TRACK REVIEW: Glassmaps - I’m Sorry

TRACK REVIEW:

 

Glassmaps

I’m Sorry

9.2/10

I’m Sorry is available via:

https://soundcloud.com/glassmaps/im-sorry/s-mZvDp

GENRES:

Rock; Alternative

ORIGIN:

London, U.K.

RELEASE DATE:

1st September, 2017

___________

IT is interesting so much of my current…

endeavour revolves particular areas. At the moment, I am (mostly) caught between London, Canada and Australia. Now, when looking at Glassmaps, I am back in Australia – and London, too. Although Joel Stein’s moniker is stylised – not something I can easily produce on a keyboard – there is a lot to love about the man. I will look at his track, I’m Sorry, soon, but, for now, an investigation and insight into the songwriter. I wanted to talk about artists from Australia and leaving that life; stepping away from a successful band; making relatable aspects stand aside from the competition; how hard work ethic can lead to incredible live dates; looking at love through music – and having to accept the truth – and mixing different colours/decades into an album. So music, for Joel Stein, is dispositive and reaffirming. He has changed a lot since his band-days in Australia. From the 2004 formation in Sydney – through to the London dislocation a couple of years ago – Howling Bells enjoyed a successful and inspirational career.  I will talk more about the band but it seems odd so many Australian artists are coming to the U.K. For Glassmaps’ creator, that happened quite a while ago, now. I am idealising Australia – I know it is not all sun and sea – but I am pining for the draw and allure of Australia. I have reviewed artists from Melbourne and Sydney through to Brisbane and Hobart. There is something about the nation that attracts me and beckons the reviewing side. A lot of Australian acts are coming my way and, each time I look at an act from there, there is something unique and engaging. Not to stray too far from the path of focus but looking at Joel Stein’s past and one can understand why he wanted to join/form a band in Australia. It is a great place for musicians and somewhere that intrigues the imagination. The incredible landscapes and varied areas; the fantastic people and wonderful history. So, then…why are many artists coming to the U.K.?

I guess there is greater wealth and variation here in Britain. Maybe there are more creative and commercial opportunities available over here. Naturally, many come here because that is where life takes them: other times, there is the need for greater stability and progression. The weather here, especially today, would suggest there is a lack of judgement when abandoning the clement and calm of Australia. Maybe we are in that mindset that suggests people would tire of the U.K. and chase the warmth and adventure of Australia. There are benefits of both countries but I feel, in the case of Joel Stein, there is more of a career for him here. Although there are a lot of great Australian acts, we do not often associate the nations with big labels and the best new acts. Maybe that is due to the fact our media does not spend a lot of time there. I feel, however, there is great music in Australia but nothing that rivals the finest of the U.K. (and U.S.). Here, we have some huge labels and radio stations that broadcast over the world. Australia has international brands but their scope and popularity are not on the same level as here. Many artists go from somewhere like Sydney to London because there is a richer and more stable fanbase ready here. For Joel Stein; he would have weighed up (years ago) the benefits of both nations and made the decision to come here. Now he is here; he is embarking on a new path and reaping the rewards of the British music scene. Not in a cruel way but there is nothing THAT standout regarding Joel Stein. He writes subjects that are similar to a lot of songwriters and has a story that does not leap from the page. The reason he is so special is how he has adapted from one way of life and created a new one – a big leap and fantastic new project that is among the most compelling at the moment. He is firmly based in the U.K. and is seen as a talent who can go very far.

In explaining and rationalising Glassmaps; it is important looking back at Joel Stein’s previous lifestyle. Howling Bells is a band many of us are familiar with. The band formed in 2004, in Sydney, and gained moderate success in the U.K. following their self-titled debut in 2006. Juanita Stein, Glenn Moule, Joel Stein and Gary Daines recorded the album, Heartstrings, in 2014. Although there is no word of any follow-up album; it seems Joel Stein is engrossed in solo work and has no intention returning to the fold. It seems their ‘current’ album did not fare as well with critics than their earliest work. Critics felt there was a listlessness and repetitiveness in Heartstrings; a sense of weakness at times and a lack of focus. Although there are great moments, the L.P. lacks the bite and nuance of their debut, for example. Despite the slight decline; the lifestyle of Howling Bells would have been something to envy. Every band has a great story but it seems the Australian band were ones to watch. That is still the case but imagine those early days and the adventures they would have had. Getting attached and engrossed in that mould would have been easy and comfortable. In Australia, Howling Bells enjoyed success and performed some incredible gigs. In fact, when I talk about the band, I give the impression they recorded all their material in Australia. They started life there and would all have been based there in those early days. By the time their debut came out, they were in London and aware of the landscape here. It seems, therefore, not a huge leap to go from a popular band like Howling Bells to a solo life. Joel Stein knew the pace and makeup of the U.K. and what was required as a solo artist. It is still hard to fathom why so many come from Australia to here; go from a band into a solo life – it seems an opposite attack would be more romantic.

I am not down on this country but have yearnings to visit Australia and capture a lifestyle that is less hectic and stressed. What is interesting about Glassmaps is it is a natural development from Howling Bells. The Glassmaps template is not an enormous departure: Stein takes colours and skills from his band and brings it into his new work. Maybe he has got all he can from the band – and not completely detached from the guys – but it is still quite a risky move. If you are in a group that has enjoyed popularity and has an established lifestyle – leaving all that and stepping out on your own can be nervy and hazardous. You do not have the stability and backing of your bandmates and have to start anew, in a way. Stein is an experienced musician and knows the landscape of the business. Even so; he as to re-establish himself and grow from the ground, up. Whilst Glassmaps does inherit blends of Howling Bells: so many different contours come into Stein’s solo output. I will step away from this point but have seen other artists go from a band to stand on their own feet. It is impressive to see and I am always drawn to their bravery and need for a change. For Joel Stein, based in London, he would have learned a lot from Howling Bells and that, in turn, would be the foundation on which he launched Glassmaps. Now, away from the Sydney-formed band, Stein is venturing out and putting his music to the world.

Strangely Addicted is Glassmaps’ new album and one that is full of stories and revelations. It is one of those personal records that seems to resonate because we can all appreciate what is being said. I will talk about I’m Sorry but consider another release like Hypnotised. That song bursts with harmonies and Beatles-inspired bursts. There are 1970s elements and Classical hints; a real array of sounds and sights. The key theme is being captivated by the charm and sexuality of the girl and not being able to step away from that. If the composition dynamic is rare, the story being told is one many of us would be aware of. A lot of my reviews have been about the familiarity of music and how few manage to distinguish themselves. One of the worst things about modern music is how many artists attach themselves to something ordinary and overdone. We have all felt the pangs and twists of attraction; the heart-skipping rush of love and the sting of loss. These are not new aspects and many songwriters are not adding anything original to the party. This means a mass of new songwriters are failing to stand out. Glassmaps might be written off when reading the stories behind the songs. There is nothing staggering about songs like I’m Sorry and Hypnotised – their inspiration does not shout at you and really lodge in the mind. It is just as well the music and lyrics themselves transcend the predictable and remain in your thoughts. The greatest trick is writing music that connects with the average listener but does not repeat what is already around. This is really hard to do because there are so many songwriters around. Many are doing the same and it is always challenging deciding which are worth listening to. Although a lot of Howling Bells’ music was written by Juanita Sein: Joel continued a lot and would have learned a lot from his sister. Coming out on his own; he is taking from his personal life and what he has gone through in the past couple of years.

I wonder how much of his solo material would have started during the band’s time. A few of the songs would have gestated then and grown into something recordable. It is only when he stepped aside from Howling Bells when Strangely Addicted took full shape. Hypnotised is a song that documents the addiction of love and attraction but laces so many interesting aspects into the blend. It is not surprising many have hooked onto a song like this. It has a solid and familiar core but – and why it stands aside – is the personality and unique insights that come from the song. Stein has his own perspective and is someone who does not repeat everything that has come before. He has a love of 1970s music and earlier stuff; a full chest of records and genres at his disposal – all unified and conspiring in a terrific track. Other moments on the record stand aside and one gets a really personal and intense workout. Away from the sweaty and lust-filled songs; there are times for introspection and some wondrous offerings. I shall not go into too much detail – I have not the time to review the whole album – but I know there is nothing cliché about Joel Stein. He will not be seen fitting into the mainstream too readily: keen to explore his own path and write music the way he wants to. He understands the commercial need for relatable themes but never compromises his own music and water things down. The lyrics and vocals will connect with many people but it when one throws the composition in the songs rise above the rest. I have talked a lot about the D.N.A. and anatomy of Glassmaps’ music but not explore the live dates and how well Stein has done as a performer.

One might associate Glassmaps with being a solo venture but, when stepping onto the stage, there is a red-hot, slick band. His summer has been notable with some incredible dates and memories. Stein provided main-stage support to The Killers at Hyde Park and The Great Escape festival in Brighton. That is a pretty big deal and for a new outfit; few manage to scoop those accolades so early. The fact Joel Stein has spent years in Howling Bells would have helped secure that slot. The band Stein has assembled is slick and organic and helps expand the music. One gets that when hearing the Glassmaps album but there is something different about the live performances. Rather than provide rather samey and repeated sounds: Glassmaps transform slightly and add something new to the songs. It is small wonder they are a popular live proposition and have secured those big dates. I guess streaming services and radio promotion is key when getting your music out there but one cannot underestimate the relevance of live performance. Seeing Glassmaps share the stage with The Killers would bring the music to a huge amount of people. Many of us ignore how important live music is when getting the music to labels and new fans. Glassmaps is already a popular force but those big summer gigs would have introduced unfamiliar listeners to the music of Joel Stein and his crew. Not only would the huge gigs have brought Glassmaps to new people but it would have helped secure new dates for Joel Stein. Many promoters and venues would have seen the performances and been gripped by what they saw. I am not sure how Glassmaps’ 2018 is looking but one knows there will be some great dates in the diary. Glassmaps has supported Michael Jablonka at The Lock Tavern and had an eventful year. This will only grow and I know Stein is looking ahead. I am not sure whether he plans on remaining here in the U.K. – his album was recorded in the U.S. – but there is a chance to tour internationally and spend a lot of time overseas.

In terms of his home; he is settled in London but will want to stretch his wings when it comes to gigs. Having spent a lot of time in Australia - that must be somewhere he is keen to return to. Melbourne and Sydney are big areas and many will want to see him play there. Having recorded in the U.S., one can imagine Las Vegas (where Strangely Addicted was laid down) and L.A. are going to be in his mind. America is going to be a big market for Stein and I wonder, when he gets gigs out there, that will bring his music to the international forum. Glassmaps is gaining traction but one feels 2018 will be a pivotal year. I am not sure what Joel Stein has in mind but gigs and big dates are highly influential when it comes to getting the music to the masses. This year has been a really exciting one for Glassmaps. I will move on now to look at the subjects that are tackled on Strangely Addicted. The reason I wanted to champion I’m Sorry is because it carries a sense of heartbreak and confusion. I’m Sorry is tackling the realisation you are not with the one you want: the need to get with someone else or readdress your life. I have spoken about the danger of addressing common themes and how hard it can be standing out. What I love about the song, and will show, is the real sense of emotion and physicality in the song. Its story is not like anything out there. The strain and turmoil going through the mind of Joel Stein comes out in a song that gets into the heart. It is a song that connects with me because, although I do not have the same love conundrum, the sentiments of being in the wrong place speak to me. I cannot connect with that sense of being somewhere not ideal and wanting to move on.

I am in a situation where I am pining for someone and unable to articulate that desire to her. It is a situation that is causing a lot of hurt but, when hearing the likes of Glassmaps share experiences, it gives me some motivation and guidance. I am not one who takes his lead from music but it is always interesting seeing how musicians address concerns we all have. Love is the most popular and represented subject in music: every artist has a different slant but there is a sense of the unspectacular in many corners. Those who can write something tangible and keep the listener compelled must be congratulated. Joel Stein has taken a lot from Howling Bells but, when listening to Glassmaps, there is new inspiration and sounds. He would have gained songwriting experience with the band but gone through changes and personal challenges since the formation of his pseudonym. Accepting the truth and reality of things is not easy to take. Many of us have to accept some hard truths and aspects in life but Stein has found himself in a relationship that seems like a compromise – not the girl he really wants to be with. That yearning for someone else is something I can get behind. Love is a common comestible but talking about it with new light is much needed in a music industry that is showing some staleness and overfamiliarity. One of the reason I’m Sorry – and songs on the album – benefit from a blend of decades and sounds. I have alluded to it but, rather than write something too commercial and ordinary: Stein brings a compendium of different shades and ideas to the music. This will see him succeed and grow as we go into 2018. Many musicians are making strides and stepping out. I feel Joel Stein’s solo project is going to be among the chasing pack in the coming year. He has already achieved so much and, with his album due, that will only expand and evolve.

PHOTO CREDIT: Rachel Lipsitz

The stirring and impassioned piano introduction to I’m Sorry reminds me, in a sense, of Coldplay. It possesses the same drama and emotion one will find on a record like Parachutes. Regardless of any familiarities; it is a perfectly hard-hitting and rousing way to open the song. Even before Stein approaches the microphone, it seems the introduction offers a sense of apology and argument. It is a strong and solid sound that gets into the bones and projects images of strains and debate (among lovers). Stein, when talking about the song, suggested it was not a wallowing and explosive song but one where he finds resolve to progress and move forward, Taking this all in; the opening seconds of I’m Sorry take all of the swirling emotions and questions together and feed them through the tender (yet firm) opening. Aside from some needless tautology – “It’s 3 A.M. in the morning” – the hero is sitting alone and weighing things up. It appears the lovers are on the same property but he has stepped away to get some space and think about things. It quickly becomes apparent the heroine has left and walked out the door. Maybe she is not happy with the way things are going and wants to get away. Stein is making sense of all of this and taking things in. She can see it in the hero’s eyes: things are not going well and he wants to be with someone else. Stein’s voice rises and holds under the pressure of everything. It is a beautiful and quivering vocal that is backed by that rousing and Classical piano. I wonder whether there has been conversation concerning the break-up or they are taking time aside to breathe. Neither party is happy with events - and it might be best they spend time away from one another. The introduction piano comes back in and seems to visualise the walk-out and fall-out. The hero apologises things are the way they are and he feels like he does. I am not certain whether it is a mutual decision but it appears things are beyond easy repair.

Whilst the early-hours-lament gets into his skin; the heroine is walking the street and getting away. The piano splits between the hero thinking about things and deciding what he needs to do: the girl walking through the night and wondering where she goes next. It is hard accepting a relationship has outlived its utility but that seems to be the way things have gone. The girl was sure Stein was the one for her; that everything she believed in was true. Maybe he has been unhappy since the start but there is that desire for future contact and reconciliation. Although the hero does not want to be in a relationship; he does not want to sever ties and abandon her. He might not be able to have it both ways and, when love does hit the rocks, it is hard keeping a cordial and friendly vibe between former lovers. Anyone who has experienced breakups will know the struggle adjusting and moving past the fact. Stein seems more comfortable with the situation but his voice continues to question and tremble. He is sad things have taken the turn they have but is relieved he can now move on and be with the one he wants. Evolution and progression are top of the thoughts – maybe having time alone or being with a girl who is better suited and compatible. Stein’s vocal – backed by the piano and percussion – remind me of John Lennon’s solo material in the 1970s. There are elements of The Beatles’ best work with a sprinkling of contemporary R&B. All of this together is a heady brew that gets under the skin and provokes the listener to think carefully – what they think about the situation and the images unfolding. Many will relate to what is being said and can empathise with the hero. Towards the closing stages; little tingles and whistles work in the background. Stein has raided the room of unusual instruments and brings an array of sounds into the fold. The composition boasts more colours and turns; there are backing vocals and wordless chants; the chorus keeps coming back and the emotions still run hot. Flecks and shivers bring the song down and, when reviewing the story, one wonders whether things worked for the best and both were able to move on. I guess Stein needed to be away from his girl and be with someone else. It is a hard realisation but one he has to broach. The aftermath is quite severe but Stein will see it as a positive and freeing situation.  

Strangely Addicted is a ten-song record that will arrive on 10th November. Make sure you get a copy and experience all the different stories and sensations available. I have heard the L.P. and can recommend how strong and stunning it is. Joel Stein began his recording life in Australia but has moved to the U.K. and gained huge success as part of the band, Howling Bells. I am not sure whether he is still part of the band and what plans he has with the guys. Maybe the band will record another album but it seems Joel Stein is busy with Glassmaps right now. Critics are raving about songs like I’m Sorry and Hypnotised. They are offerings that draw you in and keep you mesmerised. I am a fan of songwriters who manage to talk about everyday emotions/stories but bring something fresh to the plate. The narcotic decrescendo of I’m Sorry sits alongside the unique threads on songs like Inner Place and Summer Rain. Strangely Addicted was recorded and produced by Stein in Las Vegas. It was captured at the home-studio of The Killers’ bassist Mark Stoermer – where Stein was recording with Howling Bells. When he was there, he saw a room filled with unusual instruments like double bass and a three-stringed banjo. Recording the whole album on an old Telefunken microphone; one gets a real vintage blast throughout. Members of Howling Bells feature on Glassmaps’ album so it is highly likely the group will be involved in the future. Maybe he has the best of both worlds right now. He is able to connect with his band but steps away and record his own material. Stein’s obsession with those instruments and that space meant he lacked sleep for weeks and was engrossed in that world. It was new to him and a different way to record. Stein brings some established and esteemed faces to the record and, released on Lost in the Manor Records, Strangely Addicted showcases a hungry artist who wants to build a huge legacy.

I feel Stein has a lot to say in 2018 and, when his album is out there, there will be big gigs requests. THAT is the moment when his career will really take off. Once a record is out, the songs will feature on radio and spread across the world. I wonder where Glassmaps will head next year. London is still a big base and there are many venues he has not explored yet. Stein is familiar with the city and will want to go to other areas. So many terrific spots around the U.K. will want to bring him in. Brighton, Manchester and Leeds are areas I know would love to see Glassmaps perform; Glasgow and Liverpool other choices. The international market is where he can really cut his teeth and gain followers. I have mentioned the U.S. and Australia but the European market is big right now. One only can imagine which nations will line up to have Glassmaps come visit them. It is exciting to wonder and I will watch Joel Stein’s progression with great interest. I’m Sorry is a song that perfectly articulates the themes of the album. There is that struggle against misplaced love and the desire to be somewhere else. There are less stressful offerings on the record and the London-based musician takes the listener through an array of situations and settings. Make sure you get the album and discover why Glassmaps is gathering huge momentum. That trajectory and popularity will rise as 2018 comes into view. From his days with Howling Bells – whether he is still with them or not – Joel Stein has grown into a confident and stunning musician who has gained fresh impetus with Glassmaps. An amazing artist with plenty more to say – now is the time to get involved with a man who…

IS among the best U.K.-based artists right now.

_______

Follow Glassmaps

Official:

http://www.glassmaps.co.uk/

Twitter:

https://twitter.com/Glassmaps

Facebook:

https://www.facebook.com/GlassmapsMusic/

Instagram:

https://www.instagram.com/_glassmaps/

BandCamp:

https://glassmaps.bandcamp.com/

Spotify:

https://open.spotify.com/artist/6cgAV348gFMe2QHUzVTPRV

YouTube:

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

SoundCloud:

https://soundcloud.com/glassmaps

TRACK REVIEW: L.A.D - Dance Floor

TRACK REVIEW:

 

L.A.D

Dance Floor

9.5/10

 Dance Floor In is available via:

https://open.spotify.com/album/4D75P7kIvePVSofcVUe9AN

GENRE:

Pop

ORIGIN:

Reading, U.K.

RELEASE DATE:

September 2017

___________

MY review schedule has changed a bit…

so I am fitting L.A.D ahead of other choices I had in the diary. It is a shrewd move because, listening to their debut single, and it gives me much to talk about. I want to look at the 1980s and artists whose legacy we should carry on; singles that gets you dancing and lift the mood; artists that are making their first moves – a little bit about unsigned artists and those important early days. I knew L.A.D were going to form because I have followed Natalie Gray. The striking red-head is someone who has been on my radar – I have reviewed her music and was struck by its unique sound and compelling energy. Live in Love was the song I got to grips with and, listening to L.A.D’s new track, there are some similarities. L.A.D are an exciting new force; a trio that seems fully-formed and primed for big things. Gray has come from the solo arena and got together with two guys who are on the same page and wavelength. The band’s acronym is a secret but their music is for everyone. In fact; the solo single, Live in Love, was made as L.A.D – except it was named as a Natalie Gray song. It seemed natural the guys would all go into music as an official force and record more music. It all started after a successful set at Pride in the Park and, given the big reception they were afforded, many were excited to see what would come from them, next. I have been following Gray for a while and know she is a special talent. The trio (Natalie, Luke and Jack) is a hard combination to get right and can often be seen as risky. With a duo; there is a harmony and the two need to have a really solid bond and understanding. Bands are a little risky, too, but there are enough members to hide any real problems. It is easy for a trio to have a bit of imbalance – one of the members seen as a third wheel, perhaps.

That sounds harsh but I have seen a few trios that have broken up because it hasn’t quite worked out. One does not really know why certain acts break up but it impresses me when trios do succeed and thrive. I think that will happen for L.A.D because they are great friends and have been jamming for a while. It is a democracy and never subject to any power struggles or disagreements. I swore, yesterday, I would not go back to London to review for a while but, seeing as I am waiting on a few acts to get back to me – I have bumped L.A.D up the list and reviewing them at the moment. In fact; the trio are actually based out of London. Reading is their base and they are quite content and happy being there. I want to discuss areas outside London because, in previous reviews, I have said how anyone within a certain radius of the city is classed as a ‘London band’. That is seen as commercial and, if you say you are from elsewhere, people might not know where that is – maybe unwilling to see a band who are from outside the city. I shall not get back into the North-South divide in music but I feel artists outside of London should not be classed as anything other than who they are – and where they come from. I live just outside London and am not proud of where I come from. It may be ironic me classing myself as London-based but people care less if you are a journalist (I do not travel to meet artists or get featured by anyone else) but musicians are a different story. Reading is a place many might not be familiar with but it does have an active music scene. Whilst I think The Amazons are a bit disappointing: they are from Reading and putting the town on the map. Artists like Does It Offend You, Yeah?, Laura Marling and Slowdive either come from – or have spent a lot of time in – Reading. It is close to London but one does not have to live there to reap the rewards.

I am pleased L.A.D are where they are but I can see them relocating to London shortly. They are close enough, now, but Reading has a few great venues L.A.D could play. The Purple Turtle, Sub89 and Oakford Social Club are a few options for them. Reading is quite varied when it comes to music and venues but there are local options for the trio. I feel the guys are more drawn to London because it has a huge variety of areas – and some like-minded artists they can feed off. I am not sure what the scene is like in Reading, sound-wise, but I cannot imagine there are many quite like L.A.D around there. I know there are great Rock bands coming through but, in terms of 1980s-influenced, Pop…perhaps not so much so. The capital gains of London are clear and that is what is drawing many artists in. L.A.D are a fresh force but they have some gigs lined up. Their single has just been played on Shoreditch Radio – as part of their Shoreditch Unsigned selection. That combination of words is ultra-hip and as London-like as you can get. The trio are not snobbish or elitist but their music does beckon the cool and trendy in. Reading is hospitable and popular but areas like Shoreditch/East London are much more suited to the sounds of L.A.D; the vivaciousness and energy of the trio and where they want to head. Before I move onto the next point; I want to urge the guys to get more of their images out there. I am interviewing the guys very soon and have some press images in my inbox. They have been sent through Google Drive and I am unable to copy them into the blog – there are a few good images among the pack. I shall get it sorted before the interview comes back – get Cannonball PR to resend via DropBox – but it would be nice to have them on the social media sites. The trio have a great friendship and that reflects in the images they have.

It would be great seeing those pictures on Facebook as it would give the public a greater insight into their world – maybe they are holding them back for press at the moment. Pictures/lack of is one of my main gripes when it comes to artists but I feel that is something L.A.D will sort out very soon. Maybe an official website will come, too? I am not sure whether they have one (and I’m not looking hard enough) but, when more songs come, it will follow. Things are starting to hot up for L.A.D so there are a few suggestions. I would not recommend changes if I did not think the artist was unworthy. L.A.D have a clear future so some great shots and more information would be a good start. I would like to know where they come from and how they all formed; how each member came to know one another and details behind their music. Seeing as they are so new; it would be harsh to expect too much but, as I said, that will all follow. I want to look at unsigned artists and the benefits of remaining detached. I mentioned how L.A.D were featured on Shoreditch Radio’s unsigned show but maybe there is some ambiguity there. The broadcast, I guess, is meant to feature artists who are really good but have no record contract. It might be the case (the show) looks to boast and showcase great artists who are so good but have no recording deal. Anyway; I feel the trio should not race to get a record deal because they have a sound and hunger that is all their own. Many feel a record deal is the be-all-and-end-all but, in reality, it isn’t. Labels can direct artists too much and exert strong influence – that means their music is not really theirs and they do not get much of a say. L.A.D have a fairly glossy and big sound so they might be looking for a label to help bring that to the masses.

I hope, if they do get a deal, they are smart with their signature. There are sharks out there and, although L.A.D will want a bit of commercial success, fitting into the charts and the masses is not everything. The guys can forge a career on their own merits and, if they do want to spread their music across the waters, they can do so with a P.R. company. That is down to them but I feel radio shows that feature unsigned acts might steer artists the way of greedy and uncaring record labels. I choose to believe the shows are a way of promoting artists doing things by themselves – those who do not need big money and labels to make their music sound incredible. The early days are the most important for any act so ensuring you create an impact is paramount. One can look at L.A.D and feel there are many out there like them. Look closely and the D.N.A. of L.A.D is very distinct. Their track, Dance Floor, is bold and brash and takes every opportunity it can to get into the head. I follow many artists who are starting out and it can be quite nervous seeing where they head – if they have the passion and stamina to cope with the realities of music. The players in L.A.D are not naïve and they know what is required of them. I have seen a few 1980s-inspired artists come through (Shura among them) and feel there needs to be greater exposure. Most new artists take familiar sounds and create music that does not stray too far from everything else out there. You do get some original acts but quite a few are keen to play it safe and ensure they survive. Who knows how far L.A.D can go but, on the evidence of their first song, they have a glorious sound that rings in the mind.

One of the reasons I know the trio will grow and succeed is the sound they have at their disposal. It is a hard time for everyone right now so we need to embrace songs/styles that elevate the senses and get the mood lifted. The spirit of Madonna, Chaka Khan and Prince comes out in Dance Floor. The 1980s might not seem like an obvious decade for inspiration. If you are looking around for guidance; it seems the likes of the 1990s and 1970s might be more obvious. Many have a negative view of the 1980s and think it will be all cheesy Pop and tinny Dance music. I think we get a false impression of the 1980s because of compilation C.D.s and the music played on stations. If you look closely, the decade gave us the likes of Pixies, The Smiths and Talking Heads – artists that hit their stride and created some of the best music of the time. So many assume it is all naff stuff and forget what quality there was during that time. If one thinks about the amazing Soul, Pop and Dance of the time: can we really say the likes of Madonna are not strong enough to define the decade?! I have written a feature on her – you can dig it out if needs be – but I feel she is someone with enormous influence. An icon who continues to compel new artists coming through – she is as synonymous with the 1980s as anyone else. Forget all the crap Pop that existed at the time and remember we experienced legends like Madonna. Her music translates through the years – even though she is still recording – and I know there are a lot of artists who count her as their focal point. Why I wanted to raise the point is because of the sense of fun and frivolity you get from artists like Madonna. She created serious and wonderfully deep music but it is the colours and captivation that gets to me.

Hear a song like Material Girl and Papa Don’t Preach and, although there are serious issues discussed on both songs, there are big choruses and fantastic vocal performances. Madonna was capable of addressing subjects like feminism, abortion and sex without preaching or making it sound insincere. Sometimes, her music had an air of sadness: other times, it was sparkling and fantastically bright. Her career evolved as she headed into the 1990s and 2000s but it is her 1980s heydey that has inspired so many. I have mentioned Prince and Chaka Khan and, although these are artists L.A.D are influenced by; it is the Madonna link that seems strongest. Put all those names together and you have a rich and vibrant brew that few other acts are displaying. The 1980s should not be reduced to the chart acts of the day and the slight music – there is epic strength and some legends from that time. Because of this; I feel more artists need to dip into the treasure chest of the decade and see what there is on offer. L.A.D have already recorded other songs so I am keen to see what form they take and whether they will have the same make-up and ethos as Dance Floor. Their current jam is something that gets you onto the dancefloor and makes the people move. I stated how times are changing and we are in a pretty bad place right now. Few can deny we are stable and together so, because of this, music has an important role to play. Anyone who wants to get away from all the stress and strain of the average day could do a lot worse than dive into L.A.D. The trio creates sounds that overflow with force, fun and the fantastic. They are not tackling anything more profound than the need to get onto the floor and move your cares away. There are side-issues and nuances one can pick up but, at its core, the song is determined to get everyone together and lose themselves in the music.

That is what happens on Dance Floor and I am so glad the guys have released the song now. It is a bad time so we need that escapism and blast of energy. It takes from the best sides of Madonna and Chaka Khan and fuses Disco undertones with a Pop heart. L.A.D are uncompromising and could have crafted something ready for the mainstream and shallow – an easy song that relies on overproduction and clichés. The Reading trio would never do this so I am excited to see where they go. Before I get to the song itself; it is worth noting how keen they are to update their social media and being new fans in. A lot of artists overlook this importance and do not inform the followers. It can be hard getting on top of everything but it is easy enough to do some semi-regular updates. If you do not tell people what is happening, they will look elsewhere and get a bit bored. L.A.D have been giving us information about their single and the dates they have coming up. There are photos – more will come, as I suggested – and I am looking forward to seeing a possible video for Dance Floor. Whether that arrives before the end of the year, I am not sure, but you can be sure the trio will inform us before too long. The best and most enduring musicians are those who manage to create great music and please the fans. It is not business-like being active on social media: it is the way many communicate so one cannot underestimate its importance. A few blasts of Dance Floor and you are hooked onto L.A.D and keen to follow them whether they go. I suspect their fanbase will expand as the months go by but, right now, they have struck a vein of gold.

Luminous electronics and punchy beats open up Dance Floor. The percussion has that clear debt to the 1980s and is quite compressed and intense. Glittery, starlight electronics twinkle into view and bond with the gruff and austere beats. It is a potent combination and gets the songs off to a flyer. The trio feels no need to rush in with the big rush and vocals – they infuse the song with plenty of intrigue and spirit. One half-expects, a few seconds in, for Madonna to come to the microphone. There is a bit of the taut Funk Prince was synonymous with but, in the early phases, I get scents of True Blue, Like a Virgin and Like a Prayer – the extraordinary trio of albums Madonna crafted in the 1980s. The Like a Virgin suggestion of the introduction fuse and explode into the slam of I Feel for You (Chaka Khan). The trio have a fondness for these songs but never replicate them. From the tender and teasing seconds comes that rush and step-up. Instantly, the listener is jolted and compelled to follow the song wherever it goes. The giddiness and head-fuse of Dance Floor kick in and it is impossible not to feel a physical connection to the sounds. Some cut-and-paste/vibrating vocal echoes weave in the shadows as, in the light, the composition gets hotter and heavier. In fact, if we are weaving in 1980s icons – and a name I forgot to mention earlier – there are flavours of Michael Jackson’s Thriller and Bad. I get embers of Bad’s Just Good Friends and Thriller’s Human Nature. It is wonderful hearing suggestions of these artists – the trio never exploits this but make the music their own. Despite the rouse and rush of the song; there are some weighted words at the heart. The heroine is talking to a sweetheart and someone who is talking about her. In fact, I was wondering whether the issues of gossip and deceit were levelled at a boyfriend or a friend – someone who has been spreading rumours and falsehoods.

Our girl is waiting for them to act and seem exhausted by games that are played – the need to be alert and aware all the time. This does not matter when she hits the dancefloor. Perhaps there is that suggestion of short-term romance and complex emotions. The desire to forget all of that and embrace something simpler is infectious. The heroine dispenses with all the chat and fights and embraces the allure and theatre of Dance. “We’re all the same when the lights go down” it is said and one cannot help think, when listening to that line, there is a nod back to the 1980s. I associate modern dancefloors with sweaty clubs and all the infection and drunkenness associated with that. On Dance Floor; things are more innocent, sweet and tolerable. In fact; there is a definite evocation of simpler days when one could go to a club and dance – not crowded by drunken idiots and pummelled by inane and ultra-loud music. The song is never simple and predictable. The beats and electronics pause whilst Gray’s voice goes through different motions. There is growl and intensity one moment: it then transcends to something rapturous and operatic. Syncopated and unexpected; there is a sense of progression and development as the song goes on. The heroine urges (the man) to stick to her and cling to her body – one of the sweatier moments on the song – as they can “go all night”. One definitely senses impending ‘climax’ but the song is not about sex and getting your rocks off. It is definitely about the dance and surrendering to the power of music. Modern Dance/Pop songs seem too concerned with sex and relationships but here they play a minor role to the prowess and potency of music itself. Even if the friends/lovers have things to hide: by the time they get onto the dancefloor, they have so much to give. “It doesn’t matter on the dancefloor (Dance Floor)” is the coda and theme that links everything together.

Our girl does not expect a call or the name (of the guy). She is in the club to get high on the music and not really concerned with anything long-term. Maybe that seems shallow but guys get it into their heads that a girl wants to be with them forever – that arrogance and clinginess put many off. Here, one gets a real sense of independence and pride. The girl is stepping onto the floor and making people move. L.A.D combine superbly throughout and meet the intoxicating and vibrant vocal with incredible music. The electronics stutter and jar; they swell and punch whilst the beats are consistent and blood-rushing. All of this comes together in a song that ingrains itself into the memory. One hears shades of the 1980s legends but plenty of modern-day inputs. L.A.D are not your average act who lazily duplicate what has gone before. Few can resist their charms and powers. Dance Floor is a teasing and alluring bomb from the Reading trio and suggests they have plenty of life in them. Nobody who hears the song will walk away unaffected. I have been a bit sceptical about the power of Pop and whether it has relevance today. A lot of that stems from the rather bland and commercial nature of the music. Here; we get a trio that are determined to inspire and craft their own empire. An extraordinary opening gambit from an act that are going to be in the music business for a very long time to come!

I will finish things soon but wanted to look ahead and see where L.A.D will go. Dance Floor has been given a lot of focus on social media and some great reviews. I know the trio will want to build on that and get their names to the world. At the moment, they are cementing a core in London and surrounding areas. I am already keen for new music from them. That is not a reflection on their debut single but the addictive sound and quality of the music. Dance Floor is what we need right now: something that gets into the brain and compels the body to move. I am sure the guys have dates in London but they will want to get their music to the wider population. I have stated how London grabs so much focus but, when it comes to L.A.D, they will want to go beyond and travel throughout the U.K. Maybe it will take a few more songs before they get international requests but I would not put a mini-tour of Britain out of the question. London is a popular base and somewhere L.A.D will explore in depth. Getting people talking in the capital is as important as anything – it is where the labels and big stations are. When new music does arrive (indication is it will be soon); the radio stations will be looking out and keen to feature the trio. Right now, many might assume it is the Pop-driven stations like Kiss that will be interested in L.A.D. In reality, one need only listen once and realise the song is capable of getting love from the likes of BBC Radio 2 and BBC Radio 6 Music. Making your music as adaptable and wide-reaching as possible is a great way of ensuring popularity and longevity. I think L.A.D will go onto big things and many people will call for an E.P. Not many can deny the extraordinary sounds of Dance Floor; so there will be an eagerness for new material and continuation.

I have mentioned the importance of the 1980s and how few artists are exploring the decade with any real intent. A lot of new music is too serious and intense so I find myself looking around for something that is more fun and uplifting. It is easy to understand why some artists decide to talk about love and its heartache – concentrating on that too much can be depressing and predictable. Not many songs look away from relationships and make songs for the masses. This is why L.A.D should be commended and proffered. They will look at love down the line but there is passion and intensity in Dance Floor. I will end this now but wanted to single L.A.D out and how good they are. Not many have the same chemistry and components as them. A trio with a great friendship and an understanding of where they can head; it is going to be an exciting 2018 for the Reading purveyors. Who knows how far they will go but I feel there are many years ahead for them. Dance Floor is a confident, busy and fizzling banger that has a visceral sense of colour and fun. This is something we need to breed and spread throughout music. L.A.D are not responsible for reinventing and rejuvenating music but they have an important role to play. I would suggest they forget about record deals and not put that at the centre of their world. Maybe they are keen to be independent and I think this would be best, right now, for their music – in time; getting a good and trustworthy label behind them would give their sounds that extra push and support. The weather is gloomy and it is getting darker. Many are talking about Christmas and not really looking back at the incredible summer and hotter days. That is understandable but along come L.A.D who have created a song that bubbles and dances; it struts and seeps into the bones. In an age where there are few groovy and rapturous Pop songs; we all need to be more aware of…

A very special trio.

_______

Follow L.A.D

Twitter:

https://twitter.com/LADbandofficial

Facebook:

https://www.facebook.com/LADbandofficial/

Spotify:

https://open.spotify.com/artist/1LZqYi3VZhZUhcSSq566T1

SoundCloud:

https://soundcloud.com/ladbandofficial

TRACK REVIEW: Johanna Glaza - Space Mermaid

TRACK REVIEW:

 

Johanna Glaza

PHOTO CREDIT: Agne Monti

Space Mermaid

9.2/10

Space Mermaid In is available via:

https://www.youtube.com/watch?v=s6j7sI4T7IU

GENRES:

Ambient-Folk; Baroque-Folk

ORIGIN:

London, U.K.

RELEASE DATE:

3rd August, 2017

The album, Wild Sculptures, is available from:

https://johannaglaza.bandcamp.com/

___________

IT is good to return to London and Folk…

PHOTO CREDIT: Willie Nash

because, for the past few days, I have been looking at international artists are all manner of genres. I will cover a bit of familiar ground when speaking of Johanna Glaza but, thinking about her song, Space Mermaid, there is plenty to discuss. Her L.P., Wind Sculptures, is a vivid and candid album that experiments and takes you to new places. It is rare finding artists that deliberately challenge conventions and create something genuinely new. For Glaza, there is a sense of going beyond the accepted and bringing her music forward. There is something beguiling and beautiful about the music but there’s a familiarity, too. I have been looking back at Folk and the kind of variations we find in the genre. It is hard to reinvent a genre like Folk but there are artists who are taking it to heart and creating something meaningful to them. Johanna Glaza is someone who does not produce stilted and calm music – quite relaxed without much physicality and spirituality. What she does it recognise the genre’s foundation and sprinkles her own personality and produce. I have been a bit reluctant to feature Folk artists who do not put much energy into their work. It can be hard offering any passion and insight if the music is pretty chilled and one-dimensional. There are too many artists doing this so it means Folk gets a reputation as being a bit wimpy and boring. If you look hard enough, you’ll find that is not the truth at all. This year has seen artists take Folk as a base and bring other genres into the mix. There is a difference between traditional Folk music and the more modern variety. If one listens to Folk shows on the radio and you will get the kind of music I was talking about – it is pretty to listen to but it can leave you a bit fatigued at the same time.

PHOTO CREDIT: Agne Monti

I listen to those shows and hear a lot of shanties and pastoral Folk acts. That is already for some but I feel you need to be of a certain age to enjoy it. For younger ears; one seeks a sense of endeavour and invention – a spark and sense of imagination that transcends beyond the quirky and dull. Johanna Glaza is an artist who appreciates where Folk has come from but is keen to drive it forward and provide something sizzling. She does this by clashing bracing and immediate sounds with mythical and poetic lyrics. I have just got through reviewing Robert Plant’s new album, Carry Fire, and can see parallels between that and a song like Space Mermaid. Plant, on his album, produces his traditional sense of the mystic and spiritual whilst throwing in different sounds and cultures. It is a busy and engaging album: taking the head somewhere special and ensuring you come back for more. That is the same with Glaza who provides symbolism and gives her voice to the wind. Some might turn their noses up when mentioning elements of nature and the physical world. One does not need to be a devotee of Folk to enjoy what Glaza is putting out there. She mixes in the base and roots of the genre but stretches it out and brings a spectrum of sounds and colours. Maybe it is not ‘Folk’ because it is such a broad and new sound. I will explore the music more, later, but I am excited to investigate the lyrics and themes explored by Glaza. When I look at what she concentrates on – water and snow; wolves and goddesses – it reminds me of Kate Bush. Maybe she is not a direct influence but it is hard to escape the spirit and body of Bush in the music. I am writing a piece about Kate Bush and her debut album, The Kick Inside.

PHOTO CREDIT: Agne Monti

The record is forty next year and I am keen to explore it in depth and how influential it is. Not that this review is a chance for me to self-promote and indulge but I can hear traces of The Kick Inside in Glaza’s work. Later works – like Hounds of Love and The Sensual World – explore spiritual elements and the natural world in more depth than the debut; it is intriguing seeing Bush’s trajectory and the themes she tackled in later works. It is the debut that seems to have started everything (obviously) and, whether modern artists confess or not, an album of enormous importance. I feel there are few modern artists who appreciate the importance and relevance of artists like Kate Bush. There are those who source from her but a lot of mainstream artists forsake her. If one listens to the sheer captivation and mesmeric sound of her debut then you will see so much room for interpretation and modern projection. In a world that is becoming more fraught and unsure by the day – there is a sense of escapism and purity in what Kate Bush sings about. I am not sure whether Johanna Glaza realised that but there are definite familiarities when I look at her lyrics. Vocally, they are different acts but it is the words that really stand out, for me. Before I come to look at other avenues – including Glaza’s nationality and base; staying human whilst exploring more extraordinary and flighty themes; making the music breathe but evocative; female artists and their importance right now; the personal relevance of music and evolving a career – I will finish off this segment. I am interesting seeing the split between artists who keep their words inherently personal and basic and those who go the other way. I guess, to connect with the listener more urgently, there needs to be familiarity and accessibility. It can be hard crafting music that separates from the pack but attracts people. You do not want to alienate but, at the same time, want to be seen as innovative and unique. That is what one gets from Johanna Glaza and her music.

PHOTO CREDIT: Willie Nash

This is not the first time I have featured a Lithuanian-born artist – the last one escapes me – but I am seeing a lot of artists come to the U.K. There are parts of the world that have some form of a music industry but not as solid and promising as it is here. Glaza has been raised in London but knows how important her home is. I wonder how much of the landscape and people of Lithuania Glaza brings to her music. I think of the nation and get a sense its geography and topography is more alluring and scenic than in the U.K. By that; one would see panoramic visions and a mix of the old and new worlds. We have some spectacular views in Britain but I feel Lithuania would surpass them. Maybe I am wrong but I can hear a link to her past and childhood. It is rare discovering musicians who bring fantasy and nature into their music. Comparisons have been made between Glaza and modern acts like Joanna Newsom. I can see that and there needs to be more vocalisation and promotion of acts like that – who stray from the mainstream and produce something different. I wonder what brought Glaza to London but I am not surprised she is here. I keep saying I’ll get away from the capital when it comes to features but there is a definite lure for new artists. The city provides the energy and opportunities many seek; the community and network to help get the music to the masses. Maybe there is a calmer and less stressful vibe elsewhere in the U.K. but London is the beating heart of British music. I am sure Glaza will find a lot of potential here and will continue to see her career grow. One hears Glaza’s new music and can see the development and evolution from the earliest days.

PHOTO CREDIT: Agne Monti

Although Glaza has not been in music that long; she has created a series of songs and records that showcase her full range and personality. What I have found is more confidence and bravery come into the music. There are flighty and wondrous moments alongside raw human emotions. I am listening to sounds from Letter to New York and Paper Widow and comparing them to Wind Sculptures. In terms of her artwork; there is that dependence on blue hues. The tie to the sea and sky is indelible. In everything she does; Glaza carries the world with her. If her themes and dynamics remain firm; it is the vocals and lyrics that get bolder and more arresting. Her voice has strengthened and taken in more emotions since 2014 (when those early releases arrived) and, on her latest album, one hears a performer who can be compared with very few. Reviewers have noticed how stirring and unconventional Glaza is. That has come from her music background and the backing she has already garnered. Every time her music gets a great reaction; Glaza will up her game and keep expanding her horizons. One hears that come through in her latest L.P. What I find is a song like Space Mermaid, in title and sound, nods its hat to acts like David Bowie. It is easy detecting an element of his eccentricity and innovation in the song; some Joanna Newsom and the beauty of Kate Bush. The music of Johanna Glaza is breathy and emotive but it has openness and expansive horizons. So many different concoctions and scenes are infused in every line. Some might say music that looks at the wind and weather sounds a bit kooky and niche – it will not appeal to that many people and has quite a divisive aspect. I would disagree and feel music needs to push the envelope and start highlighting artists like Glaza. There are so many average and ordinary artists that do not compel the imagination and make you come back for more.

PHOTO CREDIT: Agne Monti

I will come to the latest track from Johanna Glaza but wanted to explore female artists and their importance right now. We have seen some scandalous and troubling scenes emanate from the news the past week or so. It might seem weird bringing Harvey Weinstein into a music review but the Hollywood mogul has been condemned and attacked (rightfully so) because of the allegations levelled at him. He has been accused of rape and sexual assault and we are seeing a wave of actors come through – detailing how Weinstein attacked them. It is harrowing seeing how deep it runs and the scale of the crimes. Who can say how long it has been going on but there are surely going to be more revelations in the coming days. In music, one feels there is more security and less trouble in this area. I am not so sure and feel this case should act as a warning to those in music. We need more vigilance and greater care when it comes to protecting female artists. I find myself angered by the gender imbalance in music and how little safeguarding there is when it comes to women. I cannot say with any confidence there is an epidemic of sexual assault and scandal in music but I do know there are women who have remained silent – afraid to come forward through fear of recrimination and judgement. We cannot promote industries that allow this sort of thing to happen. The repercussions in the Weinstein case have been instant and severe but there is no telling what more is coming. In terms of music; women are not afforded the same opportunities and protection as men. I raise the point because this injustice extends to the music itself. It is bad enough female artists are subject to horrific discrimination and assault but, as I have said often, they are not allowed the chances men are. This extends to festivals and being afforded exposure at big events. Whether we can redress this imbalance sufficiently remains to be seen but we cannot go on and ignore what is happening behind the scenes.

PHOTO CREDIT: Agne Monti

Music is no more holy and safe than acting. I worry female artist have to compromise too much and being exposed to the worst sides of the industry. I will write about this in more detail this weekend but find it troubling we have to hear so many disturbing testimonies. Music needs to be aware of what is happening and ensure we do not have any Weinstein-level examples. Artists like Johanna Glaza are talented and immensely promising so should not have to get to the mainstream by exposing themselves and being controlled by men. I fear there is a wave of female artists who have to subject themselves to some degrading and horrible things in order to get their music heard. Let’s hope this is a rarity but there is a part of me that feels things are more widespread than we can imagine. I will move on but want to look at the personal relevance of music and how emotive acts like Johanna Glaza are. Every note she sings seems to mean something and has a relevance to her. Even when she is singing about mountains and the wind; one knows these elements have a connection to her. Many might assume these subjects are the stuff of fantasy. Glaza uses elements and nature as metaphor and symbols. She is big on symbolism and what nature means to her. She gives her heart to the world and has an intuitive bond to everything around her. I come back to Kate Bush but many artists are bravely singing about less traditional themes because of her. Glaza might not have had the inspiration and fortitude to talk about what she does were it not for Kate Bush (or Joanna Newsom). I am hooked and drawn to songs that take us through the heavens and across the landscape. There is dreaminess and pleasures; a scintillating buzz and electricity that comes from the music – hard to ignore and be passive towards.

PHOTO CREDIT: Agne Monti

I want to move onto the song now but, before then, a final word on recording techniques and sound. On Wind Sculptures; Glaza has embraced the radiophonic techniques and analogue tape-based method - which gives the album a warm, timeless sound. It is unusual seeing an artist ignore the digital and modern and proffer the benefits and brilliance of analogue. I guess there are artists doing it but there are more who want something polished and clean. If Glaza’s music was to rely on the digital; it would not have the same sense of entrance and purity. That need to retain what is true and meaningful is paramount to her. Digital recording would have tampered and distilled the essence of her music. One hears a real sense of engaging and atmospheric. This should act as guidance to artists come through who yearn for the studio and stuffing as much technology towards it as they can. I am worried many think having a fancy studio and gadgets means their music will be better and more professional. This is not the case and it means we get so much faceless and tepid sounds. I feel most artists should produce some music on analogue equipment and see the difference. I listen to musicians like Glaza and know she is not like the rest of music. Her ethos and personality are rare and that, I feel, needs to be exposed more. If music is going to grow and inspire then we need to get away from the mainstream and Pop-driven market and start exploring artists that do things differently. All of these components and strands fuse perfectly in Space Mermaid. It is a song that gets into the head and takes the soul somewhere special. I was eager to investigate and see why so many other sources have been proffering the song with fervency and passion.

The opening seconds of Space Mermaid are tripped and tempted. There is syncopation and tip-toeing as Glaza presents her words as if she were sneaking through the house at 3 A.M. The delicate yet provocative delivery asks whether we should learn to breathe under snow and water. One can hear these words and think one of two things. Perhaps there is illusion to global warming and the fact that reality might be nearer than we imagine. Nobody knows when things will crack/melt but it is not a far-flung possibility. Maybe there is a sense of the romantic and swimming through the waters; two hearts beating together and getting away from the world. Instantly, one is put in a colder and more arresting place. You listen to the song and envisage the heroine moving through melted snow and water. There is a distinct twang and cadence to the voice that affords the words an extra sense of magic and mysterious. Comparisons have been made to Joanna Newsom and one can sense a bit of that in Glaza’s voice. There is that same accent but one could say that is true of other singles. What Glaza does is showcase her own sounds and flavours. You get a real individual flair and tantilisation from a singer-songwriter who is finding her voice and venturing into new territories. In the early stages of Space Mermaid – and the oddity of that title – we get some rather strange and wonderful lyrics. The cat, it seems, the cat proposed how this world is “just an experiment”. That question is directed at the sky and, already, one is engaged in something very peculiar and irresistible. Few writers can pen words like that and make them sound essential and sensible. There is a wisdom and child-like innocence to the lyrics but a sense of caution that runs through the veins. The gods have no place in the sky and, when trying to uncover the truth about the words, your mind is taken in different directions.

PHOTO CREDIT: Agne Monti

Every line is delivered in a different way so that there is constant movement and unpredictability. “I go back home and you’re not there” is a line that invites images of loneliness and abandonment whilst Glaza’s yearning for a miracle suggests she is hankering after a connection a sense of definition. Maybe she has lost who she was and is looking for ballast. Few can deny the emotion and beauty of the lyrics and the original presentation. So many different twists and turns come from the song; you have that physicality and authority from the musician – the listener is free to interpret how they wish but everyone will have a different view. Glaza walks into the green nettle sea and is taken back to her childhood – a time-machine that seems to cast her back to fonder times. You might get a sense of defeat and suicidality but there is a need to reclaim a degree of safety and lack of responsibility. Maybe the heroine is finding things tough and wants to get back to a time when life was easier. As she steps towards the waters; the cascading voice and wordlessness get into the skin and projects images. The heart is stone and one feels the need to reach forward and protect the heroine. The piano is kept light - but wields influence and stir throughout. Few other elements exist apart from the piano and voice. Maybe the lyrics do not possess as much clarity as you might think – making more sense to the author – but it is interesting guessing what might be behind the words. I cannot get over how sensual and arresting the voice is. I have used those words before but they seem apt for someone who manages to get into the mind with only a few utterances. It is amazing seeing how Glaza weaves patterns and takes care when singing. Her own lexicon and direction mean few others will be able to reach the same heights as Glaza.

PHOTO CREDIT: Agne Monti

Eventually, percussion does come in and there is a bit more heat and strike. The song naturally progresses and grows as time marches on. The heroine is no fool, as she repeats, and is not going to be taken advantage of. There is never a sense of being beaten and giving up on life: the need to fight and be heard is evident and loud. Whilst Glaza never shouts the words; she does carry huge weight and passion at every turn. The song teases and confounds; it spikes the mind and one is always left guessing where the lyrics stem from. I got the impression the heroine was suffering a break-up and was struggling to cope with how things have unfolded. Many artists would provide such simple dialect and cliché when speaking about relationships. Instead, we get something deep and unique from someone who has a lot more to say. Wild Sculptures is filled with similar quality and unique flair but I find Space Mermaids to be the perfect starting place. From the first moment to the flickering embers; it is a compelling song that makes the listener stand to attention. You will come back to the track as it is quite a lot to take in upon the first listen. There is so much working away and the mind will interpret the lyrics and get to grips with the layers within the voice. I am not surprised Glaza has been granted so much love and support from journalists following the album’s release. I hope she carries on strong as the music world needs more people like her. It can be difficult discovering true gems but, when it comes to Johanna Glaza, she is no fake: the real deal and someone whose values and importance will continue to climb as the years unfold.

PHOTO CREDIT: Agne Monti

From her early days fronting the band, Joanna and the Wolf, there have been developments and changes in the life of Glaza. She left them in 2011 and moved to New York – where she began recording songs for her solo career. Coming from Lithuania and then finding your way to New York must have been quite eye-opening. She did not instantly go from one to the other but the sheer scale of New York would have been strange for someone who was born in a completely different space. Being in London; Glaza is used to the city and the endless rush that comes from it. I hope she remains here and continues to record. The E.P., Silence Is Kind, come out in late-2013 and got the music to the masses. More and more people tuned into her sounds and became familiar with a very special artist. One can hear bits of Joni Mitchell, Joanna Newsom and Kate Bush in Space Mermaid and, when you dig into Wind Sculptures, there are so many different aspects working away. Songs range from piano-led (Million Years) to the bold and heart-wrenching Home. Different instruments come in and there is hardly anything predictable about the record. You can discover glockenspiel and bass; there is piano and rousing percussion; tender infantile and bold sexuality. Throughout the record, that sense of being connected and blended with the natural world is evident. Johanna Glaza’s existent can be solitary and frightening but she never makes the listener feel alienated and scared at any point. The music brings you in and one instantly bonds with the songs. Glaza calls the record “the edge between raw and beautiful” and does not hide away from the people – the songs are not drowned in the comfortable, sparkly and superfluous. As she describes it: “If it started to feel too comfortable, or sparkly, I took a step back and stripped it off because I know it wasn’t good enough for me.”

Wind Sculptures is a personal album that demands one listen to it through headphones. The music draws you in and it has such intimacy. I am excited hearing what comes next and whether there will be more albums down the line. It appears Glaza is growing in stature and there is a definite foundation of support. Glaza spoke to Hoxton Radio a couple of days ago and promoted her new album. There are plenty of ears and prominent sources keen to espouse the benefits and joys of her music. I am sure this success will continue as we head into 2018 and I would like to see the music go even further. Maybe there are gigs further north because there are many who would love to see her play. The reviews (for Wind Sculptures) are positive and many note how ambitious her music is – reaching far and helmed by that gorgeous and hypnotic voice. This is no small feat for a debut album and that stands Glaza in good stead. I imagine more music will come and subsequent records will reach even further. I will leave things now but know Johanna Glaza will grow stronger and reach even more people. She has spent time in the U.S. and this is a market she could return to. Maybe there are few like her in areas like New York but songs like Space Mermaid do not rely on demographics and location: they are universal and get into everyone’s hearts. I have been blown away by the song and, whilst I could not find time to review all of Wind Sculptures, I can attest to the brilliance of the music. Such a thrilling and unusual album from an artist who has many more years ahead. Those who want to find something that goes beyond the ordinary and causes gasps and wonderment should spend some time…

WITH Johanna Glaza.

_______

Follow Johanna Glaza

PHOTO CREDIT: Willie Nash

Official:

http://www.johannaglaza.com/

Twitter:

https://twitter.com/JohannaGlaza

Facebook:

https://www.facebook.com/JohannaGlaza/

YouTube:

https://www.youtube.com/channel/UC6EGEdktdHPICBMiXKO9dAQ

BandCamp:

https://johannaglaza.bandcamp.com/

Spotify:

https://open.spotify.com/artist/5s51hGg9fi4fFceIASRaLH

SoundCloud:

https://soundcloud.com/johannaglaza

TRACK REVIEW: Sarah Cripps - Leave Behind

TRACK REVIEW:

 

Sarah Cripps

PHOTO CREDIT: Ryan Nolan

 Leave Behind

9.3/10

 Leave Behind In is available via:

https://soundcloud.com/sarahcripps/leave-behind-1

GENRES:

Indie; Country; Roots

ORIGIN:

Toronto, Canada

RELEASE DATE:

September, 2017

___________

IT is back to Canada…

PHOTO CREDIT: Jen Squires

and an artist who has a very interesting background. I will talk more about Sarah Cripps but, before then, a few different subjects. Listening to her music and I am reminded of the classic album, Rumours (Fleetwood Mac). I am compelled to talk about Canada and the proliferation of music coming from the country at the moment; Country music and variation of the genre; making a record whilst embarking on turbulent times; changing the game and not following worn narratives – embracing weirdness and turning the bleak times into something positive. Rumours is, without a lie, one of the greatest albums of all time. It is a record that amazes millions but I hear few come out and name it as an influence. To be fair; there are legions of musicians who incorporate elements of the album into their own game but they do not actually highlight the record as a muse. Maybe that is because of the subliminal and unconscious inspiration of the music – they do not need to mention it as (the music) is ingrained in the psyche and flow. Cripps, in an interview she conducted not too long ago, mentioned the album and how it has been a pivotal record in her life. It is interesting hearing it mentioned because, for me, it is something that deserves highlighting and proper investigation. The reason I wanted to talk about it was because of the complexities and nuances on the album. Songs are not stilted and samey: one receives an array of different textures and styles throughout Rumours. From the rushing Rock of Don’t Stop to the Country vibes of Never Going Back Again; the multi-part The Chain through to the trippy and swaying Gold Dust Woman – a real bonanza of invention and the spectacular. The band, going through a torrid and uncertain time, managed to create an album that is cohesive, insanely good and timeless. It is amazing it got made and managed to reach the public.

PHOTO CREDIT: Jen Squires

Any other band going through relationship splits and disagreements would have created something sloppy and unfocused. It is not a surprise Rumours has translated into the hearts of most and been adapted by modern musicians. I am not sure when it came into Cripps’ life but, hearing about her album and the influences she incorporates; it seems Rumours is a big factor. I can hear many threads of the record on the single, Leave Behind. If it is the representation and guide of what her L.P. will contain – it is likely to be a fantastic and truly immersive experience. Those are words I do not say about many artists but they apply in this case. Before moving onto a new subject; it is worth noting, on her latest track, there are no signs of any fakery and commercialism. I will chat more about Cripps as a genuine star but, like Rumours, there is nothing ordinary and processed about her work. The industry feeds off people who are able to get into the studio and get their voice fed through the machine. Listen to any of your modern-day Pop stars and you can bet, if you asked them to perform live, their voice would not sound anything like it is on the record. There are few out there who can genuinely hold a tune and refute the luxuries and drugs of the studio. Performance-enhancing gadgets and devices seem to be eaten up by modern idols – but it does not end there. So many other genres and acts process their vocals and do not really feel a need to be genuine. This is the opposite of what Sarah Cripps wants to achieve. Having read about her, and listened to her older sounds, she is determined to be seen as a real and worthy artist. There is no desire to have her voice treated and take away the emotion and passion we can hear on record. Leave Behind is a typical slice of brilliance that focuses on that instrument.

PHOTO CREDIT: Jen Squires

Leave Behind is the lead-off single from Cripps’ self-titled album and highlights her natural abilities in full flow. I was reading an interview - that she features on her Facebook page - where she was at a nearby breakfast joint and a waiter misunderstood an answer she gave to a question – one concerning the lack of Auto-Tune on her record. I am not sure if that is a clever line to raise a point but it seems, when hearing any musicians speak, the public expect there to be a level of doctoring and distortion. I am not saying every artist is a fake and fraud but it seems amazing we live in a time when so many of the biggest artists feel the need to take the easy road into music. If you look at all the biggest songs of the week – those that get the massive YouTube views – and you will see they all belong to Pop stars. There are Rap and Hip-Hop artists but there is a real split between the commercial, big-label names and the proper artists who do not want to conform. I am not suggesting your Taylor Swifts and Katy Perrys represent the entirety of the Pop market – they can both perform live and demonstrate true talent – but there are so many young artists who do not have the confidence and ability to actually sing. It is a rather worrying statistic and one that needs addressing. The type of people who listen to the processed performers are young girls, normally. They might not have aspirations of getting into the music industry but there will be many who have that dream. If they think the way to do that is by being dishonest and relying on money and looks – rather than talent and ability – then that is sending out a bad message. Many can argue that is the way the mainstream has always been but I have noticed it being exacerbated over the past few years.

PHOTO CREDIT: Jen Squires

Sarah Cripps does not feel the need to strangle the life out of her voice because her story is one that demands a raw and real interpretation. I mentioned an interview she conducted but it raised a couple of interesting revelations. Cripps has had a dark few months/years and struggled to find a clear footing and defining light. We all go through the rough patches but, whatever her circumstances, it appears music has been the way to channel that sense of hurt and confusion into something productive. Because of that, her vocal is queen and something that shines through in everything she does. It seems, looking at Cripps, she has the potential to be a big star. There are many different aspects that mark her out as a future inspirer. Not to address shallow subjects but she is a very striking artist who can buckle the knees on looks alone. I know it is shaky ground mentioning beauty and highlighting that as a reason to follow a musician but Cripps is an alluring and beguiling presence that gets into the heart. Her music is fantastic and deep and her social media pages revealing and informative. Over the past few months; she has been updating her pages regarding the new track – and the video for it. I have been looking elsewhere and it would be nice to know more about her and the day-to-day stuff. Maybe she is concerned with the business side of things – not making her social media too personal – but I would like to know more about where she lives and what is going on with her. She is a stunning artist but I wonder whether there is a hesitation when it comes to being too open. Maybe there is that feeling that, if there are too many details and revelations, it detracts from her music and true purpose. I am fascinated learning more about Cripps and how her music career began. The music provokes imagination and speculation: finding where the heroine started her life and what drives her would give fans/journalists a better insight.

Country music has been in the news recently following the awful shootings in Las Vegas. I am going to write about it later but feel the genre has been pushed into the limelight for the wrong reasons. Against the horror that was witnessed recently; I have been interested discovering more about Country and the different flavours and strands available. It is a genre that still gets people balking and resisting. Maybe they have that old view of the music and the type of artists that perform: the likes of Dolly Parton and Garth Brooks, perhaps. Country is not a simple and predictable forum, to be fair. Modern Country does have a little bit of that but most artists are incorporating other sounds into the mix; keeping it fresh and unpredictable. Most artists, the leading ones at least, come from Nashville and other parts of the U.S. It is rare finding a Canadian artist that source from Country music. Maybe I am wrong: there might be a lot of Canadian acts who are projecting their own blend of Country. Cripps puts Indie and Alternative undertones into her music but, against that, shades of Country. It is interesting seeing it all come together but it is not surprising when thinking about Canada. In the coming weeks, I am issuing a moratorium on Canadian acts as I am featuring them quite heavily. It is nothing against the nation but it seems a large percentage of my current workload is based in Canada – for a British journalist, it seems rather odd. The U.S. is a larger music market, so it would make more sense spending more time there. Before I do; I wanted to write about Sarah Cripps as she is a talent that warrants greater interpretation. Not only is her personality and story intriguing: she performs the sort of music one does not often hear these days. It gets me thinking about Canada and why there is such productivity and diversity.

PHOTO CREDIT: Ryan Nolan

No matter what part of Canada you go to; you can guarantee the nation will bring sensational music to the earlobes. Canada does have huge swathes of wilderness – where one will not find too much music – but the urban areas will be more productive. Most of my Canadian features tend to revolve around Toronto/Ontario. It seems a lot of the best music is coming from there and, whatever is in the air, it is inspiring artists to push the envelope. Over the past few weeks; I have featured everything from Garage and Rock to Pop and Alternative. The area is as varied and meaningful as any other part of the world. There does seem to be a ‘Canadian mantra’ that goes something like this: we will not conform and follow the worst traits of music. There are plenty of U.S. artists who are determined to succumb to the instincts of commercialism but something different about Canada. It appears the artists here are not willing to sell a part of themselves to get rich, quick. I have mentioned how varied Country music is but that is also true of the Canadian landscape. I think social and political aspects are as meaningful when it comes to the role of the musician. If one lives in a nation where the leader is hopeless or a raving nut-job – the U.K. and U.S. spring to mind – then that will create stress and daily tension. Maybe there is not a strong link but every musician is going to be moved and affected by political happenings. In Canada, where they have a decent and noble leader, it means the nation is far less stressed and uncertain. There are issues in Canada but they are in safe hands, for sure. If you live in a nation where you do not have to worry all the time; that means you can concentrate on music and make it the way you want to.

PHOTO CREDIT: Jen Squire

Sarah Cripps album was created during a rather worrying and dark period in her life. Every one of us goes through times we feel fractured and lost. It is difficult making sense of things and trying to turn all those swirling feelings into something fully-formed and inspirational. Referring back to the interview she conducted near her home; it seems Cripps is willing to open her wounds and talk to journalists about the bad times she has gone through. Leave Behind, effectively, is the shedding of one skin and the embrace of a new one. During the recording of her songs; it seems Cripps was conforming to ideals and being who others wanted her to be. In any society, there is a feeling a woman has to fit into boxes and follow a certain path. It must have been a lot to take in for a woman who wanted to make music in her own way – free from pressures and being labelled. I am not sure how much of these pressures concern personal roles and areas away from music. What I mean is, it is possible Sarah Cripps might have felt pressured into looking and behaving a certain way. Perhaps the stress was internal and the problems stemmed from her personal life. Relationships and work pressures are important: the need to be a certain person and act a particular way can put a strain on anyone. All of these possibilities and pains hit Cripps hard and lead her to assess her life. Making music is her way is the next step to a better, clearer life. Young women are often judged and meant to act the way society want them to. This is true in the music industry so it is no wonder the sounds of Leave Behind - and the album as a whole – are original, personal and forward-thinking.

PHOTO CREDIT: Jen Squires

Cripps is among a group of artists who have turned negative situations into progressive positives. She has, as she said, embraced weirdness and made that count for her. Cripps felt pressure to out her album out quickly and, affected by the pressure, made it on her own terms. More and more musicians are striking against the need to rush-release records and do it the way a label/management company want. Being introduced to David Martin (her producer) sort of turned things around. Arranged by Sony Publishing; it all made sense. Cripps might see it as fate – although there is no such thing: things do not happen for a reason or guided by divine intervention – but, in reality, it was a stroke of good luck and the reward for her own hard work. It is easy to see fortune and realisation as pre-destined but that does not give Cripps credit. She has worked hard and long to make music on her own terms so, meeting a great producer is the result of seeking and curiosity. When Martin met Cripps; he was impressed by her strong-willed drive and vivacity. The feisty kid that came to his attention has blossomed into a confident woman who has found comfort and understanding. That relationship was sparked years ago and since her E.P. in 2011; they have turned her art into something heralded and adored by radio stations and fans alike. Her upcoming L.P. is the once-in-a-lifetime record that is the summation and result of her years of hard work and dedication. The music she is making right now is the truest assessment of who she really is. If other artists are creating records that can get them to the mainstream pretty sharp: Cripps is writing songs that resonate in her heart and mean a lot. It is impressive the Canadian artist is following her own course but no surprise, considering the issues she has faced. Anyone who has had to face doubts and the need to assess themselves would make these sorts of changes.

Before I come to the song itself; it is worth mentioning artists who, all things considering, find their own way and turn their past into something extraordinary. There are so many artists out there and it can be really hard deciphering who the truly worthy are – so many average options in the pack! I do get a little bogged down by artists that sound the same as everyone else or have a very familiar background. In truth, Cripps’ realisations and revelations are the same as many others - but the way she has turned her experiences into something positive is not THAT familiar. I see a lot of artists take the pain and turbulence and make music that is very dark and seething. That is quite a risk when one thinks the point of music is to raise spirits and provide something nourishing – that is the way I think about it, anyway. For Cripps, she has wrestled against conformity and searched for a producer who can take her music to the next stage. That has happened so now, in songs such as Leave Behind, she sounds assured and comfortable. I have mentioned albums like Rumours and how important they are to her. It is clear the effect that album has had on Cripps and it is wonderful hearing all the strands and emotions stir and bubble in a colourful and stunning concoction.

PHOTO CREDIT: Jen Squires

There are yearning vocals and impassioned sighs in the opening moments of Leave Behind. The vocal is rich and sonorous and mixes in romance, contemplation and possibilities. It is interesting investigating the depths and contrasts in her voice. There is that passion and tenderness but a definite strength and defiance. The flames, as it is said, wrote the heroine’s name and she can’t look now – keen to leave behind all that was helpless and torched. She has been left blind and seen all the signs form; the danger and caution were there – now, there that desire to step somewhere safe and start a-new. For me, I hear elements of Stevie Nicks and Alison Krauss in Cripps. The latter comes through when one thinks of Country music: the former, comparing Cripps’ music to that in Rumours. The voice is superb and luscious. It runs like an ocean and has warmth and candour. The composition is supportive and atmospheric but does not encroach on the vocal. It is chaste and refined but there are some aching strings and pattering percussion notes. It all blends into the mix and forms something brooding and sensual. It is impossible to hear the voice and not be stunned and affected by its beauty. Cripps, when she sings, is looking to cast away the terror and danger she faced along the way. There are few that can deny the meaning in her lyrics. The words escape possible stereotype but do maintain a nice balance of familiarity and the personal. One can identify with the metaphors and images spoken: the heart-aching and tremulous vocal provides a spark of imagination and drive to the song. In the early stages; the song draws you in and you hear about the plight and struggle of the heroine. As much as you bond with the music and the lyrics – it is the vocal that really hits the mark. I have made comparisons to people like Alison Krauss but that would do a disservice to Cripps. She has her own sound and direction but one notices a sheer quality shining through.

PHOTO CREDIT: Jen Squires

The messages that come through in Leave Behind stem from the years of questioning Cripps experienced. It is difficult turning those darker times into something positive. Cripps is someone who wants to embrace the weirdness and darker times but there is no sense the listener is being dragged down and tormented in the song. It is a moment that reveals the pains and doubts but looks ahead and saying goodbye to those hard times. Many will be able to get on-board with that and connect with the music. The humming, layered backing vocals heighten the song and provide extra chills and thrills. It is a gorgeous and sumptuous sound that gets into the brain and takes the imagination somewhere else. One closes their eyes when listening to the song. So caught are you by the entrance of the vocals you lose yourself, briefly. I was following the song and the heroine ignoring the warning signs. There is a degree of the oblique throughout Leave Behind. The heroine is not garrulous but does not reveal the truth behind the words. I wonder whether there were relationship quarrels or issues with self-identity that led her to assess things and make those changes. It is the transformation and betterment that comes through in every note. That velvet and chocolate-like vocal is warm and nourishing but one notices a certain pain and accelerated heartbeat. Maybe things are not as settled and secure as they should be. Cripps has work to do and things do need to alter. “Don’t forget me” is a mantra that is backed by a male voice (not sure whose) and given a real sense of stir and shiver. Perhaps relationships are playing into things as the heroine wants to be remembered – but she needs to do her own thing and get out of where she is. The only thing Cripps is leaving behind is the madness of her mind – it seems she does not have an attachment to much else.

A desire to be more positive and strong is hard to shake off. In the final moments, those intentions get hotter and heavier. The percussion gets harder and more intense as the strings howl and vibrate. The vocals heighten, too, and the song reaches a real crescendo. It is an intoxicating experience to the very last second and one is reluctant to step away from the track. Maybe it has taken years to get to where she is but if her forthcoming album sounds like this – many people will be delighted. I am a fan of Cripps’ music and know she has the potency and abilities to take things as far as she needs to. Leave Behind is a song that will strike many. We can all relate to some of the words being spoken but I feel there is a unique and troubled heart beating at the core of the song. It is a fantastic track that gets under the skin and stays in the memory for a long time to come. I have gone back to the song and always feel a sense of security when listening to it. More than that; my mind wanders in different directions and I sense new elements and truths throughout. It is easy visualising the images Cripps sings and I feel she has provided her all in the song.

PHOTO CREDIT: Jen Squires

I have spoken a lot about Sarah Cripps and how her music has come together and evolved. She is an exciting talent and someone I want to hear more from. A lot of her social media posts concern her new song and there is little about touring. I wonder whether she is going to be touring through Canada and doing local shows at the moment. When her album takes hold – and people start to learn more about the woman behind the songs – that will get the demand high. The U.S. waits for her and I wonder how much connection there is between the U.S. and Canada. The nations have a bit of a rivalry going – the U.S. teases and bullies a bit – so I do wonder, genuinely, if Canadian artists are afforded smooth passage into America. Canada has plenty of great venues and cities but Cripps will want to get her music out the world. I know the U.K. will take her to heart and there are ample locations she could get exposure in. We are taking a lot of international talent in – sounds like I am describing an animal sanctuary here! – but we need to open our doors more foreign talent. The U.K. is keen to distance itself from Europe but, when it comes to music, minds are more open. I am excited seeing how Cripps progresses and what next year holds in store. There will be music coming and she proves, on Leave Behind, there is a lot of ammunition and fire in her soul. That can only be a good thing for someone who has spent a long time getting where she is. During the time she was recording and working on her material; she was watching and embracing a love of classic Horror films. She would practice special effects and work with make-up; put that sense of unease and drama into a song that urges the listener to feel a sense of nervousness but, also, embrace something positive and pure.

Before taking this down; I wanted to congratulate Cripps for coming far in a short period of times. I know she has been making music for over six years but it seems like she has developed and evolved significantly this past year. The Toronto resident is someone who wants to make changes in the music industry and compel other acts to think about what they are recording. I have chatted about Auto-Tune and how there was the expectation Cripps would take that course. She has not, of course, but there are many of her peers that do. It is worrying seeing it happen in the music industry but acts like Sarah Cripps will act as guidance to them – what can be achieved when you strip the machines away and embrace the power of music and the voice. It is going to be exciting watching Cripps step into 2018 and how far she will come. I want to see her in the U.K and whether songs like Leave Behind will get international airplay. It is a wonderful time and I am not surprised Canada has produced a fine artist. Before I leave this review, and wrap up my ‘Canadian phase’ for a while – I want to get people listening to Sarah Cripps and her stunning music. There are few out there like her so we need to promote her work as much as possible. Leave Behind is a fantastic song that embraces and assesses the pains of the past and shows the young heroine is very much…

PHOTO CREDIT: Jen Squires

LOOKING to the future.

_______

Follow Sarah Cripps

PHOTO CREDIT: Jen Squires

Official:

https://www.sarahcripps.com/

Twitter:

https://twitter.com/sarah_cripps

Facebook:

https://www.facebook.com/sarahcrippsmusic/

Instagram:

https://www.instagram.com/sarah_cripps/

YouTube:

https://www.youtube.com/channel/UCJifa9LQ8ekNc7eNIr23zbw

SoundCloud:

https://soundcloud.com/sarahcripps

TRACK REVIEW: Wild Ones - Invite Me In

TRACK REVIEW:

 

Wild Ones

PHOTO CREDIT: Jeremy Hernandez

Invite Me In

9.4/10

Invite Me In is available via:

https://soundcloud.com/topshelfrecords/wild-ones-invite-me-in

The album, Mirror Touch, is available from:

https://wildones.bandcamp.com/album/mirror-touch

GENRE:

Pop

ORIGIN:

Portland, U.S.A.

RELEASE DATE:

6th October, 2017

___________

AS I delve into a great U.S. band…

it raises some questions in my mind. For a starter; the group have a number of intriguing aspects I wanted to talk about but it is where they are from, and how long they have been together, that interests me. I will discuss longevity and how few bands actually survive a number of years. It is hard, in this business, to guarantee any longevity and stability. I have seen some incredible bands call time for various different reasons. It can be tough predicting the future and, regardless of how stable things appear; there is that chance things can go wrong. That sounds rather gloomy and negative but this is the truth of the music industry. Two big-profile acts, Wild Beats and The Maccabees, have called time in the past year-or-so. It is distressing seeing established bands end things – we do not really know the reason behind either’s split. It sent shockwaves through music and questioned why established bands, under no critical pressure, ends things. We all get safe and secure with our musical tastes and never really think things are going to go wrong – where the band/artist gets out of music and things change. It is rewarding and encouraging discovering bands who manage to endure and prosper. I wanted to bring Wild Ones in because they seem as solid as they ever were. Together for over seven years; that can seem like cat years in terms of musical lifespan – maybe there is something in the water over in Portland. I think the band have managed to stay together is because they’re friends. There is a solid and unbreakable connection between the players that translate to the music. As competitive and tough as the industry is; it is great seeing certain acts continue, unaffected. Wild Ones have a solidity and understanding that means music and friendship come before any politics and stress. I am sure there have been misunderstandings and harder times in the ranks but I expect the Portland band to survive for a very long time.

I am always cheered when a band goes from strength-to-strength and evolves their music. I am listening back to earlier work from Wild Ones and seeing their sounds build and change. They keep their solid and core sound but add in new elements and dynamics. Confidence and assuredness define everything they do. Another reason I bring this discussion up is because many are questioning whether solo artists are stealing focus. I am among the group who feel solo acts are taking ground and producing better-quality recordings. There was a time, years back, when bands ruled the roost and there was no chance the best solo artists could match their appeal and quality. That has changed and, since the beginning of this decade, the rulership and reign of the solo artist has solidified. This is not to say bands are obsolete but there are fewer interesting alternatives than before – few that manage to say anything relevant and exciting. Anyone who thinks that is hyperbole needs to compare the music of past decades – the themes being sung about and the type of albums being produced – and what we have now. There are fantastic groups around but there are not as many greats as once was. Wild Ones seem like a different breed and a group that manage to establish quality and nuance whilst projecting important and deep messages. One of the big things that troubles me about the band market is the lack of artists who are talking about politics and what is happening in the world today – getting people together and penning songs that endure through the years. It has been a while since I have heard a mainstream band I am compelled to track and follow through their careers. The best results come from the underground: one cannot get the same mixture of explosions and curiosities from the mainstream. I am excited taking my mind further across the water and discovering U.S. bands like Wild Ones.

Before I come to look at Portland/Oregon; I wanted to look at messages in songs and what groups are talking about right now. Wild Ones do not have the political messages and anthems of the greatest bands but, in an industry where there is homogenisation, they create songs that stray from the pack. I guess that is one of the things I have noticed: politics and socially aware anthems, when we talk of original and populist themes, have been replaced by psychological investigations and reflections of the self. Love is a huge commodity but there are very few who write songs about what is happening in society and how the world is changing. I am not sure why this is but, perhaps, bands/artists do not know how to write an effective and meaningful song – when thinking about politics and channelling the splits and divisions that run through the world. Whilst it is sad seeing a lack of substantial commentary; I am pleased artists like Wild Ones do not feel the need to conform too readily and do what everyone else is. Mirror-touch synaesthesia and the psychological experience of empathy is something they have looked at in their new album. In basic terms; it is when someone feels the same as someone else. For example; when someone touches their cheek, the other person would feel that sensation. It is an odd condition but one many people experience. For Wild Ones; they use that effect to talk about empathy and how people can turn into those around them. How could we know ourselves when we become everyone else in public? It is an interesting question that people are not raising. It is fascinating seeing how certain artists are trying to change music through lyrics. I will talk about Wild Ones’ music and compositions but the subjects they are raising is unlike anything around.

PHOTO CREDIT: Jeremy Hernandez

Are we trying to homogenise our musicians and make the scene more ‘accessible’ and disposable?! It is easy talking about love because everyone can relate and it is not too taxing on the brain. If a band starts looking at unusual sensations and meaningful areas – is that a risky venture that could put off casual and young listeners? There is a danger there but, if music is to push forward, artists need to be braver and more original with their material. Wild Ones show what can be achieved when throwing away the rules and doing something they believe in. I wonder whether this method is how the music industry will grow and rebel. I have been hankering for artists that talk about what is happening around us but, if there is going to be an overhaul of the mainstream and the relative banality; the underground needs to be provided more exposure and attention. I think acts like Wild Ones – given what they are writing about – will influence others and have the scope to get other acts thinking about their music. Maybe the side-route is the way we can cut away at the proliferation of love and commercial sounds; bring about something real and thoughtful – provide music with a greater degree of meaning and direction. What we have now is fine but it is not going to be inspire generations to get into the industry. Thinking about something like mirror-touch synaesthesia and I wonder how many other acts are trying something as daring? Listening to songs from Mirror Touch – the band’s latest album – and it is filled with a variety of themes and avenues. Nothing is slight and predictable. We get a range of songs that look at psychology and personal emotions; aspects that make you think and songs that remain long in the memory.

PHOTO CREDIT: Jeremy Hernandez

I keep putting off Portland but I shall leave it to the end of the introduction. D.I.Y. artists are becoming more visible for a number of reasons. Wild Ones have a bit of Pop polish and sheen but that is intentional. It is a fine line walking between professional and digestible and rawness. Fans and music—lovers want something that has personality and is unlike anything else but if a song is undercooked and too sketchy then that risks castigating the masses and seeing only a few people remain. I am full of respect for bands who produce and record their own music because it does not rely on the labels and means there is greater freedom. I have spoken to many unsigned artists and wonder whether they are chasing a deal. Many want the money and backing of a label but those who are opposed say they have the chance to do write music how they want – the label not breathing down their necks at every chance they get. One is always aware, when signing that deal, the bosses are going to manipulate the artist so they are ready for the mainstream. It is dangerous allowing a group the chance to think for themselves and do something that might see them as the outsiders. Wild Ones have a solid sound and direction but I feel, if they let others have their say, that will take away their ethics and unique strands. Few artists want that so they have to take control and find their own way. Self-producing can be a great way of learning more about the music industry and acquiring new skills. Acts that produce can, in time, do so for other artists and have a lot more options in the future. The members of Wild Ones know how to put a song together and have a passionate bond to the anatomy of the music they create.

I love a great D.I.Y. sound but, as I explained, it can be tough creating a sound when you have that balance of professionalism and underfed. I am not suggesting everything D.I.Y. is a little underwhelming but it allows an act the chance to produce music the way they want to – and takes away the nauseating shine and glee of modern studios. When you find someone who gives you a little window into the modern studio but takes away all the layers and polish – THAT is when you have something good in the midst. Wild Ones want to retain their integrity and not sell-out to the big-bucks contracts so many of their peers are chasing. Danielle Sullivan (keyboardist) Thomas Himes; drummer Seve Sheldon, guitarist Nick Vicario and bassist Max Stein have been around long enough to know what they are doing. They are not in a position to crumble and go running for a label. That is good because, listening to their music, and it sounds unlike anyone else. Whilst the band split up and write different parts in isolation: everything comes together in the studio and is a magnificent force. Many artists are getting hung up on following the ‘popular’ option and writing about themes that have been done to death. It may sound a bit weighty listening to songs about isolation, psychological sensations and empathy – some would be wary of stepping into music that has that intelligence and peculiar D.N.A. Props must be given the Oregon band that has eschewed the easy and are writing music that makes the listener think and challenge conventions. The established order is not really saying anything that is really interesting and unexpected. I am excited by Wild Ones and what they are putting out. Long may their reign continue and let’s hope they do not feel the need to change their course and compromise. Invite Me In, their latest track, is a stunning song that challenges the mind, but gets the voice ringing and the body motivated.

Before I go onto the song itself; I want to talk about U.S. music and artists from Portland. I am torn as to whether the U.K. or U.S. is producing the best music right now. If one looks at the best albums of last year and we cannot help but notice a U.S. dominance. Whether you were affected by Beyoncé’s Lemonade or Bon Iver’s 22, A Million – there were few British albums that could rival those heights. We produced a few great albums but nothing that challenged the best of America. This year, with Benjamin Clementine and Wolf Alice releasing career-best records; I feel the balance will be redressed come the end of 2017. I admire work by Queens of the Stone Age (Villains) but there are few other competitors that can hassle the best of British. It is odd seeing how music changes from year-to-year but it is clear, regardless of the mainstream best, the U.S. is providing some of the best music in the world. I do not often get to explore various states but it has been a long time since I have been to Oregon. Portland is a virile and fertile city that has given us The Dandy Warhols, The Decemberists and She & Him – Ages and Ages and Radiation City. Newer acts like Adventure Galley are worth a shout. They are multi-instrumentalists that can bring the party and are making their names heard. Their music is getting stronger and they seem like a band that can get nationwide acclaim. And And And are a rowdy Portland band that is among the hardest and most exhilarating groups in the business. AgesandAges – another A-heavy group – is a harmonic experience that compels you to sing along and has energy to spare. It shows what diversity there is in Oregon and cities like Portland. Lost Lander and Pure Bathing Culture are great bands breaking through. Radiation City are another promising force and, between them, they are putting the state on the map and showing what quality there is.

PHOTO CREDIT: Jeremy Hernandez

Other areas of Oregon are providing great music, Albany among them, and it is a state that should not be ignored. I am not sure what the current trends are there – in terms of sounds favoured – but it appears Oregon is experimental and loves artists that do not chase dollars and commercialism. Portland is the biggest musical city in the state but there are other locales that have tremendous music buzzing from them. Wild Ones are among the very best of Oregon and have the potential to get big attention. I wonder whether the band is keen to explore other parts of the U.S. Oregon is situated north of Nevada and south of Washington. California and Canada is either end of them – not too far to travel if they hop on a plane – and they have states like Montana and Wyoming to their right. I am not sure whether they are states where there’s a big music scene – I always associate them with hunting and the rural back-roads – but Washington and Nevada are big draws. Las Vegas, in the news for the wrong reasons lately, has a huge music scene and there are plenty of opportunities for them. L.A. would require the guys to get on a plane, perhaps (it would take longer than half a day to drive there) but Seattle is a lot closer. They have a perfect base to reach the biggest parts of America. Situated where they are; there is a healthy local scene but other states that could attract them. As their album is out there; I wonder whether Mirror Touch is going to get itself out there and to the population. I have never been to Portland but know there is a lot of respect for the city. The artists that live there know there are chances to perform – I will talk about the venues when closing – and ample opportunity to get into the national consciousness. I have listed artists who are making waves so it cannot be too long before some of them ascend to the major leagues of music.

Invite Me In starts with shimmering electronics and a sense of the unexpected. It is like wandering through the city at night and experiencing the flicks and flecks of neon lights; the rush of distant traffic and the far-off hum from a late-night bar. There is a sense of solitude and self-reflection in those early notes. Given the fact Wild Ones wrote the song in parts – various members writing different parts – that separate does not show on the song. It is a solid and honed song that gets into the head from the very off. It seems, when the heroine comes to the microphone, there is a man that is not opening their heart and door. It appears he is closed-off and a little cold to the touch. Maybe it is not a man – the first few words bring me to that conclusion – but the heroine is affected and in need for some compassion and sanctuary. The early thoughts of Invite Me In appear to be that lack of connection and different personalities. Her affecting and tremulous voice has sweetness and honey but seems to carry a certain burden. It seems, actually, this is not the first time our girl has been in the house (or where her man is). Maybe there are tensions and a sense of mistrust but they have been together for a while. There seems to be a routine in terms of the domestic situation but a definite sense of affair and adultery. The heroine wants the boy to place her above everyone else – not letting anyone else take her place. That is a fair assumption and understandable but one is knocked off their feet by the sweetness and purity of the vocal. Words that talk of doubts and tensions are not usually afforded such an ethereal and soft edge. The vocal is trembling and delicate but has a huge amount of soul and complexity. Backed by lifting electronics and a sense of shiver – the composition bursts with colours and a strange energy.

From the opening notes – a little chilly but very interesting – the music becomes more layered and detailed. The band do not stuff too much onto the plate but provide so much addictive sway and breeze. It is hard to describe the chorus but one smile and thinks at the same time. I get shades of En Vogue when listening to the chorus. The vocals coo and buzz. There is a sense of harmony and weaving that reminds me of the U.S. group. One gets a sense of R&B and Soul and, paired with the hot and exciting electronics, is hard to resist. The heroine wants her man to forsake all others and deliver love to her. It is a pure mantra and one that is not filled with any malice and accusations. I mentioned how Wild Ones dig deeper than most artists but many might assume a song about love is not that original. On their L.P., they are keen to explore psychology and more original areas but, here, they bring something fresh to relationships. Every band/artist will talk about love at some point so it is only natural Wild Ones would. What they do is subvert expectations and what we are hoping to find. Most acts would put too much energy and elements into the music. Their lyrics might come across lumpen but here, rather than succumb to clichés, the group provide something personal and interesting. The vocals stand out above everything else and capture the heart. Invite Me In does what it says but is not a case of the heroine pining for the man. One knows there is more to the song and a back-story that is worthy of further exploration. I got a sense of 1960s Pop when the chorus swung in. It is a huge sound that brings so much to the mind.

PHOTO CREDIT: Brandon Herrell 

The voice lifts and strikes; there is a balance of sweetness and attack; the percussion rumbles and the lyrics make you wonder. Our girl is looking for answers – “Don’t you feel like a fraud sometimes?” – and is reluctant to open her door. Maybe the trust has gone and the ‘door’ refers to her heart. If hers is broken then, maybe, reluctance is going to creep in. As the song comes to its end; the vocal waves continue and infuse every sense. It is hard to refute their draw and attractiveness. One gets a real hit from the sound but, rather than leave it there, looks deeper into the song and what is happening. I am not sure whether compromise was found in the relationship struggle but it appears the heroine is in a new phase of her life. Maybe men have let her down and, rather than be shut out and pushed away, she wants to be let in. Every new relationship brings problems but she is not willing to be alone for no reason. It takes a lot of discussion but, from what I hear, there is little fairness and compassion coming from the hero. The doubts that niggle her mind are clear but one feels she has not given up hope. Those words sound rather downbeat but the composition is a burning and fireworks-display thing that lifts any stresses and gloom. I listened back to the song to get that giddy and infectious rush into the head. Invite Me In is one of many treasures from Mirror Touch and proof the Portland band are among the finest out there. If you have not experienced the brilliant music of Wild Ones then ensure you wrap your ears around the fantastic sounds of Invite Me In. It is a song, ironically, that draws you in and keeps you are.

PHOTO CREDIT: Martha Tesema

Let’s end things now but, as Wild Ones are an American band, I wonder whether they are coming over here anytime soon. The U.K. is an attractive market for musicians but it takes a lot of money and planning to make it a reality. There are many who want to tour over here but the sheer effort and money required to fund it is staggering. I wonder whether Wild Ones would be interested in doing a string of London gigs to get their feet wet. They would only need to be here a few weeks but maybe they have the funds to subsidise that. I would like to see them perform at a few gigs here and make their music known to the British public. If they go down well – which they should – then they could get gigs in Bristol, Manchester and Leeds. There are so many different places Wild Ones could gain new fans. I guess the U.S. is large enough so they’ll want to explore as much as they can. I am staggered by the size of America and how many options are open for artists. If Wild Ones afford themselves the chance to get to the East Coast then they could stamp out some authority in New York. It might appear like the state is a little rough and Rock-orientated – that would be a generalisation and over-simplification. I love the music of New York and feel Wild Ones could do well there. What they are producing is more common to areas like Portland and L.A. – a tonne of Los Angeles acts favour darker lyrics and the sort of compositions being thrown out by Wild Ones. New York has plenty of acts who perform similar sounds. It is tough managing your music and the importance is with the local crowds. Portland is great because it has so many platforms and great venues – it does have a lot of competition, at the same time.

PHOTO CREDIT: Jeremy Hernandez

There is always room for great acts so it is not the case few will be able to succeed in Oregon. The state is as supportive as any and, when it comes for places to gig; Wild Ones have a few options they could explore. Mississippi Studios and Bar Bar is a great space that puts up many great artists. Maybe few there has the same sound as Wild Ones but the venue is very open-minded and keen to support hungry musicians. McMenamins Crystal Ballroom is a stunning space that is gorgeous and memorable. It is a fantastic venue that many local bands have cut their teeth in. Aladdin Theater is another wonderful venue Wild Ones could venture to. They might have already explored these spaces but I wanted to highlight venues that are ready and waiting for Portland acts. The Know and Rontom’s are smaller and more intimate venues that could appeal to Wild Ones. The Know, down NE Alberta Street, is a little grungy and edge but it houses some fantastic bars Portland bands could gain experience in. Doug Fir Longue and Valentines are fantastic spots; Crystal Ballroom another option. Between them; we have a range of sizes and styles for any act to investigate – there is no set theme and look when it comes to Portland’s venues. I urge Wild Ones to tick as many off the list as they can but, as I have mooted, they may have already covered all of them. If they can conquer the local scene – which seems likely and imminent – then they can take their music between the states and further afield. I have been amazed by the band and, whilst I am not reviewing their album, I compel people to check it out. The themes and sounds revealed throughout stick in the head and will get you revisiting – to see what you missed and capitalising on the best moments. It is an accomplished L.P. from a young band who has been around a long time now. They have survived all the hurdles and issues that trip many artists and seem stronger and more defiant than ever. I cannot wait to see where they go from here and whether they change their sound and incorporate new aspects in the coming months. What they have now is pretty solid and has gained them a lot of love. I admire their D.I.Y. personality and how they want to make music that is true to them. Few artists are doing this but, if you want to avoid the demands of a record label, that is what needs to be done. It has worked wonders on the track, Invite Me In. I will end this now but want everyone to check out the stunning sounds of Wild Ones. They have many more years in front of them and are shaping up to be…

PHOTO CREDIT: Jeremy Hernandez

ONE of America’s finest new groups.

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Follow Wild Ones

PHOTO CREDIT: Jeremy Hernandez

Official:

http://www.wildonestheband.com/

Twitter:

https://twitter.com/wildonestheband

Facebook:

https://www.facebook.com/wildonestheband/

Instagram:

https://www.instagram.com/wildonestheband/

BandCamp:

https://wildones.bandcamp.com/

SoundCloud:

https://soundcloud.com/wild_ones

LIVE REVIEW: #BLOGTOBER: Jasmine Rodgers, Hero Fisher and Sonia Stein

LIVE REVIEW:

 

#BLOGTOBER:

 Jasmine Rodgers, Hero Fisher and Sonia Stein

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EVERY time I come up to London…

which is, to be clear, not as often as I should, my stresses lessen when I get there – they always start when I begin the trip and find the capital’s people a lot more conducive to a relaxed and memorable time. This was the case as I headed to #BLOGTOBER – my second year taking part in the event – and found, after travel delays, people issues and general stress – I was safely deposited in London and found my way to The Finsbury. Once there; bedecked in the warmth and daylight of October – last time I was in N4 it was dark so it is rare to be up there whilst still light – I sat outside the performance area at The Finsbury and listened to the soundchecks take place. Chatting with Lost in the Manor’s Chis – thanks to him for organising it and having me again – it was interesting hearing the slightly distant soudncheck playing against the faint sound of the bar’s music. Doors opened at 8 P.M. and I was up there a few hours beforehand. The acts relaxed beforehand and took time to enjoy the food and drink at The Finsbury. Sonia Stein and her band checked first and had some time off before they night-closing set; Hero Fisher arrived after and was the penultimate act – Jasmine Rodgers arrived after and was the first act up. I have seen Rodgers play before – she was one of my chosen acts for the first #BLOGTOBER – so I knew her set was going to be a solid and exceptional one. I had not heard Stein and Fisher in the live environment so it was interesting discovering how their music, which I was aware of, would sound on the stage. After all the stresses of actually getting to London: a night of great music was exactly what the nerves and brain needed. Stein and her band, along with Fisher, made their way to the backstage/artist area as Jasmine Rodgers took to the stage.

PHOTO CREDIT: Maria Aragon

Her pre-gig ‘promise’ not to tell any jokes melted as quickly as the subject of her first gag – which asked what one would get if they mixed a snowman with a vampire (the punchline is ‘frostbite’, in case you were wondering). It gained a good smatter from the crowd – going down a storm, as Rodgers, rather cheekily, said – and that was not the only joke (they were actually pretty good). It is part of a personality and artistry that offers more than stilted chatter and quietness. I find a lot of musicians plough through their music and do not really provide any conversation with the audience. It can be nervous on such a stage – small and intimate as it is – so, one would be forgiven for having a heads-down approach to performance. Rodgers is someone, like Keira Court (who I saw a couple of months back), who tells some jokes and brings the crowd into her set – relaxing them and putting them in a good mood before a note is sung. Joined by Sean, her guitarist, Rodgers’ set was a fantastic and compelling one. Her current album, 2016’s Blood Red Sun, is one I am familiar with – so it was nice hearing material from it. Icicles, perhaps the standout from the record, is a song I am always excited to hear, but the entire set was incredible.

Rodgers’ set-up is, essentially, an acoustic guitar and ukulele – or mandolin; she’ll forgive me for a mix-up – so one gets sweet and infantile strings and more familiar sounds. It is rare finding a solo artist who has that blend so, when mixed with Sean’s vibrating, evocative guitar echo, it was a combination of emotions, colours and sounds. Few could command a stage with such ease as Jasmine Rodgers; that is a testament to her natural stagecraft and loveable personality. She is someone I want to feature, in some capacity, very soon as she always gets a great reaction from the crowd – and someone who deserves a big-label deal very soon! I am not sure whether any label bosses were in the audience but they would do well to see her play as soon as possible. It is obvious anyone related to (legendary musician) Paul Rodgers has a passion for music and immense skill. His daughter's music, not like that of Free and Bad Company, is its own beast and takes from different genres and cultures – before the set, she told me about a Japanese project she is lending her voice to at the moment. It was a great performance from Rodgers and, as 2018 looms into view, I would not be surprised was a new album to arrive from her. With her voice in especially fantastic form – going from tender to ecstatic and enraptured – it was a perfect way to kick off the night...

Facebook:

https://www.facebook.com/jasminerodgersmusic/

Spotify:

https://open.spotify.com/artist/1npod25ImfTYkFpelxT760

Twitter:

https://twitter.com/JRodgersmusic

Hero Fisher is a personality and human who could have her own T.V. series. There is a blend of dramatic and comedic about her. She is, on paper and in the flesh, a heroine that has immense allure and beauty - but a sort of rebellious edge and charming core that makes her incredibly intriguing. Alongside her ailing guitarist/musician, who was fighting off a cold on the night (the second in a month, as was revealed), the bond between the two made the set very strong. I am not sure whether they have been touring for a while but the ersatz relationship/strong friendship dynamic gave the set a flicker of flirtation and romance; a clear edge that resonated through the venue. If one is unfamiliar with Fisher then they would do good to get onto her music. Since 2014, when she released songs like Fear Not Victorious and No Ceremony, she has released a lot of work – an E.P, Slipstream, and a series of singles. In fact, Push the Boat Out was unveiled a couple of months ago and is a fantastic and addictive track. On stage, we were treated to a mixture of older and more recent songs. Fisher premiered a brand-new song – and future single – and provided the excited and vivacious crowd a look through her back-catalogue. By this time, more people came into the room and, aside from a couple of sound issues – the door to the room was constantly opened as people came and went; it meant we got bleed-through from the bar quite often – it was a triumphant set and one that revealed a true talent and future star. Fisher already has a solid and growing fanbase - but she is someone I can see doing tremendous things in the coming years.

On some numbers, using an effect peddle, she would sing a vocal (wordless, normally), and, with the press of a switch, that vocal could be looped as she would continue singing live. It provided a haunting and impressive extra layer to the set. I had not seen a live performer do this before and, because of that, one could enjoy Fisher’s incredible voice replicated and heightened. Her musical beau – his name has slipped my mind; it will come to me – provided percussive elements (via another effect peddle/on-stage device) and guitar. It was amazing to see such a full and eclectic sound come from two musicians. Fisher’s guitar-playing was sensational and her set was one that gained rapturous applause. Favourites like Bird of Prey and Sylvie (which got the biggest reaction) mixed with songs many there would not have heard performed live. It was a storming set and again, like Jasmine Rodgers, I would love to house Fisher again, very soon! As the final song was performed, and many demanded an encore, it was the conclusion to a tight and hugely accomplished set from a unique and amazing musician. Expect Hero Fisher to be a mainstream inspiration very soon...

Facebook:

https://www.facebook.com/herofisher/

Spotify:

https://open.spotify.com/artist/2UTLIPgfUhvKa3m0poQrC0

Twitter:

https://twitter.com/HeroFisher

Sonia Stein is why many turned up to The Finsbury so it was not a shock seeing many cram into the room and see her play. The three performers each had their own stage mannerisms/composition: Stein was, as I found, more softly-spoken. Not that Rodgers and Fisher were booming and lary but it was interesting seeing the difference between the three. Like Rodgers and Fisher; Stein was joined by other musicians – she had her full band on stage to bring the magic and fullness of her records to life. She is, as I understand, on her way to Los Angeles to shoot a music video (alright for some!). Beforehand, speaking with a few people like musician Cocoa Futures (Greg); it seemed many had made the trip to my #BLOGTOBER especially to catch Stein up-close. She has performed around the country and acquired a band of dedicated and loving fans. When her set got underway, it was not a surprise discovering why that is. She combines the sound of 1980s Pop with modern-day Soul and Electro-Pop. A voice that is expressive, versatile and powerful – a striking and unforgettable performer who had the crowd stunned and hooked from the first number. Stein is another artist who has been releasing music since 2014: we got a nice mix of her career trajectory and a perfect balance of material. One of Those Things, saved to last, got the biggest reaction but her entire set was stunning and body-moving. There was a lot of dancing, cheering and response from the crowd as Stein whipped up an audio storm.

It was a perfect way to end the night and proof she is among our faint young artists. As she is off to L.A. – jammy sod! – it will be interesting to see the result of her music video. I know there are rumblings of new material and, like the other two performers, one pines for an album next year. There is a lot of impetus and desire in Stein so I expect she is already one step ahead. Credit must be given to her band on the night who provided guitar, keys and percussion. It was the biggest-sounding set of the night and beforehand the most kick – a nice contrast against Fisher and Rodgers. In fact, if one takes it chronologically, the night got harder and fuller as the sets progressed. From Rodgers’ enticing, if more subtle, set to Fisher’s more volumised and electric turn – it culminated in a full-out romp when Stein took to the stage. By the time she performed her final song; there was a call for more from the hungry crowd. They were, I must say, well behaved and crucial on the night. I have been to The Finsbury when various elements from the audience have let the performers down. There were no drunken shout-outs and loud chatting during songs. This meant the musicians were free to play their sets without anxiety and disruption. Sonia Stein is almost certainly on her way to the mainstream and another artist who can easily buckle the knees. Her clear connection with audiences and the stage means she will be getting gigs all over the place in 2018.

Facebook:

https://www.facebook.com/soniasteinmusic/

Spotify:

https://open.spotify.com/artist/5ct2WFb5gFMXAntFsAwA0y

Twitter:

https://twitter.com/SoniaSteinMusic

PHOTO CREDIT: Anna Sandul 

It was a day, for me, of contrasting emotions and fortunes. It started wretchedly – train delays and people stress – but, as soon as I stepped into London, that dissipated and my mood bettered as the night wore on. That is, in no small part, down to the artists on the night. They blended superbly and, who knows, maybe there will be collaborations down the line?! I could certainly imagine all three performers going on to brilliant things next year…that is guaranteed! As I stumbled my way into the North London night; the buzz and electricity of the gig were still fresh in my ears. From Jasmine Rodgers’ perfect opening set – I actually liked her jokes and made me giggle on the way home! – to Hero Fisher’s incredible turn (must book her again!); right through the spectacular swansong from Sonia Stein – a brilliant evening that few will forget anytime soon! It is only left to me to thank the staff and peeps of The Finsbury and Lost in the Manor’s Chris for being hospitable, accommodating and kind. I hope to get an invite this time next year - maybe a chance to do something else at The Finsbury in a few months? – as #BLOGTOBER provides a chance to showcase three musicians a website/blog holds in fond esteem. Catch the artists I featured and follow their updates: see why they are among the finest and...

TALENTED artists we have.

TRACK REVIEW: Bleek Noir - Harder Love

TRACK REVIEW:

 

Bleek Noir

Harder Love

9.5/10

 Harder Love is available via:

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

The E.P., Fresh Born Animal (And I’m Not Sure Who I Am), is available from:

https://bleeknoir.bandcamp.com/album/fresh-born-animal-and-im-not-sure-who-i-am

GENRES:

Alternative; Lo-Fi; Noir

ORIGIN:

Leeds, U.K.

RELEASE DATE:

28th July, 2017

WRITTEN, PERFORMED; ENGINEERED AND PRODUCED BY:

Bleek Noir

MASTERED BY:

Mark Walker at Couch Studios

MIXED BY:

Bleek Noir and James O’Connor

PHOTOS:

Frank Garland

__________

ONE man has been in my mind for the past…

few days. Nick Cave has been performing over here and making the music news. It is rare we get to see him and his Bad Seeds gig in the U.K. Ever since his album, Skeleton Tree, last year; we have not heard any new music from him. That is understandable, to say the least – considering the harsh and tragic circumstances that defined some of the album’s most emotional moments. He is an artist that is in a league of his own. I have not encountered anyone who has his same gravitas, sense of atmosphere and songwriting ability. I have followed his career from the early days and amazed by every album he produces. He never seems to slow when it comes to quality and originality – each record provides a new dynamic and theme. The reason I mention Cave is because of my review subject, Bleek Noir (although I know him as ‘Chris’). I wanted to talk about a number of things but, before that, how influential Nick Cave is and why artists like Bleek Noir – who inject the same sense of shamanic darkness and theatricality to their music – are so important. There are so few genuinely exciting and intriguing artists in music at the moment. If one wants to discover a musician that plays in the alleyways of music’s metropolis then they need to really go far and wide – there is far too much convention and ordinary spirit wafting through the streets right now. Yeah, one can hear some interesting and dynamic artists but there are few who have that energy and rare magic of Cave. Bleek Noir is no tribute act but one definitely feels a connection between Cave and Bleek Noir. In fact, as I shall discuss earlier, Bleek Noir covered a song by The Birthday Party – a Post-Punk group Cave was a member of in the 1980s. I will arrive at that but wanted to stay on the theme of artists like Cave and why Bleek Noir is an exciting force. The group/moniker arrived from Christopher Fox and, by various reviewers, has been described as Victorian, seedy and fascinating.

It is hard to put into words but there are music gymnastics and lizard-crawling vocals: hovering spirits, cheap hotel beds and flickering city neon. It is a heady and intoxicating brew that takes you by the hand and leads you somewhere exciting. I am not sure how much of Bleek Noir’s character and personality Fox takes into his everyday life but one suspects the man’s songwriting and creative process has a flair of the method – immersing his head in a space most of us would not go. I wanted to discuss unique artists like this, first, because there are so few innovators and genuinely alluring artists. Fox’s alter ego is a fevered imagination and colourful brew that gets right into the brain and spikes the imagination. It is unusual departing from the garden path and going into a new world. It is not an exaggeration to say Bleek Noir inhabits a very rare territory and approaches music in a weird and wonderful way. Those who are not used to Nick Cave-like sounds and voodoo-cum-tribal embers; it will be an unexpected experience and might put some off. That is not a slight against Bleek Noir but a commentary on how we all get used to something quite familiar and safe. People assume artists that have a quirky appearance and eye-catching description are going to be off-putting and divisive. There is nothing niche about Bleek Noir and the music that comes through. If you give it a chance; you’ll find the music gets into the soul and provokes an immediate reaction. It sounds like I am defending the Goth kid in school but it feels like that at times. Fox’s disguise appears to be that free-thinking loner that stalks the playground with his dark make-up and peculiar views – this is the way outsiders might perceive his aesthetic and music. In fact, like Cave and artists who have few like-minded contemporaries, there is nothing to be fearful of. What you get is relatable music that has a different skin to anything out there. I’ll end the Cave mantra by talking about Bleek Noir’s sense of lyrical prowess and vocal dynamics. I have known Fox for a bit and can tell you, since his last project, there have been some real changes.

One would hardly recognise the man I was reviewing all that time ago – the transformation is quite dramatic. I am interested learning about his association and love of Nick Cave – and Rowland S. Howard, for that matter. Every time I approach an artist, when it comes to influences, there is a bit of a repeat. You get the same names popping up and, whilst that is okay, there is never the feeling you’ll find someone who breaks that trend. Bleek Noir is a pleasant surprise and someone who has given me a new impetus: the chance to talk about something new. I wanted to talk about the immediacy of release and how striking when the iron is hot is essential. Bleek Noir only formed in July but is straight to work! Two releases came straight to light: double A-side Harder Love/Draggin’ That Damn Thing Around and the E.P., Fresh Born Animal (And I’m Not Sure Who I Am). I am looking at those titles and a few things strike me. Fox, as a conspirer, is not someone who goes for the trite and boring. Harder Love, the song I am looking at, is as close as conventional as he will ever get – in terms of the title, anyway! Draggin’ That Damn Thing Around and the E.P., I will allude to both later, compel you with their title alone! It is hard discovering anyone on the musical landscape that has a flavour of fascination about them. You get samey titles and music that really doesn’t hook you like it should. The love of the lugubrious festers and crawls through the blood. I digress but such is the power of those titles and the suggestions one gets. I wanted to commend Bleek Noir for racing off the blocks so quickly. It can be hard for artists to get music out they are happy with. You hear a lot of tease and trickle in modern music. One will invariably have that debut single and all the hype surrounding it.

I know it is challenging getting a song out and keeping the pressure up. Such is the competitive nature of music, each artist takes their own approach to songwriting. I know few who put music out quickly that has a real quality and sense of completion. Bleek Noir’s music is atonal and dark but has plenty of fireworks, compelling scents and bold tattoos. There is a sense the world needs it and there is a gap that requires filling. The fact, only a matter of days after the formation the first material was out, shows what a talent Fox has – a work ethic that few others possess. I am interested he released a double A-side: this is something more musicians are undertaking. The fact an E.P. shortly followed shows what productivity there is in his blood. If you have a couple of great songs and do not want to divide them – releasing each as a single can be quite a task and drags on a bit – the double A-side is the perfect solution. One can experience two excellent songs and does not have to endure the endless promotion and build-up to get their hands on it. I am not sure why there is this rise in the double A-side but it interests me. Bleek Noir is that explosive project that you cannot contain. It acts as a guide to other artists to get their finger out and not to linger. There is that sense of theatre and performance when it comes to promotion. Why do we need endless teaser videos and those cryptic status updates?! It seems music can just arrive and not demand a carnival of buzz and spoon-feeding. Productivity is one of the most underrated and ignored aspects of music, to me. I find a great new artist but, after the first single, there is a huge gap until we hear new music. Maybe they are ensuring the music is as good as it could be but there is a risk there – so many others will come into music and take away some of your followers.

We live in an age where we need constant music and updates. It is not good enough to love an artist and wait an endless time for new stuff to come out. Bleek Noir is in no danger of disappointing. There is a real desire to get music to people that has quality and originality. If the songs out there seemed rushed then I would be reluctant to proffer such an artist. As it is; I find myself drawn to various tracks and noticing the differences between them. Harder Love struck me because it has an accompanying video and it stuck with me the longest – but I will mention other tracks as we go on. I am not sure whether there will be more material before the end of the year but one can forgive Bleek Noir for taking a bit of time off now. I find it fortuitous I am reviewing music that has such a Hallowe’en vibe so close to the big day – a few weeks away, anyway! I would expect Bleek Noir to mark the day with something, at least. Maybe there will be a video or a new song?! It will be exciting to see if anything does arrive on 31st. I wanted to talk about Spotify – before I come to look at a couple of other aspects. Bleek Noir is someone on Spotify but, as an aside, it is near-impossible finding his Spotify page through a search engine. If you type ‘Bleek Noir’ and ‘Spotify’ together – you will not get any relevant results back. It is a slight detour but I am not sure why that is coming up. I have not included the link because of that. Maybe I am typing the wrong words or not looking in the right places but that is beside the point. I know he is on Spotify because I have the application and can find his music on there.

The reason I wanted to (briefly) talk about the streaming site is because Bleek Noir has that niche. Owing to the night-crawling sounds produced; it appears there is a chance to create playlists and hook other artists/contemporaries in. I know Nick Cave’s music is on there so perhaps Bleek Noir could add his music to a playlist and tag Cave on Twitter? It would be good to see his own themed playlist come through that includes similar artists. I highlighted how there are few out there like Bleek Noir but one gets a similar smell from Captain Beefheart…um…yeah, might leave it to the man himself to search the archives! Spotify is a useful way of getting music shared and exposed. Playlists are a good way of including other artists, new and old, into your own rundown and getting their music shared. The hope is, once that is done, those artists will return the favour and include you. This allows the songs to get to new audiences. I wonder whether Cave, if his music were included on a playlist, would share it?! That would open Bleek Noir to his crowd and, with it, so many new fans. I am not sure why Bleek Noir does not show on the search engines but I will have a word with Fox and see whether he has encountered any similar issues. That is a minor point but I feel Spotify is a platform Bleek Noir could thrive on. I have mentioned Hallowe’en and it seems only natural there would be a place for the E.P. Fresh Born Animal (And I’m Not Sure Who I Am) on any spook-themed playlists. I will come to look at Harder Love very soon but, before I move onto that, I want to look at Leeds – and music from the North of England.

I have written extensively about the fact music seems to be split between the North and South. We live in a time when everything has to be divided between London and ‘elsewhere’. Artists who are close to London often get mentioned as London-based acts and that is quite worrying. Such is the dominance and size of the city it is hard for any other areas to get their music heard. It is a trouble that needs addressing but artists like Bleek Noir show what a wealth there is out there. I always mention Leeds in the context of music that flirts away from the mainstream. Mainstream acts like alt-J show there is definitely something in the water up there. Over the years, when reviewing Leeds artists, there have been so few that do anything ordinary and boring, Heir were the last band I featured (from there) but I have also looked at Electro-Swing (Little Violet) and similarly unexpected treats. I am not sure whether it is the way the city runs and the type of music heard there but few feel the need to follow the pack and replicate what is already out there. Different parts of the U.K. have their own sound but there is nowhere quite like Leeds. The city seems to beat to a different drum and everything about the place excites me. We put so much emphasis on London and what is coming from the capital, I wonder whether areas like Leeds are even considered? I guess it is easy to discover artists that live/work near London because that is where all the big labels and studios are – and most of the bigger venues. That is no good reason to overlook the rest of the country. The recent Mercury Music Prize showed what an emphasis there is on London. There were more South London-based artists on the Shortlist than there were from the North. It gets worse than that. Ed Sheeran, born in the North, does not live there anymore and the further North we got was Leeds – alt-J were the most-northern act, it seems.

Scotland was ignored and, actually, Stockport’s Blossoms were also in the mix. Even so; it is hardly encouraging to see so few northern artists included in big music prizes. The lack of visibility is no reflection on the quality and innovation arriving from cities like Leeds and Manchester. I will move things on soon but, before then, artists that come from other projects to create new music. I am not going to get into Christopher Fox’s previous incarnation too much but his latest project is a leap from where he came from. Anyone who has heard his older music would recognise very little in what he is producing now. Maybe it was the desire to do something more challenging but I have never heard him as electric and exciting as he is right now. Beforehand, when listening to his music, there was something charming and loveable but it was quite a niche style – something possibly reserved to past decades that attracts a very small audience. I have noticed certain bands/artists – who play under-heard styles of music – rebrand themselves. Most of these are older Folk types and genres like Hokum and Tinpan. You know the kind of music I am alluding to: music we might hear from the 1940s and artists who play sea shanties at coastal bars. It is quite interesting, I guess, but there comes a time when that kind of music slips the mind. Music has evolved where it is and going that far back creates a danger. I know a lot of artists want to be unique but if the style of music you are playing is not that popular then your lifespan is not going to be that long. Fox is in a position where he still plays on the outskirts of music’s normality but has reinvented himself in a more populist mould. I keep bringing names like Nick Cave in but it is only as a compliment. The Australian is someone who has an enormous fanbase but has very few out there like him. Maybe it is the sheer potency and majesty of the music but I feel there is a need to find Caves-in-waiting to fill the eventual void – when he does retire from music. Bleek Noir has all the right ingredients to build a real foundation and, in time, ascend to the mainstream. I am a little weary of what we have right now and there is a desire to give it a real kick. Too safe, predictable and grounded: Bleek Noir is a head-spinning cocktail that would shake-up music and provide it a rare fascination.

The hero, it is said, is going to make a hundred kind of harder love. These words spike the mind right away and make you wonder what he is alluding to. Before then, he urges (the heroine) to peel back that “fleshy, pink armour love”. The instrumentation and composition remain far-off and the vocal a little distorted and echoed. That lo-fi sound means the song has a degree of danger and stranger-lurking-in-the-shadows. It is a threadbare and interesting start that gets you in and settles you in your seat. The strings wallow and vibrate out of the blocks. Carnivorous, animal-like and echoed – few can ignore the power and mystical power of the sound. The percussion slams and offers punctuated slams that bond nicely with the strings. It is a witches’ brew that instantly transports the mind from the laptop into Bleek Noir’s world. In my mind; I was in a rather odd commune where the hero acts as a shaman. Standing over the boiling and bubbling pot – with lusty and night-dwelling ladies beside him – he fixes the listener with a cheeky and troubled wink. Before long, the steady and level-headed composition starts to twirl and trip. It is almost like a drug has got into their system and they are feeding on the chemicals. It is never too strange but one notices voodoo smiles and crocodile snap to the strings. The hero asks, the heroine, I assume, where it hurts. He is almost like a love doctor – albeit, one who wants satisfaction rather than a medical cure. His mind is focused on the bountiful and sensual: concerned with something primal and lusty. One cannot ignore the Nick Cave echoes that stem from the song. The composition has the same sort of sound and flavour one would find on the 1996 album, Murder Ballads.

The early stages of the song have a flavour of Cave but that is all good in my books! Yes, there is that love of the great mind but Bleek Noir has his own mind and soul. One gets a real hit of that as we learn about his motives and mindset. If one can detect bits of Murder Ballads on the song; it doesn’t take too long before the man steps out from the shadows and lets his golden teeth shine. That snarl and alluring smile talks of banging walls and the place where the pain if kept. Maybe there is that need to release something pent-up and confined. Perhaps a heroine is being addressed – someone who is reserved and in need of ‘guidance’. Our hero allows that deep and commanding voice to paint scenery and keep the imagination fevered and tormented. The imaginations and visions flood to the eyes and you cannot help but follow the story in your own way. My schematic and interpretation remains true but transports to a candle-lit room in a creaky house – maybe a grand mansion somewhere on the hill. Bleek Noir approaches the girl in the corner (without notice) and casts his spell. Such is the potency of the music; anyone who listens will have their own view. The girl, confessed, undressed for the hero with some shame – it entered both their backs at the same time. What the ‘it’ refers to is beyond me but possibly a sense of lust or a strange spirit hanging in the cobwebs?! Whilst most songs are neutered and domesticated: here, there is something sinned, damned and recidivist. One admires the skeletal nature of the composition – it has booming moments but retains a bone-knocking sound – and whether the introduction of swaggering/off-tune horns might add an element of the demented? Perhaps that would be a step too far but, also, a Quartet of Dark Souls – a string combination that fuses Bernard Hermann and Danny Elfman. “Sweet leather rain” are words you probably haven’t heard together but sound natural companions in a song that continues to press and stalk – the hero threatening to push the button where pain is penned; unlock something inside that has been cloistered and hidden.

Subcutaneous crawl and sense-altering odd: Harder Love continues to grace and fascinate to the dying embers. The hero wants a harder love and does not seem one for easy answers and natural foreplay. Fox’s voice has an operatic quality and is at its most striking near the end – when the chorus comes back in and he is at his most wracked and afflicted. The tree-clashing percussion and the Devil’s toybox are combined in a sentient sound that grabs you by the arm and leads you into a peculiar fantasia. If one watches the video to the song – link is at the top and bottom – then you can see the hero with his hands over his eyes and revealing little of his face. It is a simple concept but one that documents the torment and physicality of his feelings. I am not sure whether Harder Love is constructed from a personal relationship or is cribbed from the pages of fiction. It is an engaging song that conspires theories and makes you dig deep. Few songs get into the mind as easily and vividly. It is part of a remarkable double side and is the opening song to the E.P., Fresh Born Animal (And I Am Not Sure Who I Am). Many might see the song as anhedonic and quite po-faced – it does play on the shadier side of the street. There is much delight and colour to be found among the sepia, noir and grey. There is no privation of soul and one discovers emotional resonance and nuance in every moment. A remarkable and addictive song from one of music’s new pioneers; make sure you discover the song and explore the back catalogue (already quite fulsome) of Bleek Noir.

Wild World is the latest single from Bleek Noir – originally recorded by The Birthday Party. Given the fact, in a few short months, Bleek Noir has released a few originals – many would forgive the Leeds-based artist for releasing a cover. In fact; it is a great move and shows the full range of Bleek Noir’s talents. Covering other songs can be quite risky and few artists manage to add anything interesting to the songs that tackle. A song that has Nick Cave involved is already a quality product and has his own voice. Bleek Noir takes on the moment and does not replicate what has already come. It is a great interpretation and takes the song in a new direction. If that were not enough; we have the upcoming single, Last Night I Saw Myself with the Animals (And the Animals Ate Themselves). Bleek Noir is not someone who does punchy titles but, when you hear the music, it would be hard to abbreviate the titles. It seems like his upcoming song is not going to be a slushy ballad: another crawling and creeping viper with a variegated tongue and peculiar sting. There will be an E-book accompanying the song and another step from the new outfit. At the start of this month; Bleek Noir announced there would be FOUR new releases – two singles, a collaboration double A-side and the second Bleek Noir E.P. It seems like music pumps through every sinew of the creator and he cannot stop recording. He even makes King Gizzard and the Lizard Wizard look like a bunch of lazy bastards – they are only releasing five L.P.s this year. I was musing whether Bleek Noir would release anything for Hallowe’en but it seems like we are going to get Christmas presents, too. I am not sure when new releases will come to light but we have his E.P. out there – and singles like Harder Love. Draggin’ That Damn Thing Around and the Fresh Born Animal (And I’m Not Sure Who I Am) E.P. are fantastic works and show what a force of nature Bleek Noir is.

Material is spewing forth and it is hard capturing the breath. What we have right now is electric, fascinating and highly engrossing. There is something rare and peculiar about Bleek Noir but one is always hooked and seduced. You never balk or feel distant from the music. It beckons you in and takes you by the hand; takes you through the Lewis Carroll-cum-Haruki Murakami world of weird and wonderful. I wonder if there is going to be any touring before the end of this year? It would be great to see the songs come to life on the stage and how that is translated. That will be down to Christopher Fox but I know he is busy promoting and working on new stuff. He is a musician that never tires and has an imagination that one cannot put a corkscrew in – nor would you ever want to! There are few who are as prolific and keep the fans engaged. Normally, one would bond to an artist and then have to wait months for new material to come. It is important getting music out there but ensuring the quality is solid. That might sound like a hard trick but it can be achieved. Bleek Noir is someone who is unaffected by the buzz and stress of areas like London and is breathing the psychotropic smoke of the North. It will be interesting charting the progress of Bleek Noir and where the music goes. I am excited by what it is out there and seeing the fan numbers rise. Fox keeps his followers engaged and informed – this is rarer than you might think. I know few others who are as busy and keep that work ethic strong. The quality is really strong and it all bodes well for 2018. I would have reviewed his E.P. but I do so very infrequently – only assessing singles; due to the rather wordy nature of my blog. I have heard the remainder of his E.P. and can only urge people to dig in and experience something fantastic.

Each song explodes from the speakers and gets the mind working and whirring. If, at first, you find the music peculiar and unexpected then give it time: everything will fall into place and win you round very soon. The very best artists are those who remain aloof to the marketing men and the sounds of the mainstream. Fox, in guises past, has shown real promise and innovation but Bleek Noir is his finest realisation. I hope his horizons broaden and he continues to record top-quality music. There is, as he says, new music coming so keep your eyes on that. I have been hooked to Harder Love and all it possesses. It seems like an appropriate word (possesses) as one cannot shake off the entrance and allure of the song. Find out for yourself and, more than that, involve yourself with everything Bleek Noir. I am keeping my eyes out and seeing what comes next from Bleek Noir. Whatever it sounds like, you can pretty much guarantee…

IT will blow the mind.

_______

Follow Bleek Noir

Official:

https://www.bleeknoir.com/

Twitter:

https://twitter.com/bleeknoir

Facebook:

https://www.facebook.com/bleeknoir/

Instagram:

https://www.instagram.com/chrisfox_bleeknoir/

BandCamp:

https://bleeknoir.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCmnLpAbDUeMY42Usk4ZiY5A

TRACK REVIEW: DIDI - Back Off

TRACK REVIEW:

 

DIDI

 PHOTO CREDIT: CK Goldiing 

Back Off

9.4/10

 Back Off is available via:

https://soundcloud.com/iamdidimusic/didi-back-off

GENRE:

Pop-Punk

ORIGIN:

Hertfordshire, U.K.

RELEASE DATE:

28th August, 2017

PRODUCER:

Rhiannon Mair 

MASTERED BY:

Katie Tavini

___________

THERE is a bit of a split in this review….

PHOTO CREDIT: CK Goldiing

when I look at DIDI. I want to address a number of things before I come to look at the young songwriter’s latest track. Lauren Deakin Davies is the woman behind the moniker so wanted to address artists who are producers – Deakin Davies is a successful, award-winning producer. She has worked with some of the biggest names in modern music and is someone who helps guide and tutor young artists to making stronger music. Aside from her producer work; I want to look at female producers in general and how few there are – and why those we have are among the very best out there – and, looking at DIDI specifically, music both raw and nuanced. DIDI creates tracks that have a lo-fi edge to them but there is a lot of depth and layers to her work. I have just reviewed Wolf Alice’s latest album, Visions of a Life, and was mesmerised by the way the band mixed full-on, snarling tracks with something lighter and more compassionate. I will also talk about artists in the modern climate and competition; acts based out of London and, with it being fifty years since Radio 1 (and the first BBC stations) took to the air – why radio promotion is as vital as it ever was. DIDI is the alter ego of Lauren Deakin Davies: one of the finest producers we have in the country at the moment. I have been following her work for a while now and amazed at the work she has helped create. I recently reviewed Kate Dimbleby and her album, Songbirds. That record was a study in vocal excellence and the power of the voice. There was scant accompaniment and it was an album inspired by, in part, artists such as Bobby McFerrin. I was amazed by the record and many would say it’d be quite easy to produce an album with so few instruments and elements: it is harder because you have to focus on the voice and its beauty without undercooking it or making it sound too overproduced.

PHOTO CREDIT: Helen Meissner

It is a hard balance but one Deakin Davies got right. I am reluctant to take credit away from Dimbleby herself but the production on that album is incredible. In addition – one can look at her official website (link is at the bottom of the review) for all the releases – Deakin Davies has captured music from Kelly Oliver and Roxanne de Bastion; Laura Marling and Alexa Mullins. If one looks down her credits and there are a lot of female artists on the list. That is not an exclusive policy but the fact she knows how undervalued many female artists are – in an industry that is still male-heavy. I will come to that later but it is worth mentioning that, at the NMG Awards, Deakin Davies won the Producer of the Year prize. It might have been a surprise to her but for those who hear her work – that sense of shock is resigned to fact that she should win a lot more awards. One of the reasons I like the connection between Lauren Deakin Davies and DIDI is the fact they are very different people. The creative side of both is interlinked but there are distinctions between the producer and songwriter. The reason I wanted to mention producing is because many artists are working on their own stuff. It can be expensive getting songs produced and a day at a studio can cost an extraordinary amount. I worry many artists are being priced out of the market and unable to record tracks. In an age where technology makes it easy to make your own music; that is the option many songwriters are choosing. Maybe that method lack a certain professionalism and quality but the D.I.Y. method is becoming popular. At the very least, it gives artists the chance to produce and understand what it takes to make their own music. I can imagine Deakin Davies started modestly and built her way to where she is now. The fact she helms her own studio and is an award-winning producer has not come overnight. The talent and skills she has acquired means, as DIDI, she can guide her own work and does not need loads of other voices controlling it.

PHOTO CREDIT: Cassy Paris, Bellanova Photography

I find this is a great reason to become a producer and learn the craft: one can have a say in their music and make it the way they want to! I know there are terrific female producers out there but they get less credit than the guys. I wrote a piece on it a few weeks back – I shall not include it here; let’s concentrate on the review – but the idea behind it was to expose the issues many women face when they try and become a producer. There is that boys’ culture and the sense the studio has a very particular mood to it. Women are making their way into the bigger studios but, if you look at any studio right now, the majority will have men at the controls. It is sad to think there is a gender imbalance in studios but things are starting to change…slowly. Lauren Deakin Davies is a pioneer and will inspire many women to come into the studio. Courses are available but there is that perception that there will be few job opportunities waiting for them – any that do will see them struggle to fit into the clique of a modern studio. I have been to a few and, whilst they are welcoming and open, it is hard to shake the sense they are not actively recruiting women and changing policies. After my feature came out; some contacted me to say their experience was not that bad – many women have been welcomed and not faced prejudice. There are many who have had bad experiences, mind, and the statistics speak for themselves. Look at the best albums of this year – or any, for that matter – and the top-ten songs in the charts and the majority would have been produced by men. This is not to say they are better but it shows there are clearly a lot more male producers than women. I feel things need to change and there should be a bigger drive to break barriers and ensure women are given exposure and spotlight.

PHOTO CREDIT: Cassy Paris, Bellanova Photography

Lauren Deakin Davies has her own studio but I wonder what reception she would be afforded if she were coming into the industry – and had a placement at another studio. Maybe her experience has been smooth but I am glad she has been recognised for her terrific work. She, alongside awesome female producers such as Catherine Marks, is responsible for incredible, career-defining work. I am so pleased she has this great career and her story will give encouragement to women who want to become producers. One can say Lauren Deakin Davies and DIDI are two separate entities but they are, obviously, the same person. The fact DIDI’s latest track has a sense of personality, confidence and nuance is because of Lauren Deakin Davies and her production insight. She is a songwriter who knows how to create original and affecting songs but one listens to Back Off and knows Deakin Davies’ education and knowledge directly goes into the track. I want to talk about DIDI as someone the music industry really needs right now. I am looking at the new solo artists emerging and find so few of them stick in the memory. There is a faction who claims Rock and Punk are genres best left in the 1970s – that is when they peaked and have never been the same since. I agree Rock and Alternative sounds had a resurgence in the 1990s but there are few modern-day acts that match the quality and scope of those past days. I know there are plenty of great bands out there but it is the solo market that is seen as more popular and profitable nowadays. By that, I mean there are more musicians going out alone as opposed to setting up bands. The high-profile break-ups of The Maccabees and Wild Beasts make upcoming bands a bit nervous about their future and security. Those cases are exceptions and there are reasons why those bands have split. Regardless; one cannot argue there are tonnes of great bands inspiring the young to get into music.

PHOTO CREDIT: Jonathan Watts

The best music, largely, is coming from solo artists. When we accept that, we have to take a forensic approach to this side of music and whether, what is being said, is valuable and inspiring. I find there are a lot of great solo artists out there but there are relatively few who can produce great Pop-Punk and Rock. I find these genres, Pop-Punk especially, marries the tough and swagger of Punk with the accessibility and singalong quality of Pop. It is a hard blend to get right but, if someone does, you get a fantastic sound and music that hits all parts of the body. DIDI knows this and could easily have failed. It would have been easy for her to produce something generic and commercial – aiming to get the songs on the radio as quickly as possible. What I love about her music is the fact she eschews demands and expectations and creates songs that come from her heart. Sure, there are words of strain and oppression but she reflects what is happening around her and the life-experiences that mean a great deal. One hears shades of U.S. giants and modern-day bands in her music but, by and large, it is hard to compare DIDI with anyone else. I know she wants to be seen in her own right and not easily compared with another artist. In an industry where there is so much competition, one could forgive her for replicating another artist and trying to get to the top quite quickly. What comes out from her music is the raw and tough-cut sounds that we lack in the mainstream. There is an emerging wave of promising Punk/Indie artists but there are few creating influence in the prominent parts of the market. I am not sure why this is but I feel those who do try and make something great, and fail, are obsessed by commercialism and do not spend adequate time creating music that has any original voice and depth. This is a shame but it might speak to the way we want music consistently – not allowing an artist to cultivate and explore. DIDI is someone who knows the pressures of the industry but will not be rushed and defined.

PHOTO CREDIT: Helen Meissner

DIDI, effortlessly, seems to bring together the heroines and heroes of 1970s Punk and modernised that sound. There is a bit of U.S. Power-Pop from the 1990s and the latest cuts from the current time. It is an intriguing blend and one that would have been shaped by her music upbringing. I can only imagine the artists that she discovered as a youngster. Gathering those legends of the 1960s and 1970s with the 1990s’ brightest – hearing the best of the past two decades and joining them all together. Whilst it is easy to compare artists to their influences; that is not the case with DIDI. She seems to have crafted something true to her that does not lead someone to link it to existing musicians. There is that lo-fi sound to the music but plenty of layers and fascination. It is interesting comparing her to the best artists around – including our very own Wolf Alice. I want to mention the London band, not because I have just reviewed them, but highlight them as a band who are making a real mark. In an industry where there are few prominent female-led acts and properly solid bands. Their album, Visions of a Life, has moments of real heart and emotion – from a band one would not associate with being tender and delicate. Contrasting this are songs that spike, spit and slam. One would expect that from Wolf Alice but they never do it in a facile and overly-crude way. There are swears and aggression but that is married with incredible musicianship and exceptional lyrics. I wanted to link Wolf Alice and DIDI because, I feel, the latter has the opportunity to follow the trajectory of Wolf Alice. She is making music that carries the same rebelliousness and youthful vivaciousness but there is an air of introspection and fragility. Whether DIDI is planning something similar to Visions of a Life, I am not so sure – I would not be surprised to see an album as strong come from her!

IN THIS PHOTO: (Left to right) Shiva, Laura Marling; Lauren Deakin Davies and Rhiannon Mair

What DIDI does is provide music with a glimpse of its former best. I noted how there are some terrific artists coming to the mainstream (which there are) but the so-called best and brightest out there are still too Pop-lite and shallow. Few artists really stand out and there is that need for music that does not tax the brain. DIDI’s creator knows what it takes to succeed in music and how hard it can be for truly credible and talented artists to get noticed these days. DIDI is not going to compromise or pen music that sounds good on the charts and appeals to a set demographic. The music world is a competitive and capricious one so we cannot be naïve enough to suggest there is no place for chart acts and those who do not expend a lot of effort. Everyone is entitled to their own tastes but the only way music is going to evolve and transcend is to look at the music it proffers and augments. I feel the artists that have something to say – and are pushing boundaries – have to work a lot harder than those who have a commercial appeal. This is wrong and is causing a lot of musicians to compromise their ethics. DIDI wants success and attention but is not going to dumb her work down or ensure it is palatable to delicate ears. One gets a real sense of identity and personality when hearing her music. This is rarer than you might think which is why she warrants a lot more acclaim. I will look at some of the attention and honour afforded to DIDI later but, before investigating Back Off; I wanted to look at artists based outside of London and what Radio 1’s fiftieth anniversary means to modern music. DIDI is Hertfordshire-based but has that proximity to London. I wonder whether Lauren Deakin Davies’ musical moniker would sound the same was she based in the capital.

PHOTO CREDIT: Helen Meissner

What I feel is acts that have that easy access to London – but not actually based in the city – are producing the best music. The stress and competition in London mean it is becoming harder to distinguish the genuinely good and worthy. So much focus is being paid to London and that means it is tough discovering artists from any other part of the U.K. DIDI is turning heads and I feel the reason her songs sound and fresh and good as they are is because she is not tussling with the London competition and surrounded by people and never-ending rush. She is free to create music the way she wants without being crowded and pressurised. Maybe that theory is flawed but, at the very least, it is worth celebrating genuinely fantastic artists not based in London – we need to get over the assumption all the best music comes from the capital. I feel northern areas are overlooked and, rather worryingly, artists that are not based in London are labelled as London acts – because that is the only way people will listen to them and be able to relate. I love London, obviously, but feel there is too much focus put on the city. I realise there is a world of wonderful music out there that does not really get a look in. Hertfordshire is a county that houses some of our best young talent and some wonderful venues. I can understand why DIDI is based there. She has that closeness to London but is free to enjoy the local splendour and benefits of Hertfordshire. I have not got the time to list all the great acts in Hertfordshire but I recommend everyone investigate it further and check out the fantastic spots artists can play. I want to end the introduction but urging everyone to get involved with the celebrations surrounding BBC Radio 1’s fiftieth anniversary. Radio 2 is also included but Radio 1 is at the forefront of the commemorations because it was the first station we heard fifty years ago – D.J. Tony Blackburn welcoming people to the airwaves.

PHOTO CREDIT: CK Goldiing

The station took over from the pirate options of the time and brought radio from the offshore illegality to the mainstream. It was a nervous time – not sure whether there would be the same sense of independence and quality as the pirate stations – and how long these new brands would exist. The fact they are prominent fifty years down the line shows what affection and need there is for radio. I am a fan of digital promotion/releases but feel radio is even more influential now than it was decades ago. For new artists; they cannot solely rely on music-streaming sites to promote their music and find new fans. Radio is the natural tune-in for true music lovers. I listen to BBC Radio 6 Music to discover the hottest new artists but realise stations like Radio 1 and 2 are vital. These big stations have always been at the forefront and are not going to relinquish their influence anytime soon. DIDI is someone who balances the benefits of digital promotion and radio exposure. To her, surely, hearing her music on the airwaves is more satisfying than getting who-knows-how-many Spotify streams?! There are few bigger thrills than hearing your music projected over the air and reaching thousands of listeners.

PHOTO CREDIT: Cassy Paris, Bellanova Photography

A reason I bring up radio – aside from the big anniversary this weekend – is the fact artists like DIDI make perfect radio music. What I mean by this is (sounds like hers) are best enjoyed through the radio. One hears a track like Back Off and gets a different experience when hearing it digitally – not quite as expressive and potent as it is when listening on the radio. I know Lauren Deakin Davies would have grown up listening to the radio and she creates songs that seem born for the medium. It is hard to explain but I have heard her music on stations like BBC Radio 6 Music and it sounds wonderful. You get the full expressionism of the music and hear it in full bloom. Her Power-Pop/Pop-Punk blends are suited for big speakers and the lure of radio. In addition to the sound and dynamic of her music; DIDI realises getting played on radio is as influential and important as digital means. I find sites like Spotify are only effective if people share music from there. It can be easy for artists to put their music on the site and not find it promoted by others. Unless you are a big name; it is tough getting a lot of streams and your music to the masses. Radio crashes through barriers and makes it easy to get to all sorts of listeners. It is instant and hugely effective. Rather than having to rely on social media and hoping people discover your music; the song goes across the airwaves and straight into the ears.

Following previous singles Sorry and Awkward; we have the wonderful, Back Off. The song has already been received a lot of praise from some big names. The stomp and twirl of the introduction is quite unexpected. It is a funky and danceable sound that has shades of, oddly, Rockabilly to it. One gets a sense of jive to the introduction but there is plenty of granite and electricity working away. An intriguing and fiery opening to a song that looks at an anti-hero who is getting in the face. The man is telling the girl what to do and getting really aggressive. His face is turning blue and there is that air of violence and control. Maybe the woman has been having her own thoughts and trying to live her own life – such values cannot be tolerated by the man! He is unhappy she has independence or any sort of mind. We can all imagine the sort of bully and ogre that would have these kind of ideals. He does not want his girl being who she is: follow what he says and make sure she is under the thumb. This is not something that sits well with DIDI who is aggrieved and off put by the callousness and boorish manner of the man. Maybe this is someone who has impacted her life but it seems like she is watching from the outside. Previous DIDI songs have tackled deeper and less-talked-about themes – she wrote an L.G.B.T.Q. anthem in Awkward. Here, I am not suggesting there is domestic abuse at play but something unsettling and dominating comes to the mind. The man is someone who does not want anyone disobeying his orders and arguing with him. DIDI is someone who recognises the danger but does not suffocate the song or make the situation worse. We will do “fine without you”, it is said, and the boy has to leave. The man thinks he is in control and can do better with him.

PHOTO CREDIT: Cassy Paris, Bellanova Photography

The chorus argues against this and urges him to back off. There is no need for him to be around and that urge to expel him from their lives is paramount. I wonder whether DIDI is involved in this melee and whether she is stepping in for a friend. As the lyrics go on; I was looking at other interpretations and whether it was relationship-based. Maybe the song is about men in general and those who promote sexist and abusive ideals. Perhaps that sexism is about the industry or issues faced by musicians today. Whatever the early truth; the chorus delivers plenty of fire and kick. It is a sassy coda that benefits from multi-tracked vocals and catchiness – few other songs this year boast such a dominant and memorable chorus. The syncopated rush of the choruses gives the song an urgency and rush but the lyrics are never buried and scrabbled. It is testament to the production and mixing – in addition to the performance – that everything hangs together and sounds crisp. Despite the fact it is a song that has polish and clarity; it relies on a lo-fi sound that gets into the head and compels the body to move. As the second chorus comes out; DIDI brings herself into the song more and, it appears, there is a lot of personal relevance. The boy would rather stick knives in his eyes than spend more time with her. That is not a reflection on her personality and appeal but the impatience and attitude of the man. He is angry and someone who will not take ‘no’ for an answer. The heroine tells him to give her space and get out. It is fascinating discovering where the song came from and whether it is a look at clingy and controlling lovers or a commentary on men who belittle women.

PHOTO CREDIT: RedMoonStudio

One gets a real sense of magic and potency in the chorus. The vocals shout and project but there are lovely little touches that elevate it. That can be said of the chorus, too. DIDI does not lazily repeat lines and make everything sound the same. She adds a real voice and personality to every lyric. Keen to get people chanting the track and remember each line – Back Off is a hugely memorable song that is afforded a lot of attention and dedication. DIDI’s guitar playing is excellent and the entire track has a great drive and rush. If anything, I would think making it even rawer and snarling would heighten and highlight the song’s messages. I have mentioned Wolf Alice and why they are so successful at the moment. They play in a slightly different way but consider the animal bite and grungy vibes of their music. Maybe Back Off would be even more digging and direct were it to be afforded the same treatment and dynamic. One of the reasons Back Off sounds like it does it to keep it light and accessible enough for everyone. It is never too aggressive and has enough melody and charm to hook younger listeners. A thing I love about DIDI’s music is the fact she does not limit herself to certain people. Each number is intended to be appreciated by large demographic. The chorus is the big selling point and the mantra that will be repeated by gig-goers every time they hear it. Back Off hits you instantly and will lodge itself into the head. It differs from songs like Sorry but retains that unique DIDI edge. I am excited to see where she goes from here and whether Back Off is a potential E.P. inclusion. Each song sees the young songwriter grow stronger and more intent.

PHOTO CREDIT: RedMoonStudio

I will end this piece here but wanted to congratulate DIDI on her success so far. Lauren Deakin Davies is an award-winning producer and is one of the brightest young producers we have right now. Her alter ego, DIDI, is getting a lot of love from big D.J.s such as Chris Hawkins (BBC Radio 6 Music). He played her other single, Awkward (twice in April and June I know Back Off was played on his show on 16th of this month – he is not someone who plays any old crap! DIDI is being taken to heart and resonating with local and national radio – she was featured on Amazing Radio, too. This would be an honour for an established artist but DIDI is a relatively new artist. It is incredible seeing her do so well this soon but not a surprise. There is something intuitively addictive in her music. One hears a blast of Back Off and is flooded with memories and visions. I was drawn to my childhood and some of the artists I grew up on - acts from the present days and a real concoction of sounds. Who knows how far she can go but I do know there is a big future for DIDI. I wonder whether next year will see an album come from her - I have been told an E.P. is likely before an album. It is interesting to speculate, for a number of reasons. She has a couple of great songs under her belt and, surely, will be planning more. This can only spike her mind and make her think about a full release. As a producer who has worked with a range of artists; Lauren Deakin Davies has the chance to collaborate with others. It would be an interesting experience if, say, DIDI united with Kate Dimbleby for a song – that would be an exciting clash that could lead to something wonderful. The same could be said if DIDI played with Kelly Oliver – or another artist she has produced. Maybe she wants to remain solo but there are creative options for the young songwriter.

PHOTO CREDIT: Howard Key

It would be good to see DIDI perform around the country and I am sure she has ideas of where she wants to play. London would be a natural base but there are great venues around Hertfordshire. DIDI’s music suits big cities so I can see her play in places like Manchester and Glasgow. Maybe that will come further down the line but her 2018 will be a huge one. DIDI has played at Balstock Festival a few weeks back but has visions of playing other events in the coming weeks. I will try and catch her perform very soon because I know DIDI is a terrific live act. Combined with a brilliant songwriting ability and rare sound; she is someone we need to see and hear more of next year. Back Off is a wonderful cut that has, rightfully, been getting a lot of praise. I am excited seeing where DIDI will head and what is next for her. There are a lot of bodies in the music scene but, with powerful acts like Wolf Alice scoring huge reviews, there is demand for musicians that bring Indie/Punk sounds into the modern age. There are still too many vague and listless examples who are one-dimensional and commercial. Wolf Alice show what is possible when you push away from convention and do not follow the tribe. DIDI is another artist who works on the periphery and is not beholden to latest trends and chart rules. She will have a wonderful future and songs like Back Off highlight what an incredible force she is. Make sure you get involved with her latest track and follow her on social media (links are below). DIDI’s year has been productive so far – she has achieved a lot – and a lot of ground covered. The arrival of Back Off proves DIDI is born for great things and one of those rare artists who possesses…

IN THIS PHOTO: (Right to left) Alexa Mullins, Kaity Rae (Lauren) and Minnie Birch

A real bang!

_______

Follow DIDI

Official:

http://www.didimusic.co.uk/

Twitter:

https://twitter.com/IamDIDImusic

Facebook:

https://www.facebook.com/IamDIDImusic/

Instagram:

https://www.instagram.com/iamdidimusic/

Spotify:

https://open.spotify.com/artist/5cQQ9FJMLv9nUwuqsn9njR

SoundCloud:

https://soundcloud.com/iamdidimusic

YouTube:

https://www.youtube.com/channel/UCAUdNcYRi1URpIvb-OVnySw

TRACK REVIEW: J & The Rest - Kisses on the Mirror

TRACK REVIEW:

 

J & The Rest 

 Kisses on the Mirror

9.2/10

 Kisses on the Mirror is available via:

https://open.spotify.com/track/0yoLeWzC4nKB0N5PBvRnBT

GENRE:

R&B

ORIGIN:

London, U.K.

The E.P., 4Am Again, is available here:

https://open.spotify.com/album/33NS5x6bOmKwhEtGaQ1D0v

___________

BEFORE I get round to the business of reviewing….

Kisses on the Mirror; I wanted to look at J & The Rest and what makes them so special. I wanted to start off by talking about artists that get into music by accident. It might seem like a rather haphazard way of getting into the business but it can result in a magnificent blending of people. I know a lot of people who plan every move and structure their careers from the moment they are old enough. It is impressive if you have that vision but how many of us, who have that passion for music, know what course to take? In the case of Jamal, as I shall show, it literally was a course that set him on his way. What I mean is few of us have any real early revelation and clarity. For me, when it comes to music journalism, I only got into it about six years ago. Before then I was hugely involved with listening to music but had never really seen writing as an option. The way I got into journalism was a former friend of mine had her own blog – and would write about her daily encounters and personal life. I had never seen a blog like that and was hooked by the fact it offered a portal to share your thoughts with the world. Of course, with very little happening in my personal life, I was not going to do the same as her. Instead, when we started chatting, it seemed like music would be the natural choice. Up until that point, in 2011, I had never written anything (review-wise) and started tentatively. With a few local artists on my page; before I knew it, I collated a series of reviews and interviews. Over the years, I have become more ambitious but it all started with that one moment. Jamal’s realisation is a different one but his progression in music follows similar lines to me. He was raised in a musical family but never considered music a full-time career.

His explosion/revelation was when he studied Music Tech at Leeds Met – that course, actually, was not as he imagined. I will talk about music education but the sour and disappointing time there left him a bit deflated. Rather than wallow and retreat from music forever, a friend of his advised him to come into the studio and jam. He went down there, not expecting anything big to occur but, rather than come away empty-handed, he met university mates John and Louis. The three of them clicked and were joined on the live circuit by Ricky (on drums). All of the players bonded and a natural brotherhood was formed. I am not sure how quickly that love was but one can imagine an instant vibe and understanding. Hearing them now and one knows the fact their music is so strong is because they are of the same mind. I hate bands that are manufactured and come together through committee. A lot of the best groups stick together because they have a natural friendship and find one another through unconventional routes. Whether you are mates from way back – or discover each other through a studio jam – it is an uncontrived and interesting way of setting up a band. Of course, there are manufactured bands that stay together but J & The Rest would not sound as strong were they assembled by a record label – one might look at the promotional photos and assume they were hand-picked because of their looks and style. That might sound harsh but I mean the boys have a distinct look and swagger; their voices and musical abilities perfectly mesh. That has all come through discussion and practice but it is stunning hearing them together and blending so effortlessly – like they have been together for decades, almost. I will move on but I like the way Jamal got the band together and how everything fell into place. That friendship clicking and popping when in the studio – how many other bands have that rush and urgency right from the off?

I alluded to the fact Jamal started his music curiosity via a course at university. It seems his disappointment and revaluation was a sage and fortunate event. He might not be in the band, and where he is, were it not for the studio jam. That Music Tech course would have taught him some discipline and abilities but I wonder what else he learned from it. Jamal’s voice is so natural and smooth it seems like he follows his instincts and heart. Music courses can, often, structure and define someone quite rigidly. There is room for manoeuvre and adaptation but many educational facilities want to turn their singers/musicians into the next-big-thing. This means, more often than not, looking at the charts. I live near a music university and often see a horde of students carrying a guitar case and looking the same. There is little personality and the depressing uniformity is something that worries me. I might be wrong in my judgement: one might whip out the guitar and have the chops of Eric Clapton or the calmer finger-picking genius of Nick Drake or Joni Mitchell. It seems many modern schools/music universities are teaching their students to be like the bets of the mainstream. I think more would go on course – and stick with the course – were the curriculum broader. Instead of honing them into a particular artist/sound; there should be more emphasis on freedom and musical exploration. I admire the courses concerning production and engineering but feel courses concerning vocals and guitar/drum often guide the students too strongly in a set direction – the alumni coming out sounding like everyone else and not having any viable career. There are some exceptions that forge a successful route but they are in the minority. In Jamal’s case; I think it was the course he was taking that might have put him off. It sounds very technical and stuffy. The lessons would have been quite dry, I can envisage, and that is not what he is about. His education has come from the studio and gigging with his boys in the band.

I will explore the band’s style more very soon but, before moving on, wanted to look at the conflict between education and instinct. I, as a writer, as in the latter’s camp. I realise the chances of me being snapped up by a broadsheet newspaper are the same as Donald Trump finding God, donating his money to charity and apologising for all the wrongs he has done – changing the world and concentrating his remaining years to assisting the poor in the developing world. In case my sarcasm is not strong enough, it all boils down to one thing; I am working-class. My education is university-level but I did not study an ‘appropriate’ degree – Journalism or some other subject – that would see me fit to work at these papers. I have no previous experience in the press and so, by virtue/misfortune of my social standing, will never be allowed through the exclusive rope of the broadsheets. That is disappointing but it seems if one wants to get anywhere in journalism – and they are working-class – then they need to pay thousands and spend years getting an education. That seems ridiculous as, to me, talent cannot be compartmentalised and evaluated in modules and accreditations; numbers on a page and a piece of paper. That may seem ironic as that is what music journalism is – with some florid wording and acute modern observations – but I mean a journalist is no less qualified if they spend years writing their own blog. It annoys me the only way people like me can ever get on in their career is if they are formally educated and bankrupt themselves. Jamal must have felt like this when he started studying music and realised he would not get anywhere fast doing what he was doing. I wonder whether he would sound as good and natural were he to go down the education route – I wonder whether I would lose my unique format if I did a degree. I feel, not bitter or anything, the way I am doing things is the right way to do it. I have learnt a lot more following my own thoughts and featuring the artists I have already.

Rather than turn this into a personal rant – what’s the point having a blog if one can’t allow some venting?! – but I wanted to talk about J & The Rest’s music. They have quite an Etonian approach to R&B (old school…oldskool? Anyone?! Suit yourselves!) and manage to mix the smoothest and most affecting of past days with the modern production and rush of the charts. That is no bad things because the guys are never commercial in their attack – their music is much deeper and complex than any of the mainstream R&B bands we have. It is unusually seeing a band like J &The Rest in our midst. They are not an all-vocal band like Boyz II Men or have that same sounds as, say, Londonbeat – one can, though, imagine they’d pen their own Thinking About You (the biggest hit from Londonbeat) sometime down the line. A lot of the modern R&B music is very cutting-edge and it relies on pushing the genre forward. I feel there are few that manage to evoke fond memories of the past whilst keeping the heart and soul of-the-moment. I hear little whispers of classic R&B acts and bands from the older days. I always prefer music that mixes old and new so, when listening to J & The Rest, I am satisfied and nourished. Jay & The Rest’s E.P. 4 A.M. again (their version is grammatically incorrect so have written it ‘A.M.’ rather than ‘Am’ or ‘AM’) is a stunning four-track collection that starts with the track Kisses on the Mirror. All Clear and Weary Love, in title alone, sound like they are going to be oldskool love ballads; Kisses on the Mirror quite tender and seductive – 4Am Again (whether that is pronounced ‘am’ or ‘A.M.’) a late-night introspection. It is a record that conforms to expectation but offers so much more. Seeing as the band formed with a sense of chance on their side – I am amazed they managed to produce something that sounds easy and accessible. I am unsure how much rehearsal there is but the guys mesh and there is not a missed beat. What I love about the E.P., and will explore in the conclusion, is the fact it’s tight and does not needlessly wander.

A lot of new bands, in an effort to impress and make a mark, stuff an E.P. with too many details and songs; they overwhelm the thing and come across as too eager. It is hard knowing whether to produce an E.P. or album for the first offering. Many have too much material for an E.P. and not enough for an album. It can be hard whether to go for an album – and have to think of some songs on-the-fly – or scrap a couple and produce a more refined E.P. The temptation is to toss it all into the blender but that can cause its own issues. I imagine J & The Rest had a couple more songs in their mind but have limited themselves to four. In this quartet of jams, they have fused the evocative spirit of classic R&B with the rawer and more hard-hitting beat of modern-day R&B. I mooted how few R&B bands there are but, as it is Jamal who takes care of most of the vocals, it is a more traditional band line-up – one singer and backing. That said; there are few R&B bands out there. Normally, you’d have a solo singer and any bands would cover other genres. I would like to hear, in time, all the boys mixing their voices and giving us that big-release harmony. You know the ones: where the spirit is lifted and the blood rushes all over the place. That is a rarity in today’s music and something we need to promote. As it is, the guys are a solid and fine unit that produce some of the best music around. I have been caught by the accessibility of their E.P. One does not need to be an aficionado of R&B to understand what they are about and where they come from. They do not put too many other sounds into the mix – whereby you can hear influences and particular artists when listening to them.

I am eager to get down to reviewing their E.P. lead-off song but, until then, wanted to discuss the special merits of J & The Rest. Before I get there; I wonder whether that band-name is meant to be a bit dismissive. We all know the ‘J’ is for Jamal – the other three members relegated to ‘The Rest’. It has only just struck me but, on paper, it does seem like the frontman and the minions. I know that is not what Jamal means – and the guys all have equal importance – but it is interesting to note. Anyway…I digress. Looking at the biography and timeline of the band and I notice they have performed on the same stage as Tine Tempah and Robin Thicke. That is impressive and, although I consider Robin Thicke to be worthy of inclusion in The Big Book of Monumental Bell-Ends, he has a certain star quality and pull – even if he is a derivative and forgettable artist. Tine Tempah is much more credible and impressive. Although he has passed his best days; there is still a lot of petrol left in the tank. He is an artist who produces passionate and crowd-unifying music. I have got more involved with R&B and Urban music because of him. His sounds are a sort of gateway into Grime and Hip-Hop. This experience and plaudit – sharing the stage with some big names – would have given the new band quite a kick. Their music has been picked up and appreciated by a number of different stations and publications. It is hard to say how effective it is gigging with stars but, for the boys, it has provided them a confidence boost and sense of motivation. The fact they are deemed worthy of sharing a stage with Tine Tempah means there is popularity and demand there. The boys’ E.P. is a testament to their hard work and effort. Each song is crafted so every listener can appreciate it. It is never a case of songs being over-produced and saturated of naturalness: music flows and has an easy charm; the lyrics and performances are backed by excellent production values.

Journalists have noted comparisons between Jamal and artists like D’Angelo and Maxwell. This is no small feat and, if there are people talking like that, it means Jay & The Rest are stepping in the right direction. I find it rare to have a British R&B band being linked with U.S. greats but that is another reason our guys are so special. It might take them years to reach the same heights as D’Angelo but, if they are looking for guidance, look at what he is doing and take that approach. I do not mean replicating his music but listen to an album like Black Messiah (the 2014-released record credited to D’Angelo and the Vanguard) and it went down a storm! It is considered one of the finest records of the decade and was met with enormous critical acclaim. We in the U.K. have not produced anything as good as that and this worries me. I am sure we have the talent but few artists are harnessing the same dynamics and colours as D’Angelo. Our R&B artists are too commercial and not pushing the envelope as much as they should. Maybe that is a divide between U.S. and U.K. but I feel there is a lot of promise concerning J & The Rest. I feel they can produce something that has the same ambition and scope as D’Angelo’s Black Messiah. That would be a terrific achievement and something that could kick-start British R&B. The London boys have that balance of vintage and new that is so essential if you want to create a classic album. If it is too old-style then it runs the risk of alienating younger generations. If it is too modern then it is only likely to have limited lure. It is a hard balance but one Jay & The Rest have struck.  

J & The Rest put their E.P. out at the end of July so it has been in the ether for a little while. I wanted to review its opening track, Kisses on the Mirror, because it best represents the E.P. and is the strongest cut. The opening movements see a distorted, rushing vocal that is all machine-like and squelchy. That instantly fuses with something vintage and caramel. The electronic vocal – must-favoured by a lot of R&B and Future-Beats artists – projects urgency, confusion and street lights. It sees my mind wander to the street and wandering among the late-night revellers. When I hear the stylish and evocative mixes of the past, when combined with the modernity, it is an evocative and stunning sensation. Without a word being sung, you are somewhere else and imagining where the song will go. My imagination ran riot and, from the street and the neon lights, into the house and in front of the mirror. I am not sure how influenced by relationship and sex the song is (excuse the poor grammar) but there is a definite sensuality and allure to the introduction. Jamal feels and smells the perfume on his skin, My doubts are allayed when I hear his rich and entrancing voice talk about a conquest and memory. Maybe they have not actually got together but there has been some tease and flirtation. The girl is on his mind and there is something bittersweet about the lyrics. Although the girl has hit him like a typhoon: one gets a sense they are separate or their paths are not as interlinked as they should be. Perhaps they have spent the night – or flirted all night – but they lead separate lives. She might have a boyfriend and he is unable to extricate her from that relationship. I feel a real sense of desire and candour in Jamal’s voice. The gang back him with incredible beats and emotive colours. One senses conflicting shades and layers running right through the composition. I am drawn to the electronics and wobbly voices; the tense beats and flowing strands. It all goes into a soundscape that projects so many visions and has a raw sense of sexuality.

Kisses on the Mirror, in regards its title, suggests intrigue and interpretation. Does it mean the girl left her lipstick print there as a tease to the hero? Is it about reflection and not being able to embrace a kiss – just a mark on a mirror that reminds him what he could have had? It is a compelling song and one that left me guessing to the very end. As the track progresses; more revelations come to light. The hero has Stockholm Syndrome which, to me, suggests there is a hostage-type situation in the relationship. The girl might be playing him for a fool and sharing her affection with other guys. He has come to identify with his ‘captor’ and does not want to be punked and put down – are other guys she’s seeing feeling the same way?! It is an interesting dynamic about love and one that gets me thinking. Our man wants a touch and something pure but it seems he cannot release himself from her spell. There is definite charisma and beauty he cannot shake off. Many of us have been in the situation when logic takes a back seat to the desires of the heart and soul. Jamal might have played his hand too early and been a bit too hot and insistent. Perhaps he knew the girl was bad and fell into her layer. It all sounds very dark and tragic but that is how love can play out at times. I wonder whether it is real love - or our hero wants sex and something physical? The feeling there are other guys out there who get to share the girl does not sit well. He is “not used to” being left notes on the floor and kisses on the mirror – the girl teasing our man with goodbye notes and driving him wild. Jamal’s high-pitched, chocolate-rich voice reaches to the heavens and is backed by his erstwhile, tight-knit band. Each component perfectly clicks so the song pops with energy, desire and emotion.

One might hear the vocals and assume the boy is fine with the scenario. I hear the emotion in the voice and the fact there is hurt. He is not someone who brags and is used to getting what he wants. Some might assume he is a player that does not have to struggle when it comes to love. That might be true to an extent but, here; a desire for something deeper comes out. The heroine has the ability to get who she wants so, when it comes to one-night conquests; she is happy to leave notes and guys drooling. She has all the power and is playing the aces. “Who’s the sucker now?” asks the hero. Maybe they went into it assuming he would get his way and the girl would fall into his arms. That is not the case and, as we hear, she has left him wanting more. It is a breath of fresh air hearing an R&B song that takes this course. So many of them are quite sexist and talk about shallow conquest – no real emotion or decency underneath. Here, we find the hero struggling for words and making sense of what has happened. The girl plays the guys like a guitar and that irks the hero. Thankfully, away from the scorn and reflection of the verses comes the big and singalong chorus. It is a blast of classic R&B that gets the words into the head. The chorus does not undermine the seriousness of the song but it does offer some relief. It is hard seeing the hero struggle but one wonders whether he had this coming. So many guys think their swagger and confidence can get any girl to do what they want. In this case; we see a heroine who will not be played and knows what she wants. She can get any man and, rather than dedicate herself to a relationship, she teases and toys with the boys. This leads to a sense of Stockholm Syndrome and being entrapped.

Into the final moments and this sense of stress and confusion does not abate. If anything; our man is piecing the night before together and wondering what to do. That lipstick mark on the mirror is causing him to pace to the floor and question his mind. In the chorus, we get horn blasts and nice beats; some great electronic swirls that all lead to something head-spinning and smile-worthy. I mentioned how the band have a fondness for classic R&B and one gets that in the chorus. The verses are more modern but, when you follow the song, you get hits of the old and new – this means the song is easy to love and can be appreciated by many. Before the song was through, I wondered whether things would be the same and a relationship would form. Women who can get their way without consequence are reluctant to stop the game. It appears things will not be rosy for the duo but she has a potency hard to shake. Few women can cause such a stir after a night together – if, in fact, things actually got to sex. One presumes so, looking at the clues – the note on the bedroom floor and kisses on the mirror – but our boy is not someone who wants the cheap and easy thrill of sex. He wants to see her again but she is pushing him away. Most R&B men have too much confidence and braggadocio that cloys and repels. They are all about flex and strut. Here, Jamal is not going to be one of those men that use women and then moves onto the next one, His heart, whilst not broken, is stretched and he wonders why he is being taken for a mug. Maybe that is the way things can go: not all women are looking for relationships; they might just want to have a good time without being tied down. Kisses on the Mirror is a song that reveals a broken man who is trying to face rejection – whilst unable to tear himself away from an intoxicating and beautiful woman. It is a beautiful and memorable song that, once heard, will not be forgotten – quite appropriate considering the dynamic and sense of addiction in the song. J & The Rest prove they are a band to be reckoned with and have plenty more good years left in them. A stunning cut from one of the hottest young groups on the scene.

Let’s take this review down but, before then, I wanted to tip my hat in the direction of Jay & The Rest’s future. The guys have not been together that long so it is understandable they want to take time and craft something meaningful and studied. That is not the case with the boys as they gelled pretty quickly and their E.P. is solid and assured. It sounds like the band have been together for years and that is down to their bond and shared talents. Jamal leads from the front but it is not solely about him. I wonder whether the band is performing a lot before the end of the year. The E.P. has been picking up reviews so there will be demand out there. I know they have gigged in London but there are venues that would love to see them play. The U.K. has so many spots they would be perfectly suited to so it will be interesting seeing what happens next. There has been promotion of 4 a.m Again (not sure exactly how it should be typed so I shall go with that) but the songs have resounded and resonated. Even though the E.P. is a couple of months old, now – there is no reason they cannot strike and take the songs as far as possible. I feel there is a lot of radio appeal and they could enjoy a widespread sense of recognition. I feel they would get love from Capital, KISS and Radio 2. That might sound like a broad demographic but that is the potency of the music. It has a young and modern vibe – which means it is perfect for stations like KISS – but that might be selling it short. Even for a young band; it is important getting under the radar of brands like BBC Radio 2. They are not to be sniffed at and, if you can blend that with the more hip stations, you have the best of both would. I know the guys could enjoy radio-play on BBC Radio 6 Music and Radio 1, too. There is hardly a station they could not get on so, because of that, another wave of promotion and canvassing is required.

I know they have a great P.R. team behind them but there is a definite need to keep the foot on the accelerator. If an E.P. is promoted when it is released – and then falls away after a month – people move to the next thing. Such is the attention span of most people; they can forget about songs if they are not constantly in the mindset. A song like Kisses on the Mirror is evergreen and demands love throughout the year. J & The Rest have launched the E.P. and done as much as they can, Maybe a mini-tour of London might be possible before Christmas? That would give the music another airing and bring them to new crowds. From there, into 2018, they could expand their horizons and take their music up and down the country. There are so many cities and towns that they’d own and seduce many fans. In terms of fanbase; they have big numbers, but that could rise pretty quickly. I know many people in London are reacting to their music but this appeal stretches much further. Getting out there and taking the music to the people is the best way of expanding the numbers. I am not sure whether they have a tour planned for next year but their music warrants further investigation. International dates seem likely but that might be a few months down the line. The guys must be thinking about foreign soil and I wonder where their minds take them. The reason why they are so passionately regarded is they are a hot new band but not a typical ‘boyband’. In fact; they are a proper, grown-up band who rely on their own guidance and do not conform to the mainstream. I shall take things down now by suggesting you all wrap your ears around the golden tones and body-moving compositions of J & The Rest. Jamal and the fellas are a potent and future-ready force that has the ammunition and ability to go as far as they want. If they manage to blend that suggestion of D’Angelo with the oldskool R&B then they could well…

BE the next big band in British music.

_______

Follow J & The Rest

Official:

https://www.jandtherest.com/

Twitter:

https://twitter.com/JandTheRest

Facebook:

https://www.facebook.com/jandtherest/

Instagram:

https://www.instagram.com/jandtherest/

Spotify:

https://open.spotify.com/artist/5wfdkT8MQeqKZjLfDjBiDI

YouTube:

https://www.youtube.com/channel/UCPhNKzEM0j14EN_FoPguZeg/videos

TRACK REVIEW: James Leonard Hewitson - Sometimes

TRACK REVIEW:

 

James Leonard Hewitson

 Sometimes

9.4/10

 Sometimes is available via:

https://soundcloud.com/jamesleonardhewitson/sometimes

GENRE:

Pop

ORIGIN:

Hartlepool, U.K.

____________

WHEN it comes to talking about James Leonard Hewitson…

I am compelled to look at a number of different subjects. I want to look at artists whose music gets played on T.V. – thus, affording them greater exposure – and influences/sounds that differ to what is out there. I will look at instant songs and big choruses; how rare they are and the results that can arrive; acts releasing singles whilst working on a record – the music from the North and how we should be focused there; male songwriters and those capable of making the singer-songwriter genre more interesting. I am not sure it Hewitson has a Twitter account but I cannot see one for him. It seems odd that, in this day and age, artists overlook the importance of Twitter. I may have missed his account – and whether there is an odd tag/handle – but I feel Twitter is the most effective way for any artist to get their work shared. It is hard enough getting songs spread and enjoyed if you are on all the social media platforms. For Hewitson; there is a definite quality that deserves a wide audience. So much of music is about marketing and exposure so, with that being accepted, there is a definite need to get your music on all the platforms you can. Hewitson is an artist with a great sound and someone who has years ahead of him. This might be a detour from what I wanted to talk about but I am compelled by Hewitson and his future. I know there will be some great times ahead but his songs are strong enough they can get to international audiences. Maybe I am being a bit over-the-top but I feel Hewitson could get to a huge market is he put his music on Twitter. What I find is Facebook and streaming sites are not as connected and joined as they should be. Twitter makes it a lot easier to get music out there fast and has a lot more musicians on it – by which, I mean one can connect with and follow them easily and share their music, too. James Leonard Hewitson is in a great position where he has a unique blend but needs to exploit all the channels out there. The reason – I knew there was a reason! – I am mentioning Twitter and augmenting popularity is because Hewitson is already under many people’s radars.

His songs have been played on T.V. shows and this means a range of listeners are checking out what he is about. Say what you want about Made in Chelsea – and I normally do! – but it does feature some pretty cool music now and then. The good thing about the show is the audience it pulls in. It is an addictive brand that sees a wide demographic, voyeuristically or not, look at the lives of the rich and elite. Maybe the music is part of the background but, if a musician gets featured there, that is a big step. It is not only the kind of people who appear on Made in Chelsea that watch the show – in fact, the viewing figures cross social classes and areas of the country. The fact Hewitson has a song on the show ensures it gains new fans but gives him the confidence to keep going. I am always wary when songs get on T.V. shows and whether it genuinely benefits an artist. In Hewitson’s case; he has his music on Made in Chelsea: Ibiza, too, and that must give him a boost. Getting music played on T.V. gives the artist financial benefit (although not as much as anyone would think) and it is a great way of spreading the word quickly. I was a bit miffed he avoids Twitter but, perhaps, getting his songs on T.V. is a good alternative. He has also featured on Tattoo Fixers and, whether you like the show or not, that is a new audience. I cannot guess the sort of audience that would watch BOTH shows but there is not going to be a great overlap. E4 is a minor station but it has a growing, young audience. I watch now and then and have tuned into Made in Chelsea – for the sheer pleasure of seeing rich and posh people get their heart broken and tears shed.

That might sound cruel but so much of the show is set-up and faked one wonders whether any of it is real. Because of this, I often drift into the background and see what songs are being played. They are vastly more interesting than the banal conversations that spew from the mouths of the Chelsea toffs. I mention Tattoo Fixers because, one imagines, a rather different subset watches the show. I imagine the viewers of this show would be a bit more into tattoos and less fascinated by rich people gallivanting around the world – a sense of exploitation and mockery is involved on both shows. The reason I mention both shows is because of the diverse audiences. Not only does this mean James Leonard Hewitson’s music has flexibility and variation but it is making its way to a massive audience. Film would be the next logical step and I do not think Hewitson’s music is limited to a narrow brand. One might think Hewitson is reserved to documentary/reality shows but those shows attract a young audience and that can extend to other sources. I hear his latest material and hear someone whose songs have real reach and depth. I can envisage them on the big-screen and scoring some fascinating film scene. If a musician has faith from T.V. broadcasters then it shows they are taking a step in the right direction – let’s hope this fortune continues for Hewitson. Three different songs have been played on three different shows so I know Hewitson will take pride from that. What it shows is people are connecting with his songwriting and there is something in the music that has a popular appeal. Many might overlook influence when it comes to new artists but, in the case of Hewitson, it runs through the D.N.A. of what he does. Reviewers have compared his (previous music) to The Fall and Gang of Four; there is a blend of Psychedelia and Surf-Rock; some 1990s’ bands and U.S. Rock.

It is interesting discovering the lineage of a musician and, in Hewitson’s case, he is someone who has grown up on some fantastic sounds and impacted him greatly. I am interested seeing names such as The Fall and Gang of Four line-up against one another but, to me, there is a lot more at work. I can imagine Hewitson sifting through vinyl and being fascinated by his parents’ music. There is some modern work in his own material but such a range of different artists. This sort of variety could only come from someone who curiously investigates every strand and area of music. So much of today’s sounds are marketed and commercial. The harder, Rock-orientated bands are generic and boring. I find a lot of those artists without any commercial pretence can be rather stiff and unengaging. It is hard manufacturing music that retains some sense of individuality and interest but is strong enough to connect with a wide remit. Hewitson takes little patches from classic acts and the coolest from past days and mixes that with his own vision and voice. Influence is as important to an artist’s music as anything and can separate them from the pack. I am not one who likes acts who mimic others or have so little about them. This is not the case with Hewitson: he is a strong and accomplished musician whose instincts and songwriting skillset perfectly mixes with a love of the finest musicians from the past. This all comes together in a wonderful explosion of harder and softer sounds. One experiences colour and energy; there is weirdness at moments but conventional wisdom at others. You can get a real blast of something fresh and then, the next moment, soothing and contemplative vibes. I love how Hewitson has such a wide taste in music and is unafraid to mix all of that into the pot. I hear bits of Surf-Rock in his bog choruses and some incredible 1990s guitar music in some of the verses – a spirit of Punk and Indie nestling and sparring in other parts. It is a fantastic and colour-bomb explosion that gets under the skin and into the heart.

Let us move on in a minute but, for now, remain with the low-key arrangements and lo-fi charm of Hewitson’s music. I will look at one of his more-recent tracks soon enough but I am fascinated by his style and sense of cool. I mentioned how so much of today’s music is ruled by a rigidity and boredom. It has been a while since I have experienced anything mainstream-worthy that gets me excited. It is always a case of the song starting promisingly and then fading into the distance. Other times, one can hear promising areas but the complete thing is inconsistent. Maybe it is a bad period we are in but things are very serious and unengaging. A few musicians manage to create something interesting but they are in the minority. New musicians – those in the undergrowth and away from the mainstream – are always more reliable in this area. You can argue there is a commercial need for music that calms the spirits and spikes the brain but, in my view, we need something more compelling and escapist in hard times. I feel big bands and the exposed are not delivering any lyrics that discuss what is happening in life. It is possible to provide fun and exciting music whilst escaping banality. James Leonard Hewitson, with his double-release, Sometimes/Experience Song, provides humour, intelligence and wisdom but gives the listener a real kick of fun and fascination. I wanted to move to look at artists who create songs with big choruses and huge songs. Hewitson is not someone who values shallowness and easy joys above deep music. What we find is a young talent who can document something personal and intriguing with a sense-lifting, bold sound. That is a hard trick to get right and one few artists are attempting. Listening to Sometimes – the song I felt would suit a review – and I am attracted to the chorus - which seems to rush straight into the imagination and provoke all manner of visions.

The entire song, in fact, has a real energy and spark but it is the chorus that really gets into my mind. One is left humming and singing along with it but, listening to the entire song, there is something quite rich and nuanced working away – a track that carries a lot of clout and seriousness when it needs to. You may look at the previous sentences and thoughts – when looking at Made in Chelsea – and think Hewitson’s music is perfect for those shows because of its fresh attack and youthful vibes. Maybe that is what the shows picked up on but, tying that with his influences, and you know there is a lot more at work than you might think. If a musician can create two distinct worlds (in their music) and make them mix and coexist then you have a fantastic compromise. Hewitson brings summery vibes with his natural warmth and engagement but underneath is a soulful and thought-provoking talent whose music contains so many different layers. Stations like BBC Introducing and appeared at Stockton Calling, Evolution Emerging and Twisterella Festival. There is a lot of love for his sounds and so, because of this, I have been hooked to explore further. Hewitson has performed in London and has a lot of fans in the North. It seems there are no limits for his music and that fantastic sound has resonated with the masses. This, again, is a rarity and those musicians that can cross borders and tastes are to be commended. I feel Hewitson succeeds because he does not follow the crowds and do what he thinks will ‘sell’. A lot of acts are too concerned with survival and, in their minds, that means replicating the acts one finds in the mainstream. Hewitson recognises he needs to compromise to an extent but never devalues his own talent and background by saying what everyone else does. Mixing together his favourite artists and that handy knack of penning big songs and one has a musician that has the opportunity to ensure and inspire others – someone we will be hearing more from in the coming years.

I am not sure whether Hewitson has an album arriving in 2018 but I do know he is working on more material. If one looks at previous songs like Dream Person (a song that featured on E4) and Care Less, Love Less (Antifolk in its ethics) then you can see an artist who has a great mobility and ease. His songs are never the same and one always gets a different sensation with each number. That is the same with his double A-side release: so many ideas working away; none remind you of anything that has come before. The Screen is another older track that has a real personality to it - addressing the overuse of social media. Thinking about that song might answer my questions when it comes to his lack of Twitter account and visibility there. So far, we have seen some great music arrive from him and it now comes to the point when they could all be put together in an album. There are, conceivably, eight or nine great numbers that he can put into an L.P. I would like to see that and maybe Hewitson is working on that right now. What I do find with modern music is how much of the promotional run-in is to do with singles. By that, I mean an artist releases a series of singles before an album arrives. There was a time when acts brought out a couple of songs and then the album would be released. Now, artists cannot afford to record an album that soon so fill the gaps with singles – ensuring they have popularity and can gauge what people think of them. I would like to see more musicians taking risks and releasing albums sooner. Maybe that is a marketing and financial consideration but I feel musicians are programmed and guided to release a minimum number of singles before an E.P./album. In Hewitson’s case; he has enough material for an album but I feel he is waiting to see what the reaction is going to be.

Modern music is so tough and money is so sparse – it is not always optional to release an album right off the bat. Hewitson has established himself and is getting to a lot of influential people right now. I am sure his 2018 will be a huge one and I cannot wait to see where that takes him. I am interested hearing from Hewitson because he is based in the North – an area that does not get as much attention as it should. I find music is split between London and the North. It seems any artist based outside the capital has to struggle a lot harder to get their voices heard. What I find, when looking at the North and South, is a lot more originality stemming from north of London. I have spent a lot of time investigating Yorkshire musicians and, with them, one finds artists willing to take bigger risks and push the possibilities of music. Their spectrum is galvanised and striking; they blend older genres and are not so beholden to the structure and conventions of the mainstream. That might seem like a binary, black-and-white vantage point but there is some wisdom in it. I know there are London artists that have real talent and originality. It is not the case all acts from the South are less interesting and have fewer great ideas. I am aware there is a North-South divide and that is something that unsettles me. Such is the focus on London it means few northern artists get a look in. Hewitson is based in Hartlepool and an area many do not look at. Liam Howe – a producer who has worked with the likes of Lana Del Rey – is, perhaps, the biggest talent and most recognisable person to come from Hartlepool in recent years. I know well enough there are brilliant acts in Hartlepool but, for someone like Hewitson, he will get more attention if he were based in London. The grooves, slacker vibes and stunning songs mean it is sad to think artists need to move here simply to be seen and approved.

I shall end my introduction soon but, to end, a look at male songwriters and how the best of the breed is making singer-songwriters more interesting. I always think female solo artists are stronger but, in the case of James Leonard Hewitson, he has his band The Relevant People around him. He is, essentially, the lead and focus - but having those extra bodies affords him more freedom and possibility. Maybe that is the answer to remedy the (comparative) lack of great male solo artists: getting yourself a band but keeping the focus on yourself. That may seem contradictory and pointless but there are plenty of sole songwriters who flesh their music out with extra players. I am being a little down on male songwriters but I feel female acts are more interesting and diverse. One gets the beauty of their voice but, when it comes to mixing sounds, they are braver and more intriguing. Too many male songwriters lack real vision and the desire to create something fantastic. There are a few great male songwriters but I am drawn more and more to females. Why I wanted to bring this up is because acts like Hewitson add a real spark of imagination and passion into what they do. I have mentioned how wide-ranging his music is and that is a good enough reason to get excited. There is nobody like Hewitson in music at the moment and that can all change. It does not take a great leap of imagination to go from something quite ordinary to extraordinary. Hewitson’s love of older music and his natural experimentation means his current sounds are already ahead of the competition. I find myself soulless when faced with solo artists who all sound alike and never really inject any punch into their music. Hewitson is a rare breed but someone giving me a lot of faith. I would like to see two things happen with this being accepted. He is a proud northern artist but his exposure is coming from London/southern T.V. shows and bigger gigs.

The fact he has made it to shows like Made in Chelsea is to do with his talent and skill.  I would like to see more people take notice of those away from the capital. It is not true the best are based in London…that has never been the case. I am annoyed so many labels and newspapers keep themselves isolated to London and do not look for talent elsewhere. I would also like to see artists like Hewitson embraced more and his music become more commercialised. By that, I mean he should be given big airplay and set as an example of how to do things – rather than be sold and cheapened by record labels. I shall move on now but am interested there are splits when there do not need to be. How many of us are aware of those many artists who emanate from areas like Hartlepool? There are some great acts there and some excellent venues. Maybe the fact the media does not look that far up the country means so many have to come down to London – or quit music altogether. I hope Hewitson does not abandon his home but, at the same time, I hope he spends some time down here. If the only way he can get proper exposure is to come to London then that is better than nothing. Hewitson has such strong music because of how he was raised and his innate abilities. The popularity and visibility has a bit to do with London but his local reputation helps. I am wandering off the course but wanted to get that off my chest. Hewitson is one of the strongest new artists around and I hope he gets adequate respect into 2018.

There is a real interesting clash of notes and sounds in the introduction. The strumming and percussion are unconventional and they have an element of older-days. One gets Punk incorporations and acts like The Velvet Underground. Gang of Four and Lou Reed’s solo work comes out but, truly, that is never the biggest takeaway in those early moments. It is such a vibrant and compelling start that your feet and heart are instantly and actively enlivened. Hewitson comes to the microphone and, when one hears his voice, you get something unexpected. Most male songwriters have a very familiar voice and it is never that deep. Hewitson reminds one of, yes, Lou Reed, but there is so much more at work. Before a single word has been sung you are involved in the song and interested by its every move. Sometimes, it seems, the hero needs nobody – maybe the solitude and advantages of solemnness not being lost. The song is lo-fi which means the vocals have that real physicality and proximity. They are not buried in layers of production and, as such, it is easy to gain access to the soul and truth of the song. Our hero is a mass of contradictions as he claims he needs no one but often comes home for company. His mind is confused and entangled and questions race. The percussion drives and strikes whilst the hero lets his voice wander and muse. It is an interesting marriage of fast-slow/broad-specific. The lyrics offer a window into his mindset and the current state of affairs. He is looking for clarity and a real degree of direction. I feel Hewitson needs somebody but, as he claims, he is fine on his own. He, at least, requires another set of hands and eyes to get him on the right road. Maybe this malaise and confusion is as a result of a bad time or harsh breakup. Adam Soper, Steven Hart; Josh Ingledew and Michael Kitching provide impressive backing and ensure the words are provided the maximum amount of passion and intelligence.

As the song carries on; there is no real decision being made – more a series of wonderings and confusions. Maybe things are not as evident and obvious but, I don’t know…perhaps, the hero is unworried about his current predicament. There is no need to really rationalise these conflicts or cure any ailment. He is laying it out there and not keen to raise any moral lawsuits – life creating tortious interference and harshing his mellow. The man is a bit of a slacker but is not someone who idly wanders and does not care about things. Essentially, our hero does have these contradictions in his life but is not letting it get him down. I do wonder whether he needs that stability because, this blowing-aimlessly-in-the-breeze dichotomy is not providing any direction. There is simultaneous simplicity and enigma in his words. Our man goes to work but that does not seem to satisfy his desires. Sometimes he needs people around him and other times that loneliness is best for him. Chris McManus mixes and masters the song perfectly – I should use that in past tense but you know what I mean. It is a fantastic song that has a great and hypnotic beat and some fuzzy guitars. All the instruments combine perfectly but have separate agendas. The boys all blend natural but each has a chance to step out from the pack and do their own thing. Hewitson, and that voice of his, brings so much candour and personality to the lyrics. There are few words but the ones we do hear seem to take on a new perspective each time they come around. By the closing moments; you are sucked into this world and motivated to help the hero find his way. Not many people would know where to start but it seems, as I have mooted, maybe the hero is going through life and not concerned with settling things. It is one of those songs that seem to be simple and not really bothered with depth but, the more you listen, you discover a man who is trying to figure things out. Sometimes is a terrific song from a songwriter who has a long future ahead of him. Superbly backed by his band; there is no denying the chemistry in the ranks. I cannot wait to see how he develops next year and where his talent takes him – it seems he will go very far in the industry!

I will end this very soon but wanted to look back on my points about variation and big songs – and where James Leonard Hewitson can head. Hewitson plays The Tyne Bar (in Newcastle-upon-Tyne) tomorrow and has a date in Middlesbrough soon. In the past few weeks, he has played around Manchester and the North but a couple of gigs in London. I like the fact he is getting dates nearer to home and I hope that carries on into next year. With talk of new material upcoming; I wonder whether the diary is going to get busier – and where popularity takes him. The local crowds will want to see Hewitson perform but there will be demand from further south. I know international audiences will want to be listening to his music and want to see him at some point. Next year is a pivotal one for Hewitson and one where he will take some big strides. His music has already been featured on prominent and popular T.V. shows and been taken to heart by radio stations. There are not many who produce music that appeals to more mainstream sources and retains its sense of cool and unique flair. I predict Hewitson will perform a lot more in the South but will have more gigs in the North. His life will get busier but this is not a surprise. The fact his music produces so many different reactions and emotions is because of the artists he follows and the music he loves. Hewitson wants to be known on his own terms and seen as separate but one hears embers of others when listening to his work. Every new song brings something sensational to the ears. I have been hooked on Sometimes because it elicits so much heat and electricity. The lyrics get you digging deep and there is so much fascination and appeal.

I know that has come from years of performance and honing but there is an instant and natural ability to Hewitson. He knows how to bond with a listener and produce music that remains in the mind. There are great northern songwriters out there and many are not being given enough backing. I feel Hewitson would be further along if the media looked at areas like Hartlepool, Newcastle and Middlesbrough. One may fight and say it is uneconomical and unwise trying to cover that much ground but there are plenty of journalists out there. If we allow music to become geographically homogenous...then that is going to lead to issues – music not at its most optimal and equal. I want to see changes but the fact musicians like Hewitson are doing great work might help redress the problem. It is wonderful hearing songs like Sometimes come out because they have that popular edge but sound unlike anything out there in music. Experience Song is the other half of the double-release and testament to the abilities of a rare and fine songwriter.  I am excited and pumped by Hewitson’s music and know next year will see many more opportunities and achievements, Hearing his music heard on T.V. is satisfying but his real pleasure and sense of place comes from playing across the country and performing to a range of crowds. The demand for that close connection will rise in 2018 and introduce fresh eyes to one of our most promising songwriters. There are few like him and, considering the beige and boring mass obsessing the mainstream today, musicians like James Leonard Hewitson are…

WHAT we really need right now.

_______

Follow James Leonard Hewitson

Facebook:

https://www.facebook.com/jamesleonardhewitson

Instagram:

https://www.instagram.com/jamesleonardhewitson/

SoundCloud:

https://soundcloud.com/jamesleonardhewitson

Spotify:

https://open.spotify.com/artist/1bk3TCy7ZdoAmtS54RnYGn

TRACK REVIEW: MissDefiant - You Can’t Sit with Us

TRACK REVIEW:

 

MissDefiant

 You Can’t Sit with Us

9.4/10

You Can’t Sit with Us is available via:

https://itunes.apple.com/gb/album/missdefiant/id1273159288

GENRES:

Pop; Electro

ORIGIN:

London, U.K.

The album, Missdefiant, is available at:

https://open.spotify.com/album/5pqRehKPl33Bq1HUUwVnUN

____________

I suppose I am breaking some of my reviewing…

PHOTO CREDIT: Michaela Efford Photography 

cardinal rules because, in a brief side-step, I am looking at a duo I have assessed before. I will look at their new album – and a song from it – but I wanted to explain why I follow certain acts and come back to ones I reviewed. After that, I will have a peek into Pop and variations on the market; putting fun and energy back into music; artists who dig deeper and defy expectations – a bit about artists who have exceptional social media links and make it very easy to discover their music. I am pleased to be back with MissDefiant as I have been following their career for a little while now. When I last reviewed them, it would have been for their latest single release and, before that, the single that preceded that. It is interesting charting an act and how they can develop over the months/years. In terms of MissDefiant; I am pleased they have continued to grow and develop. That may sound condescending but a lot of artists in these times do not ensure and impress as much as they have. It is a tough industry and can be very hard when performing Pop/Electro. There is such a proliferation and promotion of the mainstream: artists who perform outside of that have to struggle a lot and work that much harder to get recognition. For Jordan Cather and Emily Rose Adams, there is a sisterly bond that touches me. They have a deep connection and understanding of one another. A lot of times; duos are together to sell records and because of some marketing plan. You can tell when they are together to make music – there is no personal connection and understanding. I find duos, actually, are more solid than bands. You can get a lot of unpredictablness with bands because there are often four/five members and tensions can arise through the years. Because of that, one finds some groups – you thought were brilliant and solid – that break-up without warning.

PHOTO CREDIT: Michaela Efford Photography

Duos are usually comprised of great friends or those in relationships. MissDefiant spend a lot of time together so can’t exist as a distant and detached unit. The songwriting, performing and promotion is the two of them – if they did not get along then you would notice and they would not survive long. Cather and Adams have a great friendship and have a lot in common. I do not get the same feel from other acts as I do from them. One can tell they are meant to be together and have a great compassion for one another. It is not only their relationship that impresses me: the music they produce continues to evolve and improve. Their earliest songs are brilliant but I find, with every new release, they get stronger and more confident. I think the touring they do – and the people they meet – has pushed that. Each gig pushes love their way and they, in turn, have the confidence to grow their music. It is encouraging seeing the girls grow as a duo. Their debut album – semi-eponymous (‘Missdefiant’ rather than ‘MissDefiant’) is a collection of all their past material; combined with their new songs in a fourteen-track bonanza. I can follow their career and periods through each song. Those earliest numbers – Robot, Venus & Mars, for example – seem effortless against newer tracks like Robot and You Can’t Sit with Us. Another reason MissDefiant have made me stick with them is the way they continue to put their music to new crowds. They do not sit back and let marketing people do all the work for them. Keen to play to crowds and ensure their songs get to as many hearts as possible – a fantastic duo that persevere and campaign harder than most. Who knows how far MissDefiant can go but, the fact they have been together for years suggests they are in no mood to quit anytime soon. In fact; I feel they could go on for many more years and record a few more albums at least. I will talk about touring later but, for now, a time to move on.

PHOTO CREDIT: Michaela Efford Photography

I wrote a piece yesterday – after a very stressful and fraught day – about how much has been split between North and South. It seems there is a division between the areas and the media puts too much emphasis on London. The fact I am reviewing a London duo does not undercut my point but I am keen to focus on acts outside the capital going forward. I think London will always have its place and is vital in regards modern music. I feel there are too few media sources looking further north and the great acts emerging there. I will do my best but what I wanted to talk about is the snobbery still afforded Pop music. We often get the idea all Pop formations and sounds will be commercial and off-putting. I agree there are so many unappealing and weak examples performing in music right now. I am not a huge Pop fan because, a lot of my exposure to it, consists chart performers and something rather hollow. When it comes to acts like MissDefiant; they have a fantastic sound that matches intelligent and wise lyrics with deep and nuanced sounds. They do not go for the marketable looks and sounds so many artists do. They have their own identities and songwriting – they do not have a huge team controlling everything and telling them what to do. Naturally, like most artists of the moment, there are people helping produce and write but, in the most part, it is the girls’ personalities that come through. That sense of personality is what brings the music to life. One gets a real identity to their music. A lot of performers sing and release music but you never get a sense of who is behind the music and what they are about. Every track reveals a bit about MissDefiant’s twosome. Each member has their own dynamic so it is never a case of Adams and Cather blending together and an indistinguishable whole.

PHOTO CREDIT: Michaela Efford Photography

There are many things that impress me about MissDefiant but it is the way they evolve and subvert that sticks. They do not perform the same style of music that everyone else does or want to be celebrated in the mainstream. By that, the duo does not compromise and write music that sacrifices substance and distinction. Their music has a populist edge – in so much as it can be taken to heart by the masses – but it does not rely on gimmicks, cheapness and aimlessness. What we get are songs that have spirits, physicality and memorability; tied to lyrics that make you think and ponder – vocals that have so many different aspects and colours. The girls have worked hard to craft that sound and are always developing what they do. I know they will release new material next year but, for now, their debut album is out and turning heads. It would be a risk compiling an album that has songs from the start of their career to now. Some do it but there can be a sense of incompatibility. Some of the tracks sound older and they struggle to gel with the new songs. Also; many people have already heard (most of the) singles and it creates a familiar-yet-unexpected listening experience. Most new artists release albums and then put out four or five singles before the record gets to us. It gives us a chance to discover what’s on the record but it can get quite tiring – do we need THAT many tracks out beforehand?! MissDefiant are different because they released their singles not sure whether they would release an album. The demand came in and reception received. The fans want to hear their older songs but some new ones from MissDefiant. We get a nice and easy mix of the heard and fresh from the London duo – it all sounds perfect together and flows as a whole. It is the way MissDefiant add something new into Pop and Electro that means their music is timeless and always warranted.

One other reason I love MissDefiant is, because, they inject fun and energy into music. I find the industry is becoming too serious. You either have artists that are too po-faced and emotive or the acts that try to be loose and fun but sound very forced and limited. Of course, there are artists that can lift the spirits and body but, for the most part, we are being fed those artists that could do with a bit of a kick. I am all for musicians that document something serious but I always look to detach once in a while and have my mood elevated. MissDefiant are not your average and fluffy Pop act that throw all the beats, electronics and production layers into the mix and bamboozle the listener with force and intensity. It can create a hypoxia and weariness that one looks to remedy. MissDefiant are different in the sense they write music that gets into the head but makes the body move with it. I know Cather and Adams have been working together for a while and they have researched the market. When I look at duos, I always investigate why they formed and how they differ from the rest of the music out there. In a way; being in a duo can be tough and easy. The relationship is solid and there are few extra bodies but they do not have the options of a band – to make something fuller – or the chance to be as intimate as a solo act. It is tricky so, for that reason, duos tend to play in particular genres. You get few Rock/Alternative options: more Pop, Electro and Folk brands. MissDefiant know this but do not limit their imaginations because of their restrictions. From their very first single, the girls struck away from their contemporaries and ensured they would do something original. Fun and involvement is at the forefront of everything they do. They want people to move and bond with the music.

The U.S.P. of MissDefiant is their lyrics: addressing themes and subjects that many of us can relate to but are not often spoken about by the more popular artists. By this, I mean we hear about the dangers of clubbing – drinks being spiked – and gender inequality; the differences in love and problems in society. MissDefiant do not merely talk of love and all the problems one has in relationships. That is common stock and, because of that, they are more concerned with talking about things that many of their peers do not. Their music appeals to everyone but they do not feel the need to talk down to anyone. We get the impression Pop artists are going to focus on narrow themes and denigrate music by presenting immature and shallow lyrics. That is not the case with every act and, if one looks around, you can find acts that put intelligence and wisdom into their words. I have heard songs from MissDefiant and been made aware of areas of society I was foreign to. It is good when music educates you and, in the case of MissDefiant, I am more aware of things they face in their everyday lives. Music should be about educating and informing people. So few artists take the time to write about what is around them and stronger issues in society. There would be some that assume, because Adams and Cather and beautiful and stylish, they would sing about love and relationships in a very ordinary way. This stereotype, in fact, does not apply to most Pop/Electro acts but the girls do address relationships in their music – they would alienate listeners were they to neglect that vital commodity. It is hard pleasing everyone but I am impressed with artists that do not follow everyone else and decide to talk about something important and serious. MissDefiant never abandon their sense of physicality and fun and have that intoxicating brew.

PHOTO CREDIT: Rob Gardner

I will move on and come to the music soon but, before then, a look at social media and how important that is when it comes to new artists. There are so many who still labour under the assumption they can ignore imagery and information and let the music do all the work. This is ground I tread commonly but I still see too many artists committing ignorance and naivety with little embarrassment. MissDefiant, I challenge, would not be as popular as they are if they were to overlook social media and be as prolific. Their music is solid and excellent but the way it gets to people is through social media. I see so many acts that have great songs but put very few photos out there. They might provide status updates once in a while but forget to keep the pressure on and do anything proactive. MissDefiant are keen to get in front of the camera and produce various shoots. They have a great look and sense of fashion and that comes out in their images. Music is not a fashion show, I know, but one needs to see the artist and have images available. For people like me, it can be rather depressing if there are a few half-decent photos and nothing else. It makes articles look bare and shows laziness on behalf of the musician. These days, anyone can take a photo of themselves and there is no point being ‘mysterious’. Music has power but not so much it can elevate an artist that chooses not to put their face out there. This kind of arrogance is leading journalists and fans to look elsewhere. Music and social media are visual mediums and, as such, this is a side of the industry many need to think about. MissDefiant are prolific with their photos and always update fans about goings-on and gigs. This means they feel more connected to their follows and, in turn, bring people in.

Consider looking at an artist’s Facebook page and seeing a few scratchy images and very little information. They might have a new track out but, psychologically, one is less likely to investigate because the rest of the profile is unattractive and sparse. It is a worrying trend but I am concerned few artists are doing anything to counteract this. I would not have bonded so hard with MissDefiant is they ignored photos and information because it would be hard to know where they came from and what they are about. The songs are the personality of an artist but it is good having visibility and something aesthetic to tie together. Music is a marketing tool as much as anything and a business. Success is down to talent but one cannot underestimate how pivotal social media is. Streaming figures and exposure arrives when artists put themselves out there and promote their work. People only pick up on an act when they think there is something intrigue and appealing about them. It is vital having a full package and profile. I bring back the dating analogy when one sees a profile that has great photos but the profile consists of a single line – normally asking someone to email them to find out more. If it is the other way – no images but lots of information – then you are not going to be enticed. The way to attract relies on revelation and visibility. One cannot be guarded in one area and expect people to be allured and hooked. The same goes for music. Those who succeed have every aspect of their music figured and active. MissDefiant are always busy and ensure they keep their profile fresh and mobile. It is a reason I remain with them and I can say that about many other people. What Adams and Cather do is engage with their followers and bring them into their world. There is no sense of the listener being a separate and intangible entity – they are drawn into the music and an integral part of MissDefiant.

PHOTO CREDIT: @robgardnerphotography 

There is a sense of the 1980s when one gets the first whiff of You Can’t Sit with Us. I was thinking about an early-career Madonna. Wordless vocals come in and the song gets off to a rushing and effusive start. A smooth and rushing horn sit with funky beats in a carnival-style jam where anything is possible. When the vocals come in we hear about club-life and being excluded. Our heroine approaches a group of girls and, when asking if she can sit with them, they turn their noses. I feel it is a situation many are familiar with. That desire to be communal and sociable is rejected by those who feel enjoying their company is a privilege. I am not sure whether MissDefiant are addressing the seedy and salacious girls that try and hang with them – the type that exposes themselves and bring a sense of shame to proceedings. I feel it is the former and that snotty kind who gives rudeness to everyone they met. “Hey girl/what’s that look for?” and “Hey girl/don’t start a catwalk” suggests a group of women who stare and glower at those who try and approach them. Maybe there is that vanity and exclusivity that means only the most fashionable and hip are allowed into the club. Social life should be about connecting with everyone and, listening to the song, you get a sense of division and oppression. How much MissDefiant have experience is hard to say but I imagine they have encountered that kind of hostility. Maybe it refers to a balance of clubs and cafes. Throughout London, there is a split between the everyday and common and the cliques. The posher areas are filled with the types who refute and criticise anyone they believe is not to their level. I guess this extends to all areas of the world but it seems pronounced in the capital.

PHOTO CREDIT: Anna Urik 

The song’s intoxicating and alluring combinations contrast the seriousness and strictness one finds in the lyrics. Even though the lyrics profess a sense of exclusion; the wording is conversational, fun and loose. You feel like you are alongside them in the club and the jabber and nonsense these snobby girls project. MissDefiant have always been great at talking about serious matters but providing an accessible narrative for the listener. The chorus repeats the song’s title and is punctuated by vocals of “Hey, hey!”. One feels like they are in the setting and following the course of events. Like all MissDefiant choruses; they are big and bright and will lodge in the head for a while. You Can’t Sit with Us is a Pop song that is not reserved for those who are fans of the genre. It has an amenable and flexible manner that means anyone can hear it and bond. I have heard it a few times and every listen reveals something new. Aside from the big chorus, it is the production that shines through. It has gloss and polished but is never too shiny and gleaming. There is room for a rawer club sensibility to come through so you get a mix of 1980s Pop and modern-day Dance. The resultant brew attracts the senses and makes the head swim. Our heroines ask whether it is their lack of Prada that means they are being shunned. The vacuous and air-headed clan have their expensive clothes and taking endless snaps of themselves. Our girls are not bothered they are being shunned but kind of glad they do not have to stoop to that level. Giggles, sarcasm and cutting jabs mean the song is always vivid, candid and real. It makes you smile and side with MissDefiant as they navigate a labyrinth of conversational nonsense, arrogance and cheap values.

The girls are not with their honies and not draped in diamonds. The fact they are not bejewelled and blinged-up mean they are not worthy of time with the ‘cool’ crowd. Many MissDefiant songs look inside the clubs and the social scenes they encounter. Adams and Cather, in various guises, have been around these types of people. Working in modelling, acting and fashion would have given them an insight into the rather regrettable sort they have to be around – radio reporting and interviewing does that too. One can call MissDefiant fashionable and cool but they bring people into their world. They never exclude and thing they are above other people. It is difficult knowing whether the duo want to be part of that inner-circle but one feels the song is a dismissal of those who shut themselves away and think they are better than anyone else. One feels this song, ironically, might be played during an episode of Made in Chelsea. You can, if you have the inclination, encounter the kind of scenes and snobbery (on the show) one hears in the song – they do it without irony. Maybe there are certain areas that have such a mass of bitchy and arrogant people but you can encounter it wherever you go. You Can’t Sit with Us is the second track from Missdefiant and a blast of energy and attack. The girls are cheeky throughout and expert when it comes to cutting the lesser sort down. A brilliant track that could get the clubs bouncing and, let’s hope, shame those who are being addressed throughout You Can’t Sit with Us.

IN THIS PHOTO: MissDefiant a Thousand Island

I will finish things very soon but wanted to talk about MissDefiant’s touring, future and album. They launched the album at Thousand Island in London and gained a huge reaction. The girls are bonded to London and have played in many different venues. They are comfortable at a place like Thousand Island (Highbury) as they are in Hoxton. They have a sound that is as fresh, colourful and varied as the city. This year is the biggest one for MissDefiant and this month especially. They have released the album and will want to get Missdefiant to the people. Because of that; I hope they have more London gigs coming up. There is a lot of love for them in the city and people are reacting to their unique brand. I know they have had a whirlwind last few months and will want a time to relax before the end of 2017. It has been great seeing them play at various venues this year and get a big reception. The people of London love them and the girls and getting more fans flocking their way. I wonder how much of the U.K. they have seen. I talked about the North-South divide in music there is a reciprocal issue arising. Many artists outside of London stay where they are because they cannot afford to come down here. The media does not often feature them and assume they are being distant – the fact is they are not allowed a fanbase because they get little attention. Those in London who have a fanbase here do not often travel further afield – either to secure their popularity in the capital or think all the great venues and crowds are down here. I can see MissDefiant going down a storm in other parts of the U.K. They could stamp a real impression further north and get some fans up there. I know they have an international following but there is a chance for them to make an impact further up the country. Manchester is a city that spring to mind and they could easily get dates here.

I would like to see them, in 2018, think about the country and where they would like to form. Their music is terrific and it is being consumed by so many people. Many are waiting out there so I hope the girls get a chance to explore more options. The same goes for international areas. I think MissDefiant could go down well in the U.S. and North America. I am not hearing many like them in America and feel there is a desire for their music and what they provide. One can say the same of parts of Asia and Australia. I know Australia would be hospitable and there are cities MissDefiant could conquer. Perhaps finance and budget are factors that will limit their horizons but their popularity is worldwide. They are keen to get London talking about their music but I hope they think larger next year. I know there is a lot of love for them in other parts of the world so it would be great to see that exploited. MissDefiant are fans of acts like Lady Gaga and Little Mix but, in a way, they surpass them. I find those artists – Little Mix for certain – to be too mainstream and not as engaging as one would hope. They are concerned with getting fans in and the way to do that is repeat what other artists say – appealing to the pre-teen market with lyrics that are easy to understand and common to them. Lady Gaga is not as limited but still does not dig as deep as MissDefiant. It is great seeing the London-duo rise and succeed. I feel they will be in the mainstream in due time and able to exert influence. They will bring their compelling and engaging music to the masses and be able to make some real changes.

The girls, through their social media strengths and awareness, have secured a contract with MAC Cosmetics and, between them, have enjoyed careers in acting, radio and modelling. They have played at some great venues in London and worked with amazing producers. Missdefiant is an album that has already gained some great reviews. It unites all their music and their earliest moment to some new songs. The songs are not chronological so there is that nice and unexpected mix. One might hear something from a year back and a song you have not encountered before. For new fans; it is a chance to see how the duo has evolved and the range of their music. I know Emily Rose Adams and Jordan Cather will be pleased to see the positivity flowing and will want to increase that. I feel their music will reach even more people and they have the potential to take their album worldwide. I am looking at their social media feed and seeing the reaction people have afforded the album. It is wonderfully produced and the running order is perfect. The songs all fit together and it is equally weighted so the best tracks are either end of the album. Every song is strong but you are never bored or feel the need to skip tracks. They do not throw all the bangers near the top or keep them for the end. It is evenly distributed so the listener gets a great hit of energy right through the album. By the end, you want more and will go back and repeat certain songs. I wanted to look at You Can’t Sit with Us because it is a new song and one the duo are keen to promote. It is one of their most confident and bold songs and is destined to be a big radio hit. I know many stations have played their music but they are not an act that are resigned and confined to London stations. I shall end this but would urge everyone to have a listen to Missdefiant and check out You Can’t Sit with Us. I have followed the duo since 2015 and am impressed by the fact they grow stronger by the year. They are at their peak but one feels they can actually improve and grow from here. It is an exciting time for MissDefiant and proof they are…

AMONG the finest duos out there.

_______

Follow MissDefiant

PHOTO CREDIT: Amy Spanos Photography 

Official:

http://www.missdefiant.com/

Twitter:

https://twitter.com/MissDefiant

Facebook:

https://www.facebook.com/MissDefiant/?ref=br_rs

Instagram:

https://www.instagram.com/missdefiantofficial/?hl=en

YouTube:

https://www.youtube.com/MissDefiant

SoundCloud:

https://soundcloud.com/missdefiant

Spotify:

https://open.spotify.com/artist/7GD76wBSA6X3hLwMNKTKhN

TRACK REVIEW: Bruce Mississippi Johnson - No Good

TRACK REVIEW:

 

Bruce Mississippi Johnson

 No Good

9.3/10

No Good is available via:

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

GENRES:

Blues; Soul

ORIGIN:

Mississippi, U.S.A.

RELEASE DATE:

March, 2017

The album, The Deal Baby, is available at:

https://open.spotify.com/album/0vg34Cx0f8NOmLLjhC8R7m

____________

THERE is so much variation in music that….

one day, I can look at a legendary, Mississippi-based Blues artist – the next, a London-based Pop/Electro duo. I will look at the energised and vivacious girls of MissDefiant tomorrow but, right now, an artist I have not come across before. I shall look at his music but, before I do, I wanted to address a few things. For one, I shall look at Blues and the genre in general; artists in Mississippi and the range of music one finds between states; relocation and how a life can evolve and change – a nod to those artists that seem to be the ‘complete package’. Whether one puts the Mississippi part if Bruce Johnson’s name or not (there are sites and sources that do), I am going to keep him as purely Bruce Mississippi Johnson. In my blog; there are few occasions when I get to look at Blues artists and what is happening in the scene. Johnson mixes other sounds but one hears an artist who sources from legends of the past. He has some soul in the sounds and, if one imagines a blend of Jackie Wilson and Al Green – with some of the Blues legends thrown in – you’d be somewhere near hitting the mark. I shall come to address influence soon but, right now, it seems important to look at Soul and Blues in modern music. There has been a lot of talk about various genres and their dominance in music. I hear a lot of Pop music out there and certain other genres are starting to make their names heard – Hip-Hop and Rap among them. I am a little late to the joys of Bruce Mississippi Johnson’s latest track but, in a way, it provides a chance to give it a proper listen and investigate it months down the line. The track arrived a few months ago but, owing to a heavy schedule, it is only now I have been able to tackle it. I feel genres like Soul and Blues rely on a sense of tease and build-up.

They do not need you to absorb it all at once and sit back and enjoy – come back and experience various parts of a song when you wish. That is the case with Johnson’s latest song. It is a piece that has romance and contrasts but has a depth and beauty that requires proper appreciation and involvement. Right now, there are not many known Soul and Blues artists playing in the U.K. One might bring in names like Sam Smith but he is an exception. Even he mixes in Pop and does not play it pure and unfettered. If you want to encounter an artist who keeps Blues and Soul pure then you have to dive deep into the depths of music. I feel certain genres get pushed down and not provided adequate oxygen. There is such a dependence on what we are fed and what is seen as ‘popular’. Jazz is another genre that struggles and, whilst there are few modern Jazz artists penning their own music, there are enough to intrigue and celebrate. The same can be said for Blues and Soul artists. Many feel they need to splice other sounds in so they are popularised and seen. It is a sad state when musicians feel they are excluded and overlooked. Music as we know it stems from Blues: Soul is the most passionate form of experience and has produced legends like Sam Cooke and Otis Redding. These artists, alongside Aretha Franklin and Marvin Gaye, could blend the ethics and stories of 1930s/1940s Blues with the raw and exhilarating rush of Soul. Bruce Mississippi Johnson would have heard these kind of musicians and been struck by their vivacity, electricity and passion. It is hard describing his sound but it does seem to sprinkle the Soul and Blues genres – bringing them into the modern age but not abandoning their roots. That authenticity and appreciation for older music is a gamble in a culture where we want modern and of-the-moment sounds. An otherworldly, older-days beauty can be heard in his music. I am concerned we neglect various genres because they are not seen as cool and happening.

There are some wonderful Blues artists who are modern and captivating and current. They bring the style to the current day but retain the beating heart of the genre. The same is true of Soul: a lot of wonderful artists that deserve attention. Check out artists like (American) Leon Bridges to get an idea of what is happening in Soul right now. It is interesting looking at how our current examples do not abandon the past and unite that with a contemporary and personal aspect. Many other genres seem to lose sight of where they came from and the musicians that brought it to their ears. Bruce Mississippi Johnson hails, unsurprisingly, from Mississippi and would have learned a lot from the state. Mississippi, one might assume, would be restricted to older sounds and Blues, perhaps. We often project that image but, in reality, it is a fulsome and eclectic part of the world. From Punk and Pop to Rock – artists like Dead Gaze and The Jag have connections to the state. Maybe areas such as New York and L.A. gain more press but American music cannot be refined to and defined by the big cities/states. If you want a better impression of the country and what makes it such a strong and fascinating musical nation then you need to travel further afield. Mississippi has always played a relevant role in American music and, from past decades to the present time, produced some stunning musicians. Robert Johnson, the legendary Blues pioneer, hailed from Mississippi. Cities like Jackson are revealing some hot young bands and it seems a shame the U.S. media seems to limit its imagination to more obvious parts of the nation. Perhaps it is not a shock Bruce Mississippi Johnson has come to London – where there are more chances – but I have been doing some research into Mississippi music and there is a great mix. There are a lot of cover bands but, of the original artists, there are some terrific modern/mainstream hopes and those who retain the spirit of the state.

Holy Springs’ Cedric Burnside is the grandson of the Delta juke-joint Blues legends R.L. Burnside. His music incorporates Rap and Pop but there is something pure and dedicated about Burnside. He retains the purity of his grandfather and keeps his spirit alive through sensationally immersive tracks. Dead Gaze (with ties to Oxford) have released a series of Psychedelic/lo-fi songs through the years and have that D.I.Y. ethic. They contrast artists like R.L. Burnside and are among the most exciting and promising acts from Mississippi. The Jag, like Burnside, is keen to preserve the old styles and ways of Mississippi. They formed in 2002 and, since then, the Jackson group have gone through various line-ups and stages. Restarting in 2011; their music has a retro Southern sound that brings in Psychedelia and experimentation together with good ol’ shades of the state. One looks at the biggest current artists of Mississippi and, looks-wise, there are few that contradict the stereotypes we have. Perhaps that is a good thing but Rosco Bandana are a septet that started their life in a tobacco store – when Jason Sanford went in to buy cigarettes (defying his Christian upbringing). The clerk there mentioned names like Iron and Wire and, when Sanford started jamming with Barry Pribyl – things got kicking and the project started its life. It is a very old-school, Southern vibe of America but one that has created a fantastic band. From that Gulfport collective to a stripped duo from Jackson. Spacewolf, as we might perceive certain folk from Mississippi, are not decked in finery and sartorial elegance. The boys prefer a T-shirt and recorded their 2010 eponymous debut to modest acclaim. The guys have, in the past, recorded through a homemade microphone – built from an N.Y.C. payphone receiver and beer can – and have that rustic, rural charm. Jackson’s The Weeks came together in 2006 are an Indie-Rock band that unite Southern Rock and Grunge. They signed to Kings of Leon’s Serpent and Snake Records and have been making an impression in the state since then. It appears there is a culture and scene worth digging – Bruce Mississippi Johnson would have learned a lot whilst there.

He is in London now and, far from assimilating too wholly and abandoning where he came from, he is adding his unique voice to a city that lacks proficient knowledge of Soul and Blues. London seems to current and limited. That seems strange for a massive city but it is still the case that minor genres are pushed to the outside. The record labels and big radio stations spend very little time uncovering the finest artists in Blues and Soul. I am disappointed this is the case but I suppose areas like New York would be the same - I imagine they are more concerned with the cool and current. Johnson has featured in magazines such as Soul Bag and has a loyal following here, He has appeared on BBC radio and received a lot of love from the people here. I worry we are too beholden to what is heard in the charts and not making inroads to other styles of music. It is a shame we consider Blues and Soul to be part of the past – with very little contemporary importance. Music has only come this far because of those genres so we should not be ignorant of their place and history. London is a great place for Johnson to play because he has more opportunity to shine. Great venues, various radio stations and big crowds can be found in the capital. If one wants to experience music that has more depth and meaning than most of the mainstream’s ‘best’ – they could do far worse than spend some time with Bruce Mississippi Johnson. He has brought a lot from Mississippi and learned a great deal when there. It would not have been practical to remain there. Fewer opportunities for him to get his music to the masses. I guess the same is true of the U.K. and U.S. to an extent: media and the influential will allows gravitate to the city. Perhaps areas like New York were not a good fit and did not give the same excitement and comfort as London. I know for a fact there are many wonderful musicians in London who have a real connection with Blues and Soul.

IN THIS PHOTO: Johnson alongside Gaby Roslin

Although quite a few integrate them into other genres – Johnson is someone who is capable of adapting and camouflaging other genres into his sound. I love how Johnson keeps his music pure and uncompromising. He would have been raised on a diet of those Blues legends and the Soul kings and queens. He has his ear to the ground and aware of the modern best and biggest – a concoction of the classic and current. Bruce Mississippi Johnson has been speaking to London stations and ensuring songs like No Good – and his album, The Deal Baby – have struck new ears. One need only look at him to know there are few contemporaries. He cuts an imposing figure but is lovable and down-to-earth. He is easy to chat to but, at the same time, I would not pick a fight with him. As I will talk about; he has a marine background and is someone who has had a vivid time of things. That is not to say he is a brawler and fighter: the man was in the forces and had ia past that differs to where he is now. I am not explaining that well but the fact is Johnson is a fascinating figure that stands out from the boring and blend alternatives. There is a lot about him that fits into the ethos and history of Blues. A lot of the genre’s key figures has unconventional and interesting pasts. A sense of history, legacy and richness stems from the blood and bones of Johnson. He has a natural home here and a lot more room to manoeuvre and campaign. I know he will go from strength-to-strength because there is a rarity and need for his music. London still focuses too much on mainstream tastes: acts like Bruce Mississippi Johnson are needed n order to add colour and contrast to the masses. We do not have many like him and there is a distinct need for his music. I am a fan of Blues and Soul and feel there is a need to assimilate it into the London scene. What is fascinating about Johnson’s role in London is his humanity and Southern manners.

That might seem like a strange suggestion but there is something compassionate and dignified about Johnson. Few London artists have such a courage, heart and sense of humanity. That could be perceived as cruel and stereotyping but Johnson has been involved raising awareness and compassion for the victims of Grenfell. When the fire hit – and lives were lost – he was among many who spoke up and took action. With fellow artist, Omar, he raised money for the victims and was eager to have his say. That is admiral because, in my view, more musicians needed to get involved. The fact he is American – and has not been in London THAT many years – means he could have sat back and has a rather casual attitude to things. That is not how he is raised and one can trace his upbringing and sense of community to the fact he was deeply involved and passionate – raising funds and speaking out against the atrocities. I know there are many compassionate artists in London but few that have the same qualities as Johnson. A rare specimen that brings together his experiences and various travels into a fascinating and enigmatic personality. London is doing him a lot of good and he is injecting U.S. Blues and Soul into a scene that desperately needs it. From his early years in the Deep South; Johnson began life singing at his grandfather’s church. He gained a love and knowledge of Soul and Gospel music and found a sense of purity and love in the songs he experienced there. The rouse, spirit and togetherness in the church resonated and enforced his following years. Complimented with exposure to Al Green, Jackie Wilson and Gil Scott-Heron – Johnson was introduced to a world of wonderful and classic Soul/Blues greats. The stocky and tall U.S. Marine cuts a dashing figure but, with that tenderness and soulfulness, mixed it into the blend and became a rounded and tantalising personality. Not many have the same contrast and attributes. After Johnson left the Marines; he travelled to Paris and involved himself in the Parisian Jazz scene. There, he would have learnt new crafts and disciplines.

It opened his eyes to the history and range of Jazz. I am not sure whether America has a strong Jazz tradition but I know France has a thriving and textured scene. One can look at Johnson and hear such a rich and varied voice and know Paris played a big part. Hearing the great Jazz artists there – fusing that with his church education and Soul upbringing – and there are so many dynamics to his music. We have U.S. Blues and Soul with Paris Jazz; London contemporaries artists and all the styles the capital boasts. Whilst in Paris; Johnson collaborated with the likes of Big Joe Turner’s Blues Caravan and helped solidify is music; cut his teeth with new acts and imbue more shades into his melting pot. All of these experiences and hook-ups can be detected in his album, The Deal Baby. It has been quite a background and upbringing for Bruce Mississippi Johnson. He carries his past with him but is involved in London and getting his music to the people here. The thing that amazes me about him – among many – is the way he has blending into London life and connected with musicians/D.J.s here. He has spoken with Rabin Goslin and performed on some of our local stations. Johnson seems to have a connection with the city and one imagines a raft of dates will come – the chance to bring his music to the people. I shall move on but feel there is a lot to recommend and love about Johnson. He brings that fame and exposure he found in Paris and is ensuring our modern scene is no stranger to the joys and pleasures of Blues – Soul power and the ecumenical elements of the church. I was excited featuring Johnson because he is someone that can genuinely change mainstream music and ensure genres like Soul and Blues are not seen as niche and minor. The sheer wonder and gravitas one discovers in his voice has already made an impact here. That is likely to strengthen and augment as he makes his name know in London. Britain needs talent like him so, because of that, a song such as No Good is essential.

No Good’s introduction brings in romantic and swirling organs to give the song a real kick and sense of imagination. In terms of sounds; I am reminded of Al Green’s Love and Happiness. It has that sense of drama and captivation about it. Johnson’s coda is a little calmer but it seems to carry a weight of sadness and contemplation. The song, when I see the first few seconds of its video, seems to look at romantic break-up and reckoning after the wreckage. Johnson has a ring in his hand – whether an engagement ring or wedding – and mournfully looks into the distance. Perhaps the song’s title refers to a love that has gone sour of the fact he is no good – maybe a bit dishonest or not the right person for the girl. The sweetheart took what he had and took advantage of his schoolboy crush. There was a sense of instant infatuation and trust. The hero wanted the romance to work and gave his heart to it. There was no expectation and rules: a man who was keen to give his soul and not play any games. It sees the girl has taken him for a fool and now, rather vividly, the hero is hanging out to dry. His teeth dangle from a tree – as Johnson sings with regret – and love has run cold. Adding a new dynamic and lyrical perspective to shattered love – many would forgive him for painting such bold and stark pictures. He was in a relationship and did not think anything would go wrong. There is “Too many damn confusion” and our hero has thrown everything away. He took reason out of the rhyme and was rather struck by an unexpected torrent. Our man is assessing everything and wondering what happened. Maybe there was too much trust from him and these of being caught up in the rush of passion. I am not sure who broke off the relationship but it seems like, from the start, things might have been on an uneven footing. Now, he looks at the emptiness of the bed and where things started to take a bad turn.

The band, backing Johnson, offering rushing keys and sympathetic support. There is a teasing, hissing beat and a sense of funkiness that provides relief against lyrics of solemnness and blame. The hero lets his voice soothe and rise: he has a wonderful chocolate-like vocal that gets into the heart and makes it skip a beat. Johnson has a great authority of the Blues and Soul so it is no surprise his vocal has a connection to past masters. I am not sure whether he directly sources from any particular singer but I hear Al Green and Gil Scott-Hero in the blend. It is whiskey-sharp but has that caramel warmth running through its marrow. Few artists are able to project such a curious combination. It gives, of course, the words that extra dynamic and authority. Our boy feels he is no good for anyone but himself. That might seem rash considering, maybe, the girl is partly to blame. He cannot be judged for giving his all to the relationship and trusting her implicitly. Maybe he rushed ahead and, the fact he has a wedding ring in his palm, he was eager to tie the knot and set up a home. She might have said ‘yes’ but was caught up in the moment. This might be a part for a Johnson: perhaps a particular love that was hot and special. It is worrying hearing Jonson look at the broken shards and put the blame on himself. Few artists cast the accusation inwards – this is something many could learn from. There is contrition and maturity but he might be putting too much weight on his own shoulders. The song’s video sees our hero caress and kiss a blonde woman whilst, in other scenes, reduce a dark-haired woman to tears. The lyrics say how Johnson’s past life was tough – maybe this is an excuse for the catting about and cheating. Revelations come in and maybe there is that inability to find joy and completion with one woman.

IN THIS PHOTO: Bruce, in Paris, around 1984/1985

He may have got into one relationship and found he was not fulfilled. A sexual desire and eagerness to sow his wild oats mean a mess has landed at his feet. Confusion reigned and, as he confused about his wife and children, he ruined a relationship. I am not sure whether he was unhappy in a relationship and should have got out – the marriage I assume – and been honest from the start. If he has; he may have been able to find time and transition into a new love. Instead, he rushed in and overlapped. It caught up with him and that need to confess and unburden – going back to his church upbringing – means he has damaged what he has. He looks around and wonders where all that confusion stemmed from. Perhaps he was bored in a marriage but was not brave enough to admit that. I feel Johnson is better on his own and cannot balance the realities and demands of a relationship. That need to find time away and assess what he wants means there is an opportunity for introspection and evaluation. I know it can be challenging staying in a committed relationship but Johnson has made a mistake and is up-front about it. It seems things are not as they appeared. The beats continue and the keys drive and create an infectious spirit. When Johnson changes to a speaking section – transition from sung to narrating – things become clearer. When he was having dinner with his girl across town; she started to mumble words and, eventually, admitted she was seeing someone else. Johnson’s low and deep voice means the words hit harder. To be fair; the break-up was his own making. As he was eating his dinner, he could see his wife enter the restaurant. The girl left and he was left with the bill – along with a lot of heartache and regret. He cannot blame anyone else for the results as he has been selfish and tried to have his cake and eat it. The rarity of finding an artist that is honest and admits they have made a mistake – that is quite humbling. I am not sure why the infidelity occurred but one feels Johnson was in a tough place and looking for as much affection and company as possible. He went about it the wrong way but would have learned a tough and valuable lesson. It is one he will move on from and grow wiser from it. I am not sure whether he is in a happy love not but is clear No Good documents a time when things were hard for him. Let’s not judge the man and the story but commend and celebrate a song that is a fine and wondrous mix of old-style Soul and Blues. An intoxicating brew that demands the listener offers their full and frank attention to it.

I would usually kick an artist arse who does not provide that many good and recent photos – I feel Johnson could kick my arse fairly readily! – but I have let it slide when it comes to the Mississippi-born artist. He is someone whose music is required in 2017 and, because of that, he gained a spot on the blog. That is not saying I have a strict code of conduct but I am so visually-minded I am turning people away at the door. Bruce Mississippi Johnson is a person who has such a sense of compassion and awareness. He has already lent his voice to the fundraising for Grenfell victims. Seeing as London as experienced another terrorist attack; one wonders whether Johnson felt that hard and how he reacted to that. The man puts his heart to the people and, wherever he is based, connects with the people. Maybe that is to his church raising and the way a Mississippi child would have been brought up. The sounds of Soul greats would have given the songwriter a sense of pride, compassion and community. Based in London; not only does Johnson have a great city where he can assimilate different sounds and genres – there is a rare opportunity to bring his brand of humanity and love to the people here. I know there are some kind-hearted London artists – it sounds like they are all cold and heartless – but it is rare finding someone like Bruce Mississippi Johnson. I am keen to see where he goes from here and what dates he has coming up. He has recently played the 606 Club in London and will be looking for new gigs. I am not sure whether he has played spots like Ronnie Scott’s and that esteemed space. London has quite a few great Jazz bars and venues for Johnson to get his music heard – wonderful small spaces where he can connect with his kind of crowd. To be fair; it is not only Jazz clubs where Johnson is celebrated.

I know 2018 will be a big year for him because, not only does he have a great group of fans behind him, but is starting to get his name more out there. He has played on and chatted to London D.J.s and seeing his fanbase build. I know Soul and Blues are genres are not popularised and prolific in the mainstream but that, I hope, will change. He has played at The Blues Kitchen (Shoreditch) and making his name known across the capital. When his album was released a few months back; Johnson performed at a range of different venues and excited the crowds. That has died down a bit but he is still performing across London. I wonder if there are dates coming that take in venues wider afield. I know Manchester is a city Johnson could seduce and find many opportunities in. There are so many great spots and spaces he could bring his music to. One cannot listen to Bruce Mississippi Johnson’s The Deal Baby and assume it is going to be a replica of Robert Johnson, Al Green – and the artists he was raised on. There is modernity and contemporary relevance to his music. One gets a great blast of modern production that unifies with the embers of Soul/Blues greats. Johnson’s rich and commanding voice means every song gets into the head and strikes the heart. Let us end things shortly but I am fascinated when American artists base themselves here and come from unfamiliar background. The fact Johnson has spent time in Paris and gained a name there – will he keep moving and go to other parts of the world?! I think Europe is the best place for him as there is a lot of affection and knowledge. In terms of historiy; artists have always been able to find themselves celebrated and acknowledged when playing genres like Jazz, Soul and Blues. American does have a connection with that type of music but is more concerned with other areas of music.

London is a vibrant and ever-changing city that is open to suggestions and progression. The capital is too hooked on the mainstream and media-pushed artists. The eyes and ears are never that wide when it comes to other parts of the music landscape. Let’s leave things here but I wanted to end by suggesting everyone familiarises themselves with Bruce Mississippi Johnson and his music. He has had a wonderfully interesting past and changed since his early recordings. He carries his idols and upbringing but he integrates sounds and artists he heard on the road into his fantastic songs. No Good is his recent single and one I was eager to get down to. It has an addictiveness that means you keep coming back to it and discovering new joys every time. I know Johnson will go a long way and there is plenty more to come from here. Whether there are more tour dates in 2017 – or is planning a new assault next year – I am not sure. It is a great time for the U.S. songwriter and The Deal Baby. Get your ears around a unique artist that brings something fresh to the London scene. He has the potential to hook and enthral large areas of the U.K. and get people turned onto classic Soul, Blues and Jazz. A terrific artist with many more years ahead; ensure you make Bruce Mississippi Johnson part of…

YOUR regular rotation.

_______

Follow Bruce Mississippi Johnson

Official:

https://www.brucemississippijohnson.com/

Twitter:

https://twitter.com/bmissippij

Facebook:

https://www.facebook.com/brucemississippijohnsonmusic

Instagram:

https://www.instagram.com/bmissippij/

YouTube:

https://www.youtube.com/channel/UCHk3AU9hLWBvsgfsSNQJCqw

BandCamp:

https://brucemississippijohnson.bandcamp.com/

SoundCloud:

https://soundcloud.com/brucemississippijohnson

TRACK REVIEW: Raveen - Always

TRACK REVIEW:

 

Raveen

 Always

9.4/10

Always is available via:

https://www.youtube.com/watch?v=uU0Bx6ichDs

GENRES:

Electronic; Alternative

ORIGIN:

Montreal, Canada

The album, Always, is available at:

https://raveen.bandcamp.com/album/always

RELEASE DATE:

28th July, 2017

____________

IT is nice to be back in Canada and assessing a band…

that is getting a great reception right now. Always is their new album and has been collecting some terrific and positive reviews. I will come to look at that in more depth but, for now, I wanted to address Montreal artists and the music scene there; music that is subdued and lush; what can inspire songwriting and a new creative direction; collaborating with other musicians and international artists coming over here – a quick nod to the band market and how tough it can be to distinguish yourself from the pack. Montreal is a productive and fertile spot for new music. If one looks at the established artists that have come from the city – Arcade Fire and The Dears among them – it seems like a part of the world that encourages experimentation, depth and intelligence in music. One need only listen to Arcade Fire’s back catalogue to experience a group always looking to push music and engage the listener. That is the case with Always and, like Arcade Fire, they inject so much depth and texture into their songs. There are, of course, other acts in Montreal – not all of them go for deep and detailed music. If one wants to experience an array of lush, spellbinding and memorable live performers – Montreal is a city you want to go to. Patrick Watson, one of the most established artists from Québec and someone who can silence audiences with his tender and majestic voice. The Dears have released five live albums: fans and followers adore their performance so much; it is small wonder the band has taken this decision. A-Trak has helped push and pioneer Electronica, Hip-Hop and supports the best artists from the genres. His scratching and fusion techniques enthral crowds – someone guaranteed to lift the crowds and provide an incredible, engaging night. Half Moon Run are a band best enjoyed in the live setting. The complexities and nuances of their songs come to life when they perform to a live crowd. Chromeo is another fantastic band who provide a fun and are a cheeky duo that has amazed and excited audiences for years.

Jazz Cartier is a star who has played in small venues but is on the rise right now. Tracks such as Stick and Move have got people throwing their hands in the air and letting their voices ring loud. He is a performer one should keep their eyes out for in the coming months. Calvin Love and Dilly Dally are terrific but Moon King, an incredible duo, whose electronic-tinged Indie-Rock is one of the best live experiences you’ll see in Montreal – they are pushing their music to new territories and are an incredibly exciting proposition. Camille Poliquin is an arresting performer who sings under the moniker of Kroy and has an arresting voice that has seduced masses. Charlotte Cardin sings in French and English and boasts a smoky, scintillating voice that has, until recently, scored cover songs. She is producing original material: it is their live shows, and the way she engages with the crowd, that has won her legions of fans. Her video, Main Girl, was released a few days ago and has been gathering immense praise. This is just a small gathering of Montreal artists who are defining this generation. The like of Arcade Fire has hit the mainstream: eyes are looking at the underground/new, emerging acts and what they will provide. The likes of Charlotte Cardin and Half Moon Run are going to be immense mainstream acts that will compel people to investigate Montreal more. Raveen is among that list who deserve huge acclaim and support. They differ to the artists I have mentioned – standing alone and providing a unique combination of sounds and textures. I am excited to see the band progress and make their music known to the wider world. They are popular and applauded in Quebec but have the potential to wow the U.K. and Europe. We would love to see them here: few comparative artists exist so it would definitely fill a void.

The past few months have seen me address rawer and urgent acts that do not really take a more measured and explorative approach to their material. Raveen, when listening to Always (the title-track), mix Electronic sounds with R&B/Pop undertones and takes the listener somewhere special. I admire musicians that take the time and craft music that blends sounds and components to deliver something sumptuous and mesmeric. That is what one gets from the Canadian band’s latest single. I am a little late to review it – it has been out for a couple of months – but now their album is released; many people are discovering gems and jewels from Raveen. Whether exploring synth./keys or bringing strings into the mix – one always is left affected and changed. There are a lot of acts around who take little time to engage with the listener and provide real depth in their music. I think, in modern music, there is the need to produce something relatable and instant. People want to bond with a song quickly without having to do too much thinking. That might be unfair to many but I feel there is a tendency, for mainstream artists, to get into the head as quickly as they can. One can find some nuance and academia in a lot of artists but is becoming rarer. Maybe we are training ourselves to adopt the short and concise songs that do what they need to do and exit the memory pretty soon. This might be the definition of commercialism but, if one looks hard enough, you can find musicians to appeal and create for those who want something special and deep. That (deep) is a word I bring in but it is entirely justified in this context. Raveen pair lush and immersive compositions with heartfelt lyrics – it is a wonderful combination that provides something unexpected and pure.

I will move on to other considerations but, before then, wanted to remain where I am. I was talking to someone the other day who said he listens to genres like Classical because there is nothing enriching or memorable in the current mainstream. His exposure to music comes from radio and his argument was few acts articulate any sophistication and intellectualism. Not that Raveen are Classical composers: they are contemporary and accessible but deal with tender, shimmering strings and illuminating colours – paired with moodier and introspective tones and quotable lyrics. If one considers all those elements and, excluding lyrics, it has the same dynamic and appeal as Classical music, I guess – a modern form that acts as a gateway and Segway into the mainstream. That is why I feel Raveen are a special and profitable act. The guys differ from what is out there and can offer the listener something genuinely engrossing and nourishing. I am making their music into cuisine and something intangible. In actuality; the vocals and lyrics are as treasurable and impressive as their soundscapes. I will come to look at that in a minute but feel Raveen perfectly sit in a Montreal music scene that is among the most eclectic and sensational in the world. I have mentioned Patrick Watson who, in addition to being one of Canada’s finest artists, brings strings and yearning compositional elements against stunningly pure and beautiful vocals. The city is not beholden to a single type of music and has only one rule: only the best and brightest will make it to the top. Living in London; one can see a lot of artists not worth much time – there are amazing musicians but not all of them are deserving of real affection. I get a better sense of quality control in Montreal. Maybe it is the way artists approach their sounds and connect with the listener. What amazes me about bands like Raveen is their music is new and unique but, in a lot of ways, instantly connects. You do not have to listen too long before the music seeps into the soul and remains in the mind.

As I said; it is not only the music that hits the bases and lingers long in the imagination. The band’s lyrics are special and go far beyond the traditional and clichéd words one might experience in today’s music. That sound like I am old and begrudging of all new music: I feel few bands take the time to craft genuinely interesting and introspective lyrics. On Always, the immense title-track from the band’s new album, it is the three members working strongly – joined by other players to lead to a cohesive and collaborative wonder. The song itself was inspired by singer/producer Eric - when he went on a trip to Europe. I am not sure whether it was a particular country that compelled the song – perhaps the whole experience provoked the song. Europe is one of those continents with so many different languages, cultures and countries. It is a varied and fascinating part of the world so it is not surprising a Canadian artist would find the experience fascinating. I have never been to Canada but can imagine there is stark difference and polemics between the two areas. That sort of diversity and foreign soil would get the brain racing and lead to something self-examining and inspiring. I am curious why musicians travel to areas like Europe and come back with songs in the head. I would urge any musician to go to Europe: it is a fantastic place to gain inspiration and bring a fresh perspective to the music. That brings me to the subject of travel and how important it is. I feel one of the reasons a lot of modern music is unimaginative and predictable is because few artists travel beyond their homes. So many songs about love and what is around them – few take their lyrics further and bodies beyond the boundaries of the familiar. Raveen did not need to rekindle a spark or gain new perspective. Their music has always been fantastic but the fact Europe lead to the title-track, in many ways, was vital in the album’s recording. The record looks at love and grief; the early stages of adulthood and perceived loss.

There is so much going on there so I am fascinated to know what it was about Europe that sparked such intense and personal themes. This is a new direction for Raveen who, before their new material, sported a slightly different sound. The evolution into a lush and heartfelt direction has been inspired by a number of things. Maybe European travel, and the need to discover new lands, has heralded the desire to create music with more depth and meaning than anything they have done before. A few seconds into Always and one is settled, hooked and amazed. Listening back to the band’s older material and you can see the development and evolution. I am fascinated finding out how instrumental that jaunt to Europe was – and what it was about the time there that led to Always. If one listens to the album, they will find a lot about the boys’ personal lives and transitions; the changing nature of love and life – the loss they have encountered and the positive times they have ahead. It is an album that brings together so many different emotions and experiences into an intoxicating album. I feel few artists are daring and thoughtful enough to provide the listener with anything that subsumes predictability and the cliché – they have penned an immense album that sounds unlike anything else. I will finish off this section but know how important and pivotal travel can be in terms of creativity. Depending on where you go; it can unlock something in the mind and lead to some stunning and unexpected music. This is what Raveen have done and, one argues, as they tour different nations and cities – that will enforce their music direction and lead to some wonderful new moments. Their latest single has inspired me to be broader with my horizons and take time out to travel more. Not that I am going to turn it into music: it will be useful in terms of personal growth and revelation.

On Raveen’s latest album/track; there is more of the collaborative spirit than ever before. It is clear the guys have changed their music and felt the need to add something different to the mix. They have not hugely departed from previous work but have changed it enough to bring in new fans and show an impressive sense of growth. It is a more mature and complex sound than anything they have tackled in the past. Not only are their lyrics more heartfelt and personal: the music, and its arrangement, parabond different shades and colours. The band, on Always’ title-track, brought in more than ten vocalists and four/five string players. The song builds gradually but, when it truly hits, it is a fantastic experience that takes the breath somewhat. Raveen wanted something more collaborative and uncharted on their latest track. It is wonderful hearing other musicians and singers come together to bring the listener a symphonic, kaleidoscopic and hypnotic track that is hard to get out of the mind. One of my biggest hatreds in music is when artists needlessly collaborate with other singers. You get a lot of Hip-Hop/Rap artists bringing out songs that have loads of other artists on it. One wonders whether it is a pitch for commercial success and streaming figures. Does a song need four or five other artists on there?! It makes the song crowded and cluttered – the other artists hardly add anything and obfuscate the meaning and singularity of the song. It is galling hearing so many artists thrown names together haphazardly – little regard for concision, quality and focus. I appreciate an artist that wants to conspire with others but it is the sheer gaudiness of things that put me off (some artists). It is not only reserved to genres like Rap – Pop artists are getting into the habit and, the biggest stars at least, bring so many other bodies in. What I love about Raveen is the fact they took the decision to introduce other players. They have not thoughtlessly brought random singers and players together in a cynical attempt at generating hype and spotlight.

I will skip to the conclusion soon but, before going there – and looking at the song, of course – wanted to talk about international artists arriving here. I am unsure whether Raveen has plans coming to Europe but, considering the impactful way the continent has on the band – it would be great seeing the guys come over here for a spell. The U.K. would love to see them and there are plenty of venues that could host them. I know a lot of North American acts that have come over here – with the intention of staying for a few gigs – only to see them in-demand and remaining here for many weeks. Maybe it is the fact we are not used to seeing North American acts; perhaps it is the potency of the music – there is something that gets into the heart and means we do not want to like them go. Raveen would do well in Britain but I wonder whether they have the finance and crowd-base to attempt that. There is a good support for them here but they are building a reputation at home right now. It is vital ensuring you have your home territory owned and covered. Montreal is a large territory and one with many other acts playing and striving. Before one goes abroad and tries to conquer foreign soil: they must ensure they have a foundation at home and demand where they live. I feel Raveen have been playing for a few years now and have cemented their name in the local minds. They are gathering terrific reviews and have a number of gigs lined up – they have performed some great dates already. Maybe they are looking to 2018 and where their music will take them. It would be great seeing them here and embarking on a mini-tour of Europe.

The band-market, as we know, is a competitive and busy one. Maybe solo artists are taking more spotlight right – I am curious why there has been that shift; maybe it is easier succeeding and growing if you are on your own. Bands cannot be ignored and, not only are they important, but the desire to discover future-legends is intense. Many are looking out at music and wondering where those upcoming stars are. The mainstream has a few great bands but one sees more solo artists succeeding. It is interesting exploring why this is. I guess tastes are shifting or, perhaps, bands are more commercial than solo artists – in a way that means they are predictable and forgettable. The new breed of artists is exciting me because there are some fantastic bands emerging. What I know for sure if there is a lot of competition between the new acts. Gigs are sparse and that opportunity to ascend to the mainstream is limited to a select few. This might sound depressing but it is interesting seeing how the mainstream differs to the underground. Raveen are based in a city where there are so many exceptional musicians – each has the potential to go a long way and make a real impact on music. I am confident the boys of Raveen will succeed and remain because they have a progressive and intelligent approach to their music. Creating something genuinely new and enjoyable is harder than one might think. Bands that succeed and inspire new generations are those that go against easy options and try something harder. The introspective and subdued tones one hears on their album is enough to get them up the ladder and closer to the big leagues. As I said; the reviews are coming in and there is a lot of positivity flowing around. It is hard distinguishing yourself but, if you take time to craft music that is pure to you – but separate from everything else out there – it can be hugely effective. That is the case with Always: the album has resonated with so many people and being spoken about in excitable and impassioned tones.

Always opens with something of the Enya about it. Not that this is a slight: it is a rare thing to see a song that has such grace and etherealness. There are hummed and choired vocals; a majestic sense of flight and the unknown. One imagines themselves flying and floating through the air. A sublime and spine-tingling vocal coda bonds with tender notes and unobtrusive compositional elements – it is a calm and restrained opening but one instilled with so much beauty and possibility. Even without a single word being properly articulated; one is helpless to resist the spectral nudity and luminous passion of the song. That elongated and ecumenical coda continues for a while and does not lose any of its magic and addictiveness. It is impossible not to be drawn to the flickering flame that is provided. Rather than singe one’s wings and perish: there is a warmth and welcoming hum that attracts the curious and keeps them cocooned and encapsulated. When a vocal does come in, in a way, it pairs the sweetness and beauty of Patrick Watson with the deeper sounds of James Blake. Building around electronic flickers and Classical suggestions – it seems appropriate those names come to mind. One gets a sense of experimentation and edginess; paired and balanced against the sublime and pure means the song cover so much ground in the initial stages – it never loses identity or races away too quickly. The hero looks at life and confesses that things are falling apart at the seams. It seems things are not working out how they should. Rather than urgently project the words: each breath is considered and there is murmuration and mutterings among the stillness. The hero, perhaps his travels in Europe have opened his mind, gains a sense of distance and escape. I feel there was a need to detach from something and find some space. Whether he is referring to a heroine or lost love; one gleans a sense of detachment and loss. The romance might have turned and it seems she is never coming back – some words are barely audible or cohesive in the throes of harsh realisation.

Although the subject matter is tarnishing and sour – beauty and tenderness seem to wrap every word tightly. The performances are sublime and, following the rush and tingling of those vocals; we arrive at a stage where there is a lot more seriousness and focus. Witnessing the switch between layered vocals – female sounds coming to the fore and shining – the winding and contorting words of the hero are quite affecting and emotional. Before long; one gets another whiff of the vocal breeze and opening majesty. The song takes us to a warm and remote part where those heavenly voices close the eyes and get the mind working overtime. They pair with the hero who takes over the mantle and is trying to make sense of things. For his part, there are few words and lines to project – most of the song is built on that swell of vocals and the composition. You get crackles of electronic instruments and machine; suggestions of percussion and piano. That mix of genres and elements, in lesser hand, could have been a misjudged and regretful decision, As it stands; Always is a song that perfectly balances emotions, sounds and suggestions into something cohesive, stunning and endlessly nuanced. You will come back to the song down the line to experience new things and discover fresh insight. It is a song that hits you when you first listen but is too big and exciting to take it all in. Strings rise and seduce; the vocals are supreme and intense – there is something about the song that is unlike anything you will hear this year. With that in mind; I took it out for another spin to see what I missed first time out. What comes to mind are the layers and hidden side-alleys that escape you initially. It is a fantastic song and one that warrants more airplay and international acclaim. Artists that tackle something beautiful and entrancing often write a song boring and insubstantial. So much attention and work have gone into Always. It is a moment of music that has been crafted but retains naturalness and a sense of ease. That is a hard trick to pull off but one the Canadian band has done with a sense of ease. I hope they work with the musicians/singers we hear oh this track again. There is a connection and understanding that elevates the song and ensures it stays in your consciousness for a very long time. In a music industry where so few songs endure and inspire – credit to Raveen and what they have achieved here.

I will end things soon but, a bit late to the wonders of Raveen, it has been wonderful reviewing their album’s title-track. It is a song that is quite short but, in its brevity, manages to achieve so much. Over the past couple of months, the guys have played across Canada and been very busy indeed. Exploring new areas and gaining a lot of love from the road – that must give them confidence and the desire to keep recording. Now that the dust is settling and the record is out there; it is down the listeners to absorb it. If anything; the post-release portion of an album’s life can be quite unsure and nervy. That initial flourish of fascination passes and it is down to an artist to keep interest strong and consistent. The guys are hitting-up magazines and websites to ensure reviews keep coming in. That is an impressive attitude and a work ethic that stands them in good stead. I have listened to the album and can recommend it without any hesitation. All of the tracks fit together but no two sounds alike. What amazes me is how the band has developed since their earliest work. They are more confident and striking than they have ever been; bringing new players into various moments and at a very important stage in their life – where they are maturing and questioning life; tackling young-adulthood and questions. It has been a while since I have heard an artist impress me with their experimentation and originality. I guess, in terms of bigger acts…that would have to be Anna Meredith. I am not saying one can compare Always with an album like Varmints – her 2016-released record that amazed critics with its wide scope and accessibility. That is a dazzling album that mixes huge horns and pomp – Nautilus is a perfect opener – and more refined and calm songs. There is nothing ordinary and run-of-the-mill about it. It is a wonderful début that stunned critics upon its release. That is the same impression I get with Raveen.

Whilst their music is not as bombastic and varied as Meredith’s; there is something about the way they tackle sound and emotions that make their music endure and venture – it swims in the mind and makes its way to every part of the body. I am interesting seeing where the band goes from here and what they have planned. I am sure they want to spend the remainder of the year in Canada – keeping it a bit quiet and ensuring the album reaches as many people as possible. 2018 will be an exciting one for them and, I am certain, their most successful year to date. They have created something rich and impressive in Always – the title-track is a new direction for Raveen but one that pays off. It is wonderful seeing a band try something different and working with other people. That is not the case with every song on the album but works perfectly on its opening number. Let us end things here but, before then, a plea to the boys: I do hope you come to the U.K. soon and experience the music scene here. It is a packed and exciting one and one that could do, more now than ever, international blood. We are lacking a sense of worldliness and foreign appreciation. Canada has always provided the world incredible musicians: this is the case with the bright and incredible Raveen. Their début album is a thoroughly enjoyable and triumphant effort that is receiving a wide array of affectionate and passionate reviews. I can add my name to the list – the title-track is a perfect song for those who want something that goes a lot deeper than most music out there. If you want a song that tackles the heart and engages the mind; gets the blood running and the eyes wide – I think I have a band that…

HAS the answer.

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Follow Raveen

Twitter:

https://twitter.com/soraveen

Facebook:

https://www.facebook.com/thatssoraveen

Instagram:

https://www.instagram.com/raveenofficial/

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https://www.youtube.com/channel/UCbPlMcuO-7Okj0_5k6GTPNQ

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https://raveen.bandcamp.com/

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TRACK REVIEW: Ocean China - Feng Shui (I Like the Way)

TRACK REVIEW:

 

Ocean China

 Feng Shui (I Like the Way)

9.4/10

 Feng Shui (I Like the Way) is available via:

https://soundcloud.com/dalienmarz/ocean-china-feng-shui-i-like-the-way/s-PLurk?in=dalienmarz/sets/ocean-china/s-vNaDk

GENRE:

R&B

ORIGIN:

Luton, U.K.

PRODUCER:

DALiEN

LABEL:

Radar Music

RELEASE DATE:

15th September

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I will start this review getting a few things off my chest.

As much as I am looking forward to investigating Ocean China – and have much to enjoy and recommend – I am forced to bring up images and the online. I accepted her review before I put my foot down regarding images – and could not reject this review because of that – but, from now on, I am turning away reviews and interviews where people cannot provide photos. It is a shame but you would be stunned how many that includes. There is an assumption, in the modern age, one can get by with very little. More photos have been taken in the past year than any time in human history: if musicians think they are able to skate by with a few images, they are in for a big shock. It is quite aggrieving seeing a profile bare and image-free. Any blog/site worth their salt are image-conscious and it is not good enough having a few snaps – the artist wanting to project a certain image and planning new shoots in the future. One cannot be precious and precise about their image and when they take photos. Grab a photographer; get a dozen photos shot and get them online. Everything I have published in the past few days has been easy: lots of images and plenty of choice for the blog. It is a relief because it makes it a lot easier for me. It is quite dangerous holding back photographs because you are going through stages and phases – it sounds quite pretentious and a little strange. The level of competition in music is so high; anyone who shows a weakness is going to struggle to get their music shared and ahead of the pack. Ocean China, fortunately, has a fantastic sound and intriguing enough that I am overlooking the lack of images. I shall come to her good points in a minute but I am being very strict with people going forward.

I, as a reviewer, can whip out my iPad and take a lot of photos over a few days – if someone wanted to run a piece about me. I could hire a local photographer and get a range of photos shot. It is never the case a photoshoot would bankrupt an artist. If one can make music and share it: they are able to take photos and accompany sounds with images. It is natural, in social media and a modern age, a musician has a selection of images. I shall come off this point but, another issue I have is artists that do not place their links in one place. So many reviews, I have been to their Facebook page. There, one finds no links to Twitter, Instagram and YouTube. I go to their YouTube site and find no mention of their SoundCloud. Before you know it; I am Googling everything about them and taking so much time to piece together their links. Two simple rules for EVERY artist out there. Number one: get a range of photos shot before you release a song. If it puts people like me off – wanting a visual aspect and appeal – then it will to others, too. Maybe others are not so precious about this but there is no logistic or financial excuse for overlooking images and thinking it is unimportant. Photos and images are crucial and one needs to have a clear and concise aspect to get their teeth into. If I have to scrabble around for details and social media links then I am unlikely to come back again – there are a lot of artists who manage to get things straight and organised from the off. I shall leave this point but, in the future, I am rejecting anyone who does not conform with the two rules – the second being their social media and organising all the links in one place.

As I said; there are things one needs to address when talking about Ocean China. I know there are more photos coming – and I hope she manages to put all her links into one place – and, let’s hope, a biography will arrive so we know more about her and what she is doing. As it is, many will pass by because the cupboard is extremely bare. I am glad I was able to procure a few details about her because, it would be a shame to let her music slip by because of this – as it is; Feng Shui (I Like the Way) is a great song that I wanted to review because I like Ocean China’s sound. I want to look at the role of the black female artist in the music scene; location of musicians and how their surroundings enforce their sound; R&B and its changing sound; the way urgency and focus are more important, at this time, than anything else – female musicians and changing the gender balance in music. I want to raise a point about black artists in music and the struggle they face. Ocean China is a fantastic artist whose sound and manner deems her worthy of further affection of investigation. I have written about race in music and how, in 2017, it seems insane we have to talk about it. I know black artists are not getting the focus and opportunities as their white peers – it extends to Asian acts, to an extent, too. I will not go into the reasons behind it but I feel there is assumption music needs to be a white medium. Genres like R&B, Rap and Hip-Hop are not as racially imbalanced as others: it is fortunate these genres are more open but one would like to see mainstream sounds take a more level-headed and less racist approach to artists. Modern Pop has a few great black artists but one feels there are restrictions and hurdles to overcome. If one looks at festivals and the big lineups and you’ll notice a comparative lack of black names. I know the majority of people in the U.K. are white: that does not mean music needs to reflect this.

It is not the case music is representative of the racial demographic and not holding black artists back. There are so many great black artists that are worthy of attention. I do worry we are denigrating and tarnishing music’s name because of the proliferation of white artists. I know genres like Pop, Folk and Alternative would benefit from being 'less white' and homogenous. How many black Rock bands does one see?! How many black Pop stars does one see?! There are a few but the vast majority are white. I do worry many (black artists) are resisting music because they feel there is no way for them to be heard. Ocean China is someone who, when her social media/photos are in order, has the ability and talent to go as far as she needs. This is an issue that warrants deeper discussion but one need only hear Ocean China and realise her background and skin colour is irrelevant. Well; there is a sense of identity she has but I mean the fact she is not white is irrelevant. She, as she claims, is a Chinese Assassin and embraces a variety of characters, cultures and images. Ocean China is a fantastic artist who improves with every release – I shall address this more a bit later. What I want to see is her music elevated from the underground to nestle alongside the best and brightest of the mainstream. Maybe she does not want the control and lack of freedom a chart artist experiences. I think she would benefit from the attention and the chance to create influence. I look around music and wonder whether we will ever see the racial imbalance redressed. There are fantastic black artists in music who are not being given adequate props. How futile it would be for me to point the obvious out: we are all the same and music is about talent and sound: the colour of one’s skin is immaterial. Maybe there will be progressive change but I do hope the industry listens to artists like Ocean China and where they come from. In her music, name and images; one draws a line to Africa and Asia – there is something worldly and continent-hopping about the young songwriter.

I want to move on to look at location and the background of an artist. One can, I guess, trace certain genres to parts of the country. R&B, I feel, as with Rap/Hip-Hop/Grime, has its roots in and around London. Ocean China is from Luton – Bedfordshire is close enough to the capital and is an area with a few R&B newcomers laying down their music. Ocean China is no moniker: that is her real name and one assumes she has rather open-minded and quirky parents. I like it because it means she stands out from the crowds and intrigues the imagination. Luton, one imagines, is not stocked with great and legendary artists – you’d be right there! What it does have is a lot of great new artists that deserve acclaim. Luton, itself, has a few radio stations and local media; there are a few good venues and there is that proximity to London. One imagines it is not as stressful and busy as London but has enough ‘inspiration’ for lyrics. There is a fairly small Afro-Caribbean population there but it is no different to anywhere outside of London. For Ocean China, she has the capital close by and the chance to reflect and create. I feel she will spend more time in London as her career expands but I have seen a few R&B/Rap artists based in Luton. It seems like a part of the country that has a certain scene and flavour. Maybe there is a sense of disaffection and detachment among the young there: perhaps there is that proximity to London and the need to break into the city. I am not sure whether Luton, in the past, has been a hub for great Urban artists but it seems there is a movement brewing. One might look at areas like that and assume it is quiet and inactive. Ocean China is among a band of great acts from the area trying to put it on the map. I am not sure how bonded she is to her hometown but it seems like a great place for her to learn and grow.

Ocean China kept her music quite until she was fourteen: up until that point; her shyness kept that magic inside. Many were shocked to hear that confident and sassy personality come through. Ocean herself grew up with MTV and would listen to artists like Destiny’s Child and Michael Jackson. That American influence was strong from a young age. One hears elements of big U.S. R&B artists in her work and, I guess, the current crop of American best are high in her consciousness.  Maybe, as a child, she did not know how to express herself or felt her music would not be accepted by the community. I have said how Luton is growing but it is not the same as London when it comes to R&B and those genres. There is a sense of the unsure and people there are not as switched-on as those in London. Maybe, during the early part of this decade, tastes were more tuned to Rock and Pop – having someone like Ocean China in their midst is quite an eye-opener! It is good to see she has allowed the music to flow free and bringing it to the people. That confidence one hears is a sense of revelation and emancipation. She has broken from a cage and prison of shyness – now, one hears a young woman making up for lost time and striking out. I am fascinated by Ocean China’s upbringing and the people she grew up around. Ocean China, in her latest track, unites Asian culture with British R&B; American sounds and a little bit of Africa. There is a clash of cultures and different sounds throughout Feng Shui (I Like the Way). I hope Ocean China remains in London as I feel it would benefit her in so many ways. She would have the chance to build her music and has a broader population and demographic on her doorstep. Luton is a great part of the country but it seems natural Ocean China would come to the capital and join her peers in R&B.

The reason I mention this is because one cannot simply label Ocean China’s music as ‘R&B’. There is Rap, Grime and Pop elements in her music. You cannot assume R&B, like Pop, is a one-dimensional genre that has a typical ‘sound’. Look at previous images and campaigns from Ocean China – for the track, Tell Your Man – and there is a cool and swagger that comes from her. It is hard to believe this is the same woman who, a few years ago, was a shy and hesitant teenager. Maybe that exposure to MTV helped bring the cool and confidence from her. There is a contemporary and cool sensation that breezes from the pores and lines of Ocean China. She oozes charisma and reflects the sounds of the street. Her put-downs and observations are cutting-edge and she fuses sounds from various genres to create something physical and emotional. The music provokes physicality and reaction: the soul and mind and pricked and one imagines what lies behind the song. Previous numbers such as Tell Your Man and Cash Me Outside are modern, streetwise songs that document the life of a rare and special star. She goes through the same tribulations and trials as everyone. Hearts and broken and there is an urgency and danger in her life; a sensitive soul and someone who does not like being betrayed. Luton is not as sleepy and docile as one would expect but, at the same time, provides enough energy and inspiration for music. When listening to Feng Shui (I Like the Way); I get a bit of where she is from but, moreover, Ocean China expands her horizons and brings in other sounds. Here is someone who is affected by men and the uncertainty of life but has an inner-harmony and need for calm. Every new song seems to bring a new identity and evolution from Ocean China. Cash Me Outside, with its Destiny’s Child/Beyoncé vibes and swagger, saw Ocean China decked in orange and (in the video) gyrating and flexing by a lift.

It was her on the street giving it two fingers – a woman brash and accusatory; forthright and in control. Touch and Feel and Honest – her earliest tracks – had a different vibe and, in a sense, a little more restrained and controlled. Every new release sees the confidence level go up but, on Feng Shui (I Like the Way), there is a move away from Cash Me Outside. Rather than seeing a hoodie and pointed lines: one finds Ocean China with an oriental fan and talking about balance and spirituality. Of course, there is plenty of swing and confidence so she does not lose her identity – she has changed her persona and addresses a new subject. You still hear Ocean China but, like any good star, she has evolved and taken on a new form. I mention Beyoncé because, from album to album, she adopts a new side. Lemonade, released last year, is an angry album that documented political and racial tensions; infidelity in the marital bed and the need for freedom and equality. Before that; albums have been more tender and personal. Beyoncé is always adapting and, not to keep mentioning her, Ocean China has that same need to keep things fresh and unexpected. Feng Shui (I Like the Way) is a different beast to anything she has done before. Having recently reviewed Grime/Hip-Hop star Signal – who is based in Basingstoke – I am hearing some fantastic artists, playing in the ‘Urban’ realm, able to evolve and shift between releases. They are not chasing a commercial vibe and are following their own path. Maybe Ocean China’s next release will be a more ballad-sounding thing where she adopts a more classic/regal look. Given the fact she is a cool and edgy artist: maybe that is a stretch but one can never tell with her. The reason Ocean China excites me, among others, is her urgency and sense of passion.

Not that calmer and more precise music is insignificant: I find the more spirited and to-the-point sounds get into the brain a lot quicker. I feel music needs artists that articulate their points with greater expediency than most. Ocean China gets to the crux and does not mess around. Maybe there is a boldness and over-confidence but it is exciting seeing a young woman that has such a flair and determination. Her raw energy and physical approach to music is typical of many R&B artists but there is something different about her. The way she fuses sounds and what she talks about – a rare artist who cannot be easily compared with anyone else. I am excited hearing her flow and rap; she works the microphone and brings every word to life. Feng Shui (I Like the Way) has different shades and colours compared with a song like Cash Me Outside. It is still an urgent song but not quite as intense as her previous work. I am excited to see whether a video will follow as I can imagine the kind of scenes and images that would come through. No doubt, with each song that arrives, the Luton-born star improves and strengthens. I guess that is natural for someone who is getting more exposure and seeing her music regarded in wider circles. I do wonder whether she has any gig arriving – I will go into depth later – because I sense a hungry and ambitious artist who wants to take her music to the masses. I will move on but wanted to highlight how a song that moves and gets to the point is a lot more likely to get into the head quickly. That may sound obvious but there are many artists writing big and intense tracks that fail to carry any substance and nuance. This is not the case with Ocean China. She is a woman who can write a banging and intoxicating tune and keep you coming back for more!

The opening notes of Feng Shui (I Like the Way) trip and dance their way into the imagination. In a way; it reminds me a bit of FKA Twigs and Dizzee Rascal. One hears the intense possibilities and street-ready dangers of Boy in Da Corner – there is relief and the kaleidoscopic tenderness of FKA Twigs’ best moments. In many ways, there is more breeze and ease to Ocean China’s notes. Opposing the more sassy and strident swagger of Cash Me Outside: Feng Shui (I Like the Way) is a more calm and spiritual number – in the opening stages, at the very least. The heroine does not want any bad vibes – she is putting that all behind her – and those bad characters are being cast away. Maybe this relates to lovers and friends that send negativity and shallowness. “Whine up yuh waistline” is an interesting expression and not one I have heard before. A couple of artists have used it as a song title – or variations on the phrase – but it shows the way she used modern and niche lexicon to explore common themes. It seems, as opposed to previous numbers, there is more peace and contemplation in Ocean China’s heart. One gets a flavour of the East when listening to the song. There is a definite nod to Asian sounds and philosophy. When the chorus strikes; you get Pop and R&B sensations that bring smile and comfort. It is a beautiful and rushing sound that unites 1990s’ best R&B with the eclectic and modern sounds of the day – a blend that is hard to refuse. The heroine likes the way (the hero) makes her feel good – the way he puts it down and picks her up. There is sexiness and sensuality to the words but a comfort and sense of purpose. Maybe she has experienced enough heartache and disruption in the past – now, there is the excitement of a pure and solid love. It is the electricity and smile of the song that makes one connect and bond with Feng Shui (I Like the Way).

What I love about the song is the performance and diversity Ocean China displays. Her voice is able to cut and draw blood but here she is in a more balanced and secure mind frame. Adopting the peaceful and soul-balancing practices of feng shui; one feels Ocean China is trying to erase the past negatives and embrace a more calm life. It would be quite hard to hear a woman going through perils and seeing her stressed. Because of the issues she has faced – previous songs provide story and clarity – here is someone who is more secure in her skin. The boy looks at her like she is ready to be devoured. She wants him to come over and satisfy her – one of the rawest and most direct songs she has created. Maybe that sexual relief and release, tied with a deep affection and comfort, is what is needed to eradicate the stresses and problems of life. Too many problems have come her way so far: this is what she needs; the need for something physical and satisfying. Of course, there is spirituality and mindfulness in everything she says. Feng Shui (I Like the Way) is not only about attraction and physical satisfaction. There is a deeper needed to cleanse and castigate spirits that have been haunting her. Those bad vibes and energies have poisoned the water – she is making changes and getting rid of all those people that create issues and drama. It is refreshing seeing an artist so determined and assured of what she needs. So many songs are filled with recriminations and blame. Here, there is a more positive and calm demeanour. In terms of sounds; the composition does inject elements of the East; there are Rihanna-like vibes and, strangely, sounds of the Caribbean. A certain cool and wind come into the music. Notes bend and contort; the vocals have sensuality and allure that matches the lyrics. There is sweat, saunas and suggestiveness – that is a Jackie Collins novel that never was! – and the heroine wants her boy to get with her and show what he is made of. It is never lurid and too profane – there is tease and suggestiveness that projects images and possibilities.

Feng Shui (I Like the Way) becomes less about a spiritual balance and more about a physical satisfaction. In a manner, when one thinks of what feng shui is – moving objects in a certain way and maximising the physical environment – you can apply that to the sexual. The bodies can move in a certain way and the lovers can position themselves in a manner that harmonises and satisfies – that is sounding rather sexual but that is the point I guess. The bodies move like furniture. There is contestant physicality and the need to reposition and maximise intensity. It is a clever way to look at sex and love: the soul and home are not going to be at its best if there if things are out of balance. The heroine seems is a satisfied and content space. She urges the boy to come at her and there is sweat dripping from the speakers. Whilst the verses have a rough and raw vibe: the chorus layers the vocals and has a sweetness that provides contrast and variety. It is a fantastic blend and one that creates a balance in the song. At every stage – and each component of the song – considers dynamics and environment. It is a testament to Ocean China and her abilities that Feng Shui (I Like the Way) is such a strong song. DALiEN expertly helms and bring the very best from lyrics and music. Controlling the flow and assuring it is given the best treatment possible; it gives the song the urgency it requires but does not wash all the colour and physicality out of it. So many songs are over-produced and lose their identity. DALiEN does not do this and allows Ocean China to have her voice and personality remain – whilst giving the track a polish and professionalism. That unity of American R&B and British Hip-Hop is an intoxicating brew and one that we need to hear more of in the underground. I feel Ocean China has the ability to transcend to the mainstream: Feng Shui (I Like the Way) is an example of why that statement is not an exaggeration.

I have talked a lot about Ocean China and shall not labour my point about photos and their importance – let’s hope that is something that improves with time and experience. I wanted to focus on the good points because there are many of them. There are few artists that have the same dynamics and abilities as her. Ocean China is a bold and passionate artist but someone who can mix tenderness into her sound. Looking at her and one senses a current and street-savvy performer – she is beautiful and striking but it is her fashion and stylistic approach that appeals to me. Every new song sees her project a new wardrobe and aesthetic. Feng Shui (I Like the Way) fuses Asian cultures with the sounds of British streets. There is Urban/R&B grit with something more colourful and light. Previous numbers have been direct and hard-hitting - Feng Shui (I Like the Way) absorbs new sounds and is a different experience. What I love about Ocean China’s music is its passion, quality and diversity. I can imagine an E.P. coming and feel she has enough material to put one together. I am not sure whether that is a plan for next year or whether she is releasing one later this year. Feng Shui (I Like the Way) is out in a few days and, one imagines, a video will arrive. I would like to see an Ocean China E.P. as that would unite all her songs and give the fans a chance to see how her music has progressed and shifted since 2015. Touch and Feel was her first track and, in the two years since, the Luton artist has grown more confident and assured. Maybe she wants to release a few more singles but, in terms of getting her name out there, putting all the songs in one place is a lot more effective. In everything she does; one gets a sense of the personal and romantic. Relationships and men are addressed; the way relationships are not as stable and certain as they should be. Hre music looks at confidence and being independent; not putting up with any crap, essentially.

These are subjects and sides that are common but it is the way she projects them that elevates them beyond the predictable. I am excited to see where Ocean China is heading and how far she can take her music. I know there will be gigs arriving but it would be good to see her perform as much as possible. Perhaps that is something planned but London is waiting, for sure. There are a lot of spots around the capital that would put her up. I mentioned Signal and how he has managed to progress and impress. He has performed at venues in Camden and seems at home in this part of the city. Maybe North London is a more profitable part for Ocean China but her music has the ability to grace any stage. She should have s think about that and how transferable her music is. When Feng Shui (I Like the Way) is officially released to the world; there is going to be that promotional drive and needs to get it to as many as possible. I know she will be looking for interviews and spreading the words. Gigs are important and easy ways of connecting with people so let’s hope there are some approaching. These are still early days but I sense an artist who wants to succeed and make her way into the mainstream. I have talked about black artists and how they are overlooked but that extends to females, too. In many ways; being a black woman in music is as much a challenge and issue as anything. We know, to an extent, music is aimed at the white man – and run by them – and there is discrimination that needs to be tackled. Growing up listening to Beyoncé and Michael Jackson means Ocean China has seen artists who tackle these barriers and have broken ground. Michael Jackson was one of the first black artists to feature on MTV and was often told he could not have videos featured because he was black. Beyoncé challenges racism and is one of these people who does not sit by and let judgement rule the world. Those defiant and passionate artists have helped Ocean China come out of her skin and strike. I am not sure how much prejudice Ocean China has faced but she must be aware her path to the mainstream is a lot rockier and longer than many of her peers. Her music is stunning and deserves all the respect it gets. Maybe she will remain in Luton but I feel London’s lure and opportunities will be too sexy to resist.  She has the city near-by but basing herself there would mean she is more visible to the most influential and prominent labels and venues. Let’s end this by saying one needs to listen to Feng Shui (I Like the Way) and experience an artist who is making her name known. That name is one you won’t forget: the music is as compelling and fascinating as one would expect from such a soul. The progression and evolution is a perfect example of what music is about. I hope success comes to Ocean China’s feet as she deserves many happy years in music. Feng Shui (I Like the Way) is a great example of where she is heading and what she is about. Make sure, with the song imminent and about to make its presence know, you are…re

READY for something special.

_______

Follow Ocean China

Twitter:

https://twitter.com/iamOceanChina

Facebook:

https://www.facebook.com/iamoceanchina/

Instagram:

https://www.instagram.com/iamoceanchina/

YouTube:

https://www.youtube.com/channel/UCbPlMcuO-7Okj0_5k6GTPNQ

SoundCloud:

https://soundcloud.com/iamoceanchina

TRACK REVIEW: Bella Barton - Daughter

TRACK REVIEW:

 

Bella Barton

 Daughter

9.3/10

 Daughter is available at:

https://www.youtube.com/watch?v=K9HYC68nqYw

GENRES:

Singer-Songwriter; Soul

ORIGIN:

London, U.K.

RELEASE DATE:

28th July, 2017

_________

ANOTHER week of rejigging and…

I am concentrating on a certain Bella Barton. I was going to review a Canadian band but, since I reviewed a Canadian artist yesterday; I thought it best to come back to the U.K. and focus on an artist here. I also have a British Urban artist in the diary: she is in my thoughts next week. Therefore, I come to Barton and a song that announces her to the world. I want to concentrate on a number of themes in this review. I’ll talk about getting fan numbers up and building that base; how distinct and colourful personalities can help stand an artist out; soulful sounds and projecting something powerful; music-school training and its relevance; taking a step after the debut single. I want to, first, talk about subject matter for songs. On Daughter; Bella Barton looks at feminism and how to cattail the advances and unwanted leering of men – the plight and problems many young women face. Considering Barton is still a teenager: one imagines, rather worryingly, some of these advances would have occurred when she was under sixteen. It is very clear Bella Barton is a very beautiful young woman: this does not give license to anyone to come onto her and make her feel uncomfortable. I feel a lot of women in the music industry have to write about issues like sexualisation and being reduced to their body. I know many artists who, rather than talking about their lives and ambitions; they have had to address sexism and subjects like this. It is a brave thing to do: especially brave for someone making their first steps into the music industry. Daughter – its title might suggest Barton is someone’s daughter – like many are – so think about that – is a solid and captivating song that strays from the traditional standard.

Many artists coming in concentrate on love and relationships. The fact Bella Barton has had to take a profound and conscientious step speaks volumes. She does not see it as a ransom or forcing her hand: a feminist from a young age; the issue of equality and right have always been on her mind. It seems amazing that, as young as eight or nine, the young Barton was aware of gender imbalance and sexism is amazing. Maybe her household was a vibrant source of conversation and intellectual debate. Maybe, looking out at the world, she could see the way things were and, at such a tender stage, knew things had to happen. I am interested in sexism because, as a male writer, few of my peers are tackling it. I will move on to other things but, one thing that music is culpable of, is not protecting female artists. There is too much sexualisation and exploitation occurring. Videos, from mainstream Pop artists especially, can be quite proactive and scantily-clad. Some women project this image as empowerment and independence: too many are doing it to get video views up and attract people to music through sexuality and tease. That is worrying and something, for the sake of the young generations, there needs to be review and intervention. Bela Barton is someone who is comfortable in her body (I think) but does not need to get down to her bra to make her music stand out. I think more men need to get involved in this issue and help fight against sexism. It is no good women solely fighting this concern. If men stand by and do not write about it: does that, by extension, make them guilty and passive? I think there needs to be voices and input from both genders – I do as much as I can but am aware there are relatively few make artists addressing the subject. Daughter is not a full-on attack against men but it does raise interesting debate and thought. It is encouraging seeing a teenage artist emerge into music whose first consideration is not her own love life (in a traditional sense, at least) and the stress of a break-up.

Bella Barton is a unique artist and, for that reason, had modest fan numbers at the moment. Barton has been on Twitter and Facebook for a while now but, in my mind, I feel she should have bigger numbers and a wider fanbase. That is not her fault. She is pushing her music and doing everything right. Barton has a P.R. team and management; there are enough people behind her ensuring the music is out to people like me. I feel, because she is a serious and true artist, it’ll take longer to get big numbers in. Let me validate and clarify that statement. By that; I mean Barton is tackling an important concern and feels the fluffier side of music is best left to other people. There is too many who, still, think it is impressive and original singing about heartbreak and common themes. It is more depressing seeing SO many artists take this road. The fact some of the biggest Pop artists have a huge amount of fans is as a result, a lot of times, of discussing something quite tangible and relatable. If they sing about breakups and love: that is going to resonate with a young audience and connect with them. If they sing about feminism and deeper issues in life, then, well…that might not have the same effect. That is a shame and only so because of the way music has always been – the mainstream always prefers something commercial, danceable and accessible. Barton, I am sure, will write about personal pains and love but, on her debut single, wanted to cover something deeper and more important. I feel more artists should take a stand and pen a song like Daughter. Bella Barton does not want to be Taylor Swift or Katy Perry. She is not chasing the cheap and shallow fame but, at the same time, her sheer talent and ability warrant more attention. Maybe that is a sad fact of music: those who aim at teen audiences will get huge numbers; those deeper and more profound will appeal more to an underground and minority.

We need to create a new culture where the vacant Pop songs and personality-free artists are restricted to the boundaries – those who are more inspiring and different should be placed in the forefront. Barton is on all the social media/music0sharing sites and has shared all this information with her fans. I worry too many of us are inert and being flooded with artists. I am a fan of Barton but feel, as my timeline is flooded with musicians and their developments, how much time do we have to focus on a single act and promote their music? Will people, seeing endless updates from me – concerning musicians and their new tracks – unfollow/un-friend me? The fact the video for Daughter, at this point in time, has fewer than three-hundred-and-fifty views; twenty-two ‘likes’ and, rather annoyingly, a couple of people who dislike the piece – that shows the gulf between new artists and the established. Daughter is, in every measurable way, a finer song than the latest record from Justin Bieber. She might – I hope not, though – disagree but, when one examines the themes, music; vocals, meaning and potential of the song – that is the conclusion they will arrive at. This subject warrants more examination but I am not sure what the solution is (to getting the fan numbers up). I feel, in time, Barton will be on festival bills and getting huge fan numbers. She is a teenager and still finding her way into music. Daughter has been getting a positive and loving reception. It is the sign of a young and confident songwriter who is already hitting the right notes. I will move on from this subject but, before I go, I would urge anyone out there – usually buzzing around the hive of the big Pop stars – to examine why they do this and the reasons this music appeals to them. I am not saying people should not listen to Pop: there are more compelling and appealing styles of music out there. We need to encourage young listeners to break from the predictable and change their listening habits. Barton offers plenty of brilliant, appeal and nuance on Daughter – why would that be seen as second-best compared to mainstream Pop?

In my conclusion; I want to talk about Bella Barton and her official website; her Instagram feed and some great gigs she has coming up. One reason Barton is captivating and appealing is because of her distinct personality. She is very beautiful but, lest we get into shallow and unimportant areas, it is her vitality and colour that strikes the heart. Barton is a pink-haired singer who, in many ways, would suit the peace and eclectic beauty of Brighton. She is based out of South London – and has found a loving home there – but has a vibrancy and variegated makeup that would see her welcomed and comfortable down in cities like Brighton. It is a random aside, but something that occurred to me. One of the biggest issues with the mainstream is the fact so few of its personalities have an actual personality. That is often the result of being manipulated and primed by record labels. Performers are often reduced to cliché quotes and a ruthlessly planned formation. They are rarely afforded the chance to speak out – lest they are condemned and roundly whipped on social media – and are very much kept in their box. Bella Barton is someone who is unafraid to speak out on issues and address subjects like sexism. I feel, if a mainstream star did that, they might receive trolling and controversy. It is a sad sign of our times but I am encouraged there are genuine artists like Bella Barton. For one so young; it would be understandable were she to follow the pack. Clearly; her upbringing and young life has been educated and well-informed. A few weeks ago; Barton performed Daughter, on a warm evening, in France. It seems, already, she has an appealed on the Continent and been able to get her single to foreign audiences. What interests me about this is the fact Barton is someone I can see getting a lot of attention in France.

She is an intelligent and cultured woman whose music, whilst deep and serious, has a romance, soulfulness and beauty that only the French can fully appreciate. I stated how Barton might seem at-one in Brighton:  a stint in Paris might well suit her and inspire more creativity. I am a huge lover of London – and would be pretty happy to be buried there (dead, preferably) – and think it is the best city on Earth. Bella Barton is a wise and mature soul but one who, definitely, has a zest and curiosity about life. All of this means she is ready-made to inspire the new generation. Completed with songwriting that is capturing hearts and provoking thoughts: how long before she is a big name making waves at the top of music? I hope this happens very soon as Barton, and the way she approaches life/music, is just what popular music needs. I am so attracted to the personality of a musician and what they stand for. One of the reasons I am drawn to artists like Kate Bush is because of what she says and how she conducts her career. Her music is astonishing but I feel Bush is one of those musicians that is equally compelling when being interviewed. One of the first female artists to talk about subjects less-common and rare – equality, women’s rights and topics like childbirth. Bella Barton is another example of someone who can fascinate and seduce when in the interview setting. I will go into more detail on this in the conclusion but, right now, a look at another musical personality.

Amy Winehouse is an artist who comes to mind when thinking of Bella Barton. Maybe that is a lazy comparison but, listening to the powerful and potency of the voice, there is a common thread. Barton has acoustic/Folk strands and, in that manner, brings to my mind artists such as Joni Mitchell. The reason I mention these two artists is down to the power of their voices. Barton is not your twee and sugary Pop singer. She does not lazily replicate the best out there. One feels vinyl and a deep love of music was part of her young life: the prodigious musician fascinated and hooked by the queens of music. I am not sure whether Winehouse and Mitchell featured in that rotation – the big albums like Blue and Back to Black. The pink-haired songwriter, on the colour theme, is someone I could see with a big set of headphones on head; scribbling lyrics from A Case of You (Blue) or Some Unholy War (Back to Black). These might seem like random artists but, hearing Barton’s voice – and its topography and lineage – one cannot help trace a line through the legendary American Folk artist and the sadly-missed Soul great. I hear flecks and intimations of Winehouse’s depth and passion. She is a singer who is always going to transfix and compel musicians coming through. The dexterity, stir and tremulousness of the voice is enough to buckle the news. Winehouse wrote most of her own tracks and ensured her songs were delivered with all the power and meaning she could manage. Mitchell, by contrast, preferred a more subtle approach – no less potent and arresting to the senses. It is hard de-composing a voice and what makes it especially great. In Bella Barton; I hear someone whose music tastes extend back to the 1960s and '70s. There are elements of the modern-day best but I sense an older mind that prefers the finest singers of the past. All of this comes through in a voice that manages to elevate the lyrics and ensures they remain in the brain.

Bella Barton is a BRIT School student who has already won an award for her songwriting. I am not surprised she has won an award but, looking at the BRIT School; it makes me wonder about formal education and intuition. The greatest songwriters, with few exceptions, have always learned music their own way. I have just mentioned Amy Winehouse when talking about fantastic voices: someone who is the BRIT School’s proudest and more acknowledged alumni. I do wonder how much of her talent and vocal prowess was cemented there. Bella Barton is learning a lot where she is and will get a great insight into the music industry. I find musical schools useful when it comes to business and technical sides of music – production and promotion. For someone like Barton, whose voice is already assured and strong, will a facility like the BRIT School mould her a certain way?! A lot the of alumni have forged a unique career-path but there are many, modern stars, that sound similar to what is already out there. I can imagine, in various lessons, there are examples of famous singers who started their life at the BRIT School. It is a contentious issue but I wonder how many music facilities are priming their students to sound what is popular and trending in the mainstream. Perhaps the BRIT School is different but, with former students that include Amy Winehouse and Adele – are they being used as an example how to gain success and stand out? Ironically, that leads to a lot of students who copy their example and sound exactly like them. It is a dangerous thing: students should be urged to following their own instincts and forge their own identity. I know the BRIT School is going to teach Barton a lot that will help her career. She is in London and already has that great base on her doorstep. The BRIT School will provide her advice and ways she can get gigs and push her social media profiles. What I wonder is how much of what she learns will make her stand out from the crowd? I feel Barton is a woman who prefers older acts and has already provided herself a great education.

Is the best balance, therefore, spending a year or two at a music-school and supplementing that with some gigging and outside study? I think Barton is someone who will refute the desire to follow another singer too strongly. She will take a lot from the production and technicality side of things – how to add new dynamics to her voice and increase her range. I hope she peruses the producing side of things as that will allow her add her own stamp on music and ensure it sounds exactly as she imagines. It is fair enough having others produce but I imagine Barton turning into a self-produced artist very soon. What interests me about musical education is how it can strengthen sides other than the voice. I worry there are other places, not the BRIT School, moulding their artists to sound exactly like someone else. How much freedom is one given when they are at these places? Barton will learn a lot but I hope she is not being directed to sound like Adele or a star who has earned a lot of money. Music is about survival and how an artist can remain. Is one, therefore, taught how to make money and monetise their career? If that is the case; one feels artists who are already big are going to be used as role models – the alumni stamped in that manner to ensure they are equipped to make a success of their career. Barton is someone who is unique and has her own mindset. I worry she might be influenced too heavily in regards sounding like a modern-day Pop star. I know she will exert control of her own direction but the best thing about her education is how she can expand her range and songwriting skill-set. One will be able to tell when her album, 10 Songs, is released. That album, not a surprise, contains ten songs and will focus on many different aspects. We know Daughter will appear but I am curious to see what other songs are going to make the cut.

Daughter is getting a lot of press and is the debut single from the London songwriter. It is an impressive and stunning song and one, as I have explained, is a lot more impressive and important than most songs out there. I can understand why Daughter was chosen as the lead-off single. Was Bella Barton to release another song – one that looked at love and predictable fare – it would not have received the same acclaim and congratulations as Daughter. I wonder what the next single would be. One of the reasons I was going to hold off reviewing Daughter was the fact, in the coming weeks, another single might arrive. 10 Songs is out soon and it will be interesting to see what is on the record. Barton will want to release another single or two from it. Given the fact her debut has got a big response because of what it addresses: will her next release follow the same kind of lines as Daughter? Maybe a more conventional song will be released but I am not sure what other subjects will be addressed on 10 Songs. It seems likely there will be more accounts of feminism and equal rights; tackling prejudice but, also, lighter concerns. It is hard knowing whether to release a similar song to Daughter; maybe going in another direction and something that addresses love. I think Barton will release a song that has similar themes and ideas to Daughter. In time, when the album is established; I feel she’ll release more traditional and love-based songs. The debut single is always a risky thing. You are coming into the music world and have to make that instant impression. Do you favour something commercial – that everyone can relate to – or go for something unique and fresh – in the hope people will change tastes and bond to something that is rare and unexpected? It is hard to strike that balance and decipher what the listeners want. Barton has gone for a credible option and, whilst her fan numbers deserve more oxygen and inflation, her instincts have paid off. Following that incredible initial single is a tough choice. I feel Barton will release something very soon – many are hungry to see what else she is concerned with and the full extent of her talent.

There is a swing and summery vibe to the opening moments of Daughter. The song is breezy and has a definite Jazz step to it. Reminding me of the greats of Jazz and Soul: the song has a swaying, seductive vibe that seems to fit with the ethos and irony of the song. Barton, in the initial stages, impresses with a voice that really stands out from the crowd. Her tones have a silkiness and maturity; there is gravel and chocolate-deep ones – balanced against a sweetness and sense of youthfulness. She has been compared with Amy Winehouse and Lily Allen – these are quite apt names. The former, in terms of her soulful depth and incredible passion: the latter, the sense of rebellion, independence and accent – one can hear distinct London tones emerge in the performance. The song looks at a man, driving past, who catches Barton’s eye. By that; he is someone who leers and is shouting abuse at her. Whether it is offensive or perverted; one senses a discomfort and alarm in Barton’s voice. She is used to this and wants it to stop. It seems to be part of her everyday life and she wonders why certain people would shout something sexual and someone so young. Barton, strumming guitar and allowing her voice to weave and swim, closes her eyes as she travels down a busy street – not wanting to see how close a man is; someone who is making advances. The anxiety she feels/felt comes out in the performance. One can imagine the scenes and portraits of life for a teenage Barton. The chorus is the most striking and unsettling part of the song. The vocals are repeated, elongated and vibrated: creating a lightness, sense of detachment and uplift. That is not the intention, mind you. Barton projects the words this way because it makes the word sound even more striking and shocking. The men who perpetrate such fowl deeds are old enough to be her dad. Would they subject their own daughter to such abuse?!

The irony is, if a man were to do the same to their daughter; I am sure they would track him down and do something unspeakable! It is hard to tear one’s self from the song as it makes you imagine these scenes and the looks on faces – how Barton copes with this pressure and what the men look like. It seems, luckily, she has not been exposed to the worst eventualities of these creepy men – the language is raw but she has evaded any physical attention, I hope. What we do know is these cat-calls are not one-offs. Maybe it is the part of the world she lives but one feels there are men like this all over the country. It has been happening “since the age of thirteen”, as Barton explains. These men come over and make eyes. They speak sexual innuendos and filthy rhymes. None of these are necessary and not welcomed by Barton. Nowadays, I think a few sexual comments like this would constitute grooming. One could be arrested for the things Barton had to endure through her early teenage time. Now, she has that pink hair and a very standout look. Does she get the same level of attention because she stands out from the crowd? She is a very beautiful woman so it is natural men of a certain age (her own age) are going to show her some attention. Is she still getting cat-calls and insinuations from older men?! It makes me wonder because Daughter seems to have relevance today – she has not escaped from the clutches of this perversion. She is still a teen and still the right age to be the daughter of a middle-aged man. It is impossible escaping the ghosts of artists like Amy Winehouse and Ella Fitzgerald. There is modernity in the performance but, especially in the chorus, one detects a definite Jazz and Soul influence. I can see Daughter becoming popular in French bars and coffee shops at night – there is a certain vibe and romance to the song that would appeal to the French. The fact the subject matter is quite raw would not offend them at all. They are open-minded but not a race who would ever tolerate the kind of things Bella Barton has had to face.

The chorus is extended and almost becomes a mantra of delirium. The word ‘daughter’ is repeated and it seems to be something haunting her mind. One imagines Barton might say this to a man that approaches her – the only response she could give is a scared and tired realisation she is young enough to be his child. Maybe she has been cornered and made to feel that uncomfortable. Barton’s debut single has two sides to it. The music has a charm and skip to it that would seem perfect for festivals and the sunshine: suitable for evening walks and small crowds in bars. On the other side of the coin is a vocal and set of lyrics that talk about something very serious and unnoticed. Few people are tackling the way young women are devalued and abused on the street. They are degraded and demeaned for the simple pleasures of men. Many would put this into a song angry and harsh. Bella Barton ensures Daughter is accessible and has an appeal to it. The fact one can sing the chorus and it is memorable means its message and core gets into the head a lot quicker than other songs. It is important that realisation and matter get into the brain and onto the tongue. If people, though the simple act of singing the lines, can make others aware of the sworded problems girls face – that can make a difference and make others vigilant. In the final stages – as the chorus keeps its repetition going – we hear snatches of Barton speaking. Words about her age (being a child and someone’s daughter) add a straightness and conversational element to the song. By the end stage; one has a lot to chew over and has witnessed a song among the most relevant and crucial of this year. A fantastic offering from a wonderful and rare talent in music.

IN THIS PHOTO: Barton and her friend, Sylvie, busking

I will wrap things up but, before briefly tipping my hat to some previous subjects, a look at where Barton is heading. The album, 10 Songs, is coming soon and is exciting indeed. Her Bossa Nova-inspired tracks and deep messages are an intriguing blend that has seen her compared to everyone from Amy Winehouse to Lily Allen. I know there will be a lot of different styles and ideas expressed within the album. Daughter is a great example of what one can expect from the London teenager. I mentioned she has a couple of great gigs coming up, earlier. A week today; Barton takes to the stage of Chelsea Theatre on the Kings Road. The following week, Richmond’s Star & Garter will be welcoming her in. These are great venues and will bring in fantastic crowds. It gives her the chance to premiere and showcase material from 10 Songs. I wonder how many of the remaining album tracks have already been performed live. It will be interesting whether Barton plays the entire album or mixes in cover versions. The maturity Barton displays is something that new songwriters should learn from. Her music looks at issues that affect a lot of young women in society. When talking about Daughter – as she says on her website – Barton explained it like this:

“I had already been catcalled and wolf whistled at in my school uniform while walking to school but had never been followed by a middle aged man until I turned 14 and I was on my way to my friend's house. I didn't know how to deal with it, if I should ignore him or confront him etc because I was extremely scared. We had never been taught about this at school, so we definitely hadn't been taught about what to do in this situation.

This is something I wanted to let people know about, so I went on Radio 4's The Listening Project after being followed/sexually harassed in the street almost every day for a year, and discussed how common it was for me and all of my female friends. Soon after this I was invited to a select committee in Parliament with a group of girls of different ages and we spoke to seventeen MPs about it - I remember pointing out that it seems that many people (from my experience of talking about this topic) always want to defend men in this situation, which is strange to me. For example, the response I often got was 'but boys get cat-called too'.

 I found this interesting as of course men go through the same thing, but statistically a huge amount less than women do. So, I wrote my single 'Daughter' about these experiences and the awful environments they put vulnerable girls in”. 

The live shows Barton has approaching is a good chance to expose new material and wow unsuspecting audiences. I am interested in Daughter and how it came to be. The very fact Barton has to endure cat-calling as a schoolgirl is a troubling insight into the modern age. That perverted and seedy attention is something, I fear, many girls are experiencing on a daily basis. It is important musicians like Bella Barton talk about this through music. There are few, especially on their initial release, that takes the trouble to talk about something important and relevant. It is tempting to discuss love and relationships – it is the currency the mainstream goes for – but there are artists like Barton taking a stand. She wants to call-out the creeps and odd figures that degrade women and make them feel uncomfortable. I am not sure, at seventeen, whether she still experiences the same degree of abuse and unwarranted focus as she did a few years ago. It seems even stranger a lot of men get off to schoolgirls and those of a certain age – when they become more grow-up; that attention is not quite as severe. If Daughter raises eyebrows and makes people think: that is what it should do; to get us discussing things and making changes. I will bring this down because, I can imagine, many are keen to explore Bella Barton more. She is an exceptional artist that has a great and long career ahead of her. Make sure you buy 10 Songs when it arrives in the world. It is one of those albums every person should have and take notice of. Barton is a rare artist who, in a way, reminds me of Jazz greats like Ella Fitzgerald. That same command, allure and ability is something one does not see too often. There is a great career ahead of Bella Barton. She is an exceptional talent whose music, even this early on, is a lot…

BETTER than most.

<

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Follow Bella Barton

 Official:

https://www.bellabartonmusic.com/

Twitter:

https://twitter.com/BellaBarton_

Facebook:

https://www.facebook.com/bellabartonmusic/

Instagram:

https://www.instagram.com/bellabartonmusic/

YouTube:

https://www.youtube.com/channel/UC3AKof74Morrbko694bEQcg

SoundCloud:

https://soundcloud.com/bellabartonmusic

Spotify:

https://open.spotify.com/artist/4E0qcQ1yJQvPuhzOBfsw0V

TRACK REVIEW: Jhyve - Feel Something

TRACK REVIEW:

 

Jhyve

 Feel Something

9.5/10

 Feel Something is available at:

https://open.spotify.com/album/6vDNG9TNzkUFmQqQlsN9UN

GENRES:

R&B; Soul

ORIGIN:

Toronto, Canada

RELEASE DATE:

11th August, 2017

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A good reason I was keen to review Jhyve is down to the fact…

there is that blend of curiosity and openness. In terms of his social media; he is keen to connect with fans and update them in regards his goings-on and music. I will address other issues soon but, for now, let’s stick with that. One of my biggest derisions is artists that reveal little about their process and background. There are so many out there: not opening up and letting the listener in is a risky business. The Toronto-based Jhyve is someone who keeps the current coming: there is not too much about his past and how he got into music. Maybe that is frustrating but, gradually, one pieces bits about his life together through status updates and lines in the music. The latest smash, Feel Something, does unearth some revelations but it would be nice to know more about the Canadian. I feel there are a lot of artists who assume, as I have said before, that music will do all the talking for them. This is a point I bring up a lot but my hope is to convert people to a more transparent way of recording. Jhyve gives plenty of photographs – always a good and unexpected treat – but it would be good to know what his new song is about; what music he was raised on and some personal details. It would not be too exposing and vulnerable if we learned more about the man. That is something, I hope, is rectified but it is good knowing a little about the man. What does come through is the power and intrigue of the music. Few artists can produce something as powerful and interesting as Jhyve. My next point concerns R&B/Soul mixture and how few artists manage to nail the concoction. As part of my weekly ‘Playlist’ series; I collate all the new tunes from the mainstream – the great songs from the underground included in there. What I find, when looking at R&B/Soul artists is a lack of nuance and originality. Some of your bigger names can pack a punch but there are few impressions made by the new breed.

What I observe is many throw other names into the blend. You would not believe how sore my fingers are when typing out all the songs. The titles are short enough: it is the number of collaborators that make it punishing! I understand it is important collaborating with other artists but, in this day, it seems every new R&B/Urban artist has to throw a host of people into their music. Not only does it look irritating on the page but one wonders how necessary it is. I am not singling out these genres – it happens with Rap and Pop a lot – but it is a problem that afflicts R&B/Urban artists more than others. I feel (these artists) are showing bragging rights and flexing their egos. I do not see the need to put so many people into a song. It becomes muddled and the various performers do not stand out and have a minor role. The song is about the star, really. Unless you are doing a duet; I fail to see how three or four other people really help bring a song to life. There is a cynicism and marketing ploy inherent in this strategy. Putting various names into a song means each of them can share it on Spotify. They can put it on their playlists and various channels – ensuring that song gets loads of views and streams. It has little to do with the quality of the piece: all to do with making a song popular by bringing well-respected artists into a single place. Music is becoming more about marketing and popularity than quality and originality. This is a reason why I object to artists collaborating endlessly: so many people on one song is unwieldy, pointless and cumbersome. Why I mention this is because Jhyve plays in the genres of Soul/R&B/Urban but does not feel the need to drag an array of producers/singers into his music. There are times, I am sure, other people have been involved – Feel Something is a lot more focused and about the man himself.

PHOTO CREDIT: @ellenaturel

One of the reasons I am sceptical genres like R&B and Soul will struggle to gain any headway is the fact a lot of its artists are losing that focus and not penning anything that sticks in the mind. The mainstream best do well but we need the underground acts to step up and up their game. I am excited by Jhyve as he can provide something mainstream and popular without having to compromise his talent and sell his soul. I wanted to talk about the style of music he plays and what it does to the imagination. One gets the straining and yearning strings of Soul greats; the hardcore vocals and intensity of R&B – a blend of colour and passions that gets the heart and body skipping. Another grievance I have with a lot of chart-based R&B acts is the lack of purity and naturalness. The vocals are stuffed through machines and the beats often stilted and stiff. The composition, what there is of it, appears anodyne and robotic; the performance lacking any soul and feeling. The song, essentially, is produced to get people to clubs and parroting the words without realising there is no substance and depth to the piece. Jhyve, as I will explain later, has gospel roots and brings his church teachings into the music. This is a big reason I wanted to focus on the man: there is a sense of sermon and teaching when one experiences his music. What excited me about a song like Feel Something is that it can mix with the chart best but shows a lot more strength and depth than your average fare. Listening to the song; one explores the words and music and casts themselves in the music. Genuinely great music should transport a listener in and involve them in every step of the process. You can imagine the Canadian in the studio laying the vocal down. One can almost hear the between-takes chatter with the producer: getting ideas for a certain nuance and imagining the banter and casual conversation. There is polish and gleam on the track but a pleasing edginess that means you do not witness something fake and shallow.

PHOTO CREDIT: @thisiskjsworld

Later on; I will write a piece about politics in music and the role musicians have documenting what is around them. Living in North America; Jhyve can only sit back and witness what is happening in the U.S. Canada is not as blighted and scarred as the U.S. but the flooding in Houston and the way Trump is addressing it must get to him. Fortunately, in Justin Trudeau (their 23rd Prime Minister) there is someone who knows how to connect with the people and deal with a crisis. I feel, in many senses, the way a nation is run reflects on the people. There is anger and disappointment in Canada but, with stronger guidance and less trouble than America; you get a lot more optimistic and positive passion (than the U.S.). The fire and sense of disgust felt in America is compelling many of its artists to put their disgust onto the page and put it out to the world. It is vital the biggest musicians document what is going on around them. I know Jhyve’s heart goes out to those affected by the flooding but, living in a country where there is better security and authority; his mindset is not as anxious and angered as his neighbour contemporaries. The reason I bring this up is because, as such, one experiences something pure, uplifting and untroubled about the music. So many artists obsess over personal problems and romantic stress. Jhyve is someone who feels betrayal and obsession but does not let it rule and own his songwriting. Feel Something has some negative edges but the overall sensation is of the positive. Maybe that is the striking and colourful music; the compelling vocal and the amount of commitment Jhyve brings to the piece. I wanted to mention euphoric recall and how new songs can bring one’s mind to songs they fell for young. A lot of my early music experience was with the Dance songs of the 1990s. Those innocent and timeless gems got me hooked by music and remain in my thoughts today. I yearn to discover music that can get the body involved but does not have to obsess over sex, revenge and negativity. Although Jhyve does not remind me of the 1990s’ production values and sounds of the time – there is that similar quality and fun.

PHOTO CREDIT: @thisiskjsworld

So many modern songs are directed at the groin and throat. The listener gets overwhelmed by thick production layers and similar-sounding songs. The Canadian master knows what the market wants but does not produce music that sounds exactly like everyone else out there. I get that recollection of my past but find a songwriter who adds a new dimension to R&B/Soul music. Jhyve has Pop edges and some Electronic touches. There is so much going on and, actually, one gets aspects of the better Dance days and the freshness of the contemporary scene. It is hard to listen to Jhyve’s music in a recreational and uncommitted way. He puts so much thought and himself in the music: the listener cannot resist the temptation to pull the music apart and unpick the enigmas. Mixing direct wording with some underplaying mysteries means a song like Feel Something strikes you on the first listen – revealing little secrets and revelations later down the line. I will come to look at Canadian artists but, before then, wanted to address the religious aspect of Jhyve. It is interesting seeing the contrast in Jhyve. There is sexuality and confidence in Feel Something. Violent edges come into some of his music; his Twitter bio quotes lines that state one should kill their enemies with bullets – save love for your mother. One might look at those surface details and assume Jhyve is a rapper who wants to blow his enemies away and get to the top. That would be a misjudgement because, if one digs deeper, they find a very complex human who has two different sides. On the one side; there is that confident artist who wants success and has a wilder side. He yearns for girls and wants a sex life; going downtown and experiencing Rock, cars and jokes with the gang. On the other side of things; he has that faith and calm side that mixes philosophy, pragmatism and level-headed sensibleness.

Whether you see faith as a pejorative or irrelevant in an age where fewer people are going to church – there is something refreshing and unmoving about Jhyve. His natural kindness and compassion for people around him, one suspects, comes from the experiences he has had with religion. I have been looking at some of his Instagram photos – with churches in the background – as he casts his eyes to the sky. He has, as he says himself, toes rooted to the ground: two eyes are looking up and focused. Maybe this means he is grounded and modest but always ambitious and progressive. I feel it is more to do with the importance of religion and a degree of belief. I am not sure how committed he is to the church, and regular attendance, but one hears a Gospel music-like depth and strength in his voice. I feel Jhyve is such an interesting artist as he is open with his followers and sees them as his flock. He is a man still young and finding his way in life. He rides bumper cars – a recent Instagram photo attested he was on the bumpers teaching some fools a serious lesson – and the artwork of his latest song has milkshakes on it. One can well imagine him indulging in innocent and strangely old-school interests. It is almost like Jhyve is a man with his mind and soul in the 1950s: his body and heart set in 2017. There is that part of him that loves the simple pleasures of catting about and hanging with his little sister – she just had her sweet-sixteenth and, whilst it wasn’t a big party and blow-out; she got a lot of love from her brother on her big day. Against the loving and old-fashioned charm of the man is a current and modern soul who is very much part of the world and aware of artists like Kendrick Lamar – guided by his music and aware one does not have to follow the beat of marketing men and labels to create a sound that sounds right to you; fashion music that has credibility and need not follow the pack.

Toronto is a part of the world that has, through the years, produced some sensational music. Drake, Broken Social Scene and Metric are from here: Crystal Castles and peaches hail from those parts. Neil Young, the most-famous son of the area, shows the diversity and quality of Ontario. Emily Haines, Esthero and Cowboy Junkies add to this. Among the great and worthy artists in Toronto at the moment – there are many I could recommend. PUP, proud of their roots, are loud and brash but not vulgar. They can create hooks and Pop-minded songs without selling their Rock/Alternative ethos down the river. The Beaches, named for the East-side Toronto neighbourhood they reside, are an all-female Rock band progressing by the release – they cite Haim as influences – and are growing by the year. Hooded Fang started out about a decade ago and, back then, switch female/male vocals and brought unconventional instrumentations into their music. Since then; they have streamlined and become a more conventional band. They are worthy of your time and one of the strongest examples of what Toronto is capable of. Prince Innocence, Wild Rivers and Rochelle Jordan are a trio of acts that, between them, have made big impressions on the local scene. What I notice about Toronto/Ontario is the diversity of the music. Some parts are limited when it comes sound and genres but Toronto is a bustling and ambitious city that is going to provide music some of the best future artists. Already, we have seen so much quality come from that part of the world. Jhyve is part of the scene and vibes from the talent and mix around him. Fantastic venues such as Massey Hall, Mod Club Theatre and Polson Pier attract the hottest artists to play. I am not sure whether Jhyve is going to remain in the city or has plans to relocate. That is up to him but it is clear there are ample opportunities around him. A lot of artists are limited as to the venues and contemporaries that can foster and push their work – this is not the case with the rising Canadian.

PHOTO CREDIT: @ellenaturel

I will move on but, before I do, a quick nod to the savviness and smartness one gets from Jhyve. That might sound condescending but, at a time when so many people use social media the wrong way; it is refreshing and pleasing seeing Jhyve do things right. He promotes his music but his campaigns are not built around endless tease and enigma. What I mean but that is so many modern artists are ruthlessly calculated with their promotion and often guided by the label. Often, we get snippets of songs and singles promoted endlessly. It gets tiring seeing the big artists spoon-feeding people their music and over-promoting their sounds. A lot of the new artists are guilty of this but Jhyve does not force-feed people endlessly. Instead, one is informed as to the latest happenings (of Jhyve) but there is a nice incorporation of the personal. He has shared updates/statuses about his sister’s birthday and what he does over the weekend. The man likes to let people into his personal life and does not keep it all about business. In this day and age; there is such a fear that, if one speaks about anything but music; they will be trolled and open to abuse. The biggest artists are so cautious when it comes to their Twitter feeds and what they share with people. That can mean musicians are seen as intangible and detached people. This is not what one gets from Jhyve. He is someone that balances the personal and professional and ensures his fans are kept updated of his happenings. At the same time; one is not bombarded by endless updates and useless information. For people like me – who want to know about the person behind music – that is not to be scoffed at. I love the fact Jhyve connects with the people but is someone who is serious about music. Feel Something has been shared and promoted online but I do not feel like we have been inundated with snatches, snippets and teasers. Social media should have that social aspect: too many musicians are using it as a business tool – and not spending adequate time bonding with their followers.

The opening notes of Feel Something mix sounds one would not normally expect in the same locale. There are beautiful, strummed electronic strings that have a catchiness and subtle energy. Interspersed are processed and high-pitched vocals - that means we get an odd-yet-charming blend. It is a curious and exciting introduction one is committed to. A lot of songs (R&B and Soul) might rush in and not expend any time building the song up. Here, we hear a young man that knows how to get the listener hooked without throwing everything into the first moments. He holds stuff back but, in those early moments, there are some fantastic notes and wonderful possibilities. When he approaches the microphone, it seems, there is something heavy playing on his heart. The girl, it appears, feels nothing. Maybe that is a comment on the way she approaches life: perhaps it is the reality of their love and the way the romance has gone. Jhyve feels something when she feels nothing. He is affected by her temperament and the empty nature of her expressions. I guess, in a way, one could perceive it as a lamentation of a love-gone-cold. The two might be drifting apart but, in my mind, I looked wider and saw a person that was drifting away from the pleasures life offers. The girl might have been through the mill and experienced a lot of disappointment – unwilling to project optimism and believe anything good will happen. Regardless; the hero feels all this and wishes she would feel something. Her pains and stresses are being projected onto him. He carries the burden and yearns to change the situation. Our man is “tired of the notion” she cannot feel any emotion. It seems, in this moment, he is revealing what it is like being in a relationship. Were he merely a friend; this sense of upset and anger would not be present. Few artists address love and relationships this way and, by focusing on the sensation of emotional expression, it takes things away from the bedroom and focuses on something deeper.

As the song grows into its skin; my mind changes and different visions spring into the brain. The hero is starting to get his back up and it seems the girl has being like this for a while. She is playing with him and seems to be treating him unfairly. Toying with his heart and messing him about: the song hits back and asks why she cannot be straight and truthful. The language becomes harder and, from that early calm, a notable degree of aggression. The hero keeps his cool but one suspects he has had enough. Again, at this point, there is never a suggestion things will stray into the sexual – talking about indiscretion, the physicality or betrayal. It appears the two have different personalities and the romance has run dry. With the girl on a different page: Jhyve is asking for truth and wants to know why she is treating him this way. Things get revealing and direct only when a couple of glasses have been consumed. The hero takes the girl to her favourite spots and treats her well. All the while; she keeps things inside and never really shows appreciation. Only when the alcohol is out does things get heated and ‘truthful’. The tongue loosens and this is when arguments begin. One can see, as an outsider, the relationship is flawed and doomed but why should he relinquish it so soon? Maybe there is a long history between them and our man is not willing to let things go. It is clear things were good in the past and they had a lot of fun. Now, for whatever reason, the relationship is cracking and things are reaching the end. It is as simple as returning to those older days and reverting to their better selves. The girl is keeping things in and not really feeling what Jhyve is.

Perhaps she is looking at other men or unable to express any joy at the world. That anhedonia is getting the hero down and making him question his good intentions. One might discover influence from Drake in some of the song’s lines. Like his fellow Ontarian: Jhyve knows how to keep things real but project his music in a semi-poetic and deep way. The beats get a bit tighter and processed vocals add background intensity. Composition-wise; things are never too intense and crowded. It is about the vocals and the delivery from the front. As such; one is often treated to sumptuous and captivating sounds. Jhyve is someone, one suspects, who has taken guidance from church performances and, as such, understands the beauty and power of grace. This, mixed with a more punch and direct vocal means Feel Something has a sumptuous bouquet of vocal tones. Following the song and there appear to be few easy answers. I know the two had some good times but something has changed in the dynamic. I found myself looking at the girl and whether she is cheating on Jhyve. Another man might be on the scene but she is taken the hero for granted, to an extent. I know relationships are hard but there is a simple imbalance that means one knows who to accuse. Our hero is keeping his cool but is growing weary of the holding-back and passive-aggressive nature of his sweetheart. Rather than sever the ties and cast her off: the need to get her to open up and talk to him is evident. Towards the end stages; the confusion and hurt do not go away. The verses contrast from the chorus and give the song two different sides. In the chorus; we hear those glorious vocals rise and seduce. It is an R&B/Gospel sweetness that gives those tortured words a sense of beauty and dignity. Verses are more straightforward and showcase Jhyve’s directness and powerful side.

Feel Something is a song that will play on the mind for some time – it does not have simple answers and one wonders how things worked out. Jhyve is not someone who holds grudges: he is not a man that wants to be in a relationship where it is so one-sided. He hugs the girl but gets nothing in return. The betrayal and coldness is getting to him and that is not good. I am deeply impressed by the Canadian artist and how he has developed. Since his mini-album, The Heartbreak Experience, last year; he has grown in songwriting confidence and seems to be incorporating new sounds. I feel that Feel Something is the best song he has come up with. He should be very proud of his latest creation and the strengths it contains. The response from social media has been big and many people are connecting with the song. The sense of familiarity and relatability means it will get under the skin of many. Most of us have been in a situation where love has gone sour – the other party not doing their part and causing hurt. Feel Something contains no cliché and is an original, personal song that comes from the heart. I am not sure if Jhyve is going to release any more song soon but it is clear he is inspired form. If you have not discovered the delights and wonders of Jhyve; make sure you get involved and dig out his music. Feel Something will resonate with those who have been a fan since the start. It is a song that will attract new listeners and outlines a new phase for the young man.

I have talked a lot about Jhyve’s music without talking a lot about the man himself. There are plenty of social media sites/music-streaming options but not a lot of personal biography. Jhyve has an official site but it is more a portal for his other websites – not much about who he is and where has come from. I would like to see all his interviews together and get a window into his early life and the music he was aware of. Seeing as Jhyve has elements of Gospel, Soul mixing with R&B and Urban sounds – that upbringing must have been diverse and interesting! Seeing some of that revealed on the page would give one a deeper impression of a young man who has a sense of the enigmatic. I have stated how he opens his world to the fans but it seems to be aspects of his present. There is little given to the past: this is as important as any part of his life. One does not need to hear his life-story but, a fairly thorough biography, would give people the opportunity of seeing how the young man grew into the artist he is today. I mentioned how a selection of photos is a promising sign – so many artists overlook that and do not provide images. There are few negatives one can put at Jhyve’s feet as he is an artist with a great sound who will go very far. I do wonder, before I nod back to some earlier points, I wonder whether Jhyve is coming to the U.K. at some point. August was a busy one that saw Jhyve promote Feel Something and get it out to the people. It has been exhausting and, one suspects, a time of excitement and new promise. Now, the song is out there so many people around the world will want to see it in the flesh. There are many in the U.K. that would love to see Jhyve play. So many good venues exist that would happily put him up for the evening.

The Canadian artist has a lot of love for Toronto and the people around him. The local scene sports terrific artists and has one of the most vibrant and varied scenes in the world. It is impossible getting to grips with all Toronto music but a cursory search shows the fantastic musicians coming out of the area. I mentioned some of the legends and new artists: a rich array of acts that, I feel, define the wonder and brilliance of the Canadian city. Ontario itself is a diverse landscape – not only about Toronto and what is happening there. Many would forgive Jhyve for staying where is because it seems like there is great support and affection for him. He loves being around his family and, as a young man himself, is still making his way into life. There are many years ahead so no rush when it comes to moving and exploring. Maybe L.A. and New York are areas he would be interested in. Perhaps London appeals or another part of Canada. I will wrap up the piece by urging people to get involved with Jhyve and where he is headed. I am not sure whether an E.P. will arrive before the end of this year but it is clear more music is imminent. I would love to see more come from him as I believe that combination of sounds and lyrical ideas is a rarity. There is a hardness and intensity that means the words pop and explode. Ideas of love and ambition sit with a confidence and swagger few possess. Balancing that is a tenderness and soulfulness that means the music is never too harsh and off-putting. Incredible production and a commanding performance ensure Feel Something is a song as fitting for the clubs and late-night revellers as it is those blasting the sunshine-lit highways.

PHOTO CREDIT: @thisiskjsworld

What I find egregious in modern music is those artists made into disposable and synthetic figures. A lot of labels market the hell out of people and turn them into something fake and hollow. Discovering a real artist that takes control of things is hard to find. I am excited to see Jhyve take-off and grow. He is a brilliant artist who mixes his ecumenical and faith background with modernity and cool that really intrigues. I hear a tender soul that gives thanks to others but, at the same time, has a confidence and sense of ambition that means he will get to the mainstream soon enough. There are few that have his combination of elements and talents. Feel Something is the start of things and a wonderful step from the Canadian songwriter. I am hooked by his social media feeds as one gets an insight into the personal life and day-to-day existence of the man. Alongside this is a passionate and excited human that is pleased Feel Something is out in the ether. I will leave things here but, before then, a look at the strengths of Jhyve’s latest tune. It has that danceable quality that possesses energy and vitality. Modern R&B and Hip-Hop edges sit with Soul undertones. Bringing all these sounds and sensations into the song could be a big risk: Jhyve is a talented and assured performer who handles the responsibilities perfectly and ensures every note gets into the brain. That is it from me so, in departing, it would be good if as many people as possible investigated the Canadian performer and followed his plight. There is a lot more to come: Feel Something is a fantastic song that shows Jhyve is one of the most promising new artists out there. If he does get the chance to come to the U.K.; that means many here will experience a fantastic young artist…

PHOTO CREDIT: @thisiskjsworld 

ON the cusp of something huge.

_______

Follow Jhyve

  Official:

http://www.jhyve.com/

Twitter:

https://twitter.com/thisisjhyve

Facebook:

https://www.facebook.com/Jhyve/

Instagram:

https://www.instagram.com/thisisjhyve/

YouTube:

https://www.youtube.com/channel/UCMI4X15pgJ8LeEnQe4yTwqg

SoundCloud:

https://soundcloud.com/thisisjhyve

Spotify:

https://open.spotify.com/artist/0HmsavbsOIIyKWdQOyFh2f

TRACK REVIEW: Circus Wolves - Judas

TRACK REVIEW:

 

Circus Wolves

 Judas

9.2/10

 Judas is available at:

https://www.youtube.com/watch?v=TV-_VT6uAXA

GENRES:

Indie

ORIGIN:

Manchester, U.K.

RELEASE DATE:

9th August, 2017

_______

LIKE yesterday’s review of Party Fears…

there is going to be some constructive criticism - and then some positives. Looking at Circus Wolves and it seems there is a real opportunity for the guys to strike and claim big success. I shall come to that but, for now, a look at artists who need a few tweaks and improvements of their social media. I mentioned this when addressing Party Fears – the Berlin-based band – who, despite their great music, had very little information about them. This is the case with Circus Wolves who, I feel, need a lot more information online. The way I review: I pick artists that have an interesting story and aspects I can write about - whether that is where they are based or the theme of their latest track. Those points give me things to write about and a new aspect to delve into. Circus Wolves have a past and they met at some point; their music is influenced by various artists and their latest track, Judas, has a background. It would be nice to see this information revealed online so people like me – and fans discovering their music – had something to work on. The same can be said of photographs as the guys have nice faces: get a camera out and let’s see more photos online. A lot of bands put live shots online because they feel that best represents who they are and what their music is about – feeling awkward regarding posing and having official shots. All the best bands have to have photoshoots and, if done with someone you trust, it can lead to some great results. It is something I am saying more and more to artists: it doesn’t matter if you are brand-new or are releasing your first song: everyone has enough money and resource to get photos taken (no excuses).

In an age where iPhones and technology are rife; we call can, and often do, snap our daily lives. Professional photographers are less prevalent and demanded than before so it is necessary to preserve their great work and employ them. Getting some great images and shoots online makes the social media pages more attractive. It, literally, puts faces to names and means people can connect with a band/artist more easily. There is such a weight of artists emerging who all offer something slightly different. There are going to be acts that have lots of photos and information and, to me, I am a lot more likely to go their way. I hope Circus Wolves take encouragement because they have a lot of positives. There are a few snaps online but they could benefit from putting a couple of dozen genuinely good ones up – taking advantage of their natural surroundings/city and getting a profile photo of all of them for their Facebook. The same goes for biography: put some effort into that so journalists are more likely to come their way and contact them. Anyone who says their music will do all the talking and save the day is severely naïve and arrogant – not that the boys are claiming that. I hear artists that say this and, rather weirdly, I hope they fail so they realise how crucial the visual/written aspect of music is to success. I will move on from this point because, when going forward, I want to address band/artist names and distinction; Manchester and the music of the North; building a local fanbase and how this year’s mainstream music is impacting the underground. I will start with the band’s name, ‘Circus Wolves’, and alongside their music, it is a huge positive.

I am far less interested in those artists with few fans/information/songs because, not to blow my own, there are loads of blogs out there who are happy to review the minnows – I have been doing this nearly six years and have a very visual blog that requires those artists who appreciate that. The boys of Circus Wolves appealed to me with their name because, in the industry today, we are seeing so many artists pick predictable options. I am not sure what a ‘circus wolves’ might be or whether one should have them in that environment but that juxtaposition is attractive. Maybe there is a particular relevance but, unless the band has revealed it in an interview, I am not too sure. Again, like images and information, one might think a name is not that important – you’d be wrong and feel free to punch yourselves in the face on my behalf, son! These aspects are EVERYTHING and if you have few images, little information and a predictable name, people are going to walk straight past you. When I compile my weekly Playlist – a collection of all the best new tracks released in the week – I do come across new artists that I have to put through Google. This week, I encountered three acts who had the exact same name as others! Others had ridiculous names – all in capitals or all in lower-case – and you get depressed at the lack of thought and intelligence. I like Circus Wolves because the is something that stands in the mind. It is always hard naming a band and ensuring you do not go for the obvious. Luckily, the guys do play a combination of circus music with aimless, snarling Rock sounds. They have a more sophisticated sound but I am hooked to the name and where it might have come from. Alongside images and information; I find a lot of depth and interest in a name. There is always a reason for calling yourself something or other and it is a tag a band/artist carries with them everywhere. In terms of definition; there is a definite sense of intensity and physicality with Circus Wolves – a playfulness and melody that balances out the harder moments. I shall leave this point now as I wanted to move on to Manchester and the music coming from there.

This year; the city has faced more challenges and hardship than any other time in living memory. Its football teams might occupy two of the top-three places – Manchester United at the top of the summit – and the people are going about their merry way but, a few months back, Manchester was subject to an awful act of terrorism that claimed multiple lives and immeasurably injured many others. I bring this up because there is a resilience and tenacity to the city that is deeply impressive. That attack, outside an Ariana Grande concert, hit the Manchester Arena and shook the city. It was an awful happening and one that could have broken the people. Instead; they came together and showed an immense amount of love and strength. The determination to continue life as was always the case is one of the reasons so many people, myself included, love Manchester. It is a wonderful place with some of the nicest people around. The music scene reflects a certain resilience and passion one can apply to the people. A lot of attention is paid to the musicians of London but we all know how strong the scene is up in Manchester. Current mainstream artists like Everything Everything show what Manchester is capable of but there is a new wave of artists emerging putting the city firmly back on the map. Cabbage and Lungs are two acts that have gained attention from BBC and look set to make a huge break very soon. Cabbage, especially, are getting a lot of airplay on the BBC and appealing to stations like (BBC Radio) 6 Music and (BBC Radio) 1. Pale Waves and Tom Walker are very different acts but are getting people talking. The former mixes sounds of the 1980s – drawing comparisons to Madonna and Talking Heads – whereas Walker has a commercial polish but, happily, there is enough personality and originality to make you think he could be a standout songwriter in years to come. BBC Radio 1’s Huw Stephens has already tipped Dantevilles for great things and it seems like that faith is being repaid – the boys have played some big dates this year and look set to break into the mainstream before too long.

PHOTO CREDIT: Chris 'Badger' Drayton 

Take a listen to Black Helicopters, False Advertising; Josey Marina, Maddy Storm and Rose & the Diamond Hand as there is a collection of eclectic acts that deserve your time. I shall not go into detail about each and every one of them but, suffice to say, there is ample quality in that collection. Circus Wolves can rank alongside them and show what vibrancy and quality is coming out of Manchester. It is a city that grows and explodes with life, wonder and appeal. This year has been a stellar one for Manchester acts and, I think, they have produced finer music than London. Maybe it is a turning of the waves but Manchester is showing greater consistency and diversity than London right now. I might be missing something but that is the way I view things. Circus Wolves have that perfect base to grow and build from. Not only do Circus Wolves have a host of nimble and exciting artists around them: the live scene is bustling and there are so many great venues they can take advantage of. I am not sure what their touring schedule is like but, remaining in the city, they have a lot of venues that would welcome them. The Deaf Institute is one of the best small-to-mid-level venues in the country and a natural go-to for the finest acts around. I am not sure whether the guys command the same level of demand needed to fill that space but it is somewhere they should definitely consider. It is a fantastic space and has played host to come terrific musicians. They also have The Castle. Located down Oldham Street; it is an old-style pub that has been rejuvenated and refurbished to give it a modern twist. Gorilla, down Whitworth Street West, is a fantastic space for live music and possess great intimacy and warmth. Conversely; Soup Kitchen – down in the Northern Quarter – is a little darker and more ‘characterful’. Night and Day and Gullivers are a couple of smaller venues that would be perfect for Circus Wolves – they have played the latter but seems like a spot they should play a lot more.  I am not certain what the band is planning for later this year but it seems they can string together a winter mini-tour of the city. I do not know how long it will take them to fill The Deaf Institute but they could certainly play all the other venues I have mentioned. They are not reserved to Manchester but I know they have a few gigs around the city – supplementing these with spots at, say, Gullivers and Night and Day, might afford them more attention and new fans.

PHOTO CREDIT: Chris 'Badger' Drayton 

I will move on to the music very soon but, before going on, I wanted to look at local attention and how the mainstream is impacting music. I know Circus Wolves have been getting a bit of love from BBC Manchester Introducing. They have just spun Circus Wolves’, Judas – which I shall come to soon – and there has been a great reaction from people on social media. It seems like they are being heard and getting under the skin of the local tastemakers. Trafford Sound, a local station, are playing their music and it seems, slowly but surely, the band are building a reputation. It is vital, if you are in a city like Manchester, learning to walk before running. Many might want to shoot out into the world and get themselves out to the masses. You cannot do this without gaining that local support. In order to do this; one has to make their music visible and create sounds that people want to play. The chaps of Circus Wolves are getting these plaudits and it all seems very positive. I imagine, when Judas gets even more exposure; they will be under the radar of stations in London and the bigger options down here. From there, they will get gig demands and be able to jaunt down here and play some of the awesome venues in the capital. I would like to see Circus Wolves play here but, for now, they have a city to conquer. There are, as I have shown, so many great artists in Manchester so it is vital keeping focused and busy. The band are not going to rest anytime soon but, looking at their local peers, it seems many bands have their own site and a lot more information on social media. I hope Circus Wolves go hunting for a label/management because they have the quality and innovation to reap big rewards. I am not certain what they have planned in that respect but getting their music to the ears of the independent labels in the city would be a good start. They could approach P.R. companies and labels in Manchester and see whether they’d consider backing the boys. It is not being pushy or too forward: merely, a way of showing confidence in their music and proving they want to succeed.

The last point I wanted to raise concerns the mainstream and how tastes are changing. Last year, in terms of the best albums, I felt Hip-Hop and R&B were the more favoured genres. Certainly, in terms of the finest of the crop: these were the genres that saw the finest results. This year, whilst there has not been the same explosion in R&B as last year – there are other genres and sounds starting to get attention in the mainstream. Last week; Queens of the Stone Age released Villains – to massive critical acclaim and approval. It is one of the band’s best albums ever and, in a Rock scene that seems to be wilting, they have given it a huge boost. I am confident there will be one or two other big Rock releases very soon – Jack White is working on stuff – and there are some fantastic Indie bands making waves in 2017. Pop still has a huge place but I am pleased to see some Indie/Rock options coming back into fashion. Whilst Rock is still in trouble – some weak releases and few great records to cling onto – there are Pop-Indie, Rock-Indie artists that are intriguing me. The success of certain genres/artists impacts on the underground. They will see what is happening in the mainstream and take encouragement from that. Circus Wolves are a blend of Indie and Rock and, if those genres were in severe trouble, might feel a chance to ascend to the mainstream was not a possibility. It seems their brand of music is in-demand and capturing plenty of minds this year. Judas, Circus Wolves’ current single, is more lo-fi than a lot of sounds coming from the mainstream and is a perfect song to get the live crowds involved and engaged. I predict the Manchester band will continue to grow and evolve their sound and time goes on. The artists that do best in the mainstream are those who change things and grow with every release.

Let’s consider Judas – as it has been getting a lot of great press the last few days. The openings chords and percussion gives the song a spirit and appeal. It is an instant start and a strong opening salvo. The percussive crack signals the guitar come forth and do its work. That is what happens and, within a few seconds, you are in the midst of a busy and appealing song that, without a word being sung, seems to compel imaginative interpretations and visions. It is a crisp and clean sound that has a polish to it – whilst being edgy and muscular enough to please the Rock elite. Mixing Indie and underground Rock embers together is a hard thing to do but that is how Judas starts out. It has a bit of gloss but the passionate and strong opening from the boys provides the testicular conviction to separate it from the alcohol-free alternatives in the mainstream. The likes of Radical have reviewed the single already and raised some interesting points. The band seemed destined to return to nine-to-five jobs and fading back into normal life. Judas is their reaction to a potential black hole and, whilst they do not reinvent the wheel; they do provide a much-needed kick of excitement into a genre that is becoming predictable and stagnant. Local contemporaries such as Cabbage provide a fierier and more political sound: Blossoms a more shiny and mainstream sound (one I am not a fan of). They seem to be fans of U.S. bands and the guitar music of the late-1990s/early-2000s. What one gets is nostalgic blast combined with a flavour of the Manchester streets. One, in the song’s title, hears biblical relevance and the nature of betrayal. Lead singer Guy Davies seems positively louche and lizard-like when backed with twinkling strings and multifarious sonic fabrics. In terms of tonal comparisons; one can see a little bit of Jim Morrison and Ian Curtis in his voice.

PHOTO CREDIT: Chris 'Badger' Drayton 

There is a sense of struggle and confusion coming from the frontman. He is not getting his voice heard and maybe, whether it is a relationship issue, he is not getting the attention he deserves. Having done everything possible; there is that sense of anger. It is never fully articulated in an outburst: more a reserved and defeated acceptance. It is nice hearing the balance of coffee-hue vocals – they are dark chocolate and have huskiness to them – and the lighter composition. It is never a slight background: each note and element adds to the central dynamic and drives the song forward. There is a contrast between the nature/pace of the vocals and the composition that means Judas differs from most songs out there. It is, I have said, not a radical reinvention of the Indie music but does show how many different sides there are to the Manchester sound. What one gets from the early moments is a song that accepts love has hit the rocks. The vocal gets more intense and impassioned as the penny drops. Maybe there is a sense things could be salvaged and rebuilt. It seems (the hero) needs to leave the girl and go on his way. Perhaps unwilling to accept things have ended; that pain and loss come out in the vocal performance. The band is not willing to follow in anyone’s footsteps and stamp their identity and D.N.A. right from the off. It is a complete performance that does not put too much focus on the vocal. So many bands are reliant on the lead but there is such a brotherhood and connection within Circus Wolves. They have played together for a while but there was a fear, given the gap between releases, they’d be a bit rusty. That does not seem to be the case here. Producer Bob Cooper brings the best from the band and, with the gigs they have performed over the years, the guys have enough experience and expertise to produce a song that convinced and endures. The hero has borrowed heartstrings and is living to forgive. The song moves through a distinct set of stages.

PHOTO CREDIT: Chris 'Badger' Drayton 

The first pieces together the breakdown and coming to terms with what is happening. From there, there is the processing portion. The aggression comes through and an execration – that release is palpable and electric. Now, we see the hero accepting and progressing. It is almost like he is going through the stages of grief – without the overt depression and denial that one usually experiences. The wordplay gives the song freshness and differs from a lot of the cliché-ridden sounds one hears from many acts. One would not expect – looking at promotional shots of the boys – that sort of vocal to come from the frontman. They are all hirsute chaps and have a friendly and loveable demeanour. The intensity and sound that comes from the vocal remind me of the powerhouse American performers of the past. Judas has that old-world evocative nature but is a song that sounds modern and relevant. There is a definite lust after U.S. sounds and stadium-sized ambitions. The girl is not a machine, it is said – that tells our man what he can dream about. The skin is peeling and, maybe rashly, there is that anger and denial that follows acceptance. One would like to see some moving on but, in this moment, there is that recrimination and judgement. The girl has not been pure and honest; still trying to dictate and control the hero – this is causing all manner of emotions and possibilities. It is fascinating seeing how the song evolves and goes through these cycles. Towards the end; the vocals continue to growl and drive with anger. Our hero accepts he has to move on but cannot help be caught in a web. The girl is not the sun above: she is “death from above” and continues to make his life harder than it needs to be. There are few bands that can pack as much into a song as Circus Wolves. They have penned a song that can ably work in an arena or larger venue; create atmosphere in a small space and get the local crowds jumping. It has the appeal to go further and get airplay on various different stations. It is not too niche and reserved for a particular demographic. I can imagine it doing well down here and the BBC radio stations – it has a wide appeal and impossible to dislike. Hopefully, Judas signifies a new phase of creativity from the Manchester band – they have been away from the scene a little bit. Despite the break, they sound as fresh and engaging as they did back in 2015. They have picked up new sounds and inspirations; strengthened their core and seem determined to remain in music for years to come – there is every sign that is a very real possibility.

PHOTO CREDIT: Chris 'Badger' Drayton 

One would like to hear a production sound a little less polished as, at times, it does seem a little too slick – maybe, stripping away some of the gloss would afford the song a more natural platform and augment the true emotion of the lyrics/sound. The instrumentation and vocals are superb and they do not require that much attention and machinery. Cooper’s main strength is getting the lads together and producing a song focused and professional. Few would have expected that given a two-year hiatus but that is a credit to him. Judas continues to amaze and scintillate as it goes past the half-way stage. Guitar breaks provide the vocal a chance to rest and demonstrate the strength of the strings. These parables/passages provide more story and give the song a real emotion and physicality – you keep imagining the story and how it is progressing.

PHOTO CREDIT: Chris 'Badger' Drayton 

I shall wrap things up soon but wanted to see what lies ahead for Circus Wolves. They are one of those Manchester bands that feed and vibe from the city. The people, the sounds and smells: all powerful sources of inspiration for a group producing music that differs from anything out there. Earlier on; I laid out a series of artists and venues that seem to define what Manchester is all about this year. I think there are opportunities for the boys to either support or collaborate with a lot of those acts. One cannot deny how busy and dynamic Manchester is so there is a lot of potential for the band. Their Annie Baby E.P. was released a couple of years ago and, since then, they have been playing and releasing the odd single here and there. It is time for them to strike and, whilst most artists release albums/E.P. in spring/summer – so they get those festival call-ups and release music when gigging most – there is a lot of potential releasing material in the winter months. I am desperate to get myself to Manchester because I appreciate what a rocky year its people have had. That notable tragedy is still fresh in the memory but has not dampened the spirit and strength of the population. They are spirited, together and loving as always: this is reflected in the music that is among the best I have heard in many years. What I am seeing, in Manchester acts, is a diversity and consistency many cities lack. I have mentioned London and, has been the case in previous years, they have stolen all the headlines. There are some hungry and wonderful artists coming from Manchester – a chance for the northern city to gain some acclaim and attention.

The Circus Wolves lads will be looking to get as many gigs as they can and are working hard to ensure they are kept in the local mindset. In the past; they have played spots like Dublin Castle and The Deaf Institute – not packing it out but a respectable crowd – and have played on local stations and some great spots already. I am encouraged to see they have already rocked some of the best venues in Manchester so let’s hope they keep the momentum strong. I am not sure whether there will be an E.P, arriving but it seems, given the success and attention Judas is getting; they will want to release something full-length- maybe a three/four-track E.P. would be appropriate? That is down for them but one thing they do need to do is get their social media sorted. The boys have gained a lot of love from Manchester but, to keep their name in the minds of people further afield, people will want to find something a bit more image-focused and informative. I stated how difficult it is finding out the band’s history and what they are all into. There are few professional shots and, given the fact the band has played some fantastic dates in the past; promoters and labels will want to see a selection of great images they can use for their posters/promotion. I shall put this to bed now but, before doing so, it is worth saying how well Circus Wolves are doing and the ground they have made up. This past year has seen them make big strides and perform around Manchester. They have a lot of ambition and energy and it would be great to know where the guys are heading right now. Maybe there are a line of gigs coming up but, looking at their Facebook, I cannot find a set of dates. They seem content and happy in the camp and that all comes out in their music. Judas is their strongest offering to date and a slight change from their older material. The sound is a little more polished and fresh but it does not come across too glossy and mainstream – containing the right amount of swagger and rawness to appeal to their loyal fanbase.

The mainstream Rock/Indie best are doing their hardest but I have seen so many disappointing albums arrive – from artists you expected would do a lot better. It is the underground, unsigned acts that seem to be producing the best music. Maybe they have less to lose and are freer to maneuver (unsigned acts) and I am a very pleased to see so many promising artists get kudos. I am not sure which of them will get to the mainstream – and when that will happen – but the likes of Circus Wolves have the ammunition to do the job very soon. The boys have played some great spots around Manchester but I feel there are a lot of fans around the North that would want to see them visit them. Down here; we have some great venues in London they have yet to play. That demand will come when the band releases an E.P. so, when that happens, I feel they’ll get the attention and gigs they deserve. The homecoming gig at Gullivers was a triumph and it seems like the lads have a lot of buzz and potential. I would like to see that continue and ensure they remain focused and consistent. The fact they have new material will please people – leaving a gap after an E.P. of that size can be a big risk – and see how the remainder of their 2017 pans out. Judas is a strong and engrossing song that hints at new direction and ideas. It is all in their hands now and, in one of the best cities in the world, they have the support behind them – so many places they can play and local stations they could get their music heard on. Judas is a defiant statement from a band who are becoming local heroes. They need to get more material out but I am sure that is a matter of time. When that does happen, I have every confidence they will...

GO very far indeed.

_______

Follow Circus Wolves

 Twitter:

https://twitter.com/TheCircusWolves

Facebook:

https://www.facebook.com/CircusWolves/

YouTube:

https://www.youtube.com/channel/UCO6ng1fsttQAtlvuYqhgzGA

SoundCloud:

https://soundcloud.com/circus-wolves

Spotify:

https://open.spotify.com/artist/2Qym7h5FGsxJ9xE6pWoTfA

TRACK REVIEW: Party Fears - Sun King

TRACK REVIEW:

 

Party Fears

IMAGE CREDIT: @etags_desig

 Sun King

 

9.3/10

Sun King is available at:

https://soundcloud.com/igotpartyfears/sun-king

GENRES:

Indie; Pop; Punk

ORIGIN:

Berlin, Germany

RELEASE DATE:

27th February, 2017

Performed by Maggie Devlin, Alberto Alba; Mike McGrath, Tyler Ryan; Rhiannon Shepherd and Brad Wheeler

Produced by Brad Wheeler, Robert Kelly and Maggie Devlin

Engineered by Brad Wheeler at Union Studios, Seoul

Mastered by Richard Bradley at Long Range Mastering, St John’s, Newfoundland

Mixed by Robert Kelly at Union Studios, Seoul

Cover photo by Rah Petherbridge Photography

Design by Adam Brennan

The album, Party Fears, is available at:

https://igotpartyfears.bandcamp.com/album/party-fears

_______

THERE are a lot of things to cover in the review…

but, to start, a couple of points that need addressing. I will speak about artists that move location; Berlin and why it is becoming popular; Pop bands and different sounds there; feminism and using music as a useful platform – a bit about variety and mixture of bands (in terms of nationality and tastes). I want to start with social media and organisation as, again, it is something I am forced to bring up. Party Fears are a great band but, looking at my diary for the next few weeks; there is a notable and evident problem that I see: artists not really covering social media and organising their links into one. It is something I often bring up but, for artists, I think is quite useful. One of the most important things I must stress for artists is how disrupting and inconvenient it can be having to scrabble around for social media links. I know Party Fears have lots of sites but, if you are going to discover them all, one must not have to hunt for them. I have had to go to their Facebook and then do a Google search for the remaining sites. They do not have, as far as I can see, an official website, so it is incumbent on them to put all the relevant links on Facebook – or SoundCloud, if that is easier. In any case; they need to make it easier for people like me to see where they are and where I can discover their music. If one has to work hard to put the piece together: that means a certain annoyance will come in and it means I go elsewhere. I have a lot of positives to cover but, in an age where competition is fierce, it is things like this that can see an artist slip behind the pack.

The artists that impress me most are those who have a rich and well-stocked social media portfolio. They might have an official website but, in any case, ensure there are loads of good photos and information on Facebook. For Party Fears; the music is terrific but there is little known about the guys. Unless you track down management/P.R. companies – how it one likely to get the necessary background about them?! I know they all emanate from various areas but, when it comes to their histories and favourite sounds – there is nothing to suggest what they would be and anything to do with that. Photos are numerous but, in terms of quality and variation, it is quite tricky. The photos I have used are the best I could find but it would be beneficial for the band to get some professional shots done and get a lot of current, good images shot – the ones they have, the good ones, are older, in any case. That would give people like me more to work with in a review and provide a visual representation of them. All those social media links and music-sharing websites need to be central and easy to access. If they balance this with a full biography and links to interviews – this would afford them a fuller cupboard and be much more attractive to reviewers/journalists. It sounds like I am having a go but there are so many promising artists that are failing to require something as elementary and easy as this. The next few reviews I have are pretty light in terms of visuals and information. The thrill of finding an artist that has loads of images and great background information is rare. I wonder whether musicians are relying too heavily on music and forgetting how influential social media is. Speaking with Party Fears’ drummer, Eilis, it seems like there is a lot of excitement in the camp. That is pleasing so, with the group becoming more determined, they will need to get their online sites fuller and more information-led. Their music is fantastic but, to stand ahead of the competition, getting these areas addressed is crucial – as soon as possible, really.

I said there were positives so, after a bit of a telling-off; moving on to them. Looking at Party Fears and where their members hail from – there are so many different nations in the camp. I will come to look at that more, soon, but, given the fact they are based in Berlin, it means they are in a wonderful city for music. That wasn’t always the case and, rather oddly, they were based in Seoul. If one looks at South Korea; you will not find a lot of bands like Party Fears. Maybe there are but, doing a quick search, it seems Pop rules the roost. Girls’ Generation are the biggest Pop force in the country. The nine-piece are a sensation there and command huge audiences at their gigs. Bands like BIGBANG and Wonder Girls have gone down in the country’s history and made a huge impression on the music scene. It seems K-Pop and mixing Western Pop with Eastern imagery/culture seems to be a popular currency. I can understand why a band would move to Seoul but, in terms of opportunities, it really depends on the kind of sounds you are producing. For Party Fears; they have a Pop aesthetic but it is less commercial and twee than a lot of Korean artists. They have an importance and socially-aware palette that needs a more aware and multi-cultural audience. It is pleasing to picture Party Fears in the city, playing to the people. I have never been to Seoul so I am not too sure how varied and deep the music scene is. I get views of Pop and something quite sugary but, in actuality, there are quite a few genres represented there. The biggest move was when they all convened to Berlin and settled in the German capital. That is a radical and unexpected shift. The mindset to go from Asia to Europe is quite dramatic. It is important to keep moving and go where you feel most comfortable because, I feel, too many of us get stuck in a rut and remain somewhere we are unhappy. The band, knowing Berlin is a more stable and opportunistic base, upped sticks and are settled in a wonderful city.

I see a lot of artists who move cities but, largely, this is in the same country. There are a few that move across the seas but few are quite as itinerant and bold. If I were to depart the U.K., I would either go to L.A. or Melbourne. The former has that wonderful music scene and is a perfect slice of the U.S. West Coast. There is so much for a musician/music-lover to discover there and is a very attractive possibility. Melbourne has a full and variegated music scene and, like L.A., boasts warm weather, wonderful sites and a great way of life. I could, down the line, see myself going there and spending a few years in either area. The U.K. is great but it is important to keep moving and experiencing different parts of the world. That is the only way one can become fuller and a more rounded human. Party Fears’ lineup mixes nationalities so they needed to go somewhere that has like-minded internationalism and blend. Berlin seems the perfect place for them to push their music and learn. There is evidence to suggest the band have a bright future so Berlin, with all its venues and fellow bands, is a lot more promising than somewhere like Seoul. I have spoken about the city before and am always struck why people move there. It is not a bad place – one of the best cities on Earth – but I never really considered all its merits and sides before. I guess, in music terms, there is a growing scene and so much diversity. It is appreciable and understandable Party Fears decided to make their home here as the city is bursting, vibrant and safe. Moving and relocating can be unsettling but, when you get it right, it makes a huge difference. I hope Party Fears have found their home and are very settled in Berlin. There is a big community in Berlin and they are in the perfect place to build their music and get it to the people.

There is something about Berlin that is luring a lot of artists in. The last artist I interview – that moved to Berlin – decamped from London and now feels he is in a better place. There is less stress and it is a more affordable way of life. Maybe the music scene is not quite as impressive and varied in Berlin but there is something about the politics and buzz of the city that pulls you in. More democratic and secure; the people a little less harried and pushy – this can make a huge difference to the mindset. If you are in a place you feel secure and relaxed; this has a profound effect on the music and the creative outlook. Party Fears, with their eponymous album, seem to take from their past and present but it feels like an album about where they are now and hope to head. I mean, there is not going to be a geographical shift but, given they are in Berlin; I feel they will exploit the city and make good use of all the venues they have around them. I will not go too much into Berlin – as I have covered the venues and artists in previous reviews – but I feel the way of life and people there are as appealing as the music coming out of the city. The average Berliner, compared to a Londoner, would be, I guess, more polite and a little less physical. London is the best city for music, in my mind, but, because of that, it is more compact and busy than any other. That stressed nature means many people are finding living quite stressful. Many are leaving the city and going somewhere else. The band started when Northern Irish native Maggie Devlin moved from Seoul and, with her, brought Australian Eilis Frawley with her. I know the guys have a mixed and fascinating line-up in the band but it is those ‘central’ duo that inspires me. They have conducted interviews speaking about Berlin and their transition. Seoul, it seems, is still in their blood and a bigger factor on their music than Berlin.

IMAGE CREDIT: @natalisucks

It appears there were some great bands in South Korea they jammed with. The way of life there is vastly different to where they are now. I stated how peaceful, compared to London, Berlin is but, perhaps, there is still a lot of stress and issues in the Germany city. It is a cosmopolitan area so, as such, you will get a lot of rush. I feel, long-term, Berlin will be a better fit because it brings to mind another band. ZAP!/Zap! (depending on how angry you are) is a trio that brings together Australian and Greek roots. Its lead currently stars in the Trivago adverts and the band provides a sound quirky and fascinating. You will have to check them out but they moved from Australia and are based in Berlin. It seems they are more at-home here and bonded to the people. I will have to go to Berlin but there are a lot of aspects that are drawing people like bees to pollen. The fact Germany’s leader, Angela Merkel, seems to represent the people and is a strong figure – compared to our P.M. and the U.S. President – means the nation is in safe hands. Because of that; the economy is safer and Germany is keen to be an integral part of Europe – compared with the British, it seems! There is history and culture in Berlin; a lot of mixed nationalities and some of the best music in the entire world. One cannot underestimate the importance of stability and politics in terms of music. Going somewhere that is stable and ‘of the people’ is a great comfort. I feel that is why so many are leaving areas like London and coming to Berlin. It is a city that offers the same level of excitement and opportunity but there is far less uncertainty and division. Party Fears, they say, feel more connected to Seoul at the moment but that will change as they become more immersed in Berlin.

Party Fears are a Pop/Indie/Alternative band but their sound manages to mix so many different possibilities and cultures. They take a slight fleck of the Rock and Pop bands from Seoul and sprinkle that with the current flavours of Berlin. Having Irish and Australian members in their band; they take from the music scenes of each country and mix that all into the boiling pot. The genre of ‘Pop’ seems a very diverse one and it gets a bad reputation. We associate it with a certain commercialism and mainstream lust. That would be unfair because there is a lot of Pop music that has credibility. Party Fears melt Pop and Rock together and produce something different and credible. The band is not the sort that is going to be looking towards the charts but they want to connect with as many people as possible. Some genres are quite rigid and defined but there is a lot of flexibility with Pop. It is hard to compare Party Fears with anyone in sheer terms of sounds – they are an original group and not keen to be lumped with anyone else. I guess the best way to assess them is the fact they have actually taken some influence from K-Pop and the great bands of Seoul and are integrating that with all the sounds they are discovering in Berlin. If one listens to a station like BBC Radio 6 Music – I know I seem to mention them in every review! – you will find a lot of Indie/Pop bands that are original but bring elements of other artists into their sound. Party Fears have a definite grit and energy to them but their chorus and vocals have an accessibility and sweetness that perfectly balances the harder aspects. It is hard to define and explain but I feel Pop is widening and changing perceptions right now. Modern mainstream artists like Lorde show you can play a mixture of Indie and Pop but not fall victim to the worst traits of the mainstream – the manufactured and plastic sounds that aim for Spotify figures rather than credibility.

Feminism and consciousness are important aspects of Party Fears’ music. The band uses their music to write about important themes and tackle sides of society many do not. They are a feminist band and, the fact Maggie Devlin is their central lead, means you have a strong female voice at the forefront. I know their eponymous debut has been getting a lot of great reviews: many highlighting how deep their music goes but the fact the band is original and striking. They have Punk elements and fuse that with Pop/Indie to create music both rousing and colourful.  Few can deny how promising Party Fears are because they manage to step away from the mainstream followers and create their own brand of music. Listening to songs like Sun King and one dives into the lyrics but is stunned by the complexities and simplicities of the music. They have that Pop core but incorporate the grit of Punk and something hard to pin down. There is a chemistry and connection in the rank that adds a little something special to the music. I have mentioned the mix of simple and complex: that is not something to overlook. Many artists, I find, lack the ability to make their music easy to understand and accessible – whilst performing songs that have various layers and nuance. Party Fears are relatable and I can see their music becoming very popular on radio stations around Britain. It is hard to ignore them and not fall for their incredible songs. I have rambled about Pop but that is the magic of it. It is a genre that gets a bad rap in this day but is a lot more interesting than many give it credit for. I listen to Party Fears and know Punk is as important to them. I am not sure which artists they grew up listening to but one imagines there is a blend of the 1970s and present. They have a fondness for big choruses and getting their words into the brain.

I will end this introduction by looking at Party Fears and what makes them unique. It is hard, when collating pictures and information, knowing where the band starts and ends. Devlin and Frawley are the centre of the group but there are other players in the mix. Maybe some of the photos in this piece are outdated – having changed since their Seoul days – but I have to go on what I find online. I know the Australian-Irish alliance is the main drive but, considering the whole sound of Party Fears and we get a variety of players and sounds. In any case, returning to my main point, it is that mix of Irish and Australian that intrigues me. Many bands take their members from different nations but one of the reasons that make Party Fears fascinating and strong is the fact they source from different nations. I know there is a great music scene in Northern Ireland but not as many opportunities as one would hope. I can understand why Devlin would move there and go somewhere a little busier and more spirited. Frawley, emanating from Adelaide, has had to say goodbye to all the surf, wine and women. Well, as the drummer himself said in a recent interview: the city has its share of murderers, churches and wine – one wonders whether they are all linked or need to separate themselves from one another! I have always wanted to go to Australia but know, again, it depends on where you go in order to gain success. There are few cities as promising as Melbourne and Sydney. Adelaide has some great music and Brisbane is a definite hot-spot. I guess, when you are looking ahead, you need to think about security and success. If the guys remained where they were – or stayed in Seoul – would they be able to progress their music?! It is debatable but it is what they have taken from their nations/past that makes them the force they are now. Not only do they take from their home-nations and backgrounds but have taken ingredients from Seoul. Stir this into the brew that is Berlin and you have a band that differs from everything else out there.

The initial seconds of Sun King see twee notes mingle with spectacle and spirit. There is a blend of 1980s and 1990s Pop-Rock – some Art-Pop and Indie of today thrown in. Devlin’s unique voice comes in and provides plenty of character and body to the song. It seems the song’s subject needs to tell their story and come among the people. Whoever this person is; the heroine lets her breathy and sweet voice implore and supplicate. Maybe it is a political figure – or subject known to the band – but, right away, you see visions of this person come to mind. The figure looks taller “from the undergrowth” and it doesn’t matter what they are doing now. The words intrigue and spring from the microphone. In Devin; they have a singer that puts so much personality, character and quirk into the vocal. You get her natural accent but, considering the song/album would have been conceived whilst in Seoul – how much of the city’s music go into Sun King. There is a charm and spirit one might find in K-Pop – without it being bubblegum and too mainstream. The music of Party Fears brings together so much distinction and eclecticism so it is hard to label it alongside anyone else. Their feminist aesthetic makes me think, perhaps, there is a mixture of cynicism and gender-switch in the song. Maybe the ‘king’ figure is a man and not as wise as he should be; perhaps a female and someone who has a lot of rare insight to offer. Perhaps I am jumping to conclusions but I cannot help applying some interpretation to their feminism. The central figure has a lot to offer – it seems the band/hero/heroine knows very little – so there is that need to drink in this wisdom and instruction. Whilst I pick the words apart; there is twanging and luscious bass that sits with colourful and expressive electronics. That pairing of Art-Rock – the type Talking Heads purveyed in the 1980s – and 1990s’ finest Pop-Rock makes it a heady brew.

The more one gets into the song; the more interesting and deep things get. From the opening skip and rush comes a composed and delicate segment that, I think, sees Devlin talks about the hero having nothing to say – some of the decipherability gets lost given the sweetness and preciseness of the performance. It is a beguiling and unexpected parable that takes the energy down and takes the song into a new phase. It is a twist that one does not see coming and takes you by surprise. Devlin’s voice is at its purest and conveys immense passion and entrance. I wonder what the new segment represents and whether it is a darker turn in the story. The opening looked at taking lessons and learning but, now, there is a feeling of emptiness and disillusionment – maybe they are not as sage and learned as one hoped. The drums kick up and a there is a funkiness to the song, now. The head is empty and the eyes are wide: it seems the hero is not as regal and reliable as he presents himself. Against this attack; we get squelchy electronic and keys with random notes and angles. It is a fascinating and full composition that puts so much together. Devlin’s songwriting chops are assured but, here, they seem to hit their peak. I listen to the song and feel it is addressing political figures, men, who are leading people to dark places. Maybe it is a look at prominent men and how much power they wield. Just because they are in positions of authority; does this mean they have all the answers? They are “too far blind” and gone to realise they are dead/lost. Ominous backing vocals accompany funeral organs and the song, mixing in precise and pulsing beats, gives the track such allure and variation. Aching and strummed electronic guitar with a single vocal – “You say nothing” – keeps the song fertile, agile and unexpected. Sun King goes through so many different phases it is hard to nail it into place. That is good because it provides a physicality and evolution that few bands provide. The song’s subject is being taken down and questioned. Everyone will have their own perspective but I think there is a judgement levied at high-powered men and the way they operate. Maybe more personal aspects are being presented but that is the joy of the song – and how it will strike people in different ways. By the end, the band keeps the sonic mobility strong and fascinates the senses. Sun King is a fantastic song brilliant and compelling song that shows how strong and promising Party Fears is.

PHOTO CREDIT: @natalisucks

I will end this now but, before closing things, want to look ahead and see where Party Fears are heading. Their name suggests anxiety in the face of social integration – the outsiders that stand against the wall and prefer to clock off early. They are not the kind of people you’d find assimilating into the mainstream and compromising their ideals. Maybe I am over-reading things but they seem like a group that is determined to make a big difference and doing what everyone else is doing is not the way to do things. The band are in Britain at the moment so seems like the perfect day to review them. Recently, they have played Belfast and, I think, rocked Scotland yesterday. Tomorrow, they play alongside The Last Days of Elvis in Leeds’ Wharf Chambers and will see them play the third country in a week. It must be exhausting for the band but shows they have a lot of love and backing behind them. Few groups manage to command that kind of attention and popularity so soon. After Leeds; they play LOUD WOMEN Fest 2017 on 3rd September. Devlin was excited returning to Belfast and, it seems, that importance was not lost – connecting with her home crowd and proving what she has taken from the country. The band plays Scotland tonight, it seems, so, when they have a chance to breathe – they’ll be preparing their set for LOUD WOMEN Fest 2017. Given the fact Party Fears project a strong feminist message: playing an event like that is really crucial for them. There are not as many feminist/women’s festivals as there should be – more are coming through – so there are not many opportunities like this for the band. I know they are buzzing about the chance and are playing alongside various acts on the bill. You will have to go to Party Fears’ Facebook page – link at the bottom of the review – to catch up on all their exploits and gigs.

I started by roundly admonishing them for not having their social media in order. To be fair to them, they keep people updated on their gigs and developments but they should have an official website together. That would allow them to pop all their links/social media bits together and a portal for all their videos and songs. Maybe there is one out there but it is has been difficult collating all the necessary information. I would not usually expend this much energy debating this point but it is down to the fact Party Fears have that promise and strength I mention it. They are playing around the world and have a huge British following. People here will want to know more about them and where they are heading. Social media is the most effective way of doing this so, let’s hope, the guys do a bit of housekeeping and get some more current photos done – a good shoot that means journalists like me have some good images to pop in a review. The band has a lot of photos on their Facebook but I wonder how many are current and relevant – hence the reason the thumbnail is their cover photo (and does not provide the faces of the band members). Their line-up has changed – and they have worked with various personnel – so I am not sure exactly who plays with them in the studio and on the road. In any case; I am seeing their music develop and get stronger with each release. When Party Fears head back to Berlin in a few days; they will take a lot back in their luggage. The experiences from the road will impact their future music and they would have taken inspiration from the people they have met the last few day – and what they have in-store for the coming day. I didn’t have the chance to review the entire album – not able to expend adequate time and energy to feature all songs – so chose Sun King as a representative of the L.P.’s themes and strengths.

It is a stunning song and centrepiece of the record. I recommend people seek Party Fears out in full and discover what all the chatter is about. I have seen few bands as compelling and varied as them. Not only do they have that international membership but have lived quite a life. They are in the U.K. now but head back to Berlin. They have come from Seoul and met a lot of great acts when they were there. Who knows how inspiring and important that time was but it seems to have fed into their ethos and music. Berlin is their new home and it seems like, when they get to grips with the city, it will drive them and lead to some more wonderful music. The eponymous album is a good coming-together of where they have come from and where they are now. There is a great spirit in the band and they are enjoying getting their music out to the people. That thrill of being on the road is not lost and they seem to be enjoying travelling to new places – even if the accommodation does vary in terms of quality (the life of a band, eh?!). A few important gigs approaching so; if you can see the band play, get yourself down and witness something special. I will end this now but feel Party Fears are one of those acts that can be a mainstream force in time. They are making themselves visible and ensuring their music is different from anything else around. Party Fears is a tremendous album and, together with feminist messages and incredible songwriting, mixes Punk, Indie and Pop into a heady brew. Such is the force and nuance of the album; you find yourself revisiting it and discovering little nooks that were not there before. This quality and standard of songwriting is what will see them progress to the mainstream and add their own unique D.N.A. in. I feel there are few Pop bands that manage to convey anything meaningful and interesting. Party Fears are a necessary and inspiring band that we need to hear more from. Best of luck to them and I hope they have a lot of fun on the road. If you can get out and see Party Fears; you will witness an incredible and memorable show from…

ONE of our finest new bands.

_______

Follow Party Fears

  Twitter:

https://twitter.com/igotpartyfears

Facebook:

https://www.facebook.com/igotpartyfears/

Instagram:

http://www.thepicta.com/user/igotpartyfears/2314940536

YouTube:

https://www.youtube.com/channel/UCE-bxPdwMITgOgH7ZfEobFg

SoundCloud:

https://soundcloud.com/igotpartyfears

 BandCamp:

https://igotpartyfears.bandcamp.com/

TRACK REVIEW: Rews - Shine

TRACK REVIEW:

 

Rews

PHOTO CREDIT: Jonny Finnis /COPYRIGHT: Marshall Records

 Shine

9.6/10

 Shine s available at:

https://www.youtube.com/watch?v=ZE2DDWEBWT8&feature=youtu.be

GENRES:

Rock; Alternative; Indie

ORIGIN:

London, U.K.

RELEASE DATE:

18th August, 2017

_______

I have had to reorganise the order of my reviews…

because it is best to capture the freshness and energy of Rews’ latest single, Shine. Rather than leave it, like a doughnut, in the box to get a bit stale and hard – have a quick sniff a few days down the line – and, when taking that first bite, put it in the bin with regret: best to dive in to its warm, sugary and jam-filled goodness and get it at its purest. That might seem like an odd way to describe a song but, when listening to Rews, one is filled with different emotions and words. I shall come to assess the girls soon but, before then, talk about duos and women in music; the bond that ties musicians and how effective it can be to music; classic songwriting and why music lacks that right now; the first album and looking at the modern-day promotional campaign; getting to festivals and how that can build a song – the future of Rews and how they can translate and grow in the coming year. This is not the first time I have featured Rews so forgive any repetition in this review. Many, who follow the band, know the duo consist Collette Williams and Shauna Tohill. Their coming-together and friendship is one of the reasons why many people are fascinated. I am not sure how that initial meeting came to be but, with Tohill a Belfast resident – Williams based outside of London – it would have seemed unlikely. The fact they have been performing together for a long time – and seem stronger than ever – is a testament to how connected they are. One can argue many bands/duos have that say strength but I have not seen it as obvious. I wanted to look at duos because there is a surfeit of those sticking in the mind. I have lauded the duo and explained how it is the perfect number of people.

PHOTO CREDIT: Mike Rees Photography

You do not have the crowd and mass of a full-band nor the solitude of being solo: it is tight and focused and, if you are in a duo, you have to have that closeness and trust. Most duos, that I have found, are very close friends or, in a lot of cases, lovers. Despite the fact so many duos are around; I am finding few that are being heralded and enduring. To me, I think the media is still focusing on bands and solo artists – that established stock is what they cling on to and has that commercial value. Maybe there is something unknown and new about a duo. In terms of the mainstream; there are those like Tegan and Sara and Royal Blood – more on them later – but, in terms of the big releases, I feel solo artists have taken the top honours. In my view, the duo is that concise and fascinating combination that can, if done right, provide the same depth and sound as a band – more marketable and enduring than a solo artist. Your lone artist has to take care of everything and has to expend twice the energy as a duo. It can be a struggle getting everything together, promoted and performed. Naturally, many burn out, which is why I tend to stick with a duo – as they have that potential to remain on the scene and provide more consistent results. That is true of Rews who, as I type, have not long come off the stage of another gig. It seems like they are among the hardest-working acts around and they thrive from the energy and reaction the crowds afford them. Given the rise and popularity of duos like Royal Blood: there are a lot of people looking for like-minded artists that have the same sort of allure and power. The duo is much more complicated and can play Rock/Alternative; there are Folk and acoustic-based twosomes; those that perform Electro-Pop and R&B. It is not as rigid as one might think and, unlike a four-piece band, it seems there is more variation and nuance when it comes to sound and genre. Tohill and Williams have struck a chord and seem to be very much in demand – I have tried booking them a couple of times and they are definitely in the bigger leagues at the moment.

I have talked about women in music and still, in 2017, have to argue and fight. It is not a natural thing to speak of a female artist without feeling a slight sense of guilt and anger. There are more female duos coming through but it is only the last couple of years when female bands – that are not girl groups – have gained a critical ear. The morals and equity afforded male bands/artists have not been applied to female artists. Look at bands like Honeyblood, Haim; Warpaint and…well, I couldn’t think of a fourth, you see. There are so many great female bands coming through: so few that make it into the critical columns and get the attention they deserve. The acts I have mentioned are stunning and potential festival headliners. Yesterday I wrote a piece that highlighted Dua Lipa and her recent achievement: her song, New Rules, is the first female number-one single since Adele’s Hello – that song was top of the charts back in 2015. There is still an obvious imbalance and sexism in music but, without lecturing regards the festival issues – I shall address that in the conclusion – it is amazing there are fewer opportunities for women in music. Rews are a force of nature who is not concerned with being seen as second-best. They have been getting a lot of great gigs and gaining momentum. I wonder how far they would have come were they men. Their sheer talent and hard work have got them where they are: perhaps they would be a few steps up if they were male. That seems like an odd assumption but there is a definite preference, for festivals and bookers, towards male acts. The reason for addressing this point was to show how influential Rews are. They are not your manufactured and primed duo and, whilst they have a label behind them, they are not dictated to and defined. They have a lot of artistic freedom and do not have to compromise their ethics.

PHOTO CREDIT: Nick Kent Photography

There are a lot of female performers in genres like Folk and R&B but we still see the majority in Pop/the mainstream. That is an area of music where things get murky and unsettling – how many of those big Pop stars have their own say and are being marketed because of their music (their looks and sex appeal being proffered). I have explained how female Rock bands are coming through but it is a recent development and one we need to keep going. With some claiming Rock is dead – or its pecker needs a few blue pills and a few nights at a Paris hotel – any representation that imbues a genuine Rock spirit, and has that ability to evolve and survive, should be taken the bosom. Whilst other Rock acts are climaxing early, taking a cold shower and crying their way out of the hotel door – it is duos like Rews that are…well, I’ll drop the line of thought as it seems to lead us in rather a heated direction. In any case; I feel there should be as much focus paid to the girls of Rock as the boys. Maybe there is an institutional aspect to the argument: it has always been the case Rock/Alternative is a boys’ club and it seems strange the girls are coming to prominence. I wonder whether stubbornness is leaving many doors closed: I am hearted by the fact Rews are a guiding light for upcoming bands and a real source of inspiration for female artists. They, in an industry that is still make-dominated, showing they can mix it with the best of them. With every release and step, Rews continue to carve themselves out as a force to be reckoned with. There is no doubt they will be mainstream treasures very soon but the way they have grown the past few months is very exciting. Critical kudos and big gigs mean they have grown in confidence and seem more determined to push themselves as much as possible.

PHOTO CREDIT: Rosie Powell

There is a tight and unerring bond that glues Rews to the ground. It seems like Tohill and Williams are meant to be together and have that true simpatico. One sees it in some bands but you wonder what happens behind-the-scenes. If you have a quarter; how solid is every member going to be? There might be one or two that do not get on with the others quite as well – various bands will have issues at some point. Sure, there are a few that are rock-solid but it is a rarity. With Rews, one knows there are never any cross words and issues. One hears and sees the duo in-time and of one mind on the stage. When they come off, looking at their social media accounts, they hang together and have that shared love. The photos that come through are filled with smiles and posing. Like best friends or sisters; the girls are rock-solid and unbreakable. This might seem all very nice and sweet but it has a huge impact on the music. When you have musicians that are close and comfortable around one another; the music is a lot more free and genuine. I hear bands/duos and know the members are not quite as together as you’d imagine, Maybe there are fracture and frictions and that can compromise the nuance and promise of their music. Rews are fairly new on the block but I do not perceive growing success to be detrimental to their friendship. If anything, the bigger they get, the more excited and tighter Tohill and Williams become. It seems they are born to the stage and have been dreaming about success for a long time. Collette Williams is one of the best young drummers around and, apart from being a brand ambassador, has the power and ability of the best male stick-wielders around. I have seen a few bands that have a woman on drums – Saints Patience among them – and, I don’t know…there seems to be something different and exciting about them. Not to say male drummers are a spent and obvious force but one gets a different cadence, sensation and playing style with female drummers.

PHOTO CREDIT: Nick Kent Photography

Not only do Rews have a world-class and hungry drummer/singer in Williams: Shauna Tohill is a singer/guitarist/songwriter with few equals. She co-writes lyrics with Williams and, between them, they are incredible young writers. Touhill's shredding skills perfectly complement Williams’ percussion. There is a rawness and potency but they are, in every song, have that deep understanding. Without looking at one another; they are in-time and in-step. It sounds like they have been performing for decades and have that incredible tightness. Tohill and Williams are original songwriters who can pen a classic/arena-ready song but pen from their own perspectives – without falling into clichés and being too rigid. That ‘classic songwriting’ and style is something lacking in music. A lot of artists are producing great albums but there is nothing to tie them – in terms of themes and style. Whether a fantastic Hip-Hop record or a Pop nugget – one cannot easily draw a line between them. There is something about Rews that nods to the classic Rock legends but has a contemporary skin. The hooks and compositions are forward-thinking but will resonate with those who have that love of the giants of Rock. I am not sure what the record collections of Tohill and Williams look like but it is obvious they have affection for the biggest and boldest bands of all time; those legendary songwriters and the best of the modern market. It is not only Rock artists that feed into their music. One hears elements of Pop and Folk in their quieter portions. The girls have a deep knowledge of music but, rather than replicate their favourite acts, they sprinkle little bits here and there. Put all that together and one gets something memorable and familiar – instilled with a unique energy and effectiveness that cannot be understated. They are not a rigid act that produces the same song time and time again: every new jam has an original intent and goes in a different direction.

Tying into my next point, I wanted to address comparisons critics have made between Rews and Royal Blood. I might have fallen into the trap myself but there is something dangerous about comparing artists with others. It is flattering, I am sure, for Rews to hear they remind people of the Brighton duo but there are inherent flaws. For one, I feel Royal Blood’s latest album lacks any distinction and they are, rather worryingly, treading water on their second record. One wonders how their third album will fare if they rehash their latest effort – which is a slight tweak of their debut. The good thing about being compared with Royal Blood – D.J. Mark Radcliffe has made the comparison – is the fact the duo (Royal Blood) are doing so well. The boys are playing sell-out shows and are one of the biggest acts in the world. Many critics have reacted positively to their latest work and highlighted it as one of the year’s best. Being ranked alongside them can do no harm, for sure. The girls must buzz from that and the fact that Radcliffe quote is the one that is sent to people like me means they do not object. I find myself reaching for other quotes because, as much as anything, Royal Blood are a lot more limited than Rews. The girls project the same amount of force and rock as hard as the boys – that is where the comparisons end. In terms of songwriting; the Rews girls are much further ahead and more nimble. Royal Blood tend to focus too narrowly on love and the fall-out of relationships. It is a predictable and rather depressing hearing the same set of lyrics spread across an album. They could address the state of the world or something outside the box – the fact they do not, shows there is a very limited mindset which means they are not going to endure as long as they should. Rews, in Tohill and Williams, have songwriters that take from life but do not obsesses over broken hearts and wrong-doing boyfriends.

They address odd characters and observations from life; brief encounters and strange feelings. It is a heady concoction that means the songwriting palette of Rews is a lot broader and more exciting than Royal Blood. Another issue I have with Royal Blood is their compositional rigidity. There is nothing engrained in the Rock Rulebook that says it needs to be all meaty riffs and nothing more. The duo has been compared (unfairly) to The White Stripes who, in spite of the fact there were two of them, varied their sounds and stepped into Blues territory; used piano, marimba and other instruments – every album and song had its own identity. I know Rews will expend the same sort of character and variation down the line but there seems to be so many acts coming through that do not stray past the drum-guitar-vocal-with-big-riffs-and-steely-drums songs that the likes of Royal Blood keep churning out. Rews’ latest, Shine, is an emphatic and stunning track but one wonders whether their upcoming album, Pyro, will employ different instruments/sounds. Its title suggests fire and explosion so that would suggest a pure Rock experience. As phenomenal as Rews are; I feel comparisons to Royal Blood will do them more harm than good. There are many artists that are copying and duplicating Royal Blood’s sound which leads to a rather one-dimensional and stodgy brand. Rews deserve comparisons with the most-popular artists around but are a lot more appealing and malleable than Royal Blood. Their sound and connection is different; the songwriting vastly so and their music digs deeper and remains in the memory for longer. I shall not labour this point but feel they should have another quote on their P.R. emails/releases – one that recognises how unique they are and the fact they are going to last longer than Royal Blood. My point is the fact they have a fantastic sound that is not easy to link with anyone else.

PHOTO CREDIT: Nick Kent Photography

Before I look at Rews’ latest track; it is interesting watching the promotional campaigns of modern artists. Back when I was younger – many years ago, now! – a song got radio-play but then, after that, an album would sort of come out with little fuss. Aside from the odd T.V. spot here and there; it arrived and people would buy it. Now, it seems things are more much structured and elongated. I have been arguing with myself whether that is the best way to do things but, in the case of Rews, it seems perfect for their music. Their sounds and instant and fast but, if they promoted their music the same way, it would be damaging to their career. The modern market demands a certain savviness and strategy and, when they release a new single, they put maximum effort in. One might get a teaser clip on Facebook and a few photos on Instagram. The girls will provide status updates and keep their fans informed and instructed. They are very smart when it comes to promotion and do not over-do things. I see too many artists strike a poor balance and ruin a promotional campaign. So many provide too many updates and endlessly drag a song/album out. By the time the song is out you are bored of it – they keep sharing it afterward - and it gets rather grating. There are others who do not do much promotion and keep their music confined to places like Spotify – not making videos or provided few updates. This is just as damaging and detrimental as doing too much. Rews, as said, have a team behind them but take charge of their social media. They know the right balanced and do not suffocate people with piecemeal information – drip-feeding a song until we are all fed-up of it. They do not relax and are constantly looking for ways to get their music to new people. The fact their music has reached people like Mark Radcliffe is down to them and their talent – and the way they promote everything they do.

PHOTO CREDIT: Paul Reynolds

I feel the future of Rews is very bright and prosperous. I will touch on this in the conclusion but know the girls have lots of dates coming up. They have already played festivals this year but, before summer ends, are getting themselves out there and taking advantage of the weather. Pyro is out on 3rd November and will be getting a lot of reviews when it is released. I am not sure how many new songs are going on the album – or whether they are putting all their previous singles into the mix. I guess it will, likely, be a collection of eleven/twelve songs that has a balance of older and brand-new. All of their songs hang together so they can sit on the album in any order without damaging the flow and personality of the record. Shine seems like a natural mid-album inclusion; Shake Shake to open; Death Yawn second – Miss You in the Dark and Can You Feel It? towards the end of the record. I know they will have a running order in mind but it seems, when the album is out, it will propel them to new heights. They have performed around the world but, in terms of international dates, the possibilities are endless. I can see a lot of American dates following and gigs in continents like Asia – maybe a few Australian dates in the pipeline. It is clear Rews are on an upwards trajectory and when the album comes out, it will do them a lot of good. Singles are great but many people move on rather quick. Having all that music is one place, and there being a physical product to buy, means the music will get into new hands and endure – those demands will increase alongside the popularity. The girls are a modern phenomenon and, as such, can choose their own path. They will want to take advantage of the gig demands but remain at home as much as possible. There are lots of spaces in London they have not played and areas I feel they have yet to conquer.

One is in no doubt Rews mean business from the opening seconds of Shine. Anyone expecting a Take That/Aswad-style song – given the title – are in for a shock because it is a stone-cold chugger that rocks and swaggers its way to the forefront. The guitars churn and drill with intent and force. Tohill creates something intense and menacing but there is melody and control at work. Rather than swing out of control and provide an aimless riff: she has penned something that compels the body to move but gets the mind working, too. Williams backs her with a solid backbone and driving percussion. The two show how connected they are and, looking at the video, so much emotion and expression goes into their performance. They are not lazily tossing a song out. Every note has meaning and they put their everything into it. The chorus, as one might expect, takes the song’s title to hand and projects it in a different way as one would imagine. The vocals, unlike previous songs, have a more dirge-like quality. It is an intense song and one that has a lot of emotion at heart. Previous jams like Shake Shake have been looser and contained Pop edges. Shine suggests something positive and sunny but, as Tohill sings, she cannot make a person shine. They have holes and rough edges; maybe it is a lover or downcast friend – someone not paying dues and showing respect that expects the heroine to life them up. Shine is a grittier and more serious track that previous Rews offerings. Tohill, all smiles on previous songs, is in no mood to suffer a fool. It seems like someone has been messing her around or asking for too much. Unlike previous tracks from the girls; there is an emphasis on the rugged and serious. There is a physicality and sexiness but a definite sense of control and gameplay.

Tohill has a huge emotional range and, as a singer and songwriter (with Williams), she demonstrates how wide-ranging her skillset is. Here, one gets recollections of Garbage’s first two albums. If many have compared Rews’ chug-and-slam to Royal Blood: the Scottish band comes to mind when hearing Shine. Elements of Version 2.0 (Push It; When I Grow Up) and Garbage (Supervixen; Stupid Girl) come through and one gets an interesting blend of 1990s Alternative-Rock and modern-day Alternative. One is amazed and intrigued by the shift in sound and the new influences being incorporated in the music. Tohill, as a writer, might be addressing a failed relationship or showing distain to someone too clingy and dramatic. Williams articulates a sense of sexuality and seduction. Her drumming, in the chorus, has the intensity and a singularity but possesses flourishes, roll and fills – a technical drummer who can matches emotion and intuition with a variety of expressions and asides. It is a fascinating performance that matches Tohill’s intoxicating guitars. I can see, listening to the guitar, where the Royal Blood comparisons come in. There is that same Grunge-cum-Rock blend that has a swampy and dark hue. It rumbles and groans but, if one listens closely enough, there are big differences. Shine seems, in a way, like a song that has a Pop/mainstream appeal. Its lyrics, one can compare to someone like Katy Perry or Taylor Swift, let’s say. The girls might balk at that but Shine is, as it is revealed, about a figure that turns head but can’t get any love. It has that sensibility that means it can be extrapolated and understood by teenage audiences – as well as older listeners. Both, in the video, exert an immense sexiness and intensity. Shauna Tohill, as a frontwoman, is commanding and a dominating presence. She has a tough and fiery skin but someone who exudes immense sexuality and intensity through her performance. The same goes for Collette Williams who summons a riot of sticks and pummel at the back. Both propel the song to immense heights. Whether the heroine gets satisfaction has yet to be seen.

Maybe there is that sexual coming-together but, thinking about the song’s title, it might refer to happiness and self-fulfillment or something closer to the bone (an orgasmic feel; unable to get the guy off). That might be a very male perspective so I’d like to assume, listening to the lysis, the guy has a slight anhedonia. There is a definite need for directness and satisfaction. Maybe the guy is complicated and it is not as simple as it seems. Tohill wants to get satisfaction but, given the guy is an enigma, that road to satisfaction is not easy. Maybe I am over-reading and it is from a third-person perspective. There is evidence to suggest the song’s hero reflects a general feeling of dissatisfaction and frustration. Tohill and Williams are lyricists who have always reflected their own stories (and the people they meet) – making me wonder if this is taken from the scent of her pillows or the back-pages of her imagination. Williams, always the nuanced player, creates some incredible fills and patterns that help augment the lyrics and give the song new drive. Rather than aimlessly pummel; she continues to plug and search – coming up with little inventions and avenues other drummers do not know about. Tohill’s guitar remains viper-like and beer-fuelled. I have mentioned Garbage as a possible influence but, listening to Shine, it could easily have fitted into the best of the 1990s – albeit, there is a lot more polish to the production compared with Garbage. “If you’re a stream/don’t let me in” it is said – our girl need an ocean to wade through. That is an intelligent line and one that can be interpreted a number of ways. Maybe that refers to a sexual challenge or the wholeness of the man – someone who is not quite the full package. Given the fact Tohill strides and growls in the song’s video – one cannot shake off that desire she has to be fulfilled and enriched, in body and mind. The song changes pace and mixes solos with the consistent chorus. There are drum runs and guitar firework: every new stage provides a different flair to the song. The video sees the girls daubed in glitter and tossing their bodies and hair; shots cutting quickly and both balancing sexuality and tease. It is an eye-opening and unforgettable shoot that perfectly fits the song’s energy and intoxicating spirit. It also shows how varied and progressive the duo is – always bettering themselves with every fresh release.

I have dug deep into Shine and, comparing it to their previous material, there are definite developments. I hear new shades and colours in their latest single and it seems, with every release, they get tighter and more confident as a unit. The production is perfectly suited to the song’s ethos and variations – not too polished or ragged. The girls combine beautifully and it seems like this song will be a standout from Pyro. I cannot wait to see whether they release another song before the November release-date or if they are going to stick to performance. Few can deny the magnitude of their music and I feel, as highlighted earlier, there is a mixed blessing being compared to the likes of Royal Blood. To highlight the fact is writing them off too easily. I am not a big fan of the boys and have grown a bit weary of their music – they have not adequately adapted and seem content to trot out the same songs time again. The most promising comparisons is when looking at live performances. Regardless of how samey their songs are: the way they translate them on stage is a biblical hurricane that blows away most of the competition. It is that link that excited me most. I have seen reviews of Rews’ live performances but yet to see them up-close. That is one of the ambitions for this year and, if I cannot catch them in 2017, will make sure I do soon after. There will be an album launch so I will do my best to get there. Before then, the girls have more dates coming out. They played The Belfast Empire last night and, presuming they are still there now, will be taking advantage of the city and enjoying its wonders – this is where Shauna Tohill hails. Rews play Graze Festival a week today – sounds like a rural-cum-hippy hoedown – but it might be an interesting date. From recent dates like London’s House of Vans to festival appearances at Glastonbury – they are a duo that gets themselves about and do not turn their nose up.

PHOTO CREDIT: Nick Kent Photography

They perform as much as they can and, with every date, seem to grow stronger and confident. The fact they play to a mix of small and large crowds, means they’re preparing themselves for the variation of the road and will get no big shocks. If they performed to festival crowds, they would get a shock when they are faced with smaller crowds. If it was the other way around, the girls would have quite a challenge. No doubt the girls are ready for the bigger festivals but their music is able to connect with those in a smaller, more intimate space. I will end this in a bit but wanted to urge the girls to keep pushing and dreaming as, right now, they are among a handful of female artists getting recognition. There is still that imbalance and female acts have to shout a lot louder to get heard. The likes of Rews are guiding lights for fellow artists who might feel they will not be seen. Rews’ confidence and exceptional songwriting mean the big reviews and gigs are putting them on the map. They are an organised unit that promotes their music and ensures the fans are kept updated. They are prepared for the challenges of modern music and, in Shine, show they are capable of evolving and shifting their music without losing focus. Rews do not repeat themselves but have a very clear sound that defies any easy comparison. In a music world that seems to lack originality and edge: Rews are a duo that blows the cobwebs away and mark themselves out as a mainstream act of the future. When they get there, they will not sell their talent and ethics for money and fame. You listen to their music and know it comes from the hearts and is not designed for charts and marketing men. Few like them exist so, when Pyro comes to the fore, it will show just how intent and promising they truly are. Shine is a bright, burning and prefaces the approaching fire and…

PHOTO CREDIT: Rosie Powell

KEEP that spark alive.

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Follow Rews

PHOTO CREDIT: Rosie Powell 

Official:

http://www.rewsmusic.com/

Twitter:

https://twitter.com/rewsmusic

Instagram:

https://www.instagram.com/rewsmusic/

Facebook:

https://www.facebook.com/wearerewsmusic/

YouTube:

https://www.youtube.com/channel/UCqrzf8MKEmBbbyo3wpzkQGQ

SoundCloud:

https://soundcloud.com/rewsmusic

Spotify:

https://open.spotify.com/artist/4B06m6NJ8e5AnzIZNtZtta

E.P. REVIEW: Signal - Progression EP

E.P. REVIEW:

 

Signal

PHOTO CREDIT: Steph Brown Photography   

 Progression EP

9.5/10

 Progression EP is available at:

https://open.spotify.com/album/6ioLiXqaPlLUZeghGz8xaq

GENRES:

Rap; Hip-Hop

ORIGIN:

Basingstoke, U.K.

RELEASE DATE:

11th August, 2017

TRACKLISTING:

Progression

What Goes Around

Down

Something to Say

Basic

Down, Part 2

DOWNLOAD:

Down; Basic; Down, Part 2

STANDOUT TRACK:

Progression

EXECUTIVE PRODUCER:

Jay Picasso

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THE reason I come back to certain artists...

is the fact they have progressed and are doing something great – since I last headed their way. Avowedly dedicated to promoting the best and most progressive music; it is back to Signal and an artist who has made big strides over the past few years. I will come to him specifically in a bit but, right now, wanted to address the Urban explosion and how vital those genres/styles are. I will take a nod to originality and the development of Hip-Hop; collaboration and economy – when not too crowded but essential to the flow – and freshness music needs to remain relevant. I will take a gander at British artists rivaling American sounds and acts putting their first E.P. out – finishing by taking some time to examine London and artists who have a proximity to the capital. It is interesting the way music has transformed the last year-or-so. I have been watching closely but am seeing a shift in more mainstream tastes and those artists on the periphery. If one considers a time, not long ago, when Pop used to rule the roost. Now, could you not argue, it is those of Hip-Hop/Rap that is starting to make the bigger impression. I can extend that to Grime and see a clash between British and American styles.

PHOTO CREDIT: Steph Brown Photography 

Of course, other acts like Sampha are not really in the Hip-Hop mould but, through his beautiful and personal songs, speaks the truth. Truth is an element essential when it comes to making genuine and long-lasting music. I find it is Urban artists articulating this in a fascinating way. One album that has sparked my mind this year is Dizzee Rascal’s Raskit. It is a return-to-form for the Bow master – someone accused of lacking edge and potency his past couple of albums. His sixth is stripped-down and returns to the kind of sound that made him a star – back when Boy in da Corner arrived in the world. Raskit is such a stunning album because it documents the struggle and divisions in the country but has that central voice that gets into the heart. Dizzee’s lyrics are as sharp as ever and always amaze me with their confidence and intelligence. He is a writer that is capable of mixing humour and savage attack and keeps his messages on-point. I cannot urge people strongly enough to get hold of the album and see what I am talking about. In any case; it is artists like him that are defining this year. Grime is a genre that has always been underground and, hearing acts like Signal rise, there is hope it will get wider appeal very soon. Naturally, Dam Amps’ alter-ego is more Rap/Hip-Hop but there is that grittiness and street-level mandate one hears in Dizzee Rascal’s work. Any artists who speak from the concrete and highlight that is happening around them, in some way, can be seen to be Grime. One of the things that amazes me about Signal’s music is the self-confidence and ambition in the music. The songs look more at sexual amore and artistic ambition; nostalgic nods and the voice of a man making his way in the world – maybe he will look at political issues and societal breakdown in future releases. I will come back to this later but, right now, a quick look back at Hip-Hop.

PHOTO CREDIT: Alex Sunshinesoul Douglas

I have mentioned Dizzee Rascal but, in guidance and example, I can bring in others like Loyle Carner. He, like Signal and Dizzee, are part of a spectrum of British artists that is taking control and showing the mainstream the possibilities of truly original and meaningful music. What impresses me about Carner’s (Mercury Prize-nominated) album, Yesterday’s Gone, is the way the young maestro talks about where he comes from – and where he is going – but fuses it with extraordinary scores and some incredible stories. It is such a confident and developed work for a young man on his debut record. One gets swathes of Jazz horns and some breakbeats; tales of working-class struggle and music not evolving sufficiently – tales of fakes and posers; modest and charming allusions to the importance of his mum. It is a mixed and busy album that, in my mind, should win the Mercury. I mention this because; in the way Dizzee is carving back territory and reclaiming his Grime crown: Carner is a leading light in the British Hip-Hop scene. There is no denying these two are part of a large scene that is taking dominance away from the mainstream artists – those manufactured and over-calculated. The naturalness and confidence one hears in Signal sits alongside contemporaries like Loyle Carner. What makes Signal intriguing is the fact he sits alongside other Hip-Hop artists but seems to straddle American and British sensibilities; has that confidence and ability to get people involved. BBC Radio 6 Music has recently put a feature out on Hip-Hop and the fact it turned forty-four. It is interesting watching the evolution and albums that have made the genre so important. I am a big fan of Hip-Hop and wonder whether, given the state of the world right now, we will see a lot more artists come to prominence. We require artists that can talk about what is happening in the world but, in a sense, produce some form of escapism. I find so much of what is happening in music bland and uninspiring right now. It is not good enough producing songs that seem to be good and have a quality to them – there are so many artists providing wishy-washy sounds that fade into obscurity. With many artists being accessed of lacking originality: I am pleased Signal has produced an E.P. exciting, consistent and fresh.

I have not mentioned collaborators in the credits of the Progression EP. One can go to Spotify and find out – and I shall mention them when reviewing – but it is interesting seeing the names Signal brings into the work. Producer and friend Jay Picasso features on most of the tracks. Blizzard arrives on the final track; EClipse makes an appearance and Chelsea Jade has a stunning turn. Like Dizzee and other artists of that ilk; Signal manages to recruit other voices but does not make the work too crowded. One of the reasons Dizzee’s music was getting flack – especially The Fifth – is the fact too many players were in the mix; the music was being watered-down and Pop-like. Now, on his follow-up, he keeps his voice true and singular but manages to introduce a few others into the mix – an album that is very much Dizzee’s voice but has some welcomed (outside) additions. I have been following Signal since the start and know how keen he is to ensure his words and voice is the ones that stick in the imagination. He does not want to be one of these artists that recruit legions of singers to help make his music pop. Progression EP benefits from having a few other vocal sounds but does not suffer from being too crowded and bloated. I am writing a piece this weekend that strikes against artists that have so many cohorts in their songs. I am finding, especially with Rap/Hip-Hop/Urban sounds, one discovers songs that have endless names on them. I see no point having four or five people on a single track. It means the central artist gets overlooked and those collaborators are not adding anything worthy or necessary. I agree we need to have duets and combine artists but there is an insanity cramming as many people into a song as you can. Signal, on his E.P., brings in the perfect number of bodies and those who naturally fit into the sound. He has bonded with these people and knows they will bring, as they do, quality and relevance to his work. It is not a lazy sense of tossing other people into the music – a carefully considered approach that ensures the songs get that extra bit of quality and potency. That is something other artists should learn from and it would have been so easy for Signal to have endless collaborators in every song. Luckily, it is the man himself who stands out and makes that huge impact. I will address this more in the conclusion but want to talk about Dan Amps’ attitude to work and promotion.

PHOTO CREDIT: Steph Brown Photography

I see his social media feed and get the impression of a young man for whom success and longevity mean everything. He does not want to be in music for a few years: there is the desire to remain and inspire for a lot longer. I know this will happen because he keeps promoting and pushing his music out there. He does not let a team do all the promotion and sit back: constantly engaging with the public and ensuring his songs get an airing. I have seen photos of him at charity events and playing clubs; niche events and strange nights that ensure, in some way, his music gets to new crowds. On social media, there are lots of updates and photos of the man. One of the biggest gripes I have about musicians is the fact so many ignore the relevance and importance of photos/images and updates. They think remaining anonymous and modest will get them into the public forum. This is counter-logical argument and one that really annoys me. There is no such problem when reviewing Signal. His music is fresh and explosive; his social media is well-stocked and he is someone that provokes plenty of thought. I am pleased he has this energy and is not lacking any drive. Few artists have that same level of determination. Let’s hope this all pays massively as, I think, there is a lot more from the man. He started at local-level and playing around Basingstoke. Gaining attention from the local press – every article complete with cringe-worthy ‘signal’ puns – that backing has given him the impetus to push and provoke. The ambition and determination from Dan Amps mean he does not want to remain a local hero. He is still based in the same area but it is only a matter of time before he makes a permanent move to the capital. That is something I will talk about but, looking at Signal from start to finish; it seems the prodigious work-rate will reap rewards. I have mentioned how the artist plays different clubs and gets his music to a range of people. Campaigning around the South; I wonder whether Signal has the promise and appeal to get his music heard further up the country. I know there is a big demand for Rap/Hip-Hop and those acts that strike hard. I am interested seeing where Signal heads in the coming months but he is gaining kudos and respect in London.

I feel those who live away from the big cities will struggle for any true and worthwhile attention. One needs to supplement that sense of detachment with a healthy and consistent attitude to work – getting the music in as many hands as possible. Signal is spreading the word and making sure Progression EP is played and spun by a range of stations. I know the songwriter is keen to get international exposure and can only imagine this will be around the corner. He is taking such an impressive and impassioned approach to promotion that that attention is fully deserved. There are too many resting on their laurels and assuming the music will take care of business. Music is such a competitive and busy market; nobody can afford to relax and assume they will get success. It is beyond naïve to assume you are the best out there and do not need to keep getting the work out there. Signal knows this and, every week, is out to the people and delivering his messages to the masses. I have discovered few that rival his physical and determined ethos – someone who never relents and consistently engages with the people. That marketing and promotional attitude is not reserved for performance. I have mentioned social media and how Signal puts status updates and photos out there. One cannot deny how effective a marketing tool social media is and why acts need to keep theirs refreshed and relevant. Signal has provided fans updates on his E.P.’s release and always ensures one is informed and happy. Giving some great images and nuggets of information: a guide on how it should be done and why so many artists are struggling to gain recognition (if they do not do the same as him). I shall end this section but wanted to nod to a young man who has that approach to music. It means everything and you can just tell it is not about the streaming figures and awards. Sure, those are part of it but the main objective is to get his personal and stunning songs out to the fans – making sure they hear them and understand where Signal is coming from. He does not write for the charts and record labels. Here is a pure and personal artist that wants to forge a career and mark himself as one of the biggest voices in British Hip-Hop. Because of this, the promotional campaigns and engaged strategy is coming from a very good place.

I have talked about freshness and how the best British albums of this year have been marked by a sense of purpose and originality. One cannot underestimate how important it is providing the public something new and unexpected. Signal’s E.P. is raw and essential. It brims with life and has sick and slick raps. It is a work that projects images and clear designs; words that remain in the mind and performances overflowing with ability and confidence. It is not a work that works by-numbers and follows anyone else. The best albums of this year – Loyle Carner and Dizzee Rascal among the leading pack – have that edge and attitude that elevates them above the (boring) mass. The determination and allure of the central voice mean every song engrains itself in the imagination and lasts for a long time.  I am still spinning Raskit and Yesterday’s Gone. They are works that sound new and are hard to compare with anything out there. Among the indeterminate sludge and bulk of run-of-the-mill artists out there: that desire for something proper and decent obsesses my mind. I am pleased Signal has released his Progression EP and is making a stand. He is someone who gets where I am coming from and has such a sense of dynamism and attitude. I love his music and cannot wait to see how his stock rises. Here is a young man who has worked his way from the local clubs and is making strides in the capital. The only way music is going to progress and inspire the new generation is if we have a look at what is being put out – and whether we are seeing too many sound-alike acts and vague artists. I hope Signal gets a bigger reaction in the coming years because his music warrants incredible passion. he is putting the legwork in but there are countries and corners to be conquered. Right now, he is going a long way to ensure those plaudits come his way.

Let us consider, before coming to the E.P., those artists that put out an E.P. and are relatively new to music. This is not the first offering from Signal but it is his first ‘big’ work. His Make It Happen E.P. was out last year but I feel this is the E.P., now, that represents his true sound. I love Make It Happen but feel Progression EP is the young songwriter at his peak. In any case; he is fairly new to the blocks and it is always nervous and unsure putting that E.P. out. You are never sure how it will fit into the market and how it will rival your peers. I will combine two points and look at America vs. Britain when it comes to Hip-Hop and Rap. Okay, well…it seems there is a clear gulf, in terms of sound and quality, between British and American artists. In terms of the Hip-Hop/Rap coming from the U.S.; there is a lot more quality and durability, in my mind. Maybe it is the fact the artists are more hungry and angered – given the race riots and political divides there – or those genres are more established and better supported. I have name-checked a couple of British artists that are making sure our Hip-Hop scene is kept busy and alive. We are better at Grime than the U.S. and have a lot more agile and appealing examples – I am not sure whether Grime is that big in America. What strikes me about the two nations is how the mainstream best are so far ahead in America. The newer scene is a little closer but when you look at those established acts: it is America that is ahead of the pack and showing how it should be done. I am not sure the exact reason behind this but maybe it is as simple as talent and media support – the writers and music journalists giving proper affection and support to genres like Rap and Hip-Hop. I will come back to this more but, in a way, abandoned the E.P. debate I started. Progression EP is Signal’s second E.P. (I think) and shows he has made changes and grown in confidence. Signal has sharpened as a songwriter and bringing more compositional elements into his sound. The privation of quality in the music industry is worrying but we must champion and celebrate those artists like Signal – not only original and impassioned but able to improve and grow with every new release.

My last point will be about London and how, given his closeness to the capital, it seems like a natural stopping-off point for Signal. He has gigged a lot around Camden and other areas so it only seems natural he will spend more time here in the future. Whether you live close to London or not: it seems like the Mecca for anyone who wants to make a stab of music. Manchester is another essential base so, if one can get themselves to either; that goes a long way. I cannot understand why many overlook London and understand that is where music’s heartbeat is loudest. There are few that have the same talent and attitude as Signal: London seems ready-made and waiting. I am sure it is part of his design but, given his new-found attention and developments, maybe basing himself there would be a sage move? He has access to like-minded peers and so many great venues. He has a love for Basingstoke and will not forget where he came from. There is a definite need for the best Urban artists to stand up and tell it like it is. I have mentioned, and will do still, how Signal talks about the personal and, in a lot of cases, sexual – this might change on future E.P.s. He is at the stage where he is addressing youth and the daily life of a Rap/Hip-Hop artist. It is the sound of a cosmopolitan and worldly chap that has such curiosity and hunger. This cannot be satisfied and fully fed living outside of the capital. It is good he lives so close by but one can tell how much affection and connection Signal has for London. Maybe he will move himself there soon but it is interesting how artists change and grow when they get to London. There is that opportunity and breadth of people; the world at your feet and so many waiting ears. This is something Signal needs to consider because, I think, his music has that appeal and enormous potential.

Racing out the blocks is Progression. The E.P.’s title-track has bubbling beats and electronics. It has gorgeous backing sounds and urgency that leads to a fresh and bouncing vocal. Signal talks about performing in Camden and spending his days dreaming of bigger things – Wembley and getting those huge gigs. Looking back at 2016 – and the promises he was making and dreams he had – there is this renewed desire to make it big and be among the chasing pack. The “verbal grenade” is being thrown out there and the young songwriter is laying down his messages. Life is hard and it is a struggle getting your name out there. Signal is humble and modest but has that ambition at his heart. He recognises how he is mentioned in the back pages – a bit too mouthy or controversial at times – but it getting love from contemporaries like John Newman. This progression means he is going from the local press and getting talked-up by some of music’s hottest new artists. Little kids and players are trying to attack Signal and take his crown. He is not taking this and, above it all, promoting progression and common sense. Jay Picasso adds backing vocals and adds weight to a song that perfectly kick-starts the E.P.

After talking about not giving up and being determined: What Goes Around has a sharper and more attacking vibe. It seems to address a karmic vibe and those people who diss Signal. The man’s girl has been checking his (Signal’s) socials and liking photos. She has been respecting his rhymes and seems to be into him. Maybe the man in question has been slagging-off Signal and claiming he is a bit weak. There is a sense of battling a foe or someone who is not treating Signal with respect. Name-checking Carrie Fisher – showing this is one of the most-recent songs written – it is a track that has lush and busy production. There is so much going on and the man in question is chasing a dream. He is cutting back on costs and tightening his wallet. Starting with the “same team”; he has been working for nothing and preparing himself for the mainstream. This work ethic can determination will see the balance being redressed. It is a bold and confident attack from a young man who knows his time will come. What goes around, it seems, will come back around. That single-minded approach to success and triumph makes the song one of the standouts on the E.P. It is a club-ready anthem that many people can relate to – those who need to have the strength in their bones to know things will work out.

PHOTO CREDIT: Steph Brown Photography 

Down, a previous release, is one of the finest works from Signal and one that drips with sweat. Playing a bit of Ken and Barbie – smoking weed in the penthouse – there is that sense of chase and success. Our man is pursuing the girl and keen for some side-boob action. He, with EClipse as the heroine, is documenting a single night where he is getting the girl into bed. The song casts away from the business of success and musical ambition and goes straight to the groin. It is another confident and energised song that crackles with tripping beats and an incredible lead vocal, Signal lays down his intentions and touches his body to the girl’s. EClipse adds sweetness but there is a raw and hungry attack from her performance. It seems they are evenly-matched and there is that inevitable coming together. Rather than present a crude and simplistic account of a one-night-stand; the hero teases and adds exposition and explanation. He is texting and sending cheeky messages; guiding her to his room and charming with that wit and confidence. Mixing great wordplay and memorable lines – Sega and Mighty Morphing Power Rangers; the man sticking his sword in her “chamber” – it shows Signal is an original and exciting lyricist. EClipse is not giving herself away that freely but definitely wants something to happen. It is a great clash of voices and personalities, one expects, ends with an inevitable coming together. Always slick, controlling and oozing charisma – the song has that blend of sexuality and tease. It is a very modern-sounding song – some processed vocals and club-ready production – and could easily slot into the mainstream. What separates it from the lesser example out there is the addictiveness of the song – and the talent of Signal. It weaves into the brain and one will sing the song long after it has ended.

PHOTO CREDIT: Steph Brown Photography 

Something to Say offers another dimension and story. The man comes back to hopes and dreams. Studio fees and the BBC are mentioned. Signal, in five years, wants to me selling-out venues and making a go of things. He does not want to be chained to a desk and someone who cannot be confined and defined. A dope and epic performance from Signal – a song that gets right into the brain. It is fresh from the streets and shows there is no short-supply of ability and confidence in the artist. He knows where he wants to go and, with Picasso’s production and guidance, creates a song that swaggers and sway. It is one of the more hard-hitting and bold songs on the record. It has catchiness and captivation that means it is another standout. The testament of a songwriter who does not want to limit himself or play it modest. He has the ability and agility and wants people to know that. It is a song that brims with determination and a clear view. There are processed/strange vocals that add a deep-voiced allure to the song. It is a tough and ready song that flexes its muscles and drives the streets with speed.

Basic, bringing Chelsea Jade into the E.P., starts off with some calm and beauty. Signal comes to the microphone and it sees the hero casting off fake friends – a new mate needed and looking back on easier times. Back in the day, when it used to be simple and easy, Signal had that promise and hope. Weed used to grow in the garden and it seemed like life, at times, was hard. MCs moved from Reading and torched the man. Megadrive and Sega is back on the scene and we get a view of Signal’s life – and the people that came into the life. Illegal drugs and club nights are laid out; attacks and those trying to put Signal down. It is a song that challenges all foes and shows the king will not be put down. Chelsea Jade comes in and provides a relaxed and beautiful vocal – one that adds needed control and calm to proceedings. It is almost a two-hander between lovers and explanation where they both came from. Signal mentions his hometown and where he came from; how things have changed and the way life has changed over the years. He is in a better place but it seems there are plenty of challengers who want to take him on. Chelsea Jade looks at bitches around her and people who want to degrade her. There is a slight mystery to the song and whether Chelsea Jade and Signal are lovers taking on the world – or from two different sides of the tracks. A fascinating song that adds another dynamic to Progression EP.

Down, Part 2 brings Blizzard and EClipse together on the swansong. It is another interpretation of the song and provides fresh insight to the lyrics. Maybe it is the heroine bonding with another man and moving away from Signal – the same ideals and conquest but with a new man. An interesting take and song to end things on but it is good to see Signal give the reigns to others and ensure they bring the E.P. to its conclusion. Progression EP is a deep and challenging work but one everyone can appreciate. I hope, in time, Signal tackles issues around him and the affliction the U.K. – the same way Loyle Carner and Dizzee Rascal are doing. His latest E.P. addresses success and the way he has made his way from the basement. Songs look at successes and conquest – either in music or the bedroom – and show there is a need to be better and bigger. The hero knows what he wants and is out there trying to get it. Few can fault the quality and consistency throughout the work. The collaborators (and Jay Picasso) bring so many different qualities but it is Signal himself who defines the E.P. It is a stunning work from someone whose best years are still ahead. The lyrics and performances are slick and professional and the production ensures everything connects and hooks one in. A fantastic work that marks Signal out for big things.

I will end the review without revoking earlier points – as I have covered the songs quite heavily – and wanted to look at Signal’s future potential. He has gigs coming up but it seems like there is potential to get the music heard up and down the nation. People like Jay Picasso are in his corner and, with his tutelage end expertise, can get the young man heard right around the U.K. I have mentioned how the world is waiting for him: Progression EP can be taken to heart by audiences in other nations. I am sure there will be albums and future E.P.s but, right now, it is exciting seeing a fantastic artist make those first steps. Signal has been on the scene a bit but is making his finest and biggest tunes right now. I have loved investigating Progression EP and the sheer confidence one hears throughout. It does not repeat what is already out there but reminds one of the finest Rap out there. Signal is a performer who is always in control and able to weave original poetry throughout. He talks about childhood and computer games but can mix that with sexual conquest and the desire to rule the scene. His spits and slams are primal and he has the ability to weave and alter his voice in accordance with the lyrics. The production is polished but has that raw skin: meaning the music is not too professional-sounding but everything comes together perfectly. Collaborators like EClipse and Chelsea Jade add to the dynamic and ensure various songs have nuance and allure. It is good seeing Signal bring others to the party but he does not make it too busy and crowded. I have explained a lot earlier and shown what makes Signal such a great artist. He has the talent in his heart and I can see him going very far. Progression EP is a fantastic work from someone who will continue to strike and evolve. That incredible work-rate is what makes him such a fantastic and promising artist. If Signal remains on-point and focused; he can get himself into the international consciousness. He gets a lot of love from the local press but I can see him going further than that. Let’s hope worldwide sources feature Dan Amps and give him some love. When that happens; it means his music will resonate with a whole new world and let’s hope, when that does happen, he gets the stardom and attention…

PHOTO CREDIT: Steph Brown Photography 

HE fully deserves.

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