Victoria Coghlan and Luke Oldfield fuse beautiful soundscapes and multiple genres to create a dreamy blend. Their inaugural L.P. is guaranteed to blow away the cobwebs and inspire the mind- as well as linger long in the memory.

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MUSIC duos are a dynamic that are somewhat rare (in the modern scene).

Historically, there have been a fair few ply their trade, yet few that remain the memory. To my mind, the greatest of all time is The White Stripes. Having seen the band at Alexandra Palace (after the release of Get Behind Me Satan), I can pay testament to just how incredible they are (live). In fact, as I type- their greatest album- White Blood Cells is spinning. It is an album that never fails to amaze me; each song seems to reveal a new treasure or secret- it is a work filled with nuance and timeless joy. The White Stripes worked so well, because of the bond between Jack and Meg. Being formerly married (they perpetrated the ruse that they were brother and sister- to avoid press intrusion and gossip), there was a natural combination of intuition and conflict; a sense of loyalty, understanding and parabond. The Detroit twosome's third album was not only a leap forward; it retained their core sound but augmented it emphatically- as well as signified a spectral and qualitative move forward for music at the time. During 2001, music was transitioning from the decline and burial of 'Brtipop'; changes were taking place, and people were looking around for new and inspiring sounds. White Blood Cells is a 16-track collection of near-impecable genius. Aside from the odd track (I find We're Going to Be Friends a bit too saccharine and slight), I am stunned at just how phenomenal the album is. No band today would have the nerve to record tracks like Aluminium or Little Room; few could match the contrasting brilliance of Hotel Yorba and Fell in Love with a Girl- tracks I Can Learn and I Can't Wait will not help but grow and reveal their charms. Of course, the duo went on to create three more brilliant and fascinating albums (before they dissolved in 2011). We all know that Jack White has gone on to work with The Raconteurs and The Dead Weather (as well as a solo act); yet I feel that he was at his strongest as part of a duo. Aside from the defunct Michigan band, the likes of Simon & Garfunkel, Daft Punk, Steely Dan and The Carpenters have all made their marks on the music world. If the chemistry is right, then the music made can exceed expectations; inspire generations- and transcend the sounds of solo artists and bands. Aside from Daft Punk, most of the all-time great duos have succumbed to entropy. When looking around in the modern scene, there is plenty of evidence to suggest that worthy successor are rising through. Ohio's The Black Keys are a Garage/Blues riot whom are leading the second wave (of Garage music), and are one of the best acts on the scenes. More than mere White Stripes appropriators, the bond of Dan Auerbach and Patrick Carney has enforced some incredible sounds- which has seen them scoop their fair share of Grammy Awards. You can tell by my list of duos, that none emanate from the U.K. Traditionally, our nation has always favoured (and promoted) solo and band music- we have not spurned our fair share of duos. The scene is changing, and a resurgence is occurring. Recently I reviewed (which they ignored) Royal Blood; a Brighton outfit making serious waves. Reviewer bitterness aside, I find their music to be some of the strongest of the moment. BBC are tipping them as one of their acts to watch, and their White Stripes-cum-Queens of the Stone Age Rawk riot, is something we will all be hearing a lot more of (this year). Australian/Swedish sister duo Say Lou Lou (another act I have surveyed), their "organic ethereal music landscapes with flowing instruments and vocals" have captured a multitude of minds and ears. As well as U.S./U.K. wonders The Kills, we have Brighton's own Blood Red Shoes- two distinct acts with a boy-girl dynamic. I raise the discussion, because I am always on the look out for new and different music; with an original componency- where the bond of the musicians is solid and creatively conducive. As much as I love featuring solo acts, you are always looking at the one person; shining the spotlight on the output of a sole human being- songs formed by that one individual. With bands (as there are usually four or five members), it is often more about the music- rather than the bonds. With music duos, you not only get to witness a (ersatz or real) relationship at work, but also the people behind. The band market has enjoyed an hegemony and dominance for many-a-year now, and I feel that musical two-pieces are going to be leading a charge. The likes of The White Stripes have shown just how good music can be in the hands of two people; there is greater force than with a solo act but the equivalent majesty you would hear with a band- it is music at its most compelling and economical. I guess a lot of musicians are fearful of forming duos, afraid that they may not be able to summon up the same amount of force and conviction (as a band). I hope that this policy changes (very soon), as a lot of terrific music and partnerships are being missed out on; but, for now, let me introduce you to my featured act.

In the course of my travels, I have had the pleasure of reviewing only a few acts who are based in (and hail from) the south of England. As well as my international feature-ees, most of my U.K.-based subjects are either situated in Yorkshire or Scotland (and occasionally the Midlands). A few of my recent reviews have looked at London-based acts; yet there seems to be a surfeit of Home Counties acts, currently making big impressions. Before I get more into Gypsyfingers themselves, here is a little biography: "Gypsyfingers is the collaborative musical creation of songwriter Victoria Coghlan & songwriter/producer Luke Oldfield (son of Tubular Bells' Mike Oldfield) who blend the genres of folk, pop, spoken word, classical and electronic embedding their magical songs in subtle soundscapes. Victoria and Luke play almost all sounds and instruments themselves creating a modern orchestra of acoustic and electric instruments and textures. Multi-instrumentalists Victoria and Luke met in 2011 in London after Victoria returned moved back to her birth town from Paris. She was involved in underground gipsy, dance and rap music scenes there. Luke's background is in rock and folk music and he runs Tilehouse Studios where his production skills were honed from a young age. Victoria and Luke's contrasting musical backgrounds fused and soon blossomed into an intriguing and fresh-sounding collaboration, which they would work on recording during studio down-time. Victoria and Luke share vocal and songwriting duties with Victoria as the lead voice and writer. Victoria's classically-trained intimate vocals go against the grain of recent popular culture's trend for smokey, belting female vocalists (Adele, etc.) instead inviting the listener to listen more closely to the poetic and at times playful lyrics. The production of Luke Oldfield allow Victoria's soft vocals space to breath and be heard, whilst building subtle musical worlds around the songs for listeners to explore". You can see that duo have quite an extraordinary story behind them. I have known Luke for a while now, and familiar with his previous incarnations (playing in bands) and producing work. He is in love with music, and always keen to find the best and brightest around, and- in his role as producer- bring the best from them. A prolific guitarist and musician he was fortunate enough to have played at the opening ceremony of The 2012 Summer Olympics. Victoria has a striking beauty that is hard to ignore, and a voice that is unlike any I have witnessed. There is a definite trend for any singer to be the same as what is 'in vogue' or 'trending'. As of 2014, the likes of Adele are still hugely favoured, and every dreary and awful (female) talent show contestant comes across as a third-rate knock-off. Setting aside my gripe and issues with 'talent' shows, the fact of the matter is this: we do not need another Adele. The best and richest voices stem from a unique source; those whom are determined to be themselves and present something that is unfamiliar to the listener- yet offers something wonderful, inspiring and fresh. It is no surprise that Oldfield and Coghlan are such a harmonious and successful duo. Aside from the bond of their relationship, the two share a love for evocative and spellbinding sounds; the need to be striking and original- whilst giving their public something cannot get from another act. As much as I love duos such as Royal Blood and Blood Red Shoes (aside from a shared blood type), there is not too much distinction to be found (both acts hail from Brighton). U.S. frontrunners such as The Black Keys are a little ahead of the likes of Royal Blood, but- even here- there is not a lot to choose between them. The styles and genres favoured may be different, but there is a definite emphasis on heavy sounds; in summoning up Blues and Rock sounds- with the key consideration being given to the sound rather than lyrics or the voice. Gypsyfingers are a leading a charge of duos whom not only can weave magic with their sounds, but also capture you with their words and voices. On May 2nd, the duo play at St. Pancras Old Church to launch the Circus Life album, as well as introduce some new faces to their music. On social media sites such as Facebook and Twitter, Gypsyfingers have a solid (and growing) following, yet I feel that they deserve more (fans). Whilst still being in their infancy, and making their first big strides, the duo are a name to watch very closely. Recently Coghlan and Oldfield have enjoyed the splendours and public transport of Brussels- as they were filming the video for their song, Return. A lot of work and effort has been expended over the past few months, ensuring that their L.P. is as strong as possible- it is a dedication to music that few other (new) acts share. Over the last few days, our duo have released the video for the song Eating Me- the lead-off single from the album. The video, shot in black-and-white (shot entirely on Super8) has a classic and noir feel to it; with Coghlan depicted in various scenes (including woodland) as the heroine. Interspersed with snippets of Oldfield, the promotional video is a perfect visual representation of the song, and as such, has been gathering positive and glowing reviews- many effusive commentators have added their praise to the duo. Our pioneering twosome have made some big leaps over the last year or so, forging and cementing their sound, and drawing in new and varied influences. Their previous E.P. (Gypsyfingers) was successfully received, and last year saw orders come in from all over the continent- including France, Belgium; Japan, Australia, Canada and New Zealand. It seems that the duo already have a dedicated and multi-national following, which could provide tantalising future prospects. All of their previous history and movements have led them to the here and now- and the release of their debut L.P...

Circus Life starts with snaps and fireworks. There is no languid lead in or silence; instantly we are off to the races. Percussive dance and hypnotic rhythm is elicited in the initial seconds; imploring you to listen hard- and grabbing your attention in the process. As a flowing and gorgeous (electric) guitar parable is laid in, the mood starts to build, and intrigue begins to rise. The intro. is succinct but effective, and portrays a breezy alacrity and sense of relaxation; as the listener is gently carried along. When or heroine's vocals arrive, it is effective and emotive. With a slight edge of Kate Nash and Lily Allen (although sweeter and more striking than both), Coghlan tells tales where the people "Stay out late at night". Featuring an (unnamed central) figure; here is someone whom is "looking for someone more original". With no phone credit or money to speak of, the song's subject is making her way through life. Backing our heroine's emotive and soothing voice is Oldfield whom uses electric guitar to perfectly parabond with the vocal line. Whereas most bands or acts would aimlessly weave a guitar pattern (that is detached from the vocal in terms of pace and sound), here it is almost like an additional voice; it augments the central voice but also duets perfectly. As the story traverses on, it seems that our (anti)-heroine is a little naive under it all. Her heart is gold and open, and she appears overly-trustful; as Coghlan explains: "You're losing focus". The crowds and friends are looking at the song's subject, and whilst sympathising with her plight and predicament- apparently they are the only ones who see it. The song's lyrics are brought to life by the vocal delivery, which has a clear skip in its step. Rather than being rushed or slowed, the words are given consideration; they pop and spark; kick and sway. Our heroine's voice is clear and concise, meaning that the words are clearly audible (a lot of acts mumble or slur their words)- allowing the listener to be immersed within the tableaux. The song's focal point loses her grip (on reality) by the second. Spending her money on whatever she pleases, the sense of naivety and recklessness is emphasised. I am not sure if our key character is based on a real-life influence (or is fictional), but everyone can relate to the type of person being described. With a modern-day Romeo and Juliet scenario being played out and witnessed, the song's heroine has dispensed with her (former) beau- and is moving on in life. Our heroine unveils a wordless vocal parable (almost signalling the end of Act One); as guitar and vocal layers are infused- adding weight to proceedings. Coghlan is in reflective mood; sitting down drinking, she ponders events. "Bottled-up thoughts and tensions" are at the fore; yet it seems that alcohol's effect in loosening the mind is very much needed- to rid her mind's "constipation". Whilst our heroine is laughing at the irony, she is "carried away at how it's supposed to be". The way that the words tumble almost rap-like leaves your mind racing as you keep up with Coghlan's words. In terms of the delivery and pace, I got a faitn hint of West End Girls (a slightly faster version of it); and could not help but elicit a grin. Whilst our heroine takes a breath, our hero provides a guitar break that provides progression, punctuation- as well as a change of pace. With notes of Mark Knopfler (and Steely Dan), Oldfield's twinkling notes tee up our heroine- for another round of slice of modern life anxiety. It is said that all of this- the overspending, naivety and doubts- are just how we live life today; how it would be good if someone could "read (my) mind"- the futility is just a part of the reality of the times. As the track reaches its climax (with another round of vocal wordlessness), a lot of ground has been covered; questions raised and pondered; lives investigated- a relevant and striking opening gambit. Circus Elephant's embryonic steps are more relaxed and soothing than the opening track. With a gorgeous acoustic guitar arpeggio, the initial words paint striking pictures: "Born out of freedom/To a world that's not my own". Our heroine's voice is less effusive and sunny than before; it has the same drive and passion but is more downbeat and serious. Seeing her mother shackled and tormented, realities and truths are revealed ("I knew this life was full of lies"). You instantly picture a baby elephant (as the central focus) trapped and enclosed; stuck in the circus and yearning to be free. Whether our heroine is speaking literally or using it as a metaphor for the vicissitudes of life, I am not sure; but it is an emotive and evocative track. The guitar work is particularly impressive here. In the opening phases it tumbles and rolls (like Leonard Cohen's track Avalanche), but then changes speed and declination- creating a heady and entrancing mood. As our heroine tells that "My master beat me/I was weighed down by the shame"; voices are combined and blend to add emotion to the surroundings. Just as you think you are settling in for some calm reflection, the song explodes. Drum smashes tee up a yearning and impassioned brass coda; as gorgeous and swaying (wordless) vocals enter the fray. "Brightly-coloured fabrics" and circus scenery are surveyed, as our elephantic heroine remains ensconced within her torturous environment. Tears are shed and chains are shackled, and whether speaking about the hostility of the big top; or the strains of modern life and relationships, each line vividly sticks in your mind. The trumpets play, the show goes on ("This is just another day"), and an unfortunate fate is being accepted. The drum work is augmentative and impressive; the trumpet work impassioned (and strangely romantic); the guitar playing is gorgeous and highly effective- it is an incredibly moving and impressive composition. It is the kind of song you might imagine if Muse took on Led Zeppelin, doing Disney- it is emphatic and huge; compelling and hugely evocative. Over the course of two tracks a huge sonic shift has been unveiled, that it leaves you a little giddy- and excited to see what comes next! After the swells and operatics of Circus Elephant, the initial notes of Get Yourself Out of Town suggest a more relaxed fare. Grooving and snake-hipped guitar slithers (and what sounds like a bongo) provide our opening soundcape. Our heroine steps to the mic. to offer some sage and direct advice to (an unnamed) subject. Here is someone whom is "causing trouble"; but only they (and Coghlan) know why. Our heroine shows herself to be a vocal chameleon here. Whereas previous tracks have seen her present chirpy and Allen-esque; bold and choral- here she is in tender and sweet-natured mode. Her subject matter looks to ejected a wrong-doer from town, but she delivers her words with such a soothing and beautiful tone, that you get lost in the song. With Elizabeth Fraser-esque tones and Folk-tinged guitar work, our heroine announces: "I wanna see you/Really leaving". The bustling and shimmering guitar work, not only puts your mind to the sun-filled countryside and shady recesses (of tall trees); it also reminds you of elements of Led Zeppelin III- and some of the greats of the '60s and '70s. Ambitions of The Taming of the Shrew and sticking "my fingers to my toes with glue" are coupled, as our heroine implores the deadbeat villan to leave town; and to get out of her life. The musical swathe that closes the track is achingly beautiful and picturesque- xylophone and strings bond with tender percussive tones. As the sun sets (and the fire dies), you wonder whether resolution was achieved and satisfaction obtained. Return has a bit of a Country feel to its introduction. With Oldfield on vocal duties, our hero talks of "Shadows in the doorway/Flicker down the halls". One would imagine vacant doorways and peaceful silence, our hero sitting and wondering. When thoughts are empty, he sings: "I will fill them with your face"- there is a sense of romantic longing that is planted early on. Whether recounting the loss of a sweetheart or being separated from his love, the vocal is yearning and tender- and instilled with passion and desire. With the silence deafening, and a heart that is missing a huge chunk, our hero states that his love (for you) "is blind". No amount of demon-praising and God-cursing implore can soothe his mind; as his romantic desire seems to be unslakeable. When Oldfield and Coghlan combine in voice, the lovers duet and intertwine- and the emotional levels rise high. In the second half, the duo combine their vocals and yearn to walk a shared road. Imploring and calling to one another to "dry your eyes", there is hope that they will be reconciled; be with each other (soon) in body as well as spirit. Once more, an elliptical and riparian guitar intro. sets the scene; as You begins its course. Whereas Return saw Oldfield take the vocal lead, this time Coghlan returns to the spotlight. Her vocal performance has similar shades of This Is The Way- yet the themes here alternate from that song. The quick-fire (rap-like) delivery is present once again, as our heroine is caught in a quandary ( "I don't know where I stand with you/But sometimes I feel I do"). Whereas This Is The Way looked at the inequities and harsh truth of life, here our heroine is growing wary of an individual- a friend or (fictional) partner- unsure where she stands and figures into their life. With questions that need answering, doubts prescient, our heroine asks: "Who am I to you?" (blending her voice with Oldfield's). Delicate and plinking piano notes weave with acoustic guitar, as a musical break soothes the song's anxieties. As the vocals come back around, our heroine wearily admits that "I'm used to people who don't care"- as her words tumble forth. Wondering whether Coghlan will be asked to stay (or not), it is said that, even if she decides to leave by plane or vessel ("to follow the good stuff") it will not matter- she is not sure where she stands, or what is expected from her. A sense of identity loss and detachment; a personal and emotional dislocation are evident. Our heroine is "baffled by (your) tactics" and is in need of some honest answers and clear-cut direction. As the song reaches its autumn stages, Coghlan burrows to the bedrock of her discourse ("Please tell me that I stand by you"), her voice still rife with emotional and perseverance. The track shows Coghlan display her skill for quick-fire (and quick-witted) lyrics; words trickle and fall at a rate of knots- meaning that the song grabs you hard and pulls you in. Boasting one of the most effective and memorable choruses of the album (so far), it is another triumph for the duo. The sixth track- and current single- arrives next, in the form of Eating Me. The intro. (here) is one of the most beautiful and flowing on the L.P., and has classical and romantic evocations. After the stirring opening has passed, our heroine is "seeking a remedy"; a way to put her mind at ease. Oldfield's electric guitar tapestries blend with piano, the create a sonic sandstorm. Coghlan's vocals are reflective and far less scattershot than in You (and This Is The Way). The entire feel and tone of the song puts you in mind of a 1950s (classic) film. There is a certain sense of bygone cinematic romance as the track progresses. Our heroine's soul; which (like a hole) is getting "darker and deeper" perhaps takes your mind away from romanticized avenues, and towards something more haunting. As she talks of becoming weaker and thinner; of doctors and nurses carrying "curses in their purses" you can feel the shadows looming. Whilst our heroine is not "ready to go" (her words, once again, delineated and deployed with a rap-like quality), storm clouds rumble, and the soul aches. Whatever has afflicted our heroine has caused a lament; her mind seems weighed down by something troubling. The ghostly (wordless) vocals, wrapped around the piano-guitar cocktail whips up a heady and intoxicating chill. As our heroine speaks of fragility and aching bones; teachers and preachers whom provide leaches for weakness, there is a sense of mortality and frailty- of someone slowly losing her strength. Kudos goes to Coghlan, whom not only beautifully syncopated her lines (giving the song a 'rollercoaster' feel), but shows a real gift for words and economy of language- she manages to project a cornucopia of strange and wonderful images, over the course of a mere few seconds. With some aching and scene-setting guitar work, Oldfield allows our heroine to pervade and campaign- whilst investing a huge amount of mood and emotion. As the pusillanimous spirit of our heroine begs (once more) for remedy, the track ends- and takes us past the half-way mark. Steel Bones provides a necessary sense of relief, after the tortured images of Eating Me. The guitar-led intro.- as is almost a hallmark for the duo- sways and has an almost waltz-like quality. It compels you smile and relax; disengage any troubles- and just let the sound wash over you. Being one of the duo's earliest tracks, it is one I am already familiar with; yet it fits perfectly into the album (there is no sense of disjointed mood or anachronism). With our heroine talking of her steel bones, which "harden as (I) grow"; her voice is a paragon of meditative calm and tranquility. With elements of the likes of The Carpenters and Sigur Ros (disparate I know, but I could hear it), Coghlan talks of "Wounded words you say..."; that are leading her dreams astray. I am unsure as to whom is causing imbalance and woes for our heroine, but any sense of recrimination and accusation is cocooned within a gorgeous dreamscape, which takes your imagination with it. The combination of vocal duetting; beautifully touching piano work and beautiful guitar melt your heart. The interplay of (classical-sounding) guitar and elongated strings put my in mind of The Cinematic Orchestra- a similar sense of graceful beauty is displayed here. It is a track that makes you think; makes you close your eyes- and drift away...and a song you will have on permanent repeat. A sudden rush of (guitar) strings and pianos opens Lump to your ears. As it gallops into view, our heroine arrives; telling some unfortunate truths ("I try to speak I just choke"). Desiring this feeling to fade away, Coghlan allows her breathy vocal to command; drawing you into her thoughts. As the acoustic strings trickle and flow like a river, our heroine speaks to an (anonymous) subject: "I've seen your darker inside". Whether speaking of a friend, or else a former love, you cannot get help but be captured by the evocative and dream-like vocal; the multi-tracked waves- complete with delicately tender piano notes. Just as a sonic somnambulism casts its spells, the mood rises. Energised and jumping piano fuse with springing guitar, to whip up a delirious coda. The romantic and hypnotic parable melts with subtle strings; the pace modulates slightly- before our heroine returns to the mic. This time, Coghlan speaks of a restless and agitated soul ("She wants this feeling to fade away"); summoning up a phantasmal firestorm of (gorgeous) vocals- it is almost as though our heroine beckons from the heavens. The final seconds take the rush to a whisper; the story is recounted and told- and concludes a spellbinding track. It comes close to rivalling Circus Elephant- as the album front-runner- and (considering it is the antepenultimate track) shows that Gypsyfingers are tireless, unimpeachable and never in danger of dropping a step. Most albums tire towards the final few songs (meaning there is nothing to build up to), yet after Lump arrives, I found myself surprised at how many treats the album keeps throwing up. Lately takes its infant steps with less of a charge than Lump. The scene is set; the plaintive and beckoning guitar seems like the sonic representation of a lone figure walking a dusty road; the sun in their hair, and thoughts on their mind. Electric guitar vibrations infuse some urgency and invigoration into the picture, as our heroine comes forth. Coghlan- previously haunting of voice- is now back in direct mode; picking the bones of an emotional carcass ("I slammed you down and beat you to it"), her voice restrained yet filled with purpose. As she says (to her target) "I bet you thought I couldn't do it", Coghlan, once more, raps and spins her words. Defying expectation, showing bravery and- against the background of a life that has been "f****** cool"- our heroine is in an ambitious and motivated frame of mind. In spite of a sense of optimism, there are still pitfalls and hurdles that are being encountered. As the next verse arrive, her back is turned ("How could I have know that I'd regret it"); a figure whom acts the fool has let our heroine down- something that was not expected. Forgiveness has been given- something that is regretted- and Coghlan machine-guns words of recrimination and self-reflection. As our duo combine their vocals, singing about the fever and malaise that boredom has provided ("I've been feeling so lazy")- a reappraised (optimism) refrain arrives. The song never slips in doleful or sombre mood; the bright and energizing guitar keeps the composition buoyant and hopeful. After the mid-point, Coghlan looks back at events; more philosophical and revitalised- she comes back to the fold. As our heroine confesses "I've had a second chance"- love has been found once more- she understands the meaning of the "path of (my) past". As she contemplates "how things should happen", it seems that whatever was weighing her down seems curcumscribed- call it 'fate', or reality; things have worked out. Coghlan (in the song) has the charming vocals or early-career Allen, yet her (Coghlan) words and thoughts are more compelling; her delivery much more pleasing on the ear- and the song a lot stronger than the Hammersmith-born singer has created. The final song of Circus Life arrives in the form of The Island. It is perhaps the perfect title for the final step of this musical travelogue- a final destination; a safe (haven) arrival. A tranquil and emotive intro begins our final track. Instant visions of a ship (or vessel) arriving towards an island are rustled up- perhaps appropriate, given the track's header. It is perhaps the most stunning intro. of the ten, and put me in mind of the finest work of The Cinematic Orchestra. When I listen to tracks such as Arrival of the Birds and Transformation, I can hear some of the same beauty and grace in The Island's opening. The vocal here is Oldfield's; he has been collected by boats (from the island) to "take me away". Perhaps the silence and loneliness of the isle paradise is not so idyllic; our hero yearns for another horizon- and asks for a reason why he should stay. Forever he has tried to "fit in the shapes", his voice aches and longs. Whilst not as angelic as Coghlan's it is a touching and honest vocal; one which is filled with meaning and conviction- and no less striking than our heroine's. With the ship drifting in the breeze, our hero imagines the "wreckage beneath"; the darkness of the ocean; and an inescapable depth. When our duo combine their tones- backed by shivering strings- it seems as though Coghlan is playing the role of the Siren- luring our hero forth. In the same was as a track like Street Spirit (Fade Out) ends The Bends; Dream Brother ends Grace, The Island is the perfect track to conclude on- as it is not only one of the strongest, but instilled with beauty and spine-chilling moments. Arriving off of the back of a song (Lately) it is not only a stunning sonic (and mood) shift, but also a song which succinctly combines the talents of the duo. Some of the strongest moments arrive when they blend their voices, as this is true on The Island. Before you become fully entranced within the symphonic whirlpool of beauty, Oldfield is back with us. Speaking of riches (both literal and spiritually); although we are "all millionaires", when it comes down to things it's all just "a bucket of air". You can imagine our hero, lying down on a boat- the island behind him- as he sets off to a new arrival. With his mind heavy, it seems that things might be alright. With a final round of spectral vocals, the song dies down- as you sit and (try to) take it all in.

On the evidence of Circus Life, I have no hesitation in predicting that Victoria Coghlan and Luke Oldfield's Gypsyfingers bandwagon will be gathering huge steam. Previous to reviewing the album, I had heard songs such as Steel Bones- so was familiar with just what they were capable of. Their debut album is a confident and wonderful collection, that shows how the duo have grown. For anyone familiar with their previous work, you the duo's core personality and components are present and correct- yet they have taken a big musical leap forwards. Coghlan is a singer whom is already ahead of many of her contemporaries. Whilst a lot of modern singers either favour a huge belting voice, or soft and (let's be honest) un-captivating utterances, our heroine has managed to present and cement a voice that is unique and striking- yet has plenty of power and beauty within. As a songwriter, her palette is multifarious and stunning, and she is a talented and inventive wordsmith. Like my previous review subject (The Glass Child), not only was I captured by the music, but could relate to the lyrics. Great storytelling and poetry blends with vivid and stirring scenes and avenues- a rare treat for any listener. There are a lot of great female singer/songwriters on the scene, yet few whom distinguish themselves fully from the back. I have surveyed a few of them this year, and Coghlan is someone who can be added (very near to) the top of the list. Likewise, Oldfield adds his huge talents into the melting pot, and adds colours and huge emotional weight to every track. Being a prolific and multi-genre musician, he combines wonderfully with his cohort; his vocalisations are augmentative and hugely effective, too. It is perhaps unsurprising that our duo have a natural sympatico; yet it is surprising that they can weave their two- disparate and varied- backgrounds together: and infuses them so seamlessly. Because of their affection and kinship you can hear it come to life on the record. Nothing sounds forced or artificial across the ten tracks; everything is organic and completely seemless- what you would expect from a band/act whom had been recording for years. Similarly, there is a huge amount of confidence on the L.P. Every note and line is sung with emotion as well conviction- making sure each track sticks in your mind. The compositions are nuanced and sparse; emotive and symphonic (in places), and the sonic threads combine superbly. Whereas contemporaries such as Royal Blood have perhaps a one (or two) dimensional aesthete, the Gypsyfingers is rich and variegated. I know how much music means to both of them, and how hard they have worked on their debut- not only to make it sound as good as possible, but make sure it was recorded at all. This all comes through when you investigate Circus Life; is an opus that has its instant 'classics' but also a few tracks that reveal their charms (across multiple listens) a little later on. When I have reviewed albums by new acts, I often find that they tend to sag at the half-way (or two-thirds) mark, yet there is a pleasing and strong consistency in Circus Life. The production is brilliant as well; meaning that every song is as clear and concise as possible; full of atmosphere and wonder- and the running order is spot on too. One minor (non) criticism would be that you are left wanting more (after track 10); maybe an additional song or two would slake your thirsts; but such is the charm and intention of the album- it leaves you wanting more. On that note, I am sure our dynamic duo are looking to the future. Previous success has shown that they have a definite international market, and their music is such as it can be extrapolated and digested but audiences from all around the world- meaning they could be very busy, very soon. I know that nations such as France, Germany and Belgium would love their brand of song; as would larger (commercial) nations such as the U.S. and Canada. I feel that- maybe in a year or so- Coghlan and Oldfield could see themselves playing venues around the world; their unique and stirring sounds will be in demand across various nations. When we consider new music, and look around for inspiring acts and songwriters, then you should take the time to investigate Gypsyfingers. I feel that there are plenty of great bands and 'heavier' acts out there at the moment; with perhaps not a lot of room available for mobility and surprise. Similarly, we have our share of great solo acts- whom favour powerful vocals or something subtler- that do what they do very well. To my mind, we are bereft of duos whom offer something genuinely different (and exceptional); that which breaks away from Rock's parable- and gives the listener and endeavouring music-lover something unique. The combined talents of our duo, as well as their natural bond and shared affection shines through in their music- they have the potential for serious longevity, and have a unabatable passion for their craft. Circus Life is an L.P. that I will be investigating for some time to come, and revelling in its myriad charms. I always advise people to pay patronage to new musicians whom are thoroughly deserving; to provide encouragement and support as much as possible. Their debut is a brilliant accomplishment, but also shows just a glimmer of what they can achieve- and how far they can go. Both Coghlan and Oldfield are itinerant and tirelessly hard-working, so they should seriously entertain the possibility of a wave in demand (for gigs and new material). For now, settle back; digest the scenes, themes and dreams contained within Circus Life- and witness a young duo intent on making big impressions. In a week that has been particular fraught and stressful to me, Gypsyfinger's newest offering has not only provided me with a (much-needed) smile and anxiety release; but also inspired my own creative mind. I have long dreamed of snatching up Oldfield for a band of my own, yet I fear that our hero's talents will see him taking Gypsyfingers to new horizons. Coghlan's gorgeous voice and captivating songwriting has compelled me to pick up my pen and work on my own songs; craft my sound and try to get the best out of my own work. For all my effusive and florid words, the real proof is in the pudding- how you view their album and what the future demand will be. Dive in, and allow yourself to get lost, as our duo have created an album that will be revealing layers for many months to come. It is the sound of a two-piece with a lot to say; with a real appetite for music. As much as anything...

IT is one of the finest albums I have heard all year.

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Track Listing:

This Is The Way- 9.7/10.

Circus Elephant- 9.9

Get Yourself Out of Town- 9.6

Return- 9.6

You- 9.7

Eating Me- 9.8

Steel Bones- 9.8

Lump- 9.9

Lately- 9.8

The Island- 9.9

Standout Track: Circus Elephant

____________________________________________________________________________________

Follow Gypsyfingers:

Official:

http://www.gypsyfingers.com/

Twitter:

https://twitter.com/gypsyfingers

Facebook:

https://www.facebook.com/gypsyfingersmusic

SoundCloud:

https://soundcloud.com/gypsyfingers

BandCamp:

http://gypsyfingers.bandcamp.com/

YouTube:

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

Last F.M.:

http://www.last.fm/music/Gypsyfingers

Songkick:

http://www.songkick.com/artists/4508098-gypsyfingers

Tumblr:

http://gypsyfingersmusic.tumblr.com/

Tour Dates:

http://www.gypsyfingers.com/#!gigs/c12yc

April 21, 2014

musicmusingsandsuch

Uncategorized

Album Review- The Glass Child: I'd Like to Remain a Mystery.

April 21, 2014

musicmusingsandsuch

Uncategorized

ALBUM REVIEW:

The Glass Child

I'd Like to Remain a Mystery

9.7/10.0

The album, I'd Like to Remain a Mystery is available from:

http://theglasschild.bandcamp.com/album/id-like-to-remain-a-mystery

_____________________________________________________________________

Anglo-European artist Charlotte Eriksson provides "Alternative Pop with singing angels and screaming ghosts". Her music provides escapism, ethereal beauty, raw emotion- as well as poetic illustriousness. On the evidence of her debut L.P., this stunning talent will be a huge future name to watch.

_____________________________________________________________________

WHEN seeking out a great new act, I am often left impressed by a number of things.

Sometimes it is the music and ambition of the artist (that strikes me); occasionally it is their background and heritage that stands out- rarely do I find a musical 'complete package'. An artists whom has a fascinating and detailed background, tied with an intriguing personality and projection is something that is a rarity in the modern scene. The mainstream and proliferation of generic solo acts has somewhat watered down the scene; few genuinely merit-worthy acts are making moves in the current climate. This point is less true when applied to bands, yet in terms of solo acts, I am at a loss to think of any that truly stick in the mind. Historically, we have had our fair share, but at the moment there is a bit of a scarcity. I have always loved Laura Marling as an artist; she is quiet and reserved, preferring to let her music do the talking- and it is music that sticks in the mind. As well as being one of the best singer/songwriters in the world, she comes across as articulate, intelligent and well-read: the epitome of what a modern-day artist should be. Located in L.A., the British-born artist seems to get better with each album. Aside from Marling, there are a couple of 'mainstream' artists capable of grabbing your attentions- yet it is new artists whom provide most fascination. In my course of surveying new music, I have encountered many weird, wonderful and lovely lone acts; each providing their own brand of brilliant song. From Canadian David Ward; through to Swede Anna von Hausswolff; to Brits Jen Armstrong and Second Hand Poet, there has been great variation and quality offered. Most of my 'feature-ees' tend to be British, and when looking to international quarters, I have been left somewhat ambivalent and jaded. Over the last few weeks I have reviewed two international acts; spent a lot of time focusing on their music- only for the subsequent review to be ignored and not acknowledged. It is a sad sign of the times that not everyone I take the time to feature will offer feedback; provide any sort of thanks or recognition- I guess it is a pitfall and cross I have to bear. It is not something that is reserved to foreign acts; and in both cases, I was not especially overwhelmed with the music on offer. My subject today is different in every sense, and I shall introduce you to her in due course. Before I do, I want to highlight a couple of other (prescient) points. As well as there being scant few acts whom provide tantalization in various areas, I have witnessed few European acts. Aside from van Hausswolff (as well as fellow Swedes, Club 8), I have heard of few European artists. Publications such as The Guardian and The Girls Are are doing their best to seek out Europe's best, but they are amongst a minority. It is a shame, because it is here where some seriously phenomenal acts emanate. I have a love of French and German music; the Eletro artists, bands and solo talent that these nations promote. For my money, when it comes to seeking out diversity and the freshest and most vibrant music, Sweden is leading the charge. When I reviewed Dance/Disco-Pop act Club 8, I was staggered by their vibrancy, intentions and sheer quality. They tempt sunny themes and elliptical vibrancy through their mandates. Conversely, country-mate Anna von Hausswolff- with her Kate Bush-esque voice- mixes languid and symphonic church organs with something deliriously moody and striking. Her songs are mini-operas and you cannot help but to think that she will be a major star very soon. My general point is, that there is too much focus on the U.K. and U.S.- a lot of great European treasure is being left undiscovered. There seems to be a bolder sense of adventure and ambition here; a less homogenized and stagnated sense of 'playing it safe'- greater mobility and pioneer, and as a result, more original music. My featured artists today not only provides a storybook background and loveable personality; yet has hereditary and native passion- tied with music that is both tangible and universal, but strikingly original and fresh. There seems to be (to me at least) a communication breakdown between the media, social media and music-lovers. I have mentioned a couple of publications which have a varied palette, yet most U.K.-based music sites focus too heavily on homegrown acts. It is understandable to an extent, yet many people are missing out on some of the world's best music- for no good reason at all. When I discovered the brilliance of Los and the Deadlines (a band composed of four chaps from different corners of the globe), I was not only blown away by their music (I reviewed their E.P., Part One: Bank); but because of the kinship of the quartet. Blending different nationalities, background and personalities into the band, has not only lead to a richer and more electrifying whole, but also compelled me to seek out similarly diverse acts. I was disappointed that I happened upon the group somewhat surreptitiously; yet am grateful that I did. Keeping in touch with Niels Bakx (the band's guitarist), I know that the Los' boys have big future ambitions. I hope that a solution is found to a (worrying) problem; that sites are set up that are dedicated to foreign and international talent- ensuring that we in the U.K. (as well as the U.S. etc.) are made aware of what the continent has to offer. That conundrum is something we will have to solve another day, but for now, let me introduce you to someone rather special.

The Glass Child is the moniker of Charlotte Eriksson, and is someone I was made aware of via a mutual contact (Niels Bakx). Our heroine is someone whom sticks in your mind instantly. As well as being stunningly beautiful, she comes across as being born from a filmmaker's dream. Eriksson herself confesses that her trajectory and background has all the hallmarks of a coming-of-age/fairytale saga; yet she has a pragmatic and level-headed approach to music. Before I investigate The Glass Child in more detail, I shall provide some biography: "The story of The Glass Child, Charlotte Eriksson, is one of those you usually see on movies. Only 18 years old she left everything she had and knew, family and friends, and moved to London to dedicate her life to her music and art. A vague dream about reaching out with her music became an everlasting journey about fighting for your dreams, self discovery, finding your true purpose and creating something that will mean something, now with over 25,000 dedicated followers and fans with her on her journey through her social sites like Twitter and Tumblr. Forward three years and she has started her own record label Broken Glass Records, released 4 EPs, released her critically acclaimed debut full-length ‘I’d like to remain a mystery’ in February 2013, had her single "I Will Lead You Home" reaching #2 on the Swedish Itunes-chart, was named Breakthrough Indie Artist Of The Year by Lemonade Magazine and been played on major radios such as BBC6, Sveriges Radio (Sweden) and 3FM (Netherlands). All alone, with nothing but hard work and determination she has built an incredibly dedicated community now with over 25,500 followers on Twitter, and to let her fans in on her journey even more she published her first book "Empty Roads and Broken Bottles; in search for The Great Perhaps" in April 2013, telling the true and raw story about a girl who had a dream and went for it with all her heart. The book was beautifully received and sold out after 3 days of pre-order. Charlotte is a wandering soul and after spending a year in England with nothing but a guitar and a will to search for something more, playing wherever she could play and crashing at fans’ floors, she has just made the move to Berlin, Germany, to seek new adventures and spread her music wider. "I believe in writing your own story. Do you wait for things to happen, or do you make them happen yourself?", she says, and also shows how she’s constantly connecting with her fans in new ways. In September she released an acoustic edition of her album ’I’d Like To Remain A Mystery’, giving it away for free through Noistrade as a way to thank her fans, and the album was featured as a Top Download after only a few hours. With her constant search for new horizons the stories are endless, and to finish up a productive year she’s now releasing her new acoustic EP "Love Always, Your Tragedy", and explains that "These songs are the letters I never dared to send. I wasn’t brave enough to speak up, so I sang instead." "I wanted to turn my life into my art. My very existence into a poem. This is my story. It's been a beautiful fight." You can tell that as well as having a compelling and against-the-odds background, our heroine is determined and very much an independent spirit. I am always looking around for inspiration, and the fact that Eriksson is so young, yet has already set up her own record label- well, it is hugely impressive. Her output has been prodigious, and she is a restless and ambitious talent, intent of making huge waves in the music industry- for as many years as possible. Despite being focused and determined, The Glass Child is as a result of a combination of various musicians and input. As we speak, our heroine is in Germany and (with Bakx as well as other musicians) has been putting together the sounds, sights and sensations that will form her next L.P. To Eriksson, music is very much a collaborative and communal thing; she combines with wonderful musicians to ensure that her ideas and music are as rich as possible. This sense of openness and reciprocity is emphasised in her relationship with her fans. Having amassed a huge following across social media platforms, Eriksson has an impassioned bond with her supporters. Our heroine always seems genuinely chuffed and grateful when her music is shared, loved and well-received: it is a mutuality that has paid dividends. Too many modern artists seem rather distance or detached (with their fans); coming across as being too businessmanlike- and not projecting an air of approachability. I have featured too many acts whom do not give enough to their fans; whom seem cold and aloof- there seems no need for it. The Glass Child is a musical steamroller that is gathering huge momentum. Looking at critical reviews, it is clear that her music and artistry has hit a major chord:

" Take a look now at someone who’s taken a different route to get to the mainstream and someone who’s going to shatter the notion that success is all about ‘industry’ or watered-down throwaway music. The Glass Child has broken through with some music of real depth for her fans to keep. This is how music is going to sound good again. ‘Ghost’s’ shows the makings of an icon, I believe. " Musicfeeds.com.au

"..she tears down walls with her music, using starkly honest lyrics and intense vocal chops to draw her listeners in and turn them inside out"

whatstheruckus.com

"There’s an ethereal beauty to Charlotte’s vocals that speaks straight from the heart. She knows how to make every word count, how to tear the emotion from every syllable."

totallyvivid.com

"You will be extremely hard pushed to find an EP that gives more than "The Glass Child", let alone a debut EP. If there is any justice in this world, Charlotte Eriksson’s talents will be given the exposure they truly deserve."

roomthirteen.com

" The kind of voice that plays with your emotions and the type of lyrics that seem so similar to you, it’s almost scary. With brilliant music to match her voice and character, The Glass Child is an artist to look out for."

snapshotsymphony.tumblr.com

"Once in a while you stumble across an artist you have never heard of before and they just blow you away."

Roomthirteen.com

Our Swedish beauty has managed to win a great deal of hearts and minds thus far-and is in no mood to slow down now. As well as being a prolific and brilliant musician, Eriksson is also a novelist and poet: one whom has a genuine future in both arenas. The multi-talented star displays all of her work and ambitions on her official site (link is at the bottom of this review); and I would implore everyone to check her site out. Too many times, I come across artists whom have a sparsely sourced and empty personal site; their social media sites are meagre and threadbare- they fear that by putting in too much detail they are giving too much away. The Glass Child is an act whom not only produces brilliant and inspiring music, but also lets you into her world. Her official website has blog posts; top-10 lists of her favourite novels and albums; links to her music and photographs- as well as detailed up-to-date information. It is clear that music is an obsession that she is in awe of; something that she cannot live without: "I can’t sleep at night because how could I close my eyes when there’s a whole world out there, calling my name, waiting to be explored. I love intelligent conversations while laying on empty streets at 5am in the morning, and I love watching the sun rise over a world that is still asleep. I make mistakes and I mess up a lot, but I’m trying to learn how to be okay with that. Some days I couldn’t care less about what all of you think about my art because this is my life and all I have. But then there are days when all I want is to be beautiful and good enough and someone to count on.". Before I get down to reviewing I'd Like to Remain a Mystery, it is worth noting that the album was released last year. I am compelled to review it, not only to introduce some terrific songs to your attention, but also to provide a snapshot of a young artist whom has already had a busy career. Her five-track E.P., Love Always, Your Tragedy is an incredible collection of songs, and a testament to a fierce and diverse talent. The music is touching and inviting; personal yet relatable to all. As Eriksson explained: "Every song on this EP started out as something I wanted or needed to tell someone. They are all letters of things I never said but wish I would have and I’m learning how to say things when I still have the chance. This EP is my letters to 5 different people who became a part of my life in one way or another, and I want these postcards to be yours. I wish we could all let each other know that we matter, and I hope that you will send this postcard to someone who might not know". That E.P., was a bold and impressive statement from a talent pouring her heart and soul into her music. Previous to this E.P., Broken Little Winter and This Is How Ghosts Are Made were unveiled- two stellar and fine examples of a unique and stunning talent. That was then, and this (semantics aside) is now. The Glass Child lists the 'band interests' as "Mythologies, coffee, laying on empty streets at 5am in the morning, talking about the meaning of oceans, escapism, whiskey, tattoos, pop-bands from the 90s, eat pancakes". They are ingredients and components that have resulted in some fantastic music. Whilst we await what Eriksson's next album has to offer, I have been compelled to investigate her previous offering, I'd Like to Remain a Mystery.

Picture of The Glass Child

Before you get into the music itself, it is the cover of I'd Like to Remain a Mystery that makes its marks. Baring a single image of our heroine; backed by white fairy lights, casting her gaze downwards. The cover photo is scratched and aged, given it the look of something that has been handled and looked at multiple times. The mixture of stylish lettering (showing the album title and 'band name') set against the stirring and potent image, is both modern and classic; familiar yet highly personal and fitting. Once you take your eyes and mind from our heroine- and investigate the album- there is plenty to get your teeth into. At 17 tracks, there is a bounty of varied and brilliant music (if you listen on BandCamp you can also access lyrics to the L.P.s tracks). A combination of echoed swirls and twinkling xylophone (or electric piano) notes herald in the title track. Eriksson's voice is soft and tender; it skips and plays; teases and breathless implores- "Can you hear me calling, calling/I’m inside that falling star/I’m not human I am your belief". The words tumble and trickle forth- there is an emotive pause- before further lines are syncopated forth. Our heroine's voice is delicate and passionate as she claims "I think I made a myth of my own life"; a line both heart-breaking and perfectly apt (given the almost movie-like course Eriksson's life taken). With galloping drums, our heroine's voice goes from a Bjork-like child-like whisper to a full-bodied belt within a few seconds. Words about music-making and writing your own history ("It’s all about the way you write it down"), mingle with scenes of doubt and confusion ("No one knows if I’m real"). Eriksson's voice is in emphatic form as she paints the picture of a young woman; part myth, part human: unsure of which she is, and how people see her. The track switches between hot-blooded vocal strength and delicate and balletic lightness: the effect is stunning. Eriksson's love of words and poetry are evident from the first track; perhaps emphasised (and distilled) in the track's final thoughts: "They will take me to the ocean/spread my ash across the sea/My story will go on but /I’ll remain a mystery". After the dramatic swells and inner-visions of the opening track; Stay arrives. Again, there is a gentle and restrained intro. (this time light finger-picking guitar); one which leads to a beautiful and romantic vocal. Our heroine is in her lover's arms- him resting on her shoulder- the two entwined, as our heroine whisper's "we’ll be okay". With misty eyes and her thoughts dedicated to her (anonymous) sweetheart, Eriksson yearns for her lover's touch ("All my fear disappear when you’re getting near"); a man whom she wishes would stay- a safe haven whom can keep her warm. There are no vocal explosions or mood rushes here- everything is kept level as our heroine weaves her voice within the acoustic guitar notes. Eriksson's voice retains her native accent, and sounds like no one else (a rarity in modern music). Softly imploring, it appears that the absence of her man has taken its toll: "I’ve never felt so wrong/When you are gone my fire’s gone". With a particular powerful and evocative chorus (in which Eriksson's voice trembles and rises emotively), it is a gorgeous paen to a treasured human- you wonder whether our heroine ever got her beau back. The Haunted flows similarly to the title track; our heroine's voice once again switching between soft and hugely powerful. Riparian images mix with oblique scenes; personal detachment and visions of escape are uttered ("Don’t track me down I was born to leave/Don’t bother my name it was never me"). As with the previous two tracks, there is a sense of not belonging; a feeling of loneliness and mythology linger within The Haunted's (approrpriately-titled) words. It is when Eriksson strikes and belt; rises and growls, that you stand to attention. Her voice sounds at once child-like; impassioned and womanly the next- wrapped around our heroine's unique tones. There is a clear sense of dissatisfaction and regret ("I can’t stand the thought me"); of a young woman wanted to change or to get away. Whilst Byzantine poetry and fractured protestations are unveiled, our heroine multi-tracks her voice; weaves her vocals within one another- creating an evocative and haunting mood. Backed by bass, electric guitar and drums (that switch from charming and soft to swelling), it is another personal tale from a sensitive and determined woman- and completes an impressive 1-2-3. With an arpeggio swirl of beauty (including some classical elements), Give Myself Away begins. Our heroine's vocals and sexy and breathy; composed of some brilliant phrasing and pacing, it is perhaps the most evocative track so far. Whilst Eriksson says (to an unnamed figure) "I call you my friend/why do they keep telling me to fight you"; her voice twinkles and coos (sounding a little like Bjork in parts). As the song starts to change gears, our heroine opens up; once again thoughts turn to release and escape ("I offer you my soul, if you take me with you/I swear I give my all, if you never let me go"). Again, we witness a song that changes pace (at once fast and breathless, the next tenderly slow); one which boasts a subtle yet powerful composition- and showcases our heroine's vocal range. As she scores words that tempt darkened thoughts ("Think I’ve gone insane/Felling something pouring in my veins") her voice remains controlled and powerful- never succumbing to histrionics. Consumed by You sees Eriksson back in romantic longing mode; speaking to a central figure, her voice (again) is aching and tender as she pours her soul onto the page - "A heart of stone and all these things I have become/I’m consumed by you". Whereas Stay had a composition that was largely delicate and ethereal, here upbeat and punchy drum mixes with light and ghostly guitar. Eriksson's voice reaches fever-pitch as she strikes: "Will you pull the trigger/Tell me what to say". It is the heaviest song of the set so far, and Paramore anthemic are sprinkled into the melting pot. With gothic imagery ("The dead will dance for me tonight") and scenes of screaming, crucifixion and ghosts, it is perhaps the most visually evocative (and provocative) track so far. Eriksson displays her lyric talent, again mixing oblique with poetic- but it is her voice which is the star. Over the first few tracks we have heard glimpses of how powerful her voice can be; here it is rampant and huge; mixed with sweet and soft evocations it a showcase of the young artist at her peak. With initial lyrics that tell of eyes meeting, stranger and "Chemics and I forgot"; Hit The Ground fascinates with its lyrics. Whilst the vocal performance is impressive and typically assured, the way Eriksson uses language and delivers her words is fascinating. Whereas the likes of Bjork cut and paste images; mix words and odd sentiments into a single line, here Eriksson presents her most intriguing set so far. When she says "I am fallen with me starlight/Making poems out of tears", we see the blend of oblique and poetic all at once. Our heroine delivers her words beautifully; trickling lines together; pausing and changing pace within the space of a line- wringing as much emotion as possible from the lines. Whereas the previous track is a possible vocal showcase, here the emphasise (to me) is on the words. Our heroine introduces redemptive notes ("I was lost but now I’m found"); romantic images ("Whisper softly in my ear") with striking images ("Defreeze my soul, Lips so cold"). As it comes to its conclusion, you wonder just what our heroine will offer next. Somewhere I Belong begins in emphatic and rebellious mood. Eriksson is in anxious mood, as she whips up an early sonic storm- "Now my stomach hurts again/And I don’t know what to do". Dealing again with belonging and finding herself, our heroine delivers one of her most impassioned vocals. Words trip and strike as her band offer up a potent and powerful backing. Lyrics range from reflective and thoughtful ("Too old to be was strong/Too young to move on") to self-destruction ("Spending my nights on the floor again/Empty bottles all around"). A departure from what has come back before, it is the most raucous (is that the right word?) and forceful number, and one that sees our young heroine trying to find her place; again wrestling with inner demons- and trying to find happiness. With an elongated and echoed (backing) vocal and sweet-natured composition, Letdown seems to deal with compromise and having to fit around someone else's ideal ("I can tell you exactly/what you want to hear"). Whether speaking about a lover, or society in general, our heroine is concerned; worried that the way she dresses and speaks is perhaps wrong- that she should change who she is. When Eriksson says "I’m scared like hell I’m not enough", you can hear the strain in her voice. With growls, sweet sighs and powerful rises, the vocal performance is (again) emotive and powerful. It is the most reflective and introspective track, with our star starting to doubt who she is- and the 'real' her. It appears that "nothing seems to please you", she proclaims; admitting: "I’ll keep it to myself". Again, Letdown sees Eriksson mix emphatic vocals with an impressive band performance. Past the 2:00 mark, the song goes into overdrive; our heroine pushing against oppression and trying to stay true to herself ("Oh you’re killing my belief/to be myself/and if I can’t make my own way I quit"). Creepy Little Story has one of the most intriguing intros. of the L.P., with a fairground waltz-cum-midnight tango, it sets the mood beautifully. Revolving around the central figure of Sophie; here is someone whom is pretty and small ("but she’s tired of it all"). Eriksson is the angel watching over; her voice is measured and gleeful, as she steps away from personal analysis and biography: to introduce some gothic and fictional storytelling. This girl who "grew up just like me", is a curious and dark figure whom you will imagine in your head. Our heroine introduces creepy boys, haunting and strange images; Sophie it seems is not so fictional after all: "It turned out she was me". With a beautiful melody and deft changes of pace, it is a departure from the previous numbers; and a perfectly mid-L.P. track. It blends Eriksson's gift for storytelling and image-setting with a vocal that is at once delightful; and the next, unsettling. Hold On has a beautiful introductory coda and (brief) gorgeous wordless vocals. A pattering drum drive and rushing vocals breathe huge life into the track, as our heroine leads us into the song. Here, there is a sense of longing and romance; an overall positive mood and sense of yearning. The vocal is reliably gorgeous and snaking; bringing life to direct and impassioned words ("Hold on to what you’ve got/And I will never let this pass me by"). With London ablaze, and our heroine in full voice, there are all the expected hallmarks here: ghostly evocations, passionate implore and longing. Eriksson's voice goes from a passionate belt to sweet whispers as she implores: "I could live as if I’ll never live again". Hold On rises and swells to emphasise the emotions and lyrics, our heroine's voice matching the energy and mood. There is a certain anthemic catchiness to the chorus, and is a track that I can see being a live favourite in time. As it reaches the closing stages, Eriksson has one (final) confession: "I am so scared of losing what I gain that I’d rather have nothing at all". Stirring piano sounds herald the arrival of Lover I Don't Have To Love; and the introduction of a tale of dislocated relations. Our heroine introduces a nameless figure; a man who seems mysterious ("When I asked your name/You asked the time")- someone whom is perhaps aloof, or else seductive. The track is one of the most overtly sexual and direct. Eriksson tells of her hands "Pressing hard against your jeans"; the two lovers tongue entwined in a passionate embrace ("Trying to keep the words from coming out"). Whereas songs like Stay were more tender and coquettish, perhaps; here the other side of love is investigated- a pure and unadulterated passion. Complete with a strong and impressive vocal, the track is one of the strongest on the album, and once again shows another side to our heroine. We have gone from tender passion, to gothic scene; strange creatures and anti-heroines have been seen- here there is something sweatier; exhilarating and unadulterated. Eriksson has parts Lana Del Ray; bits of Bjork- and plenty of unique flair and wonder. It is a mini opera of lust and passion. In the morning, "We forgot where your car was parked" as the two lovers stagger into the morning light. Eriksson is very much on top and in charge, yet she still projects an air of caution and trepidation. The impassioned and enraptured repetition of "You didn't hurt me" in the final moments is a fitting end to a brilliant track. "Come with me I’ll take you to the ocean where we can breathe" are the words that open Oceans. The track surveys a bygone romance; looks back at the good times and good nights that were shared; before our heroine's sweetheart chose "reality/Reality instead of me". With another powerful and memorable vocal, Eriksson is backed by guitars; and a whole lot of history. As our heroine pleads and implores, her voice rises and swells to operatic heights. With a frantic and emotive delivery, she speaks to her lover; begging him not to let go (and leave her on her own); offering (in exchange for devotion) genuine affection (" So close your eyes/I’ll show you love tonight"). By this point in the L.P., I am still impressed by the way Eriksson employs language; twists and turns her words- able to offer up some fascinating images. "And the piano full of blood/From the songs that I’ve been bleeding/A bottle full of wine I am standing on the ceiling" puts your mind into her imagination- you cannot help but to imagine and picture those words in full flight. With effective yet sparse backing, there is a larger emphasis on the voice and words; meaning that the full force of Eriksson's words are felt. It is an atmospheric and augmentation number that displays our heroine's lyrical talent; as well as putting her heart and soul under the spotlight. I Will Lead You Home boasts, perhaps, the most impressive intro. of the album. A beautiful and soothing acoustic line is unveiled; one that relaxes you and makes you smile (at the same time). Our heroine acts as a safe pair of arms; a guiding light in the track; she sends a message out (to an unknown subject(s) that she will guide them. "When you're out of breath"; "When you're left alone"- Eriksson says- then have no fear: "I will lead you home again". Bolstered by a gorgeous and tender vocal display; with acoustic guitars that mix (Pink Moon-era) Nick Drake with Kings of Convenience, it is a heartwarming and heart-melting song. In a town with "Lovers walking hand in hand without a sound", our heroine offers a helping hand. Whether Eriksson is speaking to a lover, friend (or perhaps a form of herself), it is unsure; what is clear the conviction and intention within the track. Whereas previous numbers may have left you exhausted (where emotions and hearts are being put through the wringer), I Will Lead You Home is a nice counter-balance and burst of sunlight. With wicked wordplay and striking lyrics, Stuck In My Mind starts its gestation amidst swooning and summer breeze guitar. Erikson's voice is a paragon of touching beauty and seductiveness, as she states how she is going around in circles; looking behind her- "Two steps forward, one step back". There is self-doubt and uncertainty, for sure, yet it is enveloped in the warmth and strength of the vocal, that is never becomes foreboding or heavy-handed. Oscar Wilde is quoted (and paraphrased), as books of wisdom are perused and studied; our heroine is doubting her mind and tripping over her feet. Whether the track documents a general anxiety (or a large malaise) I am unsure, yet it is obvious that there is a need for self-discovery; for answers and guidance a way to get out of this funk. Past the 1:00 mark, the mood swells (before exploding), as our heroine starts to doubt her mind. Monsters, ghosts and trees are employed as metaphors and symbols of oppressive force; Erikson pleads: "Can someone come figure me out". As the track's embers smoulder and the music ends, you wonder how much our heroine can take; whether she has found answers and reasons- and just what is coming next. Our antepenultimate track, Tell The World (Acoustic Version), arrives; with a dreamy lullaby (acoustic) guitar intro. is softly welcomes you in. A song that starts as "A journey on a broken piece of glass", our heroine's voice is at its tender best. Backed by the gorgeous guitar, Eriksson's voice spikes and rises as she sings "I know you thought I disappeared". An emphatic and determined call-to-the-world, our heroine repeats: "Tell the world I'm still alive/I found a way, yeah I survived". With her voice if full flight, and filled with conviction, it is hard message (and song), to ignore. With a specular and romantic intro.- that reminded me of a Kate Bush gem- Play Pretend (Piano Version) arrives. Eriksson's voice is in no laughing mood; she is fed up (of the unnamed figure), imploring him to "keep (talking) to yourself". Her (former) beau has been playing her like strings and manipulating her for too long. Fed up of being used, our heroine has been diminished and ignored; proclaiming: "Just tell me how you want me to be!" With the soft (yet emotive) piano- flecks of percussion- and our heroine's inflamed vocals, it is a stirring mood piece- both emotional yet defiant. Taking us to land, The Devil's Sin (Acoustic Version) comes before us. Eriksson's voice is, once more, soft and tender; backed by a delicate and evocative piano accompaniment. Speaking of the song's central focus, our heroine sings: "My mind in his grip and through my lips/The devil's words I let slip". As with Play Pretend, Eriksson's voice goes from a whispered coo, through to a gravelled growl; up to a full-bodied roar. With doubts and anxieties in mind ("I no longer know what's wrong or right"), our heroine is feeling the weight of emotions. Whether referring to the breakdown of a relationship; personal doubts and questions, or recollection of a hard experience, the song gets into your head. When Eriksson confesses "I don't want you to be the one who's left all alone"- you can hear the conviction in her tones. As the song reaches its climax, you can feel the strain starting to show (in Eriksson's voice); the song's messages are taking their toll. As the final lines are delivered ("I am how your heart breaks/This is a dead heart's game"), you wonder whether Eriksson gained some (much-needed) answers; whether absolution or salvation arrived. It is a fitting climax to the L.P., where cliffhangers are left- leaving you hungry for more.

Charlotte Eriksson and The Glass Child have created a splendid and captivating opus. At 17-tracks, it does not come across as too bloated or full- there are no filler tracks on the album. It may seem like I am coming across as too fawning or effusive, when it comes to The Glass Child- the truth is, I am not. You may not have heard of her until now, but Charlotte Eriksson's endeavoring music and itinerant ambitions are what the music world needs. London is home to our heroine at the moment, but I can hear European influence (as well as U.S. acts). She yearns to be "Where I can sing as loud as I want, without wondering who is listening or what they think". Although I'd Like to Remain a Mystery is over a year old, it is an L.P. that is still garnering huge praise and adulation. It is a brave and fascinating collection of songs that retains all of the personality and components of her previous work- yet is a leap forward and shows how confident and assured she is. I am amazed and impressed by how prolific Eriksson is, and what a range of sounds and sensations are available. Throughout the L.P., our heroine's voice is compelling and thought-provoking; mixing gorgeous and soft shades with hugely powerful swells- a huge range. Her band is a noble and impressive force, and score the tracks beautifully- adding weight and texture to her mandates. It is perhaps the lyrics- to my mind- that stand out strongest. Being a lyrics obsessive myself, I am impressed by the range of emotions and themes Eriksson explores; the intelligence of the poetry is startling- the L.P. is a statement from a young woman whom adores words, and knows how to use them. You find yourself, not only listening to the songs, but immersed within their wings; travelling where our heroine takes you and imagining what she sees. For any songwriter, this can rank amongst their proudest achievement, as so few (in the modern age) are capable of doing this. Having listened to the album in its entirety, I was mesmerised by the talent of our the young Swede, and how accomplished the L.P. is. It not only is the result of years of self-discovery, hard work and consideration, but provides a fascinating glimpse into what her future sounds will be. My split infinitives aside, The Glass Child is an act that will be familiar to many new lips this year. As well as having a huge and loyal online following, she is still foreign to many ears- I hope this soon changes. I am not sure when the next L.P. will be released, but it is going to be a collection that will see some familiar elements- as well as some new steps and themes. Knowing Niels Bakx, I am wondering whether heavier guitar sounds will be included; and if any of Los and the Deadlines' Rock majesty will be infused (into the album). Whilst we speculate, imagine and prophesies, take the time to investigate the back catalogue of a restless and brilliant talent. The official site for The Glass Child is a awash with beautiful photograph; fascinating insight and information- a glimpse into Eriksson's mind and ambitions. I stated that a lot of artists provide practically no personal information or biography; expend the minimum of effort and time to connect with their fans- it is a huge relief that Eriksson is the polar opposite. Our heroine has been recording songs and keeping busy since the release of her debut album, and I hope that she plays some gigs in London soon- I would love to see her perform for sure. It is clear that Eriksson is keen to connect with her fans in as many different ways as possible; this is reflected in the appreciated that is paid to her. Her music may not be instantly familiar or relatable to all, but given time, the songs will reveal themselves in time. Being a songwriter myself, as well as looking for inspiration (in terms of what can influence my own music), I am keen to find great artists with a terrific story. Eriksson's musical outpourings have pushed me to incorporate new facets and shades into my own music; to modify my (sometimes) rigidity- and be more adventurous and bold. As a human, our heroine is living her life the way she wants and dedicating herself to her music (poetry and literature); setting her sights high. Before I conclude, I will unveil some words from Eriksson herself: "I just want to mean something to someone because every person I meet mean the world to me and I just wish to belong. I just wish to be me and be loved for that. I’m mostly insecure, but I believe that if you want something bad enough, you can always find a way to get it. I love challenges because I’m here to prove myself and other people wrong. I still don’t know where I’m going, but I’m on my way...". Our gorgeous heroine has a long career ahead, and it will be fascinating to see what her future steps will be. As well as an L.P. in-the-works, I am sure that there will be more songs; poems and writing from the twentysomething Swede. Along the course of my musical traversing, I have come across a great variation and range of artists- both solo acts and bands. I understand that the mainstream or 'established order' provide commercial profitability; there are artists that are there to inspire and lead the charge- yet I feel that the overall quality is not as high as it should be. It is the upcoming wave of artists whom provide the strongest music. Premiation should be given to one and all, as I am genuinely impressed by the ambition and talent that is currently out there. Charlotte Eriksson is an act whom is near the crest of the current wave, and I hope more fans and music-lovers investigate her music- and take her to heart. I hope one day to see her play; to meet her and see what is in her mind- where she hopes to take her music. Until I find out, I have been smiling when thinking about her album title (I'd Like to Remain a Mystery). In a way, The Glass Child is a name appropriate and (strangely) completely wrong for our heroine. Eriksson has a child-like wonder for the world; a curiosity and a sense of fragility. You can tell that our heroine has a vulnerable side and is seeking comfort, answers and a sense of belonging. Conversely, she has proven herself to be brave an adventurous; someone whom has gone out into the world and shown how independent she is. We have- and can- gleam a lot about Charlotte Eriksson; who she is, what inspires her- and what goes into making her music so memorable. In that regard, our young heroine is perhaps not such a mystery. She is an open and honest woman whom wants to let as many people into her world (and mind) as she possibly can. On the other hand, there is mystique and abstruseness to evident. I'd Like to Remain a Mystery (as well as her E.P.s and writings) have provided the voice behind The Glass Child, yet I have the feeling there is so much more; some secrets and thoughts that Eriksson is keeping inside of her. I hope that she keeps them to herself, as it is that sense of seductive mystery that makes our heroine so fascinating. Amidst the L.P. plans, sofa-surfing (she often crashes on fans sofas; in order to connect to them more directly) and European travels, Eriksson is optimistic about what is to come. It is not often you come across an artist whom not only hits you instantly, but also reveals layers and truths after every listen. Our heroine is someone whom has worked hard to achieve this; yet she does it with seemless effortlessness. When all is said and distilled...

PERHAPS that is the biggest compliment you can pay to anyone.

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Track Listing:

I'd Like To Remain A Mystery- 9.8/10.

Stay- 9.9

The Haunted- 9.7

Give Myself Away- 9.7

Consumed by You- 9.7

Hit The Ground- 9.8

Somewhere I Belong- 9.6

Letdown- 9.8

Creepy Little Story- 9.9

Hold On- 9.7

Lover I Don't Have To Love- 9.9

Oceans- 9.6

I Will Lead You Home- 9.8

Stuck In My Mind- 9.7

Tell The World- Acoustic Version- 9.8

Play Pretend- Piano Version- 9.7

The Devil's Sin- Acoustic Version- 9.7

Standout Track: Stay

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Follow The Glass Child:

Official:

http://www.theglasschildofficial.com/

Twitter:

https://twitter.com/justaglasschild

Facebook:

https://www.facebook.com/theGlassChild

SoundCloud:

https://soundcloud.com/theglasschild

BandCamp:

http://theglasschild.bandcamp.com/

YouTube:

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

Last F.M.:

http://www.last.fm/music/The+Glass+Child

iTunes:

https://itunes.apple.com/gb/artist/the-glass-child/id470307547

ReverbNation:

http://www.reverbnation.com/theGlassChild

Tumblr:

http://theglasschild.tumblr.com/

Songkick:

http://www.songkick.com/artists/3741181-glass-child

Merchandise:

Big Cartel:

http://www.theglasschild.bigcartel.com/

April 20, 2014

musicmusingsandsuch

Uncategorized

Feature: The Music 'Business': The Dirty 'M' Word.

April 20, 2014

musicmusingsandsuch

Uncategorized

FEATURE:

The Music 'Business':

The Dirty 'M' Word.

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As I look ahead to my (and many other people's) future, it can be exciting to imagine. Ambitions and high-minded plans inspire the mind, compel the imagination; yet there can be one major stumbling block: money.

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WHEN you get to my stage in life, something odd begins to happen...

When I say 'stage', I don't mean age- more a period of restlessness. The rest of this year is going to see (I hope) a lot of transition and fulfilment. The singer/songwriter area of my brain is spinning lyrics, compositions and designs- it is quite exciting. Once an entire album's worth of material starts to cement itself- and the seeds are sown- it is only natural to think ahead. Before you know it, you (and I have) find yourself imagining the album cover; each song in its entirety- each and every component in full. One of the greatest things about music (from the perspective of an artist) is that it is easy to record and publish music. In terms of technology and accessibility, you no longer need to go into a studio, spend hundreds of pounds and labour hard to get your music recorded. Many 'D.I.Y. artists' or bedroom acts can sit in the comfort of their own homes; bring their music to life- and stream it straight to the general public. Most new acts start off by recording the odd song; perhaps an E.P. will (eventually) arrive: the embryonic steps are fairly modest. In time L.P.s and larger projects are realised, but I have witnessed many fresh acts lay down their tracks; put their intentions out there and feed them to the public. For most of us listening, there is no consideration given to the mechanics behind making the music- what is costs to make it happen. Even those whom make their music outside of a studio, the cost associated with doing so can be quite galling. It is only natural, yet when I look at studio rates, my eyes can water. Unless you are lucky enough to have a friend whom runs a studio (and thus get 'mates rates') or find an economical way of producing music, the final bill can be pretty high. An entire day in the studio (usually 8 hours minimum) can cost anywhere up to £400. Some studios I have seen charge almost double that, and that is just the recording costs itself- before any mastering has been completed. It may sound like an old (well thirty-something) man having a bit of a rant: far from it. Of course studios are businesses and have to charge for their services; it just seems that a lot of musicians are reverting to the confines of their own home, because the cost of professionally recording music is so high. I have friends whom run their own studios, and their costs are modest and affordable, yet they seem to be in a general minority. I am in the process of completing the writing of an album; one of which I have been working on for years now- something I am immensely proud of. When I tabulate all the various expenses and logistical considerations, the bar bill runs into thousands: five figures actually. You may say that if you want to spend less, than record fewer tracks; be less ambitious or convoluted, perhaps. In that sense, there is a bit of a chicken and egg dilemma. Before I investigate the costs of making it in music in general, I shall use myself as a case study.

I will get more into the inequities and vicissitudes of music ambition, yet from my own perspective, I have found the costs are mounting. As it stands (and as I sit) my bank accounts have a few hundred quid in them. I am looking at getting part-time roles at the moment, and writing as much as possible. Having applied to various music sites and publications (with regards to getting jobs here) most- to start with- are going to be unpaid. When I can afford to get my own place and move on in the world, I imagine that I will not have a lot of money left over. Even when I had a full-time role, I found myself with not a lot to show at the end of the month (once rent etc. had been deducted). I guess this is the same with everyone; of course there will be variables and differences. I have a basic 8-track recorded, yet find that the sound quality is pretty poor- not adequate for what I want to do. There are softwares and programmes available to record vocals and music, yet I find that they are pretty basic for what I need. The solution is going to be going into the studio and recording music that way. General rehearsing and band hunting will have a money value attached, although it will not be overly high. If I were to just record one of my most 'unambitious' tracks, it will take a full day in the studio- as well as additional mastering and production costs. I would imagine that we would be talking about £600 or so (at the minimum) and that seems quite daunting. You may sit there and think that this is perfectly reasonable: and it is. The issue is, that after all the 'day-to-day' costs are expended and you look at what you have left, there is not a huge amount to play with. One song may be an achievable goal (in terms of money), but if you are looking into recording an E.P. or L.P., then you are looking at a somewhat stiffing total. It is imperative and handy having recording software and facilities whereby you can record basic numbers at home. I know many whom started out this way, and they have gained attention and fans from it. Invariably, all music- at some stage- is going to enter the studio, and it makes me wonder: is it putting people off (recording music)? Aside from music-making itself, I am looking at two other ventures: a music bar/cafe as well as a (small) record label). The first business idea stemmed from a real need; a gap in the marketplace, and as much as anything, a neat concept. In London (and various cities) there are plenty of great music venues, bars and locations- we all have our favourites. From what I have seen, there is nothing on offer that provides a bar, cafe and music venue- all in one. I have written a full blog post about this before, but the idea is to have a London-based, two-floor location. Essentially, it would have a lower floor where there is a bar; seating areas and a couple of stages. Patrons would be able to order food (off an extensive menu); order alcohol (cocktails included) and hot drinks, and sit and listen to music. There would digital jukeboxes offering endless amounts of tracks; and put simply, it would be a music venue-cum-cafe. The stages would allow for local and mainstream acts to perform (in the evening), and it would be a (hopeful) major venue. Upstairs, there would be an interactive platform; where walls fo screens and units would be set up. A music website- Pyschoacoustics- would be accessible, and allow anyone to create and make music; listen to any song they want- as well dozens of other features. In addition, there would be a modest-sized recording studio on the floor as well, allowing musicians as well as first-timers to record music- at an affordable fee. It all sounds a bit pie-in-the-sky, I grant you, but it is not me wanting to become Richard Branson here- just fulfil a genuine desire amongst many. Thom Yorke (in Paranoid Android) said that "Ambition makes you look pretty ugly"; well in my case, it makes me look tired. I have been formulating a business plan and ideas for the venue, yet it seems an almost impossible realisation. Setting aside issues such as finding a venue and getting a loan etc. the amount of start-up capital needed is immense. It is going to be the same with any business, but it seems that an idea is not enough: banks and lenders require you to have enough of your own money before they lend. I can guarantee that the business enterprise will be profitable and successful, but the initial stumbling blocks are hard to get over. The other 'crazy idea' I had, was to establish a record label. This is born, not out of a need for profit, but to provide a home for some great musicians. I know quite a few different acts and artists whom are unsigned; negated and passed over by labels because their sounds are not what they are looking for- seemingly wandering the road seeking out shelter. It is quite sad, as the artists in question are all hugely talented and impressive. My ickle label- tentatively to be called Famous Atheists Records- would be London-based, yet be free from genre restrictions. The idea would be to provide a parapet for all sorts of artists; from northern Pop and Rock acts, through to U.S.-based Electro.- and all in-between. As far as desire goes, this idea probably takes up more of my imagination than music-making itself. I know of so many acts all worthy of being signed, yet subjugated and rejected because their sound is too unique; ill-fitted to a record label's rigid mould- it is heartbreaking. BBC 6 Music put out an article online (link below) stating how easy it is to start your own label. Like a business, you just need to have your plan, costs and cash forecast set out; do your market research and get in touch with contacts- simples, right? Well, in the case of some failed record labels, perhaps not. If you are smart enough to do your research, then you can make a go of it, just you always need some cash of your own (like with a business) before going to a bank. As much as anything, setting up a record label relies on getting funds and donations from other businesses and contacts- which can be a headache in itself. It is not just me (as a megalomaniac-music mogul-in waiting) whom has this issue: many of my contemporaries and pals have this conundrum...

Recently, I have reviewed quite a lot of different acts. From Scottish wonders through to English Pop princesses, there has been a great deal to digest. With every new act, there is always a lot of graft and sweat that has gone into their music. When I (recently) reviewed Universal Thee's Back to Earth album, I know how much effort went into make it. The band members all worked harder than ever; toiling and spending hours on ensuring the finishing product was as good as possible. The money that went into making that L.P. was as a result of endless shifts, overtime and tiring work. Knowing how good the band are- and were before the album- it seems strange that the guys had to work so hard to raise the funds. I am sure that the five-piece did not mind; and that they would do it all over agin, but this struck me: shouldn't it be easier than this? Other acts, from Issimo, through to Jen Armstrong; to Chess Elena Ramona and Crystal Seagulls, have broken their backs in jobs- to raise the necessary cash. I guess if there is a degree of struggle and overcoming adversity, then the end result can be that much more satisifying- as though you have genuinely earned the right to make music. The life of the unsigned artist is a fraught and unpredictable one, that to my eyes, does not seem to be so hard. When you have a label backing you, and you have management; issues such as finance are (although not non-existent) not a huge problem. It is axiomatic that labels should be seeking the best talent; that incentive to work and produce incredible music arrives when as few burdens as possible are present; money and raising finance is one of the biggest burdens- ergo, dissipating the problem makes sense. I do wonder if the reason bands and new acts favour putting out an E.P. (as opposed to a full album) is not that they want to distill their essence and do not have enough ready material- but because it is not feasible to release an L.P. Digitialisation of the music industry and the augmentation of music-sharing has made it easier (than ever) to get your music heard by as many people as possible; yet I fear that may be an issue: would charging a nominal fee to hear your music help? The music-buying public (not too long ago), has no choice but to buy everything they heard; I just wonder whether sites such as SoundCloud and YouTube act as a double-edged sword? From a personal perspective, I have heard a great amount of music on these sites (often to review) and have always felt regretful that I was unable to buy the sound- or to pay a token sum to hear it. If, say, each person whom listened to a track paid 50p, then you could raise hundreds (or thousands) of pounds- without putting anyone out-of-pocket. Perhaps this raises ethical issues, with many feeling it unfair that they have to pay for something- that they could otherwise have gotten for free. It is always a dangerous quagmire when discussing charging for music. There will be those whom say that music should be free to listen to; that this is the only way the less advantageous can afford it. Those- like me- in the opposing camp, feel that if the music is worth listening to, then it is worthy paying for. I always love hearing great new music in its full glory, but am always left wondering what the human and financial cost of making it (was). From my perspective, I am filled with trepidations and questions. We are in a year (and era) where there is a huge amount of new music out there; where the market is as crowded and bustling as ever- it seems logical that some form of financial backing should be available. Obviously, the musician will have to help to subsidise and support themselves (to a degree), yet some palliative care should be available for all. I have been investigating a few sites that offer some financial absolution; sources that can offer assistance. Whilst there is some merit and utility to these sites, there is still a lot to do (in terms of raising money).

What is to be done, I hear you (not) ask? Because music sees so many new acts enter the fold (by the day), then it seems that the issue of money may be an unanswerable quandary. In tandem with the general economy, the more people you have in a country, the more you have to stretch budgets. Unless you have a hugely well-paid job (or wealthy parents) then most of us have to live by the same, modest standards of living. The ambitious are often treated with impunity, and laughed at; spurring them on to silence the sharp-tongued detractors. As I stated early on, it is wholly possible to record music wherever you may be- and whatever your budget is. For those whom require the services of a studio or producer, then the whole business can become quite expensive. I know of many new musicians whom either have to work their feet to the bone (to afford to make music) or hesitate making it all- due to the realities of realising your dreams. For those making an E.P., L.P. or what have you, there are sources such as Kickstater (a site that is a crowd-funding platform). You can get loans and grants if you have a great business plan, but often you need quite a bit of your own capital. Designing a music website requires a lot of money; setting up a record label does- the list goes on. When you disseminate your earnings to various requirements (rent, food, life etc.) then you find that the coffers are quite bare. Ambition, talent and exposure will get the best and brightest what they desire, but you have to be able to walk before you can run. I guess me moaning about this fact will not solve the issue, yet it occurs to me that there may be some solutions. Crowd-sourcing website are a great way to earn money for your projects, and it seems to be a way forward. A lot of artists have found satisfaction through these channels, and we need more websites like this to be established. As much as anything, it seems that a fundamental (yet irritating) component is stopping a lot of new artists in their tracks. It makes me wonder whether something needs to be done; as music is one of the greatest art forms in the world, we should be encouraging it hugely. Unlike acting, music relies on a huge amount of self-funding, and to my mind, there is not enough being done to support musicians- making it more cost-effective to take the first steps. I am hoping to- amongst other plans- get a record label set up and make it a bit easier for some great musicians to make music (cost effectively). It is always a bugger when real life gets in the way of things, and a bigger one when money dictates things. It would be good to hear other people's thoughts; hear from musicians whom face the hostilities of music-making/money, and get some feedback. As far as I can tell, a lot of acts are being put off of recording music, because they simply can't afford it. I genuinely believe that there is a sagacious and realistic way to rectify the issue at hand. I feel that it is going to be unlikey that studios will reduce their rates; that banks will become a bit more trusting- the answer lies online. There are so many music websites and huge companies that work independently of social media sources such as Twitter, Facebook and Google+- it makes me wonder whether the bonds need to be formed. Music will never get to the stage where you will be able to record and distribute everything for free, so it seems that there needs to more support from the big names. Of course, once the musician is established and set-up they will be making money, thus able to afford to record as much as they desire- it is the sapling steps that trip up many. If big record labels or names such as Google, Virgin and Microsoft were to offer the initial funds need (on a quid pro quo basis) and then get their money back (without interest), then it not only makes it easier to get music into the studio- but draws together publicity outlets for said musicians. I am not sure, but I know that something needs to be done. I am impressed that so many new musicians keep plugging and recording- and find the money to make their music. I hope- in not too long a time- to be able to join them; accrue the necessary dosh, in order to get recording- it seems a (painfully) long way off. For the meantime, enjoy the sun (whilst thinking about it at least), and of course...

EAT Easter eggs!

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Links:

Funding for musicians:

https://www.helpmusicians.org.uk/emerging-musicians/funding-wizard

http://www.prsformusicfoundation.com/Funding

http://www.musiciansunion.org.uk/

http://mfym.org.uk/

http://www.musictank.co.uk/resources/reports/funding-guide-2013

Crowd-sourcing websites:

https://www.kickstarter.com/

http://wefund.com/

http://www.patreon.com/

http://www.crowdfunder.co.uk/

http://www.artistshare.com/v4/

Great sites for music sharing:

https://soundcloud.com/stream

http://bandcamp.com/

https://www.spotify.com/us/about-us/labels/

http://www.last.fm/uploadmusic

http://help.rdio.com/customer/portal/articles/58994-getting-content-into-rdio

https://dashboard.earbits.com/submissions/submit-your-music-for-radio-airplay

____________________________________________________________________________________

Starting your own record label:

http://www.bbc.co.uk/6music/events/indie/label.shtml

http://www.factmag.com/2012/06/23/how-to-start-a-record-label/

http://www.wikihow.com/Start-a-Record-Label

http://musicians.about.com/od/musicindustrybasics/ss/howtostartalabel.htm

Advice for new musicians:

http://diymusician.cdbaby.com/topics/advice-tools-tips/

http://www.helpforbands.co.uk/

http://music.lifetips.com//cat/9753/advice-for-musicians-bands/index.html

http://www.musicthinktank.com/blog/10-networking-tips-for-musicians-and-bands-1.html

Misc.: some of the best music sites in the world:

http://www.songkick.com/

http://www.emusic.com/home/home.html

http://pitchfork.com/

http://www.gorillavsbear.net/

http://www.blinkboxmusic.com/

http://hypem.com/

April 17, 2014

musicmusingsandsuch

Uncategorized

E.P. Review- The Tuts: time to move on

April 17, 2014

musicmusingsandsuch

Uncategorized

E.P. REVIEW:

The Tuts

time to move on

9.4/10.0

The E.P., time to move on is released by Dovetown Records, and available from:

http://thetuts.bandcamp.com/

_____________________________________________________________________

The gorgeous west London trio have been making waves since 2012. With their latest E.P., the Libertines-cum-Kate Nash mandates set them out as future festival headliners. At the moment, they are very much a 'D.I.Y.' band (handling all their own buisness themselves); although one thing is for sure: record labels will soon come a-knocking.

_____________________________________________________________________

IT is always quite an unpredictable life, when you have my job...

Well I say 'job', because reviewing (for me), is really a hobby (until I can record my own music), but the point is this: I never know what I am going to come across. In terms of finding and discovering new music, I am very much my own man. Through Facebook and Twitter, I have quite a few musical friends- and am able to review their work now and then. It always gives me pleasure and satisfaction, when I am able to pormote a great act; wonderful music, and some serious ambition. Sometimes I come across some Scottish Pixie-esque wonder; occassionally some northern Pop and Rock comes to the fore- I even take my travels beyond the U.K. My iteinerary can often encompass sensations from the U.S., Europe and Australia- as well as E.I.R.E. As much as I love to digest some international sounds, I always find it paramount to extol the virtues of homegrown acts. After all, these are the acts that are on our doorsteps: those whom we can see perform live and meet in the flesh. The biggest benefit and necessity (with regards to reviewing U.K. acts) is that it makes you aware about the larger and wider music scene (in this country). There is always a bit of a tendency- when we think of music- to consider the mainstream and what is played on the radio day to day- without too much thought towards new acts. One of the hardest parts of my reviewer-by-day duties, is that I have to look hard for subjects to feature- far too hard as far as I am concerned. There are some great websites that offer up reviews of new artists, yet there are few sites in place, solely dedicated to channelling the augmentations of our sapling musicians. Over the past few months I have existed on a diet of social media contacts and chance occurrence- there seems to be no stability at all. I would love to hear about a great Australian Rock act from Victoria; a fresh Electro-Disco solo act from France; bustling Indie acts from Manchester- yet how would one ever hear of these? I guess- with the proliferation of new acts- it is near-impossible to catalogue them all; sepearate them by country, genre etc., yet it seems that an attempt should be made. I have been formulating plans (amongst many others) to get together an all-encompassing music website. On it, there would be tonnes of features and elements- amongst them would be a thorough representation of new musicians. I have always had the idea of being able to introduce something where you could click on a map; highlight a country/city; then break down the new musicians in that locale by genre/gender etc. and then get a list of the acts that fall under these categories. I digress, but my point is that a lot of my reviews happen by serendipity. I hope some future bright spark will rectify this malady very soon, but for now, I want to raise a couple more points. A lot of my reviews over the last couple of years, have focused on U.K. acts- most of whom eminate north of the border (north of Watford actually). The likes of Crystal Seagulls and Los and the Deadlines are London-based troupes, whom are putting the capital firmly on the map. Outiside of them, I have surveyed some south cost Pop acts as well as a few acts based in Surrey- yet they are in the minority. My featured three-piece hail from London and call Hayes home- an area and hotspot I shall investigate in more depth. I am glad to be putting London back in the spotlight. It is axiomatic to say that it is a city where a lot of new musicians pioneer and dream- yet the best and brightest are based further north. From experience, most of my 'London reviews' have focused on bands; those whom prefer their sounds heavier and more hard-hitting, I have found few solo acts or diverse acts to review (although they are definitely out there); there is a slight homogenisation. This is no bad thing, as the likes of Crystal Seaguls and Los and the Deadlines have proven- some of the most invigorating acts in the U.K. play out of London. It is- and should always be- the mecca and epicentre of what is current, fresh and alive; London has always offered up some of the greatest acts of all time- something I hope will not abate. This conundrum and consideration may be something that is a question for the ages, but recently, I have been thinking a lot about bands. Being someone keen to not only record my own music, but recruit a band, I am always on the look out for great talent. I have never been keen on being part of an all-male band; diversity and cross-polination have always seemed more appealing. When I look at bands at the moment, there is still a dominance of the male-only realm. Occassionally, you get some male-female bands (2-4 members typically), and there are all-female bands, yet the following is apt: the styles differ gretly. Th last time I surveyed an all-girl group whom played heavier sounds, was Fake Club. Since then (that was last year), you either find that the (all-girl) acts tend to be largely Pop-based or mould themselves around a former girl group. For the boys, the sounds tend to be harder and more energetic (there are fewer boybands)- I am not sure why. Ever since reviewing Fake Club (and being mesmerised by their music) I have been looking out for a similar act- a band that can offer that potency and promise. Today's subjects provide the excitment I have been seeking. The London 3-piece act summon up the force and conviction of a four (or five-piece) male act- and do so in their inimitable and unique style.

When looking around for new bands, I have been somewhat dissapointed lately. Certain acts such as Kongos (U.S. funtime purveyors) provided no feedback or acknolwegement when I reviewed one of their songs- which left me feeling angry and jaded. I have- as a result- slowed by workrate, and going after bands whom seem deserving of attention or focus- and that would seem grateful for any review. It is a minor quibble, but it is better when a band (or act) can use a review or feature; spread the word and get more people atuned to their music. My featured trio, should have no fear: they will be big news, very soon. Our heroines are comprised, thus:

Nadia- Vocals and Guitar Harriet- Bass and vocals Bev- Drums

The girls, themselves, describe themselves in these terms: "We're a feisty all girl punk band from West London! Recently supported Kate Nash on her UK tour, played Indietracks Festival and many indie pop and punk shows! We're self-managed, completely DIY and book all our own shows". One of the most impressive elements of new music, is when a band or act manages to put out music at all- such is the demanding nature of the industry. Record label bosses and venues tend to not come calling right from the start, so musicians are often charged with make all their own moves and making all their own decisions. The Tuts not only book their own gigs, but write their own music; organise all their day-to-day activities and movements- they are a three woman army. The girls are all striking and gorgeous to behold, yet it is when their music hits your ears, that the biggest impressions are made. Our heroines' onomatepiac name translates as "To express annoyance, impatience, or mild reproof"- their music whips up a certain distain and rebellion. Rare is their brand of music, that many critics have been allured and staggered by their intentions. The Tuts have a natural home in the live arena, and make most of their music their. When they get into the studio, their energy and glory is not reduced or distilled- it is all in tact and restored. In 2012, their debut E.P., S/T gained the hearts of many fans (and new admireres). One reviewer was compelled to write: "West London three piece buzz like a female version of the Libertines. From the same town as the Ruts, with only a letter difference, the Tuts are a bundle of attitude and suss." Songs such as I Call You Up (a fan favourite) is a two minute aural assult that puts me in mind of '70s Punk as well as White Blood Cells-era The White Stripes. That track was a rallying call; yet contained melody and a sunmmery feel. The girls turned lyrics such as "And I’m not just starting beef but you’ve gone to sleep/And I’m shouting and I’m screaming for you", into something toe-tapping and upbeat. One of the most striking things about The Tuts is their image. Although the girls have plenmty of genuine Punk and Rock spirit; grit and punch to their music, they have plenty of heart and tenderness. If you look at their personal website, it is awash with bright colours, cartoonish figures and vibrancy. The E.P. cover to S/T depicted the girls in shilloutte; colourfully-depicted- it was the kind of image that would adorn the album of a Pop album perhaps. There is a definite air or happiness, joyfulness and sun-kissed variegation. After the success of their debut E.P., combined with a sturdy and busy touring scchedule, the positive reviews flooded in:

"As The Tuts rage on through the tracks in their self-titled EP, the crowd really starts to come alive, including one particularly enthusiastic fan sporting a pair of cat ears on her head. Insightful lyrics in Tut, Tut, Tut chip away at sexism in the music industry, whilst Nadia, sipping from a bottle of lager in between songs, becomes an embodiment of everything The Tut’s music stands for. The rest of the set, along with jokes about Nadia’s "hairy armpits" (they weren’t by the way) receive raucous applause from the audience, signalling that The Tuts have gained a venue’s-worth of new fans".

The Ark Preston

Part of an ongoing girl-band renaissance that takes in everything from the dark post-punk of Savages and Zoëtrøpe to the lo-fi sounds of Woolf and Skinny Girl Diet, The Tuts instead take a refreshingly punked-up pop approach, citing their inspirations as everyone from The Beatles to Bikini Kill, and wielding enough classic-indie influences to make them serious contenders for mainstream appeal should word continue to spread".

The Girls Are

"The Tuts let themselves be free to be as cheeky, poppy and cute as like, which turns out to be very cheeky, poppy and cute. The band sound like a Kate Nash, Jack Penate and Shangri-las mash up, which can be most obviously seen in their latest song ‘Call Me Up’, an upbeat catchy number with candy coated riffs and sweet as pie vocals that will definitely take the girls far".

Don't Dance Her Down Boys

"Very much the definition of power-trio, The Tuts burn with an erratic energy and songs that make an almighty racket. Think of them as southern England's answer to The 5, 6, 7, 8s (remember them?!) and you're on the right track...Afterwards they were more than happy to spend a good deal of time meeting and greeting; shifting merch and posing for photos with a few sweaty-browed gents and a seemingly limitless supply of starry-eyed, impressionable young girls".

Liverpool Echo.

At the moment, our trio have just unveilled their second E.P., and it shows them in confident and uthoriative mood. Their online pages- Facebook, Twitter etc.- are informative and kept up-to-date, and their fan base is slowly growing. I am sure that with the release of time to move on, their legions will swell and multiply; demand will flood in from all parts of the U.K.- and venues will come calling. With the likes of the Reading and Leeds Festival playing host to the likes of Arctic Monkeys and Queens of the Stone Age, there is a huge demand for groups whom provide heavy and impressive music. There is a definite niche and demand in the marketplace for groups that can provide the sort of kick that The Tuts have perfected. It is not just the music that has compelled so many, but the personalities of the girls. As well as being luminous and eye-catching with their online presentation, they are very much dedcicated to striking against sexism; reestablishing equality and balance- as well as coming across as relatable and tangible. On their Facebook page, the three-piece list their 'interests': "Gigs, drunken nights, eating pizza, playing sweet tunes, feminism, friendships, cuddling, craft, dancing, football, GIRL GANGS, horoscopes and being outspoken bad-ass bitches! Don't let the patriarchy silence you. Confront sexism and racism head on". It is clear that Nadia, Harriet and Bev have no intention of being labelled a 'girl band' or coming across as flyweight- they mean serious business. Amonst their influences, is the likes of Colour Me Wednesday, The Libertines, Best Coast, Kate Nash, Lemuria, Standard Fare, Martha, Perkie, Feeder, The Aquadolls, The Pipettes, and The Babies. It is the comparisons to- and the influence of- The Libertines that caught my mind. When listening to the girls' debut E.P. I could hear comparisons with the (sadly defunct) band- especially their Up The Bracket work. The Libertines are one of my favourite bands of the past twenty years, and I have long-bemoaned their demise. It is a sad fact that broken relations (as well as drugs) disintergrated a group whom seemed capable of a long regency. A lot of modern acts are too shiny and polished; there is little intrigue; too little wit and bite in their lyrics. The Libs. boys offered up London back-alleys, deplorable characters; chancers and vagrants; broken love- all wrapped in their festival of sound. The Tuts have the spirit of The Libertines in their bones, and echo some of their finest moments in their threads and movements. As I sat down to review time to move on (knowing everything I do about the trio), I prepared myself for what is to come.

The first thing one notices about the E.P., is the attention to detail. The E.P.'s cover is a mesh of striking lettering, colourful washes and striking images. This consideration and allure is not confined to their visual presentations. From the first notes of Worry Warrior, it is clear that our heroines have seemlessly combined urgency with consideration and thought. A beautiful intro. is unleashed, that put me in mind of the U.S. You can imagine the sounds of Worry Warrior blaring from a speaker in Nashville; there is a bit of a Electro-Country feel to the first moments; the solid and stacatto drum beat gives it some kick and fun- making the combinatuion sound very much their own. I love the lo-fi and raw production sound as well. It sounds like you are listening to a live renedition of the track-it has that feel to it. Sam Brackley's production gives the track the sensation of an early Libertines cut, but unlike Mick Jones's efforts, sounds and sights are not buried in the mix- everything is clear and concise. You cannot help but be swept up in the gallop of percussion, drum and bass: the girls combine beautifully. When it comes to the lyrics, they point at some disatisfaction and anxiety ("I evern smile when I'm annoyed"). Our heroine's voice is sweet and melodic, yet backed with genuine anger. With a Kate Nash-esque delivery, she states that "No one takes me seriously". Unable to say no to other people, Javed is reflecting on the downside of her trusting and open nature: delivered with impecable energy and conviction. The song has elements of Kilamangiro's (by Babyshambles) energy; a bit of Happy Hour Housemartins- and a whole load of attitude by The Tuts. Towards the 0:40 mark, there is a rumbling and raw guitar, with Javed (Nadia) and Ishmael (Bev) clashing, backed (Harriet) Doveton's solid bass. When proceedings are slowed, and our heroine is pounctuated by a catchy and powerful sonic blast; the song takes another twist. Speaking introspectively and inwardly ("I thought you were stronger"), our heroine comes to a conclusion: "time to move on". The Surfer Rosa-era Pixies guitar/bass/drum swirls instantly transform back into lighter and linear territoy. Our heroine is back at the mic. as she looks back on life ("I used to fight to keep peace"); her voice inflected with a heavy heart. Such is the spirit and talent of the trio, that they can present such a unique and original song; yet put you in mind of others. The likes of The Bangles, The Libertines (Begging and Time for Heroes) as well as Nash come through: combined and concoted into a heady brew. As the chorus swagger in (with vocal duties being shared between Javed and Doveton), your feet will be tapping. There is such a raw and unadulaterated spike to the sound, that you can imagine yourself in a pub, listening to the song live- maybe being caught in the bow wave of a mosh pit. The final third of the song sees each of our players stepping up. A punchy and solid drum rattle comes forth; a wailing and electryfying guitar solo come in (Josh Homme, eat your heart out!); followed by a twirling and finger-picking bass coda. In the final seconds, the percussive and bass rush is juxtoposed by our heroine's vocals; which, whilst still imploring and direct, are more relaxed and casual than her cohorts. As we come to the end, I have little time to reflect before the next track arrives: Dump Your Boyfriend. The version on the E.P. is a live one, and shows our heroines in their natural enviorment. With a vibrating and heady guitar storm (in the first few seconds), the track wastes no time in getting into your head. Again there is a slight hint of Kilamangiro, but the girls add weight, potency and force that Doherty and crew could only imagine. There is a Punk rush to the intro. that Buzzcocks undertones and a huge atmosphere whipped forth. Our heroine elonagates her words, as she recounts how peoplke advise her to dump her boyfriend; accusations are abound, as she admits: "But I can’t just dump/Duh-duh-dump my boyfriend/Accusations but what about all the birds in your tree?/So pull off the plaster for me". Whereas the previous track was penned by Doveton, here Javed is a co-scribe; the two blending their talents together. The recording on the E.P. is clear and consise; like on Worry Warrior, the production allows clarity and consision- making the track stronger for it. The subject of the song has obviously caused issues; our heroine seemingly stuck in a rut ("He took my liberty away/(but I stay)/He clipped my wings so I stay/(can’t run away)/I’ll put it off for another day"). Dump Your Boyfriend has a relentless and unslakable energy and drive (unsurprsing consider the song's topics); the vocal performance mixes languruous and laid-back with urgent and spiky- the percussion, bass and guitar once again rampant. It seems like there is a lot of regret and hesitation in the mottifs of The Tuts; the need to break away and change is clear, yet there is something holding them back. This is perhaps concecrated in one of the song's final lines: "Easier said than done, I don’t want to jump the gun". At just over 1:30, Loving It is the shortest of the four tracks (five, including the remix of Worry Warrior). After a brief lead-in/intro. (with some tantilising shades of Queens of the Stone Age) it is down to business, as our heroine steps to the mic. Caught in the riptide and franticnous of her colleagues' combinations, our heroine states "It's making me go mental"- although it is unclear, to begin, what this is referring to. As it is said (that) "We don't see the struggle" there is a beautiful little guitar, bass and drum stutter and rush (the song snakes and turns in different direction) that adds a sonic smile to proceedings. Our heroine's vocal is dependably direct and convicning; displaying its hallmarks or sedate and elliptical; breezy and spiky. The vocal delivery- as well as the composition itself- changes directions and pace, giving the song a constant electricity. You cannot help but kick your feet out when the composition is syncopated; unveil a grin when our heroine sings "I'm loving it"- there is a pause- before delivering"It's making me...". Again The Tuts seemlessly inject flavour notes of past hits and bands (there were one or two '60s and '70s toches and familiarities I enjoyed), with a distinct sound of 2014 London. I would say that Loving It is the catchiest song of the set (thus far); it packs so much dance, jive, rush and movement into 92 seconds- it is hard not to be impressed. The final (original) track of the E.P. is 1,2,3. After a sojourn of percussive pattering- that summons and tees up the vocals- our heroine steps into view. If the song's title and nursery rhyme delivery makes you think our London trio are penning a song for the young, the first lyric snippets quickly dispel that. Whether the song is directed towards a former sweetheart or ex-friend, it is unsure, but whomever it is, a lot of anger has been provoked. Semblances such as "4,5,6/You can suck my dick" suggest that a common enemy has stirred some hostility; a need to right wrongs and change things is evident ("I wanna take back the night"). Our heroine wants to feel okay; to roll her car window down and shout out- the vocal here is one of the most nuanced and intruiging on the E.P. The entire band performance is (I guess not too shiockingly) tight and mobile; like Loving It, there is a lot of pace changes and direction shifts- meaning that you are always kept to attention. If some of the lyrics point towards juvenille petulance or infantile tongue sticking-out, the vocal performance and wit transcends any doubts. Such is the nature of the band- raw but upbeat; Punk but sensitive- you know that there must have been a smile on their faces when the lines were delivered. Like contemporaries Kate Nash, The Tuts are able to deftly weave witticism with vulgar; sensitive with spiked heels- and make it sound fresh and new. As with the opening three tracks, matters are dealt with with succint regard and concision. No track outstays its welcome, and each track arrives and plays like an explosion: it lasts a fairly short time yet leaves its impressions. By the final strains of 1,2,3 the listener is slightly exhausted and bruised- yet better for it.

On their BandCamp page, the band offered a Deluxe Edition of the E.P. (that included: 1x copy of the brand new EP 'time to move on' with signed lyrics booklet + immediate download of the tracks!/1x 'Always hear the same shit' Earth Positive T-shirt! (please pick your size! listed below!)/1x 'Dump your boyfriend' 13cm tall embroidered patch!!!/1x Tuts plectrum in either pink or blue! (please specify in order if you have preference!)/1x Tuts mirror!/1x Limited edition high quality cartoon tuts gig poster!/1x Limited Edition 'Happy happy birthday to me records' mix cassette tape featuring The Tuts & other Indie pop artists from around the world!/1x Randomly chosen hand printed mini patch! (over 4 different designs available!)/1x Akbar Ali Artwork zine/3x Tuts stickers/1x Badge pack). It is evident that the three-piece have a lot of respect and time for their fans. Their website and online portfolio is jam-packed and informative- fans and newcomers have eveything they need. It is impressive that the girls handle all their own business, and run the show: you get the impression they would not want it any other way. By having full artistic control, they have been able to play the gigs they want and make the music truest to them. One feels, however, that labels and venues will be knocking at their door. I have reviewed enough new music to know that the trio will be in demand very soon. Their sound is both evocative, familiar- yet definied by a unique and personal direction and flair. They are a tight and impressive force, and their live performances have gained huge praise. Music is a cruel and unpredicatble mistress where many get buried under its weight. The girls should consider the possibility of being future headline acts; of having many eyes cast their way. At the moment, they are probably more concerned with seeing how time to move on does. I was thoroughly impressed by not only the quality of the songs, but also of the range that they presented. Flavours of the Punk masters of old come to the fore; sparks of The Libertines and Kate Nash can be detected within- all contained within solid and memorable tracks. If I had one suggestion for The Tuts, it would be to allow some additional hands into camp. I know that they are skillfully managing their own careers, yet there are going to be label bosses and record companies that would snap them up in a heartbeat. Creative control and input would not have to be compromised; but the girls would have the opportunity to play their music as far and wide as possible. Bars, venues and localities within New York and California have similar bands (doing good business) here; Australia and Europe are all have definite room in the market for the likes of The Tuts. As much as anything, there are plenty of towns and cities throughout the U.K. whom would love to hear from the girls. That said, they play Cardiff, Birmingham and Exeter in the next few weeks, and will be taking their blend of song to some new faces. When compiling a new band, I would kill for the likes of Nadia, Harriet and Bev. Such is the mark of a great act, that they not only inspire your own work and motivation- but also make you rethink. I have been writing music that is lacking in guts and boldness. The likes of Worry Warrior and 1,2,3 have provided fresh inspiration, and I find myself re-inspired (once more). The '90s (and early-'00s) was the last time we saw a genuine wave of exciting and new London bands- The Libertines included- so it is great that The Tuts are coming through. Like I said up top, there are plenty of London acts out there, yet few manage to bustle through the herd and steal focus. This year has been an encouraging one for new music, and provided more diversity and quality than I have heard for a long time. I am not sure what future market trends will be, but it is clear that the likes of The Tuts will be around to find out. I hope that as many people as possible listen to time to move on (buy it is as well), and go see them live, as they are determined to be around for as long as possible. It is the mutual friendships and strong bonds between the girls that will keep them togethger- so do not expect any Doherty-esque downfall. The music is impressive and nuanced, and there is something in there for everyone. Too many new acts arrive, implore hard- only to be forgotten about. With our trio doing what they are doing...

THAT will not be something they have to worry about.

　 time to move on cover art

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Track Listing:

Worry Warrior- 9.4/10

Dump Your Boyfriend (Live)- 9.3

Loving It- 9.6

1,2,3- 9.3

Worry Warrior (Remix)- 9.4

Standout Track: Loving It.

____________________________________________________________________________________

Follow The Tuts

Official:

http://thetuts.tumblr.com/

Twitter:

https://twitter.com/TheTutsBand

Facebook:

https://www.facebook.com/thetuts

SoundCloud:

https://soundcloud.com/the-tuts

BandCamp:

http://thetuts.bandcamp.com/

YouTube:

https://www.youtube.com/playlist?list=PLA44FE9BFE65850E3

Songkick:

http://www.songkick.com/artists/4047126-tuts

Tour Dates:

https://www.facebook.com/events/1406774409579871/

April 15, 2014

musicmusingsandsuch

Uncategorized

Album Review: Universal Thee- Back to Earth

April 15, 2014

musicmusingsandsuch

Uncategorized

ALBUM REVIEW:

Universal Thee

Back to Earth

9.3/10.0

The album Back to Earth is released by Eventual Heirs, and available from:

https://itunes.apple.com/gb/album/back-to-earth/id840152482 and https://play.spotify.com/album/7gHtnqBMpjTbsRNZtCABIJ?play=true&utm_source=open.spotify.com&utm_medium=open

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The band are- in their own words- "distinctly Scottish"; their ambition and drive seriously impressive- the results speak for themselves. On their debut L.P., they give the listener a glimpse into strange scenes and vivid themes: this five-piece mean business.

_____________________________________________________________________

IN today's review I will investigate a band I have a lot of respect for.

The quintet is a group that have been working hard to ensure that their debut album is as fresh and engaging as possible; promoting it, making sure that it reaches as many ears as possible. I shall arrive at Universal Thee's door in due time, but have been thinking about a few things (as-of-late). In my last feature, I investigated the 20th birthday of a rather special time/genre of music- 'Britpop'. When looking back at this wonderful time, it occurred to me how many wonderful acts were part of this movement. The obvious leaders such as Oasis and Blur were making the biggest noises, but so many bands were joining together, ensuring that British music was at the forefront of the world's attention. For me, the most impressive aspect of the 'Britpop' era was the invention and fun that was abound. By 1997, introspection and something more mood-lit was entering the scene, but the years between 1993-1997 saw a succession of elliptical and joyful anthems being produced. The bands of the time were intent of ensuring that as many feet were moving as possible; that their songs stuck in the memory and were not easily forgettable. When that period ended, and music started to reincorporate U.S. influences, the party, it seemed, was over. I mention 'Britpop' as it was a time that not only saw some wonderful music being produced, but spurned a lot of creativity and rivalry between the groups of the time. As of now, music seems to be a little more compartmentalized. Perhaps it is the sheer weight and number of acts making sounds, but reciprocation is rarer: there is not the same encouragement and bâtonnage happening. During 'Britpop', although there was a great sense of unity and patriotism, the rivalries (such as Blur v. Oasis) inspired acts to push themselves as much as possible- meaning that the quality of music was much greater. Perhaps I am living in the past, and still wearing my violet shades, but what happened to that? As well as there being less overt jocularity and joy in music, the nature of competitiveness and thoughtfulness seem a little compressed. Bands tend to keep to themselves; solo acts likewise; I just wonder whether market forces and modern times have enforced this. My abiding point is that it is a lot harder for new bands to get recognised; to be inspired and pushed as much as possible- meaning that few acts establish a long-term foothold in the scene. It is clear that there are a lot of new musicians popping up (each day it seems), but the channels of communication and bonds seem to have broken down. Over the course of my reviews, I have surveyed a great deal of bands and solo acts that emanate from the same area- yet neither is aware of any of their contemporaries. One of the greatest pleasures I have taken from promoting certain musicians, is that they have been able to connect with other local acts- and as such have been able to help one another's trajectory. The music industry is a hard and unforgiving one, and whilst it may be impossible to return to the symphonic glories of 'Britpop', there is no reason why some of the spirit and hallmarks cannot be retained. To my mind, music requires a bit of a shift. The best and bravest music seems to be emanating from the north of England- as well as Scotland. Yorkshire is establishing itself as a county synonymous with phenomenal and daring musicians; of huge sonic range and diversity- as well as a scene that is going to see many future stars. Scotland is promising similarly encouraging signs. I have seen many great Indie acts; some wonderful solo artists as well, each with their own distinct sound and armoury. Although it is impossible to unite all musicians and galvanise the entire scene, it is imaginable that local acts can conjoin. Too many times I have seen similar-sounding or like-minded acts, sometimes within a few miles of one another- yet neither is aware of the existence of the other. Just a small connection like this will not only mean that the act/band have a connection; they also have someone whom can promote their music- and encourage a little competition/rivarly. Music is a wonderful industry and sector that gives opportunities to all to present their intentions. It is also one of the most unforgiving and unpredictable ones, as well. A new act- one fill of potential and promise- deserves as much support and community as possible- I fear this is being lost. If a greater sense of connectivity and mutual appreciation were to be initiated, it not only provides anxiety relief to new musicians, but ensures that they are incentivized to push themselves creatively; thus ensuring that they a waiting audience and market years from now.

Universal Thee are a band fully worthy of a lengthy and happy career. I have been familiar with the Scot five-piece for over a year now, and followed their path closely. The music they offer, not only is imbued with some of the fun and alacrity of the 'Britpop' era; yet also contains a wide colour palette and diverse sounds. Based out of Edinburgh, they play in a locality with many fervent and wonderful acts. I know that they have some connections and friends within the local scene, yet it appears that there are many more bands and solo acts, not attuned to Universal's sounds. Our endeavouring quintet have made some critical impressions, and (Back to Earth) has received some notable praise; yet I feel that the group would be having an easier time of things, were their local colleagues to lend a hand. I shall return to my theme in the conclusion, but let me take you inside the busy and bustling camp of one of Scotland's best and most electrifying young bands. I have been fortunate enough to have reviewed Universal Thee once before (back in May, 2013) when investigating their song All Is Love. In my banner headline, I announced the group thus: "5-piece, have vocal stream-of-consciousness, and a strong ear for melody. The Saltire is being strengthened by some prophetic wind and wonderful melody". When listening to the track, I was impressed by the conviction and quality I heard, stating: "The opening notes have shades of early R.E.M., curiously, as well as light-edged Radiohead. Maybe there is some Jack White to be heard- circa White Blood Cells". A year has passed, and the intrepid band have unveiled their debut L.P., Back To Earth. Before I dip into the disc (and fill in some blanks), a bit about the band themselves- and where they have come from: "Distinctly Scottish band, Universal Thee have been both delighted and surprised with national radio play within days of their most recent recording sessions, showing they have achieved their aim of creating music of wider appeal than their current Edinburgh base. Attention for the band has been beginning to mount and they have been taken on by Napier University on a band development initiative. With a range of songs and styles, the five-piece, led by husband and wife, James and Lisa Russell, provide a Pixies-esque loud-quiet-loud dynamic, mixing slacker rock, grunge and indie pop. It is James talent for writing catchy melodies delivered by beautiful male/female harmonies, matched with Robin’s ability to create diverse and powerful lead guitar hooks, that ensures listeners will be singing their songs for days. Although their music gives a nod to their many interesting and diverse influences such as Ash, Pixies, Weezer and Queens of the Stone Age (amongst others), fans and bloggers agree that they genuinely have their own new, distinct and exciting sound. The blog site musicmusingsandsuch sought to describe their sound, stating: "as well as melody, there is a great deal of exciting noise; this combination, combined with male and female (lead) vocals, elicits an almost-Grunge/Punk splendour, rarely attempted in the 21st century". The band has been recording with Garry Boyle for their gentler folky sound (previously involved in the Pixar Brave soundtrack and SAMA winners, The Holy Ghosts, album) and Ross McGowan, (producer of Fat Goth and Dananananaykroyd) for their heavier work and are working with PR company A Band of Friendship, to promote, and release, their first single and Album in early 2014, with a tour scheduled to compliment the releases". Our five-piece have influences that range from Pixies and Ash; through Weezer and Pavement- to the gilded shores of Queens of the Stone Age. The combination of solid and diverse influences; together with a natural talent and direction, have seen many critics heaping praise upon their L.P.:

"What do you find so on Back to Earth? Abductees and catchy melodies that easily remembered and listen loop. Guitars sometimes coaxing, usually energetic and angular. Two voices, boy / girl who complement each other well and gives their side a bit rough and scratchy, dirty and brutal look a little dry, even the softer tracks".

Dans Le Mur... Du Son

"A very good debut album indeed with some cracking songs too".

Pat McGuire, MyvoiceofScotland

"Back to Earth is a nice album. It doesn’t wow you immediately but it’s a grower and the more you listen to it, the more you get from it".

Indulge-Sound.com

"James and Lisa Russell's dual singing produces light and shade, with the latter's soaring vocal's adding angelic serenity..."

Daily Record

I will get down to investigating Back to Earth, anon, and pay my respects. I know how hard the entire band have been working- to ensure the L.P. sees the light of day. As well as promoting it tirelessly, band members have been working endlessly to raise the funds needed to record the album. It has been a labour of love, and one that the group have been striving towards for a long time now. Most new bands (or those at Universal Thee's stage) usually put out an E.P. (or two), yet the Edinburgh group were determined to put out a full-length disc. The decisions and hard work have been paying dividends (so far), and it will give them the confidence to think ahead to album number two- or a possible E.P. Let me, then, get down to business...

The twisting and snaking intro. of Bone Collector is the first sound of the album. "You never wanna bring it up" is a coda that is repeated; James's vocals punchy and accusatory. With an emphatic and crunching riff, the song steps up a gear after the 1:00 mark; Lisa and James combine vocally; telling the tale of a man whom never wanted to be a "city re-erector". With shades of Bossavova-era Pixies, the track never loses momentum on energy- changing from softer and more tender implore to blitzkrieg guitar and percussion burst. With a simple and catchy chorus and a tight and impressive band performance, it is a perfect opener: our heroes waste no time in making impressions. Tiger Tiger's gorgeous- yet hard-nailed- intro. leads a track that is almost lullaby-like. Sentiments and lines are twisted; considered and elongated to maximum effect ("These are the words/of the everlasting verse" are delivered especially potently). Boasting a particular impressive vocal performance (from both our leads), the guitar, bass and drums melt and spar with one another; infuse perfectly, before streaming like a river. Although Bone Collector may be the more memorable of the opening two tracks; Tiger Tiger offers more sonic intrigue: it is a strong and confident composition. Wolves of the Netherworld (again) has a shorter intro.; sparing little time with reflection before the vocals arrive. With a mantra that puts the central figure "Down there bobbing at the bottom of the sea", it is a track that has a similar sound and pace (of the opening duo); yet seems more upbeat and sing along. With some elements of early-career Ash and Pavement, it is another catchy and bouncy track. The song is delivered with such abandon and energy that it comes to an end all too soon- making you want to hear more. With a softer and more gentle beginning, Feeling Fragile may be the hangover- following the drunken delirium that proceeded it. Our hero and heroine share vocals; yearning to be home and get away from a dead scene. The song has some U.S. roots; with the likes of The Magic Numbers and Document-era R.E.M. coming through. Line such as "Everything's broken/You know" paint dislocated image- given emotive weight and conviction due to the tender vocal performances. You can imagine our band wandering a dust road, looking for some salvation- something to rescue them. It is a song that not only provides a needed comedown, but also shows a different (sensitive) side to the group. Eric's rumbling intro. and breakneck vocal performance cranks the energy-o-meter back to 11. In the way that our two leads combine; James yelps and adds menace to certain words, it has clear elements of Pixies, particularly their work during Dolittle and Surfer Rosa. Some of the guitar twangs and strikes have some of Joey Santiago's memories in them- not that the track is too Pixie-esque. You can hear the distinct- and native- accents of our leads shine through. There is no U.S. inflections or Americanization: Scottish brogue is evident when the duo sing "Eric was a lonely guy/Lonely guy". It is a combustible and frantic track that is done with in just over one minute- the pummeling pace leaves you a little breathless by the end. Down perfectly calms proceedings again- at first. Like Feeling Fragile, it sees our band in more considered and reflective mood. The track mutates into a sprightley and toe-tapping number before the 1:00 marker; the words "And down and down and down/You make me go round and round and round" elicited. With some flavour notes of legends such as The Kinks (in the composition), it is a song that catches you with its chorus. The strong and impressive vocal performance (from James and Lisa) enforces the catchiness; the tight and punchy guitar and percussion makes sure it sticks in your brain. There is an air of '60s grooviness; there is such a swaying and psychedelic charm to the song, that it implores you to get up and dance- to surrender to its charms. Down is one of the L.P.'s longest tracks, and followed the shortest (Eric). Arriving as a mid-album fulcrum, Make a Little Money (Then You Die) pulls up. With a rumbling and dazzling intro. energy and invigoration are instilled early on. Again there are elementary shades of Pixies; with Come On Pilgrim's gentler and more melodic moments, springing to mind. Whereas previous tracks such as Eric and Bone Collector have pervaded a similar sound and evocation; perhaps Make a Little Money's is a little less urgent and bracing than if it were higher up the order. Regardless, it is a charming and memorable mid-album track; all the band's components (strong vocal interplay; multi-layered and intelligent compositions) are solid. Perhaps Down's intoxicating sound and chorus are still in my mind; yet Make a Little Money (Then You Die)'s ideas and lyrics seem pertinent. Perhaps you can apply the song's title to the struggle most bands face: working hard until they make a little money; but by then it is too late (to do anything with it). Perhaps not the quintet's finest moment, it is one that seems relevant and personal to them- perhaps some sardonic humour is at work. Kicking off the second half (the band's previous single) Aranis Natas arrives. I am familiar with this track already; with its chugging and rumbling intro.; its scowling and grumbling vocals- all its wonder. Like Down, the song's title is repeated and tempted; rallied and chanted- this time James gives a particular determined and gravelly delivery. Our heroes (Lisa and James combine) state that "Even if you see it", then it's "never gonna last". Aside from the Byzantine and baroque title (that conjure up all sorts of images), there is a great quiet-loud dynamic that keeps the song on its toes. Although Feeling Fragile more textured and subtle; Aranis Natas is more urgent and forceful. A mid-song musical parable levels proceedings and provides chance for absorption- before the vocal force is back into view. The song is filled with humour; the entire group combine wonderfully- and the vocal performance of our two leads is perhaps the strongest so far. It is- and was- a rightful hit, and a song that is still getting great feedback and attention. Bear In the Hospital, with its light and cascading intro. has hints of early (The) Libertines; footnotes of Weezer (perhaps). You can tell from the title, that humour is going to be evident within. It is, but personal utterances and confessions seep in; something more direct: "Don't wear me out/'cause you don't know what I'm all about". Boasting the most impressive guitar and bass work on the album, it is a track that bolsters Aranis Natas's intentions- and provides a strong one-two. With qualitative shades of R.E.M.'s Near Wild Heaven, there is a similar Out of Time adventurous joy and strong melody. The quintet have been celebrated for their gift with a melody, and it is the way that a little of Radiohead’s Street Spirit (Fade Out) arpeggio; mixed with Jack White’s Never Far Away; with whispered dark edges of Pixie’s Debaser, that creates a fairytale/balletic skip and step. Lisa’s vocals are warm and sensuous: little honeyed edges of cherry country and folk, melting with a some U.S. indie edges too. The result is soothing and sexy. Similarly, the masculine edges from James’s voice compliment perfectly, and when "I see it/More now than ever" is sung, the resultant chemical reaction is soothing and beautiful. Pelican Crossing gallops and bounces from the off; with perhaps some edges of Free All Angels Ash in the mix. The track boasts a beautiful melody and vocal performance; our hero yearning "to be free again". The sound pulls away from '80s U.S. Punks and Grunge and towards U.K.-based Rock and Pop- perhaps with some 1960s semblance. The antepenultimate track, She Was a Whore has similar sonic evocations as All Is Love (there is a similar feel). The song tells of a central figure; unattached and uncaring, whom does not seem concerned by anything happening around her. The anti-heroine is put in the spotlight, as it is claimed: "Daytime, night-time/Any time at all/She'll come to my bedroom door". The lyrics are vivid and scene-setting, but the sound has a lot in common (maybe a wee too much) with other tracks on the set. Not to say that it does not distinguish itself (it does), but it does so lyrically, rather than sonically. The words make me smile, no less, and the band demonstrate another side to them, as they survey a rather salacious character (perhaps that has infested their lives at some point). Before the swan song arrives, Shallow Juvenile arrives, and, as the title may suggest offers another anti-hero. Focusing on a somewhat petulant and immature central figure, the song sees the phrase "I'm never going back" bent, elongated and repeated- almost as a rally cry. After some delightful whistling and (I may be wrong) xylophone interlude, the infectious coda is once more, unfurled. The track has a breezy and U.S. vibe to it, and wonder whether future producers will snap it up- as it could be ready-made to score a drama or Indie film. With some acoustic tenderness, Million Voices closes the L.P. With our hero asking: "Is it real?/Is it fake?", the vocal is fast-paced, and has a distinctly American sound to it. There is a touch of Grandaddy in there (that same sort of high-pitched sound); perhaps a little They Might Be Giants, too- a straddling of East and West Coast U.S.A. When our heroine steps in, perhaps a little romance is lost when it is said: "You've got a beautiful face/You've got a f*****-up inside". This bold honesty is juxtaposed with some honest emotion- a few seconds later ("Every winter/We lose/One million voices"). That combination of spiky and direct offering from Lisa, proceeding James's earnest and impassioned croon is a terrific effect- when they combine during the chorus, there is an odd yet natural unity. After a lot of rambunctiousness and electricity, it is fitting that the album end with something more tempered and softer. Million Voices fades (the only track on the L.P. that does, I think), and Back to Earth touches down and settles- ending a tremendous debut.

Some reviewers have alluded to the fact that the album feels a little bloated at times- maybe there are a few too many tracks. Perhaps there are the odd one or two songs- She Was a Whore and Make a Little Money (Then You Die)- that do not match the dizzying heights of their best work, yet they should have no fear. It is a brave decision to release an L.P. at all (if you are a new act), and it shows that the band are as ambitious as they come. By having 14 tracks, it shows the full range and intentions of a hungry young group. Perhaps trimming a track or two would result in a leaner and more muscular set, yet I found no weak or filler material in the set- a big achievement in itself. No track lasts longer than needed, and because of the expert and atmospheric production, each song is compelling and intriguing. Back to Earth is the summation of months of hard planning and work; saving and scrmiping; dreaming and desire. The five-piece should be very proud of what they have achieved, and in tracks such as Aranis Natas and Down they have crafted some modern-day gems. You can hear clear influences such as Pixies and Pavement in quite a few of the tracks, yet it is no distraction: there is never too strong an aroma or semblance. Too many modern acts tend to staple themselves to the banks of Arctic Monkeys or whomever they deem to be 'fashionable' or 'commercially viable'. Other groups tend to replicate an existing band's sound- in the hope that it will see them held in high esteem by critics and fans alike. Universal Thee have a varied back catalogue and range of influences, and sprinkle scents and flavour notes into their templates. The abiding sensation is of a hungry group with a clear identity and a desire to mingle and nestle with the best bands of the moment. The sonic offerings from Spivey, Perrie and Haddow are compelling and evocative, throughout. The vocal interplay of Mr. and Mrs. Russell is the most alarming and memorable facet. Each has a unique voice that adds texture and variance to each track; yet when they combine the effect is impressive and indelible. Unlike many of their contemporaries, Universal Thee do not stick with one particular 'sound'; in the sense that they pervade a certain timber and pace- and replicate that over the course of 10 or 11 tracks. Each song on the L.P. has its own gravity and pattern, and as such, as the album feels fuller and more diverse (there will be a song to fit everyone's moods and tastes). Like Queens of the Stone Age's album ...Like Clockwork, there are immediate smashes; and a whole set of tracks that grow and reveal their charms. By the fifth or sixth listen, the full force and effect of the album hits, and unveils its intricacies and nuance. Kudos goes to the production, which mixes Gil Norton-esque authority (think Dolittle and Echo Park) with Butch Vig majesty. Tracks are never too cluttered or too sparse; full consideration is given to summoning as much atmosphere as possible. I began this review by bemoaning the lack of comradery and social linking between bands. There is a thriving music scene in Scotland, and many great bands and acts working hard. Universal Thee are amongst the best and most striking, and deserve wider acclaim. If a few of their local cohorts were to help spread the word- as well as provide some rivalry and competitive incentive- then it could help augment the charms and sparks of a brilliant young band. I know that the bars and venues of London are seeking Universal Thee's Pixies-cum-modern Britain blend; the likes of the U.S., Australia and Europe could provide a home for their mandates- a vast enterprise of fandom awaits. Although the group are in their fledgling stages- and have a lot more ahead of them- I am sure they are going to be thinking ahead, and looking at horizons; markets and countries to be conquered etc. For those whom like their sounds harder and imperious, then there is a lot to treasure. That said, a great deal of melody and softness lingers within Back to Earth- it is an album that does not subjugate or discriminate; it wants to draw everyone in. Bias aside, the band are a friendly and likeable group of musicians doing everything they can to get their music heard. As much as anything, they are inspiring me to write and be daring; to aim as high as possible and change my way of thinking (in terms of songwriting). Too many bands have a disposable nature and one-dimensional charm- few manage to remain ensconced within the collective memory. I hope that this year- as well as future ones- see our heroes subvert natural expectations, and claim their place alongside their idols- Queens', Pixies, Pavement etc. Give their album a listen, absorb its layers and myriad sounds, and witness a band on the rise; one whom...

HAVE no intention of calling it a day any time soon.

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Back to Earth Track Listing:

Bone Collector- 9.4/10

Tiger Tiger- 9.3

Wolves of the Netherworld- 9.3

Feeling Fragile- 9.4

Eric- 9.0

Down- 9.6

Make a Little Money (Then You Die)- 8.6

Aranis Natas- 9.7

Bear In the Hospital- 9.3

All Is Love- 9.5

Pelican Crossing- 9.2

She Was a Whore- 8.7

Shallow Juvenile- 9.1

Million Voices- 9.4

Standout Track: Aranis Natas.

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Follow Universal Thee:

Official:

http://universalthee.wix.com/band#

Twitter:

https://twitter.com/universalthee

Facebook:

h ttps://www.facebook.com/universalthee

YouTube:

https://www.youtube.com/channel/UC-C70-KSoSJXgNifHO_Ip_A

SoundCloud:

https://soundcloud.com/universal-thee

Reverb Nation:

h ttp://www.reverbnation.com/universalthee

iTunes:

https://itunes.apple.com/gb/artist/universal-thee/id806189015

Spotify:

https://play.spotify.com/artist/6eWUN8JSxRAKW2BenbvLDv?play=true&utm_source=open.spotify.com&utm_medium=open

Tour Dates:

http://universalthee.wix.com/band#

April 13, 2014

musicmusingsandsuch

Uncategorized

Feature: 'Britpop' at 20- Lest We Forget.

April 13, 2014

musicmusingsandsuch

Uncategorized

FEATURE:

'Britpop' at 20:

Lest We Forget.

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It has been twenty years since the music phenonemum called 'Britpop' arrived. In a period that saw some of the greatest albums and songs created, I look back at a wonderful era of music- and the legacy that has been left.

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QUITE a special birthday party has just happened in the music world.

In fact, it is more of an anniversary as much as anything. 'Britpop' is a genre and period of music that has seen some of the greatest music ever witnessed, presented. In terms of sheer quality, I feel that this period was synonymous with music of the highest order. Before I investigate the background of this magical period, I shall give you a quick dictionary definition (of 'Britpop') from Wikipedia: "Britpop is a subgenre of alternative rock that originated in the United Kingdom. Britpop emerged from the British independent music scene of the early 1990s and was characterised by bands influenced by British guitar pop music of the 1960s and 1970s. The movement developed as a reaction against various musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon from the United States In the wake of the musical invasion into the United Kingdom of American grunge bands, new British groups such as Suede and Blur launched the movement by positioning themselves as opposing musical forces, referencing British guitar music of the past and writing about uniquely British topics and concerns". Before I investigate the bands, moments and influences of 'Britpop', I just want to mention a couple of small points. The anniversary (or birthday) is one that brings out mixed emotions in me. On the one hand, it is great to look back at the music, moments and scenes that made up the movement. I still have many terrific albums from the time, and it was tremendous witnessing (first-hand) all of the highs and lows- as well as catfights! As much as anything, this period made Britain a music nation to be reckoned with; more so than during the '80s, and the energy and combativeness amongst out musicians was incredible. Bands and acts upped their games; rivalries were formed and a unempeachable sense of 'coolness' lingered in the air. I am sure that many musicians today are directly influenced by the greatest pioneers of 'Britpop' and one cannot help but to smile when looking back. In another sense, it is a little bit sad as well. I think back to the early to mid-'90s and as brilliant as it was, you wonder this: will we ever see the like again? My first inclination is to say no, really, as I guess that the genre came out of a particular time period; as a reaction to a previous musical era- perhaps something that could only have existed when it did. Perhaps, though, music was just different twenty years ago. There is quality to be found, but you do not have the same fervency and excitement in music now, as we did then. The rivalries and Oasis vs. Blur battles were a one-off; the exceptional and definitional albums produced then, have not been replicated, and some of the magic has been lost- music has changed directions somewhat. Of course, it would be foolish to think that something exactly like 'Britpop' would ever reoccur- it was a very unique period. I guess I miss the band feuds, the phenomenal output and the spirit that filled the air in the '90s. If any lessons have been learned and influenced and direction provided, then that is something that is to proud of. I am sure that many new musicians would not have existed were it not for the acts and talent that roamed the scene back then; many coming through will be indebted to the exhilaration, diversity and potency of that wonderful time- I hope that the legacy is never lost. I shall touch more on this in the conclusion, but let me take you back... to the birth of 'Britpop'.

In the early-'90s, a huge musical transition was taking place. Th 1980s was a bit of a dour and unspectacular decade for music. There were some great U.K. acts such as The Smiths working hard; brilliant U.S. music like Michael Jackson and Prince were setting the times ablaze; yet by the time 1990 rolled into view, a change was required. That change (that started off in the late-'80s) was Grunge. Being a fan of the genre, I was sad to see it die away, and it acts such as Soundgarden, Pearl Jam and Nirvana were masters of the craft. In fact, the death of Kurt Coabin (in 1994) was perhaps the most significant event with regards to the death of Grunge. Nirvana were riding the crest of the wave in 1991-2, following the release of Nevermind; that album was one of the greatest ever produced, and contemporaries were inspired to follow suit. Fantastic movements and creations were released, and the Grunge masters were each making their marks on the music world. It was a distinctly heavy and hard movement, yet one that has softer moments, and in the minds of Kurt Cobain and Chris Cornell (of Soundgarden)- intelligent and stunning songwriters. I suppose each new music wave arrives as a reaction to one past; usually an angry one that necessitates an instant change. Grunge was as a reaction to what came before; 'Britpop' was the reaction to Grunge. When Cobain died in 1994, the genre started to die away. It was around this time, that a transition started to occur in music. Whereas Grunge was a distinctly U.S.-led genre, 'Britpop'- obviously- was ours alone. The U.S. had been enjoying a musical hegemony from the late-'80s through to the first years of the 1990s, and it was their music that was leading the way. In the U.K., our young artists were keen to change this; to introduce a new movement that would blow away the dominant and hard-hitting Grunge cobwebs- and present something more melodic and less forceful. It is hard to say when the ignition was sparked; when the first flame was lit, yet journalist John Harris suggests some insight: "[I]f Britpop started anywhere, it was the deluge of acclaim that greeted Suede's first records: all of them audacious, successful and very, very British". Suede were the first of the new crop of guitar-orientated bands to be embraced by the UK music media as Britain's answer to Seattle's grunge sound. Their debut album Suede became the fastest-selling debut album in the history of the UK. In April 1993, Select magazine featured Suede's lead singer Brett Anderson on the cover with a Union Flag in the background and the headline "Yanks go home!". Other say that the release of Blur's Popscene (in 1992). Of course, we can see 'Britpop' was happening before Cobain's death, yet the full force and insurgency occurred during 1994- it was the most pivotal year for 'Britpop'. Whenever the movement truly began is unsure, yet it was clear that the U.K. acts had grown tired of the American scene and way of life. It seems that us Brits had a desire to grab back the limelight and focus, and the combined surge of desire and fresh music started something truly wonderful. I will look at the defining bands, moments and fights of this transitory period, but want to look back at 'Britpop's lineage. When the genre was starting out in the early-'90s, the bands and acts that were making modern sounds, were distinctly looking back. Guitar and Pop music of the '60s and '70s were key influences, and flavours of The Beatles, The Kinks and The Smiths were all evident. The Indie scene itself was a direct ancestor of 'Britpop', and the influence of The Smiths as well as the 'Madchester' wave were forefathers. The early years of 'Britpop' (1991/2-1993) were defined more with a shoegazing and lighter sound. Emphasis was placed on good times and joyousness, and albums from that time reflected this. Past masters such as Happy Mondays and The Stone Roses were acting as the templates the bands of this time, and it seemed like a deliberate act. Grunge is synonymous with depression and foreboding heaviness; the direct shift to the other end of the music spectrum showed just how angry and annoyed our musicians were (with Grunge). Clearly a desire for happier and merry music was enforcing the young artists of the U.K. I suppose 'Britpop' was more of a band arena, and the music-buying public were looking for vocal/drum/guitar/bass configurations- the solo realm had a minor role during the period. Because of the emphasis on Britain and British-ness, it was difficult for many artists, when trying to get their music appreciated in the U.S. Towards the mid-'90s, there was a commercial shift, yet initially, the 'Britpop' movement seemed to be confined to the U.K. Music critic Jon Savage asserted that Britpop was "an outer-suburban, middle-class fantasy of central London streetlife, with exclusively metropolitan models."

When we think of the defining acts of the 'Britpop' regency, inevitably minds go to Blur and Oasis. Their pitched battles and warfare (which I shall elaborate on) was the defining period of the era, and produced some spectacular moments. In a recent poll from N.M.E., the track Common People by Pulp was declared as the greatest 'Britpop' anthem- by the magazine's readers. Pulp was a band whom were natural rivals for the likes of Blur and Oasis. They formed in the late-'70s, but hit a commercial peak in 1995 with their album, A Different Class. That album was infused with fresh and wonderful scenes on modern-life; working-class snippets and aspects of dislocated love. Pulp's frontman, Jarvis Cocker, has the swagger and effortless cool needed, and his cohorts were responsible for some of the best music of the time. During the era, there were a lot of minor acts and one-off gems that were bustling for attention, including Northern Uproar, The Boo Radleys and Black Grape- whom did not exactly leave permanent marks on music. When you think about some of the bands that can be classified as 'Britpop' artists, I am guessing many of them hold spots in your record collection. Ash and Cast were two bands doing battle during this time. Their heavier and more Rock-orientated sounds gained widespread praise and attention, and Ocean Colour Scene and Elastica were also jostling for attention. Between these bands, a great number of iconic songs were created, including The Riverboat Song and Uncle Pat- to my mind Ocean Colour Scene were the best band of that quartet. Their albums such as Ocean Colour Scene and Moseley Shoals were packed with wonders. I suppose there was a lot of short-lived triumph; a great number of acts whom were working away- yet never really poked their head to the summit. Before I focus on the two main players of 'Britpop' I will investigate one band. Supergrass is one of my favorite bands, are often overlooked when we look back at this period of music- I am not sure why. Their 1995 album I Should Coco, was one of the greatest albums of the mid-'90s (and the decade as a whole); songs like Alright, Caught by the Fuzz and Richard III will be familiar to most. I suppose Supergrass are synonymous with being laddish and good time purveyors. They may have shared more in common with shoegazing acts such as Kula Shaker (and Blur's debut album); by 1994/5, the scene was perhaps favouring something less baggy and jocular- and something more Blur-y or Oasis-y. I am not sure, but it seems that Supergrass should have got more credit. Of course, they are regarded as one of the greatest British acts of the last twenty years, yet not a group anything things of when we look at 'Britpop'. Okay, then, it is probably best that we investigate the two key players of the 'Britpop' movement: Blur and Oasis.

Damon Albarn and Noel Gallagher are practical best buds. now, but the tension and rivalries that their bands shared from 1995, is one of the most striking and memorable aspects of 'Britpop'. It seems that you either had to be a Blur man or an Oasis one. I was- and am- a Blur supporter through, and through. The two groups had their own style and sound. Oasis favoured a more Rock-driven sound, with elements of John Lennon, The Beatles, T-Rex and the like- or 'real music' as Gallagher stated. Blur, perhaps more melodic and Pop-driven, had touches of The Kinks in their music. Initially, both bands were respectful of one another, but with some media intervention and spurning, a rivalry and split occurred that saw them engage in fierce battle. To me, 1994 is the year that saew both bands produce their best work. Parklife (from Blur), is one of the defining discs of the era, and contained some of the greatest anthems from the time. Girls & Boys and Parklife are instant classics; This Is a Low and End of a Century terrifically evocative and scneic. Blur had concentrated on shoegazing and baggy sound during Leisure (their debut); and, after Albarn has visited America and got a whiff of the culture there, decide to retrain Blur's focus. By the time Modern Life Is Rubbish arrived (in 1993), Albarn felt the need to comment on the American cultural influence and effect on music. Parklife took them further away from their past, and the sounds of the album were London, Essex and Britain- there were nods to the U.S. but is quintessentially a British album. Oasis, on the other hand, arrived later than Blur, and their debut came in 1994. Definitely Maybe was the confident and extraordinary debut that rivalled Parklife. The track Live Forever is regarded as one of the greatest songs of all-time; a track that emphasised the mood of the time. Supersonic and Cigarettes & Alcohol are classics that have their hearts very much with the legends of the '60s and '70s. I have always found Oasis to be TOO indebted to past masters. Riffs by T-Rex are stolen; vocals and melodies taken straight from John Lennon- there is not enough originality and individualism in their sound. That said, I recognise Definitely Maybe as the defining album of the 'Britpop' movement, because not only did it introduce a wild and ambitious new act, but also began a battle that came to a head in 1995. Oasis' Roll With It was released on the same day as Blur's Country House- Blur representing the south, Oasis the north. On 14th August, 1995, the nation awaited to see who would win the battle. Of course, Blur won, and some saw it as a victory for the artsy middle-class- as opposed to the honest working-class. It has nothing to do with class or a north-south divide; it was just numbers. The media fuelled the fire, but the fact was that the better song won. Even if Blur won the chart battle, Oasis won a bigger war. In 1995, Blur unleashed The Great Escape (where Country House originated). It is a terrific album, yet some see it is a departure from Parklife; a qualitative step-down perhaps. Charmless Man, Stereotypes and Fade Away were stand-outs, yet one could not ignore Oasis' dominance. In spite of preferring Blur, (What's The Story) Morning Glory boasted more emphasis and power. If Oasis had released a different single in August of 1995 they may have won the chart battle; the album is certainly one that pipped Blur. (What's The Story)' went on to sell four million copies (making it the third best-selling British album ever). The release of Wonderwall and Champagne Supernova, not only saw them overtake Blur- but also gain a sustained foothold in the U.S. The sounds and sparks from tracks invigorated and grabbed the public- it seems as though tastes were changing. Whereas Blur's brand of intelligent and melodic Pop-Rock was favoured previously, the public now were favouring modern Rock- with a flair of 1960s elements. Starting on 10 August 1996, Oasis played a two-night set at Knebworth to a combined audience of 250,000 people. The demand for these gigs was and still is the largest ever for a concert on British soil; over 2.6 million people had applied for tickets. Blur would go on to release their self-titled L.P. in 1997; Oasis released Be Here Now (the same year). By then, both bands were a shadow of their 1994-5 selves it seemed; perhaps Blur were a little stronger, but it seemed like the best may have been left behind. The battle between Blur and Oasis, for me, was what made 'Britpop' so special. Each band pushed one another and forced a work ethic and ambition that we do not see much of now. There was a lot of pantomime and theatrics, but it was a joy to watch. You cannot deny that both bands produced mesmeric work, and each appealed to a different type of person. Blur may have been more 'artsy' and experimental; Oasis more straightforward and Rock-orientated. Each were presenting music that put Britain on the music map; reaffirmed the glory and wonder (that the U.S. perhaps had enjoyed before) and inspired a legion of fresh and hungry bands.

By 1996/7, a change began to occur- with the 'Britpop' movement beginning to break down. Bands and acts were seeing the world in a different way. In the same way as Grunge started for a reason, and broke down when it became unviable and tired- 'Britpop' went the same way. U.S. culture and music was being re-investigated and appreciated by musicians, and was being assimilated into the motifs of the modern acts. On Blur's self-titled L.P., the band broke away from Parklife's sounds- the jollity and British scenes of life- to be more self-reflective and include influences of bands such as Pavement. Bands began to break up, and another shift was happening. The idea of 'Cool Britania' was now being moulded and appropriated by acts such as The Spice Girls, but a greater diversity was being introduced into the scenes. Bands such as Radiohead- whom had released The Bends in 1994- were now being given fuller attention. Radiohead had created some genuinely world-class moments during the 'Britpop' era, but attention was being shifted away from them- and onto the 'cool' bands of the time. By 1997, I guess the whole notion of 'Britpop' has started to die away. There were bands still purveying some of the spirit of the movement, yet the best had passed on. In 1997, Radiohead released OK Computer; acts such as The Verve were making big waves- each of whom presented influences from the '60s and '70s. The wave of music that followed on from 'Britpop' was not a million miles away from the likes of Pulp and Oasis. These acts were influential to the bands coming through, and Feeder, Stereophonics and Travis kept the flame alive- yet focused less on the London-centric and wholly British concentration. U.S. influences were being mixed with British ones, and there was a greater openness afoot. Gone were the days of concentrating on promoting a distinctly British brand of music (and way of life), and a more global and all-encompassing set of sounds were being projected. There was too, perhaps, less focus on English bands: more of the U.K. was being embraced. Welsh acts Stereophonics and Catatonia were rising through; Scots Travis and The Supernaturals threw their rings into the hat- whilst Northern Ireland's Snow Patrol were starting out. It is clear that the bands that played and struck between 1993-1997 left their mark on the new generation coming through. Over the last few years, bands such as Kaiser Chiefs and Arctic Monkeys have been seen as pioneers of the "second wave" of 'Britpop' acts- those whom invoke some of the spirit of Blur, Oasis and their contemporaries. Although amongst these bands there are fewer nods to the music of the 1960s and '70s, there are Punk influences and strains of Hardcore music. I suppose that there are always going to be waves of music coming through- new genres and types year-by-year. At the moment, we have some groups that have a semblance of 'Britpop', yet by and large the scene is more varied and widespread. It will be interesting to see if- in our life times- we witness anything akin to 'Britpop' occur again.

I am a little ambivalent when I think about 'Britpop'. It would be unrealistic to think that it would have lasted all the way to today. I guess it was a product of a time; there was a need to break out of the Grunge-led U.S. stranglehold- to assert some British identity into music. For that reason, it was no surprise that so many bands came out to play. The output from that time ('93-'97) saw an endemic of bristling and sun-kissed sounds; tableaux of British life and our way of living. You cannot deny that some of the best music we have ever witnessed, was created during this time. If you are a fan of Blur or Oasis; whether you prefer Suede or Pulp; The Bluetones or Supergrass- there was something for everyone. I love Blur because of the range of their music; because there are so many vast and multifarious snippets of British life; love lives and everything in between- Albarn, to me, remains one of the greatest ever songwriters. I cannot deny how vital Oasis were and how brilliant albums such as Definitely Maybe and (What's The Story Morning Glory)? are- I am listening to Champagne Supernova now. One off tracks such as Slight Return (by The Bluetones), Wide Open Space by Mansun- wow. It was not just the Oasis v. Blur histrionics that made it so exciting. There was a genuine passion and invigoration amongst musicians; keen to topple American-led dominance and Grunge-ness. As much as there was (media-led) divisions, the period- for me- is synonymous with togetherness. Each act and band were vying for top spot: the number 1 record and album spot. As much as there was commercial competitiveness, the overall scene was so wonderful because each band and act was trying to promote one cause- Britain. There was no sense of balkanization and compartmentalization; the overall sound was varied and strong because each of the acts wanted to promote 'Britpop'. I am not saying music is weaker (now that the moment, as it were, has passed); far from it. My main reason for paying homage to 'Britpop' was that it signified a fervent period of music-making that has influenced so many great acts of today. There was a sense of national pride and defiance; a need to change the- U.S.- status quo: it was a rare phenomena. I hope that in the 21st century, something akin to 'Britpop' will be realised. Perhaps if mainstream Pop gets a bit too dominant, and too many teenage girls have too much money- we will need to rise up. Join the Rock and Grunge acts; the Acoustic-Pop and Folk artists in unison- and unleash something truly spectacular. We shall see; but for now, I challenge you to revisit the best and brightest from a time- 1993-1997- whom made their marks on music history. Dust off your copies of Definitely Maybe; spend an hour on YouTube sifting through the annals of Blur and Pulp's career highs- and realise how good things were. I am sure, whether you are a musician or music-lover, you would have been influenced by some of the acts of 'Britpop'. The British invasion celebrates its 20th birthday this year, and what better excuse than to celebrate a one-off and brilliant music time. It is unny; it is Sunday; it is warm- what better excuse do you need? I am rushing off to replay Champagne Supernova (for the 15th time today), so get right on it. Take heart, take inspiration and earn reflection. Above all, for all reading...

SMILE and remember when a truly magical time ruled our hearts.

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Ten Essential 'Britpop' Tracks

Girls & Boys- Blur (Parklife, 1994)

Don't Look Back In Anger- Oasis (What's The Story) Morning Glory?, 1995)

Parklife- Blur (Parklife, 1994)

Common People- Pulp (Different Class, 1995)

Slight Return- The Bluetones (Expecting To Fly, 1996)

Live Forever (Definitely Maybe, 1994).

Caught By The Fuzz- Supergrass (I Should Coco, 1995)

Disco 2000- Pulp (Different Class, 1995)

Wide Open Space- Mansun (Attack of the Grey Lantern, 1996)

A Design For Life- Manic Street Preachers (Everything Must Go, 1996)

Five Crucial Albums

Oasis- Definitely Maybe (1994)

Blur- Parklife (1994)

Oasis- (What's The Story) Morning Glory? (1995)

Pulp- Different Class (1995)

Supergrass- I Should Coco (1995)

April 12, 2014

musicmusingsandsuch

Uncategorized

Feature- Relationship Status: "It's Complicated"

April 12, 2014

musicmusingsandsuch

Uncategorized

FEATURE:

Relationship Status:

"It's Complicated"

THIS will be a short one, as it has been an odd last few days...

to be honest. I am back to music duties on Monday, yet have had a lot to reflect recently. This morning I started- and completed- a half-marathon. I was running on behalf of Cancer Research U.K.- a marvellous charity that is in need of as much money as possible. Members of my family are donating, and that money will be pledged to a local hospice. My uncle, Mark, died recently and was supported by the Royal Marsden Cancer Charity. With his funeral taking place yesterday, it seemed appropriate timing that I was running today- but am sad that he did not live to hear about it. I won't bore you with the ins-and-outs of the run itself, suffice it to say, it was the toughest physical endeavour I have undertaken. My legs are screaming; my feet blistered- and I am slumped against the wall as I type. In spite of all the (inevitable) results of a 14 mile run, I feel proud that I have done it. Making it to the end was the target, and did what I set out to do. Tonight, I will spend a few hours relaxing and reflecting, but something weighs heavy on my mind...

I will give special props. to Kate Hollowood and Adele Pierce. These two human beings are the ONLY people whom have donated to my cause. Outside of social media, I have had various contributions from family (and extended family), yet only two from anywhere else. I am deeply appreciative and thankful that these two lovely people have donated- if they hadn't then it would have been embarrassed. I guess I am angry. There are quite a few people on Facebook and Twitter whom I have supported endlessly. Money has been pitched into their music ambitions; presents bought (when they needed a lift); projects and so forth have been endless shared and promoted. Many people have new connections because of me; some have made big strides in their personal lives as well as music careers. I always endeavour to give as much as I can to as many as I can- because that is the person I am. I do not expect anything in return (it would be nice now and then), but it seems pretty appalling when it comes to this. I was- and am- not raising money for me; if this were a Kickstarter campaign for my music I would still be infuriated. I ran for a worthy charity, to help beat a disease that killed my uncle- something that should be a no-brainer when thinking about donating. There are no excuses that can be levied out. I know people have bills to pay, but guess what: so does everyone. I am unemployed, spending money on others and in the midst of a lot of illness and uncertainty. I am forging ahead and keeping strong; focusing on my future firmly, yet am not exactly in a position when I can boast about my life. I cannot afford to move from home; I have not be on holiday for 13 years and cannot even afford to go out much- and yet I contribute!

This post is not meant as a rant; and I am acutely aware of the irony, in the sense that no one will read this. I feel I am always giving to so many people without question; without thinking about it- some people have received so much from me. All I asked was for a token sum of money for a brilliant cause that is set up to help eradicate an indiscriminate dictator. Thanks to Kate and Adele, and it is a huge shame that everyone else ignored my kind requests (and the firmer ones). I will be thinking a great deal about who I want to be associated with in future- deleting people from Facebook. There are a few people I will not get rid of regardless, yet quite a few I have reached the end of my tether with. In an age where it is axiomatic that we should give as much as possible to noble charities, it is a sad reflection that I have had to rally so hard and endlessly bang my head against a wall. I don't care if people donate (now) because of guilt; because they feel like they are being forced into it- everyone is going to be in a position (some day) where cancer affects their lives. Every charity post that comes from my online 'friends' I do my best to kick in; same goes with Kickstarter and any other donation. I buy music, show support and never think twice. I can only imagine that the lack of donations coming through, is because of selfishness and a lack of caring. I have been very depressed and saddened seeing the total I have raised (£70 so far) and actually am glad my uncle is not around to see it- I would hope to be in triple figures after nearly three months of setting up my Just Giving page.

Anyway, as I have stated, anyone I feel SHOULD have donated will no longer be in my life come next week- why should I give so much when they cannot be bothered to help? Most people urge me to make music and record as soon as possible, and I wonder what would be the point; I would be surprised if anyone actually bothered to listen to it. I guess it is a rant, but a justified one; I am just annoyed that other people's friends donate to their charity causes, yet when it comes to my online contacts, the purses and wallets are empty. In spite of the anger and annoyance I am feeling, I am proud of myself for running. The money raised for some very lovely people will help and I am sure that my aunt will be pleased to hear of my day.

In a general sense, I am just imploring people to be more thoughtful and less selfish. I will not stop donating and expending effort ensuring that I assist my friends, but it is imperative that things change. I don't care what your financial situation is at the moment- if you can afford to get pissed or to throw money away, you can afford to donate a few pounds to causes like mine. As stated, most people will probably not see this; those whom are culpable will not amend their ways, so it seems a bit lacking- I just needed to get it off my chest. On a day where I have pushed myself harder than ever, I would like to think that it is not entirely in vain. So, if you have even a quid going spare...

PUT it my way!

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http://uk.virginmoneygiving.com/fundraiser-web/fundraiser/showFundraiserProfilePage.action?userUrl=SamLiddicott

April 10, 2014

musicmusingsandsuch

Uncategorized

Track Review- Kongos: Come With Me Now

April 10, 2014

musicmusingsandsuch

Uncategorized

TRACK REVIEW:

Kongos

Come With Me Now

9.6/10.0

The track, Come With Me Now is available from:

https://www.youtube.com/watch?v=Gz2GVlQkn4Q&feature=kp

The album, Lunatic is available at:

https://itunes.apple.com/gb/artist/kongos/id211196318?ign-mpt=uo%3D4

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Arizonan fraternity turn loose a staccato whip of uplifting abandon. With some intriguing lineage and a variegated musical D.N.A., the quartet are unlike anything about. A certain critic in The Guardian was a bit ambivalent (towards their music): I'll show him how it should be done...

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IT appears that a lot of the genuine fun seems to have escaped certain...

bands, lately. The sound and sensations that stand you to attention- or else make you smile- is in short supply. I was publicly (or perhaps privately; I should keep a tab on these things!), the demise of one of the U.K.'s finest bands (of the past 15 years), The Libertines. The '90s was synonymous with bonhomie and adventurousness; music which offered something fresh, invigorating and compelling. As the following decade unveiled, the afterglow seemed short-lived. Some great Dance music was being produced, and certain acts still had a lot of punch and energy left in them; it just felt that, for everyone else, a good lie down was in order. The quality dropped and the wanderlust that was so prescient (in the '90s), dissipated. It became so bad, that for the first few years of the '00s, I was still listening to the music of the mid-late '90s- keen to keep the memory of the decade alive. The past decade was not a complete downer, yet it seemed such a disappointment, when we consider exactly what the 1990s gave to us. It was not just the diversity and surprise that had disappeared from the music; the subject and nature of fun and joy had been sucked dry. When The Libertines arrived on the scene as early as 1997, formed by Carl Barat and Pete Doherty. Although their rise to prominence was slow and unspectacular, by the time their debut, Up The Bracket, was unleashed (in 2002), few ears could ignore them. Polls and magazines placed the album at the top of their 'Albums of the Year' lists; many went even further, proclaiming it one of the finest albums of the decade- the effect was staggering. It is no surprise that the L.P. whipped up such a firestorm of praise. The songwriting was uniformly intelligent, authoritative and nuanced; the songs looked at modern-life; the sights and characters of the London streets- wrapped up in wit, venom and traversed morality. As much as the tracks were the work of two phenomenal songwriters, it was the sheer bonhomie and delight that was offered up, that sticks with you. Carl and Pete had- and I suspect still do- have a fraternal bond; one which dates back to their first encounter. Through the pubs and clubs of Kent and London, the duo formed a closeness and sympatico that enforced their tracks. The tracks (on their debut) are not just wonderful because of their quality; it is the fun and delight that is summoned up, which remains in your brain. Boys In The Band is a look at the hangers-on and the groupies; the girls who love the feel "of the limo wheel"; the title tracks has a swirling and dizzying series of riffs as well a brilliant vocal display (especially from Pete). Allmusic said (of the album): "... virtually every song on Up The Bracket is chock-full of the same kind of bouncy, aggressive guitars, expressive, economic drums, and irresistible hooks that made The Strokes' debut almost too catchy for the band's credibility". My favourite songs on the disc- The Boy Looked at Johnny and Begging- had a rambunctious charm; poetic and sharp lyrics- and great sing-alongs and duetting between the two songwriters. Skipping over the tales of heroin abuse, fights and Rock cliché; The Libertines' follow-up- their self-titled L.P.- picked up where Up The Bracket left off. The quality barometer may have been quivering around the 9.8 mark (rather than a full 11); yet the spirit and determination cannot be faulted. Perhaps there was more introspection and self-analysis, yet the excitement and blood-and-sweat comradery was alll in tact. Listen to tracks such as Narcissist and What Katie DId, and you can hear the sly smiles and cigarette chomping delight, when our authors shame and investigate their subjects. Even the brothers-in-arms tableaux and fractured sermons of Can't Stand Me Now and Road To Ruin had joy amongst the tears and teeth. The guitar work and percussion was hard, pulsating and hugely evocative; the vocals authoritative and emotional- the lyrics filled with vivid scenes and tormented dreams. Even in the most dark and reflective moments from The Libertines, there was excitement and tantalization. It was a hell of a shame that the band broke up; that Pete broke them- who knows what could have become of The Likely Lads? The balls-the-wall thrash of Mayday are reminder of a band that could have gone anywhere; done anything- such was their invincible potential. To my mind, the last ten years of music has been poorer for not having The Libertines in it. They- in my head- are the last band who truly defined something special; something by-gone, perhaps: Rock at its purest and most splendid.

When tuning my radar to the modern-day bands, I am always seeking out a semblance and essence of Doherty and Barat's crew- something that puts me in mind of their halcyon moments. Before I introduce you to Kongos, I find myself presented with music from the U.S. Most of my investigations look at U.K.-based talent and focus upon home-grown talent. It is nice when happening upon foreign artists, as it gives me a chance to hear what is happening in various other locales of the music landscape. My featured act hail from Arizona- The Grand Canyon State- and more especially, its capital, Phoenix. Arizona is noted for its diverse landscape; half of the state is desert land and half forest and woodland. The state is one of the most populous of the U.S. and notable for its hot climate and stunning scenery. Amongst the San Francisco Mountain Ranges, heavy snowfall is recorded, and it seems Arizona is a land of contrast and beauty. Spanish is the natural second language amongst its citizens, and because of its proximity to Mexico (as well as attractions such as The Grand Canyon) is a mecca and hotspot for travellers and tourists. Phoenix is divided into 15 urban villages, and each village has a balance of unique identity and sustained focus on employment and housing. Amidst the humid and arid climate, mountain lions and giant saguaro are synonymous with Phoenix's 1.5 million-or-so inhabitants. There is a large Hispanic community in the city, and a thriving arts scene; diversity and culture are hallmarks of a grand city, and it clearly invigorates creative minds. The Cardinals, Diamonbacks and Coyotes play out of Phoenix, and the atmosphere and commonality of the city is varied and enlivened. In terms of the musical output of Arizona, the likes of Run Boy Run and What Laura Said are names that will be familiar to most of us very soon, and the state is giving life to some fresh and exciting new acts. A massive musical diversity lurks within Arizona: everything from Electro-Pop to Nick Drake-esque Acoustic Folk is offered up. Our boys, Kongos, are one of trhe most urgent and memorable bands that are coming out of the U.S. Beofe I get into more in-depth biography, the band want to clear something up (about their name): "Pronounced "KONGOS" - KONGOS is spelled like this: " K" for Cool, "O" for Awesome, "N" for Knowledge, "G" for Jenius, "O" for Artistic, "S" for speling. There's no "The" in KONGOS. There is however a "the" in "THEre." It's not KONGO's, it's not Congos, congas, kongus, kongas, or Jeff. No relation to Cheick Kongo, the conga drum, the Kongo people of Africa, Donkey Kong, Kongos Norman, Kongos pizza, Kongos Club in Oklahoma, twitter.com/kongos, Kat Kongos, Lasse Kongos, the japanese class of battleship or Kevin Bacon". Our quartet consist of Dylan Kongos (bass, vocals), Daniel Kongos (guitar, vocals), Jesse Kongos (drums, percussion, vocals) and Johnny Kongos (accordion, keyboard, vocals). The band have quite a fascinating backstory. The brothers spent time between London and South Africa (in their childhood) and are the sons of John Kongos- the Johannesburg-born singer-songwriter best known for his 1971 Top 10 single, He's Gonna Step On You Again. Our heroes are of Greek origin, and have a varied and mixed D.N.A. Because of their itenirant and scenic childhoods, our boys have picked up various influences and cultures; sounds and sensations- all of which they blend into their toe-stomping mandates. The Kongos lads have a varied set of influences. On their Facebook page, they provide a list: "The Beatles, Tinariwen, Erik Satie, John Kongos, Miles Davis, Keith Jarrett, Bach, Jackson Browne, Bob Dylan, Salif Keita, Joni Mitchell, Faithless, Dire Straits, Jimmy Giuffre, Coldplay, The Prodigy, Nusrat Fateh Ali Khan, Pink Floyd, Arvo Part, Bob Marley, Puccini, The Police, Chopin, Tin Hat Trio, J.J. Cale, David Bowie, Stevie Wonder, South Africa ... the list goes on". The Guardian have just recently featured our heroes, and- as well as being a little lukewarm towards them- had this to say: "Our American "cousins" have already submitted - and it's a good fact, this - because Kongos' thumpy stomp-fest Come With Me Now is either, depending on which hysterical source you believe, the fastest-rising single to the top of the US Billboard Alternative Songs chart since Lorde's Royals, the fastest-ascending No 1 since Evanescence's Bring Me to Life in 2003, or simply the fastest climber to the top of said chart by a new band, ever, in human history". In late October 2013, the band self-released Lunatic in the United States. In 2014, both I'm Only Joking and Come With Me Now began receiving noticeable exposure in the United States, gaining momentum in airplay on radio and being featured in television commercials there. As a result, the band was signed by Epic Records in late January 2014 and the band re-released Lunatic. Come with Me Now has sold more than 70,000 copies as of March 2014. I shall investigate that song in more depth, anon, yet let me reveal what some critics have had to say about our subjects:

It's rare to be in on the ground floor of something that doesn't sound like anything else you might've heard before Serene Dominic • Phoenix New Times KONGOS produces a refreshing, captivating rock-tribal like vibe that will leave you absolutely charmed out of your mind! Lana Oosthuisen • SA Music Zone As well as the incontestable youthful talent, what impresses even more is the controlled emotional outpourings ... Jonathan Leonard • Leonard's Lair Each song has so much attention to the groove that it sounds like another level of music has been reached that other people haven't quite made it to. GREAT record! Murphy • Undiscovered Radio Network Kongos are bound to make it big. Their songs are radio-ready and they have a frickin' kickin' accordian! Tim Wardyn • Music-Critic.com This band have built a burgeoning reputation recently and it's easy to see why here. The album bristles with intelligently written soulful pop-rock ... Haydon S. • The-Mag.co.uk Kongos sounds like no other band, not just in the Valley, but in the whole of mainstream rock music ... Chris Hansen Orf • Get Out KONGOS use a combination of classic rock elements, African rhythms and Balkan beats to produce an eargasmic soundscape. Sindy Peters • BizCommunity The four sons of UK rock legend John Kongos have recorded an amazing album in the finest spirit of their father's 1971 Kongos classic Robert Silverstein • 20th Century Guitar What separates this band are the overtones of electronic mixes, accordion solos, and African-inspired beats that make this band stand out amongst your typical 'rock band.' Kim Milbrandt • Copperstate Music ... samples, thick dance beats, or accordions, Kongos is sure to surprise the hell out of you. J-Sin • Smother Magazine ... there's a lot more going on than you first realise ... Definitely a grower is this one ... I think it's more 'Sunday music' than 'Friday night' music, if you catch my drift. The Beat Surrender

Immortality and world domination may be future considerations, but for the moment the quartet and basking in critical acclaim and seeing where their music takes them. I hope that they come to London (and the U.K.) soon, as their brand of delirious and electric song is just what we need. I opened by mentioning The Libertines; it seems that Kongos have a comparable sense of abandon and joyousness- they drape their songs with smiles, winks and gleeful-ness. If our sadly defunct U.K. heroes concentrated on some of the more destructive elements of life, the Phoenix sons have a more positive and impassioned flair for the lighter side of things. America has been intoxicated and seduced by our heroes, and I hope that they hit the road very soon- and go see the world. I know that the likes of Europe, Australia and Asia will have many hungry ears waiting; and I am confident that Lunatic is just the kind of album that can provide inspiration to tired musicians. There is some merriment and genuine exhilaration amongst some of the U.K.'s best bands, yet nothing quite like Kongos offer. Without further ado, let us get into majesties of Come With Me Now...

The opening accordion sways instantly put me in mind of Paul Simon's Graceland work; particularly The Boy In The Bubble. The first few seconds put your mind to mid-'80s Simon; to Africa and the sounds and wonders that the Graceland album provided. Before your mind prepared for Ladysmith Black Mambazo or the soft croon of music legend, a heartbeat percussion; a tempestuous thud enters the fray; sending the electricity up and building the steady momentum. When accordion and percussion commingle with subtle guitar, the effect is quite heady. An elliptical and catchy coda snakes its way into your brain, and involuntary foot-tapping and head-nodding are ordered up. Within the first 30 seconds, a perfect distillation of the band's potency has been presented; when the vocals arrive, the pace and strike does not let up. The chorus is first up, our boys in unison voice, imploring and celebrating its words: "Come with me now/I'm gonna take you down/Come with me now/I'm gonna show you how". The direct (and slightly distorted) vocal of our frontman stands on its own in the first verse; laying in sentiments and tapestries of anxiety, fears and inner-visions: "Afraid to lose control/And caught up in this world/I've wasted time, I've wasted breath/I think I've thought myself to death". In the way that there is part rapid-pace (vocal) delivery; part sonic foot-stomp, the breathless energy of the song catches you up; our hero spitting his words, backed by a subtle yet evocative beat. When the words "I was born without this fear/Now only this seems clear/I need to move, I need to fight/I need to lose myself tonight" are offered, you can sense the conviction in our hero's voice. Come With Me Now, is, apparently, the fastest-rising single to the top of the U.S. Billboard Alternative Songs chart since Lorde's Royals. Its catapult and fast ascendancy is justifiable when the chorus swings back around- with the boys in full voice amidst the potent stomp. The music video is a mixture of black-and-white images; band performance and various intriguing characters; the scenes both blend with the music, and seem cutely anachronistic and detached. A man twists and plays with his schoolboy cap as he gazes into a mirror; a blonde woman blow-drys her hair whilst looking on vacantly- another woman writhes and swims underwater (in black-and-white) in time to the beat. The chorus comes back for a mere moment, and before you can get up and weave in a merry hoedown, another verse is before of. Our frontman is in reflective and retrospective mood as he states that "(I) think with my heart and I move with my head/I open my mouth and it's something I've read/I stood at this door before, I'm told/But a part of me knows that I'm growing too old". My eyes are drawn to the video, still; by this stage our hatted fellow is munching a corncob pipe; frantically flicking the pages of a book, whilst looking to camera. The vocal apportionment once again switches from lone to multiple, as our hero is in cryptic mood. Oblique and ambiguity mix with vivid and personal ("Confused what I thought with something I felt/Confuse what I feel with something that's real/I tried to sell my soul last night/Funny, he wouldn't even take a bite") as your mind begins to wonder. The lyrics are well-considered and original, yet it is unsure what they may be referring to. The video gives us images of a businessman riffling money (juxtaposed with a scantily clad woman on an exercise bicycle); so there may be a sense of corporate sell-out; some personal doubts about love and life- or something altogether different. Our frontman has a little of Matt Bellamy's tenor force, as well as Chris Martin falsetto and Rufus Wainwright operatic swell as he is being called forth: "Far away/I heard him say (come with me now)/Don't delay/I heard him say (come with me now)". There is perhaps, too, a bit of U2's muted Strum und Drang when the lines are delivered; you get sucked into the parable before, once more, the chorus is pistol-whipped into your consciousness. Funky guitar and Blues-style licks parabond and spar, as an insatiable musical parable rains down. If the gates of Hell have been reached; or the depth of absolution purged, then the band go to lengths to aurally represent the closed-captions. The song- now- implores you to get up and dance; advises a sense of recklessness and drunken haze as the harpsichord once more returns. Perhaps my comparisons with The Boy In The Bubble were premature and rash; Paul Simon never penned anything quite so insanely catchy and dance-able. My mind is still drawn to the video, as (in black-and-white) an alluring and captivating figure floats underwater (longingly looking to camera); this is interspersed with restless shots of the band performing the track- there is no let-up on the dizzying contradictions and mismatched visions. As the song's final words are punctuated firmly, (in the video) our stock characters and players are reintroduced again- almost as a curtain call or cliff-hanger. The final 30-or-so seconds are a riotous blend of a aural assault and get-up-and-throw-your-arms-in-the-air-rebellion. Languid and drawling guitar lines trade with scattershot and pitter-patter percussive notations; with a snippet of the chorus coming back into view, the song ends. Whether you are in the middle of a sing-along or a bop, you wish that the song would give you another minute or so- such is the effect of a great song, that it leaves you wanting more.

Having examined most of the progeny from Lunatic, it is not hard to see why the L.P. received the adulation it did. The songs are varied and from Kids These Days' purveyance of modern infancy ("Oh kids these days/They don't have respect/They just talk on those cellphones/And listen to their tape cassettes); through to It's A Good Life's tale of suburban strain and vicissitudes where (you) "Spend half your life waiting for that light to change/Just so you can make ends meet/Everybody always looking for a fight it's insane/And now you need a pill just to get some sleep"- there is a lot to digest. Each track offers a sonic blast and varied palette; and by the time I reached Traveling On's opening line ("So long my friend, my foe, my love, my pain), I was hooked and cast asunder. I know that a certain Guardian writer has been a little anxious when doling out positivity towards the band- earnest and glowing positivity at least. Perhaps it is the changeable weather or the pressures of a media job that have caused him to be a little bit distant, but Kongos will be getting plenty of attention from our shores, very soon. The bands that we have in Britain are filled with range and sounds to suit everybody, but too much seriousness and impersiousness enforce their sounds. Some groups I have reviewed such as Issimo, Crystal Seagulls and Los and the Deadlines present some themes of optimism (amongst the anger or heartbreak), yet none unleash such a manic and infectious merry-go-round of song. Like contemporaries such as Kings of Leon, the guys have plenty of Rock grit, guitar magic and solid anthems; but the way they vocalise them sets them apart from Tennessee colleagues. The Phoenix lads have a bucket-load of alacrity and energy, and this is emphasised in Come With Me Now. It is ready-made for spring and summer, yet has a charm that is going to be hard to shake. I hope that- when their music fully goes global- others will take their example to heart, and instil notes and essences of Kongos into their overall sound. Music is- and should be- designed to summon up happiness and redemption; allow release and escape. If the music you are playing is too dour or angry, then it is unlikely that a transcendent or all-encompassing listening experience will occur. Ditch the dark glasses and she-said-he-said histrionics and loosen up a bit. The U.S. quartet has shown what can happen if you are brave enough operate differently, and with greatly intuitiveness. U.S.A. Today ran a feature piece on the brothers under a week ago; where they had this to say: "Now with Jimmy Kimmel Live! and Late Night With Seth Meyers performances under its belt, the group is reigning at No. 1 on USA TODAY's alternative airplay chart with Come With Me Now and gearing up to play Lollapalooza, Firefly, Sasquatch! and Summerfest in the months ahead. "It's definitely really cool that it's getting some recognition," says Jesse of the album. "Emotionally, we're almost ready to move on to new songs, but we definitely don't want to stunt anything that's happening now." With regards to Lunatic (and the struggle for recognition in the U.S.) Dylan had this to say: "The States is especially difficult for radio because it's so huge and there's so many different formats...Here, the only way to reach the whole country in a small way is Sirius (satellite radio); otherwise, you're regional." When the band were pressed about touring, and how they find the (possible) rigours of the road, Jesse had this to say: "With each city we start getting (airplay) in, it's like a mini-breakthrough because then we can go on tour and actually sell tickets". It seems that as much as the music, it is the bond between the four that keeps the band solid- and ensures that they will have a long and prosperous future. Whereas contemporary brother-only acts like King of Leon have as much in common with fights and rehab (as they do each other), it is nice to know that Kongos have no interest in that: "It's much harder to break up with your brothers... We grew up together, we know each other's faults, so we have a much tighter bond already. And although we each have our own individual tastes and style, we come together a lot on the creative aspects of the band. Walking out on that stage and hearing a stadium shouting (for us), it's hard to top that" (so Jesse testifies). It seems that the guys have transcending from playing small and intimate gigs- right to near-superstardom. It is early days for the guys (still), yet it is impressive how far they have come; how many people they have won over with their music. Johnny states that the smallest audience (the band) played, was a sole bartender at a strip club-turned-pool hall in San Diego: "They kept the poles and they kept the name, but there were no strippers...Well, at least that we saw." The days of playing seedy pool halls may be in the past, as the Phoenix quartet are preparing for the big time. The varying and diverse crowds of the U.S. have already been treated to, and appreciative of, the sounds and sparks that Kongos have tempted up. I am sure that a future album and singles will be in their mind, and the momentum they garnered from Lunatic would have spiked something. Before long, we will be anticipating something fresh and new from the boys, but for now, take a listen to the current flavours of a band daring to be different. I know that the four-piece have spent a lot of time in London; so would be nice to think that the boys can come visit their old friends and say 'hi'. If the buzz and fever that the U.S. audiences are providing ever gets a bit too much, it would be nice to think they may...

DROP down our way.

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Follow Kongos:

Official

http://www.kongos.com/

Twitter

https://twitter.com/kongosmusic

Facebook

https://www.facebook.com/KONGOS

YouTube

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

SoundCloud

https://soundcloud.com/kongos

iTunes

https://itunes.apple.com/gb/artist/kongos/id211196318?ign-mpt=uo%3D4

Tour Dates:

http://www.songkick.com/artists/1990542

April 9, 2014

musicmusingsandsuch

Uncategorized

Feature: "Living The Dream"- The Musical 'Yellow Brick Road'.

April 9, 2014

musicmusingsandsuch

Uncategorized

FEATURE:

"Living The Dream":

The Musical 'Yellow Brick Road'.

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Many ambitious (new) musicians set their sights incredibly high- in order to fulfil their dreams. Ultimate self-fulfilment requires a lot of determination, luck and talent: only the most thoughtful need apply.

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I am going to start today's outing by mentioning me...

Yep: my least favourite subject. Well, it is with regards to proclaiming personal ambition and intentions- as I am always self-conscious and nervous that I will not be able to fulfil my words. For that reason, I shall make it brief (in this paragraph). I have been compelled to write this blog entry for two reasons. The first is, that (because I normally write over the weekend), I will be incapacitated on Saturday. As I am running a half-marathon, I will be exhausted and potentially dead, so am getting this off my chest- whilst I can! The most important reason I am writing this, is because I have been thinking a lot about new music- just how much it takes to 'make it' in the music world. Quite frankly, the process and obstacles involved (with regards to becoming successful) are hugely intimidating. I have titled this blog as such, as it seems that the key components one needs to achieve musical success is the following: brains, courage and a heart. I will not be as pious or pretentious to say I am taking you on a 'journey' or such- yet I have been keen to examine just what is required for success in the music industry. There have been a great deal of new musicians I have reviewed; each of whom are making big strides towards their goals (I shall mention them later); each time I witness a sapling act thinking big, it makes me smile. It is impressive and commendable when someone breaks away from 'normal life' in the pursuit of grand ambitions and higher plains. I am not down on the 9-5 mentality of those whom participate in it; yet those that have a talent that supersede this, should make every effort to fulfil it. Too many people become 'settled in' and afraid of life: if they make a bold move they fear losing everything. I know people (non-musicians) whom have ambitious plans of working within the arts- acting, photography etc.; each of them have their detractors, cynics and nay-sayers- none of them let them in, and are determined to prove them all wrong. People that do not have that flame; that mind-set and flair in life; the tenacity to ensure that they are not just another boring 'normal person'- often come across those whom do not believe in them. It is a huge shame, but that is the way people are. Very few encourage ambition and a different way of life; if you are perceived as being different and 'out of the norm' then noses are turned up and backs turn; but you know what- who gives a crap about them? Being special and unique in life is something to strive towards and be proud of- those whom do not understand this are not worth the trouble. I am not someone writing just for the sake of ranting, but people are getting on my mind. I shall explain in more depth...

I shall not linger to much at the shores of 'me', but will aptly find myself in a new position. There came a point a while ago where I decided that life alone; the detrimental job; living in an area that I hate and feel imprisoned in; being angry and miserable with life- enough was enough. The first stage of the Living The Dream Coefficient involved ditching my (migraine-inducing) job: done. As I write I am somewhere between Stage 2 and 3: finding a new job and moving to London. Of course, I have to find myself a regular (and liveable) job, in order to sustain the funds to live/make music/everything else. My mind is set to London, and am seeking a flat share or place that I can call home- somewhere modest but in a nice area. Figuring this transition goes smoothly (enough), then the following few phases can take effect. When you are in city like London, not only does it make it easier to find potential band members/recording facilities (it is one of the busiest areas for new music/music in general); your mind and body start to relax. I have always hated when I am because it is just plain noisy. Too many rude people; too much screeching and infantile wailing: no conversation or any sort of restraint. The people are not overly-considerate or polite; everyone is happy to be just like everyone else: there is no ambition or desire to be special or daring in life. Because of this (and some factors I can't censor for the sake of this blog) London seems like a natural home. It gets a bad rap, as people consider it to be too busy and polluted. It is, but the people are that much more relatable; there is ambition and desire here; chances to better yourself- one can alight oneself in a coffee shop and be subjected to conversation and not screeching children. Above all, people get you. No one turns their nose up when you say you want to be a musician (or actor): that is why the city is the place to be. I have been writing songs since I was 18, and consider myself to be pretty good. People whom have read my lyrics and ideas seem impressed, and encouragement has been levied from various corners. I suppose most are familiar with my various writings; yet it is the vocal side of things I am most proud of. When I can obtain recording equipment that doesn't have the quality of a 1980s Dictaphone, I shall record something; but I feel that when getting into London, I will have opportunities to do this. I am a 30-year-old Dorothy; red shoes on, in Kansas. This town smells odd and a hurricane is coming. I have my songbook with 9 tracks; I have the album and band name all figured; all the designs and covers; the song ideas and direction figured out- just need the four other people whom can help me out. It is a scary time- like being back at school- and I am determined yet a little scared. If things do not work out, then I am back to Square One: having to repeat stages of a bad existence. Every time I hear a favourite song or music strikes me, the fear goes away. I get writing, my brain spikes, and I imagine a time where my scribbled words will be fully-realised songs and sketches. Music- like any artistic profession- is a hard bitch to crack. You cannot just interview for something; get the job and have a successful and assured tenure. Luck is required, as well as a great deal of hard work and fight. For anyone reading (that has similar ambitions) or anybody looking for a bit of a kick; then have no fear. The route to satisfaction is one blocked by hostile weather, busy traffic and bumps; yet when you actually start pounding it, it doesn't seem so bad. That said- and as I prepare to charge towards a blinding light- I have been examining what is needed in order to 'live the dream'; to 'make it'- as it were.

One of the most striking- and constant- pains when creating and planning music, is the cost. It is perhaps an obvious one, but something that can take many (musicians) by surprise. That is not to say that those whom have a lot of money will be able to make music and gain success in no time; it just means that for every musician starting out, there is a imperious obstacle. For me, it seems to be one of the most alarming and daunting aspects of music. Having words for months in a previous job; saved as much as possible in order to make music, yet I find myself thinking: is it going to be enough? Even a 'basic' song (I tend to not write too many of these) will take a pretty penny to get it recorded and out in the ether- and I feel that I don't have enough to do that. Of course, the likes of YouTube and SoundCloud have meant that there are portals and avenues one can publish music- without having to give it the full studio treatment. I shall go into more depth about this side of things, but if one wants to commit a fully-realised track onto tape, then the considerations are vast. As well as studio time, you have rehearsals; production etc.- it can be quite worrying. I think this puts some musicians off; the feeling that in order to do what they want to do, they will always be in debt; or else have to work endless jobs. It is something that presses on my mind, and am acutely aware that I will have to do a lot of things (work) that I don't want to- in order to make a music career a reality. It is something one has to do, yet there are other avenues. Friends and contacts I have reviewed have always had the determination; money has always been an issue for them- yet they manage to overcome this. Most work a few jobs and save as hard as possible, but sites such as Kickstarter give (new musicians) an alternate choice. Crowd-funding websites such as Kickstarter allow the (music-buying) public an opportunity to provide the necessary funds in order to realise a musician's visions- and get rewards in return. Artists such as Chess used this method (when raising funds for her Tuxedo E.P.) and means that the listener and fan can connect with the artist- as well as be rewarded for it. There are some whom may say it is not an honest way to raise money, but think of it- you know how much it costs to produce an E.P.? Assuming the three or four songs on the collection were 'straight forward' (no orchestration; few other musicians; few sonic proclivities) the cost can be bracing. Artists such as Chess and Elena Ramona have friends whom are producers- meaning they can cut these costs- yet the bar bill is still daunting. The advice I would offer to up-and-coming musicians (as well as myself) is this: use all channels. Having around a few hundred pounds in the bank, costs such as rent and travel are going to suck that up pretty quick- leaving scant little for music. Work a few part-time jobs and ensure that you put a little aside, as often as possible. Use crowd-funding sites too; it means that you can raise the necessary funds, as well as allow the people whom will buy your music, direct access into the recording process. I guess my abiding point is that sacrifices have to be made; for those like me whom have little/no money, a lot of back-breaking will need to take place. As soon as I get the band and ideas ready for recording, I will be using Kickstarter- as well as doing as much part-time work as possible. However you go about getting the money together remember two elemental points: do not scrimp on real-life, and do not stress. You need enough money to be able to eat and pay bills; scrimping on them will cause you a hell of an issue. Also, take time and breathe. You can still play and record music without needing to step into a studio. Playing, honing and rehearsing are all necessary and enriching, so there shouldn't be an instant levitation towards a studio. That said, money and finance is the biggest consideration- as well as stumbling block- you can face. For those with ambitions and a huge hunger for success, it can frustrating indeed.

It is all well having your funds together; your recording schedule set up- everything planned as it were. In order to grab the public and transcend your music from pen and paper to reality; through to admiring sighs you need this: talent. Too many Pop moppets have cut an L.P., filled it with covers (or committee-written tracks) and assumed that would be that. I have reviewed too many bands and acts that are so copy-catting and unoriginal that I cannot see them make it to album number 2. Too many musicians get in such a hurry to record and put their sounds out there, that they assume this: there will be a market for me, no matter what. Possibly true, statistically, yet if you want success and a loyal and large audience, then you need to remember: be original and have the talent to back it up. They may sound like obvious points, yet it is a lot harder than you may imagine. When I write, lyrically I find myself in original and personal territory; same goes for the music- it is the vocals that trip me up. This facet of music is the most culpable when it comes to new musicians and lack of originality. If you grow up listening to particular singers and bands, then there is a natural temptation to emulate them. Most translate this into direct mimicking. If I had a pound for every time I heard a critics say "This guy/girl in the next..." and say it with no hyperbole or exaggeration, then, well... I wouldn't be here writing this now. It is great to have shades of this; fusions of them; smidges of so-and-so: just don't rip someone off. I have surveyed bands whom ape the Arctic Monkeys; solo acts that copycat Thom Yorke and Jeff Buckley; too many whom just replicate their favourite artist. Even though their words and music may be their own; it is only two-thirds of the music. The problem arising (when you copycat someone) is that your future will be limited. The person many aspire to be are the originators; they will never be bettered- at the very least you will be a facsimile, and who the hell wants to hear that? As I say, you do not have to neglect every influence to be original and striking- far from it. The reality show festivities have convinced us that the way to success is to be a third-rate Mariah Carey or Prince: bullshit. Your own voice is the way through. Let me give you me as an example. I am listening to, at the moment, Steely Dan, Tim Buckley, Jeff Buckley; Michael Jackson and Queens of the Stone Age (not all at once). There is diversity and range amongst these artists; huge vocal acrobatics as well as hard-edged Rock directness; Jazz fusions and heart-breaking falsetto. In terms of the music alone there is sonic diversity, yet when you think of the vocals too, hardly any overlap. Extend it further and by incorporating a fraction of these artists' vocals into your own; not only do you have new and different sounds- yet something new comes to the fore. It is about expanding your horizons and being bold; keeping your own voice in tact, yet adding range, emotional colour and difference. Too many people seem beholden to see themselves as the next Led Zeppelin/Michael Jackson or whomever, that they forget the cardinal rule: that is not who you will ever be. If you- like me- seem a little bit too indebted to past masters (and not to your own voice) then have no fear: you can do both and fulfil the point I am making. Of course, you also need the talent to back up the 'vocal originality' or individuality. If you have all the unique vocalisations in place, the accompanying tracks need to be strong. If you are a solo act, then not only does the voice have to be original or unique enough, but your tracks have to be solid. Words and lyrics need to be varied, personal and striking. It is no good employ lazy poetry and verbose bloating- nor do you have to be Bob Dylan. In terms of lyrics; write about personal experience; do not stick to writing about love alone; make sure your palette is varied but captivating. Music-wise, ensure that there is emotion, range and interest throughout, but above all: take your time. Too many rush in and assume that their first instinct is good enough. Talent is not necessarily born-in and natural; sometimes hard work and consideration augment what was there to start with. Being braver; by thinking differently and pushing yourself- that is the way to get peoples attentions; and ensure that you keep them primed towards you.

Social media and luck can count as much towards success and establishment, as much as anything. By 'luck' I do not mean that you need to be in the right place at the right time; just simply that contacts and who you know can be important. I have met many 'online friends' and made connections with musicians by sheer dumb chance. As the music is one of the most overcrowded and vast sectors of the entertainment industry, sometimes talent and intention will not do all of the work. Some great talent has been overlooked because they have been compressed amongst hungry contemporaries; inferior acts have been heralded for no reason. My point is that the best will be overlooked- far from it- simply, that occasionally that is the way things do. For those whom have all the ammunition and are great and ambitious, then they should not worry: their rewards will come. This point dovetails into another important consideration and marketing tool: social media. It is tantamount to suicide, when a new music act simply neglects its power. I hate the way social media has become about personal vanity and shallowness; yet when it comes to music, it is invaluable. The only way I have found my review subjects and sought out some great music, is because of it. I will mention a few examples of the kind of acts that have understood its importance. We have SoundCloud, Twitter, Facebook; YouTube, Reverb Nation and BandCamp: they all out there waiting. Too many just stick with Facebook and SoundCloud, which is all well and good, but social media is compartmentalised and- sadly- balkanised. Twitter peeps do not necessarily check Facebook- you need to go wide and far. A personal website, too, can add followers to your camp. If you have this as a central hub and tie in all the other social media/music-sharing sites to it, then you give yourself the best fighting chance. It is not just about the availability that matters, but also information. Being mysterious is good if you are an M15 spy, but not o good if you are a musician. A detailed biography, some reviews; the music itself; tour dates should all be in there. When I- as well as any music-lover- go to investigate an act, it is always great when this info. is there. It can be time-consuming creating a website, but the importance cannot be underestimated. Before I get onto investigating some acts whom are leading the way; backing up my points, and providing inspiration to the up-and-comers; I want to bring up one more point...

Extending the whole social media theme, contacts and friends can be a much-needed source of connection. On Facebook, for instance, I have made friends whom have not only helped foster my music ambitions, but made a great difference in my personal life. If you are a solo artists or in a band, you should never try to do things alone. You do not have to transfer the full artistic weight onto their shoulders, yet allowing them in and helping them to help you, can mean that there is less stress and anxieties on your mind- ensuring that you can dedicate more time and effort into music itself. I have online friends and contacts whom have provided advice, contacts and insight- all of which have helped me and provided direction. In the same way as friends can provide career advice and personal confidence, there is always going to be (one of your friends at least) whom can assist when it comes to music. In my travels, I have connected with a record company boss; many new musicians as well as writers- each of whom assists when it comes to writing and planning for a music career. Most of my family are not overly interest or believing in my music ambitions, so friends and contacts provide the necessary ear that is needed. When starting out and planning your infant music steps, these friends can assist when helping promote your music; putting you in contact with others- as well as making sure you are not alone. Make sure that this valuable asset is not overlooked; that you ensure you use them (appropriately), as they can give you the additional link(s) needed in order for success.

I will illustrate my utterances with three artists whom have put the effort in; managed to succeed and pioneer in spite of everything. Jen Armstrong is a name I have mentioned before in my blog posts. I bring her up again, as she is every inch the modern-day idol. Her online portfolio is full and insightful. She has a terrific personal website, and ensures that she projects a bubbly and loveable mood. Keen to connect to her fans, she keeps her pages up-to-date and makes sure there is plenty of music available. Recently, she has created a Patreon page; allowing her fans to support her music. Our gorgeous heroine has made sure that she puts her terrific music out as much as possible. I know of a record label that should snap her up- they may have already contacted her- but feel that she is long-overdue (being signed up). That will happen soon, but it is not just the consideration she gives to online representation. In terms of her songs, she has worked hard raising money; recording as many tracks (and covers) as possible; making sure people hear what she has to offer. Her bravery, determination and proliferation impress me hugely, and she tours widely and regularly. Having touched audiences in the U.S.- as well as U.K.- Armstrong is dead-set on making sure she has a huge future audience. The originality and talent are elements that she has also nailed. Her music is witty and varied: ranging from romantic and tender ballads, through to vivid and humorous slice-of-life observations. Her voice is strong and emotive; huge of range and deeply memorable. When it comes to all considerations, Armstrong takes care to ensure that she is her own voice and artist- and does all it takes to get her name and music out there. Shed is giving me the push and inspiration I need to start making moves; the perfect epitome of what a modern-day musicians should be! Issimo and Universal Thee are two names I have featured quite regularly (on my blog). The former, a fellow Yorkshire act (Armstrong is a Yorkshire lass), have enlivened me for many a month. Their music is witty and intelligent; songs filled with nuance and range. Like Armstrong, Abi and Marc are a duo whom work their socks off and make sure that as much as the public listen to their work. Both work hard and long to raise the funds needed to make their songs a reality. I am not sure if the duo are signed yet, but are also long-overdue. Their success has been cemented by their originality and talent. Both are hugely accomplished and mesmeric, making sure that they sound unlike any other- I cannot think of another act that comes close to their sound and flair. Universal Thee are a Scottish outfit whom have just released their debut L.P. Like Armstrong and Issimo, their online pages are filled with information and wonder, and the band are justly reaping the benefits. I know from speaking with the group, how long they have worked to get where they are; how many crappy shifts they have had to pull to fund their ambitions. In terms of bands, they are probably the best example of what I have been saying. Their names are being spread around and recognised, and I hope that they will be making many albums to come. Nina Schofield is another artists whom has the same intuitions and abilities on offer. Her latest E.P., Colours, was as a result of a lot of hard work and determinations. Her website and social media representation is impressive and authoritative, and our stunning heroine has been touring and promoting her material tirelessly; as well as this she ensures that her music and offerings are as intoxicating, original and unforgettable as possible. It is (Colours) one of the best releases I have assessed all year, and she is an artist whom has intoxicated me, completely. Artists like Armstrong are examples of what happens when you put every ounce of heart and effort into music; how you connect with people and grab attentions by being brave, ambitious and smart.

Before I conclude, I want to mention something I have alluded to much: human elements. I have compared musical success to being in the Wizard of Oz; perhaps alluded to the importance of having a brain; being savvy and intelligent. Courage is something that perhaps most important of all. Disappointment, oppression and failed-expectations are all realities every musician will have to face. You not only need the courage to be able to get through this (and not give in), but also the ability to be able to be bold; take leaps and risks. It may involve moving to a new location; opening up to someone or being brave. I have connected with Cuckoo Records; the splendid artists in offer here and reviewed many of them. I feel that by taking a gamble and getting in contact, I have helped myself as a writer, and (I hope) helped the artists I have reviewed. Being brave and taking leaps is fraught and quite nerve-wracking, yet once done, can lead to some truly awesome realisations and results. Not only can you further your individual music desires, but connect with possible fellow musicians, band members; label bosses and venues. Sometimes, moving to a new life and taking a gamble puts a lot of musicians off, but if you want to succeed and making your way- it needs to be done. This ties in with the necessity to possess, as well as seek out a heart and brain. Being emotionally-open is one thing, but sharing others work can lead to great things. I don't buy any New Age-y crap like karma, but fellow and artists are always going to be in a position to promote your work and mandates; provided you take time to proffer their work. I take as much time and effort to share great new songs; acts; albums etc.- and I find those respective talent give something back to me. If you are a new talent, you can have all the intent and ready-made firepower there- yet will still need support. By assisting your contemporaries and giving them a helping hand, you find that benevolence becomes infectious (or it should); consequently, receptive arms and hearts are more-than-happy to give an assist and shout-out- when you unveil a new song or idea. You also have to be smart from start-to-finish. Not only with regards to your business plan (and the points I have raised) but throughout your career. When you climb the first rungs, you cannot settle in and go to auto-pilot. Gig opportunities may arise; chances may come, and it is up to you to decide if they are going to be beneficial for your career. Saying 'yes' or 'no' to everything cause their own issues; the modern artist has to have a shrewd business mind (as well as a natural intelligence), if they are to ensure that the choice they make, are the correct ones. It may seem like a lot to think about and quite a tall order, but most of these facets are extrapolated and deployed in any 'normal' job. Music is pernicious in the sense that if you get cut loose or lose your audience, you cannot apply for a job and move on: the chances or reasserting yourself are slim-none. If you take time to think of other (musicians), makes smart choice as well as become brave and filled with fortitude- it sets you ahead of most and means that patronage and career development are much more likely.

You may ask me: what is the purpose of this blog? Well, the words I have put forward are all verisimilitudinous; they are pertain succinctly to all music: yet there are other considerations as well when it comes to musical success. My inspiration for penning this was to rebel against the reality T.V. show chancer and wasters, and to investigate how much effort and work goes into forging a music career: not as a deterrent, but to show what can come when you put the miles in. I have mentioned a few musical examples; people whom are capable of seductive chef-d'oeuvre; tantalising song and pure charm. Personality and an innate intuition accounts for a lot of their success, but they understand the importance of promotion; social media and thoughtfulness; originality and talent as well as bravery and courage. Many may already be where they want to be in their (music) careers; others getting there- some may be starting out. I hope my words are transferrable to life, love and work in general; yet for we musical folk (those whom do not want to be in an office for our entire lives), there is a lot to think about. Being a crowded and bustling market, many will fall at various hurdles or succumb to entropy- those whom want to jostle for attention need to put the graft in. I just feel that too many do not do enough and skate by somewhat; others whom are deserving of celebration neglect some key fundamental considerations- it is a shame, but that is the way things are. The likes of Universal Thee, Jen Armstrong and Issimo are in various stages of their music life, yet I feel each will be rocking huge festivals; making many an-album- essentially becoming bona fide legends. This whole business of "living the dream" scares the crap out of me; yet I am confident enough that I have enough weaponry and intelligence to be able to at least make some interesting in-roads. I know that there are many new musicians and acts that are considering their opening moments; on the precipice of a new and wonderful career path- they should prepare themselves for some hard work and sweat. It will be good, as it is easier now (as ever) to get your music heard and commit notes to tape. That is it from me; I am preparing a new track now and looking ahead, and will continue to exhaustively support some lovely musicians I feel are worthy of long-term consideration. I wish them the best of luck; and those whom are striving for a particular goal- have no fear, you'll get there. For anyone else that may be thinking of projecting themselves into the musical ether (and not scared to death by what I have said), I ask you this:

WHAT are you waiting for?!

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April 7, 2014

musicmusingsandsuch

Uncategorized

E.P. Review- Nina Schofield: Colours

April 7, 2014

musicmusingsandsuch

Uncategorized

E.P. REVIEW:

Nina Schofield

Colours

9.6/10.0

The E.P., Colours is available from:

https://itunes.apple.com/gb/album/colours-ep/id847601556?utm_content=buffer2c670&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer

The single, Colours is available at:

https://www.youtube.com/watch?v=ME7JTLIwAP4

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Mesmeric of beauty and hypnotic of voice; Schofield is an artist whom can seduce with absurd ease. With her latest release, our heroine unleashes a variegated and compelling collection: one that her contemporaries are going to struggle to match.

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I have touched upon the realities of new music often enough...

over these pages. With every new artist I survey, it is not just the quality of the music that I asses- but also the potential longevity. As 2014 goes, plenty of fresh and original sounds have entered my brain; great songs and E.P.s have seeped into my mind: it gives me the impression that this year will see a lot of future stars come through. Bands such as Crystal Seagulls and Los and the Deadlines offered up some tantalising sounds: ranging from Zeppelin-esque anthems to '90s Britpop sounds. My barometer is always usually trained towards bands, as it is the music I grew up on- and forms most of my current musical rotation. As much as I am impressed by the offerings and outputs from these bands, I find myself wondering where the diversity is. Plenty of groups have sheer quality and ambition, yet when put side by side, the sonic range is quite narrow. There are exceptions to the rule, but only occasionally do I come across a group whom are doing things differently to their competitors. Each time I review a new band, I am struck by the personalities of the members; where they come from and the drive they have- yet often that is the most lingering and permanent reminder. The solo realm has given me a lot more customer satisfaction (in that regard). From male acoustic acts through to northern Pop/Soul girls, more has been offered up. The person behind the music engaged and made me smile; the music that was being produced was varied, nuanced and filled with different flavours; the originality and flair that each artist offered impressed me hugely. When we look at the future of music (and certainly the rest of this year), it is going to be hard to say how the market will change. I feel that new music is making bigger strides now than it ever has, and the very best examples have the potential to forge their way into full public consciousness. Bands and groups have had an hegemony for a while now, yet I feel tastes and demands are starting to turn more towards the banks of the solo star. Perhaps a certain few 'mainstream' solo acts have left sour tastes in mouths, yet plenty of brilliant and lovable newbies are bubbling up- able to re-appropriate any cynicism or controversy. It is the female side of the market that has provided the most impressive fireworks over the past few months- in terms of sheer quality alone. From Yorkshire, to Scotland- right down to London- there is a restless energy and ambition that perhaps the men are falling short of. It is not just the music itself which has been projected with superiority (by female musicians); there is something else that they are doing better: promotion and touring. One of the things that impresses me most with regards to new musicians, is the effort and tireless hard-work injected. From raising funds, through to performing far and wide; each of the new acts I have reviewed puts in an incredible amount of hard graft. The boys are good at it; the girls are phenomenal (at it). I am not exactly sure why there is such a bridge, yet the female lone stars are putting in the longest hours. When everything is put together- promotion, quality and originality- then the effect is quite overwhelming. As someone in the fledgling stages of music, I am looking around for inspiration and role models: people I can look to whom are doing things just right, and reaping the rewards. I have always been more-than-happy to give my gold standard to acts whom I feel are genuinely deserving; those whom tick all the boxes and work their behinds off- ensuring that they are not only recognised, but have a fan base that will stay by them in years to come. I have witnessed a few (solo acts) whom are going to be around for years to come; those whom seem to be plying and working relentless- in the pursuit of huge patronage. At the weekend, I am going into more depth about the mechanics of new music, and the various proclivities, filibusters and intricacies involved in putting music out there. Many sit back and assume it is as simple as sitting in your room, recording something; uploading it to YouTube and waiting for E.M.I. to knock on your door- hmmm. Examining and considering the sheer amount of cogs that go into making the machine is breathtaking; therefore it is always that much more impressive and wonderful when artists hold strong, keep reaching- and acheive all they set out to do.

In my elegant and subtle way, this brings us rather neatly to Nina Schofield. I have been familiar with Schofield's work for a little while. She studied at the A.C.M. (Academy of Contemporary Music) in Guildford: the town I was born in. Artists such as Elena Ramona, Chess and Emma Stevens have been on my radar at various point over the last couple of years; each have passed through A.C.M.'s halls- and made huge strides since. As Schofield is going to playing near my way very soon, I will be making a promise to myself to come see her, as her music has been making huge marks on my brain since I first heard it. As much as anything, our heroine is the distillation and definition of what I am trying to get across (with regards to new music)- she puts a hell of an effort in. At the moment, she is embarking on a 'schools tour' around the U.K.- taking her music to some very intimate locations. Pubs and festivals are going to be frequented, and the young star's feet are hardly touching the floor at the moment. Before I go into more detail about Schofield and her itinerary, a bit about our heroine: "To mix thoughtful and catchy songs with a uniquely arresting voice and breathtaking beauty is a classic recipe for pop success. But singer/songwriter Nina has also shown a mature determination to achieve an international career. Classically trained and having successfully completed a Degree in Vocal Performance at the Academy of Contemporary Music she has done a great deal of professional work to widespread acclaim. Known as a singer from her early years she has performed in public since the age of 16. Nina was delighted to be invited to perform at the Montreux Jazz Festival, sharing the bill with the likes of Black Eyed Peas, Seal, Lily Allen, Jeff Beck, Gnarls Barkley and Ben's Brother. Since then, she has continued to perform live as well as working closely with internationally noted Producer Richard Niles (Sir Paul McCartney, Ray Charles, Mariah Carey, Kylie Minogue, Westlife, Tom Jones) with whom she has already produced two singles. She has worked in collaboration with musicians such as Richard Cottle (David Bowie, Seal, Tina Turner), the famous photographer Angelo Valentino (Kate Moss, Naomi Campbell, Usher) and one of America's hottest designers, Arianna Power (Kayne West, Estelle, Metro Station). Nina has performed her songs at venues across the UK such as The Buxton Dome, The Stoke Mandeville Stadium for the Paralympics Torch Lighting Event and many festivals. She was given the honour of singing at a British war hero's funeral at Winchester Cathedral and has since taken a passionate interest in supporting British troops including composing a beautifully moving song, "Slow Down Soldier" performed in support of Help for Heroes. The song reached number 4 in the iTunes Singer/Songwriter charts, overtaking both Damien Rice and Eva Cassidy. As well as supporting John Power (The La's/Cast) on two occasions, she has taken part in the semi-finals of the BBC Radio 2 Young Folk Awards. Radio airplay includes coverage by local stations such as Win FM, and, in addition to recorded plays, live studio performances for BBC Southern Counties Radio on South Live (syndicated across the southern counties), BBC Solent Radio, Hampshire and Guildford University Radio, Surrey. In addition to interviews on local TV, Nina recorded with the ACM Gospel Choir as aired on the BBC2 TV show "Genius" in March 2009 and was a featured artist on the Channel 5 advert for "Don't Stop Believing" with Emma Bunton in a national campaign". The past few years have been illustrious, busy and rewarding for Schofield, and she is a musician whom is clearly heading for places. The woman behind the music is incredibly down-to-earth and relatable. Possessing of incredible beauty, she is capable of stealing breath from lungs, before a note is sung- and when she does it certainly gets a reaction. Unlike a lot of fake and facsimile fly-by-night talent that come through- vague of direction- our heroine has a voice that one cannot ignore; songs that demand repeated plays- and a personality that captures you and compels you to investigate throughly. Schofield's official website is beautifully designed. All the information one cold possible demand is there- and more besides. The fan and listener are kept up-to-date about her tours and happenings; the biography and blogs are authoritative and informative; the music readily available in multiple forms. Too many artists do the bare-minimum when it comes to online representation. It may seem like a minor consideration, but it is one that- if done right- can be hugely effective. All of these facets and elements have made their impressions on the public. If you peruse the reviews (below), it provides just a snapshot of just how confident and assured Schofield is:

"Imagine a young (and easier to relate to) Tori Amos, with a dollop of PJ Harvey and a sprinkling of Kate Bush and you're somewhere around half way there...." -

www.01962.com

"[Nina has] an exceptional talent for creating original and catchy hooks in her song-writing".

Phil Jackson Southern Counties Radio, host

"[Nina shows] a brave approach to her music, not afraid to take risks…confident... kooky...in control... and totally absorbing – a voice that [I] will not forget."

The Industry Panel, South Live

"exceptional and unique… [I] could easily imagine a crowd at a festival singing along...".

Sally Taylor, BBC Radio Solent

"[Nina has] a beautiful voice that you simply have to hear!"

GU2 DJ, Andy Vale]

"Sweet, soulful, jazzy and dare I say "Lullaby-esque".

thetruejoe90

"There are many reasons to listen to the phenomenal artist Nina Schofield.... the collective body of work by Ms. Schofield truly doesn't disappoint. She is a soulful young woman working with great material."

Christopher Levine, Author of "Eclectiblogs-Weekly Meanderings for Music Head Consumption"

Before I get down to reviewing the E.P., Colours, I want to touch upon a couple of points. Schofield has been making music for quite a while now, and previous work shows you just how much she has achieved. Her album Drifting is something I have been investigating, and bowled me over with just how compelling it was. Tracks such as Never Found and It's Impossible are filled with nuance and fascinating avenues and mini scenes. I urge everyone to head onto iTunes and seek out the album, as it not only shows you when Schofield has come (and emerged) from, but also how far she has come. The quality has always been high, yet within Colours our heroine has grown, matured and developed- few artists have had such an impressive past few years. Singles such as He Said She Said and Slow Down Solider show different sides to our heroine, and display a rich sound and singular voice. I will end this segment by focusing on that voice; yet will give a quick shout-out to the other plays whom contribute to Schofield's asthete:

Nina Schofield - Keys and Vocals Steemy (Matt Steemson) - Guitar Matt Hutt - Bass Guitar Oli Chipchase - Bass Guitar Jonathan McElhatton - Piano James O'Gorman - Drums Ben Howard - Drums Backing Vocals - Toni Wiseman

One of the reasons I fell in love with Schofield's music, is the vocal performances she provides in each track. For me, the voice is the most alluring and captivating element to any artist, and is something that- perhaps subconsciously- Schofield is all-to-aware of. You can see from reviews that comparisons have been levied towards the likes of Kate Bush and P.J. Harvey- yet the central instrument is unique and very much her own. Schofield has shades of the great female solo stars, and adds a contemporary twist. There is plenty of romance, humour, sweetness and vitality; but also a lot of strength, independence and firepower. Too many artists are rather 2-D with regards to their voice and emotional range, yet our heroine projects a multifarious canvas that not only means she can write with range and diversity, but also make each song full of conviction and authority. Our heroine celebrated her birthday yesterday, and the day (Monday) saw the release of Colours- already it is being spoken of in impassioned tones. I know that the next few months will see Schofield touring and working hard, but I hope she can relax and catch her breath for a second, and drink in the acclaim. She has worked hard and long putting the E.P, together, and she is much-deserving of any kudos and celebration coming her way. Well, then, let us get down to proceedings shall we?

The infant seconds of Colours, grabs your attention firmly. With an impassioned and punctuated piano line, sparring and mingling with a backwards-sampling sound-rush; evocativeness and emotion and summoned up. The intro. is one that provides rush and energy; weight and intrigue- you are enlivened and fascinated before our heroine steps up to the mic. Our heroine's initial words paint the picture of a young woman whom is dislocated; fractured and hurt. Schofield confesses that she is on her own (again); "Lost in this confusion"; her voice tremulous yet firm. Putting a foolish boy to rights, our heroine points the finger at a person that "Lost his sense/To innocence". If you title- Over It Under It- projects images of sexuality and moving on, then the vocal rush that arrives at 0:45 makes you rethink. Until now, Schofield's voice has ranged from sweet highs and breathy evocations to softer and sturdy projections. Suddenly, the mood explodes, and you get wrapped up in the energy and fireworks. It is during the chorus where our heroine explains (to her unnamed subject): "You and your ego trip/Never fit". Whomever the central figure is, he is someone our heroine is giving short shrift to, and it seems like his immaturity and recklessness have caused some anger. In so much as her former sweetheart has caused fraction, Schofield's mood is determined and strong- she is moving on and determined not to let events get to her. The track looks at the fall-out of the relationship, and Schofield's former suitor making his next moves. Although the themes of heartache, infidelity and regret are perhaps well-worn and familiar, our heroine brings something new to the themes. The force and passion that she put into her words get the song into your brain, and it is hard not to picture various images, scenes and sights. When our heroine offers the words "Don't think of me/Just fall apart"; you can tell that there is conviction there: she is done with him and determined not to feel hurt or scarred. If the composition and sonic projection has its heart and sights set towards clubs or sun-kissed beaches, the vocal, perhaps has something more traditional and historic to it. The likes of Kate Bush, P.J. Harvey and Tori Amos have been levied and alluded to; Schofield has the raw force and belt of many of her heroines, yet manages to unveil a fresh and unique voice that has feint hints of past wonders- yet is very much her own sound. "I'm, I'm over It/I'm, I'm under it" is repeated as a focal coda, that shows just how Schofield feels about events. The flavour and sensation of Over It Under It may be more familiar and homegrown to the sounds of U.S. Pop and modern-day acts; yet there are evocations and semblances of the great singers of old. The song is a strong and impressive opener that gives the E.P. a kick and head-rush that is hard to shake off. In spite of some recriminations and scolding, the mood is light and emphatic throughout; it highlights Schofield's wide and emotive voice, and offers up some inspiring and precise words to those going through break-up and fall-out (9.4/10.0).

Following on from the opening salvo's heels, is the title track. As with the lead-off song, the intro. again is fascinating and brooding. There is a quick rush of strings; our heroine's voice working in the background and building up the mood. In a way, the heartbeat percussions and string swathes reminded me slightly of trip-hop and electronic music of the past- Massive Attack and Portishead briefly came to mind. Atmosphere builds up and percolates, before a delicate and tender piano line is elicited. Colours creates a trippy and heady burst once more; the song's early moments shift from romantic delicateness, to energised upbeat. Schofield's vocals (in the fledgling stage) is quite breathy and restrained; displaying elements of some past mistresses within her tone. Initial words have more positive and satisfied embers within their core ("I feel more alive/With you by my side"). Whereas Over It Under It dealt with romantic exsanguination and moving on, here there is a more contended and relaxed mood. Our heroine has found a safe haven; more settled and contended in her skin. The previous track has a constant force projection and gravity to it. On the title cut, the energy and sound rise and falls; there is a sonic sway- both elliptical and evocative. Our heroine's beau, here, is "second-to-none"; someone whom aspires her to say: "The colours of the world/Collide/And make a paradise". Schofield is in a happy and warm frame of mind; determined to embrace a new-found optimism. Perhaps, like its predecessor, the song has its roots in a club setting or within this milieu. Perhaps, befitting of the title, the song has a colourful and variegated energy and spritz to it. Schofield's voice is uplifting multi-tracked; at once cooing and seductive; the next bolstered and filled with sun-kissed smile. One thing that struck me about the song, was how considered and thought-out it is. Our heroine goes to lengths to project as much fascination and delight as possible. Vocals go from syncopated to measured; the composition ranges from slight to sky-bursting: there is a constant energy and sense of intrigue throughout. The track's chorus will surely nestle within your brain; its catchiness and memorable repetitions are calibrated to inspire sing-along quotation as well as head-swaying smile. By the time it reaches its end, you cannot believe 4:18 has elapsed. You get caught up in the tropical bow waves; carried along in the song's energy and blitz, that it is a little disappointing that it ends. Such is the nature of a great song (that it leaves you wanting more), and is a natural stand-out cut (9.7).

At the half-way mark, we have heard a lot of energy; two sides to love and romance; as well as a sense of a young woman with her mind primed to the future. Where as the intros. to the first two tracks had a similar-sounding fascination to them, on Everytime We Touch, a new direction is unfurled. With Colours' bonhomie and optimism still spinning in my head, our third track unveils a swirling electronic opening that keeps the energy level high, once more. Schofield's vocals are more subdued and singular in the opening moments. Our heroine recounts various moments and scenes; a butterfly escaping her hand; the song that (her and an anonymous subject like) "They played it on the radio/Again today"- scenes are being set. The song 'on the radio' acts as a point d'appui for our heroine, whom- once more- is being compelled by the vicissitudes of love. The (anonymous) hero is striking chords in Scofield's heart; leading her "...slowly/Through the dark"; causing feelings that are leading (her) "closer to your heart". Again, kudos must be paid to the vocal projection and delineation. The vocal breathlessly rises and strikes; repeats and comes back; the next moment it levels and consecrates. The way Schofield whips up emotion and sparks with these sort of considerations gives extra weight and emotion to her tracks. Whereas perhaps there was a more frantic and sunshine burst with the initial two tracks, here there is uplift abound (for sure), yet more tenderness and romantic tribute. As well, a sense of girlish coquettishness and innocence comes across in our heroine's outpourings. There is unabated delight, yet nothing is ruined with needless explicitness or dumbing down- in essence it is a paen that provides purity and honest openness. Schofield knows that the chorus is a strong asset, and it is something that is re-introduced to build mood and nestle into your brain. With guitar and percussive slams and sparks, a firestorm of undarkended and rainless uplift is presented. Perhaps there is a touch of Ellie Goulding when the audio and vocals rise and rush- I heard a slight remembrance. Schofield's vocals have a similar potency and sound, yet a more appealing overall tones and implore; as well as more conviction and range. The halcyon mandate that our heroine offers up is one that is instantly familiar; it has airs and D.N.A. of some modern Pop wonder- yet once again Schofield subvert the genre and makes the sound very much hers alone. Catchiness and conviction are twins of synonymous wonder, and you will have a hard time forgetting the chorus. As with all of her music, you believe every word; are drawn in and compelled- caught up in the waves of audio bliss. The entire song is completed within 3:27, yet- like Colours- is one that seems somewhat short. Songs such as Time Is Running Out (by Muse) seem that way to me; it is because you not only get lost within the chorus and indelible quality of the words; yet submerged and seduced by the mood, energy and potency. Everytime We Touch offers comparable rewards and is a song with its heart on its sleeve; one that will emanate and strike a chord with most of us (once more) yet tells the tale (and pays testament) to a young woman deliriously enraptured by love and its psychotropic power (9.7).

Arriving at the feet of the final song of the quartet, and so much ground has (already) been covered. Several sides of love and romance have been investigated, and our heroine has emerged from a fraught start (on the opening track); to someone very much revived and at peace. On the swan song, the opening notes are delicate and still. Romantic and haunting piano notes are traded in (counterbalance to the pulse and force of the first three tracks). Our heroine is in reflective and introspective mood, as opening words back this up: "All of this time/Losing my mind". The piano punctuation and notes are graceful and well-considered. Both melodic and metronome, they build a sense of romance- but also delicately soothe. Schofield needs to re-group she says; perhaps events have taken a turn; and some anxiety is on her mind ("I need to focus"). Breakaway sees our heroine at her most soulful and soothing. Her vocals are sweet and intoxicating, yet also imbued with sexiness and beauty too. Shades of The Sensual World-era Kate Bush, as well as Little Earthquakes-era Tori Amos in the performance. Schofield's voice never cracks or implodes; yet remains firm and headstrong as she states: "If there's a life you can't touch/Then breakaway". The song is stirring and emotive as our heroine admits that sometimes the best thing to do is step back. If you cannot have what you want or feel you need, then sometimes you have to leave it. The sonic backing is kept to a minimum and subtle- allowing our heroine to let her expressive voice tell the story. The vocal performance is one of the strongest on the set, and shows another side to Schofield: one that is a juxtaposition to the central figure of the previous two songs. From opening words (on Over It Under It) that gave sage advice to a no-good (former) love; here there seems to be a polar desire: a longing that is unshakable. Whether there is personal relevance or past heartache that has enforced the lyrics, I am unsure, yet it seems that Schofield is speaking to her audience (and all of us) in general- the song acts as a piece of closing advice; a universal message as it were. Utterance of U.S. Soul and Pop stars such as Alicia Keys linger in the undertones of the song; Schofield projects a similarly impressive sense of majesty and restraint within each line. When our heroine confesses that painful feelings will not leave "until you let them"; it appears that there may be some back story or influence that has compelled her- perhaps a relationship that dissipated or never ignited. It is perhaps appropriate (or emotionally required) that a softer and gorgeous swan song closes the set. The previous three tracks give so much energy and sunshine, then you are ready for what Breakaway offers. If the final track was infused and energised you may feel too worn out; because it isn't, you end the track wanting more. You wonder whether our heroine found answers (in the song), and whether the track acts as an exorcism or a painful recollection. As much as anything it is an impassioned and impressive number that concludes a wonderful E.P. With the embers dying in the final seconds, you cannot help but smile- knowing that our heroine (on balance) is in a good place and satisfied (9.6).

I will sum up the review with a parable (of sorts). Several different songs have been rolling around my brain; obsessing me somewhat, and for these reasons: they provide emotions conflicting yet beautiful in sync. The first track is The Build Up. It is a song that builds from acoustic beginnings; reaching a gorgeous vocal crescendo in the hands of Feist. Her vocal interjection turns the track into a haunting and evocative piece of work. I love the stillness and the unforgettable vocal turns. In Colours, there are moments like this- throughout the four tracks. Like the Norwegian-Canadian commingle, I listened to Schofield's E.P. and felt a comparable shiver.The song (The Build Up) is one that I replay because it drifts me away- puts my mind somewhere away from the hostilities and compression of modern life. In Slight Return by The Bluetones; as well as a stonewall classic, it is a song that is as catchy as it is relevant. Its words and utterances transcend the ages; its simplicity and effectiveness wins you completely- it is a track that has as much sunshine as it does swagger. Although that song was born in the Britpop era, I hear few modern tracks which offer up the same degree of dance-ability and appeal. Within the mid-points of Colours (and in the opening salvo) I found much to smile about. The reason I adore The Bluetones' classic is because it makes you smile- no matter what! Similarly, Schofield's E.P. brims the joy tank when required; taking you to places familiar yet safe. Even though the words being presented have personal relevance to its author, everyone can relate to them: there is a borderless appeal that means their charms and mysteries will never tire. Finally, we have Deacon Blues by Steely Dan. Perhaps it is because I am old (well old-fashioned); yet I cannot get enough of the U.S. legends. Criminally unheard of now, I spin their songs on a daily basis. Their lyrics are detailed, literary and fascinating; their motifs nuanced, filled with layers and richness their songs timeless and wonderful. Schofield has a lot of years in music ahead, yet has caught onto the knack of making sure a song makes its mark. Steely Dan stick in the mind because you can tell they put huge effort and work into each number- ensuring that no fault can be found. Our young heroine has fewer Jazz elements (than Steely'), yet incorporates sound collages and tapestry into some intelligently worked numbers. My overall point is that disparate and diverse music affects you in different ways- essentially they make you happy. Our heroine has managed to seamlessly infuse compartmentalized themes and sounds together; tie personal in with universal- and create something that will make you smile; and inspire the mind. The E.P. from Schofield is a bold and varied collection and one that sets up an intriguing future. Whether she will incorporate Rock, ('70s/'80s) U.S. Jazz or Britpop fever into future songs I am unsure; yet it seems that the confidence abound within Colours will manifest itself in interesting ways. You can intellectualise and examine the songs (within) if needs be; but it boils down to this: it is a terrific and bloody good E.P.

Nina Schofield is going to be an artist whom should get used to life in limelight- or start preparing for it. I have seen many acts and bands whom can turn in some great songs and releases- yet feel that they will burn out of the public mind-set quickly enough. Our heroine has immense beauty, buckets of charisma and charm- a personality that appeals to all sectors of the market; and can seduce all. Her work rate cannot be faulted, and few contemporaries are as hard-working as her. Her online portfolio is impressive and multi-layered and the impression one gets from Schofield is of a young woman whom adores attention and praise, but is equally compelled by music itself: pure and simple. The everyday business of making it means a huge deal to her, and this comes across in her output. Colours is a natural step forward for Schofield, and an ambitious and triumphant E.P.- one that she should be very proud of. Those familiar with her previous work will find that recognisable and unique voice running throughout, yet there are new shades and changes that keeps her sound fresh and ambitions high. A lot of female (or male) acts seem to subjugate a lot of the audience; make music that may only appeal to one gender or lovers of a certain genre. If you want market share and dedicated hearts, then it is paramount that potential fans and audiences are not neglected. Schofield's voice can draw in a vast range of listeners; her songwriting covers subjects familiar to all- her personality and appeal capable of winning even the most stubborn minds. I am not sure what Schofield's future plans are, yet I know that new music will be in the back of her mind. Once she has toured and thrilled schools; played the stages of local festivals and venues, I hope that further-off locations will come a-calling. I have reviewed acts such as Jen Armstrong whom have played in bars and clubs of Nashville and L.A.- as well as venues throughout the U.K. Our heroine's music has a quality that can easily be extrapolated by, and transferred to, the American (and Australian) audiences. There is a ubiquitousness and universal appeal that the crowds and ears of the U.S. will take to heart; her sound will have a natural home around Europe and Australia as well. I am sure that BBC radio play will be something forthcoming; as well as the possibility of major festivals. Acts such as Emma Stevens and Annie Drury have earned these distinctions, and perhaps have less ammunition and potential as Schofield does. The music sector this year is taking turns and is showing signs of mutations. New music has a better chance now- then it ever has- of making huge impacts in general; those artists willing to work for it are going to be at the forefront. There are enough out there that not only have the will and drive, but the talent to back it up: Schofield is a name near the top of that list. Social media devotees have latched onto our heroine's appeal and potential- I hope many more people take notice. On the evidence of Schofield's 4-track E.P., our young star has a firm desire to make a huge name for herself- and rank alongside her music idols. In such a fickle and capricious industry, it is always hugely difficult trying to predict trends, and make bold proclamations. I am confident, mind, that Schofield will be someone you should watch closely, and on pure effort and determination alone, few deserve it more. For now- and before our heroine has some lofty dates to think about- take a listen to Colours, and enjoy the sound of an eager young artist, making music for everyone. In a week that has offered little in the way of sunshine and happiness for me, Schofield has put a smile on my face. As much as anything, I have reappraised my own music collection, and added Colours to it; it is a collection that offers something new with each listen- sure to brush away the cobwebs and inspire the creative mind. When it all boils down to it, the best and most memorable music is that which compels you to make your own; to rethink things in general, and just, well... feel better. It is rare to find an artist or talent whom can offer that; and do so with conviction. When you do discover an act that can do this...

YOU'RE really onto something rather special.

____________________________________________________________________

Follow Nina Schofield:

Official: http://www.ninaschofield.com/

Twitter: https://twitter.com/nina_schofield

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

YouTube: https://www.youtube.com/user/ninaschofield

SoundCloud: https://soundcloud.com/ninaschofield

iTunes: https://itunes.apple.com/gb/artist/nina-schofield/id407775390

Tour Dates:

http://www.ninaschofield.com/

April 6, 2014

musicmusingsandsuch

Uncategorized

Feature- The (Former) Glories of the Songwriting Duo: Two of Us.

April 6, 2014

musicmusingsandsuch

Uncategorized

FEATURE:

The (Former) Glories of the Songwriting Duo:

Two of Us

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Far from being de rigueur, the songwriting partnership is a dynamic that has yielded some of the greatest songs ever. Over the decades, some historic duos have made their (epicurean) marks; yet there has been a worrying abridgement over recent years. Something needs to be done...

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TODAY my attention is drawn to a subject which may have slipped a lot...

of minds. It is something that I have been worrying about- perhaps unduly- for a little while, and trying to explain the reason behind its demise: the songwriting partnership. From the '60s it became popularised by some rather noticeable talents (whom I shall mention shortly), and continued into the '90s. Over the last couple of decades, the frequency of the art form has declined. I have reviewed groups such as Issimo, whom still operate within this construct: sharing the scribing duties between its two members. Occasionally, I come across solo artists and bands whom write in pairs, yet it seems that it is a rarity. When I look around the music scene, we witness- mainly- solo acts or bands. If the solo artist is self-determined and prefers writing alone, then that is what happens. Legendary solo acts such as Bob Dylan and Joni Mitchell did so, and many modern sole acts prefer working this way. Of course, a lot of modern solo stars have teams and committees writing their songs; others occasionally collaborate with a series of different writers- yet there is no consistent partnership to be found. One if always more likely to witness a songwriting duo amongst bands. I will go into more detail when investigating the legendary writing partnerships, yet in the modern scene, there seems to have been a cessation of the songwriting ménage à deux. When I look into my own investigations, most of the bands I investigate either have their songs written by their frontman/woman; or else the entire band. Once in a while I will find that a band operates with two chief songwriters- yet this seems to be a rare aberration. Most will blithely listen to music, nary concerned with the amount of cooks that contributed ingredients. It does not bother me when music is written by an entire band (or one person), yet I have been hanging around the corners and avenues of YouTube- and becoming a little misty-eyed. I have been hearing a lot of 'classic' Beck; White Stripes, Radiohead and Arcade Fire- enjoying the music for the sheer hell of it. When I delve deeper, some of the greatest songs I have ever heard come to my ears. The likes of The Beatles, Steely Dan, The Rolling Stones and The Clash come to the fore. I always smile when I hear a familiar tune (from them), yet notice something: their songs were all (for the most part) written by a songwriting duo. I am loathed to say that it is hardly a coincident that strength comes with concentration, yet there is something in it. Artists like Dylan and Mitchell are deeply personal artists whom recount and survey their own experiences- like most solo acts. Adding an additional component into the creative process is unnecessary and unwieldy. Some solo acts (one of whom I will allude to) works well with an additional voice; in fact the likes of Tom Waits has found a creative leash when cohabitation with an extra writer (Kathleen Brennan in this case). Bands have been a bit more unpredictable. I have mentioned the likes of Radiohead. Here, Thom Yorke always writes the lyrics (I think one or two songs may have been written by another member; yet it is rare), whilst the entire band works on the music. Same goes for Blur; in this instance, Damon Albarn provides the words. This configuration and set-up has worked brilliantly for them. If you have a band where the lead is a prolific wordsmith and innovator, then they are more than likely going to boss lyrics duties. When the rest of the band contribute sonic input, then the resultant sound is strong and focused. There is something about the songwriting duo that is special: an art form which has produced some of the best music we have ever heard; with clear reasons behind it. I have had a look at the most noticeable songwriting partnerships of all-time; and thought about what makes them so special.

When you think of the best duos for songwriting, inevitably your mind will go to Lennon and McCartney. John and Paul are- without doubt- the finest example of the breed, and epitomise my point (as well as sadness we do not see more like them nowadays). Unlike other examples I will examine, Lennon and McCartney often wrote alone- as well as together. George Harrison would write hits for The Beatles (as would Ringo Starr), yet for most of the time, it was John and Paul that created the memorable numbers. From their debut album- Please Please Me- this romance began and was solidified. The duo loved working off of one another and inspire each other's minds. Whether around a piano, in a hotel room or in one of the duo's houses, John and Paul pushed one another consistently. Tracks such as I Saw Her Standing There, Love Me Do and Please Please Me were the standouts of the debut L.P., and demonstrated what a huge songwriting force the duo were. Often the initial idea would come from one of the two, yet it was the collaborative spirit and shared genius that mandates their early tracks. As they released With The Beatles and A Hard Day's Night, they strengthened and grew in confidence; songs such as If I Fell highlighted this. By 1964/5, Lennon and McCartney were no longer covering songs- as they did in the first few albums- and relying entirely on their own creativity. I heard that when the duo were writing the 'soundtrack' for A Hard Day's Night, they were in a Paris hotel room; piano with them, and working on each of the tracks that accompany that album/film. Not only was there is a brotherly spirit and affection between the two, but there was no real autonomy or selfishness. Often one would come in with the idea or majority of the song, but the early songs were synonymous with both McCartney and Lennon's ideas. Help! arrived in 1964, and was another gem that showcased the brilliance of the Liverpool twosome. My favourite Beatles album is not at the top spot for the quality of the songs (alone), yet because of the combined elements of the band's chief songwriters. Some of the tracks such as You Won't See Me (written by Paul) and In My Life (written mainly by John); yet the majority of the L.P. was a result of the combined spirit and input. If you listen to tracks such as The Word and Norwegian Wood (This Bird Has Flown); Michelle as well (my belle)- you can pretty much hear whom wrote which parts. During 1965 (onwards) Lennon and McCartney began to write more songs on their own, yet each of the songwriters was enforcing and inspiring the other. The album that I feel cements the songwriting majesty (of the duo; in their mid-late career stage) was Sgt. Pepper's Lonely Hearts Club Band. You can imagine the Liverpool duo smiling to one another across a dining room table as they penned the lines for With a Little Help from My Friends; tears maybe during She's Leaving Home; sheer wonder within A Day In The Life. The pair is geniuses when writing alone, yet when they join forces, the resultant tracks are that bit more magical. A Day In The Life is more curious and note-worthy because of McCartney's whimsical verse (in a song written mainly by Lennon). With regards to She's Leaving Home, McCartney recounted (in an interview) the following: "John and I wrote 'She's Leaving Home' together. It was my inspiration. We'd seen a story in the newspaper about a young girl who'd left home and not been found, there were a lot of those at the time, and that was enough to give us a story line. So I started to get the lyrics: she slips out and leaves a note and then the parents wake up ... It was rather poignant. I like it as a song, and when I showed it to John, he added the long sustained notes, and one of the nice things about the structure of the song is that it stays on those chords endlessly...". The (The) Beatles/Let It Be period was tarnished period because of breakdowns within the band; the two lead songwriters choosing not to contribute too much. Although the occasional track such as One After 909 had some shared input; Birthday too- most of the music was written alone. If you look back at the annals and impressive back catalogue of The Beatles, you can tell that in John and Paul we had a phenomenal songwriting duo. I am not sure whether The Beatles would have formed, been as successful and lasted as long, were it not for the combined thoughts of Lennon and McCartney. They demonstrate my point: a close and focused songwriting duo whom also pushed one another to write alone. It was a shared and similar childhood; a great deal in common as well as a shared love that made them such special writers. I hope that we live to see a duo come through whom have such a conviction, consistency and bond.

Arriving just after The Beatles was The Rolling Stones. They are still going strong today, and endure due to the close relationships within the band. Whereas a natural entropy occurred within The Beatles, for The Rolling Stones, there does not seem to be a (near) expiration date. It was not until 1966's Aftermath that the duo began favouring original compositions- they had covered mostly up until this point. Both Mick Jagger and Keith Richards were- and are- wild and rebellious figures whom didn't really work in a 'traditional' songwriting mould; yet came up with some phenomenal songs. Tracks such as Under My Thumb contained Jagger's (soon-to-be common) sexual themes and lasciviousness; backed with an incredible and tight composition from Richards. Jagger himself was the vocalist alone; sans instruments; Richards was a guitarist whom did not contribute much to vocals. Because of this- unlike Lennon and McCartney- Jagger wrote lyrics; Richards the words. Like John and Paul, Mick and Keith shared (and still do) a brotherly bond and clear affection. Because of this, the inspiration and songwriting results were world-beating. If you think about (I Can't Get No) Satisfaction, you can hear this. Richards, inspired to right the riff in a dream, took it to the band; Jagger compelled and enflamed- creating some of his most sexually-charged and frustrated lyrics. The Beggars Banquet/Let It Bleed regency saw the duo create some of their best work. It was during this time that Jagger started to write the odd song ion his own. Sympathy For The Devil is perhaps the most noticeable, yet when the duo combined, we got some incredible moments. Street Fighting Man (from Beggars Banquet) featured politcally-inspired lyrics by Jagger. Lines such as "Hey! think the time is right for a palace revolution/But where I live the game to play is compromise solution" were written about political upheaval in France- as well as the war in Vietnam. With sitar and tamboura, Richards infused the track with various shades and twists. Factory Girl was more folk-inspired and romantic; seeing Jagger bring out the poetic side. During Let It Bleed, the band really hit their stride. Gimme Shelter contained some of Richards' best riffs and compositional elements; Jagger contributed more Vietnam and war-inspired lyrics. The duo was not only inspired by political events of the time, yet were pushing one another. Richards would come up with a key riff; guitar lick or composition; Jagger would then find the brilliant words to put on the top of it. Sticky Fingers saw songs such as Can't You Hear Me Knocking come to the fore; Richards stating: "I just found the tuning and the riff and started to swing it and Charlie picked up on it just like that, and we're thinking, hey, this is some groove". Jagger was unleashing his inner sexual panther; tracks like Brown Sugar and Bitch highlighting this. Neither songwriter could have come up with the tracks by themselves: it was the combined forces that made the tracks what they are. The Jagger/Richards combination made a huge impact throughout the '60s and '70s- and remains in force today. I feel that The Rolling Stones would have not been as strong and focused during this era if more (or less) input was contributed. It was the fraternal bond of Mick and Keith- as well as their individual talents- that made them such a brilliant songwriting unit.

Most people may not have heard of Walter Becker and Donald Fagen. They are the founding members of Steely Dan, to my mind, one of the most underrated bands of all-time. I have mentioned two duos whom ruled the '60s-'70s; I shall conclude with two whom made huge impressions in the '80s-'90s; but our heroes primarily made their mark in the 1970s. Steely Dan are an intellectual and thought-provoking band; mixing jazz and various genres around tales of love, slackers, the inequities of aging- and a myriad of fascinating scenes and characters. Whereas McCartney and Lennon did their best work talking of childhood and love; Jagger and Richards political themes and sex; Becker and Fagen seem to have no limits. The duo met in 1968, and Fagen recounts the experience, thus: "I hear this guy practicing, and it sounded very professional and contemporary. It sounded like, you know, like a black person, really." He introduced himself to Becker and asked, "Do you want to be in a band?" Discovering that they enjoyed similar music — even listening to the same jazz radio stations — the two began writing songs together". From that serendipitous meeting in New York, the duo fell in love, and instantly set themselves apart from their contemporaries. Steely Dan formed on he basis of wry and intellectual songs; witty and evocative tales of affairs, love, drugs and crime. Can't Buy A Thrill arrived in 1972, and remains a favourite of mine. Jazz, conga and swing mingle alongside one another; our heroes fill the record with range and huge genre-splicing. The oblique lyrics of Midnite Cruiser and Kings are backed by wonderfully rich and complex compositions. The band were fastidious about their songs and would spend weeks honing individual tracks. Becker and Fagen weaved melodies and their shared intellectualism enforced their huge talent. The lyrics were crafted and considered; philosophical and humorous- the compositions no less ambitious and eye-catching. Listen to the songs from their debut, and you can tell just how special the duo are. My Old School (from Countdown to Ecstasy) is one of my favourite tracks of theirs, and recounts the duo's experiences at Bard College in New York- specifically surrounding events where 50 students were arrested following protests there. The lyrics are scathing and accusatory, whilst the melody is spiky, rock-infused with a kick to it. Steely Dan are- and were- a band that never really dipped. The duo's shared love and personalities meant that the quality and consistency remained. It is clear that both thought differently to their contemporaries, and curiosity and an endeavouring spirit kept the band together. Pretzel Logic was perhaps the first peak; the songwriting here is seamless and fluid; the duo employee a series of studio musicians to add colour to their black-and-white. Songs recalled college memories and hazy scenes; jazz motifs nestled alongside melodic cuts. The singing was impressive; the tracks detailed and impeccable: due to the duo's friendship, shared experiences and affection. In the same way that Lennon and McCartney had that connection and friendship growing up in Liverpool, Becker and Fagen laid out their experiences of youth in New York. By the time The Royal Scam arrived in 1976, there were perhaps no huge musical leaps- yet some terrific new tracks. The lyrics are sneering and cutting, but Rolling Stone summarised it: "The Royal Scam vividly encapsulates that post-Watergate/pre-punk/coked-up moment when you could trust no one, least of all yourself". Classic L.A. sounds and heart-warming mandates made up Aja- the first album I ever fell in love with. Deacon Blues is a gorgeous and sprawling song that looks at winning and losing in life; it references Alabama's Crimson Tide football team; introducing scenes of drunk-driving and hard-luck. I listen to it as often as possible, and to me it is the perfect summation of the duo's power: spellbinding lyrics mixed with a gorgeous and languid composition. You can hear and feel the air of California in the blood; the album is rife with joy and alacrity. Gaucho contains my favourite 'Dan song- Hey Nineteen- and was a bit of a quality decline- although not too much. Hey Nineteen recounts a teenage party; a heroine drinking tequila and snorting cocaine; our hero aghast that she does not know who Aretha Franklin is. It looks at the gulf between the young and middle-aged, and trod new ground for Becker and Fagen. I implore you to seek them out, and feel that Steely Dan deserve renewed appreciation. Walter and Fagen are one of the greatest songwriting duos whom ever lived, and one I hope we will see the likes of again.

Before I conclude, I will examine two northern songwriting duos. The first is Johnny Marr and Morrissey. Like Bernie Taupin and Elton John, there was a clear division of duties: Morrissey took the lyrics; Marr the music. It is an arrangement that resulted in some of the greatest music of the '80s, and inspired legions of followers. We all know about The Smiths and what Marr and Morrissey brought to the band. Marr's compositions and musical genius was unlike any I have heard; he manages to summon up huge and epic sweeps, as well as tender and delicate little scores- without losing any focus or seeming out of his depth. It is this, which perfectly balances Morrissey's incredible words. Like The Beatles, tensions broke down the band, and I guess it perhaps answers a question I raise at the end of this feature. From the debut album, the duo cemented their shared affection and talents: the songs within the album are hugely impressive. Blunt tales of northern working-class life are seen in Hand In Glove; child molestation and murder lurked elsewhere. From the offset, the duo subverted the guitar band form, and brought something fresh and awe-inspiring to the fore. Meat Is Murder is seen as the weakest album by The Smiths (for the critics), yet contains perfect summations of Marr and Morrissey's talents. How Soon Is Now? (which appeared on Hatful of Hollow) contains Marr's biggest and most direct composition. It was ready-made for the clubs and boasts one of the band's best intros. Morrissey's lyrics speak of crippling shyness and loneliness- surrounded by people in a club. It is an incredible song that saw the duo in rarefied form; That Joke Isn't Funny Anymore is tender and emotional. It looks at the unhappiness of life and suicidal scenes- it remains one of Marr's favourite songs of The Smiths. The Headmaster Rituals looks at the brutality and unhappiness of school life; looking at the day-to-day life- it contained one of Marr's best compositions. Barbarism Begins At Home has a playful Morrissey vocal; Marr is up to the task of matching the sharp and witty lyrics. The duo was coming into their own, and starting to experiment more- following their debut. For me, The Queen Is Dead was when Marr and Morrissey struck gold. From the title track, the duo were having a ball and at their peak. The opening salvo saw Marr's rumbling percussive ideas mix with sound bites and great guitar codas. Morrissey gives an emphatic vocal and talks of Buckingham Palace scenes, witty exchanges and a lack of royal empathy. Cemetery Gates has a constant and energetic composition; both light and effective- perfectly supporting Morrissey's graveside memories and rendezvous. There Is A Light That Never Goes Out contain Marr in rampant mood. He mixes ascending filmic chord sequences with sweeping romantic strings; scoring Morrissey's words of torturous home life and a need to escape. If The Queen Is Dead saw Morrissey shade slightly ahead (in terms of 'genius') then the band's swan song, Strangeways, Here We Come, tip the scales. Morrissey's lyrics and heart were all where they should be; the range and quality was impressive, yet Marr really forged ahead. The duo combined magnetically; yet the rockabilly strut of I Started Something I Could Finish and mazy rush of Death of a Disco Dancer were made stronger by Marr's innovation. Morrissey was lacing the tracks with his glorious voice and witty and intellectual words, but the compositions were breath-taking. Girlfriend In A Coma sees Morrissey in wicked and inspired form, but listen to Marr's work- it makes the song what it is! Last Night I Dreamt That Somebody Loved Me has Morrissey in tender and open-hearted mood; backed by Marr's epic composition. In the same way as The Beatles knew Abbey Road would be the last album they would record, Marr and Morrissey knew Strangeways' would be the end. Our songwriting duo do not sound imploding or bored; they were loving the music and rightfully hail the album as some of their best work. Many people go to lengths to explain how much of a genius Morrissey is, but it is Marr that helped him to become one. The two worked perfectly together and had a brotherly affection. Morrissey needed a creative and inspired composer to bring his words to life, and the two were a perfect match. They remain one of the greatest songwriting duos, and I hope will inspire generations to come.

Forgive me, but I am investigating ANOTHER northern songwriting duo! I am not sure what goes on up there, but it seems to be the place to live- if you are a musician. I have talked of the obvious charms of Lennon and McCartney; Marr and Morrissey, and now, perhaps for names you didn't expect: Paul Heaton and Dave Rotheray. Many critics- unfairly- see The Beautiful South as a bit 'middle-of-the-road'. It is true that they are not to everyone's liking, yet they are a band that were criminally-overlooked. They broke up, due to 'musical similarities' and left behind a huge legacy. In a way I see The Beautiful South as a natural follow-on from The Smiths. Paul Heaton is as witty as Morrissey yet has a wry and vitriolic side, that... well, like Morrissey. Whilst The Smiths man may be more celebrated, you cannot ignore Heaton's genius. I am guessing that the creative juices of The Beautiful South contained more alcohol, cigarettes and hangovers than that of The Smiths (could you see Morrissey really nursing a hangover after an epic night on the lash?!) Heaton, formerly of The Housemartins, formed the band with Housemartins drummer Dave Hemmingway. Rotheray was to become The Beautiful South's lead guitar, and long-time songwriting brother of Paul Heaton. Like The Smiths, Heaton mainly took care of the words (who else would be able to write as well as him?) whilst Rotheray handled compositional chores. One of the very first songs I adored and remember is A Song For Whoever (from the band's debut). I was too young to appreciate the song's themes of cynicism and love-for-the-sake-of-commercial-success mandate. In the same way as Girlfriend In A Coma balances hard and morbid lyrics with a delighted and happy composition, Rotheray balances Heaton's cynical lyrics with a genuinely romantic and earnest backing- it was the moment I fell for the band. Tracks such as You Keep It All In saw Heaton look at domestic strife and domicile repression marry with a chirpy and whistling composition (the song has one of the most unintentionally funny videos ever; I refer to Hemingway's attempts at dancing!). Choke arrived in 1990, and contained some of the band's best songs to date- A Little Time and Let Love Speak Up Itself in particular. Like Morrissey, Heaton possesses a gorgeous croon and ability to switch between sweet falsetto and bitter put-down within the space of a line. Jazz-tinged arrangements brilliantly covered up some grizzly tales and some cynical admission. Heaton was in inspired mood and smiling throughout (I can imagine there was some personal inspiration for many of the songs). Rotheray and Heaton's kinship shone through and the two blend perfectly. I can imagine Paul being the born leader; not letting anyone in and calling the shots. When it came to vocal duties, The Beautiful South has three (Heaton, Hemingway and Briana Corrigan at this stage). Jacqui Abbot came into the band by 1994, and Miaow saw Heaton continuing his trajectory. Prettiest Eyes and Good As Gold (Stupid As Mud) are highlights; our hero was still cynical and witty but in romantic mood. Rotheray's compositions were more detailed, graceful and luscious- Abbot's voice suited the songs perfectly (she featured in). Blue Is The Colour is seen as the mid-career standout, and Liars' Bar growled vocals scored themes where: "You're scared that if you cough or yawn/You might wake up the dead/So pretend to read a paper/Or just drink instead". Don't Marry Her sees our heroine (Abbot) begging a man to leave his fiancée and run away with her. Rotheray kept the mood light and engaging, mixing euphoric themes with more introverted moments. Heaton was skilfully channelling pub talk into witty gems ("The whole place is pickled/The people are pickles for sure/And no one knows if they've done more here/Than they would do in a jar" from Rotterdam (or Anywhere) stands out). It was during Blue Is The Colour that Heaton and Rotheray cemented themselves as one of the biggest songwriting duos of the '90s- and of all-time. There are few lyricists smarter, wittier and more intelligent than Heaton; none that can turn northern scenes of booze, love and losers into such gems. Rotheray understood the importance to let Heaton strike and endeavour, perfectly supplying pure musical moments that augmented the words. Each duo had their own dynamic, yet for The Beautiful South's songwriters, there seemed to be as much togetherness as there was separation. Heaton needed a bit of alone time to make his words perfect; Rotheray would supply ingenious compositions to give them life- it was a partnership that was the basis of an incredible career. They are one of the most successful songwriting pairs of all-time, and certainly the most underrated; creating songs that are in many people's record collections- I have three of their albums and keep them in regular rotation.

I have included (in a list below) a contribution from Elton John and Bernie Taupin: a tremendous songwriting force I did not have room to cover. I will give a quick honourable mention to Robert Plant and Jimmy Page. I have omitted them, as many do not consider them a songwriting duo- as John Paul Jones inputted heavily. This is perhaps unfair, as George Harrison wrote a great deal of The Beatles' songs, regardless...If you look at songs such as Stairway to Heaven, Immigrant Song and Ramble On; here are songs that stand the test of time. With Page's monstrous and epic guitar motifs, Plant's oblique and sexual lyrics (as well as his awesome voice) the duo were one of the most potent songwriting forces of the 1970s. True, J.P.J. had a lot of input, but most of the band's tracks were written by Plant and Page- making them a songwriting duo. They rank amongst my top 10 because of the quality of their work, as well as the bond between the two.

I am unsure why the songwriting duo seems rare today. During the '60s and '70s, the likes of Lennon and McCartney, Jagger and Richards; Plant and Page, as well as Bacharach and David ruled the scene. The bond of the writers inspired some truly magnificent moments, and contributed hugely to the music of the era. A lot of the examples I have examined worked within bands, and were also inspired by events of the time. Aside from those I have mentioned, there are a lot of other great songwriting duos that are worth noting, and it is a formation that has yielded some truly historic music moments. I feel that the bond between the respective songwriters is what made the music so special. In a sense there is an ersatz romance occurring; each of the parties inspire and support one another, compelling them to be better as well as providing comfort too. When I investigate the music of the late-'80s-present-day, there are not many songwriting duos whom spring to mind. The band market is one that is still prevalent and dominant, and a lot of the writing and songwriting duties are split between all members. I have mentioned the likes of Blur, Radiohead and the like, but there are many more 'classic' groups that operated similarly. Bands like Oasis were mainly led by Noel Gallagher's pen; others too were synonymous with a sole writer- there are few modern groups that work with a songwriting duo. It is perhaps not a huge issue for other people, yet there does seem to be a shift occurring. Whether music has changed so much to the point where safety and numbers and being alone are favoured over a solid partnership, I am unsure. I guess a successful songwriting duo is synonymous with a close friendship and strong bond, and I worry that something troubling is occurring. Many new bands have all members contributing music and lyrics, and I wonder whether there is a danger of a band dissolving- if the songs were written by two people. If you write alone and bring the songs to the band, then there is less creative pressure, and little risk of break-ups. If each members contributes, then there is a democracy of sorts, and no pecking order. Although The Beatles only recorded for about eight years-or-so, it was the shared love between McCartney and Lennon that inspired the songwriting genius; same goes with all of the other examples I have mentioned. Sure, The Beatles dissolved, Steely Dan have died off a bit and The Smiths fell apart, yet there are various reasons for these break-ups. There are some bands and solo acts whom have a songwriting duo at their heart, yet too few that actually stand out. Perhaps the last potentially-great duo we have seen is that of Pete Doherty and Carl Barat. The Libertines founders epitomise the brotherly spirit that Richards and Jagger have- yet perhaps with an urban and pernicious twist. If Pete Doherty were not such a sybaritic crack-head and liability, then the band would still be going. The Libertines raise a good point. You can tell that there is clear affection between Carl and Pete, and the band was formed due to the duo's love of one another, as well as music. Up The Bracket remains one of my favourite albums of all-time. Doherty's poetic and lyric genius mingles alongside Barat's guitar brilliance- the L.P. is a near-masterpiece. The duo surveyed modern London, romance and shady characters, and distilled their visions into songs that are modern classics. Drugs and fights have meant that we will never see The Libertines record again, yet there was so much potential. Doherty ruined the band, but you feel that if drugs had not entered his life, we could have witnessed a modern-day Jagger and Richards (updated at least). Maybe that is part of the problem. Songwriting success- like a relationship- relies on co-dependency as well as trust. If neither- or only one- is there then they will fail. Perhaps we do not have the concentrated and comparable talent today to rival the likes of Lennon and McCartney- or maybe there is a bigger issue; regardless of this I long to see new and brilliant duos come through. The Beautiful South's songwriting centre was perhaps the last time we saw a consistent and long-lasting partnership; since then there have been half-arsed attempts. As I am looking towards forming a band, I am looking for my Marr; my Lennon; my Fagen- someone whom can add music to my words. I have no interest (or huge talent) to be able to fully-realise my insane ambitions; nor do I want each band member chipping in. I feel that it is great if band members contribute to the songs, yet a songwriting core that is stable and focused makes the music more consistent and focused. Perhaps you disagree or just don't care, but we are facing a real issue; one where solo acts write alone and bands are working in differing forms. I suppose it is best to work in a manner that best suits your music, yet- especially for a band- having a songwriting duo penning the songs is the most effective and prosperous way to work. Short-lived careers and music differences are meaning we are not seeing the longevity occur; a crowded market means we are perhaps overlooking some great songwriting pairs- what do people thing? Maybe I'll just have to accept that music trends are changing, but I am keen to find a perfect 'other half'. I am not saying that I will be settling in for a successful long-term career akin to the greats, yet I yearn to discover a like-minded Marr-esque character whom I can write several albums with. I am sure anyone reading this will agree that the greatest bands we have seen- The Beatles, Stones- are successful largely because of the relationship of the songwriters- why would we not want this to continue into the 21st century? I feel that solo artists are going to turn over the dominance of bands, and that may signal a yearning to write alone. Whatever your views, it is an interesting point, and would be great to see if anyone agrees/disagrees. I have not given up on the hope that we will see another legendary songwriting pair enter our midst. If The Libertines had worked out differently, I am sure Barat and Doherty would be on L.P. four or five- and planning for many more. It is a shame, because (as I have shown with some notable examples) when two perfect minds come together through song, the results...

CAN be truly staggering.

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Ten Terrific Songs From Songwriting Duos:

A Day In The Life- John Lennon and Paul McCartney (The Beatles, Sgt. Pepper's Lonely Hearts Club Band):https://www.youtube.com/watch?v=P-Q9D4dcYng

(I Can't Get No) Satisfaction- Mick Jagger and Keith Richards (The Rolling Stones, Single Release): https://www.youtube.com/watch?v=3a7cHPy04s8

I Say A Little Prayer- Burt Bacharach and Hal David (Dionne Warwick, Single Release): https://www.youtube.com/watch?v=kafVkPxjLYg

Eight Days A Week- John Lennon and Paul McCartney (The Beatles, Beatles for Sale): https://www.youtube.com/watch?v=Unj_wM1xngs

Hey Nineteen- Walter Becker and Donald Fagen (Steely Dan, Gaucho): https://www.youtube.com/watch?v=ipc9pL27krs

A Song for Whoever- Paul Heaton and David Rotheray (The Beautiful South, Welcome to the Beautiful South): https://www.youtube.com/watch?v=2XyzLp06Etc

How Soon Is Now?- Morrissey and Johnny Marr (The Smiths, Hatful of Hollow): https://www.youtube.com/watch?v=pEq8DBxm0J4

Something About The Way You Look Tonight- Elton John and Bernie Taupin (Elton John, The Big Picture): https://www.youtube.com/watch?v=BpT3BsIIT1g

This Charming Man- Morrissey and Johnny Marr (The Smiths, Single Release):https://www.youtube.com/watch?v=OzexP58si0w

London Calling- Joe Strummer and Mick Jones (The Clash, London Calling):https://www.youtube.com/watch?v=4vHvzybkqfo

April 5, 2014

musicmusingsandsuch

Uncategorized

Track Review: The Trouble With Templeton- Six Months In A Cast

April 5, 2014

musicmusingsandsuch

Uncategorized

TRACK REVIEW:

The Trouble With Templeton

Six Months In A Cast

9.6/10.0

Six Months In A Cast is available from:

https://soundcloud.com/thetroublewithtempleton/6-months-in-a-cast

The L.P., Rookie is available at:

http://thetroublewithtempleton.com/buy/

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The Australian 'Alt-Rock' collective unleash sounds of variegation. Their E.P., Rookie, has been met with (rightful) acclaim. But take note: there is nothing amateurish about these folk.

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OVER the past week, I have been actively seeking something to take my mind off...

of things. Having left a job and decided to 'follow my dreams', my life has taken the turn of a classic Hollywood tale- or maybe just a bad romantic comedy. Regardless, I find myself on the precipice of a lot of uncertainty and fear: some of it good. There is nothing to suggest that the next few months will not pan out well; it seems that a lot of quick decisions will need to be made, however. As my ambitions and future-plans revolve around music writing/making, there is going to be a bit of a tough time ahead. I have admired new musicians whom decide to go diving into the music arena: determined to achieve their goals, no matter what. Unlike a 'regular' job, it is not as easy as interviewing for a position; making your way up the ladder- and arriving at the very top. The music industry- like other roles within entertainment- is a lot more capricious and demanding. Due to the nature of the business, as well as the realities of success, it takes a lot of hard graft- as well as a bit of luck. There are thousands of musical participants out there; all with different shades and colours; each offering something different- it is a tough nut to crack. When I have been looking around, I have been keen to seek out success stories; checking out acts whom are making big strides- and deservedly so. Recently, I have featured solo acts a lot (mostly female), and stated how impressive it is for them to succeed. Their lives are a lot more stressful, as they have to shoulder all of the workload themselves. Sure, they have management and friends whom assist in making sure their (the artist's) name is spread and remembered- yet the day-to-day trajectory is often a difficult one. I have seen quite a varied array of solo talent all make their way into the music realm. Each of them filled with alacrity and high hopes. The music I have witnessed, has led my to believe that their future will be filled with success and fulfilment. It always impresses me at just how determined the solo star is (in spite of everything), and it is a facet that is not often seen in the mainstream. I guess new music is a sector that is synonymous with the survival of the fittest- rewarding them whom are willing to work the hardest. When applying that logic to the band market, it seems that merit and stripes is earned when you present sounds that are bold, daring; diverse and original- and your moniker and business plan has something striking and merit-worthy within. As my subjects today are Australian, I have been casting my mind to international music; the geographic relevance of music and how sounds and quality can vary- depending on where the act is located. The last few months have seen my focus upon mostly U.K.-based artists. When looking at Yorkshire and the north, I have been seeing some of the best new music out there. I have been trying to fathom why that particular region of the U.K. offers up the sharpest and most memorable music- I have come up with several theories. Away from our home shores, some great U.S. acts have caught my eye; a few European Electro-Disco artists are making big splashes- yet not a huge amount more. The media do seem to focus heavily on local and native acts, and I suppose it is difficult to feature every great new artist. I have long bemoaned the lack of international consideration, and why they are overlooked by the British media. It is understandable that the music press want to give the biggest attention to our own; yet it is baffling why so few foreign musicians are given attention. Media outlets such as The Guardian have a pioneering spirit when seeking out new music- yet they are in a minority. The secret to creating a diverse and flourishing music scene is to inject some different and multitudinous D.N.A.- as well as be all-inclusive. When I was reviewing American acts (both band and solo), I not only got to hear some unique and unheard-of music, but also got to learn about the local scenes and markets there- as well as how the music industry operated there. When we think of Australia, there are some great and historic acts that come to mind. The likes of INXS, AC/DC and Nick Cave all emanate from here; The Bad Seeds and The Living End come from Australia; as do The Vines and The Avalanches. It is obvious that the climate, history and way of life have been conducive with regards to great music, and I know there are some fantastic acts coming through- yet we never hear of them. It would be nice if there were a website that broke music down into location and genre. For instance, if you wanted to search for 'American Hardcore Rock' or 'French Pop', then that would be possible. I know you cannot include every single example of each genre, yet it seems wholly realistic that such a site can do this. I have stumbled across some great music by happenstance, and wondered how many other great musicians are out there- keen to be discovered. Being in a position where I am seeking out inspiration, something new and fresh; it is vital that far-off and far-away musicians are given tighter focus. I adore the best that the U.K. has the offer, yet I am hungry for some international cuisine- to tuck into something that is new to my stomach. As much as anything, international music gives the listener to be taken somewhere else; to imagine and cast their mind to unfamiliar scenery and locales: to escape from things for a bit.

The Trouble With Templeton is a band that are worthy of much wider consideration. Their L.P., Rookie has received huge praise (from the Australian press):

"I’m here to tell you it’s definitely a piece of work to get excited about...the entire album is a standout..." – Indie Shuffle

"It’s impossible to criticise Rookie, this is world-class material from a world-class outfit. It’s not one to watch, it’s one to get behind, to flog and to show your mates." ****1/2 – Time Off

"Equally fuelled by dissonance and shivers as by soaring melodies and handclaps, Rookie wrenches alt.rock from its indie daydream and tosses it into a well-informed blend that make the kids look more like the connoisseur than the novice." – Drum Media

"It’s his voice and those lyrics that are going to lunge The Trouble With Templeton into "something special" territory." – Album of the Week, Herald Sun "The deeper you go into this full-length LP, the richer the colour and the detail." **** - Album of the Week, Courier Mail

"Rookie is an outstanding step forward for The Trouble With Templeton, and one that will surely bring you back again and again for more." – Tone Deaf

"The Trouble With Templeton’s maturity and insight makes for an interesting group of songs that are a gift to listen to." – Casual Band Blogger

It is clear that the band's sounds have hit a chord with the media in Australia, and the home crowds have flocked to see the band in their milieu; to experience the "interesting group of songs" in the live setting. Although (as you will see in their biography below), the band have gained a lot of interest from the U.K.- as well as being played on some of our highest-profile radio stations. I hope that they get a lot more focus from the media here, and their L.P. is given a good investigation, as their sound is ready-made for our shores; the airplay they have received has been met with feverish anticipation and wonder. The band's Facebook page, summarises their story, thus:

"The Trouble With Templeton are a five piece alternative rock back from Brisbane, Australia. They recently signed to seminal UK label Bella Union (who also signed Fleet Foxes, Beach House and The Flaming Lips), and are set to release their first full-length album as a five piece band, "Rookie", all over the world. Adventurous, gleefully eccentric and hauntingly melodic, "Rookie" is an album that leaves a distinct musical impression. Templeton have crafted a record that defies expectations: it’s full of warmth and heart, as well as a willingness to make music that’s not afraid to affect or surprise. "We wanted to make something completely different from what I had done on the first record," songwriter and frontman Thomas Calder explains. To give a bit of history.... In April 2011 Calder gathered all the gear he could find and recorded mini-album "Bleeders" in his Brisbane home. Releasing the record independently to a swathe of loving reviews from fans, media and industry alike (including a 4-star Sydney Morning Herald review & appearing on the longlist for the Australian Music Prize), Calder found himself on radio and blogs around the world, enabling him to take his songs on the road. The Trouble with Templeton had become more than just a bedroom project. In June 2012 the act underwent a spectacular transformation, emerging as stunningly beautiful 5-piece band. Ritchie Daniel, Sam Pankhurst, Hugh Middleton and Betty Yeowart, the new members complimenting Calder’s emotive vocal and songwriting with a collaborative, self-assured sound that has become greater than the sum of its parts. Created with the help of Brisbane producer Matt Redlich (Emma Louise, Hungry Kids of Hungary), the new album "ROOKIE" marks the arrival of a band truly comfortable in their own skin. Shedding all preconceived notions of genre or style, "ROOKIE" is uncompromisingly and uniquely Templeton, the result of a band passionate about only creating music they truly believe in. As aggressive as it is tender, as light as it is dark, full of bold storytelling and ultimately a journey of perspective, "ROOKIE" is The Trouble With Templeton at their truest. The first three singles in Australia - "Six Months In A Cast", "Like A Kid" & "You Are New" - cracked Top 10 of both the Triple J airplay and AIR Independent airplay charts, achieved solid rotation on Rage and Channel V and broke through to a broader audience with over 35,000 downloads of "Six Months In A Cast", iTunes Single of the Week. TTWT have toured the US twice with over 20 shows coast to coast (including SxSW, CMJ and CMW), playing at home and abroad with some big internationals (Of Monsters And Men, Father John Misty, Half Moon Run, Jake Bugg), some of Australia’s finest artists (Julia Stone, Sparkadia, Husky, Matt Corby), plus BIGSOUND, Harvest and Falls Festivals. Whilst in the US, TTWT was featured on NBC’s Last Call with Carson Daly, and hit playlists of over 160 college radio stations. In March 2013, Calder won the APRA Songwriting Award and came 3rd in the International Songwriting Competition’s "Rock" Category for "Six Months In A Cast". They were also last week nominated for 3 Queensland Music Awards, including Rock Song of the Year for "Six Months In A Cast", the video for that song, and the "Export Achievement Award". They are also in the list for the Australian Music Prize for the second year running. In September and October of 2013 the band travelled to the UK and Europe, working with industry respected Dave Chumbley, senior agent at Primary Talent (Lana Del Ray, Rufus Wainwright, Ben Folds Five), Communion, the label formed by Ben Morson from Mumford and Sons who released "Six Months in a Cast". They played three sold out shows with Communion, two in London the other in Brighton. By this time they had attracted attention from well-established and highly regarded label Bella Union, and its founder Simon Raymonde (ex Cocteau Twins), who is a massive fan of their music. The band played to two to three hundred at their show in Germany at the Reeperbahn festival where German Promoter, who TTWT are now working with, Gary Richmond (Nick Cave, Arcade Fire, Pearl Jam), said about the band, "the best thing I have seen at Reeperbahn so far." As well as packed out shows on their first tour of UK and Europe, "Six Months in a Cast" was added to rotation at XFM and had spins on Absolute Radio and other key radio stations around the UK, they had Clash, track of the day, and recorded live sessions with Daytrotter Sessions, well-known and respected in both the UK and the US, and Communion Sessions with Communion Records mixed by legendary Producer Ian Grimble (Travis, The Manic St Preachers)".

The group have been rocking the likes of Sydney recently, but are heading to the U.K. later this month. I am hoping to catch them, as I have been intoxicated by their sounds. It is clear that there is a great variety and diversity within their tracks; they restlessly mix bleak and sun-kissed; light and dark; transference and bipolar shades parabond and intersect. When Bleeders was released in 2011, there was a lot of speculation as to where the band would head (and how they would evolve) after its release. The quintet have kept their sound and identity intact, yet built and augmented their majesty (over the last few years). I shall come to the business of reviewing Six Months In A Cast shortly, yet want to conclude (this paragraph) with a couple more points. The first consideration is with regards to diversity and multifariousness. I have heard a great swathe of original bands come through the ranks, recently. In my travels I have borne witness to some hard and heavy sounds; some Indie anthemics- as well as some terrific tales of fractured love. The single constant, and most impressive facet is the range and aspirations being offered. The secret to gaining respect and renewed interest is to be mobile and wide-ranging. The Trouble With Templeton provide this in abundance- thus ensuring that ears will always be hungry for new releases. The group's attention to detail, bold pallet and energetic transmogrifications have earned them huge critical praise- and a wide and international fan base. As well as the music itself, our five-piece have made sure their sounds are as widely available as possible. Their official site is striking and informative; the social media representation is impressive and well-considered; most crucially, their songs are ready and waiting on various different sites. I shall touch more on the (Rookie) L.P. as a whole in the conclusion, but let me introduce you to a hell of a track...

Six Months In A Cast kicks off with an electronic blast. An intergalactic buzz holds and hangs for a few seconds, before a staccato and pulsating drum beat merges with it. Just a brief time after that, an acoustic guitar strum merrily implores: the combination and build-up is both energised, unexpected and beautiful. Within a few short moments you are jolted, calmed and then relaxed by the evolving footsteps of the intro. There is a clear drive and energy elicited so soon, that your toes (unconsciously) begin to tap. Such is the momentum and groove of the introduction, that you cannot help but smile and be intrigued. Our hero steps to the mic.; his voice soothing and dreamy. Lost within the swirl of guitar he tells the (unnamed focus) that he'll "buy you flowers". With some shades of mid-career Thom Yorke, he says (that he) "Can't seem to feel my feet". The opening segments and parables build imagery and scenery into the mind. The idea of the title- being in a cast- seem metaphorical and literal (at the same time). There is clearly some fractured inspiration that extends past the physical. When Calder implores (to his subject) that he did not want them to snap ( so he "spent six months in a cast"); he states that he wanted to be safe- you can hear the longing and conviction in his voice. Backing the vocal line is a slight orchestral rise; one that settles in with and bonds perfectly with the percussive rumble. Towards the 1:00 mark, we get some back story presented. Our hero "couldn't find the steering wheel" and, drove into a field and into a lake. The injurious circumstances have led to where he is; yet you get the sense that he is still talking about love. Images and metaphors seem to be employed to tell of a story of love-gone-wrong; there seems to be some personal heartache at the core of the song. The way the band combine and create a huge amount of atmosphere put me in mind of the likes of Wild Beasts. The Yorkshire outfit are synonymous with wonderful vocals and evocative soundscapes, and here, The Trouble With Templeton summon up a comparable glory. Calder has airs of Yorke, yet there are familiar tones of others; including David Gray. It is not to say that the pipes on offer are not original- because they are- but there is some comfort and warmth to be discovered. Calder's tones and vocals are at once emotive and emphatic, and at the same time, tender and romantic. Our hero is backed up by some incredible support; the band whip up a storm of percussion and guitar; bring it down; pause; before building back up. When Calder steps back up to the mic. promises and declarations are offered (to his anonymous sweetheart); he states that "Some day we'll trade our vows"- he slurs and elongates 'vows' giving it a charming wink. As well as the potency and effectiveness of his voice, our frontman tempts and teases words; some are stretched whilst others are punched and tossed off- it gives each line extra weight and evocative force. Before too long, our hero reintroduces us to his vehicular thrill-ride: back across the field and into the lake; your head bobs and fingers click as he recounts his grizzly accident. By the time the 'chorus' is reintroduced, Calder's voice becomes more tremulous and overwrought- reaching its bursting point by the time he admits that he'll "always play the fool". Just as you sense an emotional breakdown and capitulation, our hero turns tender and cooing. A soulful lullaby comes into the fore; some utterances are succinctly whispered before the band brew up a sonic storm: complete with piano, percussion and guitar. It is a perfectly fitting summit to a stirring track; one which never lets go of your brain. It is unsure whether our hero has- or will- reconcile his romantic strife; whether events that transpire within the song have left their scars or not. There are a number of things that impressed me- and have stuck with me- after listening to the track. It has a relentless charm and energy that few others tracks offer; the vocal force is mutational, evolving and always compelling- but it is the overall band performance that is the most indelible facet. Our frontman is an impressive and imperious force, but his band mates combine and intertwine beautifully. The sonic swathes go from baroque and restrained through to emphatically emotive- without losing focus or seeming artificial. They perfectly score a dislocated tale of pain, love and- well, the weird and wonderful. I have- perfects obsequiously alluded to some vocal influences within Calder's own. Six Months In A Cast is a unique beast, and is such, in no small part because of our hero's performance. He has the nuance and vocal talents of Yorke, yet his native accent and indivdualism are very much present- making the song sound a lot fresher and more compelling than you would imagine. The track is one that begs for repeated listens, as it is not only memorable and catchy, yet offers something new (with each additional spin). Such is the true merit of a terrific track, that it does not lose its majesty after the nth repeat. Six Months In A Cast is a vivid and atmospheric song that is no fluke: the band offer similar fascination in other tracks.

You have- I hope- listened to the Antipodean wonders' music, and heard a bit about whom they are- and what the press think of them. The boys are handsome and brooding, the girl is gorgeous and intriguing. There are five of them; they hail from Brisbane. Perhaps all of this boils down to the one point: they are bloody good. I have heard snippets, songs and samples from the Rookie album, and it will rank amongst the best releases from 2014. When I have been assessing some of the U.K.'s finest new acts, one thing always hits me: just how ambitious they are. The Trouble With Templeton mean business, and have a long career planned. There are evocations of glory-days Radiohead; tender touches of this and that, yet above all it is the sound of a hungry and original band- aiming to remain in hearts and minds for years to come. The forthcoming tour of Britain will see a host of new audiences and fans witnessing their music, and I hope that the media here helps to spread their word. I have limited influence, but will do my best to get as many people (as possible) to latch onto their music. With Calder's leadership and a camaraderie and kinship that is evident within nuanced and memorable music, we will be hearing a lot more from these guys. The Guardian had this to say about Rookie: "TTWT's debut album proper, Rookie, finds a melodic and instrumental if not lyrical middle ground between Fleet Foxes and Flaming Lips, Bon Iver and Badfinger. Sort of. Ish. It is, as we say, an alt rock album but it's a varied beast. There are baroque pop songs here, jangle-pop ones, songs that make us think of a de-energised power pop, one that sounds like the Lips doing the Beatles...". There is harmony and symphonic vocalisations; tender and considered moments as well as honey-dripped sexuality. It seems that when it comes to emotional and sonic ground, our Australian clan leave no stone unturned. I am often loathed to make huge proclamations about artists and compare them to someone else; yet it seems that with an essence of Radiohead within the group's mandate's, our Brisbane gang could well be pulling in their direction. As the Oxford boys seemed to be on hiatus as-of-late, eyes and brains are seeking out substitute equivalency. We here have a few bands that are spiking attentions, yet with The Trouble With Templeton, we have bona fide masters-in-waiting. They may not be able to- in their short career- project the full potency and genius of Yorke and co., yet there is ample evidence to suggest that minor chords- reminiscent of Kid A. and In Rainbows' finest moments- are already being struck. Of course, the quintet want to be judged on their own merits and given a fair shake, yet I was impressed by the band's authority, tightness and quality. Australia have caught on to the band's full potential; the U.K. is welcoming them in- yet I feel that the U.S. should be knocking at the door. I know that the group have made some impressions with U.S. audiences, but I feel that there is a huge audience awaiting here. Having been recently anointed to the melodic contours of our heroes, I am committed to much closer investigation. The 'mainstream' is there for a reason, and offers up something- cliché coming...- for everyone. To my mind, there is still not enough divergence, mystery and blitzkrieg proffered. Critics have highlighted how fearless The Trouble With Templeton are, and how jam-packed (and mesmeric) Rookie is. The Australian press have solidified this truth, and proclaimed the merits and potentiality of a truly great brand. I can back that up, and confidently claim that the Brisbane troupe will be making music for years to come; taking strides towards the top of rarefied summits...

YOU heard it here second!

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Follow The Trouble With Templeton:

Official: http://thetroublewithtempleton.com/1esg0t20zteew93k0uss2qsqwa2quz

Twitter: https://twitter.com/ttwt_

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

YouTube: https://www.youtube.com/channel/UCP5hp30I0euODei8ihfmbCw

SoundCloud: https://soundcloud.com/thetroublewithtempleton

Tour Dates:

http://thetroublewithtempleton.com/shows/

March 30, 2014

musicmusingsandsuch

Uncategorized

Feature: Jeff Buckley- The Courage, The Strength, The Grace.

March 30, 2014

musicmusingsandsuch

Uncategorized

FEATURE:

Jeff Buckley:

The Courage, The Strength, The Grace.

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His majestic voice and entrancing songs have inspired legions of modern-day artists; a truly remarkable and singular human being. I investigate the incredible legacy of one of the music world's greatest ever lights.

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IT is hard to believe that Grace was released twenty years ago now...

I shall go into more depth about its release (and the year 1994) later on, but I guess that is the wonder of enduring music- it seems fresh and current, so long after its release. For me, Jeff Buckley (or Scottie Moorhead to give his birth name) is a unimpeachable icon- and my all-time music idol. Buckley is the musician that resonates most in my heart; a human I relate to and understand. Although he died seventeen years ago (this year), I still think about him every day: strange given we never even met. Watching and listening to various interviews, I always sit and sigh; his voice is so mellifluous and calming, it is hard not to become seduced. The way he spoke about music; his idols and influences; what it meant to him- it is something you do not hear often in the modern climate. In a capricious music industry, tastes and trends change; 'idols' are almost disposable, and fickleness mandates critical minds. Buckley seemed like a pure drop of sound in the ocean: few musicians have ever seemed so genuinely in awe of music and what it can do to a human being. When trying to distil the essence of Buckley into a single thought or semblance, it is impossible- vast and layered is his influence. I guess my opening paragraph is dedicated to one core responsibility: to offer thanks to the man. Buckley was-and is- the reason I picked up a pen (to write my first song). As a man (whom experienced much heartache and setback) his tenacity and focus is an awe-inspiring tapestry that has guided me past some tough times. His voice gives me shivers, and compels me to bend, mould and nurture my own- in quest for perfection that will never be realised. As a human, Buckley remains a relatable and down-to-earth figure whom resonates hugely with many; as a voice and musician (in my mind) he is untouchable. Many have tried to mimic and match the legend (I will touch more on this later), yet none have equalled him, and with good reason: his originality and talent are his and his alone. I know there will be some reading this- if any are reading at all- whom are familiar with Buckley's back catalogue; some whom are intimately enamoured of his every move- and some unaware of the U.S. icon's glorious- if brief- career. I shall do my best to fill in any blanks; reignite something in those (whom may have a dusty copy of Grace in their C.D. collection); as well as pay tribute to one of the most important- and underrated- musicians of the past twenty-or-so years.

In November, 1966, Jeff Buckley arrived into the world. Born to Mary Guibert and Tim Buckley in California, the star-in-waiting's embryonic years were fraught with upheaval as well as musical influence. Tim Buckley- for those unaware of his name- was a key name in the music world during the 1960s and '70s. His albums were paragons of Folk purity, free jazz experimentation- as well as Sex Funk sweat. Buckley senior's voice was a multi-octave instrument of pure force; something that scored some remarkable songs and fascinating movements. He went on to make nine (studio) albums, and inspire a wave of enamoured and inspired musicians- each impressed by Buckley's fierce talent and prolific output. Although the quality of Buckley's albums varied, and in spite of the fractious relationship between him and his son, you cannot deny: fathering Jeff Buckley was his greatest triumph. Tim Buckley died (from a heroin overdose) in 1975 (aged 28; Jeff Buckley was an eight-year-old at the time), and abandoned Jeff when he was a child. The bond between Jeff and Tim Buckley was non-existent; our feature-ee did not consider Tim to be his dad at all. The Buckley household was awash with various genres and styles of music- peaking our icon's mind from a tender age. The family (Jeff, his mum and step-dad Ron Moorhead) moved between various towns in Orange County- it was a nomadic and dislocated upbringing. The one stable constant in Buckley's childhood years was music; from U.K. acts such as Queen, Led Zeppelin and The Who, through to U.S. legends such as Nina Simone and Kiss. Physical Graffiti (by Led Zeppelin) was the first L.P. Buckley bought (and fell in love with), and amidst a turbulent and anxious period of his life, music offered a sanctuary and safe haven. Buckley attended music school, yet considered it a huge waste of time- his talent was a birth right, and could not be taught or improved upon. Buckley's instincts and upbringing enforced his music ideologies and ambitions, and it was the sounds he grew up on- not the teachings of any academy or college- that moulded the star. Buckley's climb to prominence had humble beginnings. In his teenage years, the American played in various different bands- performing gigs in a range of hotels, bars and locations. Dividing his time between L.A. and New York, Buckley was initiated to new and fresh sounds and forms of music- yet in terms of performing, started out as a backing singer. One of Buckley's first public appearances was signing at a tribute concert to his father (in New York in 1991), yet it was not until a few months later things started to really click- and begin an extraordinary trajectory. Collaborating with Gary Lucas, the two worked on songs (which would feature on Grace) including Mojo Pin and Grace. No longer was our hero a loner; no more was he a backing singer- he was finding his feet in the spotlight and starting to set tongues wagging. Towards late-1991/early-1992 a transformative (and elemental) period of Buckley's life began: performing around Lower Manhattan and East Village in New York. It was not huge venues and arenas that were being charmed, but small and intimate cafes and bars. I shall expand more on Buckley's interpretive talents and the importance of Sin-é (a small Irish café in East Village), but that moment and that tiny café seemed like Buckley (perhaps first) natural home. Buckley himself has some particular views on his itinerant travelogue: "Moving to the East coast from California was the most extreme and successful self-rescue operation I'd ever implemented. Otherwise I was going to rot from the inside. It was do or die. I've always done music, been in bands, but at the time I was staring at the walls, with no hope and no confidence". It was here (in New York) that his formative moments were consecrated and gilded; it was here that many had the fortune of witnessing a young man, at the start of a wonderful career. A lot of various components and elements went into shaping and moulding a truly extraordinary musician.

I shall take you inside Sin-é shortly, but want to give you some lead-in. Buckley did not merely rock up to the café one day, ready-made and complete- his influences and music collection was a vital composite. I have touched upon some of the acts which peaked Buckley's (young) mind- but it only tells part of the tale. When many think of Buckley, it is perhaps his voice that is the most synonymous facet. To me, anyway, I feel that this is our hero's calling card. Buckley's voice is something that he worked hard to foster, yet also influenced and shaped by his musical heroes. In many interviews, Edith Piaf and Nina Simone have been cited as major idols. As well as Led Zeppelin (and Robert Plant), the likes of Morrissey and Van Morrison featured highly in Buckley's regards- helped to add additional colour and imperialism to his treasured pipes. Diverse artists such as Nusrat Fateh Ali Khan, Judy Garland, Bad Brains and Elton John were important too- the combination of all these disparate and wide-ranging musicians left their mark. When analysing Buckley's voice in pure terms, it is hard to explain. There have been several artists (since his death) whom have tried to evoke some of Buckley's essence (I shall highlight this towards the end of the feature), yet in the early '90s, Buckley gorgeous and rarefied tones were certainly not commonplace: few male vocalists had the same capacity or ability as our hero: He was a tenor capable of reaching a falsetto pitch. A tenor's range in the bass clef spans middle C to high F. Jeff's actual range was four octaves. A student from the University of Queensland studied Buckley's voice; and came to the following conclusions: "Jeff Buckley was a light lyric tenor. His very different registers were blended marvellously. His chest, voice, and head voice were perfectly integrated. His falsetto was good, too, and his fluctuating between falsetto and head voice is something most singers are very jealous of. His tessitura (or comfortable singing range) was between E below middle C, which he often started verses on- ("Grace", "Lover ...", "Last Goodbye"), and the notes D right above middle C and F# just above that- in most of his choruses. He also used his high A frequently. A typical lyric tenor tessitura. In other words, to the unacquainted, the same range as Pavarotti. Except, Jeff was very fond of the alto register, which he would exploit in falsetto, or coordinated head voice (a fuller, wailing type of voice). His lowest note was on a live version of "Dream Brother" (on the Australian Grace album pack- it must have been the weather!) and it was the second A below middle C -- this is quite low for a high tenor voice. He loved to wail in head voice on the high E, which he did on half the songs on Grace, but mysteriously stopped doing them on Sketches. He could sing in an alto range quite effectively- check out "Strange Fruit" on the "Man in the Moon" session -- breath-taking; or the Edith Piaf cover on Live at Sin-é". Buckley never really mentioned his voice, and was always modest about its genius. As much as his idols helped to shade his tones, a natural ability and instinct made it what it was. Buckley explained by saying that "there is no ‘good’ singing, there’s only ‘present’ and ‘absent.’ That’s it—it’s the balls. Just the utter deathlessness, fearlessness... What really fuels your art is the courage to express yourself, and just, sometimes you get kicked in the nuts for it". Before I open the doors of New York's aforementioned Irish café, I want to mention Buckley's song writing. In interviews- with self-deprecating humour- Buckley claimed he did not really know how to write songs- in a conventional manner. Often dreams and poems would influence songs and movements- our hero was not a fan of the traditional verse-chorus-verse structure. He was enamoured and impassioned by words; seeing song writing as a deeply personal thing. Buckley explained song writing, thus: "Your thought is your right, your art is your right. You are allowed to invent and explore your song. You are allowed to make it real through your concentration and hold onto your gift, man, and let go... I daydream thinking about great songwriters. I was brought up with all these different influences—Nina Simone, Nusrat Fateh Ali Khan, Patti Smith—people who showed me music should be free, should be penetrating, should carry you". The original semblances Buckley was compiling around 1991/2 were filled with romantic declaration, and paeans to cherished love. The young man was experimenting and finding what he had to offer as a songwriter. Buckley had views when it came to 'sensitive' song writing, and expressing himself this way: "Sensitivity isn't about being wimpy. It's about being so painfully aware that a flea landing on a dog is like a sonic boom As Buckley was ready to bring his songs to East Village, everything was going t change for him; as he saw it: "Just feeling is a subversive act. Expressing it is rebellious".

I am not sure what Sin-é looks like today- or whether it has been re-named- yet in 1993 (when Buckley recorded the songs that appeared on his Live at Sin-é E.P.)it was an intimate, homely and charming venue- small bit filled with character. Buckley would often help serve coffees and clean up tables (after and before gigs) and seemed comfortable and ensconced within its safe walls. Buckley felt naturally secure here ("I could never be tired of New York"), and it was at Sin-é that his firmest early steps were made. I will mention Buckley's vocal range later, but if you listen to the Live at Sin-é (Deluxe Edition), it is a hugely impressive collection of songs, that highlight just how staggering his voice is. Tracks from the likes of Van Morrison and Bob Dylan were reinterpreted and redefined by Buckley: each was given a unique stamp of authority. As exciting as it was to hear original words from the young master, it was his huge interpretive talents that were wooing audiences the most. I have provided a couple of links (at the foot of the feature), that go to show just how good he was. Tracks such as Sweet Thing and I Shall Be Released became tender and hugely evocative tales: imbued with a falsetto vocal of purity and clarity. Each night he played, there was a new set list; songs played previously were given a different take, and one would never hear the same performance two nights in a row. Buckley had his own with regards to his music, and singing: "Music comes from a very primal, twisted place. When a person sings, their body, their mouth, their eyes, their words, their voice says all these unspeakable things that you really can't explain but that mean something anyway. People are completely transformed when they sing; people look like that when they sing or when they make love. But it's a weird thing—at the end of the night I feel strange, because I feel I've told everybody all my secrets". Given the fact that Buckley was performing in a café, it was obviously a very small location: making the overall sound that more personal and intimate. Each night, the young hero would be on the (tiny) stage: just him and a guitar. I cannot do full justice to how great the performances and recordings from this time are- and I wish I could have been there. The way Buckley employed his guitar as an additional vocal element; changed chords and direction mid note: making each track as mesmeric as possible. Buckley himself said: "It's all about supporting the voice—any real guitar player should know that. Rhythm and melody are the king and queen and it's all to support the voice—ask Keith Richards, ask Robert Johnson". Original numbers (which would appear on Grace) such as Lover, You Should've Come Over, Last Goodbye and Mojo Pin were being worked on and witnessed for the first time. It is a shame that more modern-day performers do not take the route Buckley did: playing live at homely and character-filled locations, rather than bigger venues. Buckley himself understood the importance of where he was playing ("I like low stage volume. I want the idea and the sound of the idea to intoxicate—not the voltage"). Very soon, the young American was about to get his big break. Record label executives would watch his performances, and it was the eyes and ears of Columbia Records whom would get the signature of Jeff Buckley.

"Grace is what matters. In anything. Especially life, especially growth, tragedy, pain, love, death. About people, that's what matters. That's a quality I admire very greatly. It keeps you from reaching for the gun too quickly; it keeps you from destroying things too foolishly; it sort of keeps you alive and keeps you open for more understanding". It was Buckley's debut- and only- L.P., Grace, that contained a lot of these elements and considerations. Joining together with new band recruits Mick Grøndahl, Matt Johnson and Michael Tighe, the quartet laid down the movements that formed the basis of one of the greatest albums of all time. Retreating to the heat and striking landscape of Woodstock, the sounds and sensations of Grace took shape. As well as recommending you seek out the album and enjoy every moment, I would say it is well worth watching a promotional documentary about the album (the first link under Interviews). It was clear how much making music meant to Buckley, and how important it was. With producer Andy Wallace, a masterpiece was unveiled. Tracks such as Mojo Pin were based around dreams and psychedelic images; the title track is an epic song dedicated to true love- both containing Buckley's mix of powerful belt and transcendent falsetto lines. One thing that struck me about the album is the maturity and range of Buckley's lyrics. The title track was filled with evocative images and pain-ridden sacrifice ("And the rain is falling and i believe/My time has come/It reminds me of the pain/I might leave/Leave behind"). Mojo Pin blending emotional romantic sways as well as striking and detached images: "Precious, precious silver and gold and pearls in oyster's flesh/Drop down we two to serve and pray to love/Born again from the rhythm screaming down from heaven/Ageless, ageless/I'm there in your arms". Our hero was turning scribbled notes and verses into hugely emotive and stunning songs. Last Goodbye- perhaps his most effective track- defines what made Buckley whom he is: an impressive lyricist with a voice that brings every word to life. As well as being one of his most direct and memorable vocal performances, it also contains some of his most emotional and racked utterances ("Kiss me/Please kiss me/But kiss me out of desire, babe, and not consolation"). I shall go more into the vocal displays that augmented each track, but Grace demonstrated what a confident and talented songwriter Buckley was. It was the shared kinship and tightness of the entire band that added the colour and weight, but the strength of the lyrics and music was evident. It was obvious that Buckley would include some cover versions, and the likes of Lilac Wine were included: a song that Buckley wished he had written, and adored. That particular song- which has been performed by the likes of Nina Simone- was transformed into something that Buckley made his own. It was perhaps the lyrics of that track that Buckley connected to, and vibed from. When it came to his own words, Buckley had opinions on what made (great lyrics): "The thing is that I also like to have lyrics that are inclusive, that give you space to be inside them, to put your experience on to them, so that they can move through other moments". The 'inclusive' nature of lyrics is perhaps an elemental focus when one looks at Buckley's interpretive skills. He clearly identified with songs such as Lilac Wine, and found ways of making these tracks his own. I shall get onto one particular number soon, but want to mention a few more tracks. Lover, You Should've Come Over (a track moulded and shaped during the Sin-é regency) was Buckley longest track, yet one that was rife with scenery, fascinating characters and above all, pure declaration. The opening lines brought the listener right into the song: "Looking out the door I see the rain fall upon the funeral mourners/Parading in a wake of sad relations as their shoes fill up with water". As it progresses, we see our hero parading the floor; hungry for his lover, but regretful, too ("And much too blind to see the damage he's done"). As our hero waits in the rain, lonely and pining, the final words are unveiled: "Sweet lover, you should've come over/Oh, love well I'm waiting for you/Lover, you should've come over/Cause it's not too late". Eternal Life is an angry song that rallies against corrupt forces and men behind desks and masks, whilst the swan song Dream Brother are filled with lyrics that could have double meaning ("Don't be like the one who made me so old/Don't be like the one who left behind his name"). Before I complete my survey of Buckley's 1994 masterpiece, I have to mention one song: Hallelujah. Originally written by Leonard Cohen (on his album Various Positions) it was owned by Buckley. This is the song that bring many to the wonders of Jeff Buckley- depressing, considering all the terrific work he has left behind. I suppose it is unsurprising that so many are in awe of Buckley's rendition- it remains one of the greatest vocal performance of all time. Of course it was Leonard Cohen's spellbinding words that provide the basis, yet Buckley gave the song a lease that the original did not contain. In a sense it was a perfect marriage: pair phenomenal words with a voice capable of bringing them fully into life. According to producer Andy Wallace, Buckley took many runs at the song. Versions ranged from hard and angry, through to 'manly' renditions: the young artist endless sought to hit that 'perfect rendition'. The definitive take that we hear on Grace is the result of several takes sewn together: the result is one of the defining songs of the '90s. I have mixed feelings about the success of Hallelujah. I am ashamed that so many reality stars and 'YouTubers' have covered it- they have watered down and eradicated its potency. Buckley's version is the definitive version, and the song requires no further reinterpretation. It is a shame, but I suppose inevitable, given the potency of our hero's voice. In a way, mind, I am glad as no one has even a modicum of Buckley's talent: no subsequent version has got even remotely close to Buckley's take. You can listen to it and come to your own opinions, but it remains the focal point of an album filled with huge confident, nuance, wonder and intention. The reaction to the L.P. was a bit slow-burning, and initial sales were pretty slow. It is one of these albums that arrived at a difficult time. Grunge was still present, and the likes of Britpop were beginning in the U.K. Grace seems somewhat alien when matched against these diffident genres, and it took many years for people to truly latch onto, and appreciate the album. The likes of the U.K. and France took the album more to heart than Buckley's native fans, and a lot of post-Grace touring took place here. The album's purpose what to highlight what a force Buckley was, and what a talent the young man had become. Many- in its wake- were keen to see the master in the live domain- witnessing the songs first-hand.

Buckley spent much of the next year and a half touring internationally to promote Grace. From the album's release, he played in numerous countries, from Australia, to the UK (Glastonbury and the 1995 Meltdown Festival). Following Buckley's Peyote Radio Theater tour, the band began a European tour on August 23, 1994, starting with performances in the U.K. and Ireland. The tour continued in Scandinavia and, throughout September, numerous concerts in Germany were played. The tour ended on September 22 with a concert in Paris. A gig on September 24 in New York dovetailed on to the end of the European tour and Buckley and band spent the next month relaxing and rehearsing. A tour of Canada and the U.S. began on October 19, 1994 at CBGB's. The tour was far-reaching with concerts held on both east and west coasts of the U.S., and a number of performances in central and southern states. The tour ended two months later on December 18 at Maxwell's in New Jersey. After another month of rest and rehearsal, the band commenced a second European tour, this time mainly for promotion purposes. The band began the tour in Dublin; Buckley has remained particularly popular in Ireland. The short tour largely consisted of promotional work in London and Paris. Touring recommenced in April with dates across the U.S. and Canada. During this period Buckley and the band notably played Metro in Chicago. Buckley's Mystery White Boy tour, playing concerts in both Sydney and Melbourne, Australia, lasted between August 28 and September 6 and recordings of these performances were compiled and released on the live album Mystery White Boy. Buckley was so well received during these concerts that his album Grace went gold in Australia, selling over 35,000 copies. Between the two Oceania tours Buckley and the band took a break from touring. It was clear that Buckley meant a lot to people, and the demand was huge and consistent. After the consistent rigours of touring- which saw the young star tour relentless pretty much until early-1997- Buckley was keen to take a break, as well as work on new material.

"Relentless, endless joy peaking into tears, resting in calmness, a simmering beauty. If you let yourself listen with the whole of yourself, you will have the pure feeling of flight while firmly rooted to the ground". This was a quote from Buckley, and perhaps summarised how he felt about music, and what it meant to him. I guess some of its beauty had been lost in the mesh of touring commitments, so our hero was eager to reconnect with music's wonder. Buckley said it himself: "I don't write my music for Sony. I write it for the people who are screaming down the road crying to a full-blast stereo". Buckley wanted to give something to the fans; explore new territory- and put as much new and original material onto tape as possible. Buckley became interested in recording at Easley McCain Recording in Memphis. He rented a shotgun house there, of which he was so fond he contacted the owner about the possibility of buying it. Throughout this period, February 12 to May 26, 1997, Buckley played at Barristers', a bar located in Memphis, underneath a parking garage in an alley off of Jefferson Avenue. He played numerous times in order to work through the new material in a live atmosphere, at first with the band then solo as part of a Monday night residency. The new atmosphere and scenery compelled Buckley, whom spend time alone writing new material. Most of the time Buckley was in Memphis alone (whilst his band remained back in New York). Buckley would send tapes back to the band, whom would listen and digest- keen to meet up with their frontman. All of this activity would result in the (posthumous) recordings that would feature on Sketches for My Sweetheart the Drunk. Ultimately I will have to mention Buckley's death, and it is all the more tragic, given that our young hero was in such inspired mood. Buckley was reconnecting with music, and saw it as a curative and healing process: "My music is like a lowdown dreamy bit of the psyche. It's part quagmire and part structure. The quagmire is important for things to grow in". Ensconced within a tiny house in Memphis, Buckley would commit rough sketches to four-track; seeing what he could come up with. Our hero was a perfectionist, and would often be unhappy with songs. Tracks were recorded and scrapped, as Buckley continued to chase his ideals of perfection. If you listen to Sketches for My Sweetheart the Drunk, you can hear some of the completed cuts- as well as the rough demos- and Buckley never intended them to be heard. Grace was a pivotal moment, yet Buckley wasn't to create an album that was original and different- to break away from his previous sound. Tracks were taken into the studio and recorded with (producer) Tom Verlaine: yet Buckley was dissatisfied with them. Our hero parted ways with Verlaine, and called Andy Wallace up- keen to start from scratch and try to regain the energy and enthusiasm he had during the recording of Grace. Perhaps it was expectation and market pressure that got to him; or the strains and fatigue from touring, but Buckley was restless and constantly questioning himself. He suffered from Bipolar Affective Disorder which would have effected his creative process and put stress and pressure on his shoulders, and it seemed that a lot of the magic of music had been lost. In spite of everything, in May, 1997- as Buckley's band mates were due to fly to Memphis to start recording new material- our hero was in good mood; excited by a new lease of life. Unfortunately, Buckley's new enthusiasm was to turn to tragedy. On the evening of May 29, 1997, went swimming in Wolf River Harbour, a slack water channel of the Mississippi river, while wearing boots, all of his clothing, and singing the chorus of the song Whole Lotta Love by Led Zeppelin. Buckley had gone swimming there several times before. A roadie in Buckley's band, Keith Foti, remained on shore. After moving a radio and guitar out of reach of the wake from a passing tugboat, Foti looked up to see that Buckley had vanished. Despite a determined rescue effort that night, Buckley remained missing. On June 4, two locals spotted his body in the Wolf River near a riverboat, and he was brought to land. It is typical of Buckley that he went into the river- he was a romantic that was impulsive; yet it was a move that cost the music world a true great. I shall not go into more detail, but in my conclusion will state why Buckley's death hit me hard. Just when our hero was on the precipice of a second L.P., he died- at the tender age of 30. Luckily, a lot of the studio versions and rough takes have been released (on Sketches for My Sweetheart the Drunk). The quality varies- not surprising as our hero was still working on the songs- yet there are clear glimpses of where Buckley was heading. The overall sound was harder and heavier, evident in tracks such as Nightmares by the Sea and Witches Rave'. Buckley wanted to move away from the pure ethereal aspect and beauty of Grace and inject some elementary grit and force. Amongst the harder numbers, soulful gems such as Everybody Here Wants You and Opened Once remained; trippy swirls like New Year's Prayer were delightful, and- one of my favourite songs from this period- Vancouver showed how Buckley's song writing has developed. It is perhaps ironic that the dozen or so 'professionally-recorded' tracks would have made a terrific album- yet Buckley was not satisfied enough to take that leap. That makes Buckley's death even more potent: just how good would have Sketches for My Sweetheart the Drunk been? It is well worth seeking out the album, and hearing our hero's intentions- and imagine what could have been.

"The only way to really make it—anywhere—is to put every bit of your being into the thing that only you can provide. The only angle is the art that you choose, that only you can provide. And to do that, you have to be quiet for a long time and find out what you bring forth. You have to know what's in yourself—all your eccentricities, all your banalities, the full flavor of your woe and your joy. What does it look like? What does it feel like? What makes it different from everybody else's? It's totally subjective. You're just given the task of bringing it up". Buckley's words, music and beauty still resonates with many- nearly seventeen years after his death. Birthday celebrations and tribute concerts are held each year (in November), with fans and musicians remembering Buckley's brilliance and legacy. Tribute concerts and events take place regularly, with new acts all keen to pay homage and keep his legacy alive. It seems that- even after his death- many cannot (and will not) forget what the man gave to the music world. In New York, an annual tribute concert is held, and I am sure that this will be taking place for decades to come. In spite of having a brief career, it is clear how much the music means- and how hard it resonates.

When asked if he (Buckley) had any advice to new musicians starting out, he stated this: "I have no advice for anybody; except to, you know, be awake enough to see where you are at any given time, and how that is beautiful, and has poetry inside. Even places you hate". To Buckley, music was the most important thing. He did not want to be remembered as a human (he did but it was secondary to the music); the songs and his musical memories were most important. Songwriting, to him, was a calling and something that defined his life. He said that "songs come out of poems, and sometimes poems come out of dreams". The U.S. dreamer gave the world a hell of a lot of beauty, and changed the music world forever. Before I give my personal thoughts (and sum up), just think about the legacy he has left. As well as the live recordings, Grace and various other tracks, we have the interviews- both recorded and written- that inspired a wave of musicians and artists. Thom Yorke said that The Bends (by Radiohead) would not have sounded like it did- and have been as good- were it not for Buckley. Radiohead watched Buckley perform in 1994, and following a particular mesmeric performance, Yorke was overcome. He rushed to the studio, and without anyone else, laid down a vocal take (that actually is the album version we hear) of Fake Plastic Trees. Such was the effect that Buckley's music had; that it hit musicians and fans that hard. The softer and purer moments of The Bends was inspired directly by Buckley- that album, to me, is the greatest ever recorded. New and upcoming artists incorporate elements of Buckley's voice and artistry, with musicians such as Matt Bellamy counting our hero to be amongst their all-time greatest icons. The greatest legacy the man can have, is for his music to be remembered and kept alive. If you have never heard any of his music; or have not visited it for a while, take the time to do so. I not writing it to be sad and to use this as a late obituary or eulogy; more to pay respects to a hugely inspirational figure. Because of Buckley, I picked up pen and paper and decided to write music. Listening to his voice reduced me to- and still does- goosebumps, and he is my music idol for so many reasons. As a human, he was down-to-earth, sensitive and beautiful. His speaking voice was a whispered and entrancing instrument, and the way he talked about music was infectious. Buckley was jocular and witty; upbeat and playful. He has a tragic and affected side; he was mysterious and alone, but as much as anything: he was Jeff Buckley. There was no fakery or sob story; no tinsel or scandal- it was just a young man trying to bring his music to as many people as possible. For me- being 30-years-old- feel more inspired by Buckley more than ever. By my age, the man had recorded everything we have heard from him, and covered so much ground. Being someone trapped inside a crappy life, in a place I do not want to be, I am always looking for the back door- to escape and be somewhere else. As a songwriter, I need to overcome nerves, financial poverty and depression (as well as procrastination) and make a move: whatever the outcome. The man compelled me to start writing music and to want to become a good a songwriter and singer as possible. Buckley was brave and bold; he moved between cities and took huge personal risks to make his music. For me, he defines what it is to be truly inspirational: do what you need to do, no matter what. I wish I could be more like him, as I hate myself for being trapped in a rut; for being in a stressful environment that I hate (more than I can say). Perhaps revisiting his music will spark an idea in my brain (I hope it does), but as much as anything I want to say thanks. Buckley is my hero and has made me into a better songwriter, and someone whom wants to follow dreams; and f*** 'real life' and all the boring stressy crap that comes with being 'ordinary'. I guess you cannot ask for more from a human being: that is why I am writing this. Of course one cannot ignore Buckley's voice, as it seems to be what he is more synonymous for. I am obsessed by the voice, and strive to reach to Buckley's levels: knowing I perhaps never will. The year 1997 was so sad, because it was the year that a huge musical force was taken away. It was a senseless death, and I cannot do anything about it. It makes me sad thinking about it; how upsetting it must have been for his band (and family); what could have been. I guess it is not worth dwelling on the past, but celebrating what Buckley gave the world: the music, the influence and the beauty. He is someone we will never see the likes of again and was a true original. We are lucky for having him in the world, and his music and songs will remain long after we have all gone. As much as anything, listen to his music; hear the man talk in interviews, and don't feel sad: feel compelled to change. If you are stuck in a rut, in misery; in a place you do not want to be; then get out- move on and be what you want to be. Buckley proved that lifer can be cruel and indiscriminate, and I guess it is pointless feeling regretful and trapped inside boxes you do not want to be in. I guarantee that, when you listen to his songs again (and again), it will compel change and something special: it has for me, indeed. I will leave you with some sagacious words, from the man himself (with regards to his own music): "I try to make my music joyful—it makes me joyful—to feel the music soar through the body". Wherever you are and whatever you are doing- just listen to his music. Do not do so for the sake of things or because it's apropos: do it because it is joyful. After all...

IT is what he would have wanted.

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Ten Essential Jeff Buckley Recordings:

Calling You- Live at Sin-é (https://www.youtube.com/watch?v=EJk3RErKtmI)

The Way Young Lovers Do- Live at Sin-é (https://www.youtube.com/watch?v=8kPUT_1d4dA)

Grace- Grace (https://www.youtube.com/watch?v=eZSTTEoHVxo)

Last Goodbye- Grace (https://www.youtube.com/watch?v=8II4oKMvudk)

Hallelujah- Grace (https://www.youtube.com/watch?v=WIF4_Sm-rgQ)

Everybody Here Wants You- Sketches for My Sweetheart the Drunk (https://www.youtube.com/watch?v=IQN_OmIboNo)

Vancouver- Sketches for My Sweetheart the Drunk (https://www.youtube.com/watch?v=m0_pFAh6cbw)

Satisfied Mind- Sketches for My Sweetheart the Drunk (https://www.youtube.com/watch?v=iCU3HXNGaAw)

We All Fall in Love Sometimes- Live Radio Performance (https://www.youtube.com/watch?v=jYGZ4M-dXls)

Dido's Lament- Meltdown Festival, 1995 (https://www.youtube.com/watch?v=Y11AMsuh6Ls)

Interviews:

https://www.youtube.com/watch?v=gd_3IYzGfHk

https://www.youtube.com/watch?v=Gip77qGXWT4

https://www.youtube.com/watch?v=nFuWNMMP-tw

https://www.youtube.com/watch?v=t1nRrJ7QT9c

Further Reading:

Official

http://www.jeffbuckley.com/pages/

Twitter

https://twitter.com/JeffBuckley

Facebook

https://www.facebook.com/JeffBuckley

YouTube

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

March 29, 2014

musicmusingsandsuch

Uncategorized

Track Review: Ellie Rose- Speed Bump

March 29, 2014

musicmusingsandsuch

Uncategorized

　TRACK REVIEW:

Ellie Rose

Speed Bump

9.2/10.0

Speed Bump is available from:

https://soundcloud.com/ellierosemusic/speed-bump

The E.P., Speed Bump/Memory Foam is available at:

https://itunes.apple.com/gb/album/speed-bump-memory-foam-ep/id664557668?ign-mpt=uo%3D4

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A mulberry-haired artist whom loves lyrics "to the point of deliberating over them for weeks on end"; a young star that claims "people struggle to take (me) seriously", should have no fear: her brand of violet song is just what the music world needs.

_____________________________________________________________________

IT appears that when it comes to the predictable nature of music, it is, well...

... not so predictable. I have probably counted eggs before they have hatched. The solo realm is one that I have investigated widely over the past few weeks. From my favourite pink-haired Yorkshire girl Jen Armstrong, through to Elena Ramona and Chess, I have been provided ample healthy stock. In fact, the last few months- especially so- has given me a lot of food for thought. I have mentioned this point in these pages before, so allow me to carry on. Last year, it seemed that there was a surfeit of genuine ambition and pioneering to be found amongst new music, and I ended 2013 somewhat cold. Sure, I witnessed many great acts ply their trade and amaze me, yet on reflection, it seems that the great and bold were a sublimated minority. The band market is always going to be one of the most dependable markets. The music made by bands is what I grew up on, and the likes of The Beatles, through to Blur; along to Queens of the Stone Age- rank amongst my all-time favourite acts. There is an alacrity and ease with which bands go about doing things, which is not easily extrapolated by the solo market. The band has relatively few pressures and no real campaign burdens. Their manifestos are built around shared responsibility and remuneration, and as such, they have less stress and anxiety on their shoulders- their music reflects this. Consequently, it is the solo artists whom I admire the most, as they have to do all the heavy lifting by themselves. It is not enough to hide behind a drum kit or a guitar and allow the front man/woman to do the talking; to cower in the shadows and let your comrades make the noise: solo artists have nowhere to hide. It is brave going out into music sans teammates, and I often feel an additional sorrow when a lone star gets buried amidst the weight of expectation and fickle forces. Too many good and genuine artists are passed over and given short shrift- pure because of the sheer amount of participants on the scene. My tangential theory comes back around to my focal point: solo acts need our attention. Tomorrow I will focus upon a rather special talent: Jeff Buckley. To me, he represented what a solo act should consist of: a great and earnest ambition; huge and loveable personality, as well as an abundance of quality and consistency. Subsequently, most of my and talent-seeking has been born from these components. It may be a tall order, yet- in a business that offers rewards to those whom are deserving- the motivation is all there. I have encountered too many dour and faceless sole stars, whom seem content to be as introverted and closed-off as possible. Embracing and capturing attention is important, and the most effective way of doing this, is with a multi-part assault. I feel that this year (as well as future ones) will see a break away from the predominance of mainstream music- and towards new music. With music sites popping up all over the place, it is easier now (more than ever) for a new-born artist to get their sounds heard. The discerning listener has more choice and availability than at any the time, and has tough choices to make. The reason I hone in on great solo talents such as Armstrong, Nina Schofield, and Chess, is because they have the whole package. They can connect with fans and allow them access into their development; they share their progress and updates- allowing fans to become part of the creative process. As much as anything, there is an undeniable sense of quality at work. Big and smiling personalities come out to play; music is available constantly (new and past); vlogs and blogs are published frequently, and the quality and consistency of their music is prolific. I am not entirely sure what the face of music will look like this time next year, but I hope that great new acts (many of whom I have featured) will get their just rewards. Our lone artists are those whom will need- and deserve- the biggest focus, so it is paramount that diffuse attention spans are rotated towards their harbours. Before I eloquently tango towards the subject of my featured artist, I will raise another (crucial) point. Exposure and promulgation is tantamount, with regards to ensuring a public foothold. One of my major gripes has revolved around the nature of promotion and social media attention. The solo stars I have mentioned earn their stripes and win consideration, because they ensure that their name and banner is seen as far and wide as possible. In this age, there is no real excuse to negate the necessity of self-promotion. I have seen too many new acts that have a Facebook or Twitter account- yet do not have a personal website or accounts on YouTube or SoundCloud. With the mass rise in new music coming through, it is near-impossible to be found (let alone elevated) if your portfolio is sparse and one-dimensional. You do not have to go overboard, but a well-considered personal site; smattering of sounds amongst the music-sharing platforms; tied in to the usual social media channels, and you have the necessary ingredients that the music-hungry public craves and desire. If you (the solo artist) get these entire bullet points (personality, music, media visibility) honed and cemented, then the rewards are bountiful and evergreen. The best examples (from the solo market) I have witnessed have managed to achieve all of this, as well as provide that extra something. For the female half, there may be an underlying seductiveness and sex appeal; married with an intransigent ambition and determination. For the men there is a charm and everyman quality; as well as a load of chutzpah and mystique. It may seem- on the face of all I have said- that being recognised, proffered and celebrated is Herculean and unassailable; yet I have seen several whom live up to expectations and deserving of mass appeal and consideration. Today I have come across an act whom will be much in-demand over the coming years...

When trying to assess and introduce our heroine, Ellie Rose, perhaps we should let her begin proceedings: "I'm not complicated. Which is not to say I'm simple either. I'm not a hopeless romantic, just completely fearless and sometimes a little naïve, oh and I'm told that I play guitar like a boy... Most of the time people struggle to take me seriously. Perhaps because I have BRIGHT purple hair. I write quotes everywhere, bop around London, England, so if you're ever in town you'll probably see me falling over my own feet in the street... I adore lyrics to the point of deliberating over them for weeks on end, I think it's important to say what you mean, and mean what you say. I get really fixated on things, boys, foods, pretty much anything - that's the way I became a musician, one day I picked up a guitar and I've been addicted ever since". As we speak, Ellie Rose is preparing for upcoming gigs, that will see her taking her music to new audiences. Last year, the E.P., Speed Bump/Memory Foam was released- a quartet of tracks highlighting our heroine's range, ambitions and talent. The love and affection for lyrics and 'getting the words just right' were evident within the scenes and evocations the E.P. offered forth. It was an impressive work that- nearly 10 months after its release- is still receiving effusive praise and regard. When The Flux came to review the collection, they summarised it thus: "A four track EP which showcases her great vocals and acoustic sound, this record is a feel good piece and one that will get you singing along almost instantly... When we saw her set at Dot to Dot, she had presence, talent, beauty and personality and the debut EP showcases all of those qualities. A good listen indeed and a young artist who has a promising career ahead of her". There is no hyperbole or over-exaggeration on offer: it (the review) is a concise distillation of what makes Ellie Rose so memorable. I initially came across her only a few weeks ago, yet have been intrigued and compelled since. There seems to be multiple sides and contours to our heroine. When you investigate the Twitter feed of our star, there is a mixture of wit and wisdom to be found. A down-to-earth humility and humorous façade spars with open honesty and earnestness. It is very much a personable and relatable account of a young woman witnessing life in all its many forms. Her website is filled with colour and stunning designs; girlish glee and cartoon imagery; modest and image-setting biographical offerings. When you consider Ellie Rose The Songwriter, perhaps a more serious side comes to the fore. The jovial and uplifting elements of her personality are imbued within the music, yet there is a great degree of thoughtfulness, emotion as well as concise storytelling. Songs such as Mask offer some striking insights: "Mother to your right/Clenched her fists up tight/They said things she didn’t want to hear"; "Mask on/You’re so high strung/That you think you can take on the world/Nobody gets you but your mask doesn’t let them through"; "But don’t worry cause you’re gonna get out soon baby". A passionate and consistent vein of stirring vignettes, runs through Ellie Rose's music. Aside from her E.P., tracks such as Sell By Date look at the heartaches of love ("There are so many arrows in my heart/And every time it’s beats/They puncture my lungs/I can’t breathe/So I’m just lying/And now I’m crying"); Crayons mixes childhood images and metaphors with honest admissions ("I can get creative/Getting frustrated/I can be quirky/Whatever works for me/I can be boring, a little annoying..."). It seems that our heroine spends a lot of time honing and moulding her work. Perhaps falling over her feet and distracted clumsiness is conducive to prosperous outpourings. It is not just the songbooks themselves which catch the eye- and stick in the mind. Ellie Rose's voice match her words. When a song calls for some direct and straight-talking, it is focused and potent; when sweetness and sensitivity are evident, the vocal performance contains these elements. With regards to influences- both in terms of song writing and vocals- our heroine is a little more secretive. It is clear that the likes of The Beatles have influenced her song writing style, but Ellie Rose would rather the music do the talking- and allow you to draw your own conclusions. Since 2007, no less than 170 gigs have been completed, which have seen our heroine venture to all corners of the U.K. I am sure that before too long, the likes of the U.S., Australia and Europe will demand her presence- her music has a sound that could easily transfer to these parts, and be met with huge demand. When looking towards the future, our heroine sees it in these terms "I’m not worried about the future and, unless there’s a Zombie Apocalypse, I’ll be happy as long as I get to make music". World domination by the undead is an unlikely predicament, yet a busy music calendar is a very realistic one. When I sat down to examine Ellie Rose's E.P., I was torn which song to review. Each track has its own life and appeal, yet I was most struck with- in my mind- the standout cut: Speed Bump.

There is no room to reflect or wonder (within the first few seconds). Ellie Rose's vocal is straight in imploring: "I need to get myself together/Because I'm falling behind". The vocal itself is quite relaxed and breezy- without being too matter-of-fact. Backed by a springing and elliptical acoustic guitar line, the track's embryonic moments are compelling- the vocal is syncopated and measured at the same time. Our heroine has a certain kick in her step, yet there seems to be some dislocation in her life ("I'm hoping for some better weather/I could do with some sunshine in my life); friends in her life have been going through some tough times; our heroine (is) "just hoping they’ll survive". The initial moments of the sun have a great mixture of sunshine optimism as well as reflective thought. The vocal performance ensures that (the less-than-sunshine) lyrics are imprinted in your thoughts. Our heroine's vocal at once rises to a sweet high; before unfurling a breathy and romantic parable. The mood and pace shifts and changes- giving the song a constant energy. Ellie Rose draws in some personal biography as well as some sage advice: "We're writing out our favourite lyrics/On our arms to pass the time/Don't you know the charmers are the dangerous ones?/Don't you know?" In spite of life throwing up some obstacles ("It's all a learning curve/And I'm going round the bend/And I have learnt/All good things have to end"), there does not seem to be defeat or capitulation in our heroine's mind. Most songwriters (when writing about similar subjects) would inject overt anger or mordent overtones; yet Ellie Rose seems more defiant- in spite of everything. Towards the 1:00 marker, it seems that ghosts are being laid to rest; demons exorcized. Whether she is speaking to a former friend or a no-good sweetheart, I am unsure, but she has some choice words: "And then you stabbed me in the back/And I’m hoping that you know/You were just a speed bump". The way in which imagery and metaphors are employed are effective indeed- the song's title is particularly evocative. The recriminations and aftershocks have done their work; our heroine unsure how to readjust ("I'm bitter like a Monday morning/Because I don’t know how else to be")- whomever is the anonymous culprit has left some scars for sure. By the 1:15 stage, our heroine multi-tracks her vocals; providing augmentation and additional force. It is the juxtaposition of swaying and beautiful vocals; balanced against painful recollections, which ensures that Speed Bump keeps you engaged and wondering- whilst always rooting for our heroine. As our tale progresses, we are- once again- perhaps given a glimpse into our subject's personality (and approachability): "And I am really fascinated/By the people I pass on the street/And they are just human...". Although she is wandering the streets, and trying to reflect, there is an underlying anxiety and fear ("They shouldn't make me nervous but they do"). There is always a sense of sympathy and empathy (that one has for our heroine); it appears a lot of unwarranted hurt has been caused; this is distilled in a rather heartfelt message: "One day I hope you realise/You hurt the one girl who could never hurt you". I detected a little U.S. influence in Ellie Rose's vocal; perhaps also some elements of Eliza Doolittle and early-career Lily Allen- there is a comparable mixture of effusive mood and slice-of-life tableaux. After the chorus is reintroduced, our heroine is- once again- trying to put things back together: "And now I'm picking up the pieces/Like an end of the film cliché/And everyone is thinking/I'm a breathing catastrophe". There is never any sense of a teenager being a teenager- i.e. having a bit of a strop on. There is an abiding sense of a woman having suffered setbacks and roadblock- dealing with it in the most mature way possible. With delicate and subtle piano plinks; backed with some wordless backing vocals, the lyrics are instilled with charm and life (and almost a lullaby quality): most contemporaries (of her age) would regress to infantile and child-like stomping. As the track enters its autumn stages, our heroine is in more philosophical and optimistic mood: "And I am almost sinking/But I know that it won’t last/And I have always wondered/Why do we sugar coat the past?". As you become enraptured within the vocal line (and accompanying composition), you get the sense that the subject of Ellie Rose's discourse, may be directed towards a former beau; someone whom was a snake in the grass; a cad, well... a bit of a bastard to be honest ('cause you were just a charmer and a dangerous one/Weren't you?/It's all a learning curve and you were dangerous and shameless/All of the way"). By the track's closing moments, there is a slight air of resignation and shoulder drop, as our heroine states: "I can no longer trust you or anybody". The energy and song's relentless efficacy continues unabated, hiding heartbroken sentiments ("...and you didn't care/And you still don't/And you never wanted me/And you probably won't... "). Into the last moments, we have witnessed a lot of change and outpouring from our heroine; she has traversed a great deal of emotional ground, trying to make sense of her lot. The song's final sentiment mirror's its opening("I've got to get myself together"); and we are left wondering how things will work out- and whether Ellie Rose's anonymous target ever gets their just deserts.

There has been enough offered, which suggests Ellie Rose will be making waves for many-a-year. I have hinted at the competitiveness and hustle that is present within the solo market (and music as a whole); so it is no faint praise to our heroine. Her music may not- as yet- be overly-familiar to many, and her songs may take a little while to bed in and reveal their charms. She is a gorgeous and striking musician whom is determined to get her name and music spread to as many people as possible- her ambition cannot be faulted. I have hears too many bland acoustic solo acts, as well as those whom favour the darker end of the colour spectrum. Ellie Rose is someone whom is instilled with a natural intelligence and poeticness; reflected in the music she makes. Our heroine has a bright and cheery exterior; she has a warmth and is a spritely extrovert, as well as a sense of demure. Her sounds are ready-made for the modern market. They contain upbeat redemptive mandates, and cutting bite and insightfulness. It is perhaps the range that Ellie Rose offers up, that is so impressive. On her Speed Bump/Memory Foam E.P., a hell of a lot of ground is covered. Songs that reflect on hard life lessons and inner city paranoia mingle alongside codas advising of change and strength; "Bright lights/A smell that bites and everybody’s rushing". If you are more familiarised with heavier motions- such as me- or classic ‘60s elements, then I advise bravery. There is nothing cloying, saccharine or infantile about our young artist’s mandates- she has a maturity and rare intelligence that one would not expect. Ordinarily, young stars tend to be as little naïve or immature. Their music and outer projection comes across as- with a few exceptions- juvenile. Ellie Rose has a wise and mature head that means she connects with young audiences as well as all other sectors. There is a certain vibrancy and eye-catching schematic to Ellie Rose’s website and distribution, and is a facet that will reap dividends. On her official site, all the information one needs is laid out. Her designs and presentation is effective and impressive- the new fan has easy access to all of her work and biography. Ellie Rose has ensured that her music is available readily and in multiple locations; meaning that it is a lot easier to come across her music. I have been impressed by our heroine’s songs and music- in its fledgling stages- and there are suggestions that a long career is in order. Ellie Rose has an affiliation and affection for lyrics, and the concision and nuance of her words will remain in your mind. Her voice is strong and powerful; as well as sweet and coquettish- there is a noticeable emotional range as well. Ellie Rose can go from an entranced coo to an empowered rise within notes; seamlessly unveiling a myriad of scenes of movements. I have sought out or her E.P. and investigated its progeny; I find myself re-visiting and listening to the tracks on offer. Her music may not be able to convert Metal Heads and Grunge aficionados, yet there is the potential to win votes from Rock and Indie lovers; as well as her existing fan base. You cannot help but to admit that our heroine represents a needed breath of fresh air. Too few are too down-hearted and serious: the thrill and difference of music is often lost because of this. This year has started out quite triumphantly with consideration to new music. I have heard some great band music; terrific international flair- as well as a host of solo wonder. I am in desperate need of shaking up my routines and music rotation; it is a nice surprise when acts arrive that provides a viable and pleasant alternative. The benefits inherent in music are multiple, and the best way to attain a full sense of satisfaction is to seek out as much diverse and interesting music as possible. It will be noteworthy to see where our heroine goes next, and whether an L.P. will be on her mind. Her recent touring schedule suggests that there is a need amongst the public to hear her music, so there will be a lot to mull over (for Ellie Rose). There is resurgence and- as of now- dominance in the solo theatre from female acts- they seem best adept at tapping into what consumers want at the moment. Our heroine should be proud of what she has achieved so far- and how she has gone about doing it. Her mission statement suggests a young woman on the precipice of a breakthrough, and she is filling a void few are talking note of. There is introspection and tenderness within her motifs, yet the abiding sensation of redemptivness is something much-needed. Tomorrow, I am spending much of the day looking back at an idol of mine- Jeff Buckley- and although I will be exploring some brilliant music from the late legend, there will be sadness and reflection. It is good that I have something to smile about today; and would advise people to seek out Ellie Rose’s uplifting music. If new music continues to produce such range, consistency and fortitude, then it is quite clear....

MANY inspired (wannabe) musicians will be compelled to make their first moves...

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Follow Ellie Rose

Official

http://ellierose.co.uk/

Twitter

https://twitter.com/ellierosemusic

Facebook

https://www.facebook.com/theellierose

YouTube

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

SoundCloud

https://soundcloud.com/ellierosemusic

Tour Dates

http://ellierose.co.uk/gigs.html

March 23, 2014

musicmusingsandsuch

Uncategorized

Feature: Mélodie- "The Space Between The Notes"

March 23, 2014

musicmusingsandsuch

Uncategorized

FEATURE:

Mélodie:

"The Space Between The Notes"

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Music means different things to different people; affecting them in ways that cannot be explained. I examine the effect it has on me as well as countless others. In my view, Bob Marley summed it up best: "One good thing about music, when it hits you, you feel no pain".

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THIS is going to be a long one, so please stick with me...

Prelude: The Curtain Rises.

It has been said- by someone with more patience than me- that everybody has a novel inside of them. I dabbled with the idea of novel-writing a few years ago and hit upon an idea. It was going to be called The Palookaville Bible; it would follow the 'plot' of the Old and New Testaments, yet be set in a modern-day Texas town. It would have a striking and gorgeous front cover, and be have a story arc that would include everything from action thriller, romantic comedy to Breaking Bad-style drama. I abandoned the idea the moment music really started to take a grip on me, deciding: everyone has an album inside them. I think this is true, and I have been wondering what it is about music that so utterly compels and unites people; why it hits them and how it remains such a potent and awe-inspiring force. There is an entire science dedicated to the study and effect of sound perception- Pyschoacoustics- and is a word that really struck me. I have long wanted to open a central London music bar/cafe (a two-storey affair) with its own recording studio; something and somewhere that is dedicated to music and enjoyment of it- where it can not only be listened to (via jukeboxes) but recorded and enjoyed (via a music website that would project onto walls on the upper level of the complex). It may seem pie-in-the-sky but fills a real need; the obsession and need to embrace music in all its form is a never-ending quest for perfection. Before I go into more depth, I want to tell a parable. I was in London last week, and- after walking around the capital for hours- dropped in for a coffee somewhere need Shaftesbury Avenue. Having sat down a stranger asked me what song was playing over in the particular branch of Costa Coffee- it was Blue Hotel by Chris Isaak, if you're curious. Where I live and work- in and around Surrey- that would never happen. No one would ask that question, and nobody would- after having asked you that question- allow you to enjoy your coffee- in an environment with no screaming children; just well-behaved adults. Inspired by this act of human connection- via a few scribbled notes- I have decided to write this missive; to try to figure exactly what it is about music that connects humans; inspires them to open up and how it affects your early memories. London- on that day- was inspiring. After listening to Blue Hotel I began to scribble some words; as the song's melody and energy compelled me to write lyrics (in accordance with the song's time signature and structure); Champagne Supernova came on and again words flowed. After listening to Your Woman (by White Town), scribbling continued unabated ("Your brain and your mind are transposed/Your heart and your soul exposed..." were the first thoughts); Black Horse and the Cherry Tree (by K.T. Tunstall) then came on, and... well you get the idea. Suffice it to say that by the time I had drained my cappuccino, I had lyrics and ideas for several songs. I felt my mind had been cleared; yet by the time I reached Green Park tube station I heard a busker sing, and my brain was off again...The proximate cause of my blog is that connection with a stranger; we get here, to the ultimate causation...

Can't Get You Out of My Head: Why Music Sticks In The Mind.

John Lennon said that music was "everybody's possession"; Plato claimed that it gave "soul to the universe"; whilst Marilyn Monroe stated that it was "the strongest form of magic". For me, music gripped me from a young age. I have been curious whether it is upbringing and your formative year that enforce a love of music. For me- being born in 1983- I was exposed to a myriad of genres, including New Romantic moves and Michael Jackson's best work; as well as my parents' music as well. In so much as I have fairly dim recollections of childhood and key events, it is the music and songs I was exposed to that have remained firmest. At the age of 5-or-so Rubber Soul (by The Beatles) was a permanent fixture on the family stereo. I guess the quality of the music on offer compelled me to concentrate my life to its pursuit, yet the fact that I was subject to it at such a tender age is the most vital point. There have been studies and papers written about how music affects children, and its importance in future years. Music and its effects were some of my happiest early memories, and encouraged me to pursue it as a future career. One-off songs, that I would not usually adore, became firm favourites. The likes of Iron, Lion, Zion by Bob Marley; Song For Whoever by The Beautiful South; as well as A Good Heart (by Fergal Sharkey) have all remained in the brain- because they scored childhood scenes. I am not sure- if my mother were no such a music obsessive and devotee- that I would have the love for it that I do. Music years such as 1994 are especially vital as I was a schoolboy when they happened. Amidst some tough and rather dull times of my life, the likes of Britpop and Grunge were circulating my brain- providing an escape and realistic portal for release.

On that point, music sticks in the mind, as it allows the listener to escape. At this very point in time, there are a number of emotions rustling around my mind. I have an uncle not long for the world, whom I am running a half-marathon for- and preparing for now. Physically, it is going to be an incredible struggle and every 'training' run I am completing is leaving its marks on my heart and body. I am leaving my job of nine months in a couple of weeks, and am scared of the future. There are words and thoughts I should be communicating to particular people (in my life); afraid to do so, aware of possible ramifications. There is a lot to take on board: possible romance; a frightening transition and planning the future. I am not sure how each of these facets will resolve themselves, yet in music (as a listening experience and possible career) there is escape and a friend. It is a marvellous art form that allows one to get away from their troubles and immerse themselves in something that will not judge or ask for anything in return- it is like a family pet. There is barely a person I know that does not use music as a form of comfort; of rehabilitation and medication. I know how f****** scary the next year will be for me. I am not sure how my plans for a music career will play out; how romantic endeavours will play out- and just where I will be in the world. In spite of some potential turbulence and unpredictability, music will always be there and provide warmth and a sense of reassurance. It gets into your mind, because it should. It gives a stability and constancy that human relations do not provide; the effects are never-ending. Music compels me to be kind to others; buy gifts and show that I care; to connect with people I will never usually have met or encountered- I shall touch more on a particular case study, later.

Before I examine my favourite music, and why it means so much to me, there is another vital aspect of music: visual representation. A lot of music lingers in the mind, because of music videos. Videos allow actors to become involved with the form, and the video as an art form, is a vital asset. Most of us will listen to a song- whether it has a video already created for it or not- and imagine scenes and scenarios. The best music has the power to allow your mind to drift and wander; to speculate as to what the author(s) are imagining. For me, songs such as (The Smiths') Sweet and Tender Hooligan are begging for a video; such is its (the songs) evocative-ness and humour- I will figure a way of making a video for it, mark my words! Great directors such as Jonathan Glazer and Michel Gondry have cut their teeth making the sort of music video that you cannot easily forget. Consider Glazer's videos for Street Spirit (Fade Out) and The Universal; Gondry's efforts for Lucas With The Lid Off, Fell In Love With A Girl and Human Behaviour- watch them and be amazed. Such if the kinship and fraternal bond between music and film, that there is a cinematic element involved. Practically every new song has its own video, and the most impressive of the breed can give music new life. I have written a blog dedicated to the art form, and how a wonderful video can elevate a song and give it a lease of life that it (often does not) deserve.

My Favourite Things: Artists and Albums That Have Meant The Most To Me.

Music, as much, as anything is a personal thing. There is a degree of subjectiveness when it comes to selecting the best albums and songs of all-time. For this piece, I made lists of my greatest songs, albums and singers- trying to find what makes them remain in my mind, and constantly compels me. For me, it is the vocal side of things- the singers- that stoke a fire in my heart. For different people, different aspects of music are most important. I am attracted to voices and vocal nuance, and as such, a lot of my favourite albums and songs are delivered by some of the greatest vocalists ever. To my mind, Freddie Mercury is the epitome of a vocal legend, as he brings music to life. Queen's songs are not amongst the best and most memorable (with notable exceptions) yet Mercury have such power and conviction to them all, that you cannot help but be spellbound. It the operatic quality; the range and sheer power that gets to me. Similarly, singers such as Michael Jackson and Kate Bush have that similar range. Jackson has a child-like softer edge, yet has incredible lung power. His unique tics and idiosyncracies enliven his music, and albums such as Bad and Dangerous remain in my regular rotation due to his compelling pipes. Mercury and Jackson, to me, are two singers whom have no real equals. Because of the way they project and pervade, means that their music and legacy has remained- they are icons everyone should be inspired by. Kate Bush is a timeless voice that is like no other. Some of my earliest memories revolve around The Kick Inside and the weird and wonderful moments within. There is just something seductive, comforting and exciting in Bush's voice that I cannot really explain. Jeff Buckley and Thom Yorke are two singers whom inspire me hugely. Buckley is my music idol, and a man whom makes sensitivity and purity inspiring. If you listen to his live album Live at Sin-e, it is an intent and stunning work that shows the young master taking his first steps. Grace is such a vital album for me, as Buckley scores every track with his gorgeous voice. Tracks like Hallelujah haunt and stun; Last Goodbye is a stirring tale of romance; whilst the title track is a huge and powerful vocal performance. It is debatable whether Thom Yorke would have been the singer he is, were it not for Buckley. The album, The Bends changed direction because of Buckley; the falsetto nature and predominance of some of Radiohead's best work is a direct correlate of the late American- it seems that Yorke is the most worthy incarnation of Buckley that we have. It is the voices that- to me- make music come alive. Albums like Superunknown are synonymous with Chris Cornell's extraordinarily powerful roar; songs such as Wuthering Heights are Wicked Game seem polar opposites: each song deals with romance but in different and striking ways.

Being a prolific writer, lyrics and imagery are reasons why music gets to me. I look at lyrics and songwriters and try to get inside their heads- which in turn has inspired me as a writer. Bob Dylan is a particular hero of mine, and find him to be without earthly equal. Albums like Blonde on Blonde and Blood on the Tracks are paragons of quality and memorable tableaux and contain some of the finest words ever penned. To my mind, Dylan's finest album is Highway 61 Revisited. As well as genuine classics such as Like A Rolling Stone, there was an even more impressive song in its midst: It's Alright Ma (I'm Only Bleeding). As much as I adore Dylan The Romantic Poet, when the master lets his stream-of-consciousness mind take over, the effects are mesmeric. It's Alright Ma spits out words and lines; fractured and dark scenes; vivid and strange side streets and wandered. Words are vital in order to make a song remain in the mind, and the likes of Bob Dylan are synonymous with this- he is a genius of song. John Lennon and Paul McCartney are rightful icons, and between them have written some of the finest tracks of all time. Lennon may be the stronger songwriter of the two, yet the pair are strongest when they wrote together. Some of my favourite albums include Abbey Road and Rubber Soul, and it is not hard to see why. Rubber Soul looks at childhood memories and past friends (In My Life); upbeat and quintessential '60s songs (Drive My Car) as well as tender love ballads (Michelle). Abbey Road had harder moments and tough edges (Come Together for instance) yet also wore its heart on its sleeve. The best songwriters make you feel better about your own life; share their experiences of failed love as well as introduce you to their childhood scenes and sights- Lennon and McCartney did this in spades. The vocal performance is elemental, yet when you pen songs filled with delight and imagery, then you draw in the listener and ensure the track lodges into your brain. I have spent most of my adult life writing lyrics, in the pursuit of fruitless perfection- trying to rival my lyric legends. We all have our favourite lines and songs which best explain my point- think about what yours are. I have compiled a list (below) that tabulate my favourite songs, albums and singers, and each are synonymous with one or two (or both) facets: great lyrics and/or brilliant vocals. It is clear that past examples enforce our tastes and passion for music, but unless a new band of musicians keep the fires burning, then there is a danger our deepest passions will begin to wilt.

Time For Heroes: The New Wave of Future Wonders.

I will look at a few music examples, who I think will represent some of the best and brightest acts of the future. I will begin with one of my most recent subjects, and someone whom illustrates another point I will bring up: geographic location. Jen Armstrong is someone I featured a week ago, and one of the most impressive talents I have surveyed. In spite of being drop-dead gorgeous (sorry...) there are multiple elements that strike me about her. I shall touch on geography very soon, but it is clear that Armstrong will be a huge future prospect. Her voice appeals to me because of its sheer range. My love of Kate Bush, Eva Cassidy and Freddie Mercury are all within Armstrong's lungs. In her songs, covers and E.P.s (such as 60) there is such a range and force. Her voice at once is sweet and cooing- quite coquettish and come-hither. At the other end of the spectrum, huge vocal belt and prowess score tracks- her voice is such an impressive instrument. Seek out her music as much as possible, but here is a talent whom does not rest on her laurels or restrain herself. There is a conviction in all of her performances, and this is coupled with a skillful and memorable set of lyrics- that perfectly support her voice. In last week's feature, I investigated some of Armstrong's songs and was impressed, not only by the intelligence and stirring nature of some of her tracks, but also the humour and wit that was abound. 60's title track is charming and piquant; funny and alcohol-strewn; her most romantic numbers are tender and heart-felt- she is a mistress of all trades. Her recent tour of the U.S. introduced her to new scenes, but also gave her inspiration for new material. I am going to be watching Armstrong closely, as I truly believe she will be a big fixture of the festival scene; a name and face to behold- someone whom has inspired recent mobility and inspiration in me. I hope to meet her one day and experience her personality and music first-hand; ask her what inspires her musical mind and creations. Before I surmise another key talent, I want to bring up a subject: geography within music. I have wondered whether a location, or particular cities breed the greatest music- or whether it is dependant on other factors.

Armstrong is a Yorkshire girl, and Issimo- a band for whom I have spent a lot of time listening to- also call this county home. They have an E.P. upcoming and are touring extensively at the moment- bringing their music to Yorkshire crowds are further afield. Most of the best and startling music I have heard in the last year has emanated from this part of the world; Cuckoo Records stalwarts and one-off gems have enlivened my ears and brain. Issimo consist of Marc Otway and Abi Uttley, and have some shared D.N.A. with Armstrong. They pertain to the witty and romantic ends of the spectrum, and have crafted some memorable and brilliant numbers. Otway is a multi-instrumentalist and incredible songwriter; Uttley a superb talent and brilliant singer. In terms of their musical output, it ranges from romantic and heartbroken tales, through to humorous by-play and slice-of-life novellas. They are another act I will be looking to investigate a lot more in the future, and are going to be riding the festival wave alongside Armstrong. I have not heard a bad or mediocre song from the duo, and they seem to have an intuitive and close kinship which has enforced their songwriting output.

Bands have been on my mind recently, and I have witnessed many whom I can see as huge future prospects. Two of the finest are Crystal Seagulls and Los & The Deadlines. I have reviewed both acts, and have been constantly surprised by their quality and ambition. Crystal Seagulls are an act whom have played some prestigious gigs and continue to strive to reach as many people as possible. Their tracks have elements of classic '90s acts such as Oasis, and present epic and uplifting mandates as well as cutting romantic tales. Like Los & The Deadlines, they are based out of London- yet draw their membership from farther afield- and are helping to put the capital back on the musical map. Los' are masters of Zeppelin/The Mars Volta-esque heaviness and quality, and their recent output has seen them grow hugely in confidence. Their tracks are filled with nuance and huge force; their lyrics range from insightful commentary on social media through to drunken local watering holes. Both acts are natural-born performers and ready-made for the best festivals such as Reading and Leeds. Keep your eyes on these two, as in a market that does not define quality- the band realm- here are two examples whom are capable of massive potential and glory.

Before I feature two female solo acts (that are going to be mainstays), I want to mention another band: Universal Thee. These Scottish wonders employ elements of Doolittle-era Pixies; the rambunctious abandon of The Libertines; as well as Teenage Fanclub movements. In spite of all influence, they are their own band and represent a huge originality and flair. The husband-wife pairing of James and Lisa Russell spar and combine wonderfully; Robin Spivey, Andrew Perrie and Kevin Haddow provide a forceful and potent sonic backing- the band are tight and instilled with a close bond. Their Back to Earth album is released on March 28th, and is the summation of years of hard work, scrimping and honing- I know that the results are going to be fantastic. Like Crystal Seagulls and Los & The Deadlines, Universal Thee favourite anthemic and heavier motions, and are Scotland's finest. When we look at new music, there is always a need for something new and exciting- as well as a hint at the past. Universal Thee have some shades of past masters, but offer up the sound of 2014- a fresh and invigorating sound and set of songs. Again, these guys will be kicking arse on the festival circuit, and have the potential to rival current gods such as Queens of the Stone Age.

Lydia Baylis and Chess are two artists based out of the south. Baylis is an arresting and stunning artist whom has a brilliant range and ability. Songs such as Ghosts and Mirrors are awash with ghostly undertones, dark majesty as well as cracks of redemption and light- all wrapped up in Baylis' stunning and pure voice. I have reviewed a few songs from our heroine and have always been staggered by her range. Like Armstrong, Issimo and our featured bands, Baylis does not stick to one path. Life Without You had a happy-sad dichotomy, and saw our heroine in emotional and witty guises; putting an anonymous beau to rights. Baylis is also a columnist and blogger and features other artists and touches on various subjects. Here is a multi-talent whom works hard on her craft and has been touring breathlessly over the last year. I am excited to hear what Baylis will come up with in the future months, and will be supporting her all the way. Chess is an act based out of Surrey (but hails from Malta), and she was one of my first review subjects (all that time ago). Recently, I reviewed her second E.P., Tuxedo, and was impressed by her quality, maturity and consistency. Having been familiar with her work, I was expecting some striking goods, yet was not expecting such a great release. Unlike Baylis, Chess has a grittier and harder sound (within a Pop/Soul realm); songs such as Dangerously Beautiful and Vanity are accusatory and forbidding; love and romance are given a new spin, and the nature of self-absorption are given fertile ground. Chess' previous E.P.- Babygirl- was a little gentler and more romantic, bot both releases show an artist whom is growing in confidence and determined to be around for many years to come.

The Extended Drum Solo: A Bit About Me.

Before I dovetail my components, and talk about my musical ambitions, I will speak of two women whom have had a profound effect upon me. The first, is Chloe Jane Sparrow whom is one of the most dedicated music-lovers I have encountered. A while ago- as I was starting my own music blog- I was reading her pages; inspired by the types of music she was listening to- and how she wrote. I have never met her, yet her love of music and infectious work ethic compelled me to press on with my blog and seek out music beyond these shores. Being based in Europe, Chloe has featured a lot of our continent's best and finest- past and present. She has had a brief sabbatical from music blogging, but is returning to it soon- I hope- and is someone whom I turn to when seeking out some great new music. Music and shared interests bring you to the attention of some marvellous people; those whom you would not ordinarily encounter. A shared passion for music- new and old- has connected me with a young woman hundred of miles from me- someone whom has helped to mould my writing and posts. One of the most striking and important events of my life was happening upon Kate Hollowood. I say 'happening upon' as I did get rather lucky. Having been perusing a mutual friend's (Brooke Dibble) art work, I stumbled upon Kate's Twitter feed- back in February of 2011. Having clicked on the link for her blog (mylittleponderings), I started to read her works. The first encounters I had were Kate were via her blog; more specifically music-related posts. She wrote about how much affected her and- in no small part- has inspired my own interpretation on this theme. I was instantly spellbound by someone whom seemingly thought the same way as me; a human that shared the same passion for music and...well, she has been responsible for most of my writing career over the last three years. I shall not be too fawning (to make her blush), but here is someone I have not met in the flesh, yet has unadulterated faith and belief in me. My own family does not encourage my musical ambitions, yet Kate does- the two of us seemingly share a lot in common and have similar ambitions. If was a simple- yet memorable- blog post (from Kate) that compelled me to contact her- it remains one of the smartest things I've ever done. I owe more than I give her- reality, for a start- and have always been so thankful she has stuck with my loyally as a friend. As well as pretty much being my 'ideal woman' she, above all, shares a passion for music and is an actor whom wants to achieve big things. Forsaking a rather banal and everyday life, she has chosen to follow her dreams- in spite of everything. It is her determination, focus and strength that have pushed me to plug ahead with my ambitions- for that I cannot thank her enough; one day I will do it face-to-face. It is not intended as a sort of love letter, more of a valid point: music can connect you with some great people, and similar-minded humans. Some may come and go; others drift away (I have one or two music friends who take a lot more than they give and have made me pretty pissed); yet there are the truly special people who stay with you and make life better-Kate is one of them and the best one of them, too. I shall wrap everything up soon, but my final big point relates to where I am not: my own music and future aims. Everything I have so-far written about has led to the here and now. In the next week or so I will be writing a feature that is essentially a band pitch. I have gone about my music career backwards: songs and ideas completed; all the details in place- just no band! I am looking for four members; hopefully one woman amongst them- essentially 2 guitarists (and maybe vocalist); bass/piano player and drummer. I have cemented all the details (below), so am at the stage where I want to talk it over with like-minded musicians; get the group together and start making big waves:

Death of the Sweetheart- Marriage: The Beautiful Revenge

Black Majesty Blues: