few exceptions- copy and get the voice of someone else (there is no singer that is impossible to replicate).  The plain truth is that the original artist is always is the best, and if you are no more than a second-rate copycat, then your music career is going to be short and pointless.  I shall not name names, but there are a huge amount of artists out there that are guilty of this sin of omission.  Apologies for being a dog with a bone, but it is a particular issue with me, as new artists are supposed to inspire and influence as much as anything.  If you look about the ocean of new music and hunt for potential parental figures, you are not going to want to latch onto someone whom is a pale replication.  I have examined the female solo sector before, and will go into more depth about something directly relevant to me: the male solo genre.  When I think of my top 5 male singers I think of Michael Jackson, Freddie Mercury, Jeff Buckley, Thom Yorke and Chris Cornell- diverse voices but each filled with power, range and beauty.  I am always a little excited when a new male act employs a tiny semblance of one of these singers, yet annoyed when there is far too much influence.  Jackson has that unassailable and unbeatable vocal sound: a childlike sweetness combined with an incredible power and range.  Jeff Buckley is the man-angel and ethereal beauty.  His phenomenal voice was crammed with beauty, trembling emotion and tenderness.  Yorke, similarly possessed these facets, yet also employed (and still does) a snarling swipe; potent force as well as something quite unique.  Chris Cornell is a roaring lion of a singer; one of the grunge gods whom is my casual link when thinking of my love of heavy metal.  I can trace his voice from the metal icons and hear it is some modern-day rock singers, too.  Mercury, to me, has a voice that is not as impossible (to replicate) as Jackson, yet is the king.  His voice is everything that a singer's vocal chords should possess.  His huge power is an axiomatic point, yet something that you cannot ignore.  The way with which Mercury could shift gears and emotions (within the space of a line) has not been equalled by anyone.  I feel that it is because of his sheer majesty that no one has attempted to, or will be able to equal, his staggering peaks.  Everyone else has their own favourite singers, yet mine are probably never going to be changed or altered.  As much as I love these legends, I am always on the hunt for a new example that can make a claim for my soul.  The way this is done will not be some derivation amongst my established favourites; or a codified amalgamation of strands of their vocals; nor a mutual indemnification the way it will happen is with something truly special and rare.  I feel that this calendar year will see too many that are too close to an existing artist- foolish people them- yet there will be enough that have their own unique charm.  In so much as the greatest songs and albums have not been matched over the last couple of decades, the greatest voices have also been undisturbed.  Too many artists neglect important factors when assembling their music, identity and releases.  The vocal projection is just a small percentage of the overall package.  There is so much neglect when it comes to compositional integrity: making sure that the music is as compelling and fascinating as possible.  The lyrics, too, need to contain enough personal interspersing as well as some detached observation.  Even visual aspects such as album cover designs can go a long way to making an artist.  If you spend enough time considering all of the pieces of the puzzle and dedicate enough focus to getting them right, then a truly worthy artist is unveiled.  Pretty much any new artist or band has the potential to do anything.  The voice can be stretched to indefatigable and unprecedented lengths; from a cooing soprano to a guttural and whiskey-soaked growl- be you male or female.  It can foresee and foretell a myriad of differing emotions, from infantile regress, stark and naked emotion, through to vitriolic anger.  Lyrics can be fantastical, autobiographical; filled with wit, nuance, love and thought-provoking psuedo-philosophy.  Album and song titles can be compelling or endlessly curious.  When fabricating your colour chart and mixing your spirits, multifarious and vivid results are possible.  It is only when being truly ambitious and different that real change takes place- if you are content to be flat and listless, then music's charm will capitulate and implode.  This may all seem like a diversion from the beaten track, yet it leads me to the highways, back roads and landscapes of Canada.

When I have investigated and examined new music, I have not had the fortune of witnessing too many international talents.  Over last year I heard some Swedish electro-pop; U.S. rock and sunshine bliss, as well as some Australian hard rock.  Most of my time and attentions were firmly in the U.K., and as respectful and admiring towards homegrown talent as I am, I felt that it would have been nice to herald some foreign flair.  North America is always producing a lot of great talent, yet it seems to be buried amidst the quagmire of manure that is the mainstream pop charts.  For every turgid waste of life such as Robin Thicke, Justin Bieber and Miley Cyrus, there are examples such as (L.A.'s) The Open Feel, whom are being undervalued and having to fight hard for attention.  Canada is not a country whose musical output is overly-familiar to me.  Aside from legends such as Neil Young, there have not been too many new musical examples whom have been apparent to me.  I know for a fact that there is a huge wave of new musicians working in Canada, and there are some fantastic bands and solo artists waiting to burst through.  I am lucky enough to be reviewing a Canadian wonder today.  Before I get down to some background regarding David Ward, I shall say this first: I hate this guy.  Since listening to his track slowly through the night, I have not been able to shift the bloody song from my head.  I shall be reviewing it anon, yet the fact that one song has become so imbedded in the obsession portion of my brain, says a lot.  At this moment I am listening to Chris Isaak's Wicked Game.  In so much as it has been sadly over-covered by female artists as of late, I am going to bring the 57-year-old American into proceedings.  Isaak is probably a perfect example with regards to my previous thesis, and someone I can use to help with regards to my David Ward hypothesis. Wicked Game is a perfect example of an artist whom takes a little of others, yet has the abiding air of a truly unique talent.  He claims that "Strange what desire/Makes foolish people do", yet it is words like this that stick in your mind.  It is a song dripping in sweat and lascivious undertone.  The song is lyrically economical, employing the right amount of potent words.  Your mind is filled with images and scenes, and Isaak perfectly transports you somewhere mellifluous and romantic.  The instrumentation and composition are tender and compelling, and perfectly scores his voice.  The voice, itself, is a thing of wonder.  It is man's voice, yet one that can make a man tremble; it is a low-toned and seductive weapon that I have not heard equalled.  The thing is this though: you can hear some Elvis Presley and Roy Orbison in there.  It is true that Isaak's influences are apparent, yet he manages to out-romance Orbison and sing sweeter than Presley could ever do.  His themes (especially in Wicked Game and Blue Hotel) are very much his own.  Orbison and Presley had different views of the aspects of love and heartbreak, and their projection and aesthete were as diverse as you can imagine.  Isaak intersects the two, yet is in a field ager that is his alone.  He is as relatable as he is original: the overall sensation one is left with it hard to describe.  Ward is someone whom has some comparable merits and strands.  I shall get more into his influences when reviewing his track, yet two names spring to mind: Michael Jackson and Stevie Wonder.  There is a smidge of Buckley and Prince too, yet it is the aforementioned that are clearest.  In spite of this, Ward is tactile and intelligent enough to strike on his own terms- with only a little hint of Jackson and Wonder.  His compositions are diverse and fascinating.  There is soul, blues, '90s groove, '90s rock, as well as modern-day electronic influence as well.  Each track has a fascinating sonic backbone that augments and emphasises Ward's words and voice.   As a lyricist, Ward mixes original spins on love, literary reference and intelligence throughout.  His new album, Golden Future Times, has been receiving a lot of buzz and excitement.  It is an L.P. that has two distinct halves to it.  Its first side, Lost, has been described as progressive and experimental, as well as rock-infused; employing some influence of late-'90s/early-'00s Radiohead-cum-Pink Floyd.  The second half of the album, entitled Golden Future Time, is a different beast.  Its veins and heart is soul-infused and steeped in historical and latter-day wonder.  There is a shade of Stevie Wonder, hints of Michael Jackson, as well as flavours of the soul and blues greats of the '60s and '70s.  Whereas most new artists put out an album that has a true 'voice' and is consistent throughout, Ward is brave and bold enough to present a record that is multi-layered and diffident.  The nature of the songs is compelling and brilliant.  Tracks focus on personal tragedy as well as all-encompassing love.  Be Here is steeped in soul lustre and transcendent; the kind of track that Wonder stamped out in 1973/4.  Bird in the Hand, meanwhile, is Wonder-ful; whereas mid-career Pink Floyd can be heard in other numbers.  The album (Golden Future Times) will draw in people like me, in awe of albums such as Dark Side of the Moon, Thriller, Bad, Grace and Kid A.  There is a hypnotic blend of '70s-current day U.K. rock greats, commingling with '80s and '90s U.S. greats.  Few artists come out of the blocks with such ambition, range and quality.  I shall go into more depth about the album later, but I want to finish by speaking about Ward himself.  Ward is the central centrifugal force of the songs, yet is backed by some wonderful musicians.  We have Andrew Peebles (drums), Mark Wilson (keyboards); Joseph Lubinsky-Mast (bass) and Dan Klenner (percussion).  Together, the boys rustle up a Technicolor blitzkrieg of sound.  When I was looking for some information on our hero, I found this from his official website: "Taking his cues from the past and with a vision towards the future, David Ward has created a portal to the spiritual, the dirty, the beautiful and the raw on his second solo album, Golden Future Time.  Fresh off an acclaimed performance at the 2013 Vancouver International Jazz Festival, Ward’s star is in the ascendant. Following up on 2012’s celebrated EP trilogy, The Arrival, he has readied a textured brew of the cosmic and earthy; a sonic exploration of the muse combining electronica, R&B, funk, art-rock, disco and cabaret.  Cinematic in scope both musically and lyrically, Golden Future Time is a two-part saga created for the artistic opportunity of vinyl. Each side takes the listener through different worlds and genres without compromising quality or cohesion. Side A (Lost) was produced, engineered & mixed by Tom Dobrzanski (of The Zolas); Side B (Golden Future Time) was co-produced by David Ward and Andrew Peebles, and mixed by Anthony Dolhai (DiRTY RADiO). The album is set for release in Canada on January 28th, 2014".  It shows that the young man has a clear vision and a bold ambition, for sure.  In terms of personal information, the pages of social media keep their cards to their chest.  Our Canadian is in his 20s, and is a fine-looking fella indeed.  He has a great range of influences, and has been wowing audiences throughout Canada for a while now.  Aside from that, there is not too much to be found.  Ward, it seems, wants only the music to be investigated and examined; little concerned with distilling its essence with personal heartache and inanity.  At the moment, our young hero has relatively few followers across Twitter and Facebook.  I am confident that the ensuring months will see Ward gain a huge following, and gain thousands more supporters.  At the moment, Ward's social media seems to be run by his management- providing little chance for fans to know more about the man directly.  It is perhaps a minor criticism, but hopefully one that will be addressed shortly.  For now, Ward is working hard on his music, and keen to let it be heard as far and wide as possible.  Most of Ward's fans emanate from the U.S. and Canada, but it seems that the U.K., Europe, Australia and beyond will all be jumping on the good ship Golden Future Time.  The tracks that are contained within are universally inspiring and are songs that will speak to everyone.  It is the passion and quality of Ward's voice as well as the quality of the tracks themselves, that remain long in the memory.  I have taken it upon myself to review a perfect distillation of Ward's abilities.

It is not often that the intro. to a track gets you standing to attention.  Most songs take a little longer to bed in, or reveal their charms later on; yet slowly through the night is a track that strikes hard right from the off.  The initial seconds of the song tempt you softly in.  Beginning with a few seconds of near-silence, Ward builds in a little soft electronic swirl and whispered audio.  It is Peebles' percussive beat that hits next.  It is almost like measured gunfire, in the way that he rifles the drum slams, almost with Morse Code precision and temporized consideration.  It is a calling card that sets up the next stage of the intro., which is a gorgeous and swooning keys segment.  The sound is pure soul, as one is put in mind of Stevie Wonder's Superstition.  Ward's take is a low register and slower jam, yet the quality and resonance is comparable and tangible.  When combined by the solid and forceful percussive beat, the two combine to summon up a sexy, slinky and funky coda.  As much as you might think of Wonder or soul greats, there is also a sense of Radiohead's Amnesiac.  I heard a little bit of I Might Be Wrong within the intro. too, which excited me.  There are no clear-cut or obvious references within the intro., and you'd have to be a severe anal-retentive to pick up on anything obvious.  Ward and his men create something that is less an amalgamation and codification of past masters, but a fitting and splendid opening, which builds curiosity and gets the listener on  a natural high- from the embryonic moments.  Your mind and attention is enraptured within the musical opening, unaware of how effective and potent the ensuing vocal is going to be.  When it- the vocal- arrives at 0:30, there is instant wonder.  Ward's soft and gorgeous falsetto implores, explores and seduces, as he confesses: "Please don't take me now".  The line is delivered with a one second pause between each word, so that the line is delivered with effective regard.  When repeated, Ward elongates the 'now'; his voice down to a silky and delicate whisper.  That word comes into play for a third time, on this occasion  not lengthened, just punctuated.  The way Ward delineates and delivers his words, is impressive indeed.  From just one line alone, a huge sense of consideration and momentum has been projected.  After a short audio interlude, Ward is back on the mic. and shape-shifted and evolved.  Whereas before the vocal was falsetto-infused and slow-paced, now he switched to a distorted and tenor-range shift; the pace is staccato and tumbling; his words are syncopated and- almost- rapped.  There is much intrigue to be found in his words: "hide us under the floor so they'll never know, but we're all enemies here 'cause the fear is sown, can't trust our own".  It is uncertain what our hero is referring to, yet is seems that there is personal relevance and inspiration to be heard.  Before the next sermon, a light and scene-setting sonic line is revealed.  That delicate and evocative guitar mixes splendidly with a steady and restrained percussive measure.  Ward has retreated from the spotlight, yet comes running back in, bringing more news and truth: "catch me by surprise then it’s always the same, dress it up in disguise, I’ll remember the names... and keep wearing the shame".  There is a certain detachment and obliqueness to the lyrics, yet it seems that our hero is keeping his direct emotions in check.  Some people have clearly hurt and affected Ward, yet the way that it is characterised and personified is clever and effective.  Just as we think there is going to be a third incarnation of this lyrical theme, the 'chorus' returns.  The beautiful and floating vocal returns, and the mood shifts once more.  When the next chorus comes into view, the imagery one rustles up is quite vivid: "keep the keys to the kingdom, jangle them high, we’ll keep thinking in circles, the gramophone mind...keeps buzzing in time".  I imagined a tempestuous and fraught sweetheart teasing and frustrating Ward; keeping happiness at bay for some reason and contended to continue down a frustrating path.  Everyone will come to their own conclusions (and summon their own images); such is the ambiguity and openness of the lines.  Again Ward spits and smashes his words, ensuring that they hit their marker, and stick inside your brain.  An elliptical refrain is roundly roused, given enough time for the lyrical tumble to sink in, before we are back inside Ward's psyche: "I’m pushing ahead, I’ll take the blame, just leave me enough in this ugly refrain...so I can go home again".  Ward has divorced some anger from his mandate, yet there is clearly regret and frustration under the surface.  He is keeping going, but taking blame undeservidly; just looking to keep going and get away from things.  Whether the lyrics refer directly to a failed or existing relationship, or have their origins somewhere less personal I am unsure.  So many artists are too direct and unsophisticated with regards to their lyrics- leaving nothing to the imagination.  Ward leaves room for mobility, so that everyone that listens will draw their own conclusions and visual projections.  The final 80 seconds of the song are reserved for sonic exploration.  Ward has said all he wants to reveal, and allows himself and his compatriots time to enforce some musical lustre.  Twinkling and rippling electric guitar cohabit with steady and peppered percussive beats; the guitar sound mutates into something darker and more disgruntled- imagining we are coming into land.  Just then, the mood and energy is picked back up.  A jittering and weaving electric guitar line is then presented.  On my first listen I was reminded of the song Kanga-Roo, when performed by Jeff Buckley.  If you listen to its outro. when he played it live, there is a similar energy and sound one can detect.  If you watch Live In Chicago, Buckley would be plucking at his guitar, skipping and dancing around the stage, interjecting "Wa...hoo"s into the mix, with gleeful abandon.  I imagined Ward was probably a bit more reserved in the studio, yet that palpable sense of kick and joy are present.  Around the 2:50 point, a percussive teeing-up and strike adds extra weight and gravitas to the sound, and once again introduces a new time shift and mood.  The sound gets heavier and snowballs; whipping up its own gravity.  Songs like I Want You (She's So Heavy) earned their stripes with phenomenal outros. that repeated a line or sound, and made sure that sound kept building and rising.  Ward does not cut the song dead like The Beatles did, yet gracefully takes it down.  With a little cosmic infusion (a wee touch of Subterranean Homesick Alien by Radiohead?), the track is complete.  I began the review pretty much accusing Ward of infesting my brain, due to the memorability and catchiness of the song.  It is the darndest thing.  The 3:38 track manages to shift mood, sound and pace so much that your mind is constantly engaged, surprised and stretched.  We begin with some blues and funk, segway into some harder edges rock/rap, before ending with some punk-laced guitar-and-drum.  Interspersed is some golden-voiced implore from our hero, meaning that a hell of a lot of ground is covered.  In the way that Ward restlessly moves and weaves is incredible, and the sonic accompaniment is no inferior species- it is as striking and brilliant as the vocals.  As a lyricist, Ward does not use too many words, and actually dedicates more time to letting the composition itself to impress.  His 'band members' are elementary, backing up our hero, and incorporating momentum, emotion and wonder into the melting pot- without overwhelming the sound or coming off as too imposing.  I fear I may need electroconvulsive therapy or a bare-breasted distraction to ever shift the song from my head; although I fear it may not be that easy.  With just one song, I have been compelled to seek out Ward's back catalogue and wait with bated breath for his L.P.'s release.  Golden Future Time is a oddessey of self-reflection and investigation, and offers so much to the honest listener.  slowly through the night is not a synonymous of signature sound, instead just one (of many) different sensations and sounds.  There are other upbeat and catchy songs on the album, yet there are plenty of romantic and introspective tracks; some complex and strange moments; plenty of joy mixing with reflection.  slowly through the night has some light touches of singers such as Jackson, Buckley and Yorke; as well as some musical evocations of Radiohead and Stevie Wonder, yet none of these artists ever penned a song like this: it is Ward's work and his alone.

Okay, then.  Having absorbed the near-masterpiece from David Ward, I am strangely in two minds.  The mark of a great and worthy artist is one whom inspires others.  Having listened to Ward's music, I have been compelled to write and devise my own songs.  Haven't already penned an E.P.'s worth of material, I find myself filled with fresh ideas- inspired by slowly through the night.  I have often found- not being able to read or write music- it hard to write direct and original compositions, yet have sketched and drafted some rather interesting ideas.  To be honest, I am a little angry that I have not heard of Ward before.  Social media and the music press tends to be several steps behind logic, when it comes to proffering the worth of truly great musicians.  Most of the music acts I reviewed in 2013, I encountered second (or third)-hand, and had been making music for months.  In Ward's case, he has been on the scene for a little while, yet his name and reputation seems to be insulated and contained within his native land.  The U.K., Europe and Australia are areas that have as much influence and fans-in-waiting as anywhere else in the world, and it is essential that action is taken.  I myself have little influence or power, so it is down to the larger publications and sites to do their bit, and work harder at promoting international acts.  Too much focus and consideration is given to 'mainstream' acts; a lot of which is pure tripe.  It seems that too many acts are being cast asunder and passed over, for no reason or logic.  Anyway, I shall leave that 'rant' for another day, and summarise, thus: Ward is a serious name to watch this year.  Ward has completed two tours of the U.K., yet I have only just been made aware of him.   I hope a third tour is in his mind, as I am desperate to see him live.  Reviews have been glowing, it seems.  Clash have said the following: "It’s all about the voice…David Ward is blessed with a high, trailing singing voice, the sort of thing which could recite the phonebook and have an audience in tears".  When it comes to slowly through the night, Q explained: "Hailing from Vancouver, David Ward not only possesses a stunning voice like Jeff Buckley’s, but his compositions, like on Slowly Through The Night, are, similarly, as expansive and operatic as the much-missed singer-songwriter’s. His new single marks the emergence of a very special artist indeed".  The quoted snippets contain no hyperbole or false assurance, as Ward has an incredible voice.  There should not be too much focus on his vocal ability, as that would suggest that the music, lyrics and overall sound are second-best.  This is not the case, as Ward's album is awash with wonderful sounds, memorable songs- which begs for repeated listens.  Although it seems that Ward's social media sites are management-driven, it is best left to the listener to come to conclusions.  Take in mind the reviews that have been written, yet go into his music with a clear mind- and open arms.  Ward is in the process of recording songs for a new E.P., and it seems that his creative energy is untamed and bustling.  I cannot wait to hear what is forthcoming, as on the strength of his current L.P., it will be a cracker.  The Fly summarised Ward, thus: "On paper, David Ward’s sprawlingly ambitious mix of Jeff Buckley-esque, quasi-operatic angst with ’70s soul sounds like a disaster waiting to happen. But ‘Golden Future Time, the Canadian songwriter’s shortly-to-be-released second solo album, has the chops to pull it off — though the latest track to be culled from the record, ‘Lost’, actually puts us more in mind of Pink Floyd. Either way, it’s a slow-burning treat…".  In my opinion, one should not instantly compare Ward to anyone else, or have any preconceived notions of his sound and sensation.  If you do, then there is the danger that your opinions will be preconceived and predetermined; if you let the music enforce your opinions, then the overall listening experience is enhanced.  Our young hero has a talent for penning songs that lodge in your memory, whether it is due to the catchiness or sheer emotional force, you cannot help but be impressed.  The male solo realm is one that is frequented by a multitude of players and participants, and there is often little to recommend or get excited about.  There are too many vague and lifeless solo artists whom are as contended to be as generic and bland as possible.  The cliché of the twentysomething lone artist, acoustic guitar in hand, crooning about love departed, is something that is overworn and tiresome.  There is room in the market for male (and female) solo artists, yet if you are coming to play, then at least be spectacular- or vastly different.  I have always shrugged and felt a part of me die, when faced with a great number of solo artists.  Luckily, examples such as David Ward are given me something to get excited about.  Ward is not a songwriter contended to be like everyone else, and provide the minimum of fascination and quality.  His music is synonymous with potential, range, excitement and passion and he is an artist that has a bright and long future ahead.  If you are not a fan of the type of artists Ward is inspired by, it is well worth listening to his music.  Ward is not the sum total of his idols, and not the square root of critical feedback and expectation.  Here is a young man who has his own unique blend, his own sound, and the results are impressive and spectacular.  Our hero may be walking slowly through the night; yet when it comes to this year, Ward will be enjoying...

GOLDEN future time.

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Follow David Ward

Official:

http://www.davidwardmusic.com/

Twitter:

https://twitter.com/davidwardmusic

Facebook:

https://www.facebook.com/davidwardmusic

BandCamp:

https://davidwardmusic.bandcamp.com/album/golden-future-time

SoundCloud:

https://soundcloud.com/david-ward

YouTube:

http://www.youtube.com/davidwardmusic

Something To Reflect Upon

I am back to music blogging come Saturday, yet have given my mind something else to focus on.  Off of the back of some rather unexpected and unpleasant family news, I have decided to do something to focus on.  Having seen a few members of my family survive or die due to cancer, it has struck my how unfair and cruel life can truly be.  The best and most generous people always seem to suffer most, and it is something I will never get used to.

On 12th April, I will do something I have not done for a while.  In my childhood years, I was a keen runner and dedicated all-round athlete.  As well as being a cross-country runner, I was an eager athlete, footballer and swimmer- and kept as active as possible.  Life and work then got in the way, and the past couple of decades has seen me focus more on education and development as opposed to returning to my first love.  I am preparing for a 14.5-odd mile run in just over 10 weeks.  I plan to start in the town I was born (Guildford); cover the various roads, streets and miles from there; and end up...back at home.  It is a route that will take in some familiar sites, and if all goes according to plan, I can complete the run in just over 4 hours.  I have not done any real strenuous or dedicated excercise for many years, and it will be a big undertaking.  At first it will involve aclimatising my body to running again, and will take it in steps.  I have been talking with some wonderful people, and getting advice on what needs to be done; how to best prepare- and how to build myself up.  It is a few months away, yet feel that I will need the time to fully ready myself.

I am doing it, not only to raise money for a wonderful cause; as well as pay homage to many I have known whom have been afflicted by cancer- but there is something else.  Personal frustrations and anger has compelled me to distract my mind.  The vicissitudes of life have left me incredible exhausted and filled with daily headaches and pains.  It has taken too long to type this far, given that my arms are barely able to lift themselves.  I have been disappointed by my life in general and am incredibly angry at myself for so many reasons.  In addition I have felt myself giving too much to people, and not receiving; being taken advantage of by some- and has really gotten to me.  Finally, this god-damn pile of miserable crap excuse for winter we are experience, is the icing on the cake.  Each prophecy of torrential rain (which seems to be every day), takes so much out of me.  The sleepless nights, stress and misery has stripped every ounce of strength from me.  We got through it again Friday; then Sunday, and possibly every other day for two more months.  It is a horrid and sick joke of a season that makes me want to leave the country forever.  I feel the need to bury my head and ignore people and intimate hostility, and aim for something more worthy.  In so much as I can rely upon dissatisfaction concerning reciprocal relationships, I am confident that participating in a half-marathon for a great cause is something that will fulfil me.

I have been remiss when it comes to pushing myself, and I have been a little negligent of secondary family members, long overdue my attentions.  I hope to counteract this imbalance this year, and prepare myself for April.  None of you know my uncle currently in the final stages of an arduous and tumultuous cancer battle; nor the aunty that was claimed by the disease, yet we all know someone whom has been affected by cancer- either directly or indirectly.  I know that one run will not cure cancer, nor change my life, yet it is something that gives me something to aim for.  If it can distract my sore head and exhausted muscles, and give them something to work for, then that can't be bad; if it can take my mind away from the absurd weather are experiencing, then so much the better.  Above all, I hope to raise some money for a great cause which tackles a disease which is bigger than all of us- and all of our problems.  There will be an altered diet; some aching limbs and a lot of sweat, but hey: seems like a small sacrifice.

I hope to raise over £500 over the next few months, and hope that some can pitch in.  It will mean a great deal to me, and hopefully will mean a lot to a lot of very worthy people, too.

I shall blog every few weeks just to update; but for now...

Wish me luck x

Track Review: Saturday Sun- Singing Logos

TRACK REVIEW:

Saturday Sun

Singing Logos

9.5/10.0

Singing Logos is available from:

https://soundcloud.com/saturdaysun/orix-singing-logos?in=saturdaysun/sets/orix-1

The album Orixé is available from:

https://itunes.apple.com/gb/album/orixe/id784477561?affId=1930871

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The ironically-named group may be seasonably optimistic; yet the Dorset-based treasures are fearless indeed.  After a triumphant and sparkling E.P., comes a track (and album) one cannot help but crave.

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A mere two-and-a-bit weeks into the fresh calendar year, and something wonderful...

is emerging from music's chrysalis.  Before I once again dissect the new music/band market, I have been trying to shift anxieties from my mind.  The past few days has presented turbulence, emotional olive branches; as well clearly presenting the proximate causes of each.  A sense of emptiness and personal loneliness has been reeking havoc with my sleep patterns and emotions, and my mind cannot help but wonder and speculate about one particular woman.  Musical ambitions and a renewed desire to 'follow my dreams' has caused me to reassess, reappropriate and renew some subjugate feelings.  I have found myself becoming simultaneously aloof and hardened; as well as vulnerable, focused and trepidation-filled.  Amongst my aims for this year, was to find someone to fall in love with; to have someone whom can make me fill secure- as well as provide a safe and happy long-term future.  In my ambassadorial role as 'ambitious music-maker', I have mandated that this year will see my words and voice put on record- which is long overdue.  I have consecrated and moulded the plans and codification of a five-track E.P.; a music-themed (and massive) bar/café (ideally to be situated in central London), as well as a multi-layered and interactive music website.  I have given a lot to a lot of people over the past few months, and find that the rate of reciprocity is dismally low.  When thinking of others and fixating on trying to remedy other people's troubles, I have negated and alienated my own needs- which has caused my heavy heart to put on weight.  Everybody makes resolutions to improve their lives (on the dawn of a new year), yet few stick with it.  My ideals and ambitions are not based around a pointless new year ritual, yet form the basis of an essential desire for change.  The past year has been synonymous with wasted chances and personal frustration.  I have grown tired of shadow-dwelling and pining, and feel it mandatory that action is taken.  With regards to romance and the fulfilment of desires, I am bidding time and stepping smartly; yet when it comes to slaking my musical lusts, I have decided to be more direct and bold.  I am woefully under-financed, yet feel that I need to make music, regardless.  Plans are being made to recruit a band, and I am drawing together sketches and blueprints for the music café.  The reason that music-making is on the precipices of my soul is due to the quality of new music.  As recently as a few weeks ago I was bemoaning the lack of brilliant new music; yet just now my cynicism is starting to dissipate.  I am finding that there is still too much high-density stupidity amongst many bands and acts.  Far too many musicians are ripping off established acts, and lacking any direction; too few seem to be lacking the necessary ambition to inflame the senses.  It is merit-worthy, mind, that there are a brave band of siblings that seem to want to change the established order.  The likes of Los & The Deadlines are purveying hard-hitting and addictive rock sounds; soloists such as Chess and Harts are reinvigorating the tired embers of over worn predictability, and several others are pushing through.  I am not sure that there will be an instantaneous overhaul of new music, yet it appears that more genuinely worthy acts are presenting their sounds.  Part of my reticence is reserved towards the shores of originality.  I have become so pissed off with bands and solo artists whom take it upon themselves to mimic someone else.  If you are going to walk into the music arena, at least have some unique weaponry in your arsenal.

Over the past few decades there have been some stunning innovations and movements in music.  From the '60s psychedelic pop movements, through to '70s disco, music has evolved and delighted.  The '90s was especially prosperous, as it saw the birth of Britpop; fascinating and memorable dance music, as well as a uniformly impressive music palette.  When considering historical elements, there is a veritable smorgasbord of colours of flavours the new musician could incorporate.  If you consider music- as well as the human voice- as a colour chart, then you can visualise what is truly possible.  Every genre, band and sound denotes a different shade.  When you mix a few together you come up with something different; stretching this point to its logical limits means that there are near-infinite directions one can take.  A sprinkling of early-'80s pop, blended together with some mid-'90s rock can produce an eye-opening colour; a liberal dollop of '70s soul, comingling with some present-day electro-swing leads to something ubiquitous in its appeal and energy.  The point behind my schematic, is that there is a world of possibility and potentiality to be discovered.  The bands are solo artists I have recently reviewed have embodied this elementary fact, and are- as a consequence- stamping out some incredible sounds.  Over the past few hours I have been listening to artists such as Tom Waits and Kate Bush, and staggered by how durable and mobile these talents are.  By keeping your identity, but incorporating different scenes and movement into the music, means that fascination and popularity will provide dividends.  I hope I am not being too tumescent in my declarations, as I do firmly believe that a renaissance is possible.  In terms of my personal aims, I have found that the best results are obtained when you delve into the annals of music, and are sagacious with regards to integration.  I have mentioned/bored before with regards to a song I am writing, called Vanity Mirror.  Over its 482 seconds, I have crammed in some soul touches; '60s pop minutes; diverse and multifarious orchestral swathes; swaggering rock punches, as well as Dylan-esque lyric aims.  Hopefully 2014 will witness a semblance of quality about-face as our best and brightest start making their moves.  As a humble music-lover I hope the likes of One Direction and Justin Bieber die an unnatural death; the multitudinous acoustic bores slip away, and a faction of bold innovators ascend to the throne.  I may be a dreamer...but I'm not the only one.  There may not be the same sort of wanderlust as we saw during the '90s, but there may be something mighty close.  The past few weeks has provided ample excitement, and I feel that January is a month that will keep on giving...

Amidst the foundations of new music's striking architecture, is a band that will be leading the charging pack.  Before I disseminate biographical information about our subjects, one issue needs addressing.  Dynastically-speaking, the spiritual home of music's regency is located north of London- quite a way north.  There are some terrific acts based in London (Crystal Seagulls, Los & The Deadlines for instance), yet the rolling landscapes of Yorkshire house the most forward-thinking and varied talent.  Over the months I have been reviewing, there have been few acts that have emanated south of London.  Saturday Sun hail from the coastal locale of Swanage.  As well as hosting an episode of The Inbetweeners, as well as- horrifyingly- a James Blunt video, it is a town that boasts panoramic views, beautiful historical buildings- but little in the way of musical output.  The sea air of the Jurassic Coast has clearly inspired an intrepid quartet.  The band have been around for a while, yet are a new name to my brain.  I was introduced to their majesties- once again- by The Guardian.  I should probably pay Paul Lester a finder's fee, as he seems to have his ear firmly to the ground, with regards to sniffing out terrific music.  The Dorset four-set formed back in 2010, off of the back of a impromptu jam session by two of its founding members; and they have grown and developed from here.  Alex Hedley, Billy Merrick, Allan Varnfield and Tobias Fitton have been hailed as serious names to watch, in no small part because of their E.P., Seagull.  The release introduced Saturday Sun's music to a large sect of new fans, and showcased some beautiful and wondrous music.  Reception from Seagull was immediate, and along its itinerate rise, tracks were played in the U.S.; tracks sound-tracked T.V. shows- and the group earned a supporting slot alongside Sigur Ros.  The four-track release won high praise from the likes of Q and Daytrotter, alternatively emphasising the group's "luscious melodies" as well as the way the boys "orchestrate and bend those minutes" through introspection as well as "inner turmoil".  The Swanage men mix psychedelic rock and '70s Pink Floyd moments, as well as Americana, stripped-back acoustic breeze- in addition to Grunge and heavy elements.  It is no surprise that the group's musical diversity has received huge praise from critics.  Their Solidago swoons and haunting sounds can at once overwhelm and palpitate; the way that they can- with augmentative lustre- lift songs to breaking point is admirable; the group portray arable desolate, scenic romanticism and sonic bliss- sometimes within the space of a single song.  In addition to the wondrous audio considerations, the band have another ace up their sleeve- frontman Alex Hedley.  The bandleader has garnered admiring coos from reviewers and fans, each of whom highlight his emotive and powerful voice; imbued with measures of Grace-era Jeff Buckley and The Bends-era Thom Yorke.  There is a comparable stillness and beauty to Hedley's vocal; he has the same sort of stratospheric belt as the aforementioned idols, and can go from a whisper to a lascivious scream within the space of a semi-quaver.  Here is not a band reliant on, or indebted to, one particular human.  It is the composite strengths of the four members that make Saturday Sun such a potent and remarkable force.  When it comes to nomenclature, Saturday Sun has an interesting progeny and derivation.  The final track from Nick Drake's second-best album was perhaps the inspiration from the band's name.  Five Leaves Left was Drake's debut, and showcased a young man of breath-taking genius.  sensitive and evocative sadness nestled within the orchestral lustre of Way to Blue and River Man.  As the album reaches its swansong, we hear the young Drake speaks, thus: "Saturday sun came early one morning/In a sky so clear and blue/Saturday sun came without warning/So no-one knew what to do".  These sentiments perhaps can best be applied to the way the band have arrived in an open market, and left jaws dropping.  It is not surprising that the Buckley and Yorke comparisons have been made, as the band were growing up with albums such as The Bends and Grace were embryonic.  The spectral emotions and sadder inflections could possible inspire another Saturday Sun lyric ("And Saturday's sun has turned to Sunday's rain), yet the boys are more than the sum of their influences.  There is not uniform depression or desolation in their music; instead beauty, nuance and joy; there are guitar effects, trippy moments and alacrity on offer.  The next month see the band play everywhere from Devon, Cambridgeshire and London; yet I feel that the quartet will be in demand internationally, as their latest album takes full effect.  Orixé is the result of months of hard work and focus from the Dorset boys.  Its name means 'origin', but as the band's frontman confesses, it is also the result of mashing several Gaelic words together.  The L.P. itself contains 13 tracks (some of which appeared on Seagull), and is a fully-fledged wonder of an album.  It is a window into the psyche of a band whom have a lot more to offer, yet are fully committed to the present day.  The effort and work rate put into the album shows, with each song bristling and bursting with evocation, emotion and potent seduction.  The album's cover is a black-and-white depiction of a woodland tableaux; it catches the eye and sparks the imagination.  The music contained within similarly inspires and mesmerises, as the quartet shape shift, contort, implore- and make hairs stand up on end.  One may highlight the fact that there is not a great deal of happiness or overt optimism within the baker's dozen of tracks, yet consider this: how many of the greatest albums do?  influential records such as Five Leaves Left, The Bends, Grace and such were awash with codas of self-doubt, sensitive longing and dislocation.  These records connected with- and still do- with millions and are considered masterpieces.  If you are looking for an album which will ready your soul for summer, then you may look elsewhere.  What Orixé epitomises is a body of work that can not only inspire many up-and-coming musicians, but put a smile on your face- in spite of the nature of the music and subject matter.  I did not want to review the entire album, in fear of producing brevity to the individual tracks, so felt it prudent to focus on a single song.  Each of the album's tracks say something different and has its own essence and mood, so it was a huge task when selecting the ideal track to review.  I will go into more depth later with regard to other tracks on Orixé, but for now, my thoughts are with Singing Logos.

The title of the album refers to the unshakable craving for food (usually sweet foods), and each of the tracks off of the L.P. leave you wanting more.  From the opening seconds of Singing Logos, the curiosity and fascination dial is cranked up to 11.  The band unveil a crepuscular and moody audio storm initially, unleashing a window scene; before a soothing arpeggio supersedes.  The guitar tone has romance and swoon.  The sound has a touch of blues and bluegrass; a little U.S. Midwestern rock- it is drenched in the heat of a sunny desert.  You picture yourself driving down a lonely highway, the slight wind keeping the temperature bearable.  As you pilot your passenger-less Mustang, you let your mind wander- as you head towards the lights of the distant city.  The listener is relaxed and has their mind taken somewhere wonderful.  Whether you are thinking about the gorgeous girl at home (beckoning you forth), or a relaxing stream and shady tree, you are at once calm and invigorated.  The intro. seduces and kisses; it touches and caresses: the romance and vividness that is presented, encapsulates your attention, fully.  There is grandeur and mesmeric allure to proceedings.  It is the sort of introductory coda that could score an indie film.  The title of the song may create a whirlwind of stunning and strange imagery, and the hypnotic guitar light adds black and white (and soul) to the scene.  Before any human being has stepped into frame, you can picture and see a clear image, and a sense of event and atmosphere is built.  The sound and sensation of the introduction puts me in mind of Radiohead, circa. Amnesiac.  There is a little bit of Knives Out to be heard (albeit with an introversion).  The vocal does not come in until the 1:05, yet when it does, it is arresting and immediate.  Our frontman's voice is sweet and tender, and puts the hairs on end.  The Yorke and Buckley comparisons may come to mind.  There is a similar falsetto beauty and impassioned strike to Hedley's coo, as well as a sprinkling of Bon Iver and Patrick Watson.  It is the individuality and personality of our hero that shines through strongest.  The vocal performance is the most prominent focus early on.  Emphasis is put towards emotion and less towards pronunciation.  My only minor criticism is that the lyrics are not overly clear; with there being no lyric sheets available, it is a little hard to transcribe a lot of being what is sung.  My reticence and criticism is a minor point, as the glory and beauty of the track is the sound and sensation- rather than the story being told.  As I mentioned, the track instantly puts images and landscapes into your brain.  There is a continuing sense of motion and fascination, as Hedley's gorgeous voice seductively teases.  The band are no slouches or second-best stander-bys.  The guitar and drum, when combined with bass keep the Amnesiac/Kid A feelings firmly alive.  It is no bad thing, as this type of combination and incorporation has not effectively been attempted or proffered since the early '00s- when those albums were released.  As our hero continues to plot and implore, he speaks to a central figure: "You feel alive".  Whether the song has its roots in a romantic relationship, or something less autobiographical is unsure, yet there is definite passion and intensity to be witnessed.  As it is said to "move together", I feel that the memory of a sweetheart is strong in the mind of our hero.  In my mind- as a listener- I would imagine a lone traveller on the road, dreaming wistfully of his lover at home- fantasising about a noble cause.  Past  the 4:00 mark, the pace and tone gets harder and faster.  There is a definite rock theme to the song, and the shift at this point adds to the emotion and fascination already laid in.  The boys kick up a gear and really hit their stride.  As impressive and striking as Hedley is, the sounds unfurled by his comrades is just as important and wonderful.  The guitar is constantly moving and inventive, and the drum work is restrained by keeps the heartbeat strong and alive.  Bass is taut and tight, and the infusion of these components adds layers and force.  The band extend a musical break past 4:00, allowing the listener to fantasise and dream.  Whereas most bands would wander aimlessly and fill the void, Saturday Sun remain compelling and mobile, and weave deft sparks and flavours into the mix.  The final stretch is dedicated to a tender comedown.  The band seamlessly shift from a rock-infused rush into a tender and calm finish.  In a sense the storm has been witnessed, and the rain and wind have now stopped- as the sun bursts through.  It is a beautiful and considerate way to end the song, and the perfect outro. one could imagine.  I was left stunned and impressed by the track, as it is as unique and stunning as any song I have heard for a while.  There is enough of the majesty of early-'00s Radiohead to draw in their fans.  It is only a small component of the overall song, as the band very much have their own identity and way of working.  The vocal performance is a memorable and stellar force, which shifts between soft and elongated coos to a rousing and emotive belt.  Hedley is a strong and imperious vocal who can buckle knees and cause shivers- definitely a name to watch.  Merrick, Varnfield and Fitton are incredible musicians.  There is never too much mood or atmosphere; they consider the voice and lyrics, and perfectly accompany and augment them.  The guitar, bass and drums twist and pervade- and lift and strike when needed.  From that incredible and scene-setting intro. you are captured and bowled over.  It is such an engaging and fascinating element, and the boys never let up from there.  You always have one ear on what is being sung, and one on what is being played.  The sonic layers and threads create images and emotions, and leave you quite overwhelmed.

I cannot think of any strong criticism when thinking about Saturday Sun, and Singing Logos.  A lyrics sheet would have been nice, as it is sometimes difficult to hear what is being sung.  I apologise to the band if I have misquoted any lyrics, as decipherability is a small issue.  Seeing as you have such a compelling voice and incredible band at work, being able to analyse and dissect  the lyrics is a paramount importance.  Other tracks on the L.P. do not suffer in the same way, but as I mentioned, Singing Logos is a bold and incredible song, that seduces and wins you over with its atmosphere and fascination.  The merit of a terrific band is the way they can inspire imagery when you listen to their music, as well as compel you to write and pen your own music.  Having surveyed their album, I have written my own lyrics, planned songs and made changes to my own work.  I yearn and aim to be half as mesmerising a vocalist as Hedley and feel that he is a singer with a huge future.  He has enough of Yorke, Buckley and the like, yet is distinct and unique that the comparison will not be overly-obvious.  His range is huge, and you feel that there is even more that he can offer as a singer.  The band's music and compositional skills are a key component and they have a real ear and mind for setting mood and taking the listener somewhere special.  I rambled with misty-eyes earlier about what came to mind when listening to Singing Logos.  You sort of drift off, get lost in your own head; allowing your mind to summon up vivid movie scenes and romantic diversions.  The Orixé experience is a heady and endlessly fascinating one.  Songs like Life In The Garden has a jaunty and spirited kick to it, with a flair of early-career Oasis.  Whale Song is mood, sound and emotion is huge measures.  The band shift through various stages and take you on an incredible thrill-ride.  Seagull is tender and romantic and sees our hero's voice in robust and impassioned mood.  Blinded By The Truth and In Your Head have anthemia appeal and wonder, whereas Seeds To The Sun may be the best song on the L.P.  Even though there are 13 tracks on the album, there is no filler.  The band know how good they are, and there is never any stagnation and ponderous drag.  Each song has its own identity and intention, and this adds a great weight of quality to proceedings.  Usually new bands present 10 or 11 songs that roughly sound the same- and have scant variation.  Saturday Sun have unveiled an album filled with diversity, nuance, wonder and ambition and this is to be applauded.  They are a relatively new name to my mind, and I am disappointed I have not heard of them sooner.  I going to make amends, and enjoy their album as much as possible.  I would recommend that as many people as possible listen to, as few bands will come along that will stick in your mind as hard as our Dorset men.  Each of our foursome are incredible and multi-talented, and the song writing is uniformly compelling, intelligent and filled with emotion and quality.  The star of the show is Hedley's voice.  It is something that is constantly engaging and stunning, and it brings the songs to life, as his vocals inject mood, romance and life to the tracks.  People whim fear that we are witnessing an insular, depressing and morbid band bringing winter chill to the fore, should reassess.  The songs are not the cheeriest you will hear, but have a noble and positive heart and mind.  Like the truly great bands, there is an optimism in everything they do, yet the way Saturday Sun lay out their emotions is tender and sensitively.  There is enough spirit, rock and pace to draw in fans of harder and more energetic music, and plenty of calm and tenderness to engage everyone else.  The rest of the year is up for grabs, as far as the band are concerned.  The album will see a lot of new fans engage in social media connection, and the feedback and reviews of Orixé have been unanimously positive and effusive.  I am sure that there is going to be a lot of demand put out, with regards to touring.  I hope that radio stations get on board with Saturday Sun and Orixé, and bring their music to a wider audience.  Too many bands have little to say, and do so in the most unappetising way.  Saturday Sun are a quartet whom have the potential to be around for years to come, and I cannot wait to see where they go next.  I am sure that there will be many more albums afoot, and implore people to jump on their good ship.  This year may not be as revolutionary and monumental as the mid part of the '90s, yet I feel that thanks to bands like Saturday Sun, a huge quality rejuvenation will be witnessed.  I have become tired and bored of bland and vague bands and acts, and pine for nascent change.  Saturday Sun are celebrated and beloved in Dorset and London, and I am sure will be in-demand across the U.S., Europe and Australia.  If you don't believe me:

BUY the album, and see for yourself.

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Follow Saturday Sun:

Official:

http://saturdaysun.get-ctrl.com/#/

Twitter:

https://twitter.com/SaturdaySun1

Facebook:

https://www.facebook.com/saturdaysunmusic

YouTube:

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

SoundCloud:

https://soundcloud.com/saturdaysun

E.P. Review: Chess- Tuxedo.

E.P. REVIEW:

Chess

Tuxedo

9.8/10.0

Tuxedo is available from:

https://itunes.apple.com/gb/album/id766924425?i=766924552&affId=1736887

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The Maltese Siren returns with a confident (and tremendous) E.P.  Following on from Babygirl's template, Chess augments her previous sounds with edge, punch and... imħabba.  This year will see a huge rise to prominence for the young starlet: coming to a venue near you...

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HAPPILY, I get to focus, once more, on the merits and idiosyncrasies of the....

female solo realm.  Over the past few weeks I have featured the likes of Harts and Emily Kay- both tremendous solo artists.  The former is a prodigious 19-year-old from Melbourne; garnering favourable comparisons to the likes of Prince.  The latter is a young black artist from Birmingham; striking of voice and assured of great things this year.  Most of my attention last year tended to focus on the band market, and quite a few different genres of music.  My main objections and fears- when faced with the lone artist- has revolved around quality.  Although the solo market is crowded and burgeoning, I have always been puzzled why there are not more noticeable stand-outs from the genre.  I have been surprised and amazed by some of the acts I have featured, but when I look towards what is considered 'mainstream' or 'popular' there are few I can recommend.  Most male solo artists tend to be acoustic, and- to my mind- unspectacular, boring and generic.  For every James Blake there seems to be dozens of wishy-washy examples whom sing about broken love and longing- in other words, the same as everyone else.  In terms of the female market, I find that the lyrics and songs are more compelling, yet the voices seem to be too twee or bland.  In order to strive and to gain voters, one must break from the well-worn parables; inject personality and diversity into your sounds, as well as be original and memorable as possible.  This year will act as a litmus test for any new solo act- as well as those thinking of entering the scene- whom want to win fans and ensure that they are in-demand into 2015.  The northern climbs of England have been producing the brightest new solo talent, and Yorkshire especially has fervently produced some wonderful talent.  When looking closer to home, all seems not to be lost.  As well as solo acts such as Second Hand Poet (based in Surrey), I have been hearing some great young artists. One of the best young artists I have witnessed has been a young lady, Chess.

The woman behind the moniker is someone I have known for a while now.  Although we have never met, she seems like an old friend, given the fact that I have reviewed her a few times now.  Chess (Fran Galea) has grown and matured as an artist over the last couple of years.  My first encounter with her was when I was listening to some covers she had recorded.  Whereas most artists are unadventurous and narrow when they go to cover an existing song, Chess showed herself to be more unique and brash.  Not only in the sense that her voice is a dominant and remarkable force, but also the types of songs that were being featured.  Modern-day soul and latter-day blues were put under the spotlight, and the young heroine showed herself to be well-educated and intelligent with her song choices.  From those initial moments, I was sure that in Chess I had discovered a rare and worthy talent- and one that has few direct equals.  Further communication with Chess increased and multiplied my respect (for her), and compelled me to keep a close eye on her career.  Chess if of Maltese origin and has been reviewed, celebrated and promoted in her home nation- gaining some prestigious airplay and patronage.  She is a key and beloved name here, and it is not going to  be long before her music transfers to further foreign climbs.  To my ear, Chess's style and range means that she will have supporters and fans waiting in the U.S.  I have surveyed many American acts and know that Chess's sounds would fit in perfectly.  In terms of her long-term ambitions I am not sure, but it is certainly something she should think about, as we move through 2014,  I know how much music and realising her potential means to her, and how much of a relief the E.P.'s release provides.  The song Vanity is the first song to be released from Tuxedo, and is a perfect summation of Chess's talents and abilities.  In terms of social media following, Chess is building a steady collection of fans and supporters.  The past year or so has been a fairly busy one for Chess, and it is a year (2013) that saw the release of her debut E.P., Babygirl.  Across the trio of tracks on that collection, we saw the fledgling artist take some of her first steps- and was an E.P. that really struck me.  With the help of her producer Edd Holloway, Chess unveiled tracks filled with tenderness, redemption and revitalisation.  Some of the big themes that were explored within the E.P. included not giving up; patience in relationships and holding on when things get tough.  There was a great deal of positivity within the collection, and this was augmented by Chess's vocal performances, which were filled with power, conviction and passion.  Some of Chess's influences include Freddie Mercury, Prince, Christina Aguilera and Michael Jackson.  I could detect the same kind of gusto and conviction (within the songs) that Mercury was so adept at; a comparable silky sexiness that the likes of Prince and Jackson were masters of, as well as an Aguilera-like set of pipes.  It was hardly surprising that Babygirl was held close in many people's hearts, and the ensuing praise and support the E.P. gained, saw Chess's stock rise.  A series of stunning cover versions and tracks such as Happy End kept our young heroine busy and focused, and it has all lead to this moment.  Our heroine has received airplay in three countries (Malta, England and Australia), has been featured in magazines and multiple blogs; has played venues including The Luxe and performed to thousands of people.  Too many new artists are given too much credit, whilst those deserving are often overlooked.  I hope that Chess gets a lot more airplay in the U.K. (and abroad) and find herself a whole legion of new fans.  She should have no fear, as her latest E.P. is a confident and stunning set, and will see her transcend to a new audience- as well as the attentions of many high-profile radio stations and venues.

Tuxedo is perhaps the most apt title for Chess's latest E.P.  Whereas Babygirl gave the impression of a heroine effected by and in need of love, Tuxedo has a style shift that suggests more grandeur and edge.  I adored Chess's previous E.P. and felt that the writing and production was sophisticated, impressive and inspiring throughout.  I know over the last few months, our heroine has worked hard and pressed her agenda.  The latest E.P. is draped in style and class.  If you look at the cover to the E.P. itself, you will see that it is a black-and-white symphony of memorable imagery.  Edge letter of T.U.X.E.D.O. is represented by a different image or character; mixing cigars, time pieces, necklaces and tuxedos.  It is a nice touch and a stunning logo that you can't help but take your eyes from.  Our heroine herself appears contemplative and in deep thought (on the cover).  Dressed in black and white, and wearing shirt and brace combinations, she is stylish, striking and smart.  I have seen many of the photos, stills and shots from the E.P., as well as the video to Vanity.  Chess appears always as a stunning and gorgeous young woman, and someone capable of turning heads- and taking away the breath.  She has a vibrant sexiness as the likes of many of her female idols, and she is a vivacious and captivating presence.  When starting out investigating the tracks on Tuxedo, these thoughts and merits stuck in my mind.  The opening seconds of Vanity lead you beautifully into the E.P.  It is a romantic and argumentative piano line that flourishes and twinkles.  It trips and pauses; strikes and presses which creates a stirring atmosphere.  The opening words set  the scene quite succinctly: "You need the applause/You need the attention".  Chess's vocals are convincing and imploring, as she points the finger at society.  Whether there is anyone particular in our heroine's mind, or if it is based in fantasy, I am unsure; but we can all relate to the type of person that is being surveyed, and "Caught in a downward spiral".  Chess's vocals are powerful and impressive in the early stages- backed by the pulsating and energised piano line.  She incorporates influences such as Christina Aguilera into the mix, yet you can not tell of any direct comparisons.  The projection and sound are very original and she is an artist whom employs hints of her idols, but is very much her own voice.  Before long, the song explodes into life, as a hard-hitting bass and drum strike backs the vocal.  The sudden rush takes you by surprise, as Chess continues her assessment of our attention-seekers ("You just want to live in your own world").  I notice a cheeky little reference to You're So Vain ("I guess you think this song is about you, don't you?"), as our heroine unleashes the full power and force of her vocal.  You get the sense that Vanity could soundtrack many a club night out, as it has that ready-made dance floor flavour, but also has elements of the classic and wonderful dance music of the '90s.  There is a huge emphasis on conviction and prowess and you can tell that Chess means every single word.  I have been informed (by Chess) that the song concerns self-absorbtion in the wider society; it is clear that she is being put to rights, as it is stated: "You'd like to think they all love you".  Chess unleashes her voice but does not let it get to breaking point.  At one moment she sings softly and contemplatively, before rising and striking within seconds.  This gives weight and extra emotion to the lyrics, which reminds me a little of Lady Gaga; as well as the aforementioned Aguilera.  The chorus itself is perhaps the catchiest and most impressive part of the song, and when it comes around for the second time, you find yourself singing along: already familiar with it, it sticks that quickly.  The sensation and electricity which sparks from the chorus has a great summertime feel and I am sure will be blaring from many car stereos in a few months time.  Although the song deals with taking to task a vein and empty figure self-absorption, it never loses any spirit and energy; it is constantly uplifting and memorable, and gets your feet tapping and arms pumping.  It is not surprising that the track is the lead-off single from the E.P., as its blend of catchiness and potency will mean it is a fan favourite for a long time to come.  In the same way that Michael Jackson began Dangerous with hard-hitting and edgy tracks, Chess has done likewise.  In a way, Babygirl may be her Bad (in the way that it is more redemptive and romantic), whilst the follow-up shows our young artist filled with fight and spirit.  As the memorable chorus brings the song to an end, we are given a slight twinkling outro, that gives us time to breathe, and reflect on what we have just heard.  Vanity is a striking and stunning start to the E.P. and shows our heroine in full flight and fantastic of voice.  The energy and quality continues unabated as we lead into the title track.  Beginning life as a swirling electronic coda, reminiscent of an air-raid siren, a funky and hypnotic beat begins.  It has hallmarks of classic Jackson and Prince, and is infused with funkiness and rhythm, as our heroine steps up to the mic.  Early tales see our songstress in thoughtful mode: "Life is like a game of chess...", as the vocals trip and roll with syncopated rush.  Chess's voice again is awash with conviction and passion as she delivers her messages: "Ain't nobody here to judge no more".  Themes and lyrics deal with the realities of life and simple truths, as Chess intones: "What you see is what you get/It's black on white".  I was curious whether there was any particular motive behind this song; whether a person (or persons) had influenced this track, or whether our young artist is surveying the world around her.  There is again an edge of Gaga, as well as early Britney Spears, yet the vocal performance is more impressive and stirring (to my mind).  Where the title is spelled out (T.U.X.E.D.O.) the letters are delivered with a breathless seductiveness.  It is repeated- backed by a punchy and hard beat- that means your attention and mind is captured fully.  I am impressed by the vocal shifts in this song, especially.  The first verse was delivered with a shotgun and staccato pace; the song's title is given a sexy and soft tenderness.  When the next verse is unveiled, there is another shift, as the first two words are held and slowed, before the pace quickens.  In this way the meanings and lyrics are given extra emphasis and your attention is once again captured.  When Chess sings:  "Tonight/You and I/Become/Tuxedo", you can hear the crackle and pop in the music.  As I stated, it has underpinnings of Prince and Jackson, and a similar funky and catchy kick to it.  Whereas Vanity has a dance floor potential, Tuxedo a great sound of '90s pop/funk, as well as modern-day female pop (Gaga, Rhianna and Beyonce).  Our heroine is constantly engaging because of the passion and conviction with which she delivers her words.  All of the greatest singers are synonymous with these merits, and Chess infuses every word with force, power and clarity (a rarity amongst the modern scene).  When the chorus swings back into view, again it is something you are singing along to.  Because of the memorable lyrics and excellent and stunning production, the words and music burrow deep instantly- so many songs suffer because the vocal is indecipherable or the composition is too imposing or overwhelming.  With another round memorable chorus-ing, Chess takes Tuxedo to its conclusion, her vocals weaving in and out of one another; layered and huge- adding weight and passion to the final seconds.  The outro is a funky and electric guitar buzz; accompanied by that punching and bold beat.  The final track of Tuxedo's trio is an intriguingly-named curiosity.  Dangerously Beautiful could be a film title; a perfume or a classic album title- it has that fascination and nuance to it.  The song itself gets off to the races quickly.  Scored by a guitar line that almost sounds Flamenco, there is a certain Hispanic or Latin sound to the guitar.  This track gets under my skin very quickly, and really stood me to attention.  The composition is stunning right from the off.  The drum beat which crackles and tumbles is bold and exciting.  There is an audacious skill and consideration at work that you would not expect from someone so young.  I keep harking back to the likes of Jackson and Prince, and it no hyperbole to state that the rhythm, sound and flair of the song could rank alongside some of their best work.  There is a romanticism and sexiness about the delivery- not only within the composition but the vocal itself- as our heroine starts her trajectory: "I couldn't be without you anymore".  It is hard to shift the guitar line, that is a pivotal focus and force throughout the early stages.  Chess's vocals are swaying and romantic, infused with blues and soul- yet once again powerful and convincing.  With "danger coming" the song is a reconnaissance and assessment of a relationship that is doomed to failure.  The Dangerously Beautiful is a man- unnamed- whom seems Siren-esque and intoxicating in his appeal.  Our heroine wants to "save your life", and warn (the anonymous female) away from him.  Chess is standing back- aware of what might await our female subject- as another voice enters the fray.  Chris Birdd is the other voice heard on the song, and provides another tone to the song.  His quick-fire rap matches the electric backing as he wants to "chill with ya" and "talk about how I feel".  Here is our hero- or anti-hero- imploring and justifying himself; claiming that he is not as potent and deadly as Chess makes out.  There is a great sense of storytelling and by-play in the song, between our imploring and wise heroine, and the vilified hero.  As he speaks about "don't fear what your friends think", you get caught up in the energy and rapid delivery of the vocals.  Having witnesses the previous two tracks with Chess alone, it is striking and a great shift to hear another voice- it adds an extra weight to the song.  As Budd completes his mandate, Chess boldly steps to the mic.; wrestling back attention from the "Dangerously beautiful" rapper.  Within the elliptical and pulsating guitar, Chess unleashes some wordless vocals; some coos and soprano rises which add extra emotion, sexiness and potency to proceedings.  If the first two tracks have their futures mapped out in clubs and the summer-drenched airways, then Dangerously Beautiful seems earmarked to score ballrooms as well as clubs.  It is another track that will be a live favourite and will be interesting to see if Chess and Budd ever perform this together- it will be a tantalising prospect.   There is sweat and fire dripping from the speakers, and Chess provides a passionate and memorable vocal once more.  One of the hallmarks of the E.P. is the strength of the choruses, and again another gem is served up here.  As the chorus brings the song down to the ground it ensures that you are left hungry at the end- looking for another track; another repeat or something.  Yet with a teasing wink, that will be left for another E.P.  The abiding impression one is left with- after listening to Tuxedo- is what an impressive work it is.

After following the plight (and embryonic growth) of the Babygirl E.P., I was excited- as well as a little nervous- when investigating its progeny.  Chess's previous E.P. was a memorable step, and I was impressed by the maturity and quality that was offered by such a fledgling and new talent.  Chess was a familiar name in her native Malta, and has recorded quite a few songs previously; yet this was her first big release, and I was taken aback by the tracks on the E.P.  The trio of tracks were steeped with positivity, uplifting codas and evocative imagery.  The songwriting was confident, assured and strong, and was backed by the solid and assured professional production of Edd Holloway.  Our heroine appeared (on the E.P.'s cover) as a gorgeous and tender chanteuse.  I came away from reviewing Babygirl filled with confidence that in Chess, a great and fertile local talent has been unearthed.  That was 14 months ago now, and a lot of time has passed between the two E.P.s.  I know how hard Chess has worked in the interim; not only on creative planning and input, but making sure that a new E.P. was a financial possibility.  There have been obstacles and setbacks along the way, and I was wondering whether these cracks in the pavement would deter or weaken our heroine.  Tuxedo is immediately reassuring and confident.  The latest E.P. is a dancier and edgier affair, yet retains a lot of the trademarks and unique Chess moves that the debut promised.  Fran Galea has demonstrated that she is a strong songwriter.  Her lyrics do not suffer from cliché or bloating- like so many contemporaries- and she has the innate ability to make a chorus lodge in your brain for many months.  The compositions are fascinating and layered as well as vary between soft and tender piano-led songs, to thumping and anthemic rushes.  All the true and terrific elements have remained in tact, yet Chess has kept her sound fresh and ever-mobile by injecting harder edges; heavier elements- as well as thematic shifts.  Within Tuxedo there is an element of foreboding and accusatory finger-pointing.  There is a sense of warning, moralising and hard-hitting truths.  I am familiar with how good our heroine is (from her covers as well as original material), and she is a vocalist that has an incredible range, yet has her own unique and meritocratic identity.  Chess has some influences within the likes of Christina Aguilera, Lady Gaga, Etta James, as well as Michael Jackson and Freddie Mercury- you can hear a little of each in her delivery.  The three songs are filled with memorable hooks and choruses; huge vocals as well as detailed and catchy compositions.  I am sure in the back of Chess's mind she is plotting a possible E.P. number three.  There is going to be a huge demand for one, and by the end of Dangerously Beautiful, I was aching for more- such is the effect of Tuxedo.  Last year, Chess performed in some established and prestigious London venues; gained some incredible airplay- and drew in a lot of new fans.  The release of Tuxedo will see this rise to prominence continue, and I will not be shocked if I hear Chess's music appear on BBC Radio 6 or BBC Radio 2 even.  Special credit also goes to the following musicians (Terry Michellis - Guitar; Dan Aquilina - Bass; Billy Grammatikos - Drums) as each brings something memorable to the table.  The guitar work is strong and varied and adds great weight and excitement to proceedings.  The bass work keeps the tracks flowing and incorporates a strong and taut backbone, whilst the drum work is prolifically memorable- especially on the closing track.  This year will see our star making some headway towards hitting mainstream success.  There will certaintly be more high-profile gigs, as well as some important and repeated airplay.  Once the impact of Tuxedo is fully felt, it will bring in the attentions of record labels and venue promoters.  I am confident that the end of this year will see Chess ascend rare heights and see her stock rise hugely.  Whether there are imminent plans for more music, or whether she just wants to get Tuxedo out and see how people take to it, I am unsure, yet it is clear that acclaim will be universal.  Sit down and let the E.P.'s wonders and dizzying spells overwhelm.  It is only January, yet- in terms of new music- Chess has done this:

SHE has produced an E.P. that could well be one of the best we'll hear all year.

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Follow Chess:

Official:

http://chessmusic.co.uk/

Twitter:

https://twitter.com/chessofficial

Facebook:

https://www.facebook.com/chessofficial

YouTube:

http://www.youtube.com/chess4music

ReverbNation:

http://www.reverbnation.com/chessmusic

Today I Will Experience Joy

Forever true; forever necessary...

Track Review: We Died At Sea- Memphis Flu

TRACK REVIEW:

We Died At Sea

Memphis Flu

9.2/10.0

Memphis Flu is available from:

http://www.youtube.com/watch?v=36z_JGJAf3o

The E.P. The La La Bird is available to pre-order via:

http://wediedatsea.bandcamp.com/album/the-la-la-bird

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Northern English hokum, blues and mud stomping; infectious as it is unusual, will linger long in the mind- and blow away the winter blues.

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TODAY I am breaking slightly from the parable of my usual discourse...

To focus on something a little different.  I am going to start with a familiar and comfortable rant.  Last night saw the beginning of a new series of The Voice.  It is this annual competition that promotes, encourages and celebrates Britain's blandest, most pointless and least original singers possibly imagine.  Forced to watch the opening 10 minutes last night, I was staggered about how self-indulgent and pointless it all was.  Aside from the fact that the judges entered the show singing their own songs, and promoting their own music; it seemed that ever contestant nauseatingly was intent on singing one of the judge's songs- again publishing their own material.  Each version of each song was depressingly unspectacular and ridiculous- the entire competition seems like a karaoke show for those on the brink of alcoholism.  For those mentally and spirituality sober, the whole thing offers nothing more than an excuse to laugh at morons.  I am sure there are people that enjoy the show, but are not people who I care to spend time with or will ever really understand.  My point is, is that- in spite of plummeting viewing figures- this type of mindless dross is still offered up by broadcasters, and is seen as a genuine alternative in music.  For the life of my I cannot remember of a time where the reality T.V. show route offered up anything of any note or distinction- or provided a contestant with a long-term career.  I am hoping that these types of shows will die brutally over the next couple of years, as music should hold no room or regard for anyone as plastic, talentless or asinine.  My overall point is that the type of music proferred by these contestants is taking time and attention away from some genuingly wonderful groups and artists.  Over the course of my reviews, I have witnessed and summarised some terrific acts; wonderfully diverse and interesting sounds- giving me renewed hope of a renaissance amongst the traditional order.  On a non-presidential basis, new music has flourished under some rather undemocratic terms.  Too many generic and bubble wrap artists have emerged and been celebrated- whilst those thoroughly worthy have been passed over.  It has been on my mind a lot, as to how the north of England produces such fascinating and diverse acts.  In addition to my praise of Cuckoo Records and the kind of wonders they are representing, it is worth noting that Yorkshire seems to be leading the way.  I know that there are a lot of ordinary and cliched bands and solo artists plying their trade (in Yorkshire), yet in terms of sheer multifariousness- this county have something special about them.  I have mentioned that there seems to be a fond regard for retro electro/swing: artists such as Little Violet are doing this genre proud.  Interesting blues rock movements are being made, from Detroit-via-Wakefield.  Across Bradfodr and its envrions, witty pop and brassy soul music is being created- joy and the upbeat seem to be the order of the day.  I have been stunned by just how ambitious and forward-thinking musicians have been, and how different they are to most overs.  When you think of London, there seems to be less fascination and joy when it comes to the sound of new music.  The north-west seems to be synonymous with rock and indie and has less mobility.  The fresh air and the bonhomie spirit of its citizens has led to a reciprocal influence upon the musicians of Yorkshire.  It is not just British sounds- old and new- that are being affectionately portrayed, yet foreign flavours are also being investigated.  It is the music and majesties of the U.S. that are being given fondest affection.  As well as blues rock, older blues sounds are being renewed, updated and adapted.  It takes a lot of bravery to break away from the pulpit of the familiar, in order to aim for something more unusual and rarer.  Revivalists and the noble are causing re-appropriation and reinvigorating good-time, Ragtime motions.  I suppose that bands such as Mumford and Sons have attempted to make music that has its heart lodged in the Deep South and mountain ranges of the Ozarks.  In this case, I find their music to be too bland and grating, and not good enough to really appeal to genuine music-lovers.  This particular brand of music is very much focused on fun and merriment, and implores the listener to get up and stomp their feet.  Because it is quite a rare sound to hear these days, it is difficult for new artists to popularise it- and make it appeal to a somewhat disjointed and narrowly-focused generation.  New music is in need of an overhaul and definitely needs a smile across its lips, as there is still a tendency for new musicians to err towards the introspective or maudlin.  Even our indie rock and heavy rock still leans towards angry and anxious shores, so it is vital that clement and invigorating sensations are celebrated and rewarded.  This year is going to see a rise of new music, and will see a multitude of individualised acts- all polling for votes and plaudits.  Today's subjects are a group that could well blow away the winter cobwebs; solid of tensile strength; suffocating of intention...

The Leeds-based band We Died At Sea are a group I have reviewed once before.  I summarised their song I Am Drinking Again back in April (http://musicmusingsandsuch.wordpress.com/2013/04/25/we-died-at-sea-i-am-drinking-again-track-review/); impressed by its fresh and embracing sound, and the sheer contradictions that I encountered within.  These Leeds-based boys are middle-class chaps consisting of our heroes, below:

Chris Wallum - Voice, Guitar Rob Bromley - Violin, Voice Felipe Petry - Double Bass, Voice Fran Watson - Percussion, Kazoo, Voice

I can say with great confidence, that I have not heard anything similar to what We Died At Sea are presenting to the world.  It is a veritable breeze of fresh air that is capable of inspiring other acts to follow in their footsteps.  When I reviewed the lads last time I around, I stated the following: "... I mention this rather contentious issue, as We Died At Sea, label themselves as ‘middle-class’; yet have a fascinated split personality. For one thing, the bio/tag lines on their Facebook page, quote Dostoevsky. The quote concerns work, and the nature and meaningfulness of it. It speaks volumes about their devotion to, and passion for, music; as well pointing at an augmented intelligence and focus that few contemporaries possess. The Leeds-based boys, underneath the skin and clothing; have an American sensibility, that brings more to mind more Seasick Steve than Tim Rice-Oxley. The musical masquerade has been yielding curiosity and plaudits since 2012, and there is a pastoral charm to their look as well as sound. On the social media official sites, there are floral landscapes, Victorian industrialism, and the inescapable feeling of ease and tranquility. It is with great intrigue that I approached their music; wondering whether I would hear lilting folk guitars and lush vocals, or else a ramble of bluegrass and anthemic Detroit punch. They are quite under-subscribed at the present time, possessing as they do, a small, but respectable handful of fans. They are in the infancy of their developmental process and are taking the first exciting steps. From listening to the group’s work there is no inscrutable noise; no basic level due diligence, and no attitudes towards the notion of ‘playing it safe’. They have a bold and flammable spark to their sound; a positively out of left field surprise to their songs; especially their intros."  It is true that there is a vein of intellectualism and high-minded regard in the We Died At Sea camp, yet that is not to say that the music they are making is disingenuous.  It is unusual that a band such as this would make the music they do.  When one listens to their plaintive strums and rambunctious merriment, you would probably see them as hirsute, toothless good ol' boys; filthy of clothing, yellow of teeth banjos and fiddles in hand as they dance around a fire.  If that is where your mind is taken when listening to the music, then do bit it, but our Yorkshire boys are having the time of their lives.  The past year has seen success and adulation come their way.  Just recently their song Wolves was seen as one of the best tracks of 2013 by Ear To The Ground Music.  The band have had a busy year of touring and recording, and have enlivened and excited their native fans with unabated energy.  All of the impetus and creativity that they have summoned over the year has led to the release of their E.P., The La La Bird.  It is all sold-out on C.D., yet readily-available on BandCamp, still.  The four-track release offers up many surprises and gems, and sees the group building upon their previous templates- whilst giving tantalising glimpses as to what their future music could sound like.  The E.P. has its heart set in a particular time; a particular enviroment and a vidi landscape, and the Yorkshire men take your mind there, paint vivid and fascinating pictures, and leave the listener with a big smile on their faces.  At the moment, the quartet have a solid and supportive following across social media, yet I feel that they deserve a lot more attention.  They are daring to be different, and are pushing the boundaries and expectations of music- going down avenues that not many other have done so.  The E.P. is a testament to the raw talent and intoxicating sound of a group of men whom may have their bodies ensconced within Leeds; yet have their souls and minds in a part and era of the U.S. that may seem foreign to many.  If new music- and the music scene in general- is to trulty diversify and offer up real treasure, then bands such as We Died At Sea should be applauded and kept in close regard.  Possible the wisest thing you can do this month, is to snap up their E.P., as it is the perfect antidote to the stormy and tempestuous weather have been experiencing.  It will make you forget about things for a while; and provide some much-needed sunshine.

Beginning with a frenetic and scratchy guitar swathe, Memphis Flu builds its momentum early on.  It is a brief refrain, as the vocal kicks in; accompanied by a heady sonic rush.  When assessing the vocal nature, one is not reminded of any other singer.  Wallum has a voice that is very much his own, yet has some essences of the old, great U.S. singers of the '20s and '30s- as well as some modern influence.  As our hero sings of "Memphis flu at your door" affecting rich and poor, the band are unified in song, as their vocals blend to augment the merriment.  In spite of the lyrical themes, the band are infused with energy and good-time spirit.  The percussion is steady yet propulsive, as it backs up the vocal layers and keeps the spine firm.  As the horrors of southern influenza stalk our hero, he implores: "I don't want to die".  The band make sure that the song is infused with singalong potential, as you find you cannot help but sing and cheer with the guys, as the survey the scenes and sights.  The first verse itself is built with staunch and vivid imagery, and sets the tone out straight away:

"Nineteen hundred twenty nine Pretty women, men are dying Call a nurse, call a doctor, call a priest The Memphis Flu is at your door And it will surely kill the rich and poor If we don't turn away from our shame"

Your mind is steeped and filled with scenes and smells, and there is a tangible element to the group's storytelling.  If you are unfamiliar with the Ragtime and Western Swing sounds that are presented, then it may take several listens for the song to reveal its charms.  Some people I know are familiar with the Ozark Mountain Daredevils; the soundtrack to O Brother, Where Art Thou? as well as Seasick Steve.  There are feint D.N.A. strands detectable, and fans of those artists and works will find some familiarity.  In a real sense, though, there is modernity and urgency within the song.  The pace is fast and frenetic, as the vocals are delivered with a breathless aplomb.  The playing is tight and impassioned, as the band combine beautifully.  Consideration and breaks are provided between the verses, allowing the infectious music codas to take effect.  You can imagine a merry hoedown taking place, people dancing, and a good time had by all.  I like the way that the darker or more morbid subject matter is accompanied by juxtaposing sonic flair.  The pace and nature of the composition is energetic and upbeat, and you almost forget and pass by what is being said.  As the song continues its path, more sights and sensations are presented:

"Nurse came to my bed And she dropped my medicine Told my partner, "Hey Johnny! Go get him some more!"

Charm, wit and tradition are laced within the lyrics, as you cannot help but to picture the scenes, and wonder what became of our hero.  The Memphis flu is clearly a relentless and cruel master, yet it has not dampened the spirits of We Died At Sea.  The vocal has a distortion and quality to it that reminds me of Jake Bugg, Jack White and Alex Turner.  Some native and homegrown accentuation is evident, yet there is also a flavour of U.S. blues: the melting together adds weight and conviction to the song.  The band themselves are continuously impressive as they keep the energy, sparks and kick constant; never letting the mood drop, and ensuring that your mood is always lifted.  Backed by his comrades and brothers-in-arms, our protagonist is coming to the end of his sage:

"Hospital I lie And I know I'll surely die And I don't want to die The Memphis Flu is at your door"

As the song ends, and the final line is delivered ("If we don't turn away from our shame"), we come to the end, and are left wondering what became of our hero and his band.  It is well worth watching the video for the song, which is a black-and-white video depicting dancing men and women (looking as though the film was shot in the '20s or '30s), accompanied by pictographic representations of the lyrics.  In spite of the fact that the song is under 2:30, it makes its impact and leaves clear impressions.  You cannot help but walk away invigorated- as well as curious to hear more songs from the intrepid band.  The themes of Memphis Flu are unique and potent, and it is not a subject you will hear in any other songs- or from any other acts- this year.  The Leeds outfit are a quartet steeped in tradition and vintage regard, but also have a love of the modern-day local scene.  The way they marry these disparate factions together creates a wonderful little song, that is a fitting swan song to the E.P.

As much as I have derided the talent show wannabes and faithful, it is important that truly great and original music is given its due.  We Died At Sea are still in their infancy, yet have a clear idea of where they want to be, and who they want to appeal to.  Their sounds are not meant for a small clique; it is music that is designed for the masses.  Their E.P. is a terrific achievement and provided nuance, memorability as well as an excuse to have a bit of a jig.  The next year will see the Leeds boys transcend beyond their localised paradigm, and seep into the mainstream.  There is going to be a heady demand for their special blend of song, and I would not be shocked to see them make moves throughout the U.K.- as well as further afield.  It is axiomatic that the U.S. will be familiar with the sound they pervade, and it seems as though they might find themselves playing throughout the U.S.A.- from the bars of Texas; across New York and California.  In that sense, the likes of Australia, Europe and South America will embrace the music and welcome the guys into their hearts.  I hope that more music is imminent, as the boys have struck a rich vein.  Last year saw a multitude of bands come through that said pretty much what had already been said.  I witnessed many indie and rock bands come through, each of whom seemed to lack the necessary bite, originality and drive that many were demanding.  When I reviewed the band's 2-track album I Am Drinking Again, there were definitely mordent and saddened tones to be found within.  Wolves was a lush and orchestral sway that was packed with gorgeous imagery and stirring scenes.  There has been a bit of a shift with regards to sound, yet We Died At Sea have kept their identity intact and expanded upon their palette.  I am not sure whether a fully-fledged album or another E.P. is in the minds, yet it will be fascinating to see what the lads are planning.  The La La Bird E.P. is out on 1st February, and there will no doubt be great demand for live performances from the quartet.  They are supporting The Stray Birds when they arrive from America, as well as making their own moves.  I am not sure what it is about Yorkshire, but this county has been in my focus for a long while now.  Whether the likes of Cuckoo Records will snapping at their heels it to be seen, yet I would not be shocked.  There is a lot of innovation and bravery to be seen in Yorkshire, and it is the mixing point for the most potent, interesting and original sounds of the moment.  This year will need to see a revitalised implore from its participants, so if anyone is short of inspiration and focus, they should be setting their sites towards the north.  The sounds of the '20s and '30s have not been dabbled with too much, and I am not too sure why.  On the evidence of Memphis Flu, as well as The La La Bird E.P., there is plenty of room in the market for our heroes.  I shall leave you with a thought and sermon, concerning the necessities and demands of the music-lover.  I speak from experience and frustrated desire, when I say that we need to see a bit more fun and excitement in music.  The reason that I love swing and electro acts like Little Violet and Rose and the Howling North, is that these artists provide kick, energy and invigoration in all of their songs.  There is still a tendency towards the flat and listless in new music, and although sensitivity and introspection very much have their place, I have heard little evidence to suggest that there is going to be any sort of sea change or mobility.  We Died At Sea have the impetus and energy to strive and achieve, and need the support and patronage to assist them.  They have a great following within their native climbs, but deserve wider appreciation and analysis.  Forget about the rain and wind; close the curtains, and spin the four-track blitzes with The La La Bird.  The boys may be a new name to the minds of many reading this, yet I hope that they will not be strangers for too long now.  They love ragtime and blues; they are a band on the rise and have the potential to be festival mainstays...

AND that's no hokum.

_____________________________________________________________________

Follow We Died At Sea:

Twitter:

https://twitter.com/WeDiedatSea

Facebook:

https://www.facebook.com/WeDiedAtSea

SoundCloud:

https://soundcloud.com/we-died-at-sea

YouTube:

http://www.youtube.com/channel/UCSZufgt80tJDPBJjd7JwhZQ?feature=watch

Track Review: Alex Vargas- Lay Your Heart

TRACK REVIEW:

Alex Vargas

Lay Your Heart.

9.1/10.0

Lay Your Heart is available from:

https://soundcloud.com/alexvargas/lay-your-heart

The extended E.P. Howl is available via:

http://www.tiger-music.com/alexvargas

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The Danish troubadour has the looks to distract; but don't let that allay your focus.  This 25-year-old offers sounds that soothe, seduce and stun- in equal measures.

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WHEN I have looked ahead at what this year might offer us, a number of things...

Have stuck in my mind.  The previous year has seen a spread of different genres and acts; each one offering something a little different.  Within the quadruple intersections of the 'new music Venn Diagram', only a few acts have been seen within.  It is not that all new music is- at best- mediocre: I have found that it takes a little time for the acts to bed in and get comfortable.  I suspect that the following 12 months will see these musicians grow in confidence; burst high from the soil- and present songs filled with confidence and focus.  I have postulated recently that it is the established acts that still accomplish the most (and have the highest quality music in their locker).  New music is the progeny of what has come before and what we hear today, and if the future of music is to flourish unabated and produce the most distinctive offspring, then a few things need to occur.  I have found that from what I have surveyed over the last year, a few patterns are starting to form.  From the band side of things, there still seems to be some copycat posturing happening.  Bands from the north- Liverpool, Manchester etc.- have still got it into their heads that the world needs a slew of Arctic Monkey wannabes.  I am being harsh and a little all-sweeping, but there are still too many new bands that have so little originality and difference.  If you are going to rip-off an established act, then you have to better them.  None of the bands I featured (I shall not name-and-shame) could get to within touching distance of Alex Turner's incredible lyricism and poetic glory.  The overall sounds and songs seemed third-rate and lumpen.  When I clawed through the greay sludge, there were some great alternatives on offer.  I have mentioned the likes of Univeral Thee, ISSIMO and Crystal Seagulls a lot; and with very good reason.  Here are three examples of what can be achieved if you break away from the norm.- and present your own colours and ideals.  My recent feature-ees Los & the Deadlines- an international band based in London- have started the year with fierce intention.  Their hints of Queens of the Stone Age and Led Zeppelin are the foundations of a hypnotic and pummeling intensity.  Their music focuses on less heard-of topics, ranging from the wastefulness of social media; the financial crisis; tableaux of local alcoholism as well as caffeiene-fuelled delirium.  All of their subjects- whether concerned with inebriation or poverty are infused with nuance and memorability.  Their playing is tight and heavy; yet incorporated with softness and melody.  Here is a group that are going on to big things in 2014, and will be playing many gigs beyond London.  If the sound of their latest E.P. is anything to go by, then their crucible of monumental sound can genuinely challenge the musical cognoscenti and royalty.  I feel that the band market will fare well this year as a whole- if one subjugates and rejects the factions of mindless drones.  What I am more ambivalent and tentative towards is the fate of the solo market.  As I write this, Sam Smith has been crowned BBC's 'Sound of 2014' champion.  I was brought to Smith's shores by a friend of mine (Fran Galea) whom pay tribute to Smith's smooth and sensational voice.  His songs of unrequited love and longing are nothing new, yet the pivotal centrifuge certainly is: think of another vocalist whom has the same sound and effect.  Smith certainly has the vocal prowess to make an impact, and create many new fans- when his new E.P./album is released.  There is a sense of malaise in the back of my mind.  Not mentioning the fact that when the BBC proclaims something as the 'Sound of...' it seems to be a poisoned chalice; and a sure sign that act will be hated (they said that Jessie J was one of the best acts around for Christ's sake!).  There is a bigger anxiety lodged in the back of my mind.  When you think of solo acts, the only way that augmentation and longevity are achieved is through diversity, a restless mobility- as well as a palette that is multifarious and surprising.  I just feel that Smith will burn out all too soon.  His voice is his weapon of choice, and it will intoxicate over the course of an album (or maybe two).  I just feel that we have seen too many singers that have been proclaimed and lofted high- only to capitulate and fade away.  The only way Smith will see albums two, three (and beyond) is by stretching his voice; diversifying his themes and subjects; as well as making sure the accompanying sonic evocations are fresh and interchangeable.  As much as I have faith in Smith's ability, you know what: I don't think he will be popular in a few years.  I hope I am wrong, yet have seen (in my 30 years) all-too-many similar acts that have started with promise, only to recede into the annals of retrospection.  My reticence is vulnerable to disambiguation it is a real and clear warning.  If the solo sector is to produce acts that are capable of inspiring others as well as staying in the memory, then there needs to be a paradigm shift.  When I looks about the solo stars that have inspired me, I find that most of these icons are 'older' stars.  I am thinking of artists such as Bjork, Kate Bush, Michael Jackson, Bob Dylan and the like.  In the last decade or so there has been no one that has really measured up to the merits of the aforementioned: a disturbing and potent forewarning.  The above acts all have terrific and unique voices, yet they offer so much more.  Bush and Bjork have what can be described as a 'kookiness',  yet their compositions are diverse and wonderful.  They cover themes that deal with transcendence, afterlife, teenage love; human behaviour and horror are also included.  In their projections, they incorporate orchestras, strange sounds as well as organic beauty as well as having personalities that are hard to ignore.  Jackson was a prodigious and genius songwriter that was not content to stay still and rest on his laurels.  He had the intelligence to ensure that his sounds and mannerisms were going to be near-impossible to replicate and match.  The same can be seen with Dylan as well, whom (perhaps axiomatically) was- and is- one of the greatest lyricists ever to have lived.  These wonders are not unstoppable monsters of music- everyone can aim to their heights.  The point I am making is that all of these artists have more than just the voice to enthrall.  I shall leave aside the complicated issue of Mr. Smith, and conclude my opening thesis.  The solo realm is one of the toughest and most challenging arenas there is.  In order to maintain public focus and ensure future prosperity, then you cannot rely on a single facet (or even two) and think that you will have long-term success.  The band market will always be popular, and- in spite of the ineptitude often seen- the overall force, sound and range offered up supersedes that seen in the solo market.  I feel that this year can see a slight improvement in terms of the imbalance we see- but clear lessons need to be learned; vast carbon footprints need to be made in order to create new legends of song.

Perhaps offering some atonement and food for thought, is Alex Vargas.  I shall delve into our subject's biography and lineage a little further on, yet want to make one point now.  One of my biggest joys that I experienced (when reviewing new music) was the artists of Cuckoo Records.  I am in frequent communication with one of its founders, Phil Cass, and have had the pleasure of receiving emails from him- with tracks attached from a Cuckoo artist.  For those familiar with these pages, you will have encountered a few examples from this Leeds-based stable.  Last year I reviewed the likes of Little Violet and Cissie Redgwick.  These two stunning females brought something very unique to the table.  The duo incorporated swing and jazz elements into their music.  Aside from Caro Emerald, these sounds have not been heard much since the '40s and '50s.  It is perhaps no surprise that the tones of swing, electro-swing and jazz have remained in the past.  Many new artists have a sense of influence and history, yet few pay consideration to the past when thinking of their sound.  There is still a reliance on modern-day and the present tense, so I was excited and enthralled when reviewing two artists whom not only managed to reintroduce some wonderful sensations of past days, yet did so with so much conviction.  Annie Drury was another artists I featured last year.  Her tender yet powerful voice, coupled with stunning and impassioned compositions means that she has stuck in my mind firmly.  Johnnythefirth's '90s Detroit blues-rock-via-modern-day-Yorkshire blend was another striking firework that I was lucky enough to witness.  Throw in the majesties of Rose and the Howling North and Raglans, and you have a label that is offering up some of the best and brightest on offer.  Their solo artists are not contented to be like everyone else and commit as little diversity to tape as possible.  Past sounds are infused into the mix, and the overall sound is richer and more original as a consequence.  I am hoping to be working a lot more closely with Cuckoo Records this year, and am featuring one of their artists today.  Alex Vargas may be unfamiliar to most, yet he is a name that should be more commonplace as the year progresses.  The first thing one notices from looking at Vargas is that the man himself is very good-looking.  It is perhaps unsurprising that Vargas is a successful model; he is born with an aesthetic and look that is reminiscent of the old male screen icons- rather than the male solo artists of today.  In a society that is too focused on looks and beauty, it is maybe a mixed blessing for Vargas; the fact remains though: he has look that will see him on magazine covers and in the focus of the media.  For this reason, he perhaps will be one step ahead of many of his male contemporaries.  It is perhaps a facile merit (looks and beauty) when we think of music, yet it is a hard fact to ignore.  The man behind the exterior is not someone whom wants to rest on his laurels and have his looks do the talking.  His music and biography are going to be the sum total of his successes and triumphs.  Vargas is a 25-year-old born in Denmark.  He was born to an English mother and a Uruguayan father.  This rare genetic blending has influenced Vargas's mandates and his music has a similar bold and rare commingle.  In  pages of the music press, Vargas has been compared to the likes of Stevie Winwood and Robert Palmer- due to his soulful and bluesy vocal strike.  Beyond this, I am not too aware of Alex Vargas.  His music has been brought to my attention, yet when it comes to the man himself, the music is going to do most of the talking.  Vargas might want to rethink his social media output this year.  When it comes to new artists and bands, it is vital that social media is well represented.  It is always easier to review a group or act and learn more about them, when there is more information at hand.  Vargas's pages seem a little sparse at the moment, and I hope that more will be included as we go through 2014.  It would nice to gleam influences of our young idol; some snippets from his past, as well as some reviews as well.  These are perhaps minor quibbles, as the artist himself is impressive indeed.  After relocating to London at the age of 17, Vargas made immediate strides to make his name known.  Vargas began playing nightclubs and performed as widely and hard as possible.  Soon after, his debut and self-titled E.P. was released, which introduced the U.K. to the his unique sound.  Vargas formed the band Vagabond, and the group toured the U.K. throughout 2009- culminating in a prestigious slot at Glastonbury.  Once the band disbanded, Vargas perused his solo ambitions, keen to focus on a rawer sound.  Splitting his time between L.A. and London, our young protagonist has been putting together the movements and inspirations that has led to his latest work.  Howl is a 'extended E.P.'- it is an eight-track collection.  The Daily Telegraph have claimed that Vargas is a "stadium rock act in the making"; yet the songs within Howl are more tender, soulful and fascinating.  Vargas himself states that his songs are "for my loved ones, and some lost ones".  That statement could well have been an alternative title for the E.P., which deals with topics of loss, love and longing- all packaged and centred around Vargas's incredible vocal.  The aggregation of YouTube views, critical outpourings and personal history do not maketh the man: it is the sounds that he is putting out here and now that let you know all you need to know.  I have listened to the entirety of Howl and been left with a sense of relief and wonder.  I was expecting to hear something similar to everything else out there, but the fact of the matter is this: Vargas dares to be different; he dares to be himself.  When selecting a track to review, I was a little spoilt for choice, yet wanted to choose something that was a perfect distillation and representation of the E.P.  Lay Your Heart sets out Vargas's stall perfectly, and is an ideal starting place for anyone interested in pursuing the trajectory of the restless young artist.

From the opening seconds, impact is laid down and made.  Vargas's smooth and whispered voice enters the scene.  There is passion and tenderness as our hero promises his lover he'll "keep (you) warm".  Accompanied by a minimalist and evocative acoustic twinkle, Vargas creates a touching tapestry to a woman who is clearly very dear.  Whether Lay Your Heart concerns a present lover or a sweetheart of past days, is unsure, yet it is axiomatic that someone's soul has been captured.  When you think of Vargas and his voice, there are meditative undertones of Patrick Watson and Bon Iver.  In the same manner as these sensitive vocalists, Vargas combines a smoky timber with a chocolate-rich croon to create both warm and shivers.  When our hero speaks of scenes where "darkness roams your veins", the cohabitation of delicate guitar and whispered vocals are quite spellbinding.  Vargas clearly is someone keen to convey as much emotion as possible, and this is certainly achieved.  Whereas a lot of solo artists and acoustic flavours tend to portray a ponderous and lacklustre vocal, Vargas injects soul and sensitiveness into every note.  His music and projection has a lot in common with the acoustic masters of the '60s and '70s, and in a sense Lay Your Heart has an old-fashioned and classical backbone.  It is codified by imploring honesty, redemptiveness and innocence, and is a striking coda to a treasured darling.  When the line "Lay your heart on me" is repeated, the message and intention are forced into your brain.  The conviction and directness with which the line is delivered adds to the evocative gravity.  Our hero's lover has clearly been through an emotion ringer, and has a world-weary weight on her shoulders.  With some Bryter Layter-era Nick Drake romance at its heart, Vargas weaves tales and scenes of a dislocated woman in need of salvation, affection and happiness.  You are always simultaneously rooting for a satisfactory ending, as well as being caught up in the sedative lullaby.  There is never anything saccharine, cloying or heavy-handed about Vargas's lyrics: words are carefully chosen, personal and not subject to cliché.  Whilst tremulously calling through the fog, our hero is a man with a fortress heart- determined to find, salvage and keep ensconced his heroine within its impenetrable walls.  I admire the way Vargas lets his vocal and words say the most- the song is not cluttered or overwrought.  Perhaps strings or a slight piano line may have added an extra shiver, but perhaps not.  It is because the song is so captivating that this thought is dispelled and filed- what is on display does its thing with maximum potency.  The song's title is a pivotal and repeated interjection, and builds imagery and vivacity in your mind.  When you listen to Vargas's voice, you are not instantly drawn to another singer.  There are underpinnings of some modern-day singers and talents, yet one is never reminded too heavily of any particular examples.  In an era and scene where originality is something in danger of dying out, it is impressive that Vargas has not tried to package himself as a Ben Howard/Bon Iver/James Blake-like talent- although this is not to suggest that he is an inferior species.  Our man is doing his own thing and has had his own heartache and experience, and is keen to be recognised and respected in his own right.  Lay Your Heart clearly has its roots in personal episodes, yet our hero does not name the central beau: she is kept a mystery, yet everyone will have a clear idea of what she looks like and how the story progresses.  Towards the 2:00 marker, Vargas unleashes a delicate and gorgeous falsetto- holding onto the note and letting it soar into the stratosphere.  In a sense there are elementary shades of Buckley.  If you listen to songs such as Last Goodbye, Hallelujah and Calling You (from Live at Sin-e), then you are reminded of him.  It is an effective and mesmeric note, and one that is held, elongated, oscilated and stretched in all directions.  As well as being an impressive and rare vocal feat, it is also a potent and delicate kiss that says as much on its own as any of the lyrics before.  Once the note fades and a final acoustic line is delivered, the song comes down to fade- and our tale is told.  Brevity is one of the keys to its success, as everything is done and finished with in under two-and-a-half minutes.  In this way, there are no wasted words, overindulgence or blurred focus: everything that needs to be said is said in as little time as is needed.  An impressive achievement in its own right...

In a way there is no immediate media pressure or expectation resting on Vargas's shoulders.  Unlike a lot of solo stars of the moment, Vargas has managed to make music, perform his gigs and take his songs to his fans- without a huge media glare.  In a few months from now I am confident that there will be a lot more attention and expectation awaiting our hero, but for the moment there is enough room to breathe and maneuvers.  Lay your Heart is a short and stunning song from a talent that has a lot of musical years ahead of him.  Howl is an E.P. that  captures from the outside in.  The cover of the record is a striking and memorable image (depicting Vargas as a half-man half-bird hyrbid- an ironic contradiction on the E.P.'s title).   It is quite a rarity to have an E.P. out there that contains eight tracks.  In a sense is a mini-album, but whatever category you put it in, it is a triumph.  The song's titles are clear indication as to the content.  Winter Snow and Tears In The Water build their images and intentions splendidly, whilst How, Oxygen and Sweet Nothing are a stunning trio of songs.  Lay Your Heart is the swang-song to a collection of personal and effective songs, that deal with love, loss and personal heartache.  There is light and positivity nestling alongside introspection and reflection.  As Vargas said himself, the songs are as much paens and dedications as they are to lovers and friends lost, as they are testaments and declarations to sweethearts current.  I know I have been (perhaps) dismissive of the future-potential of Sam Smith and newer artists, I still acknowledge that they are stunning talents that deserve attention.  In Vargas there seems to be plenty to suggest that he can obtain durability and keen adore.  If he can sort out his official site and give us more of a glimpse into his influences, life and future tour dates, then it will draw in even more fans.  I know from his social media pages that Vargas has a lot of support and admiration.  Clearly his music connects to a great deal of people- from all around the globe.  It is hardly surprising that so many take Vargas's music to heart.  His songs speak to everyone, and are not excluding.  The themes contained across Howl will be relatable and familiar to many, meaning that the music is all-embracing and vote-winning.  Our idol is much more than good looks and charisma.  His music is stronger that his outer beauty, and the overall sum total is quite heady.  When thinking of Vargas, I think a little of Jeff Buckley.  As much as I despise the way that every reviewer compares a male singer to Jeff Buckley- assuming that a vague generic falsetto means they are good as Buckley- the fact remains that there are some slight similarities.  Vargas is not as strong a singer, but that is not to say that he shares nothing of Scotty Moorhead's D.N.A.  There is a similar moody pout when one sees photos of Vargas.  The way our hero delineate his heart and soul (and bare bones) is admirable, and the songs are constantly moving and mobile.  It is perhaps Vargas's voice that will gain the most frequent plaudits.  Many have stated that it is an instrument unlike any other.  It is a soulful and sexy weapon that is rare amongst white singers.  Vargas has familiarity with the soul legends of old, and provides inspiration to many others.  In a scene that is synonymous with voices which can implore but rarely overwhelm, it is impressive that Vargas does not take the easy way out.  It is still early days for the young man, yet Lay Your Heart shows enough muscle and soul to suggest that a long-term future is not beyond comprehension.  I hope that this year sees our young idol making plans for a fully-fledged album, as it would be interesting to expand Vargas's templates and themes over the course of 10 or 11 songs.  Within Howl we have an octet of impressions that document where Vargas is at the moment.  I have spent a little while now looking ahead to all the new releases this year.  In terms of the dominant order, I have not heard of too many impending releases.  There is doubt as to the plans of Radiohead and Blur- whether either will release an album.  The makers of the greatest albums of 2013 will possibly take a year off to record and plan, and all the new acts whim have made the biggest strides, will possibly be thinking along the same lines.  This leaves a large territory and chunk of real estate up for grabs.  Vargas is a macroscopic example of what direction the music of 2014 can take.  With many of the big boys and girls taking a brief sabbatical, there has never been a more opportune time with regards to vying for attention.  In my mind I am certain of some of the new acts that will be making big waves this year; yet there are spaces available for many more.  Diversity and difference need to by the bywords for this year, and in Vargas there is a distinct breaking away from the pre-defined 'norm.'.  Our hero has an original sound and a clear idea of where he wants to be.  He is not contended with just making a few songs and leaving it at that.  Vargas wants to break away from the artists whom offer diminished returns; instead set himself up as a mainstay whom provides rewarding dividends.  As I say, it is early days still, but these infant and embryonic steps are the ones that signal whether an act will walk, run or fall.  If Vargas can keep the pace going and offer enough range and diversity across future E.P.s  and albums, then we could be in for a real treat.   For now, divulge all within Howl, and absorb its words and meanings.  Our central figure is someone who wants as many people as possible to enjoy his music.  No matter what happens, he wants to make an impact.  As he says himself (In Lay Your Heart):

"IF ever you shed one single tear/My arms will meet you in need" .

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Follow Alex Vargas:

Official:

http://www.alexvargas.com/

Cuckoo Records:

http://www.cuckoorecords.com/artists/Alex-Vargas

Twitter:

https://twitter.com/_AVMUSIC_

Facebook:

https://www.facebook.com/alexvargasofficial

SoundCloud:

https://soundcloud.com/alexvargas

YouTube:

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

E.P. Review: Los and the Deadlines- PART ONE: BANK

E.P. REVIEW:

Los and the Deadlines

　

PART ONE: BANK

9.8/10.0

The E.P. PART ONE: BANK is available from

https://soundcloud.com/losandthedeadlines/sets/caffeine-ep/s-0QgfD

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A much-needed kick to combat the meteorological awfulness of winter; the London-based Los' boys return with a heady brew.  The E.P.'s title suggests potential follow-ups.  On the evidence of 'PART ONE...': I damn well hope so.

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THIS weekend is unusually busy for me, it seems....

as January seems to be the month that most new musicians are unleashing fresh attacks.  Over the last week or so, I have been featuring solo artists and wondering what sort of sounds are being presented over the first few days of 2014.  I guess it isn't surprising that there should be so much preparation and fervency so early on, as the first months of the year are the pivotal moments to release new music.  We have said goodbye to 2013 and are preparing ourselves for what this year holds.  I guess last year- in terms of new music- was synonymous with the band market.  There seemed to be a raft of fresh-faced groups rising through the ranks, all of whom were presenting their own tones and ideals.  In my previous blog posts, I have perhaps been a little critical or dismissive of the band market; it seems that a lack of originality or drive is being put out.  In 2013 I witnessed too many band whom were determined to be the 'next Arctic Monkeys'- unaware that we already have Arctic Monkeys- and they are far better than any band trying to mimic them.  It is admirable that certain bands enforce your creativity and inspire you, yet when preparing your own sounds, it is vital that enough individuality and difference is injected, so that the resultant music is original.  I feel that this year will see a revival in that sense, and welcome in groups that have a bit of flair and substance to them.  If you look at the mainstream, we have terrific bands whom are showing how it should done.  The likes of Arcade Fire, The National, Daft Punk and Queens of the Stone Age are just a few examples, yet between them offer a whole host of differing sounds, sights and sensations.  Too often I have encountered groups that feel that the only way for success is to live vicariously through other groups.  In a sense it could see short-term benefits, yet in the long-term they will be swiftly forgotten about.  Bands have the relief of having several member to not only shoulder some of the day-to-day burdens, yet provide creative input.  The solo act has to take everything on board themselves, and ensure that everything is in place and running smoothly- with little help from anyone else.  For that reason, it is essential that band music is as good as possible, as there are few excuses they can offer if it is no.  I have featured the likes of Crystal Seagulls recently; a London-based band whom have been making intrepid moves, and seem a sure-fire hit for the coming year.  One of the biggest focuses for me, when reviewing music, is the location of the associated act.  Most of my musings from 2013 featured bands from northern England, as well as Scotland.  I reviewed several groups from Europe and the U.S., yet when looking at the U.K., the majority of my focus has been primed to the northern climbs of the country.  I have often felt that there has been a glaring lack of new bands and artists emanating from London.  It is, after all, our capital, so stands to reason that there should at least be a fairly hefty chunk of new acts from here.  Bands from areas outside of the capital perhaps have more room to move.  There is a comparative lack of overcrowding, and perhaps this freedom does not stifle creativity.  It seems that whatever the reason is, there should be investigation, as I am sure that there are multitudes of new musicians (in London), all willing to make their mark.  I shall leave that point for now, and conclude with one final one: the lack of great rock bands.  From my reconnaissance of new music, I have been spectacle to some terrific acts- each of whom offer something unique.  The north of England has given soul, swing, pop and blues; the south coast has given up sunshine pop and metal, and within Europe and the U.S. I have heard disco, electro-pop and psychedelic.  Rock is perhaps the most populated of genres (in terms of the mainstream), yet I have heard few new acts that have made an impression in this sense.  Rock and hard rock are sides of music that intrinsically offer excitement, brutality as well as sex appeal.  Whereas lesser-known genres can provide intrigue, intelligence and something new, it is essential that the rock flame is kept alight.  As I mentioned, bands like Crystal Seagulls have been making great strides in this area, as well as Scottish band Universal Thee.  Elsewhere in the U.K., I have struggled hard to locate any similar acts at all.  Curioser and curioser!  Things in 2014 will see a shift away from this (deficit), as I am seeing a lot of new acts coming through- whom can offer solid rock templates.  The past year has seen too many vague and insipid pop acts; too many acoustic nobodies, as well as rambling noise and blurriness.  Focus is needed, and I feel that it is not only possible that we will see an overhaul of the current order, but a necessary remedy for the current malaise.

Arriving shotgun on the crest of the wave are the pioneering folk, Los and the Deadlines.  I have featured these brave boys once before, when summating their single Watch It Fall (http://musicmusingsandsuch.wordpress.com/2013/06/15/los-and-the-deadlines-watch-it-fall-track-review/)  This was my first exposure to the band, and I was left reeling slightly.  At the time of the review, I was a little suffocated and fatigued by workload, and felt that a lot of the acts I have reviewed before them lacked the necessary bite to stay in my memory.  When I had completed listening to Watch It Fall, I was left smiling, as it seemed that the chaps had confidence, boldness and a clear vision of where they want to be.  On their Facebook page, the group have defined themselves, thus: "With a gut-wrenching and heart pounding sound that has been called post-grunge and prog, Los and the Deadlines have become an indisputable rock band. Tongue-in-cheek observational lyrics, thrashing riffs, thumping rhythms and a healthy amount of reverb give you the Deadlines sound.  Their wittiness, chants and intense energy give Los and the Deadlines a very unique style that has had them compared to the likes of The Pixies, Queens of the Stone Age, Deftones and Tom Waits".  I can testify to everything written here, as thrash and thump are perfectly acceptable terms to describe Los and the Deadlines; they can cherry-pick words that stick in your brain, and there is energy and pomp in everything they do.  So far the band have a little under 1,500 fans on Facebook, and I am sure they will be in five figures come the end of this year.  Before I closely look at their music and trajectory, I shall introduce the guys to you.  Although the four-piece band are rooted in London, the members all emanate from separate quarters of the globe.  Our participants, are as defined:

Alex LoSardo- Vocals and Guitar
Niels Bakx - Guitar
Agostino Collura - Bass
Alberto Voglino - Drums

As you can detect from the names, there is international flair and curiosity to be found.  If one were to investigate the official site for the band, you can see that our quartet are a bearded brand of brothers, all looking like bona fide rock god.  First impressions makes you think about the likes of The Mars Volta and Foo Fighters.  From looks alone, you would imagine their sound to be heavy and hard, but with Latin and, perhaps Hispanic, oeuvres.  The boys are approachable and humble as well, and have down-to-earth and likeable personalities.  They are a band that are readymade for the mainstream, and are a refreshing break from the baby-faced bland bands that we are subjected to.  In terms of the influences the lads have, are Queens of the Stone Age and The Mars Volta.  These are two of my favourite bands- especially the former- and there is a slight tinge of U.S. stoner and psychedelic rock to be heard within their tapestries.  Foo Fighters, Tool and Rage Against The Machine are also counted as influences, as well as legends such as Tom Waits.  From surveying that list you may imagine that the sounds of Los' would only appeal and speak to fans of those acts- for those whom prefer their music raw and primal.  Like Q.O.T.S.A. and Foo Fighters the quartet have a great ear for melody, a knack for portraying and unfurling rock gems, as well as an amiable and fun-loving outer shell.  There is no harsh crust to be found with our boys: they are a band that admire their fans and are keen to welcome all.  At the moment they are building a steady fan base on Twitter, and are bringing their music as far and wide as possible.  Although the majority of their gigs- past and future- are centred in London, there is a need and desire from farer reaches, to hear the band's unique brand of wonder.  It is no coincidence that I have latched onto the band so strongly, as they have a sound that is familiar, yet striking and different enough to take your mind in several directions.  They have the guts and dynamism of the Mars Volta chaps; they have the stoner-rock hardness and punch of Queens'- as well as a rambunctious and brutal edge.  The latest E.P. from the four-piece is the peak of the last few months of hard work and effort the guys have put in.  It codifies, numerates and indemnifies their ambitions, directions and mandates, and is a huge and stunning statement.  It seems that the actual recording itself was completed very quickly; the band keen to make the record as fresh and urgent as possible.  There are no endless remixes and re-recording; the boys knew what they wanted their songs to sound like, and captured them hard and true.  You can hear this come through across the five tracks, and it is an E.P. that is edge-of-the-seat yet assured and filled with nuance and musicianship.  Before I get down to the business of the songs themselves, I will finish with a point about image and marketing.  One of the greatest things about the band, is that they have an impressive online portfolio.  Too many musicians tend to negate the importance of having an official website- feeling that social media outlets alone are enough.  In this age, where competition is fierce and multitudinous, it is crucial to ensure that as many people as possible can be made aware of your music.  Los and the Deadlines have a thorough and compressive spread across Twitter, Facebook and YouTube; yet have a stunning official website.  All the tour dates, reviews and biographical information is there, as well as video and photos of the boys in action- and in the studio.  If you look at the cover to the E.P. PART ONE: BANK, is the cover image that strikes you hardest.  In addition to the stylish lettering and background, the focal image is a skeletal figure, bedecked in a suit carrying a briefcase.  It appears to be a banker, yet one whom has been ravaged as is deathlike.  Whether it is a metaphor for the banking industry; the economic situation or the nature of professionals and their efficacy and ethics, it is not sure.  In the same way as bands such as Q.O.T.S.A. and The Mars Volta present stunning album covers with gothic and twisted imagery, Los and the Deadlines do likewise.  The E.P. cover seems like a mix between modern-day Pixies-cum-modern-day-Queens of the Stone Age.  Before you even hit 'play' there is fascination rustled up.  I am hoping that the title of the E.P.- PART ONE: BANK- suggest that we may be in for a trilogy of E.P.s perhaps with different themes or the continuation of a storyline.  Whatever the boys have in mind will be exciting to see, as they have a fresh momentum, and it seems that they have plenty of inspiration and determination to record new releases very soon.  I shall get to the songs, as they are the most important factor, but one thing is clear: the band have a clear objective of where they want to be, and how big they deserve to be in 2014.

From The Park Studios, Wembley via your brain comes the latest cut from Los and the Deadlines, PART ONE: BANK.  Having witnesses several of their previous steps, I was assured that I would love the new E.P.  I was not disappointed.  The track Familiar Faces kicks off the latest E.P.  Whereas their previous E.P. Metro Talk kicked you hard from the first seconds, here there is some laying-in and build-up.  Spiralling from an intro. that is trippy and hypnotic, we hear twangy and watery guitar splashes.  It is the sound of Doctor Who theme meets wild west soundtrack, as guitar layers subtly play off of one another.  After the brief sonic overview, our singer steps to the mic. slowly annotating: "I decided/To watch the news today".  LoSardo's voice takes its time to make sure the words are felt; he has a slight twang of Caleb Followill as well.  From what our frontman has seen, he is not liking the news.  Negativity and familiarity scenes are being witnessed, and each thought and line is trickled and slowly flows.  Before long, a spiralling and twirling guitar line starts to build, as you can sense explosion is imminent.  At the 1:17 mark we get the first glimpses of this potential as a percussive beat signals a mood shift.  As our hero watches the T.V. with "a million faces" the gravitational pull starts to suck you in.  All the band members unite and whip up a storm of emotion and tension.  LoSardo keeps his voice restrained and on-point as he surveys the scenes and carnage.   With "smiles glowing bright", the teeth come out as a punchy and snarly guitar riff is unleashed.  As the chorus comes into view, there is perhaps a hint of Foo Fighters to be detected in the undertones.  The same grit and slam that Grohl's crew pull out the back on every track is seen here, as the band rumble and pummel around a striking vocal line.  There is a quiet-loud dynamic demonstrated throughout.  After the rush of the chorus, the pace and electricity is dimmed down and a more sedate interval is presented.  Our hero "decided to read the paper" (perhaps to  take his mind off of the T.V.) backed with a chugging and bait-and-switch guitar lash.  When the chorus comes back around, its "smiles glowing brightly", a nifty grunge fragment is heard, reminiscent of Soundgarden's masterpiece Superunknown.  There is subtlety as well as force behind the band's projection; rumbling and kicking percussion and guitar arrives; it dies down, before coming back up again- creating a sonic rollercoaster.  Our hero's voice has a gravelly growl to it which adds gravitas to lyrics that concern lying media outlets, and the purposefulness of their propaganda.  Guitar rolls and percussive slams have an air of Foo Fighters, modern-day Queens' as well as R.A.T.M, yet at its heart it is very much the blood and D.N.A. of Los and the Deadlines.  As the track comes to its conclusion, percussion teases and tees guitars; guitars grumble and rumble as the chorus is reintroduced for its final curtain call.  The outro to Familiar Faces is one of the best I've heard in years, and is the perfect conclusion to an exhausting, exhilarating and potent opener.  How Will You Pose suggests that we may be allowed room for breath, as its intro begins life as a twinkling and funky parable.  There is a bit of disco-metal and a definite flamboyance to the intro., as the catchy and intoxicating spirals implore you to shake you head and tap you feet.  As our hero ponders: "How do you pose for pictures", your mind is very much seduced and mesmerised by the fleet-footed rush of the music- both psychotropic and cheeky.  Befittingly, the lyrics also contain sly grins.  Where as the opener concern the media and the depression of the news, here we are investigating social media; photos and 'friendships'.  LoSardo delivers a few words; pauses; delivers a few more and repeats: effectively ensuring that the words are heard, felt and delivered with the maximum acuity.  The subject of social media and all its inequities and vagrancy has been covered a few times in song, yet none as effectively and memorably as here.  The track as epic and anthemia pretentions, yet is covering a theme that breaks from the realms of anger, paranoia and dislocated love- instead infusing humour and vivacity into a topic we all can relate to.  The song is not an empty and soulless thrash; the band weave subtle guitar lines; time shifts and detours, ensuring that the fascination and energy levels are at a premium.  Bass and drum work are especially impressive.  The bass is taut and metronomic at times; striking and foreboding the next, whist the drumming is constantly mobile and captivating.  The combination of swampy and creepy guitar smashes tied with arpeggio intervals is particularly pleasing, and is one of the ace cards that the band so often play.  The chorus is again memorable and effective, and will lodge firmly in your head.  In a period where social media mendacity, and- for God's sake- 'selfies' are in vogue, it is a timely track, and one that perfectly denounces its purposelessness.  With an immediacy and a bracing beginning, This Is My Place is the antepenultimate track.  There is little build-up, as our frontman gets to work right off the bat.  Telling stories about tracking down bars to get "my first beer", themes shift to topics of a more personal nature.  The band are not your run-of-the-mill folk where every song is about love and relationships.  Stories and tangible imagery is offered in every track, and one imagines LoSardo cruising the streets and swaggering from bar to bar, perhaps with a cigarette lodged behind one of his ears.  Again the vocal projection is key, with words carefully enunciated, ensuring that they do not get buried beneath the rush of the composition.  As we hear of lonely street corners, and fakery, I am reminded slightly of Steely Dan.  There is almost jazz-like noodling and curious little avenues of sound explored, as the consciousness of Becker and Fagen circa-Pretzel Logic can be found.  A compliable ear for poetry and descriptiveness is detectable as well, whilst the combined elements from each in the band entwine spectacularly.  Again there are interchangeable shifts, and quieter moments and headier pulses sit alongside one another.  Our hero has found his 'local', where he says he can "spend my days".  In a bar where the guys make no sense and the girls have nothing to say, the clientele seem to be wasters; yet the benefits of "free drinks" seems to cancel out the negatives.  Again, the band are keen to tell a story and display their humorous side.  You imagine yourself in this bar- whether it is in London or elsewhere- and get a real sense of the scenes, sights and smells that our frontman is 'enjoying'.  There seems to be a sense of Americana and a real U.S. twang, not only to the vocals, but also to the overall sound.  You cannot detect any clear influence (it is very much Los' at work), but there is a Country-cum-Blues flavour to the track.  Everything here is more relaxed and hazy- appropriate given the song's themes.  LoSardo's vocals are powerful throughout, and he has quite a powerful set of pipes on him.  The rest of the band also contributes vocals to create a great sing-along merriment- the boys are getting their drink on and safely ensconced within their local watering hole.  Again Q.O.T.S.A. guitar majesty nestles alongside some Steely-esque moments.  It is another track which keeps the pace and lightning striking hard, and yet another huge song.  Our fourth example is Caffeine, and (perhaps fittingly) begins with a striking drum beat.  The percussive smash sets up another twirling and intriguing guitar passage,   The vocal energy is more breathless and rapid-fire as the syncopated spit dispenses words at a hurricane force rate.  The listener is sucked in and barely has time to comprehend or take in what is being said; as though our frontman has just finished his 100th espresso.  I noticed some flecks of Grohl in the vocals- as well as the drumming- and our frontman has similar roar and passion.  As he sings "How I want you/How I need you" with reckless abandon, it is a paen and love note to an intoxicating muse.  Whether there is subtext concerning a relationship or sweetheart I am not sure, yet it is clear that the drug of choice may not necessarily concern love.  The song provides a nice change of pace from the previous three, and the headiness and rapidity is an unexpected treat.  The band sound like they are having the time their lives and the simpatico and tightness of all four is impressive indeed.  It is sure to be a live staple, and a track that has 'single' written all over it.  After a sojourn of contemplating and relaxation, a furious and brutal guitar squall comes to the fore; backed by mighty percussion and bass.  This blends and flows into the chorus, which stands out as one of the catchiest of the E.P.  Kudos goes to Alberto Voglino, whose arms must have been hanging off by the end of the track.  He is a veritable percussive octopus; able to sustain a psychotic drumroll and not lose any pace or momentum.  The percussion is tremendous and has a little of No One Knows, mixed with some Mars Volta magic.  It is a facet that brings the track to a conclusion, and leaves the hungry listener, salivating, sweating and watery-eyed.  The swansong is Standing In The Bank, and perhaps the biggest indication as to the E.P. title's meaning and derivation.  Our protagonist has a few coins and notes as he stands in the bank; the lines are again carefully delivered, yet fast and filled with potency.  There are hallmarks of Mars Volta and something more progressive at work.  Guitar shades are at once striking and punctuating, and the next transform into something noodling and cascading.  There is definitely some overt anger and anxiety at work, as tales of extortion and twisted scenes give the impression of a young man- and young band- angry with the state of things.  The guitars are almost struck sarcastically (such as Jonny Greenwood did during Radiohead's Creep); our hero bitterly volleying his lyrics.  One suspects that there was a smile on LoSardo's face as he spins lines about waiting three minutes to be seen, a bank employee asking "How do you do?  What can we do?  How much you got?".  It is clear that disaffection and regret enforce a lot of the lyrics.  Our frontman only has "five bucks", yet has to fill in forms and wait to be seen; seemingly waiting to be screwed over and disappointed.  It is another song which takes unusual and unheard-of subjects, and gives them a humorous and fascinating interpretation.  As the song's title is bellowed and yelled, one gets the sense that our boys have heard and seen too much, and reached the end of their tethers.  The song fades down, and the themes and images presented during Standing In The Bank, may hint at what- a possible- E.P. number 2 holds.  As the final song reaches its end, you are left to wonder and ponder what has been heard.  We have heard everything from the functionalities of social media; the addictiveness of caffeine as well as the financial sector and dingy, but homely, bars.  The band cover a wide spectrum and a lot of ground but rarely speak of love or break-up.  Whether this indicates happy hearts or an intelligent break away from well-worn subjects is unclear, but I am impressed hugely by what I have heard.  The originality of the songs' themes is only bettered by the forcefulness and effectiveness of the band themselves.  The playing is exemplary and mesmeric throughout, and the pace never lets up.  The percussion, drums and bass change shape and nature constantly, which keeps you on your toes and pulls your brain in several directions.  The vocals are strong and considered and the delivery throughout is clear and concise; containing both primal energy and coolly-detached affectation.  The boys are tight and taut throughout and although there are five tracks and a running time of over 20 minutes, there is never a sense of overfeeding or bloating.  By the end you are keen for more, and I for one are already champing at the bit for more music from our bold quartet.

Well, then.  Sorry the review has been so long and elongated, but Los and the Deadlines are a band that have inspired me to write at length.  This year is going to be one of the toughest ever for new acts, and it is no exaggeration that our London boys will be amongst the most celebrated come the end of the year.  They have wisely released the E.P. early on, keen to make a big impression as soon as they can.  From here they will have the impetus and momentum to take these new songs on the road- around the U.K. as well as London.  I am hoping that foreign nations will call, and their sound has a universal appeal that can see them as firm favourites across the U.S., Australia, northern Europe as well as Asia.  It is evident that the guys will be in demand this year.  The guys have gigs already booked for several dates this year, and they will be a firm fixture across London.  The songs within PART ONE: BANK show a restless and ambitious band at their peak.  The kinship and interplay between the boys is brilliant, and there are no cracks or gaps to be heard.  They blend their individual parts effortlessly and are a tight and powerful group.  The solo acts of this year will have their hands full, but will have to work hard to make impacts on the scene.  When it comes to bands and groups, there is a different struggle that faces them.  In terms of creative input, there is perhaps less of a struggle, but when it comes to originality and competition, each new act should be wary.  With the augmentation and swelling of the band market, there are a huge number of participants all trying to grab a commercial foothold.  Several are genuinely worthy and merit-worthy; yet so many seem to be insipid and unfocused.  The reason that so many are buried and cremated at an embryonic stage, is that the sounds they proffer are well-trodden and overused.  I have an inner radar for predicting a band's lifespan and future prosperity.  Given everything I know about the Los and the Deadlines chaps, the future will be rosy.  At present, they are keen to see how the E.P. does and get it heard as far and wide as they can.  I am sure that an album will be in the back of the group's minds, and they will have their eyes trained with a wide focus.  It is paramount that we celebrate and promote the genuinely brilliant (and separate them from the chaff).  Alex, Niels, Agostino and Alberto should be proud of what they achieve and have no fear about the future.  Their sound is the kind that could feature on BBC Radio 6, XFM and Absolute Radio- the mostly respectable stations for great new music.  New music is inexpensive and widely-available, so if you do not do anything else in the coming week, I would implore you to seek out the E.P.  If you are a fan of the type of music Los' plays it will appeal; but those whom are not usually affiliated with such, will also find much to recommend.  As I stated, the boys have a friendly and sunshine exterior, and are gentlemen of rock.  Their rich influences can be heard and they deftly weave classic majesty, fresh urgency- and top it off with a liberal dollop of smile, panache and ubiquity.  They may have come from different nations, and may be based out of London; but the band should get used to a busy itinerary with a gilded and multifarious travelogue.  Their stock will rise, and fans from around the world will become inoculated to the sparks and slams that the chaps portray.  There will be uncertainty in the coming year- in terms of what is going to be favoured- yet one thing is clear about the future-success of the quartet:

IT is money in the bank.

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Follow Los and the Deadlines:

Official:

http://www.losandthedeadlines.com/

Twitter:

https://twitter.com/LosDeadlines

Facebook:

https://www.facebook.com/losandthedeadlines

SoundCloud:

https://soundcloud.com/losandthedeadlines

YouTube:

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

Single Review: Harts- Leavn It All Behind.

TRACK REVIEW:

Harts

Leavn It All Behind

9.3/10.0

Leavn It All Behind is available from

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

The E.P. Offtime is available via iTunes:

https://itunes.apple.com/au/album/offtime-ep/id606792953

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Bedroom D.I.Y. wonder from a young Australian you may never have heard of.  This year- and his latest E.P.- will soon correct that.

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IT is still the embryonic stages of January, yet I am still constantly being told....

'Happy new year'.  It seems odd, being that it is the 4th January.  I guess it is hard transitioning from one year to the other- it takes a while to get seated in and relaxed.  That being said, it has struck a chord in my mind.  Subconsciously, my mind and perception is still asleep in 2013- and seems determined to have a bit of a lie-in.  As I reflect back on the previous year, I have been trying to word a single word that best sums up the musical output.  It has been a hard brainstorming session, yet the distillation and boiling point comes down to the single term: variable.  I have been thrilled by some songs and albums- disappointed by others.  For my money the top three albums of 2013 were produced by Queens of the Stone Age (...Like Clockwork); The National (Trouble Will Find Me) and Laura Marling (Once I Was An Eagle).  I have mentioned these three disparate acts regularly (loyal readers will pay testament to that fact).  Queens of the Stone Age (in no small sense) represent the epitome and embodiment of what music should be: primal, ever-changing yet comforting.  The Homme-led band befuddled critics when they released Era Vulgaris back in 2007.  It was seen as a step back- by many critics- and there seemed to be an unhealthy amount of filler on the disc.  It is no surprise that the album didn't fare as well as many expected.  The band had barely stopped recording since there inception, and had witnessed many fractious moments- including the sacking of their long-time bassist Nick Oliveri.  A sense of fatigue mandated the sounds on Era Vulgaris, and there was perhaps an inclination that Homme was experimenting in the wrong direction.  Wind forwards a few years and after a tumultuous period which saw Josh Homme almost die (after complications incurred during a back operation) and slump into a depression, something incredible happened.  Homme had never stopped recording music but there was a notable absence felt.  ...Like Clockwork was a triumph, not just because it was such a surprise, but strangely because of this: it was as good as everyone expected it to be.  Critics were stunned because they had written the band off almost- after Era'- and were not expecting such a firestorm of creativity.  I- the loyal fan- was not shocked at all.  The album (...Like Clockwork) is one of the few albums I have heard with no filler.  It is a solid and surprising set of songs that constantly causes me to smile and sing along.  The National and Laura Marling are artists whom have not missed a step during their prodigious trajectory.  The former- U.S. giants and kings of intellectual introspection- showed how consistent they are as a band.  They did not alter their paradigm or aesthete- instead merely keeping the quality high and keeping true to their own voice.  I have high hopes that The National will be thinking of their new L.P. and I am sure that it will be as wonderful as Trouble Will Find Me.  Laura Marling is an artists whom has always bowled me over.  She seems publicity-shy to the point of non-existence, which I find mesmeric.  In an age where media whores and attention-seekers are synonymous and rife, it is a refreshing breeze we have in Marling.  She relocated to L.A. last year, yet found it to be a source of new inspiartion.  Her album, Once I Was An Eagle, showcased her incredible and thought-provoking lyrics; her captivating voice and wonderful sonic templates.  My point is, that the best and brightest moments of 2013 were turned in by established acts.  My favourite song was Reflektor by Arcade Fire.  These Canadians have been on the scene many a year, and although their Reflektor album was not up to their usual standard, the title track was a glorious and fever dream of a track.  As I scope around and cast back, I am struggling to find a 'new' act or band whom matched the highs of the aforementioned.  In my near-weekly role as loquacious reviewer, I have scribbled furiously about new music.  I have focused on the likes of Issimo, Universal Thee, Emily Kay, Chess and Ryan Wilcox: all of whom are fledgling; yet all capable of huge success.  By featuring on new acts, I have been giving pause for thought.  When I reviewed Lydia Baylis I was struck at how mature and professional her tracks were- she seemed like she was born to record music.  The range and nature of the music (from the new acts) has excited me greatly.  It is vital that established and legendary acts are keeping the bar raised high- they deserve the attention given the rather fickle and dangerous lack of attention span many music-lovers have.  For my liking there has been too few new acts that have bustled and hustled the top dogs.  I am confident- I say it every year- that this year will see a redress.  With the likes of Baylis et al. we are witnessing a prosperous baby boom, and seeing some future stars in our midst.  The male solo realm has been one that has been a bit... quiet, for my liking.  Most of my new act feature-ees have been bands or female solo acts, and I have often struggled to find too many male idols.  I have often alluded to the fact- and will not bore you again- that the solo market is the hardest to crack- as there are so many participants.  Historically, bands have always dominated airplay and attention, yet it is vital that solo acts are given fair due, in order for one to break from homogenisation.  As much as I love to proffer and provide adulation to home-grown talents, 2013 was a year which brought many international flavours into the boiling pot.  In all my reviews, I only once encountered this phenomenon: an Australian male solo artist.

A while back I reviewed Joe McKee.  Although- technically speaking- raised in the U.K., McKee is Australian-raised, and his inspiration and voice emanated from here.  I know that there are artists such as Matt Corby doing great things, yet I have not heard of too many other Australian solo acts.  Being a T.V.-glaring rube, most of my exposure to Australian music comes via Home and Away.  In spite of it being an awesome show, Home and Away always features some great Aussie acts- although most are either bands or female solo acts.  When one wants to track down Australian flair- outside of Summer Bay- then the task is almost insurmountable.  I have often criticised music media with being lazy as well as too narrow in their focus, though occasionally they get off their arses and point people in prosperous directions.  When browsing Paul Lester's 'New band of the day' feature in The Guardian, I was brought to the attention of Harts.  Paul Lester is a critic and reviewer I have been somewhat ambivalent towards in the past- he often seems to be dismissive of great acts; sycophantic of mediocre ones.  When reading his feature on Harts, he seemed to be right on the money.  Many here in the U.K. will not be familiar with today's act, and it is high-time that the media (and social media) corrects the imbalance and poor communication links (which have caused this issue).  Harts' lone star is one Darren Hart- an exceptional talent to watch.  The young man has garnered comparisons with the purple pocket rocket that is Prince; due to many distinct reasons.  Prince is an artist whom is a multi-instrumentalist; a producer and songwriter; spellbinding singer, and icon.  Prince's ethos seems to rotate around doing as much work as possible, and having as few people contributing- or watering down- to his majesty.  Hart is a similarly-ambitious prospect.  In an era where homemade recording is not only an affordable option, but also a preferable one (for many), Hart is the poster boy for the bedroom musician.  All of the sounds that you will hear on his E.P. (as well as Leavn It All Behind) were created by Hart.  Disco and funk sparks have been heard seldom over the past year.  I guess one can say that Daft Punk's Get Lucky was a 'disco song'- albeit in a very modern sense.  There has not been a true reappropriation and recapitulation of the disco era, since its untimely demise.  Acts whom dare to assimilate and integrate disco spikes into their palette are few and far between, yet Hart is determined to bring it back.  It is made all the more impressive given that he is a 19-year-old.  I have always hated the way that many fixate on age- feeling that achieve greatness young is more impressive than if you were older.  My wonder stems from the fact that a teenage Australian would not necessarily indoctrinated to the splendours of '70s disco.  As a 30-year-old I was raised on a diet of The Beatles, Led Zeppelin and Bob Dylan: the geniuses of the '60s and '70s.  Funk and disco were background noises to me, and it seems that a natural death had been achieved somewhere around the 1980s.  Hart is not somewhat whom lazily parodies and mimics the templates of the disco acts of old.  As well as skilfully updating the funk and disco tracks of the '70s, he manages to modernise the overall sound by adding enough guitar to make it appeal to the pop and rock lover.  It is not funk-rock, mind, yet more of a neo-disco-cum-modern-funk-co-efficiency.  Before I get down to business, let me give you a little biography on the Australian boy-wonder.  Darren Hart was born in Melbourne in 1992, and was exposed to a wide array of musical styles as a child.  One can detect romanticism, funk, rock, soul and blues within his tracks, and this sense of diversity was enforced from a young age.  Hart cut his first track, Back To The Shire, back in 2010- and it is a track which pricked many an ear.  In the months between 2010 and 2012, Hart was busy working on his debut E.P.  Although Offtime has been in the ether for over a year, it is little-known on these shores.  The five track set shows a young man whom is restless and pioneering, and it is no surprise that a whirlwind of praise blew his way.  The likes of The Brag, The Dwarf and Concert Blogger paid tribute to the E.P., seeing it as a revolutionary indie-rock wonder; a rival to early-Prince; as well as being a near-masterpiece of bedroom-crafted brilliance.  Something disturbing has been happening in Hart's native land.  For some reason, many Australian radio stations overlooked the E.P.- and continue to overlook Hart now.  From a nation that provides few of the all-time greats of music, it is worrying that such a talent is being subjugated and supressed.  The likes of BBC Radio 6 have provided international relief, yet the simple fact is this: why the hell are Australian outlets being so distant?  The Mars Volta praised Hart's ear for melody; Triple J praised the "one man music machine" of a talent, and many others have been similarly impressed.  His E.P. may have been given slight attention, but the new single Leavn It All Behind is being filtered into the international consciousness.  I am hoping that the attention the new single will receive, will also help gain retrospective acclaim for the E.P.- as there are some fantastic songs contained within.  With all this information to hand- as well as a newfound respect for Hart- I settled down to survey the single, and was staggered by the results.

The first thing that one notices about Leavn It All Behind, is that Hart gets off to the races immediately.  As the pummelling, industrial beat slams into the frame, I am reminded of the intro. to Michael Jackson's Dangerous, and especially She Drives Me Wild.  The beat teases and stutters, before swings its fists wildly.  There is the same melodic swing of Bill Withers' Lovely Day as there is in the initial seconds of the intro.  Strum und Drang as well as funk and dance byplay, and your head is taken into a different direction.  Feet will be tapping, and there is a great excitement that Harts unveils.  Electric guitar shreds and moans with glee, and there is a gratifying sexual edge to its sound.  In that sense, one can draw some comparisons with Purple Rain-era Prince.  Above all, the sense of personality and individuality are present early on.  Although Harts has some clear influences, there is never a sense of tribute at all.  As the steady but noticeable drumbeat mingles with the taut and salacious guitar, it is impossible not to be drawn in and intoxicated.  The pace drops down slightly to make way for the first vocal snippets.  The early themes concern defiance and personal strength ("Can't take me for a fool").  The track deals with moving on and finding a new personal space.  Its author has stated that the track was inspired by a messy break-up.  It is not clear whether the break-up was with a partner, or something less ephemeral.  Hart used to be under the employ of Island Records, but the association was broken before the recording of the track.  Whether the uneasiness (yet positivity) of the lyrics are an assessment during the wake of the break-up, is unsure.  Hart contests that Leavn It All Behind concerns "walking away from broken promises, propaganda and people leading you on".  It is something that everyone can relate to, and from a personal perspective it is something I can emphasise with (being associated with certain people whom take and never give).  Break-ups or cessation of relations often inspire some of the most ambitious and wonderful songs, and it seems that the experience- whether truly positive or not- has propelled the lustre within.  As Hart talks about being "kicked around too long" a lascivious and groaning guitar wail tees it up; our hero light and sweet of voice as he delivers the line.  It is clear that Hart has a clear knack for conveying emotion- be it sonic or literal- as he expertly blends funky guitar with traditional disco ethos.  Hart has a voice that is capable of agile and soothing falsetto, but for the most part, is a silkier and darker vocal.  The star of the show is very much THE SONG, and it is the swirling and entrancing sonic wind nestles beautifully with the restrained but effective vocal.  The song's title is repeated and looped to great effect, and although our hero has been taken for a fool for "far too long", there is no sense of the maudlin.  Uprising, moving on and independence are very much a holy trinity; there is plenty of guts on display.  Hart does not want to fight, instead just get out of where he is and move on.  With every fresh injection of electric guitar bliss comes a fresh revelation.  In the same way that Michael Jackson's Dangerous dealt with being taken for a fool; having his heart broken; self-recrimination, Hart also carries a certain burden.  Jackson dealt with these anxieties with aplomb; injecting plenty of menace and force into his tracks, demonstrably showing how no one would get in his way.  Hart wears his name on his sleeve, yet has a comparable grit and determination.  Our hero does not alienate the listener and hide in the shadows.  Fun and energy are ever-present and one is so engrossed in the aural bliss that you never get the sense of any doubts or anger.  When the line "Are you with me for the ride?" is repeated many times, once again one is sucked in and won over.  The author wants the listener to go with him; to share a similar sense of rebirth; to wander and wonder.  Whereas most songs address- or are concerned with- a sweetheart or embittered ex, Leavn It All Behind is much more all-inclusive and utilitarian.  It is a song that everyone can relate to, and one that speaks to all.  At the mid-point of the song, Hart once again flexes his shredding hand, displaying a menacing and impressive talent.  It should come as no surprise that Hart is so adept when it comes to instrumentation and force, yet it is surprising that one man can do so much.  There is no extraneous input or divisive voice that our hero has to contend with.  His music is very much his own vision and by having pure control, the resultant sound is much more liberated and joyous.  If your brain has not been blown by the incredible solo that defines the middle point of the song, then the second half certainly will.  With little vocalisation, the initial stages of the song's second half concerns keeping the sonic intrigue high.  Hart softens the mood and temporises the electricity, slightly.  At the back is the persistent and unquenchable electronic and disco funk; whereas up front is a more delicate and rhythmic electric guitar coda.  The lyrical themes do not stray from the pulpit too much, and Hart is very much on the path of 'telling it like it is'.  The centre message and epicentre of the song is this: our hero has been taken for a fool for too long, and wants things to change.  Hart says that he "Don't want to fight"; simply he wants to forget the past and go onto a better life.  Hart is quite an oddity, given his age.  Whereas most teenagers and young men are concerned with the vicissitudes of city life; the tempestuous nature of love (and banal pondering), Hart is much more mature and original in his approach.  Sure, he writes songs about love and introspection, but is much more concerned with positivity and personal growth.  There is a great intelligence and sense of nuance within Leavn It All Behind.  High and low-pitched vocal weave into one another; subtle beats and squally guitar blend seamlessly, and the light and dark shades combine to create a harmonious whole.  The track is never cluttered or too jam-packed; instead the minimal amount of sounds are infused to create the maximum profitability.  As the song dies down after six minutes, you are left exhilarated and slightly exhausted by what you have just heard.

We are a mere four days into 2014, yet artists like Hart give me ammunition to get really excited by what is to come.  I have said that Queens of the Stone Age's latest L.P. is my favourite from last year (there was no close competition at all), and rightfully so.  Established acts such as Q.O.T.S.A. have the momentum, the experience, and most importantly, the public backing that leads to terrific albums.  There is little sense of nervousness or unpredictability when they put out their music.  There will always be ears and eyes trained to their shore, and they will always have a huge fan base and market.  The fate for the brand new artist is less assured.  I guess this is why there is a little more of the tentative when it comes to making huge impressions.  They need to slow build and be cautious when presenting themselves.  As there as so many new acts around, it is incredibly difficult to forge ahead early on.  In spite of this, the first steps are crucial if one is not only wanting to survive, but also be assured of longevity.  Too many artists are content to just be 'like everyone else' or be safe and conservative with their sound.  It is a necessity that as many people as possible make music and get out there, yet if you are presenting beige and mediocre acoustic sounds, or generic and unspectacular guitar sounds, chances are you will be buried without a trace soon enough.  Music is fickle, but it is an industry that should solely reward the most deserving and the most talented.  I am hoping that 2014 will see a shift away from the talent cretins; the propagation of twee-voiced acoustic dullards and the plastic pop muppets.  In some way there needs to be a cull and extermination of the lesser orders and the weakest of the species.  When this occurs, it clears space and gives room for artists such as Harts to breathe.  I have been wondering why Hart and his music has not been widely played until now.  His homeland has shamefully neglected its charm, and more fool them.  The music industry in Australia is quiet compared to that in the U.K. and U.S. and the quality is no higher than it is here.  For that reason, the country should rue their folly and eat humble pie.  Because there is a near-fatal kink in the chain, it has meant that Harts has had to be discovered, almost by happenstance.  With Leavn It All Behind, I hope that people will listen up and take notice.  The track is a bold and brilliant statement from a young talent whom has the skill and personality to stick around for years- or decades- to come.  In his blog during a post (dated 29th December, 2013), Hart thanked his fans and their "belief" in him.  Mingling alongside the thanks and profuse admiration he has for his supporters, Hart also enjoyed late-night McDonalds, pizza and episodes of The Simpsons (after gigs), as well as the praise he has received concerning his guitar playing.  Here is a man whom is clearly down-to-earth and humble, and someone whom you could share a beer with and have a chat with, too.  There is no pretention or sense of aloofness to him; instead Hart is someone keen to embrace his fans- old and new- and get his music heard as far and wide as possible.  I have been infuriated by too much praise being heaped on too many new acts, whom are too undeserving.  Although the older guard have dominated the end-of-year polls, there is a necessity for newer acts to be braver and more daring with regards to their music.  As soon as we cut out the crap and mundane core of new music- consisting of one-note performers- and celebrate the most talented, then the overall situation will improve.  Darren Hart's unique blend of Hindi-cum-Prince psychedelic disco-funk is something of a rarity.  Last year I focused on a couple of acts based out of Sweden, whom are putting out the same sort of disco ambition.  In those cases, I was impressed by the distinct sound and heady swirl that they projected; yet none of the acts measure up to Harts' brilliance.  Our 19-year-old has many years ahead of him, and it will be fascinating to see what sound he adopts for future E.P.s and albums.  I hope that he does not abandon his unique template (in favour of something much more common), as he has a sound and punch that is going to be hard to match.  As I stated earlier, all of the sounds and input you hear in the track were made by Hart himself.  The entirety of the Offtime E.P. is the man in his bedroom, on his own, making music that he wants to make.  For all the studio-based bands whom spend too much time and money on something unimpressive, artists such as Harts should be applauded for their way of life.  On the evidence here, many new artists will be inspired to make sounds from the comfort of their room; up their game and concentrate their efforts, as well as create songs that are outside of their comfort zone.  During a month that so far has been dominated to horrible weather and a harsh winter, we all need- and deserve- sunshine and happiness.  Keep Harts on your mind and spin his music as much as possible, as it is clear that he will be a huge fixture in the coming months.  Whether Australia gives him due attention and focus or not is another thing, yet Hart will have a welcoming home in the U.K. (or U.S.) should he choose.  London and major cities have hungry audiences waiting to clasp artists such as this to their bosom, and I hope that Harts plays the U.K. real soon.  Whether 2014 sees a new E.P. or album, or a series of singles is unclear, yet it seems that our hero is determined and excited to get started.  Leavn It All Behind is a perfect indication of what could be forthcoming, and Offtime is readily available- to show where the young man has come from.  If you are searching around for a new act to get excited about, and become in awe of, then you could do no wrong with Harts.  The music is axiomatically top-drawer, and the man behind the music is an idol readymade for a dissolution and stuck-in-a-rut generation, as he provides a fresh lease of life.  Whatever happens in the coming months, with regards to future releases, or gig schedule, one thing is for sure about Darren Hart:

HE is someone you will be hearing a lot more from in the coming year.

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Follow Harts:

Official:

http://www.hartsmusic.com/

Twitter:

https://twitter.com/harts_

Facebook:

https://www.facebook.com/Hartsmusic

SoundCloud:

https://soundcloud.com/hartsmusic

YouTube:

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