TRACK REVIEW: WILDFIRES - Stuff

TRACK REVIEW:

 

WILDFIRES

Stuff

9.5/10

The track, Stuff, is available via:

https://soundcloud.com/wildfiresofficial/stuff

GENRE:

Pop

ORIGIN:

Manchester, U.K.

RELEASE DATE:

1st July, 2018

_________

ON this outing…

I am looking at a band that has got my mind thinking about things I have not investigated for a while. I will cover Manchester and the North in a minute; a little but about bands in general and how their sounds have evolved; female-led groups and how a greater diversity in the ranks adds something extra to music – a look at where WILDFIRES will head and what their future holds. I wanted to start off by looking at songs that relieve tensions and get the head swimming. I get to listen to a lot of sounds and you get a different sensation from each of them. Music has that ability to get under the skin and help you when you need it; it can ease tensions or raise the spirits. It is strange how deep music can go and what emotions it can summon. I listen to WILDFIRES’ latest cut, Stuff, and it filters into the blood and takes my mind somewhere else. I am looking, at the moment, for something that can offer a sense of direction and calm my soul. Things are a little tense and busy right now – with moving to Manchester and juggling work and personal life – and music is a way of trying to make sense of everything and provide stimulus. I have arrived at the feet of WILDFIRES and there is plenty in their music that offers guidance and calm. That said, listen to the vocal and its raw edges and there is excitement and exhilaration. I am one of those people who listen to music to feel better and nourish the mind. I can listen to songs in a casual way but I feel, for the most part, music is only meaningful if it can do something and provoke some emotion. WILDFIRES do that and, right now, they are playing quite an important part in my life. It is compelling how deep music can go and the joys it brings.

I will move onto another subject that I am keen to investigate but, looking at the Manchester-based band and there is something in their ranks that fascinates me. I am hearing a load of bands and solo artists emerge and play and every one of them does something unique. As someone who does not write music; it is wonderful listening to such quality come through right now. I used to write songs but have no musical ability myself. I always stand aghast with shock listening to the new breed and the sort of talent they possess. It is harder now, as opposed times past, to stand out and create something promising and purposeful. There are endless options and sounds – it is easy enough to fall into a familiar trap and mimic something on the market. WILDFIRES have their own flair and brew and are full of virtues and strengths. I mentioned how I seek out something from music to raise the energy and help me get through hard times. I am not sure how it happens but bands like WILDFIRES have that innate ability to make things better and, at other times, get the body moving and the heart pumping. Music, at its elemental best, has that power to speak profoundly or, at the very least, provide a beautiful distraction. I am searching harder now, more than ever, for music that provides real depth and meaning. There are so many artists out there who seem to follow the pack and are a little derivative. I understand how tricky it is providing original content but there are too many people out there, bands especially, unable to provide their own flavour. That is never the case with WILDFIRES. They wear a couple of influences on their sleeves but never show it too visibly. You only need to listen to a few notes from the guys to bond with the music and realise it emanates from somewhere new and fantastic. Stuff is a fantastic single that hints at future glory and shows what the band are made of.

I’ll come back to bands in a minute but I wanted to look at the North. I have talked about it a lot before and how there is a definite split between the South and North. In terms of exposure; you never really see as much fascination levied at the North as you will down here. I have been following music since I was a child and I have seen the changing face of the industry and the splits forming. The North has always been at the top and forefront of the business. I have name-checked the likes of Oasis and Pulp before – so shall not go down that path again – but it is amazing to look at a time when there were relatable, working-class bands who could speak about life’s realities and how things were for the average person. You do not have that too much and I feel a lot of that has to do with the dominance of the South. There are artists working away who have that common and accessible edge that reminds you of the better days. Right now, there is more music available than ever and it is hard to see where it might head. I feel there are so many great northern artists around but we still tend to stare too hard at the capital and music coming from the South. There are journalists in the North who are promoting local talent but the mainstream media still has a long way to go. I am not suggesting we dedicate features to artists in the North but there should be more balance and exposure. With groups like The Orielles coming through and showing what promise there is in the North; can we really avoid artists from areas like Manchester and Yorkshire and keep focusing on the same old stuff? I understand why London gets a lot of love but I know how many great artists there are in the North. Going back to my point about relatable and working-class music and you tend to get a lot more of that up North.

At a time when the nation is splitting apart and we are not sure what the Brexit deal is; it seems we have a long way to go before salvation and repair comes about. I worry we are heading somewhere frightening and those in power – the posh and middle-class – are sending the nation into a hole we might not be able to climb out of. I am looking back at interviews conducted with various figures in the media and they ask whether Brexit and the turmoil we have now is a result of a lack of support in music. By that, I mean there are not enough voices who document the realities of Britain and what it is like for regular people. Not that WILDFIRES produce political commentary or music like Pulp’s but they have a sound and brilliance that shows what is happening up North and how good it is. If we hear more of it – and the media puts it into the fore – then people investigate the wider landscape and what is happening in that part of the U.K. In any case; we need to get out of this headspace that states everything from the South is brilliant and there is not a lot up in the North. Yorkshire, Manchester and Liverpool are full of great artists; throw some love up to Scotland and you have some great musicians coming out of Lancashire. You do not need to look too hard and I feel, if we did that and the media were more ambitious, we would get a more balanced industry and a far stronger one. I shall move on from this point but I wanted to urge those in a position of strength to realise we need to look at the past – and what happened in the 1990s – and encourage a more balanced and level music industry. There are artists out there speaking about politics and social concerns; those who have an honesty and special magic – they have to fight harder than artists closer to the capital or those nearer the mainstream.

I am moving up to Manchester and know how strong the music scene is up there. The locals are very supportive of the artists coming through and there is so much for people to see. With a range of great venues and a community spirit that backs brilliant music and culture; WILDFIRES are in a great place and a perfect spot to see their music get some serious love. I wonder whether they will play down in London a lot – I will mention that later – and get their music up and down the country. I have been following WILDFIRES for a bit and, although they have only released a few singles, I can see how they have come on the new aspects thrown into the mix. Stuff shows them at their most determined and complete. I am excited to see how they will progress and evolve and what comes from them. The very best artists are those who have a closeness and sense of understand but are willing to experiment and venture into new ground. WILDFIRES have that sound that reminds me of Pop-Punk bands of the 1990s (a little bit of Kenickie spring to mind) and that brew of seriousness and fun. You get the fresh and exhilarating vocals and solid band performance. I have seen WILDFIRES launch themselves in the world and grow ever-stronger with every release. I often look at the band market and wonder whether there is going to be any growth and change. Solo artists are stealing a lot of the focus and it seems like their dominance is not going anywhere any time soon. Bands are making a bit of a resurgence but I feel too many of them are either going for generic stadium sounds or there is too much electronic input. There are some great bands like The Orielles, Superorganism and Hookworms but they are in a minority. It is a shame because, with those bands I have mentioned; you get so much depth, beauty and songwriting excellence.

It is hard standing aside and getting into the mind. I feel solo artists have a better time and it is easier for them to be nimble and expansive. Bands are often confined to a certain sound and each member has to be happy with the direction and what is being produced. WILDFIRES have a unity and closeness in their ranks that means every decision and song gets a majority vote and there is not that split. They have all been raised on great music and do not aimlessly and lazily follow what is already out there. The guys take from local sounds and look back at their childhood tastes; they write about what is happening in their lives and create a heady and exciting concoction. I am getting more and more excited about bands and keen to get them to the forefront. I have grown a bit weary of Alternative and Indie bands because a lot of them go for maximum volume and stadium-sized sounds – it often blends into one and lacks necessary intelligence and memory. Pop can have that same effect but there are some bands coming through that splice in various decades, elements and sub-genres. I feel WILDFIRES have that ambition to take their music around the world and inspire the next generation coming through. You can sense they have a desire to play big venues and arenas but they are not going to compromise their individuality and ethics and go all Rock or mainstream. One thing that amazes me about the songwriting is how you recall some epic bands of past but it is fresh and new at the same time. That is a hard balance to perfect and something WILDFIRES do very well. I understand most bands are all-male but, in terms of vocal sound and the overall feel, you are very limited and often yearn for something different and more varied. This is another reason why WILDFIRES get to me and why their music communicates something quite special and wonderful.

The Orielles mix male and female vocals and, though I have mentioned them a lot, there are many other bands that have female vocals at the front. From False Advertising and YONAKA through to Goat Girl (all-female) and Superorganism. The all-male bands are great but there is something special about the female voice that goes a bit further and does a lot more. Pop-Punk is a genre that has never really lost its spark and I feel it is at its strongest when you have a female lead. Look back at the riot grrrl movement and the artists that came around in the period. Although they were more Garage-Punk; you had great bands like Bikini Kill who provided spark and explosion but had Pop edges and plenty of melody. I feel that is the secret to creating unifying and properly special music: a strong female lead and a band that have a balance of granite and Pop. I mentioned how we had a great band movement back in the 1990s that inspired a generation and actually spoke about what was happening in the nation. I feel we need that same sort of revolt and uprising in modern music that can make sense of what is happening and get people together. I am not saying WILDFIRES alone can do that but there are fantastic artists out there who seem a lot more grounded and tangible than those in the mainstream. I shall not labour that point further but it is interesting to ponder. I am attracted to bands that have male and female members because you get different perspectives and a more rounded sound. Let us consider the current bands market and the imbalance between all-male examples and those with female members. You have the option of sweetness and spark you will not get with men alone. In order for music to expand and progress, we need to encourage greater diversity and showcase bands that go beyond the obvious. We are still stuck in this mindset the all-male band that turns up the amp and cranks out the guitar is the popular dollar. Whilst they may fill stadiums and provide a short-term blast; those bands that linger longest and have more about them provide a lot more than riffs and familiar choruses.

It is interesting to note how many all-male bands there are and how the band market is experiencing a slump. I am not suggesting that is the only correlation causing the problem but there is a definite link. Too many bands are playing the same sort of music and not really pushing the envelope in a way the public demands. WILDFIRES have enough fire, magic and mystery to go very far in the industry and provide fresh music that blows away the cobwebs. When looking at the band scene and where the new breed of brilliance will come from; I feel Pop and Punk will overtake Rock and Alternative and start a new movement. I have argued about the North and how we need to concentrate more of our time out there. I hope I have covered enough ground and explored WILDFIRES in great depth – I have every hope they will go on to great things. My point is we all need to look harder at music and get beyond the capital and what is coming from there. It has been a long time since I got excited about band-made music but things have changed the last year or so. With great Punk bands like Cabbage and IDLES flexing their muscles; the mass of brilliant Pop-Punk mixing it up and getting their music out there; I feel we are seeing a bit of a recovery and, in a few years, bands will be back on a par with solo artists. WILDFIRES get me excited and their music stays in the brain. You can sing along with them and get up and move. That is not to suggest they are throwaway and too Pop-minded. The spunk and physicality they bring to the plate is what keeps me invested and hooked. I have talked a lot about the band and where they are from; what they are all about and the brilliance they bring. I better get on to WILDFIRES and their latest single, Stuff.

There is plenty of energy and spinning when you hear the opening notes of WILDFIRES. Guitars weave in and out of one another and you have a definite spring in the step. There is light and sunshine but something more spiked and rousing working alongside. In the first few moments, you have so much to get behind, dive inside and fall for. The notes twinkle and dance. You feel yourself swinging your arms to the side and strutting down the street. There is a definite smile on the face and an openness that invites the listener in and keeps them safe. That might suggest there is not enough punch and grunt to get everyone involved. The strength of the song is to provide something quite breezy and calming but there is plenty of physical oomph and kick to unite those who love Pop and those who prefer something a bit different. The introduction is wonderful and you project all sorts of images and place your mind in a particular place. Nathan, Si and Ste step up the musical intrigue as Poppy-Jo comes to the microphone. The heroine has a breathy and seductive voice that reminds me a bit of Hope Sandoval. There is a bit of Nina Persson (The Cardigans) in there too but you get local accent and something more street-wise. It is a blend of sexy and strong that fuses with sly and winking. By that, I mean the heroine has a very down-to-earth nature but there is cheekiness to be found. She hopes and wishes to be the richest girl in the world and give everything to her other. Maybe it is the first moments of a relationship but it seems, as the title suggests, she only has some stuff and various bits and bobs. It is an interesting and new angle to explore and one I was not expecting. So many artists look at love and relationships in a very staid, cliché and boring way.

WILDFIRES seem much more grounded, earnest and unique when it comes to their approach. It is like you are in the heroine’s bedroom and seeing what is strewn about the place. Maybe there are some older guitars or some vinyl; a few trinkets and souvenirs here and there. One gets some male companionship in the vocal department – acting as a two-hander in a sense – and there is a stock check of all the things the heroine has. She has clothing with holes and tears here and there; footwear with scuffs and nothing seems complete and new. You get a vivid and colourful sense of what is in her flat and what she has to offer. Maybe it is an honest revelation to a lover or a general observation of what she has in her life and how humble the setting is. You get some cigarette-scented huskiness and whiskey-soaked sensuality sits alongside a soulfulness and sensitivity that gets into the heart. The heroine wants to give the world but is offering her kingdom of scuff to the hero. She lives a very normal life and there are few riches to be found. It is interesting interpreting the words and it juxtaposes a lot of Pop music that highlights wealth, a desirable life and something many of us cannot understand. You can get behind Stuff and what is being said. The closest comparison to WILDFIRES, I guess, would be The Sundays. Their 1990 album, Reading, Writing and Arithmetic is seen as one of the finest records of the decade and is a perfect blend of Pop and a strong backbeat. WILDFIRES provide a similar unification of dreamy and spirited vocals and great percussion. They throw in keys and synths alongside guiding, strong bass and their proprietary perfume. It is a heady and extraordinary scent that fascinates the eyes and ears and makes you come back. The catchy chorus is, essentially, that list of incomplete clothes and imperfect threads. By the final notes, you come back to the song and try and get to the bottom of it. The modest heroine is being honest about her possessions and what she has to offer. You are behind her and feel sympathy but that is not the point of the song: it is that juxtaposition of the glamorous and bling-laden songs you get and that ‘idealistic’ love song. It is like two teenagers at school starting a courtship and visiting each other’s rooms – not in a sexual way but a more innocent sense. You get that combination of serious and sensual with the child-like and simplistic. It is a great offering from the Manchester band and proof they are among the very best groups in the North. Ensure you give it a good listening and dive into the beautiful and intriguing song. Stuff is a mouth-watering offering that will provoke questions whether more is coming and where the band is heading.

I will reinvestigate WILDFIRES later in the year perhaps but I think the guys have a busy and active time ahead of them. There is a lot to suggest they have a long future and will be touring around the world. They have local gigs coming up and will be busy this summer getting Stuff out to the people and getting as much love as possible. I am stunned by their latest work and how effortless it gets into the head. I hope the band get a chance to come down to London and play some gigs here. I feel they have international potential and can get a lot of attention through Europe and America. I am excited for them and wonder whether an E.P. might come before the year is out. A lot of new ears will train their way and there is evidence to suggest WILDFIRES will bring about some changes in the music industry. Looking to 2019 and I feel WILDFIRES will head to some festivals and get some bigger gigs. I know they are a great live proposition and one of the best young bands working today. Maybe the secret is to mix Pop, Punk and other genres together and provide a personal aspect. It is hard to decipher what makes a ‘perfect sound’ but I feel you need to balance the upbeat and serious; have some Pop edges and crank up the intensity when the moment calls. There is a fantastic bond in the band and you can hear the closeness in every note. The WILDFIRES guys are a democracy and you can hear how much music means to them and how important this is to them. I know they will last a long time and there is going to be more material arriving. I hope I have covered enough ground and explained and explored WILDFIRES sufficiently. I recommend people get involved with their music and listen to Stuff. The Manchester-based band has a great local following but it cannot be long before the capital’s taste-makers prick up their ears and…

THROW love the way of WILDFIRES.  

___________

Follow WILDFIRES

Official:

https://www.wildfiresmusic.com/

Twitter:

https://twitter.com/WildfiresMCR

Facebook:

https://www.facebook.com/wildfiresmanchester/

Instagram:

https://www.instagram.com/wildfiresofficial/

SoundCloud:

https://soundcloud.com/wildfiresofficial

TRACK REVIEW: Fil Bo Riva - Time Is Your Gun

TRACK REVIEW:

 

Fil Bo Riva

Time Is Your Gun

9.3/10

The track, Time Is Your Gun, is available via:

https://soundcloud.com/fil-bo-riva/fil-bo-riva-time-is-your-gun

GENRE:

Alternative

ORIGIN:

Berlin, Germany

RELEASE DATE:

6th July, 2018

_________

WHEN looking at Fil Bo Riva…

PHOTO CREDIT: Juliane Spaete

I wanted to look at a few different things. I will speak about solo artists who, although they work with other musicians, have a split between isolation and being buried in the world – how the solo male artist is making a comeback and we need to see those idols come through. I’ll also address those artists with a more romantic and cinematic mind; musicians who travel and spend time in different nations; revealing a bit more on the page and showing the listener where they came from – I will talk a bit about bridging gaps between E.P.s and albums and how artists find their inspiration for songs. I am reviewing a lot of solo artists but, for the most part, they tend to be female artists. I am assessing men in music but it is harder for them to stand out on the band. In fact, more than ever, the solo artist needs to stand out and register in the mind. It is possible to stand out and stay in the brain but, in a packed and hectic scene, that is becoming more difficult by the day. Bands are fuller and they tend to hold more potential in the eyes of many – bigger sounds and more emphatic. I have always held a lot of affection for solo artists because they have to shoulder all the burdens and tasks of their career without anyone else’s help. Fil Bo Riva has a lot of lure when it comes to attracting new fans – which I shall address soon – but the young man has the ammunition to succeed. Many of us have to go through life and make sense of the bad experiences and the good. The way I see it is the solo musician can channel those times into great songs and stories. Fil Bo Riva collects together his time on the road and personal encounters and filters it into rich and stimulating music. The reason why I feel the band struggles against the promise of the solo artist is what the market expects from them.

Bands are often primed to have that festival-ready sound or they need to produce something big and bombastic. I know there are bands that can succeed by writing intelligent, softer songs but it is becoming harder and harder to separate yourself from the pack. Bands also have the challenge of creating harmony and balance in the ranks. They have members who might be on a different page and it can be quite hard compromising and finding common ground. Solo artists can create as they wish and do not have the issue of disagreement. They can also bring in other musicians, as Fil Bo Riva has, and make something fulsome and colourful. One of the reasons I wanted to mention this topic is male solo artists have to, at the moment, fight against that Ed Sheeran-like impression. Any songwriter with sensitivity and a guitar is, to many, compared to Sheeran. There are other mainstream artists culpable but the male singer-songwriter is much more interesting than an acoustic guitar and love songs. Fil Bo Riva brings in fantastic instrumentations and lyric ideas to create something heady and scenic. I feel we get it into our heads the male solo artist is going to be quite limited and not have the same clout as a band. Maybe the acoustic artists and hollow Pop artists of the mainstream have blurred our senses. Look out at the scene and there are many riches to be discovered. We are in a position where artists have more at their disposal and they have a history of music to pick from. I maintain the female solo artist is more interesting and fulsome: the male songwriter is on the rise and there are some fantastic examples on the market right now. One of the reasons Fil Bo Riva strikes my ear is a unique and personal sense of songwriting. He does not write to please labels or fit into some sort of niche. He is a pure and instinct-driven musician who fuses dynamic and dreamy guitars with diverse vocals.

PHOTO CREDIT: Mario Simic

Time Is Your Gun is the third single from the songwriter’s upcoming album. There are a lot of exciting times ahead for Fil Bo Riva and he has a lot of the world to see. One of the contrasts you get with a solo artist is being isolated and alone and having the world at your feet. With Fil Bo Riva; he gets the time to hunker in the studio and dedicate some time there. The musician loves being in the studio and seeing songs come to life. With a select bunch of musicians and other bodies; he can work on songs and build them gradually. Fil Bo Riva is someone who loves being in the studio and seeing the music come to life. Music leaves everything else at the door and focuses on the task at hand. The young man loves music and everything one can get from it. He gives his all to it and, in return, provides the listener with something incredibly direct, moving and engaging. I mentioned the contrasts and how solo artists have the chance to explore the world. Although Fil Bo Riva is a solo artist – many might be confused by other bodies in photographs – he works with other musicians on stage and allows his varied and kaleidoscopic sounds to expand and flourish. It can be quite lonely and hard for a solo artist and it is a lot of hard work succeeding and getting your career off the ground. Many find it too challenging and hard to keep pace or suffer from disenchantment. That passion and focus has to shine through and one must not lose sight of why they are doing this. Fil Bo Riva is someone who loves making music but he connects with the people and, I suspect, loves nothing more than being on stage and getting his music to big audiences. It is a heady and vivid experience being a musician today.

PHOTO CREDIT: Juliane Spaete

It can, by contrast, be suffocating being on stage and having that huge reaction from the crowd. Fil Bo Riva takes his experiences and stories from the stage and takes them into music. Fil Bo Riva was born in Rome but spent time in Berlin and Dublin – I will talk about that in a bit. It is the curiosity of the world and the need to take the music far and wide that makes Fil Bo Riva such a fantastic proposition. I stated how it is hard for a solo artist because we have an impression of who they are what they should be about. It is easy to get the impression they will all be quite dull or sound the same. That is true with many: in the case of Fil Bo Riva; he provides the strength and passion of a band and puts his entire personality and mind into the music. There is so much working away and there for the uninitiated listener. There is nothing to suggest Fil Bo Riva cannot claim big glory and become a mainstream artist. I say that because of the energy he has and how he puts his all into creating. The world of music is a vast and bustling one – you need to be steely and defiant to survive and get to the top. Fil Bo Riva balances being in the studio and crafting songs and being on stage and seducing audiences. The solo artist, I feel, will make a comeback and get the same respect as bands. A lot of the solo artists who get big respect and critical attention at the moment are from the world of R&B and Pop. Fil Bo Riva is more Alternative and Indie. Those styles have some great players but they are taking on the might of Pop, R&B and Hip-Hop. Rather than pummel us with energy and electricity; Fil Bo Riva goes deeper and wins your heart with a blend of urgent vocals and enticing compositions. The songs are very personal and real. You feel that direct connection with the songwriter – he provides a glimpse of the world you would not otherwise get.

PHOTO CREDIT: Juliane Spaete

With an album due; times are exciting for Fil Bo Riva. He has released the singles, Head Sonata (Love Control) and Blindmaker. Both of those songs had their own skin and sensation. Time Is Your Gun recalls the sounds of his debut E.P. but departs in a way. It does not sound like his other material and wets the appetite for the upcoming album. Even though he tries to steer away from the words; there is a romantic and cinematic sensation to the music. In fact, he embraces the word ‘cinematic’ and wants the music to project a rather grand and engrossing sound. In a way, his previous works have been snapshots or photos; impressions of a scene and a stable image – we can use our imaginations to predict the scenes before and after that photo was taken. In many ways, he has moved and creates more fluid, moving and widescreen music. Each song is like a story; one has a fuller and more stimulating type of music that brings more elements into the fold and has a rich and fulsome nature. I have been thinking about artists like Matt Corby and Jeff Buckley and how their best music is romantic and tender. They are musicians who won fans with spellbinding, passionate songs. It is difficult talking about love and life without coming across cliché or personal. The likes of Buckley and Corby managed to (Matt Corby is still recording) to win legions by writing from their heart but not being too insular and isolated. Fil Bo Riva has a romantic heart and, whilst not obsessed with love songs and his experiences, illuminates the page with a tenderness and colour that makes the heart skip a beat. Everything he does comes from his own heart and there is a lot of revelation and soul. Maybe I am losing my thread but it is nice to see an artist write songs that mean a lot to him. Fil Bo Riva is not chasing a market trend or writing material that has a commercial edge.

PHOTO CREDIT: Juliane Spaete

There is a lot of anticipation surrounding the upcoming album. The songwriter loves the album format and knows it is a very different world to the single and E.P. Whilst you can write unconnected songs or an E.P. that has loose ties; with an album, you have a much bigger task at hand. We are becoming less interested in the album and are moving to streaming and that quick fix. People skip through songs and d not often sit down and listen to an album in its entirety. Most of the records I listen to fully tend to be from years past. I love a lot of the albums released this year but do not often come back to them. It is harder for artists to attract and keep people hooked. Rather than pen an album of disconnected songs that could have come with anyone; Fil Bo Riva knows the importance of hooking all the tracks together and creating a real experience. I mentioned films and how Fil Bo Riva’s music has that moving and scenic sensation. Rather than write music that fades from view and does not provoke imagination; he writes songs that inspire you to close your eyes and picture what is happening. It is harder to leave an album and move quickly on if you are engrossed and distracted by what is being sung. It is more and more difficult producing albums where one sits down and keeps outside forces at bay. Fil Bo Riva has travelled the world and gained a lot from his time on the road. He brings all of that knowledge to the studio and writes music that takes the listener somewhere special. I will move on from this point – I was keen to explain how you’ll want to get involved with Fil Bo Riva’s album. I am excited to see what comes from Fil Bo Riva and how his album takes shape. Listen to the singles he has released and you get the sense something special is going to come through.

PHOTO CREDIT: Zlexander Aielasko

Fil Bo Riva started life in Rome but has spent time in Berlin and Dublin. In fact; Fil Bo Riva spent his school years in Dublin and decamped to Berlin in 2012. He has had different experiences of Europe and taken a lot from each nation. That experience of travelling and seeing different people makes the music so much stronger. What amazes me is the difference between artists who do not really travel much and those who go around the world. I feel the latter has an advantage and can create more varied and interesting sounds. Fil Bo Riva seems to have found his home in Berlin and is based in a city become more and more popular. So many others are locating there and drinking in the cultures and various nationalities there. It is the touring and that side of the coin that stands out to me. Fil Bo Riva has supported Matt Corby and Aurora and shown his muscle to those at large festivals and intimate gigs. The debut E.P., If You’re Right, It’s Alright, was released in 2016 and amazed critics and fans. Guitarist Felix A. Remm was added to the mix and that early solo sound mutated into an on-stage duo. The current project has four members: Fil Bo Riva writes on his own, I believe, but the recorded material is played by a quartet. Whilst he travels the world and spends time in other cities; it is the draw of Berlin that keeps him coming back. It seems like that mixture of international adventure and homely love makes the music shine and resonate. I feel, if you are more isolated and do not travel far; the music only has limited potential and it can be quite samey. The young artist has matured and grown over the past couple of years. The young man has the promise and energy to last a long time in music and inspire the masses. I feel the music he is making at the moment is his very best – it will be interesting seeing where he goes from here and how his music changes.

PHOTO CREDIT: Juliane Spaete

The singles we have seen so far have given one a taste of what the album is all about and the sort of images/sounds that we will witness. Fil Bo Riva has taken his music to various nations and drawn all of his life experiences into the fold. I wonder whether the young songwriter could go even further and act as a guide to new songwriters emerging. The musician has a lot of social media presence and keeps people informed of where he is going. He is across all the sites and options one might need and expect – you can get your fill, as it were. It is easy keeping in touch and knowing what goes on. I wonder whether more could be expended in regards to personal biography. At the moment, we can learn a lot about the music and how it has transitioned through the years. I would like to see a bit more about the man himself and the artists he grew up around. I understand why many want to avoid talking about that. It can be difficult revealing your influences because people hone in on that. You will listen to the music and, I guess, assume the artists Fil Bo Riva name-checks are what goes into his music. Rather than create that confusion and lazy journalism; he keeps stuff held back and allows people to make their own impressions. I would like to learn where he came from and what he is driven by, mind. I assume he was captivated by artists at a young age and it would be nice to see when he came into music. That is a minor slight and concern – most of what is put out there and known fills gaps and lets you know what Fil Bo Riva is all about. I shall move on and talk about his latest single, Time Is Your Gun.

One experiences some far-off and spectral notes from the off. The mood is quite moonlit and sparse. Rather than rush in with strings and needless rush; you get a more considered and haunted backdrop. Slight plinks and embers flicker and crackle as the hero comes to the microphone. When Fil Bo Riva sings, you have the impression of a young man who has experienced some heartache and disappointment. “Heaven’s beautiful in your head” is a line delivered with as much gravitas and potency as I have ever heard. You can detect the emotion and strain comes through. Maybe he is referring to himself and unable to distinguish between idealism and reality. He may have given his heart to someone who seemed perfect but, in fact, is not. Maybe neither is true and he is casting blame on someone else. The song starts quite slow and has that aching, echoing quality. It seems the heroine has lied – which makes the hero cry – and there is definite tension to be found. Rather than look at the song from the outside; the listener jumps in and follows the lyrics. That minimalist composition works wonders when it comes to emotional resonance. The vocal shines through and is what you are focusing on. You hear the passion and emotion in the voice and wonder what has provoked the split and unhappiness. Most relationships break up for limited reasons. There is no guarantee things will last, no matter how good they seem at the start. That might sound bleak but I mean it is hard to predict how a relationship will go and how long it will last. It seems things were good to start but have taken a turn for the worse. I am jumping to the relationship assumption without doing some proper investigation. The hero is in pain and is feeling the weight of the situation. The chorus comes in and, with that, the song takes a turn and becomes more energetic.

PHOTO CREDIT: Juliane Spaete

Percussion comes in and adds more drive and energy; there is more accusation and revelation. It seems the heroine messes the hero around and has been playing about. It seems like she is cheating or, at the very least, being dishonest and impure. Our man is unhappy and at his most angered. The girl wears a crown – he does not know why – and there is a palpable sense of release. Guitar and drum ramp up a bit and there is a definite wave of movement. It is the striking and slightly gravelled voice that gives the words such impetus, meaning and gravitas. You follow the song through and imagine the scenes taking place. The song’s title gets into the mind and you wonder what meaning it holds. In my mind, I was imagining a lover who shoots (metaphorically) at our hero and keeps on hurting him. Maybe she dredges up past memories and is not moving on; she might be able to reveal truth and plays with his heart. It is interesting reading that title and predicting what significance it holds. Time Is Your Gun keeps on brewing and raising the tension. You are never uncomfortable with the anxiety and anger coming through. You feel for the hero and wonder what has caused the tension. It is always hard to predict how a relationship will unfold but it seems Fil Bo Riva has hopes and wanted things to last. Whilst the duo is not separated and past the point of no return; there are signs to suggest things might not ensure too much longer. I guess the heroine has been cheating and leading our hero astray. Even though the song deals with some tough subjects; the music has a more upbeat and energised nature. You get little waves of guitar and drums before the song dips into acoustic territory. The hero wonders whether he will be remembered and respected; he is fighting against anonymity and is struggling to hold. This might sound gloomy and lost but, in many ways, there is beauty and hope to be found. Time Is Your Gun is a multi-part and fantastic song that keeps you guessing and provides endless beauty, soul and potency. You immerse yourself in the music and hold out hope things will work for the best. Although the hero is being overlooked and needs to be heard, I get the feeling things will work out for the best and he will be okay. He has a determination and desire to fight the waves and come out the other side. Time Is Your Gun will resound in many people’s hearts and strike a chord. It is a dramatic and fantastic sound that will get many people excited about the upcoming album and what it possesses. Another fantastic and memorable song from Fil Bo Riva.

PHOTO CREDIT: Juliane Spaete

It is an exciting and adventurous time for the Berlin-based artist. Not only is he putting an album together but he is getting more acclaim and attention. Many people in the U.K. and responding to his music and the demand around the world means a busy touring schedule awaits. The young artist has changed from that lone writer to someone who, although a solo act, has a more collaborative mind. He works with Felix and, if anything, that unity has produced stronger material. Songs like Time Is Your Gun started as scraps of paper and ideas. It is how they transformed from those notes and slight impressions to a fully-fledged song that amazes me. The studio seems like a natural place for Fil Bo Riva. He loves seeing songs come to life and building them step by step. I know there will be a lot of excited people out there ready for the album and what it holds. I feel it will be his most realised and exciting work yet. Fil Bo Riva has some dates in Germany – he is in the U.K. in October – and is taking the music to the people. It is busy and exciting and, in the next few months, he will bring his songs to new audiences. I wonder how far he can go and what success he can accrue. It has been a thrilling and wonderful last couple of years for Fil Bo Riva: the next couple of years will be big and promising. His material, as I say, is getting better and there is a new appetite for solo artists who go against the grain and produce something deeper and more mature. You get romantic and cinematic clashes and something direct; colour and light together with more shadowed and intimate moments. It is a fulsome and nourishing cocktail that is hard to resist. Make sure you listen to Time Is Your Gun and follow the story of Fil Bo Riva. He is a brilliant young talent who is making moves and standing out. Also, when his album arrives, ensure you grab a copy and listen to it the whole way through. We are digesting fewer albums and not as in love with the format as before. With Fil Bo Riva, I feel that tendency and lazy habit…

WILL change.  

___________

Follow Fil Bo Riva

PHOTO CREDIT: Mario Simic

Official:

http://www.filboriva.com/

Twitter:

https://twitter.com/filboriva

Facebook:

https://www.facebook.com/filboriva

Instagram:

https://www.instagram.com/filboriva/

SoundCloud:

https://soundcloud.com/fil-bo-riva

Spotify:

https://open.spotify.com/artist/3JE0uoggWwwYG6rSSJk0HN

YouTube:

https://www.youtube.com/channel/UC72grrB_OA8J4sRnOIkdAWw

TRACK REVIEW: Ay Wing - Ice Cream Dream

TRACK REVIEW:

 

Ay Wing

PHOTO CREDIT: Sara Herrlander

  Ice Cream Dream

9.3/10

The track, Ice Cream Dream, is available via:

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

GENRE:

Pop

ORIGIN:

Berlin, Germany

RELEASE DATE:

27th June, 2018

_________

THIS time around…

PHOTO CREDIT: Sara Herrlander

I have a few things I want to look at. Ay Wing is someone I am familiar with and I always love what she produces. I will talk about artists who can consistently produce smart and professional songs – together with great videos – and summer-ready tracks that summon the sun and actually stay in the head. I will also look at artists who want to get the audience involved and create a complete musical experience; those based in Berlin and what the scene is like there at the moment – finishing by talking a bit about Ay Wing and where she is heading. It has been a little while since I approached Ay Wing and what she is doing. I love her music and how she has progressed but, over the past few months, she has made some big steps and produced, what I think, is her finest work. I am looking out at music and seeing all varieties of Pop and Alternative come through. It is interesting watching artists come through and what is available in the market. I have talked about Pop a lot and can see it is split between the more commercial brand: that which is radio-friendly and does not necessarily challenge the mind too much. That sort of music aims itself at a pre-teen/teen market and can produce some great tracks. There is another camp that produces deeper and more serious Pop – this can be quite introverted but aims itself at a broader demographic. If one looks at Ay Wing, you can see she falls between the two camps. Her music has a sense of fun and energy but its lyrics and mood are a lot more intelligent and nuanced. It is possible to produce great Pop music but not have to dumb it down or pander to a particular audience. Look at a song like Ice Cream Dream and you get a classy and sparkling song that has lots to recommend. I will speak about the song in more depth but, when listening, you have a real sense of quality and professionalism comes through.

PHOTO CREDIT: Sara Herrlander

Ay Wing has always been known for her whip-smart songs and incredible delivery. I feel Pop music struggles to unite the masses and projects a particular image. We tend to associate the genre with the more commercial and throwaway – has that always been the way? I listen to what is coming through the mainstream and popular radio and there are a few good tracks but, largely, the music does not really stay in the mind. The artists who go a bit deeper and take Pop in a new direction and the ones I am really backing. It is a hard trick to produce something fun and light whilst ensuring it gets under the skin and stays in the mind. Ay Wing is one of those artists who manages to keep her trademark sound but produce something incredibly different every time. That might sound like a contradiction but you only need to look at how songs like Strange and Ice Cream Dream differ. She is a fantastic artist who knows what the people want and delivers every time. I have nothing against those who like their Pop music with the maximum fun and little substance but, for me, there is a lot more to cling onto when you have to think and are properly motivated. There is so much music out there right now – one cannot afford to produce cheap and lacklustre songs. AY Wing makes the listener bond with the song. Her lyrics mix sassiness and humour with emotion and revelation. Her compositions are delightfully multifarious and candid; the production is always sharp and wonderful – you get an incredible experience with every song released. It is not only the smart lyrics one is drawn to with Ay Wing; she pokes fun at fads and trends and can make us think and laugh at the same time. Ice Cream Dream looks at fitness fads and how seriously we take our leisure time. She is just the sort of artist we need to embrace and keep close to our chest.

PHOTO CREDIT: Sara Herrlander

I love how Ay Wing manages to produce great videos for each of her songs. Again, in Pop, you do get a few great promotional videos but many of them lack any real imagination and humour. Maybe that goes back to the song itself: if the lyrics are cliché and routine then that is not going to provoke something imaginative and incredible. I feel modern Pop, and videos, is defined by wastefulness and missed opportunities. There is a new breed coming along that is taking the genre in a new direction and adding their own touch to Pop. Ay Wing, on her latest track, has ticked every box and produced something hugely enjoyable. Ice Cream Dream is summer-ready and makes you get up and dance. Maybe that is quite ironic in a way. The song looks at our obsession with the gym and fitness; how it lacks any real looseness and we can get very po-faced about everything. The lyrics and videos, instead, make you smile and urge the listeners to get up and move their body. It is summer and, with the sun showing no sign of abating; we need those songs that keep the mood high and makes the senses fizz and spark. That is another thing that has struck my mind. In terms of positivity and energy; how many songs have you heard lately that have a genuine sense of fun and put you in a better frame of mind? I feel songs either go for fun and exciting but come off as empty and unspectacular. You do get artists who rival Ay Wing and her style of music but, to me, there are not enough. When the weather is like this, we need to hear songs that keep us all positive and join us all together. I will move on to another subject but it is worth noting how few Pop artists there are out there who manage to balance intelligent and observational with the rousing and joyful. If we can encourage more artists to take this approach – and take their songwriting in a new direction – then it will create a stronger and more inspiring mainstream.

PHOTO CREDIT: Sara Herrlander

Another impressive facet of Ay Wing is the way she involves people in the music and makes it an immersive thing. I bond with music in different ways but am always more moved by artists that want to engage and drag you into the song. Too many artists are either very serious or produce music that falls a bit flat and pushes you away. This is a discussion in itself but my point remains: if you hear a song and am physically and emotionally moved then that is most of the work done. Ay Wing has these bouncy synths and big beats. You have that physical experience and are compelled by everything going on. Her summer-ready jams and indelible songs are designed to linger in the mind and connect the listener with artist. I am not suggesting other artists are more concerned with profit and quick delivery but I love those who take time and craft songs that infiltrate the brain and really activates the senses. It is hard to describe but, with Ay Wing, there is so much going on. From her changeable colours and consistent quality through to her fully-worked and stunning videos – there is a complete and ready artist waiting to strike. She might be away from the mainstream right now but you have to think, in time, she will get to the big leagues and be able to influence. Right now, her fanbase is growing and there is a loyal core that backs everything she does. That is a sign of an artist who never lets the quality dip and knows what people want. The songwriter puts so much detail into the music and spends a great deal of time crafting songs that demand repeated listens. I am one of those people who consume a lot of music and, most of the time, it can be hard to recall and retain the sounds. Some artists provoke remembrance but it is tricky in this day and age to pen something that stays in the consciousness.

Ay Wing is different in that respect. She wants people to sing her songs and, when performed live, chant and perform with her. I feel we need to create artists who are a complete package and do not only create songs for quick commercial gain. That is an interesting line to draw. I can identify some great mainstream acts who will run and run but, as things get more competitive and busy; artists coming through need to think about more than the music. If you can pen songs that have incredible compositions, memorable lyrics and wonderful lead performances then that is an accomplishment in itself. It is hard to deliver all three but, if you can, then that is something to be proud of. Music is about visuals and creating projects. Recording fantastic videos that add something new and stand aside from the pack is another thing new artists need to consider. Another point to bear in mind is following up songs and keeping intrigue high. I mean, rather than produce songs after song and not think about longevity; artists need to create a personality and characteristics. Ay Wing puts her all into music and you can tell, from the first few notes of any track, that it is her work. That is what I mean by characteristics and personality. Too many artists produce songs but they do not link together and it is hard to separate them from their peers. Ay Wing can write about different subjects and broaden her horizons but you know it is one of her songs because there is a common link and distinct D.N.A. I hope my words – rambling at times though they can be! – show why Ay Wing is an artist with a big future. Pop is a challenging and demanding genre; it is tricky to succeed and do something genuinely original. I wanted to look at Berlin and why it is producing great artists.

VIDEO STILL: Jean-Christophe Dupasquier

Berlin is a city that is attracting more and more people right now. Every city has its own blend and brew but, to me, Berlin is one of the most stunning and appealing areas to create. I am seeing so many artists move there because it offers everything they want. London is still fashionable and desired but more and more people are flocking there. It is a city where you can find success but there is not a lot of room and chance for breath. Maybe eyes are shifting elsewhere but, as rents get more expensive and cities here become busier, people are looking abroad and other parts of the world. Berlin is a city that has always pulled great musicians in and been the source of inspiration – the likes of Iggy Pop and David Bowie have created some of their best work whilst there. One gets a cosmopolitan and diverse vibe but things are a little less hustled and expensive. You can move around and make your way without being jostled and compacted. If you want to rent an apartment or stay for a while, it is not going to break the bank and leave you poor. It is the mix of languages and cultures that stand out to me. People are excited by the music coming through and the creative spirit in the air. I have never been to Berlin myself but I know the music scene is incredible and expanding. People in Berlin are friendly – for the most part – and venues are sprouting up all over the place. From Junction Bar to Quasimodo through to Monarch and SO36 – new artists have choices and can get their music heard. Radio stations are supportive and it is not as hard as you’d imagine moving to Berlin and climbing up the ladder. One of the biggest reactions people get from Berlin is the openness and sense of relaxation. For a city that is popular and modern, that might seem like an impossible thing.

VIDEO STILL: Jean-Christophe Dupasquier

Musicians can go to the German capital and not get overly-stressed and fatigued. Many like-minded souls can be found there and it is a great place to be. I can understand why Ay Wing located there and moved from Switzerland. She performs with a live band but, as a songwriter, her mind is free to wander and project in Berlin. Inspired by the sights and people around her; one wonders whether her music would sound the same if she lived in New York or London. I am not too sure whether Berlin Pop is as popular and different to that in London but I know for a fact there are so many wonderful musicians in the city. More supportive and communal than London, perhaps; it is understandable why Berlin is a go-to dream-spot for musicians. I am not going to move there myself but might go and visit in the next few years. I am attracted to various cities and how the music scene differs depending on where you can go. New York, London and Los Angeles have their own vibe and you get a real sense of what the artists are about. Berlin seems a lot more diverse and challenging than a lot of cities around. Listen to Ay Wing’s E.P., Ice Cream Dream, and you can hear the humour, fun and vibrancy the German capital is associated with. That might sound odd given impressions of Germany – not being that funny and fun – but we would be wrong. It is the colour and artistry of the music that sticks in my mind. Ay Wing is a modern artist who is not concerned with black-and-white and shades of grey. She is a vivacious and captivating soul that mixes the underground clubs and sweaty bars with the vivacious and delightful overground. I feel more people will want to go to Berlin and set up shop there when they hear artists like Ay Wing come through. She has embraced the city and its culture and integrated it into her music.  

If you look at the video of Ice Cream Dream (I suggest you do) you will see toned and good-looking people working out and alluringly looking at the camera. There is a funky and finger-clicking bass that suggests a Disco freakout is about to ensue. I was hooked by the very first notes and invested in the song. Whilst the bass is consistent and has a polished sound; the vocal sounds far-off and has a rather sparse quality. There is a nice clash between the bass working away and the heroine – who seems like she is recording the vocal a little way from the microphone. She talks about fads and how we all do the same thing. Whether we are down the gym or meditating; doing yoga or embarking on some boring and soulless regime. What we are trying to achieve is rather pointless in a way. Maybe one wants to keep the weight off or sculpt their body into a ‘perfect’ shape. Maybe there are chemicals firing in the brain and the release of endorphins. It is amazing why we go through all the trouble of sweating and hurting our bodies to achieve very little. Some of us need to lose weight and genuinely need to be in the gym but most of seem to be chasing some weird ideal. There is that boring and machine-like quality of the gym-goers. Others do less strenuous activities but it is all for the same reason: trying to achieve some form of physical and spiritual wellbeing. How much do we actually accomplish by doing all of this? We get dressed up in ridiculous clothes and are so serious about everything! Rather than walk in the park and have a stroll through the city; why do we insist on being part of the get fit cult?! It seems rather extreme and unnecessary. The video shows a cast of characters who show what I mean. From the muscular gym-goer to the man in shorts doing blanks and pointless exercises.

VIDEO STILLS: Jean-Christophe Dupasquier

The heroine has seen them all and, in her mind, there is that desire for calories and sweetness. Maybe those who exercise and go to the gym have that need. They want the taste of ice cream but feel they need to deny themselves for no real reason. They feel eating something tasty and naughty might pull the ripcord of their physique. As the song progresses; the commentary of the modern fitness fanatic unravels. She looks at this pursuit and how we all get sucked into the latest fad. Why are we spending so much of our time doing this?! The chorus lays out what we all want: various flavours of ice cream and the chance to not follow the rules. One of the only issues with the song, like a few I have heard, is the way the lyrics sometimes struggle for true clarity. It can be difficult understanding what is being said at times. Maybe that is because of the production – the vocals are a little far-off – or the pronunciation but one has to fill in some blanks themselves. It is not a big concern because there are words and lines that stand out and you can piece the story together yourself. The chorus is the clearest part of the song and delivers the biggest hit. What amazes me about the song, and Ay Wing, is the way funky and fun is mixed with a sense of judgment and seriousness. The song itself is funny and uplifting but the heroine is casting her finger at those go to all this trouble and embark on such strain. There are great wordless vocals and beats that come through; the song gets hotter and fuller when the chorus swings in. The listener is definitely engaged and, in an ironic way, working out to the song. One feels the best way to burn calories and get a blast of fun is to dance to the song – rather than go to the gym and sweat it out with countless others!

VIDEO STILL: Jean-Christophe Dupasquier

Even the first time you hear Ice Cream Dream, you understand what it is all about and it will make its mark. There is a great 1980s quality to the song. You can imagine it fitting with the best Pop of the day and one gets memories of the decade in Ay Wing’s performance. The heroine talks about demons and shadows on the subway; the way we are inundated with messages and slogans – maybe brainwashed by advertising and what we should look like. That dream of ice cream is always there and that is what we should be doing. Rather than get hung-up on shaping our bodies and driving ourselves into the ground taking a more relaxed approach is much more advisable. The heroine is a powerful voice and it is hard to refute her advice. Lyrics become clearer in the second verse and you can definitely hear a sharpness come in. That taut and sexy bass continues and perfectly fuses with crackling beats and strident vocals. There is so much life and allure coming from Ay Wing’s voice. Even though the performance is not rapturous and ultra-hyped; you get a sense of fun and physicality that gets you off your seat and involved. Ice Cream Dream is a Pop song for the modern age. It is catchy and engaging but never cheap and shallow. You have plenty of lyrical depth and intelligence working throughout; humour and memorable lines – all topped off with a fantastic central performance. Make sure you check the song out and listen to the video that accompanies it. Both show what a creative and ambitious artist Ay Wing is. She keeps getting stronger and better and one suspects, before long, she will be mixing it up with the biggest artists out there.

ILLUSTRATION CREDIT: Philipp Basler 

Things are getting hotter and better for Ay Wing. I have been following her for a while and can see how she has developed. Her E.P. was released in the spring and its title cut is out in the world. The songwriter has been busy promoting and taking her music across Europe. I am not sure whether she is coming to the U.K. to perform soon but it would be great to see her. Ay Wing has been thrilling crowds and is amazing people with her latest track. Ice Cream Dream is an amazing song that has that wonderful video that makes you smile and remains long in the brain. Everything about the songwriter amazes and I know she will go a long way in the industry. I hope there are U.S. opportunities and the Berlin-based songwriter gets the chance to travel far and wide. Maybe there will be more material this year but I feel Ay Wing will want to get her music around Europe and reach new audiences. The talented and extraordinary musician is out there on her own and has very few like-minded peers. It is because of her I have become more involved and invested in Pop. She shows what is capable in the genre and how it is possible to write intelligent and challenging music but throw in plenty of fun and colour. It is the brightness and explosions she brings to music that makes you follow her and want her to succeed. We shall end things here but make sure you get involved with Ice Cream Dream and listen to the whole E.P. The title-track is a stunning work that looks at fitness and our obsession with getting trim but adds plenty of humour in there. We are so serious when it comes to our bodies and the staying fit – something that should be fun and not that intense at all. Artists that can make you laugh and raise smiles are few are far between and, because of that, we need to keep Ay Wing close. The songwriter has come up with a real gem and proved herself to be one of the most original new voices around. As the sun shines and the heat continues to rise; we are all having ice cream dreams. Rather than labour in the gym and tire yourself on a treadmill; spin the latest track from Ay Wing and get fit and smile…

AT the same time.  

___________

Follow Ay Wing

PHOTO CREDIT: Sara Herrlander

Official:

http://aywing.com/

Twitter:

https://twitter.com/AyWingMusic

Facebook:

https://www.facebook.com/aywingmusic/

Instagram:

https://www.instagram.com/aywingmusic/

SoundCloud:

https://soundcloud.com/aywing

Spotify:

https://open.spotify.com/artist/7cjLa6AQcbH9XWQYmPNpX4

YouTube:

https://www.youtube.com/channel/UCBnFHc4RSC-gCvuCwoqg0Qw

TRACK REVIEW: Swine Tax - Never Ending

TRACK REVIEW:

 

Swine Tax

 PHOTO CREDIT: Chris Crowder   

Never Ending

9.4/10

The track, Never Ending, is available via:

https://soundcloud.com/swinetax/swinetaxneverending

GENRE:

Indie-Rock

ORIGIN:

Newcastle upon Tyne

RELEASE DATE:

13th July, 2018

_________

STEPPING out and looking at a talented young band…

 PHOTO CREDIT: Chris Crowder   

gives me a chance to discuss some interesting areas of music. I have reviewed Swine Tax before and had the opportunity to witness their blend of music. I will speak about music from the North and whether we are still throwing as much love that way as possible; intensity and bands who have the ability to invoke the spirit music is missing; bringing that energy and directness to the stage; connections within the ranks that makes the music that much stronger – I will end by looking at Swine Tax’s future and how they will progress. I feel we are still ignoring the North of England and what is coming from there. If we look at any new musician and laud them; it seems we are not casting a net far beyond the capital. I have talked about this a lot and approached it from different angles. There is nothing to suggest the future of music is situated in London. The media is based here, and so, that is where people tend to look. You balance the sounds of the South with those of the North and there are some marked differences. I feel there is more honesty, wit and originality coming from northern bands at the moment. I am not suggesting the South lacks any bite and potential – the North is offering something a lot more intriguing and fresh. The Swine Tax boys have been playing for a little while and, so far, have managed to accrue a loyal fanbase and some great local attention. I have looked at the music of Manchester but, looking at Swine Tax and the Newcastle area, I am interested to see whether there are differences. There are some fantastic venues and artists where Swine Tax are - and a great support network. There is always that temptation, when artists get bigger and need focus, they move to areas like London. I hope the guys manage to stay where they are and do not feel the need to up sticks.

So far, they are vibing from what’s around them and seem comfortable where they are. There are, as I said, great venues around and chances to get the music to the people. It is the local support and sense of taste that makes northern music so long-lasting and impactful. There is a loyalty and passion you do not get from any other part of the country. Because of all of this; why are we still spending so much time in London and the music coming from there? I know there is an incredible scene here and wonderful movements: the North is producing epic music and should be given more love. One of the reasons why I feel this way is the band market and how the focus is still on solo artists. Again, this is another topic I have covered and investigated before – I shall not go too much into the topic again. There have been some great albums released this year but, to me, IDLES will produce the biggest statement of the year. I will talk about the band more in a later section but the solo material I have heard this year has been great. I am looking for an album that produces that extra bit of heat, force and oomph. Solo artists can do that but it has always been down to the bands of the world to bring something extra-special and intense. Swine Tax are a band with plenty of intelligence and depth – they have a raw edginess and electricity that takes their music to another plain. Tory Water, their previous single, looked at the local music industry with a sardonic nod. It has the College-Rock sounds but brought in plenty of punch and observations of the local scene. Although there are, as they observe, issues in the North that need remedy and support; the impression one gets from the song is of a band with a big future ahead. The sheer depth, story and colour they bring to the music makes you want to support them and see them do well. I feel we have ignored bands to an extent and assumed they cannot compete with solo artists. Historically, some of the finest music has been made by groups – why are we spending so much time with solo musicians?! Swine Tax have that unbeatable blend of local knowledge and focus with musical swings that stretch all the way to America. It means (they) have the ears of those in the Newcastle area but there is potential to get gigs in the U.S.

IN THIS PHOTO: Lewis Egg Dodds

One of the things that occur to me is how bands like Swine Tax can use their keen lyrical insight, established strengths and focus on the current Government. Tory Water nods its head the way of our leader but there is new opportunity to sink the teeth in. I love how Swine Tax can bring humour and accessibility alongside riotous instrumentation and ample punch. We are living in a very odd time where the nation is splitting apart and politicians are messing everything up. Whilst solo artists would be able to project something meaningful and anthemic; I feel bands like Swine Tax have more ammunition and promise. Vince Lisle, Tom Kelly and Charlie Radford take hints from bands like Sonic Youth and Pavement and splice that with embers from the local scene. They look around them and talk about how politics affects their lives; stories of lust and ambition are thrown in – quite a heady and exciting brew! The band have been picking up fans at a rate of knots since their inception and thrilling those lucky enough to see them. I have seen some great bands form but few have the same intoxicating passion and attitude as Swine Tax. I do love what is coming from music but I feel something is missing: an authority and explosion that has disappeared slightly. The mainstream media are spending a lot of time on solo artists and feel, to me, there isn’t the same sort of promise in bands there was years ago. Maybe that short-sighted assumption reflects a geographical laziness. If they did some more exploration then you could see more attention given to the likes of Swine Tax. I have been hankering for a band who can get the blood boiling and the body moving. I have mentioned IDLES already: a band that has the sound of The Clash and mix it together with modern Punk and Alternative motions. Although Swine Tax source from the U.S. (more than British sounds) and a different era; they have the same sort of majesty and can produce a truly stunning live show.

 PHOTO CREDIT: Chris Crowder   

The nation is looking for artists who can articulate what is happening and how their lives are being impacted. It is good to hear melody and calm in music but, at times like these, there is a desire for release and fire. My assessment paints the picture of Swine Tax as a brutish Punk band who is throwing stuff around and want anarchy. In actual truth, they can fuse spiked and spit-laden with real songcraft, lyrical acuity and exceptional musicianship. Their music is far more compelling than straight-ahead guts-and-shout. It is exciting watching Swine Tax rise and growing with every release. Their live set is extraordinary and the studio music we hear from them is like nothing else. It makes me hanker for more passion towards the North and greater exposure of the best young bands coming through. Maybe the secret ingredient (for success) is assessing what is happening in the country and reaching people in a way our politicians cannot. Their music does have a political edgy but wraps it around character studies and local commentary. I have watched music change skin the past few decades and I am seeing things drop away and not re-growing. I have lived through the tail-end of U.S. College-Rock bands and British Punk idols. I have seen movements die and be replaced by something altogether safer and less risky. We need to revoke the lost Punk and Rock spirit that excited generations and started a fire. Swine Tax have the potential to burn bright in the local scene, as they already have, and lay down a marker. The boys continue to grow bigger and more ambitious every time they put material out there. Whether you are familiar with the music coming from the North and how it varies from that of the South; it is obvious to see how small a roll Rock and Punk is playing in modern music. We can throw various arguments into the mix – changing tastes and times; few great artists to keep the flame alight; critical ignorance – but I can sense something happening and shaking.

 PHOTO CREDIT: Chris Crowder   

Another reason I feel Swine Tax and their ilk are able to stage a coup and gain a passage to the forefront is what they bring to the stage. You can argue a soulful performance from a Pop artist can hold the same magic and power as that of a snarling Rock band. I contend that the most impactful and hard-hitting performance comes from bands that crank the wattage and get bodies jumping. Swine Tax bring their own brand of explosion to the stage but do, as I have said, have plenty of variety and melody. They are a rounded and nourishing band that are gathering huge acclaim because of what they take to the stage. Never Ending – one of two singles they have just released – will sound, I can imagine, amazing on the stage. The guys have a great reputation in the North East and showcase established band there – showing a support and sense of comradeship you do not often witness. They have supported the likes The Orielles and Jeffrey Lewis; they mix the D.I.Y. ethic they have always possessed and bring in new-found skills and strengths. The guys will never sell-out and feel the need to get into a bright and expensive studio. They have an authenticity and accessibility we are looking out for right now. The connection and chemistry the band has is another reason why their local reputation is solid and building. There are some bands where you watch them play and they might stay in the mind for a little bit. Something is missing from their set. Maybe there isn’t the connection you’d expect or the music is too similar to their studio-made sounds – not bringing anything new and unexpected into their repertoire.

PHOTO CREDIT: Graeme J. Baty

Before reviewing one of the band’s latest singles; I want to finish on this theme and highlight the solidity in the ranks. Swine Tax’s success, so far, can be attributed to the fact the guys are on the same page and have that respect. Writing and performance is democratic and there is no muscling for leadership. They have the same goals and want to see their music go as far as possible. I am seeing some bands suffer splits because everyone wants different things and communication is lacking. The friendships present within Swine Tax makes their recorded material such a treat to listen to. They have dropped the double A-side Thorns/Never Ending and will perform at Think Tank? (in Newcastle) tonight. The single(s) have been met with big acclaim and reviews are coming in. The confidence the guys will get from the early praise will translate to the stage. They have gigs coming up but I feel, when their new material gets further out there and resonates; more dates will arrive and there could be some big dates. The guys are playing alongside like-minded, local talent and they are keen to integrate themselves with some fantastic artists. The material they have out there right now acts as a guide for potential venues and bookers. I am not sure whether Swine Tax will release an album next year or continue to bring out singles but they have this energy and focus that is impressive. I would love to see them ascend to the mainstream and influence fully. It is all very exciting and full-on for Swine Tax right now. They are picking up local support and lots of new ears are turning their way. It makes me wonder whether they can take it all the way and embark on a national tour.

 PHOTO CREDIT: Chris Crowder   

I hear there is more material coming from the band later in the year and, in October, they are back in the studio. It makes me wonder what form that will take. Maybe it will be another single or they are going to put a five/sic-track E.P. together. What excites me is how the band has grown from their earliest days. Maybe it is the experience they have gained or the passing of time – it is getting better and brighter for the band. I am not sure whether they have ambitions to tour around the world but I feel next year will be their time. Swine Tax have already cemented their name in the local realm and are ready to face the responsibilities of international touring. One needs stamina and extra fortitude when venturing between cities and nations. It takes more energy and discipline but I feel Swine Tax have that in their locker. I can easily see the northern band head to the U.S. and get some acclaim there. The guys have that reputation as live performers and they have thrilled fans for a long time now. I know the boys could handle the demands of a worldwide tour and what it encompasses. There are people around the world who would eat up Swine Tax and what they are all about. I have been hankering for a band to come along that can stay in the mind and get me excited about the future. I do not often go to live gigs because I feel there is little excitement and it will not be worth a trip out. Swine Tax’s reviews and reputation makes me want to see them and catch them as soon as I can. The boys are on a rise and cementing themselves as one of the finest young bands out there right now. They have already made a great name for themselves in the North – it is time for them to shift and take their music down the nation.

The opening notes put me in mind of bands like Pavement and Pixies. You get that rush of the 1990s (and 1980s) and what was coming out of American then. I guess that is what Swine Tax have always been about but, if anything, there are new elements in their music. The lyrics talk about framing the moment and breaking open an unspecified thing – placing the hero under house arrest. Our man is aching, but not stressed, and one wonders what he is referring to. The early, softer guitar opening mutates to a more squalled and rain-lashed sound that mixes with the rest of the fold. The guys come together expertly and provide instance evocation. Percussion sounds add weight and drive but are never too heavy; there is that bassline that keeps things together and leads; it stays disciplined, level-headed and focused. One of the only problems at the early stages is vocal decipherability. At times, it is hard to understand what is being sung and the mix does push the vocals a bit too low down. I imagine that is less a mistake from production and more an emotive and sonic decision. You have that murkiness and effect that adds conviction to the song. What I mean is this: you get a bigger emotional hit and feel like the hero is singing from under a rock or pillow. There is tension and a slight disconnect that pulls you in and speculate. Lyrics never really allude to a single event or person and the listener is free to interpret what the song is about. Whilst other songs in their cannon have looked at political and local areas; here, we see something that is rooted in the personal and romantic. The hero looks to be casting out to a heroine who has left him stressed and tense but lingers in the mind. It seems her scent and looks are in the brain; her eyes (wild, bright flowers) are burning holes in the soul and one gets a definite longing.

The chorus comes in, when our man is holding back at the moment, and the band really swell and explode. The guitars rapture and the percussion raises its game. All the boys turn the volume up and there is that evocative rush. You get the smell of 1990s College-Rock but there is that distinct Swine Tax skin. The rousing and bristling chorus gets the hairs standing and the mind racing. I was fully involved with the song at this point and could not get enough of it. The guys bring a real sense of thrill to the track that comes from nowhere. You could always feel things building but it is the way they switch from contemplative and open to intense that gets me – a real pleasure and something that gives the song a movement and agility. Few can deny the song lacks passion and professionalism but it is the D.I.Y. aspect of the song that makes its mark. One gets proper intelligence and songcraft but I am drawn to the sparse and honest sound that gives the song its stripes. It sounds like the band is playing from their living rooms: there is no polish that can wash the life from a song; it is a fantastic sound that gives the number much more allure and appeal. The performances are consistently brilliant and so much is thrown into the mix. Backing vocals and layers keep building; the percussion and bass work alongside one another and the chorus explodes back in when you need that hit. Our hero keeps his energy up and is committed to every single moment. Maybe my impressions of lust are wrong but it seems like there is someone in mind that is causing all sorts of problems. His head is swimming and there is a distinct sense of desire and need. Swine Tax keep the composition changing and evolving. Unexpected vocal touches and little bass lines fuse with big, anthemic rushes that delight and thrill. It is when the guys combine in vocals and there is that chanting, brotherly togetherness that you get the biggest hit. The headiness and brilliance of the song continue right until the end and you are compelled to listen to the song over and over. The performance is tight and stunning but you never get the sense things are too rigid and practised. Swine Tax leave room for breath and provide that fantastic, live-sounding feel. I have heard Never Ending a few times and discover new things upon every spin. There is guts, glory and passion running right the way through veins. I know the band will continue to record great music through their career but, right now, they are in top form and really inspired. I can only imagine what sort of reception and reaction songs like Never Ending will get when played tonight. Swine Tax show they are varied regarding their lyrics: they can go from political and local to observing something more universal and love-based. However you see their new song, and what you think it is about, it is a fantastic cut from the boys and proof they are one of the best and brightest talents out there.

Never Ending and Thorns are fantastic singles – part of a double A-side – that show how Swine Tax has progressed and what they are all about right now. I loved Tory Water, their previous offering, and its mix of local observations and political shots. They have continued that pace and brought it to a duo of gems. I wanted to look at Never Ending because it is my favourite but, in reality, both the new tracks are worthy of fond examination. I started my looking at bands and wondering whether the market is starting to turn. We have often ignored groups and are focusing a lot on solo artists. Tastes have changed and the scene is looking for something different right now. Maybe there have been few bands who can get the critics raving and people excited. The likes of Swine Tax show there is plenty of fuel in the tank of the band car. They are hungry and want to get their name out there. It is challenging keeping a band together and remaining strong, let alone getting excellent material out there time and time again. That is full credited to a trio who have that mutual respect and want the best for each other. I will leave things in a second but wanted to offer congratulations to a band that have a bright future ahead of them. Maybe the balance will not tip so there is a Punk/Rock revolution but one would not bet against big changes happening next year. I love the sort of College-Rock sounds bring put out by Swine Tax and how they interpret them. It is a fantastic brew that stays in the mind and compels further investigation. The guys have come a long way and have an ambition that will see them go a long way. Where do Swine Tax go from here? They have that local gig tonight and then, from there, they will want to get their latest material out to the people. They have studio time later in the year but they will want to tour as much as possible and visit new lands. I feel there is that demand out there and it is not long before the boys are doing headline shows down in London. International gigs approach and I feel there is a fanbase out there already. A U.S. date would be perfect and I would love to guys to get some time in, say, New York or Boston. They’d love it there and I think they’d get a lot of love. I have loved getting to grips with Never Ending – listen to Thorns, too – and what it all about. The Newcastle upon Tyne group have a rosy time ahead and cannot wait for them to clean up and conquer. If you have not heard their music and know what they are all about; get involved with their double A-side and make sure you hear every note. Swine Tax might have a great local reputation but, before too long, they will be a big name…

IN the wider world.  

___________

Follow Swine Tax

 PHOTO CREDIT: Chris Crowder    

Twitter:

https://twitter.com/swinetax

Facebook:

https://soundcloud.com/swinetax

Instagram:

https://www.instagram.com/swine_tax/

SoundCloud:

https://soundcloud.com/swinetax

Spotify:

https://open.spotify.com/artist/1vcxydDAA4iMUh9gk38H4o

Bandcamp:

https://swinetax.bandcamp.com/

TRACK REVIEW: Noralyn - New Tricks

TRACK REVIEW:

 

Noralyn

New Tricks

9.5/10

The track, New Tricks, is available via:

https://soundcloud.com/noralynmusic/03-new-tricks-1

GENRE:

Pop

ORIGIN:

Brisbane, Australia

The E.P., Lucid Dreaming, is available via:

https://open.spotify.com/album/20DRz2PnbS9TlZsQA7YdxE

RELEASE DATE:

15th June, 2018

_________

WHEN speaking about Noralyn…

I get the chance to look at very interesting sides of music. I will address Brisbane and the music coming from Australia; artists who have that ethereal, captivating sound; lyrics that conspire and compel incredible scenes and visions; bringing international artists over to the U.K. – revealing a bit more on social media pages. I will start by looking at Australia – a nation I do not get to talk about too much when it comes to music. The past few months have been full of great artists and sounds: I cannot recall whether an Australian artist has been among the included. I feel it is a part of the world that gets overlooked and we do not really assimilate into our daily lives. It is a bit annoying to think the media has their limit and boundaries; unwilling to look beyond the U.K. and U.S. when it comes to great artists. I am one of those people who wants to get out of an easy headspace and comfort zone. I have spent a lot of time looking at British and American artists and have not really got round to Australia. I hope that changes and I get to uncover a lot of great Australian acts because, when you look at Noralyn; she has an amazing sound and differs from anything out there. We look at Australia and most of us tend to stick with Melbourne or Sydney. Although Melbourne is my favourite part of the nation; I realise there is a rich seam of music running through the country. Look at Hobart and Victoria; have a listen to what is happening just outside the big cities and you will find some amazing and memorable artists. From The Go-Betweens, Savage Garden and The Veronicas; there have been some great artists to emerge from Brisbane. Cub Sport and Dune Rats are two of the more recent acts to come from that area – look closely and you will see plenty of fantastic acts from that part of the nation.

Babaganouj, Future Haunts and Sweater Curse are a few local, upcoming acts that are worth investigating if you want to see what is coming from Brisbane. I am not surprised Noralyn has a great sound and is allowed to flourish. She is working in an area with a vibrant and varied scene; some great venues such as The Zoo and Brooklyn Standard. It is an interesting part of the world and, like all great cities, there is no one particular sound: there is a wide variety of artists that add so much colour and variation. I am drawn to Noralyn because she defines what Brisbane is all about. I am excited to see what happens next and where she heads. She is taking from the local scene and vibing from all the sounds around her. My point is we need to look at nations like Australia and how much great music is emerging from here. We get too hooked on obvious parts of the world and forget there are places like Australia – producing music that rivals the very best out there. I love Brisbane because it does not have the hustle and crowds of Sydney/Melbourne but there is a growing and intriguing music culture. Noralyn is one of the best artists coming from Brisbane but I feel, in time, she might move to a larger area in order to progress her music. It is a pivotal and busy time for the young songwriter; a new E.P. is out and there will be ambitions that see her travel the world and take in new sights. As wonderful as Brisbane is for talent and opportunities; I feel it is a great starting point and education for artists who want to progress and get their name out there. I wonder whether Noralyn will go to, say, Melbourne or to the U.S. in time. She seems happy where she is and is reacting to all the sensational talent and people around her.

I listen to Noralyn and you get sensations of Tori Amos and Kate Bush. These artists are defined by a sense of flight and fantasy. Their vocals and mannerisms are not conventional; the songwriting is more fantastical and inventive – not your average and predictable love songs, for instance. Those legends have made their name by producing music that takes you to amazing places and gets you thinking. The songs are imaginative and dreamy; the performances striking and mesmeric. With Noralyn, she employs some of Amos’ power and emotional weight but brings in her own blends. Listen to the songs on Lucid Dreaming and the title says it all: there is a lot of fantasy and dreaminess that I miss from modern music. So many artists, these days, go for direct and uncomplicated. Songs, whether love songs or not, tend to be simpler and do not push boundaries regarding language. There are exceptions but there is a need for musicians to connect fully with the audience – people want something accessible and straight. Maybe that is an over-simplification but I am seeing few artists who use inventive language and take risks. It is good to see Noralyn come through and challenge the listener a bit more. I guess, in a way, we have Florence + the Machine: someone who picks from artists like Kate Bush and Tori Amos but adds her owns spin. She seems like an outcast when you look at the very conventional and straight-laced music coming from the mainstream. I am hearing some brilliant artists who rival her mannerisms and potent songwriting. The trouble is, like all innovative and pioneering artists; it takes that much longer to get to the top and pierce the public mindset. I am not sure what the music scene is like in Brisbane/Australia but I guess the mainstream still has the same limitations. Noralyn is operating in a part of the country that encourages artists to be expressive and reveal who they really are.

As much as I love bands that are punchy and get to the point; I like to mix that up with musicians who employ language in a different way and have that incredible depth. I can imagine Noralyn’s early life saw her rifle through vinyl and prick her ear to the beguiling sounds coming from the radio. I have mentioned artists like Tori Amos and Kate Bush; put in Regina Spektor and Alicia Keys and you can see where Noralyn’s skin and identity has come from. Like I said; she uses these artists as a guide and adds her own spin on their work. Classical music and film scores also compelled the young artist; faith and God made an impact (and still do) and, when you stir this all together, you have a colourful and heady brew. I think influences are really important when trying to define an artist. If you spend your time listening to Punk and Pop then, likely, your own music is going to lean heavily on those sounds. Noralyn takes guidance from local artists and national tastes but bonds with artists who made an impression on her when she was young. The women I have mentioned – like Spektor and Bush – are strong and determined figures who have carved their own path and never played it safe. They have made their own way through music and, as such, been free to create as they feel fit. More and more, I see conventional and restricted artists come through who are trying to fit in with a particular scene. Maybe they are looking for streaming records or want to please the charts; they might want that all-important radio-play or follow what is already out there. Where are the risk-taking acts and those who make something natural to them? Noralyn is someone who can appeal to a wide audience but realises it vital being who you are and making music that feels right and natural – something a lot of other artists can learn from.

I have mentioned the sound and idols behind Noralyn’s sound: lyrics and language are a big part of what the Australian artist does. Look at the songs that appear on Lucid Dreaming and they are almost novel-like in their power and descriptiveness. One is presented with brilliant stories and images that get into the head and make you think. That is not to say it is hard to understand what is being said: the songs definitely resonate and it is great discovering an artist who can connect with the audience and make their voice known. I have not had time to review the whole E.P. but I have listened to the songs and engrossed myself in the wild, wonderful and beautiful scenes. You listen to Noralyn sing and those words come to life in such an extraordinary and intense way. I have followed her career for a few years now and can see where she has come from. Her songwriting has become more ambitious and she has raised her game. The music she was putting out there a few years ago was fantastic but I think, in the past year or so, she has incorporated new elements and sounds into her locker. What amazes me is how Noralyn creates her own world and can present stories of love and self-determination in such an impactful way. I guess her E.P., and its lucid dreaming and visions, is meant to step away from the ordinary and present something that peaks the imagination. Maybe one can draw back to those songwriters like Tori Amos and Kate Bush who, between them, have used the English language in wonderful ways. They are capable of being direct and stark; they discuss love and pride together with loss and longing – they have never been ones for doing things simply and like everyone else. Those songwriters have built a legacy from being candid but stepping from the boring and precise. Their music has inspired those who think differently and want to express themselves in a more profound and imaginative way.

I have alluded to Noralyn’s faith and how important that is to her. Whilst it is always hard to draw a line between music and religion; you can see parallels with Noralyn. She has a very deep and committed faith and I wonder whether that drives what she writes about and how she approaches music. Rather than be spiked and accusatory with her music – throwing in grenades and being harsh – there is a lot more patience and compassion that comes through. You do get moments of heartbreak and anger but, for the most part, the music has a faithful and logical heart that keeps things rational and inspiring. Too many songwriters, when speaking of love and themselves, are too anxious, angered and vengeful. You can bond with what they are saying but only because the language is quite negative and tense. Maybe I am going down a blind alley but I feel there is a connection between faith and religion and Noralyn’s outlook. She goes through the same pains and struggles as all of us but never makes one feel unease or depressed. The music is always positive and the heroine wants to make things better. She is not looking for punishment and does not want others to suffer. Too many modern artists are either too inward-looking and suffocated or they talk about love in very spiteful and sorrowful terms – they might speak of lust and do so in an explicit and unsophisticated way. Noralyn is a different proposition indeed. What we get is a songwriter who has that intelligence and compassion; her heart beats the same as us but she is a more sophisticated, loving and forgiving woman. Maybe I am painting her as being submissive and passive but that is not my aim at all. What I am trying to say is all of the things we know about her – that faith and attachment to iconic women; the area she lives in and her determination – defines what she writes about and how her lyrics leap from the page. You get different sensations and emotions from someone who wants to make big moves in music and make real changes.

I wanted to talk about international artists because, for the most part, they are kept at arm’s length. You hear them on the radio but, in this day and age, how realistic is it for all of them to tour and come over here? It is expensive to travel and it can be difficult for artists to come to countries like the U.S. and U.K. to play. There are some brilliant American artists I want to see over here that cannot afford to tour. It is challenging getting the support and then, when you have it, getting a budget together so you can play. It is even harder for artists out of Australia to make those long trips. Noralyn is someone who would find loving hearts and ears over in the U.K. and, in fact, could go on and so well in Europe and the U.S. I hark back to my point about Australia and why we do not focus on musicians from here. Maybe we discover artists through gigs and airplay; that is harder to come by when the artist is so far away. Australia is a great nation that constantly produces music that stands alongside the very best. There is a lot of ground to cover in Australia, so one knows artists there have plenty of opportunities. I feel a country’s music scene is richer and more alluring if we sprinkle in foreign artists. Most of the acts we have touring in the U.K. come from here and, whilst that is natural; I would like to see talent from all around the world perform near me. Maybe finance and logic mean we are going to see fewer international artists come here and perform. I review and interview a lot of international musicians and always ask them whether they are coming to the U.K. Some say they are coming soon but many need to build up their fanbase and have not got the money to play here.

Noralyn is a great talent that will turn heads for sure. I am not certain what her plans are but I know there are very few like her where we are. The U.K. and U.S. can benefit from someone like her that tackles myriad themes and does so in a very special and beautiful way. Social media is great for bringing artists to the international fore but it is only effective if people share music and takes the time to push things out there. Maybe a 2019 gig here will be on the cards for Noralyn. I think she has the potential and promise to do very well here and established a great base. The U.S. is another nation that would take her to heart and give her plenty of new fans. I often feel sorry for Australian artists because they are so far away from countries like America and England. Even if they do have a following over here, it is not always possible to tour and spend a lot of time enjoying the local sounds. My wish is Noralyn’s music is given a proper push here and, in time, she is afforded the opportunity to play some gigs here. Every musical nation is made strong when you add international artists into the pot. We do have foreign talent playing here but they tend to be from the U.S. or Europe. I will move on soon but I wanted to highlight Noralyn’s international promise and the fact she could do very well here. Lucid Dreaming has been out a little while and has won some great reviews and plenty of praise. It will get her gigs in Australia and see her stock rise there. She has already launched the E.P. and it was met with a passionate and willing crowd. There are many people over here that want to see the E.P. up-close and in the flesh – I wonder whether Noralyn will come to Britain next year/later this year and play to us. There are radio stations and venues that would love to have her and could give her some support.

Noralyn has a great social media spread and keeps her images, videos and news updated. You can follow what she is doing and she never leaves too big a gap when it comes to her news. We know what is going on and what her plans are for the future. Whilst it is good to know her movements and know when new material is approaching; I am interested in knowing more about the artist and where she came from. A lot of artists keep themselves a bit guarded when it comes to biography because they feel that clouds your views on the music and creates too much bias. I can understand why artists would want to give little in that sense and let the music do all the talking. I know giving too much away is unnecessary but it would be cool to discover which artists Noralyn grew up around and when music came into her life. I know some of her idols but I would be interested to know other musicians that compelled her and how her career has developed. To bond with an artist; knowing where they have come from and how they have moved gives you more information and can help when it comes to bonding. Noralyn, as I said, has a great official website and her social media pages are full and updated. I am interested to know what she thinks of the Brisbane scene and what tour dates are coming up; when her first gig was and where she draws songwriting inspiration from. All of these little pieces add to the jigsaw and gives you a more rounded impression of the songwriter. What we have now is great – and know who Noralyn is – but I am compelled to discover about her early years and what lit the fuse for the fantastic artist. In any case; we know there is a new E.P. out and things are going well for the Brisbane resident. Let us, then, get to the music itself and see why so many people are throwing their love in the direction of Noralyn.

There are some songs on Lucid Dreaming that look at moving forward and have a positive view. New Tricks, if anything, has a bit of tension beating in the heart. It is a song that promotes positivity and steadiness but there are nerves and a sense of unrest working away. The song begins with tender keys and the heroine’s tremulous, beautiful voice. She comes in strong and striking; imploring someone to remain steady and not lose what they have – do not say the first thing that comes to mind. The voice jumps, twists and dances as the heroine talks about bombs, bullets and hurricanes of emotion. Maybe she is in a relationship where there have been good times but, at the moment, there is a bit of stress and uncertainty. Perhaps there have been needless arguments or the two have been saying things and regretting it later. There is love and togetherness but that compassion and trust is being threatened by unstable conversations and petulant thoughts. It is hard to know whether the heroine herself has been culpable of letting her emotions rule the heart. I guess she has said things she regrets but, largely, it seems like the man is the one who is letting things get to him. I said how Noralyn writes songs that keep positive and inspiring – not as anxious and spiteful as many – and there is definitely a sense of keeping a level head and not casting blame. The beat continues to punch and there is underlying shimmers and shivers. The composition remains light but has an imperious and potent drive. The voice is allowed to abide and reign; it is top of the mix and, importantly, not drowned out or lost. Our heroine presents her words with so much physicality, movement and expression. It is an amazing experience and one that makes you imagine and dream. I was looking at the lovers talk and what was happening in the song. There is that passion and connection but things have gone a little sour.

The heroine does not want things to crumble and knows there is a lot invested in the relationship. She knows neither of them are saints and they make mistakes like everyone else. These common and obvious realisations seem to be spoiling something that has endured and survived for a long time. As the instruments rise and the vocals layer – more spirited and ecstatic – the heroine wants to learn new tricks to handle this moment better. Both are working to improve the situation but it seems, unless changes are made; they might lose what they have and it could lead to heartbreak. As those vocals explode and things get more bellicose; you are drawn to the intensity and rushing waves. Compromise and understanding are at the heart of everything unfolding. The heroine wants to step over to the hero’s side and figure out what is happening. Rather than name-call and walk away from something good; she is taking a mature and reasoned approach that is more productive than you’d imagine. Many would hide away and wallow in misery and hurt: Noralyn is willing to take measures and steps to keep the love alive and not see it break. Piano flourishes and there are electronic buzzes; percussion beats and the song gets hotter and fuller. The blood runs hot and the eyes widen as the heroine’s voice flies and the words trickle out. Neither of them is perfect and she knows having a mirror – an emotional one – makes it all clearer. She loves him and they both want a better life. By reasoning and compromising; there is far less destructiveness and, it seems, they can salvage what they have. New Tricks is an inspiring song that will give heart and guidance to those in a similar situation. You will listen to New Tricks once and be struck by its electricity, passion and light. The lyrics will stay in the mind and the music will bounce around the heart; the song will keep coming back to you during the day and you’ll want to return and unpick the track.

Noralyn has been busy the last few weeks promoting her music and getting her E.P. to the people. Lucid Dreaming has been talked about and the excitement has been building. I wonder where she is going in terms of touring. I imagine there will be Brisbane gigs but, looking ahead, more Australian dates will surely follow. Maybe a U.K. date is not a reality this year but I know many will want to see Noralyn here next year. Lucid Dreaming is an E.P. you need in your life and, while I have focused on New Tricks; every track on the E.P. is brilliant and sticks in the mind. There are very few out there like Noralyn: we should look out at music and encourage new talent to follow her lead and think more deeply. I know there are musicians who take risks and are more inventive with their lyrics. Noralyn does not chase trends and write in very basic and simple ways. She challenges the listeners and paints vivid, imaginative portraits that fascinate and stun. There are very few artists who take this approach – I wonder whether there are too many risks or few think they will fit in the mainstream. It has been a busy and exciting year for Noralyn. She has released a fantastic new work and brought her music to new faces. The summer is here so there will be gig opportunities and chances to get her E.P. to fresh sources. I hope more people follow her music and, in time, she is given the chance to play internationally. Unique artists are hard to find, and so, when you do discover those with more to say; stick by them and ensure they get as far and wide as possible. Allow yourself some time to get involved with Lucid Dreaming and what it is all about. It is a perfect E.P. to fall inside and let it take you away. The music is amazingly varied and captivating; the songs will come to mind when you least expect and you will surely fall for Noralyn with ease. Lucid Dreaming is a fantastic release that proves long-term success and glory…

IS a definite reality.  

____________

Follow Noralyn

 Official:

https://www.noralynmusic.com/

Facebook:

https://www.facebook.com/NoralynMusic

Instagram:

https://www.instagram.com/noralynmusic/

SoundCloud:

https://soundcloud.com/noralynmusic

Spotify:

https://open.spotify.com/artist/0Y80UrOfdiF9XmdoPdGYYp

YouTube:

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

TRACK REVIEW: Stephanie O - Woman Oh

TRACK REVIEW:

 

Stephanie O

Woman Oh

9.5/10

The track, Woman Oh, is available via:

https://open.spotify.com/album/59WFmQWItP7d4MuaI2sAOu

GENRES:

Pop; Jazz

ORIGIN:

Paris, France/London, U.K.

RELEASE DATE:

21st June, 2018

_________

ON this occasion…

PHOTO CREDIT: Sam Copeland

I am talking about Stephanie O and her beautiful music. Before I get to her latest single, Woman Oh; I want to address a few things. There is a lot to investigate but I want to study female artists and, again, why I think we need to pay more attention and create some parity. I will look at vintage strands and those who look at the past. I’ll go on to talk about artists with curiosity and an ambition that brings colour and texture into things; Paris and, in fact relocation – ending by speaking a little regarding Stephanie O’s future and possibilities. There are a lot of Pop artists out there and people who produce emotive and revealing work. I am looking around the mainstream and I rarely find myself dipping in and out that often. That goes through waves: sometimes, I am engrossed by an artist but, right now, there are few I am interested in. Maybe it is the Pop core that leaves me a little bored. Those established, quality-laden artists are the ones I am more interested in. I feel we need to shake things up a bit – as I always say – and an artist like Stephanie O provides a new angle. I am always concerned we are not putting enough emphasis on female artists and, whilst this is not a fight that needs to be championed on this occasion; I feel the disparity and the scales shifting towards male artists. The rumour mill for Glastonbury is cranking and there is speculation the likes of Paul McCartney and Madonna could be featured – maybe Fleetwood Mac and Taylor Swift. Whilst the headliners might, finally, mix male and female; I wonder whether festivals, really, are starting to equalise (in terms of gender). The reason I bring up the gender subject is the sense of passion and depth you get with female artists. Maybe it is the way they approach music or a different set of emotions they unleash. In any case; I tend to get something more engaging and long-lasting when I hear a female artist play.

PHOTO CREDIT: Lily Rault

In terms of Stephanie O’s music; she digs deep into the soul and projects something quite fantastic. You get heart and spirit; there is urgency but time for gentleness and a softer touch. A mixture of sounds and sensations goes into her music. I am not suggesting male artists could not create this impression – a lot of them do – but I feel inadequate credit is being given to female artists. That will all change, in time, and I know artists like Stephanie O will get their just reward. The songwriter has worked hard and achieved quite a lot in a short time. She has performed alongside names such as Carole King and Cindy Lauper; there is that love of strong and pioneering heroines who have paved the way and opened doors for the next generations. One of the things that bug me about the modern industry is a real unwillingness to look beyond the commercial and radio-friendly Pop music that seems to ‘tick all the boxes’. More diversity is coming onto the scene but there is still that reliance on the easy and uncomplicated. Maybe I have spoken about this too much but I get annoyed by the lack of real progress. Look at artists like Stephanie O and you are getting something different and more intriguing. I will talk about the flexibility of her music but, when listening to Woman Oh; it is a song that deserves a lot of praise and focus. I know there will be moves to create a more ‘equal’ music industry but I think there are a lot of problems that could be fixed quite quickly. Rather than labour over gender and inequality; let’s turn our attention to a fantastic young artist who is producing incredible music. Stephanie O is a perfect example of the modern artists and someone who is turning heads – an exceptional talent who has her sights set and is concocting an original and compelling sound.

One of the pre-requisites regarding my blog is, for interviews, having a fair few images free. Many artists have particular images for various campaigns whereas some have very few available. In the case of Stephanie O; she has some great shots available right now. To my mind, she is someone who has the potential to really shine and stun. She has the looks and demeanour of a classic star and Hollywood idol; a sophistication and strength that radiates. Her love of the vintage and romantic could lead to some great new shoots. Maybe a Paris-set photoshoot or something that engages with a vintage setting. There are possibilities but I think, if she were to hook with a trusted and brilliant photographer; the two of them could work some magic and come up with some awesome snaps. I am not sure if that is around the corner but, from what we can see; you get an impression of who Stephanie O is by looking at her photos. That love of the vintage and classic seems to dictate how she goes about things. Her music mixes the new and vintage – thus, creating something original – but it is great hearing someone inject modern Pop with bygone Swing and Jazz. I know Stephanie O established her own Swing group, The Puppini Sisters, and has affection for Doris Day and Peggy Lee. When you listen to an artist, and try to figure their sound out, you ask them about influences. I have interviewed hundreds and you start to see some common names. To be honest; I have heard of very few who go that far back in music and have the same influences of Stephanie O. Rather than crib from modern artists and what is being played on, say, BBC Radio 1; Stephanie O looks back and sources from a more alluring and sophisticated treasure chest. It is fascinating hearing that blend of the older-days and modern production.

Vintage and classic sounds/looks are always good to see in music. I feel there is too much emphasis on the modern and ultra-fast. We are moving at such a pace and it seems there is little time to move and breathe. Whilst some artists throw in some classic threads into their own music; there are relatively few who have that true appreciation and knowledge of music from far back. I feel too many modern artists name-check legends and older music but rarely source from it. If they do, then you get rather obvious and over-used names. Listen to Stephanie O and you get that sensuous Jazz edge combined with something rather unexpected. She has brewed her own sound and takes you directly into the song. Listening to Woman Oh is like sitting alongside her as she creates music. When you do hear the voice/music play; one instantly gets images of a dreamy and filmic-looking Parisian flat; the heroine in her chic and vintage clothing – the world going by and the sun beaming through the windows. The songwriter has that immersive and physical quality that arrests the senses and makes you conspire. I fear a lot of modern music is soulless because (the artists) feel people want something instant and uncomplicated. Rather than write something meaningful to them that has sophistication; they would much rather provide rather simple and samey music. It is great seeing an artist who goes against the predictable and commercial sounds of the mainstream and, instead, creates music that has a unique and smoky sound. You listen to Stephanie O perform and can hear how much music means to her. You know it means everything to her and she is not just in the business for quick success – she wants to remain and inspire generations to come. There is a long way to go but I can tell, even now, there will be a lot more coming from her.

Another thing that strikes me about Stephanie O is the colour and vivacity she brings to the music. Rather than release something rather plain and unengaging; you get music that brings you into the moment and compels the mind. It is like, as I said, walking in the song and being there with the writer. Maybe that ability comes from the likes of Day and Lee – those who could do the same thing to their audience – but I think it is the way Stephanie O writes and imagines. Rather than take lyrics from cliché and diary pages; her process is a lot more interesting and detailed. You get a sense of where the track was written and the sounds (and sights) outside her window. I will come to look at Paris in a bit but, in a way, there is a little bit of the city running through the veins. I am looking for music that goes beyond the routine and actually moves you. I listen to Woman Oh and can speculate what inspired it and what was happening when it came together. I imagine the songwriter sat in a rather calm setting, watching the world go by and a sense of tranquillity wash over her. With embers of legends in her mind and personal memories in mind; it is a fantastic thing to hear the song and watch it unfold. I guess every songwriter has their own method and writes their own way: Stephanie O brings a lot more to the plate and does a lot more. The artist does not want music to be simply sounds that get into the head and do something in the short-term. Stephanie O wants the listener to get involved with the song and it remains in the head for a long time. She wants the words and melodies to keep coming back and the embers of the track to remain in the eyes for as long as possible. She is not someone who writes quickly to fill the market and so something temporary.

PHOTO CREDIT: Sam Copeland

Stephanie O originally hails from London and she formed the Swing-Pop harmony group, The Puppini Sisters, before leaving to strike out on her own. Moving to Pairs, in a way, was when things started. The artist was inspired by the world outside the dressing room and curious about the world at large. She was not willing to simply do the same thing over and over – the desire to do more and embrace the world was always in her heart. I have talked about the colours and emotions one gets from Stephanie O’s music. What amazes me is the clash of geography and scenery. I know Woman Oh is not about Paris but, when you listen, you do get images of the city come through. That may sound strange and it might be something to do with the elegance, passion and prowess one hears in the song. It is an extraordinary thing that has its body and feet in the U.K. but has a heart, soul and spirit in Paris. I have never been to the French capital myself but it is somewhere I will need to visit before too long. I can understand that urge to move and experience somewhere new. Paris is not too far from London – so Stephanie O has that easy access – and you have a different way of life there. Rather than get buried in the rush of London and experience the music we have here; Paris has a different vibe and is a whole new world. There is similar music to that of London but Paris offers its own dynamic and depth. You have Jazz clubs and great Blues artists; there is that retained history and the ghost of legends past. I can imagine walking through Paris does all sorts of magical things to the mind. The scenery and chatter; the shops and busy cafes – that is enough to get the hands twitching, excited by the prospect of a new song.

Splitting her time between Paris and London; Stephanie O is busy and, working with producer Peter Lyons, she is looking ahead and what can be. I hope the songwriter spends more time in Paris and does not feel the need to settle her feet in London. That may sound odd but I feel songwriters need to take chances and open their minds to new places. Travel broadens the mind, as we know, so it can do wonders for an artist. If you live somewhere as entrancing and stunning as Paris; I can only imagine what words come to mind and how the imagination works. I am seeing a lot of artists relocate and take chances. Maybe it is the stagnation of where they are and the need to find fresh impetus. I, myself, am moving and there are many others who need to take that leap. I am not saying a move to another city will lead to songwriting revelation but it is a great way of changing style and getting something fresh in the mind. Stephanie O has not abandoned her early sounds – Swing and Jazz – but she has mixed it together with Pop and more-modern elements. I feel many are moving because they want to find new opportunities and get their music to new audiences. I know there is a very strong live scene in Paris and the French crowds are very receptive and attentive. There might not be the same breadth and variation as in London but it is (Paris) a great city to play in. I feel like Stephanie O has found new lease and love by moving where she is. You get a less-harried and stressed style of music; a soothe and sense of movement one would not experience in London. Radio personalities like Gaby Roslin have already paid tribute to the beautiful music; others are noting how the time is not and how (Stephanie O) is primed for something big.

PHOTO CREDIT: Sam Copeland

One gets a rather rousing and soft entrance from Stephanie O on Woman Oh. There is a sense of jump and delight that gets the feet tapping and smiles broadening. Acoustic guitar races and skips as the heroine comes to the microphone and lets her voice play and tease. You get that instant beauty and gratification from her tones – a pleasing and alluring sound that casts the mind back to the 1950s and 1960s and the musical heroines of old. I love the production sound and that sense of the vintage. It sounds like the song was recorded using an older microphone as it has a slight echo and sound that is wonderfully raw and classical. Rather than polish the production and evaporate any soul from it; you have a very real and live-sounding song that puts the vocal right at the top. You are under Stephanie O’s spell and following her as she dances and wonders. The syncopated, restless words look at the heroine hop a train to Paris and meet with a love. They got “drunk and dizzy” and spent hours on the streets; helpless in their abandon and surrendering to the beauty of their surroundings. Whether this relates to a physical relationship or a friendship (at first); you can tell how meaningful and instrumental these moments have been. I love the instrumentation and how it complements the vocal. The guitar work is almost Country-like whilst the percussion patters and has that Jazz inspiration. It is amazing discovering a song that steps away from the ultra-modern Pop and has that pleasing, vintage smile. The pace and flow of the words is the biggest selling point. That addictive and insatiable dance gets the listener singing along and moving their body. The enraptured duo has no money but, as the heroine says, there are free things in life they can abandon. You get a sense of two sweethearts who are from a different time. One can imagine the heroine in a fashionable dress – maybe striped or hopped – and the hero unfamiliar and charmed by a new city.

PHOTO CREDIT: Lily Rault

They are moving through Paris and looking for adventures. They have little coinage to show but their hearts are full and they are open-eyed to the wonder around them. Romance and tenderness is part of the deal (free, of course), but the sheer delights and eye-catching splendour of the city itself is keeping them amused and hooked. Our heroine is, as she says, the man’s woman; he, in turn, is her sweetheart and that bond is established. She wants to be held and caressed under the yellow sky and feel the intimacy of the moment. Rather than tease the words and build the mood; Stephanie O has that immediacy and rush at her feet. She is never resting and affected by the urgency of the bond. It is almost child-like in its excitement and wonder. You can hear her smile and I can imagine, when writing the song, she was reflecting on a glorious time when anything was possible and there was the fresh bloom of love. The chorus – where our heroine declares her affection and realises something special is here – sticks in the heart and will make you come back to the song. The song becomes instrumental at the half-way stage and allows the listener to imagine what is happening and how the lovers are moving. You jump into the city and wander alongside the dancing lovers. The simplicity of the composition is one of the biggest strength. The guitar-and-percussion combination skips, scratches and hops and never becomes too heavy and intrusive. Stephanie O unleashes some wordless vocals and hums; she breezes and lets her voice sway. The song goes from a racing and rampant thing and dies down; it comes back up and a new lease of life is found. That unexpected (and brief) fade down-fade up shows how nimble and unpredictable the song is. The final words see the heroine in Jazz/Soul territory and singing in a more romantic and softer way. It is a final kiss that perfectly brings the song down. Woman Oh is a track that will keep you coming back and gets into the brain. It is catchy and instantly memorable but has so much nuance and depth. A fantastic offering that will keep people interested and wonder where Stephanie O goes from here. I am excited by the prospect of future material and whether Paris will be in the mind; whether the style will be the same (as Woman Oh) and what we will get.

Going forward, and I feel there are real opportunities before the songwriter. She is splitting her time between London and Paris and is busy working on a new release. We will see an E.P. later in the year and that will be, I am sure, accompanied by performances. I hope, when she does progress and release more material, we see some cool new snaps come through. With Paris at her feet; a classic/1950s-style shoot or something that sees Stephanie O surrounded by splendour and beauty would add something to her social media profiles. There are a lot of possible fans waiting on Twitter and new markets she could conquer. Woman Oh is a cracking song that has gained plaudits and brought in new fans. I am not sure whether there is a Twitter profile for Stephanie O but I feel this is a market she could exploit and do well in. There are loads of radio stations and venues that would love to support her music; other artists she could hook up with and fresh possibilities. I am excited to see where she can go and what the future holds for Stephanie O. I have been following her music for a little while and know how far she has come. It is always hard finding unique and original artists who do something you have not heard before. Stephanie O goes beyond the usual Pop fare and fuses Jazz and Soul sounds together to provide a fresh and fantastic thing. Looking ahead and I feel like London could come back into her mind. There are some great venues here and it would be great to see the songwriter embark on a tour. I know many people would love to see her perform and it is only a matter of time before her music gets to the masses. Festivals are coming up and, whilst it may be too late to hit the big ones now; next year is a real possibility that could see her take to some prominent stages.

IN THIS PHOTO: Sam Copeland

I opened by talking about female artists and how little attention, compared to men, they get. It is sad to think we still live in a time where there is inequality and an imbalance. I am seeing small changes but that sense of evolution is not happening fast enough. Rather than dwell on the problems and divisions; celebrating artists who have something important to say is much more rewarding. I know Stephanie O has been working hard and dedicating a lot of time to fresh music. I am not sure what form her upcoming E.P. will take but I am sure there will be other gems like Woman Oh on it. The market is so busy and varied right now. It can be hard deciding which artists are going a long way and those who are going to be around for a short time. It is early days for Stephanie O but I know she will be around for a lot longer and progress as an artist. Her love of artists we do not really talk about much these days – like Peggy Lee – sets her apart from the crowd. Influences are important and they can have a big say regarding your own music. The talented artist takes a lot from the present-day but it is the music she grew up around that gives her that extra edge. Let’s hope a lot more eyes turn the way of Stephanie O. She is a wonderful and hungry artist who knows what it takes to succeed and is determined to get as far as possible. If you are unfamiliar with the beauty of Woman Oh and have not given it a proper listen; get your ears around it and make sure you share it on social media. I have heard many artists this year and all sorts of music. Many will stay in the mind for a bit and disappear: a select few bounce around the brain and keep me curious for longer than expected. Stephanie O is definitely one of those artists who get into the head and, when you least expect it, come back and…

SPRINKLE magic in the ears.  

___________

Follow Stephanie O

Official:

https://www.stephanieomusic.com/

Facebook:

https://www.facebook.com/StephanieOmusic

Instagram:

https://www.instagram.com/seestephanieo/

SoundCloud:

https://soundcloud.com/stephanieomusic

Spotify:

https://open.spotify.com/artist/0hkGIli1Z8cfLlYuVAv05V?si=87UnjPUkQvCMxQCpygGcKA

YouTube:

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

TRACK REVIEW: Elias - Tearing Down the Walls

TRACK REVIEW:

 

Elias

Tearing Down the Walls

9.4/10

The track, Tearing Down the Walls, is available via:

https://open.spotify.com/album/58EPKD5JrMQ70PJD9ndDWq

GENRES:

Pop; R&B; Alternative

ORIGIN:

Stockholm, Sweden

The album, Entwined, is available via:

https://open.spotify.com/album/0ysbz1S6Ml5PdyN4qqsj94

RELEASE DATE:

15th June, 2018

_________

EACH artist I encounter…

has a lot to offer and can provide an interesting angle into the world of music. You never know what you are going to get and it can be fascinating seeing what they come through with. Before I get to Elias; I wanted to look at a few different aspects worth exploring. I will investigate inspirational stories and those who overcome adversity to conquer and strive; music that gets to the point and goes right into the heart; voices that seem to convey so many messages and possibilities; writing that goes deeper and seems to capture the complexities of human existence – a bit about solo artists and those who will continue to do great work and succeed. It is interesting looking at Elias and where he has come from. The Stockholm-raised musician has battled hard to become the artist he is today and faced enough obstacles along the way. I wanted to concentrate on something that you do not hear in a lot of articles and reviews: musicians who have dyslexia. It is not often concentrated on but, in reality, there are so many who suffer from dyslexia. It can be quite mild or, for some, it is very severe and can affect their lives in a very profound way. One of the reasons I have not interviewed Elias is because his dyslexia is very bad. For anyone, this kind of disability can be troubling: for a musician who tries to convey themselves in a written form; that is quite a burden. I say ‘burden’ but it might not be the case with Elias. He handles his condition but it does make some aspects of his life quite difficult. Written interviews are out of the question and the way he must present his music and prepare it differs. A lot of musicians will write music/lyrics and then rewrite/shape them. It is a traditional process and is the way you get from conception to realisation. If you are unable to write – or write easily and proficiently – then what do you do?!

I suffered difficulty as a child when it came to writing and reading. I was late to the game and struggled to convey myself effectively. It was a frustrating and troubling time that got under my skin and made me very unhappy. I can only imagine how hard it is for someone like Elias. Many might say dyslexia is a hindrance that makes songwriting impossible: if anything, the way he articulates himself is a much more direct and human thing. Rather than display his songs in a written and intangible thing; he puts it out there directly and verbally. I am not sure of the exact process but I can imagine it is a mixture of voice processing/recording and some basic jottings. In any case, the way Elias writes his songs is different to many other people out there. My heart goes out to him but one of the other reasons I am so interested in his movements is how direct and captivating his sounds are. We often overlook artists who go through struggles, whether that is an illness or disability, or have some sort of impediment. It is not spotlighted but I wonder whether there are ways to combat that and provide assistance. I am sure Elias manages well but it must be hard, when he has an idea, to get it down straight and have it formed as easily as others. Rather than highlight dyslexia and let it define him; I wanted to congratulate the artist and look at what he is writing right now. It is amazing hearing his music come through and what it does to the senses. There are a lot of artists who write similar music/themes but nothing as stirring and majestic as Elias. You hear so many songwriters out there and it can be hard getting a grip on what is good and what succeeds. In a very hectic and packed world; how do you decide which artists are worth long-term fascination?! I feel Elias is one of those people who sticks around and remains in the brain because his music is so soulful and emotional.

The directness and instancy of Elias is something that defines his music. You listen to a song like Tearing Down the Walls and get a real sense of openness and revelation. He does not hide behind metaphors and disguises his language in meaningless ways. Maybe the way he gets his music onto the page – or recorder – means he is not fettling and endlessly tampering with words to get them right. I have been listening to his new album, Entwined, and each song has a different skin and personality. The common denominator is the way the tracks leap from the speakers and sit in the heart. It is a very special experience listening to Elias and what he is coming up with right now. I am drawn to his spirit and what he has to say. I will look at song derivation and why some artists go that little bit deeper but, before then, it might be worth looking at the state of the industry and how many artists are out there. I think about the issue a lot: the sheer size and breadth of music and how it can daunt the consumer. You have so many options and available avenues; it can be like a blitz or attack. Every week, there are new idols and options for the restless mind. We consume music differently to how we did, say, a decade ago. Now, we are much more about singles and tracks: albums, in their entirety, are less important and featured. I still love to listen to music right the way through but, when it comes to the newer acts; sometimes it is hard listening to everyone’s albums all the way through – there is so much more out there that needs to be investigated! That is not the fault of anyone but it interests me how far we have come in some respects; we have gone backwards in others. I am not sure what will happen to the music industry but it seems now, more than ever, it is tougher to get people to sit down and listen to your work all the way through and keep their minds hooked.

This may seem doom-laden and negative but my point is that there are those out there that sort off stop you in your tracks. It is hard looking out at music and picking those who are going to remain and succeed. You can never make that absolute prediction but there are some you know will remain and continue to do amazing things. Elias’ delivery and songwriting chemistry is different from anything else and makes quite an impression! His voice is soulful, as I said, but it is what he puts out there that compels. His way with words and what he does with subject matter stuns me. It is hard to pinpoint and define in words but you have to listen to the young man and how he does things. It is amazing hearing an Elias song and letting all the notes sink in. Some songs, like the one I am going to review, look at breaking down walls and boundaries. There seems to be an intergenerational divide and clash that affects us all. We all grew up listening to our parents’ experiences and how different it is to today. Even though he is based out of Sweden; the experiences of his parents are going to be similar to us here. My parents went through tough times and grew up in very humble and difficult circumstances. Now, I have the chance to make a better life and have more opportunity. That boundary-breaking spirit is not confined to life experience and domestic situation. What Elias is doing is tearing down the barriers in music and homes. There are no real splits between the music of now – Dance or Pop – and what was out there in the 1970s and 1980s. The same can be said for dancing, living or emotions. Whatever we feel is different now to back then – when our parents were young – it is really not at all. Maybe the economy and state of the world have changed but the roots and building blocks that make us who we are have not altered. Consider what your parents were dancing to or what made them special: that is the same for us and we have more in common than you’d think. These arbitrary and needless walls are placed and we often feel the needs to isolate ourselves from our ancestors. Elias is taking away this division and realises these (walls) is foolish and misguided.

Alongside the themes and stories of togetherness and unity is that central voice that digs very deep and unleashes a wave of emotions. Elias writes about his life and all its strands: the ugly and dirty aspects and the beautiful, bright moments. He understands what his parents felt/feel and knows there is that common link. The words and sentiments put out into the world can be understood by everyone and we all can learn a lot. I have listened to Elias’ album and learnt quite a lot about myself and other people. Maybe that is the way the Swedish songwriter puts his work out; perhaps that voice is what sparks it to life and gets it into the mind. There are singers who can articulate themselves in a potent and extraordinary manner. There is a deep sound but lightness and sensitivity working away. It is a fantastic brew and holds so many colours and diversions. Maybe it is the music he grew up listening to or how he has to adapt to dyslexia and its effect – the way the young man gets his voice out there is extraordinary. There are a few people lucky enough to hold that sort of power and nuance: if you have a talent like Elias; hold onto it and do whatever you can to bring it to the people. The combination of abilities and talented means you will stick with Elias and listen to everything he puts out. Whereas there are one or two songs on Entwined that are not as good as the best; there are no weak moments and you feel like the album, as a whole, is a very worthy and challenging treat. I have been listening back for a few days now and learning quite a lot. It is wonderful hearing Elias sing and what music means to him. The same way he is breaking down walls and keen to join generations through their common experiences; he wants people to bond over his music and learn more about themselves and the world around them.

Maybe I am waffling a bit – but that is what great artists do to you, I guess! What gets to me is how long Elias has spent in the studio and the work he puts in. He has logged thousands of hours and you can hear the progress made on his album. One can see the leaps he has made and how he has improved since his debut single (Revolution). All of his career and progress is on Entwined and you can hear how that time in the studio has strengthened what he is about. As a debut album; that voice scores so many different subjects and colours. Many artists produce an introduction that looks at love, life and things close to them. They say you need to write about what you know, as so, many will talk about their relationships and how they feel. That is all very well but it can be difficult making statements that are any different to your average songwriter. Love and relationships are not as complex as all that and it is easy to feel a little bored by the same words and expressions. Elias talks about human rights, the outside world and something far bigger than what is in his heart. Of course, he feels pains of broken love and the rush of lust but is not all about that. It can be quite bristling and egregious listening to someone pour their heart out for an album and not really changing things up. I understand the intention – to show the listener what makes them tick and defines them – but the world is a huge and complex place. Taking your listeners out of a comfort zone and opening their eyes to something more is much more credible and impressive. It is hard to decipher which artists can offer you that, as there is so much music, but I am always looking for acts who open your eyes and horizons.

Before I move onto a particular song that has caught my attention; I wanted to look at solo artists and a bit about Stockholm. I feel bands are starting to make a comeback and gaining more focus than they did years ago. The tide turned towards solo artists and it has been hard unearthing great bands that have the ammunition to go on and be a success. Maybe that was a phase but now, in 2018, there are some terrific groups who are starting to crack and turn opinion. Maybe it is the fact there are so many solo artists out there is can be challenging to separate them and stick firm. I get sent loads of music from solo artists and I always find something interesting. I can never sit still and spent too much time with someone and, whilst that is a problem for bands too, it is something that affects solo artists. The industry is packed and how long does one realistically have to listen to the music and let it all sink in?! Again, this might sound harsh but there are a few that demand more time and energy. Music is a fickle industry and a tough nut to crack; if you can do that and stand aside from the competition then you are doing something right. Elias has some common threads and movements – the way he sings and the accessibility of his compositions – but he goes out of his way to impress. You get a lot of interesting lines and hooks; some great clashes of upbeat and introverted. He has a bold and passionate soul but is capable of taking things down and being emotional. The same can be said when it comes to the songs and their themes. There is variation and stimulation working throughout. That, coupled with his determination and work ethic means he will be around for a long time and settle in the public consciousness.

Sweden and Stockholm and not areas we often look to but I feel we should all be more aware. I love the nation and wonder whether we spend too much of our time in the U.S. and U.K. There are great European artists emerging and parts of the world we do not focus too much on. Sweden has always produced brilliant artists and has a particular knack when it comes to Pop and Electronic music. The modern breed emerging is keeping the ethics of past masters but mixing so much colour and energy in. I feel the music we witness in the U.K. and U.S. can be a bit samey and commercial. Sweden has the same public demands and charts but the new artists from here seem less concerned with fitting into holes and compromising. The sounds are more free and expressive; they take in more sounds and fabrics and provide more fascination. There is a lot to recommend and, thinking of Elias, he seems to define what Sweden is about and how good its artists are. Look at where music is heading in terms of Pop and Alternative sounds and I wonder whether Sweden will get more attention. By that, I mean the artists coming from here are providing something more emphatic, energised and deep. Not that the music from Britain lacks those qualities: Swedish artists have that extra magic and seem to possess something artists here do not. I feel Pop music is shaping and shifting; it is getting more colourful and holding more emotional weight. You still get commercial stuff and cliché acts but the best of the newcomers are going further and doing something wonderful. I feel the nation deserves more acclaim and focus than it does right now. I am not sure whether Elias is in Stockholm full-time – or based in the U.K. some of the time – but he is doing the country proud and will get more ears and eyes turning the way of Sweden. I have talked enough about Elias and what he is about; looked at various angles and how I feel the young man will develop. I shall come onto a song from Entwined, I feel, defines the album: the celebrated and extraordinary Tearing Down the Walls.

Tearing Down the Walls starts with chanted and echoed vocals. It is a declaration and call that hints at what is to come. The hero steps to the microphone and wonders what would happen if we all ran together and joined forces. I feel, right from the off, there is that need to stop putting boundaries between us and thinking we are all different. We need to face things together and join with one another. Right at the start, you do not know whether the song refers to troubles in the world or it is something more personal. We will run together, it is said, but not be divided. There is that determination to fuse generations and people so we can all face things as one. You cannot listen to the song and feel like modern politics and social divisions are being overlooked. Given the way the world is splitting and how far apart we are drifting; rather than shut people away and feel we need to look out for ourselves; we need to attack and push through as a unit and take away these walls. It is a stirring and powerful message from the songwriter. You get the sense there is a bit of personal mandate in there. Maybe Elias has sat back and looked at how people push away others and feel they need to be independent. We are not that different from previous generations and we all think, broadly, the same way. We dance to the same beat as our parents and the way the world is spitting is not that distinct from decades ago. I wonder whether we learn from the past and are too willing to make mistakes and not take any lessons away. Whether referring to politics or how the young do not look to the past and their parents’ voices; these separations are dangerous and not how we should be going forward.  What I sense, more than anything, is walls being broken down in terms of dance and movement.

You hear the big chorus and words and it seems like it’s a proclamation to get together through music and set things alight. Against all the struggle and turmoil that is happening; we all dance and react to music so that is what we need to do – a way through and a chance to set aside all our differences. The chorus has that big and proud sound that throws everything into the mix and creates spark and colour. I was fascinated by the energy and bold sound coming through. From a more contemplative and cautious verse; the song changes direction and urges everyone to get together and strike. The world might be burning, literally and metaphorically, but we can change things and make a difference. The track starts off with a deep look at what is happening around us and how we place blocks before us. After the first chorus; the mood changes and it seems like a breakthrough has been made. Elias is keen for Tearing Down the Walls to strike a chord and resonate. What we discover is a song that asks why we stands separate and do not willingly join together; how we all seem to look out for ourselves and why we need to change. You have that epic message of togetherness and surrendering to the dance. That is my interpretation and I realise, when you listen, you’ll get something different. However you view the song; it will remain in the mind and compel further listening. I was invested the first time around but have come back and discovered something fresh and unexpected further down the tracks. That is the mark of a great song: it hits you right away but keeps revealing magic and mystery after new spins. Tearing Down the Walls is a standout cut from Entwined and proof the Stockholm artist has a lot more to say in the future. Make sure you spend time with Elias and let the music absorb into the skin and influence the mind.

It has been a very busy year for Elias and his music. The debut album is out in the world and things are starting to hot up. Elias has released E.P.s and singles before but this is his full-length offering and something that will get his music to the wider world. We are becoming less interested in the album as a whole but there are musicians who compel greater concentration and intrigue. You cannot really casually dip into Entwined and sit back: it is a fascinating and fulsome album that requires proper investigation and passion. Because of that, I have not only listened to Tearing Down the Walls and left things there. I recommend everyone get behind the album and spends some proper time investigating, studying and listening. It is a fantastic work that collates all of Elias’ past works and shows what he is about right now. A career-spanning set of tracks that shows how compelling his music is; a brilliant and confident work from someone we will hear a lot of through the years. I am not sure what touring plans he has in mind but I know there will be some gigs here and there. Keep abreast of all his happenings through social media and, if he appears in a town near you; get out there and see what all the fuss is about. Critics have been given love to Entwined and it seems there is an appetite for what is putting out there. I am excited to see what happens next and where the young musician can go. I have written about Elias’ dyslexia and what he has to face; the sort of challenges behind his work and how hard it must be. It seems he copes and finds a way to articulate his music in a very raw and connecting way. I shall leave things here but I have loved discovering Elias and finding out what makes him tick. I hope he comes to the U.K. and plays over here; gets his music out to the world and keeps pushing forward. There are a lot of great solo artists around but there are very few that leave a big a mark…

AS Elias!  

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Follow Elias

 Official:

http://www.eliassongs.com/

Twitter:

https://twitter.com/EliasSongs

Facebook:

https://www.facebook.com/eliassongs/

Instagram:

https://www.instagram.com/eliassongs/

SoundCloud:

https://soundcloud.com/eliassongs

Spotify:

https://open.spotify.com/artist/0UCLbPGOhtnYf29U7qbfLf

YouTube:

https://www.youtube.com/channel/UCFMHQeeSlvoc3APIAE9mX9g

TRACK REVIEW: Justin Nozuka - No Place in Mind

TRACK REVIEW:

 

Justin Nozuka

 No Place in Mind

 

9.5/10

The track, No Place in Mind, is available via:

https://open.spotify.com/track/6BYb8RVAVC8bAOx6H74CtK

GENRES:

Alternative; Folk

ORIGIN:

Toronto, Canada/Devon, U.K.

The album, Run to Waters, is available via:

https://open.spotify.com/album/1mI50yWLjr9U0nxktpWrNs

RELEASE DATE:

18th May, 2018

_________

ON this occasion…

I wanted to look at a few different aspects of an incredible songwriter. Before I come to look at Justin Nozuka’s latest track; I will explore Alternative and Folk movements that dissipate stresses and remind one of the greats; the Canadian market and why the nation warrants more focus and promotion; albums that mean the world to artists and get big support from fans; finding the right producer that can harness your sound and bring out the best – I will end seeing where Justin Nozuka can go. I have written about Folk and Alternative sounds before and, in every case, there is something different you can take away. It is hard to categorise Nozuka’s music because it has rougher edges that remind one of the stadium artists but there are gentler movements that have that acoustic bliss. What gets into the mind regarding Nozuka’s music is the fact it can take you to another world and transport one. I have heard a lot of gentler and calmer sounds that are fine on the paper but they do not really linger in the mind for too long. It can be difficult taking the volume down and making sure you grab a person’s ears. I often look out and think about the variety and what sort of music is around. I am more and more determined to embrace the artists who perform something soothing and calm the mind. Whilst there is some real entrance and beauty in Nozuka’s music; you get real emotional depth and lyrics that make you project and conspire. I have been listening a lot to artists like Nick Drake and Joni Mitchell: two of the Folk greats who, between them, managed to change and progress music. I feel there is still too much emphasis on Pop and the bigger sounds that are commercial and sound huge on the radio. There is nothing wrong with that but I wonder whether we do not commit enough of our time and energy to artists who have something real to say.

You cannot say there is a lack of wonder out there but I think we all place too much prominence on commercial sounds and Pop artists. I will stop my bashing of the genre and move on – my real point relates to music that does more to the heart and soul. Whilst there are a lot of artists who can take the mood down and get the listener dreaming and drifting; Nozuka is someone who can bring real passion to the party. I will talk more about Run to Waters and the track, No Place in Mind, but there is a lot to unravel regarding his personality and ethos. I am trying to unpick and define his music because of the beauty and evocative spirit one gets from it. I have mentioned some Folk greats but, look around the scene right now and there are some great musicians who provide sensationally scenic and passionate music. None of them, to me, have the same blend of qualities as Justin Nozuka. As he progresses and makes his next steps; you look back and see how far he has come. I listen to the earliest cuts he released and it seems, where he is now, holds real meaning and importance. I will talk about his album and why it means so much to him but you listen to the songs and so much of his self and soul go into things. Listeners want to relate to a songwriter and understand who they are but they want to find music that makes them feel better and removes anxieties. You can find a common mind and someone like us (in the music) and when you hear the sounds unfurl; you are drawn into the picture and everything else seems to fade away. That medicinal and curative quality keeps you coming back and hooked on his music. Were he to throw in loads of electric guitars and drums then the impact might not be the same. It is the fact he has this seductive and calming quality that leaves the music in the memory for a long time to come.

Although Nozuka is an American-Canadian artist; he is based in Toronto and takes my mind to the nation. I have written a lot about Canadian music and, whilst I have taken a small break, I am back there and looking at what is coming from the country. I feel we often get gripped with the American and British sounds but never really look elsewhere. Australia is a great country for music and we do not really look there a lot. It is a full and varied nation but, I guess, it is not quite as popular and exposed as it should be. Maybe we should spend more time there and see how many fantastic musicians are playing there right now. The same is true of Canada and there is no real reason why we should overlook the country. Australia is a long way away and there are not as prominent Australian musicians as there are Canadian. What gets me is the fact there is this clear wonder and variety around but we do not spend enough time with it. Toronto is a fantastic area for new music but, to be fair, the whole of Canada is capable of genius. I have been looking around the nation for a few years and, every artist I encounter, I get something unique and fantastic. The Canadians do things differently and put more into their music – compared to the U.K. and U.S. I am not sure whether it is something in the air but there is something wonderful about Canadian music. Justin Nozuka is one of those artists who take from the sights and sounds around him and differs from anything out there. Look at the music coming from Run to Waters and there is that balance of the personal and universal. There is a lot to deconstruct but you find a lot to relate to and take away. It is not a surprise to see another Canadian artist emerge and create music that remains lodged in the heart.

PHOTO CREDIT: @culturefrenzy

I will move onto new aspects in a minute but I wanted to stay in Canada and see what is happening there. You can say the music landscape is the same and artists are, broadly, of the same mind. That is not true and, if you look at Canada, there is an identity and national spirit that is not like anything else. Artists tend to look at the past and uncover aspects others have not thought of. They are more impassioned and keen to connect with the listener; they are more innovative and are keen to touch people and make them feel involved with what is going on. Maybe other nations have those qualities but I am always drawn to Canada and what is coming from there. I feel we should all be more aware of what is happening and the terrific music emerging. Rather than solely stick with the U.S. and U.K., we need to be more broad-minded and discover all the terrific music available out in the world. Canada is a terrific country that constantly surprises me. Justin Nozuka is a terrific musician who has a big future – he will consider whether he wants to remain in Canada, I guess. I think the media pays a little attention to Canada but do they get as much exposure as the U.S.?! I am not suggesting he packs his bags but his music deserves big love and a wider stage. Nozuka has worked tirelessly to get his songs to the masses and making opportunities for himself. It is wonderful watching him grow and seeing how much music means to him. I hope the latest L.P. from him draws people to Canada and gets them looking at the nation’s wide and fascinating music scene. The reprieve of stresses and anxieties (in his music) makes you fall hard and stick with him. Nozuka is among an army of Canadian-based artists who are making changes in music and showing themselves to be future-ready stars.

I will look at a song from Run to Waters that stands out to me but, before then, let’s look at the album and how it came together. 2014’s Ulysees was the last album from Nozuka and, since then, he has put two E.P.s to the world: High Tide and Low Tide. We have seen music from the album appear on both E.P.s and it has bridged the gap nicely. It has been a long creative process and there have been some developments and changes in his style since then. The 2014-released record was a success and showed what Nozuka was all about. I feel Run to Waters is a bigger and more ambitious work that explores new ground and sounds stronger. Nozuka has always been incredible and ambitious but he has crafted something that integrates all his past work and current curiosities into the blend. Nozuka created the album over a period of two years (and a few months) and was apologetic to the fans for the silence. Not a lot had been heard, in terms of albums, since 2014 and many thought he was dormant. What was actually occurring was that creative swell and process – putting out ideas and making sure they were as good as they could be. Nozuka thanked his fans for their patience and explained how he had the privilege to work with producer Chris Bond. Run to Waters was recording between Canada and England and seems to take from both nations. You have the landscapes of both nations working away. Canada is a nation we associate with snow and icier conditions; mountains and a vast vista. There is that coming out in the music but you get the cities and personalities of Canada working alongside things. The English part of the album relates to the pastoral beauty and the gentle countryside; the quaintness one gets and the bubbling streams. Getting these two worlds combining in one album is an extraordinary thing to hear, indeed!

I am not surprised Nozuka took that long to record the album and ensure it was as good as it could be. Chris Bond has worked closely with Nozuka and ensured all of his talent and visions are realised as effectively as possible. The songwriter has been dreaming of the record for a long time and wanted to be sure it was worth the wait and would thrill the crowds. I can see where all that focus and attention has gone. You listen to the music and know how much energy and determination has been expended. I feel artists get pressured to release quickly and ensure their name is out there in the ether. You get this expectation upon the shoulders and feel a little strange. The market is hot and busy and so it can be daunting creating something quickly that means you remain relevant and fresh. Rather than rush-release an album and follow 2014’s L.P. with something that was not satisfying; Nozuka, instead, crafted a beautiful record that made sense to him and felt natural. You can look at the album every way you want and examine Run to Waters from various different angles. One can be forensic and dissect the songs but, when it all comes down to it, the music comes from the heart and has that instant, unforgettable quality. You are, as I said, calmed and hugged by the sounds but there is so much intrigue and colour running right through. I can imagine the creative process was gradual – experimentation and false-starts – but all the wait and time has been worth it! The fact Nozuka reached out to his fans and explained why there was a gap in release shows how much they mean to him – and how much music means to him, too. Finding the right producer can be difficult these days. There are so many options and it can be a gamble working with someone you are not familiar with.

Maybe there is a long history between Chris Bond and Justin Nozuka but you get the feeling their association is fairly recent and there was that instant and mutual affection. Looking at Chris Bond’s website and, actually, he worked on both of Nozuka’s between-albums E.P.s. There is, then, that familiarity and understanding of what he is about. Rather than radically change the sound of his 2014 and create something too commercial and strange; Bond has brought new angles and ideas from Nozuka and strengthened his work. He has produced for Eliza Shadadd and Tom Speight. His record is pretty impressive and he has had the experience of working with a broad range of artists and learning a lot from them. Whilst there are differences between what Eliza Shadadd and Justin Nozuka are throwing out there; the common denomination is their authority, passion and quality. Chris Bond has worked tirelessly on Nozuka’s latest album and the two have created this understanding and friendship. I hope they work together in the future because you can detect a respect for one another that means the music is neither compromised nor one-sided. Both have equal say and there is a terrific balance. The music is fresh and has polish but not enough so the soulfulness and beauty is washed away. I am not a big authority when it comes to producers – and why certain ones stand out from the pack – but I am familiar with Chris Bond’s work and what he is all about. The man has years’ experience and has been with Justin Nozuka for a little while. Many artists are self-producing and guiding themselves but I feel there is a lot to be said about researching and working with a producer that can bring in some objectivity and outside guidance. You only need listen to the first few seconds of No Place in Mind to know the record has been worth the wait. I am reminded of Folk greats and the best of the current market.

I will look at the record, and standout track, soon but I wanted to look at where Nozuka can head and what he is capable of. The artist is reaching out to fans and, as the album has been out for a few weeks, he is touring and promoting heavily. Once the dust has settled and the record has done its work; you wonder where he is going from there and whether there will be other songs. I guess he will record again next year and spend the remainder of 2018 touring and reaching new people. I often see artists who have early promise and lose their spark a little way down the line. It is disappointing seeing musicians lose that edge and fade away a bit. Justin Nozuka has a strong start to life and has evolved and strengthened over the past few years. His latest album is his strongest work yet and shows he wants to remain on the scene for a long time to come. There is a lot to love about his music and there are elements that other songwriters do not bring into their work. I feel Nozuka could succeed if he remained in Canada but I wonder whether he will move to the U.K. or U.S. I am not trying to dictate but the music he is putting out there deserves a wide an audience as possible. Let us see where he goes and how the next year plays out, shall we? I am keen to watch him grow and determined to stick with his music. You get so much glory and beauty coming from the music; there is an entrancing and addictive quality that means you come back and keep listening. I have seen and discovered a lot of musicians but there is something about Justin Nozuka that leads me to believe he can be around for many more years to come. Let us get down to business and look at a cut from his latest album: the terrific No Place in Mind.

Listening to the finger-picking and bouncing strings and one is reminded of Nick Drake. I get little elements and suggestions of Pink Moon (Drake’s third and final studio album) – with a bit more lightness and breeze coming through. The notes conspire and tangle; the mind looks out into the natural world at fields and streams – you have that physical and instant sense of exploration. When the hero comes to the microphone; his voice has that combination of feather-light and grave. You have a stern sense of caution but there is a wistfulness and desire to wander the land. He is heading off with no place in mind and gets some air. Maybe there has been some hard times and stress before him: he is looking to erode that friction and discover a calmer climb. The vocals are instantly graceful and stunning; you are buckled by the softness and nuance that emanates from every breath and word. The delicate and velvet-soft voice leads the listener through the song and you feel as though you are walking alongside Nozuka. The guitar remains gentle and unobtrusive but adds a lot of direction and emotional candour. The hero has no destination in his mind but he has a pack on his back and is strolling down by the river. Maybe there is no crisis and turmoil that needs to be combatted. You never feel like Nozuka is stretched and looking for a salvation. He is determined to clear the head but, rather than escaping demons and denying the truth; the man is looking for inspiration and needs to breathe. I guess every musician feels pressure at some point and needs that space to get perspective. Rather than project woe and bring the listener down; Nozuka is inviting them in as he observes trees hanging and recalling fond memories. There are embers of Classical strings and something elegant working in the background; Nozuka’s vocals are layered when the song rises and the song grows and blossoms like a flower.

What strikes me is how calm and controlled Nozuka sounds. He is painting these scenes and explaining how trees and sights along the way make him think about old summers and times past. At every stage, you are imagining and wondering where the song will head next. Nozuka’s vocal can go from touching and gentle but is capable of projecting real punch and rush. The man skips rocks in the river and jumps into the inviting waters. Drums come in and create occasional waves; there is that mirroring of the lyrics and the physicality of the song is impressive indeed. The beauty of nature and the banquet of colour keep those dark days at bay and carries the hero through the rubble. I mentioned how there is not that anxiety and need to escape in the song: maybe there are ghosts that have not left and these wandering adventures are here to banish the blues. The more the song goes on, the more you escape and submit to its beauty and teasing touch. Justin Nozuka is one of these singers who can lull you in and affect your soul but carries emotional weight and has so many contours engrained. The entire experience is fascinating and enriching. Although, in my mind, No Place in Mind, is the best track from Run to Waters; it sets up the album and tells you what is to come. I have listened to the song a few times over and there are new revelations that come through every time. For me, personally, I found a lot of relevance in the song. You can approach a track like No Place in Mind as a pure form of release – nothing personal but the beauty and entice can unburden you – or take something away from it. Whatever you do with it; I suggest you listen a few times and see how various lines and notes unfurl and sprout through time. Justin Nozuka has crafted a terrific song that warms like the sun but tempts you into a cooling dip by the river. The scents, sights and sounds of nature come through and it is impossible to listen to the song and not be taken away and affected.

Justin Nozuka has seen his music played on T.V. shows in the U.K. and has a solid fanbase over here. No Place in Mind is a track that has been out a while and gained a lot of traction on streaming sites. I have been following his work for a little bit but there are so many years ahead of him and I would urge everyone to jump onto the wagon of Justin Nozuka and follow where he goes. It is a great time for him and, with a new album out, there are new eyes coming his way. The Toronto-based musician has worked hard on Run to Waters and it has been the result of hard labour and a lot of love. Working with Chris Bond; the talented musicians has put his all into the music and wants people to connect very strongly. You listen to other tracks on the album like Hourglass and Heavy Stone and you can take something away with you. Although the eleven songs are from Nozuka’s heart and have personal relevance to him; each listener can interpret the songs and find something familiarity in there. I have connected with the songs and really found something to bond with. That is the mark of a truly great songwriter: someone who can be honest and open through music but ensure every listener is involved and part of the process. I will leave things here but hope everyone gets out there and catches Justin Nozuka’s music. I am not sure what his tour plans are – and whether he will come to the U.K. – but keep an eye on his social media pages and keep abreast of the latest happenings. There is so much going on – and much to love – and I know Nozuka will be a permanent fixture in the music industry. Run to Waters might have taken a while to get to the people but, when you listen to the songs unfold and remain in the mind, you know all of that time and focus has been worth it. Sit back, open your eyes (and mind) and watch Justin Nozuka…

STEP out into the world.  

______________

Follow Justin Nozuka

Official:

https://www.justinnozuka.com/

Twitter:

https://twitter.com/justinnozuka

Facebook:

https://www.facebook.com/justinnozuka/

Instagram:

https://www.instagram.com/justinnozuka/

SoundCloud:

https://soundcloud.com/justinnozuka

Spotify:

https://open.spotify.com/artist/1uquUYtkdKei0zuhBY9P0t

YouTube:

https://www.youtube.com/channel/UCFMHQeeSlvoc3APIAE9mX9g

TRACK REVIEW: Elena Ramona - Electric Love

TRACK REVIEW:

 

Elena Ramona

Electric Love

9.4/10

The track, Electric Love, is available via:

https://soundcloud.com/elenaramonaofficial/electric-love

GENRES:

Pop; Alternative

ORIGIN:

Surrey/London, U.K.

RELEASE DATE:

14th June, 2018

_________

I realise…

PHOTO CREDIT: @MichaelSweeney

one of the pledges I made for my blog was to look only to new artists. By that, I mean those I have not featured before: many might recognise Elena Ramona and the fact she has featured here a few times. I am making very few exceptions but, when it comes to her music, she acts as an example of someone who continues to seek new excitement and explore new territory. I will come to her new song, Electric Love, very soon but, before then, I want to address music that makes its way beyond the speakers and laptops; artists who have come a long way and continue to expand their horizons; 1980s and the sounds of the decade coming back into modern music; a need to move into a wider market and broaden views; Pop and why it is shifting and split at the moment – those who have the passion and dedication to go all the way in the business. I will look, first, at Elena Ramona and how she has come a long way. I have heard her music played on T.V. shows like This Morning and now, with Electric Love, it is being heard in Superdrug stores. That might sound like a minor achievement but it is one few songwriters can claim. Not only do many thousands of people know her music and have heard it played; up and down the country, we will hear her new song filling our ears. In a competitive and busy industry; there are so few slots and chances for artists to get ahead and earn that sense of wonder. Elena Ramona has that rare honour and is being taken to heart by those in T.V. Couple that with retail backing and you have a nice spread and diverse portfolio. The reason I wanted to raise the point was to examine how much has become a little insular and anonymous in some ways.

PHOTO CREDIT: @MichaelSweeney

We all listen to what we love and, unless we interact at gigs, how often do we bond over music outside of social media? I feel we are conversing less and the act of discussing music is less physical and social. It is strange we have come to this but I know there is a way through it. Getting music played in shops and on the screen means viewers and consumers can directly interact and share their feelings; we see music reach that wide remit and it is taking songs away from streaming sites and out into the open. It shows artists like Elena Ramona have an adaptable and eclectic quality that is appealing to radio stations, producers and fans alike. I feel a spot on a daytime show or being played in a national store is a great way of transitioning to films and bigger T.V. shows. Who is to say, a few months from now, a big producer and company will not be overlooking Elena Ramona: they will knock on her door and ask if her latest cut can be used on their show. I can see that happening and know it is only a matter of time before she gets right across the nation. I have heard many people getting their music played on shows like Made in Chelsea – that may not be her cup of tea… - but it is another layer of exposure and big kudos. I feel film and entertainment is where the songwriter’s work will sound best. I can see her songs backing some great independent film or accompanying a comedic moment, perhaps. I have followed Elena Ramona since the start and her music keeps on changing and building. She is able to write something stirring and emotional and, on her next release, it will be a funky and danceable jam. She is determined to get her music beyond the comforts of home and touch as many humans as is possible. That is an impressive and ambition feat from an artist who has man more years ahead of her.

One reason why she has managed to endure and set her horizons is the variability of the music itself. I will examine Electric Love and its motions but, look back, and you see the different colours she has worn. The first few songs Elena Ramona released were fantastic and dealt with personal subjects. Whether tackling a lying boyfriend or paying tribute to her father; these songs were from her heart and showed a songwriter who was willing to change her game and not produce the same song every time. I have seen her stride out and incorporate fresh elements with every release. Look at where she is now and there is that natural confidence and intuition. The music is more positive, lyrically, and it seems her heart and head are in a happier space. Of course, there will be bad days and normal heartaches – of romance and personal realms – but the young talent is projecting summer tunes and feelgood vibes right now. In any case; we are seeing such ability and strength come from the music. Elena Ramona was never nervous and unsure but I am noticing leaps and bounds come from her. She is still in her twenties and, as she moves through her career, I wonder where her music will take her. Right now, there is that mix of Pop and Soul but I wonder whether other genres and sounds will come to play when she gets further down the line. That will be interesting to see and I know people will love whatever she offers up. I am seeing a few artists quit and limit their scope; they are retreating or playing it safe with music. Many feel the way to remain is to copy others or play in a very commercial/unambitious wheelhouse. That might seem logical to some but, to me, those who succeed and endure are the ones who take risks and transform.

Every new Elena Ramona song has her blend of qualities and D.N.A. in them – there is a distinct stamp and sound one can associate with her. What one gets is fresh endeavour and motivation from someone who is able to step into any territory she feels fit to explore. Not only does Elena Ramona have a voice that could belt out a big Pop song or seduce when singing tenderly; she loves to write about a number of different subjects and does not want to be pinned and honed. It is easy to see why people are falling for her music and why it is getting into some very important hands. Music, being busy and competitive, means each artist needs to think big and how they can make a success of their careers. It is all very well having big dreams and striking high but you need to be able to execute it and create something original. People can see through artists who mimic and feel it wrong to show individuality. I know there will be more material from Elena Ramona and one wonders what she will create on her next offering. She is more alive and desiring than she has ever been. One wonders how long it will be until she is standing on some big stages and getting her music to some huge crowds. The reason I make this declaration – or ask the question – is the sensation one gets from the songs. You are part of the process and have something physical and immediate. The songwriter wants people to get together and talk about her music; those who do not move and feel connected to Electric Love need to get themselves checked over! All of the energy and physicality one gets from her latest single is part of a plan from someone who wants to play a bigger role in the industry. She is setting her sights on success and reaching as many people as is possible. I know that achievement will take a while but she is making all the right moves and creating some incredible movements right now.

I will chat about Pop and why there are dangers and joys in the sector but the 1980s, oddly, comes to mind. A lot of artists are putting the decade’s music into their own – many might claim that has been the way for a very long time! Some see the 1980s as a jokey and minor time that offered little beyond big hair and commercial Pop. We forget all the brilliance that was around there and, with artists putting the 1980s into the modern day, there is new appreciation and fascination. Not everything from the 1980s is great: there was some rather dodgy Pop and some movements (like New Romantics) had some bad moments. What was great about the 1980s was the variety we had then and some of those terrific and fun Pop-makers. Look at icons like Madonna and Kylie Minogue – and those around them – and we have artists who have endured for decades. I feel we are bonding with 1980s-inspired sound is the fun and sense of nostalgia that we get. There is a beguiling quality and strange energy that we feel and, just short of getting the mullets back out; we have that link to the past and a, well…something that is lacking in many songs. By that, I mean (the 1980s-inspired songs) take us back to the decade but updates the sound. Those artists who are borrowing from the 1980s are not lazily repeating and not adding their own touch; they are presenting their own version and taking it in a new direction. It is not only the more commercial Pop artists of the decade the likes of Elena Ramona are inspired by. Look at the decade as a whole and what was happening then. You had the division of chart Pop and bigger bands who were less concerned with commercial success. We had so much happening and a variety of tastes and sounds playing alongside one another in the decade. More and more, artists are taking guidance from the 1980s and marrying it with modern production.

PHOTO CREDIT: @MichaelSweeney

I will move onto a new consideration in a minute but I am compelled to look at the 1980s and why we are hooked on it. The 1990s, of course, plays a bigger role in modern music but I am glad we are not overlooking its predecessor decade. It can be risky taking from that time and making it fit into our times. There was some real cheese back then and I am not sure many would be willing to hear something like that now – there is a reason it is dated and unable to exist now. Listen to Electric Love and there is not an overt and explicit take on the 1980s: what we get are suggestions of the Pop from back then and the sort of joy and giddiness that defined the biggest hits. I wonder whether people are looking around modern music and considering whether optimism and uplift are being removed. Many bigger artists are introverted and creating songs more personal and emotive. It is great to write like that but, when you get that in spades, it can be quite exhausting and samey. I am always on the look out for music that provides scintillation and energy without seeming shallow and predictable. That is a tough challenge but, when it does happen, it gets you in a better frame of mind and does something wonderful. In another sense, there is a new generation coming through who are not being raised on music from the 1980s. They are being brought up listening to modern stuff and might be unaware of what came before. New artists are bringing the 1980s back to the fore and ensuring the best of the decade is kept alive! In the case of Elena Ramona; she is exploring new ground and showing how adaptable she really is. There are Pop artists who are willing to do that and continue to seek: others are less capable and that is causing some troubles in music.

IMAGE CREDIT: Ben Couzens

There is a new album out that is causing divisions among critics. I shall not name it – it is from an American Pop artist – but her latest work has been given some four-star reviews and some rather poor ones, too. Some claim the music is vacuous and filled with trite observations and songs that have no soul and depth. Others claim there are anthems and modern Pop numbers that stand the test and get into the brain. It is weird seeing how different people can have such diverse and polemic views. It shows that Pop is not immune to interpretation and demands. I think there are a lot of modern artists who try to write something catchy and nuanced and, rather than do that, come up with something hollow and misguided. It is tough making something that gets into the head and brings something new to the game. Pop is a genre that has its critics and always struggled to find widespread acclaim. There are so many artists who produce trite and sugary music that does nothing to the head or heart. Rather than be troubled and feel we need to do something about it; it is best to celebrate those who are giving the genre a good name and providing their own take. British Pop, I feel, has a different flavour from that of the U.S. The nations have their natural stars and they have their own style. Look at Elena Ramona and I get the impression she takes a little from U.S. Pop/R&B and some shades from British Pop. It is a nice balance and cuisine that reminds one of the 1980s but keeps your head right in the present. The music she is writing walks that tense line of familiar and personal. Rather than write lyrics that are cliché and ill-defined; she is penning words that get into the brain and conspire repetition but have depth and edge to them.

PHOTO CREDIT: @MichaelSweeney

Her sounds are quite sharp and sassy and she tops that off with big vocals and plenty of heart. With Elena Ramona, you get the sweetness and vanilla-cool vibes; plenty of tease and allure with plenty of body and tang. It is a heady and exciting brew that makes for fulsome and long-lasting music. Elena Ramona has kept her ear to the ground and gauged what people want and who people are responding to. There are some bad Pop artists and those who make music for charts and those who do not really have deep and excellent tastes. Instead of go for something simple and commercial, her latest gem is a more ambitious and personal song that challenges the head – it moves the body and mind at the same time. I wonder whether there is a new romance, or old dream, that compelled the music to come alive. We can all relate to the views and lines that are laid out in the song. Not only can we bond and understand the song but there are so many different elements fizzing and working away to intrigue future listening. I wonder whether Elena Ramona will go into R&B/U.S. territory for her next song or look to the 1990s for inspiration – maybe something E.D.M.-inspired, perhaps?! The world is hers and you can sense a young woman who does not want to settle and conform. Those who venture and look around them are always going to reach a wider remit. You have those who want to remain limited and not stray too far from what they know. That is all well and good but I wonder how much artistic satisfaction you get. Elena Ramona wants her music to get as far as possible and reach new people every day. I feel there is something to discuss when it comes to her future and where she might head.

PHOTO CREDIT: @MichaelSweeney

The songwriter is based in the South and has an official website out right now. She is building her arsenal and planning more music. I can see the sparkle in her eyes and hear how much music means to her. Local radio performances and chats have come out and she has built a great name for herself. What I would like to see if the songwriter gets around the country and take her music further. Being based where she is; there is not a hugely varied and successful music scene. There are a few Pop artists and good bands but it is pretty quiet and unspectacular when you think about it. Look to London (rather than Surrey) and you have much more choice and choice coming from the place – much cooler, credible and successful. The people are nicer and more ambitious there and a bigger platform for musicians to play. I know Elena Ramona has played London dates but I feel that is where she needs to set her views. Even if she does not move there – I would advise she does in the future; to get the opportunities she needs – the sheer scope of venues and crowds means she cannot deny the draw. Many financial constraints limit touring but she is someone whose music can be taken to heart by those in other nations and continents. Getting out of the local mindset and thinking bigger is crucial. Every new song gets her stock rising and shows she is in this for the long haul. Her arresting voice and original songs are making their way up the country but I would like to see the artist look more to London and the bigger cities. International touring is a future possibility and, to get there, that London acclaim needs to arrive. She has the ammunition and talent to carve out some territory in the capital. I wonder whether she might consider some more dates up there by the end of the year.

It is all well playing locally but, if the country/town has a limited scene and does not produce many big artists – and has very few good venues – then that can cause an issue. I can see Elena Ramona get to bigger cities and tour in places like the U.S. Her music has that accessible and familiar quality that can translate and cross borders pretty naturally. I want to see her get her body out there and attack these cities. She has done a lot in her local area but there is a big world waiting for her. Eclectic Love is a song that warrants a big platform and could thrill a willing crowd pretty much anywhere. She has a collection of great songs under her belt and would be able to produce a great set for the fans. Consider areas like London and Brighton; Manchester and Glasgow and she could enjoy a great reception and find good success. She is one of the most promising acts out there at the moment and I know how hard she works to get her music heard. Right now, as she has a fond following and great sound; taking things that bit further and thinking bigger is essential. I can envisage Elena Ramona being a national artist who will tackle big festivals. 2018 has been a busy year for her and, looking ahead, the doors are opening before her. The fact so many stations and people are reacting to her music means she is striking a chord and doing something right! She is business-minded and very smart; there is that willingness to adapt and bend; she has knowledge of the industry and passion to succeed and remain. All of these ingredients and chemistry means she could create a huge bang and do something sensational. 2019 will be a vital year and one where we might see an album (I feel she is ready) and the young artist travel around the country and get her music to the masses – maybe some foreign dates would be involved.

Elena Ramona’s latest track comes out of the traps with chatter, vivaciousness and plenty of light. You hear some voices mixed and fast; there is a great sense of confidence and electronic strobing that fuses into the skin and excites you. I was hooked from the off and followed the song closely. The heroine is seduced by a smile and seems to have fallen for someone. Maybe it has been a rather hard road to lust and love but there is someone in her mind that she cannot forget. She is hypnotised and it seems this love is forever – I wonder whether it is a man being looked at or someone from the past; a friend maybe. As you decipher whether romantic passion or loyalty are being looked at; you are attracted to the bass and electronics; you get a mixture of Pop and Disco; some little shades of Rock and Soul melting into one another. Maybe the vocal, at times, is a little low down in the mix – the composition getting more attention than the voice; it can drown some of the words – but it is the way the vocal plays with the music and leads it that is fascinating to see. Elena Ramona can work in any genre and is able to create truly fantastic music. She has that affinity and knowledge that means she can step into 1980s-inspired Pop and make it sound completely natural. Electric Love is that simple celebration of something pure and unadulterated. You get impressions of the weather – a thunder that remains under her beating heart – and a joy from the heroine. Rather than look at love and affection in a small and ordinary way; there is this heightened and dramatic tone that builds images and big visions. You get the sense this romance is heating up and there are some issues lurking underneath. Maybe it has been challenging getting to this point or some obstacles along the way.

PHOTO CREDIT: @MichaelSweeney

What is obvious is the sense of desire that is working away and how fulfilling this love is. The chorus has that big 1980s hit that pumps and vibrates; it pushes and dances with wide arms and a huge smile. You are caught by the chorus and are taking back in time as you do. The heroine cannot get enough of this electric feeling and does not want to escape the feeling. The listener is sucked into the song and cannot help but move their feet in time to the music. The sunny vibes and energy that comes from the track mean many festival-goers would love to hear it. Electric Love has that outside sensation and openness that could get the crowds singing and bouncing together. There is a whoop and changing electronics; the song mutates and goes through stages as we follow the story. At every interval, there is that fascination and joy that keeps smiles on the faces and the body motivated. It seems like the hero has been on her mind for a long time and this moment is the coming together. Never salacious and explicit; there are tease and tension that creates a palatable rawness. The heroine desires that touch and satisfaction that seems to have been missing from her life. You listen to the song and see that balance of simplicity and complex. The chorus has that charm and catchiness that lodges in the head: the verses explore the story and provide more language and possibilities. When they are brought together, you get a full and intriguing song that we can all take something from. As the weather is hotting and things are getting sweatier; the sunshine and seductiveness you get from Electric Love seem like a perfect soundtrack! It is another accomplished and confident offering from a songwriter who is determined to change the music industry and nestle herself among the very best out there.

Electric Love is a fantastic offering from a songwriter who continues to evolve and impress. I have mooted the possibility of touring and national recognition. You have to wonder how long it will be until Elena Ramona is being called to the big festivals and has the chance to reach the world. Her music continues to grow and, with every release, she is reaching more people and standing out. I am so pleased for her and know what hard work and commitment she offers music. I am not sure whether an E.P. is due before the end of this year but I am sure there is big demand for more music from her. Let’s continue to back Elena Ramon and share her music as much as we can. I am a big fan of her work and cannot wait to see where she goes next. What strikes me is how varied and changing her music is. She does not stay in one genre and keep things limited. You get a wide and challenging sound that continues to shift and subvert expectations - that is a quality few possess and I feel will get her all the acclaim and success she deserves. The songwriter will keep her head strong and have her visions set on future glory. Electric Love shows she is ready to battle and has all the components to remain for many years to come. A fantastic song that gets right into the brain and stays with you for ages; Electric Love is a stunning thing that one will hear played in Superdrug stores. I am excited for Elena Ramona and wonder what her next move is. Only she knows that but it is true when I say I am not the only one…

WHO will be watching with great interest!

___________

Follow Elena Ramona

PHOTO CREDIT: @MichaelSweeney 

Official:

https://elenaramonamusic.wixsite.com/website

Twitter:

https://twitter.com/elenaramona90

Facebook:

https://www.facebook.com/elenaramonamusic/

SoundCloud:

https://soundcloud.com/elenaramonaofficial

Spotify:

https://open.spotify.com/artist/5bUE6ronjsaGdIoeVGfFoj

YouTube:

https://www.youtube.com/channel/UCmVSlZvqOYKf3qp0bA8b8Bw

TRACK REVIEW: Dan Rawle - Matter of Opinion

TRACK REVIEW:

 

Dan Rawle

Matter of Opinion

9.2/10

The track, Matter of Opinion, is available via:

https://open.spotify.com/album/6yyiEccw7G3s52xhNBQpaU

GENRES:

Folk; Singer-Songwriter

ORIGIN:

Oxford, U.K.

RELEASE DATE:

3rd June, 2018

_________

WHEN I look at Dan Rawle…

I get a sense of optimism and revelation I have not experienced in a while. I will talk about his latest track in a moment but, right now, I wanted to address a few things about his music. I want to address emotional subjects in music and pouring your heart out on the page. I will also look back at Folk and Acoustic music and what beauty can be unearthed from the form. I will chat about consistent songwriting and artists who manage to provide warm spirit; a look at overhauling the mainstream and what Rawle can achieve in the future. Let us look at the first point and discuss emotion and how that is brought into songwriting. Dan Rawle is known for a slightly sunnier and upbeat aspect to his songs but now, on Matter of Opinion, there is something a little more inward-looking and emotive at the heart. If we look around music; there are plenty of artists who put their soul onto the page but, in many cases, it comes across as dishonest and forced. I am a bit miffed why some would go to lengths to record songs with such urgency and emotions without showing any authenticity and depth. Rawle is a man who has experienced the same as all of us – lost love and disappointment; wasted days and the need to achieve dreams – but he manages to distinguish himself by showing that honesty and realness. It can be quite hard listening to songs that are open and hard-hitting. Whilst Matter of Opinion looks at experiencing loss and having that spirit and love remaining – trying to keep someone’s memory alive – it has plenty of range and colour that will keep you invested. I hear songwriters who talk about lost relatives or broken love but their words are quite trite and clichéd. With Dan Rawle, he mixes intelligent and thoughtful words with beautiful composition notes and brilliant production.

One of the reasons I have been featuring more female artists in my review section is a need to step away from a sense of weariness and sameness. I find a lot of male artists are replicating what is out there or they are producing music that does not linger in the mind. I feel we have reached a point where female artists have stepped out in front – and not been given the recognition they deserve – and are providing music that is more interesting. The more compelling male artists of the mainstream are away from Pop and playing in genres like Jazz, R&B and Hip-Hop. There are some unique acts in Pop and Rock but most of them are outside this realm. Female artists tend to have a more adventurous style of music and wide-ranging voice; a passion and soul the men do not. This might sound like a shot at Dan Rawle but it is the opposite: he is one of those songwriters that show there is grace and plenty of style to be found in male artists. Although the mainstream needs to a shake – I will come to this a bit later – Rawle is among the more interesting and personality-rich that is capable of keeping you hooked. I feel a lot of male solo artists suffer is because they are too concerned with heartache and being as explicit as they can. Maybe I have generalised things but I see a definite split that is spilling into the mainstream. Newer artists fare better and they are producing sounds that have a lot more lyrical variation and nuance. Dan Rawle is a songwriter inspired by the likes of The Beatles and Passenger but does not step into commercial territory. I have a very sceptical and wary sense of adventure when it comes to mainstream Pop/Folk and how credible the music is. Rawle is much more credible and strong than most artists out there because he can write about his life and experiences without causing depression and seeming false.

I will come back to that subject a bit in the conclusion but will move on to Folk and Acoustic music. Yesterday, when assessing IAKO, I looked at an artist in the same genre as Dan Rawle. His sound was closer in tone and flavour to James Blake – it has Electronic elements and was more energised and choral. Now, with Rawle, we have someone who takes from the roots of Folk. His music mixes in Pop sunniness but there is that acoustic guitar-based sound that reminds one of older artists. I have been investing a lot more time in Folk because of a need for music that seems to understand me and what I am going through. That sounds strange but I am at a point where I need to bond with emotional sounds and bare-naked songs; a chance to feel a little vulnerable but bond with sounds that I can relate to. I have been listening to a lot of Joni Mitchell’s Blue and wondering why we have seen very few similar albums since 1971. A lot of modern artists write about the ups and downs of life but I have heard nothing as striking as Blue. If modern-day artists like This Is the Kit and Laura Marling have the same vocal elements as Mitchell; their music is different in terms of its poetry and potency. Although Dan Rawle writes about different areas of life (to Mitchell); I get the sense he included her in his rotation and takes guidance from her. I have been yearning for a modern-day Blue that exposes scars and is as stunning and revelatory as that record. Whilst Rawle might not have gone through the same experienced as Joni Mitchell did in the late-1960s/early-1970s; I feel he has encountered hard times and broken love that would lend itself to Mitchell-esque music. I feel he has the potential to be a fine a lyricist and wants to connect with the listener in a profound way. His music is exceptional and memorable and will stand the test of time.

What I am seeing with modern music is a proffering of genres like Pop and not a lot of attention paid to Folk artists. I wonder whether we still look for artists that have endless energy and can make us dance; those who can bring fizz and slam. Maybe the days of Folk’s dominance has passed but I wonder why have such a restricted view when it comes to the genre. Maybe tastes are changing or the average listener wants music that moves the body or they do not have to think too heavily about. It is a shame there is a lack of respect for various styles of music but, with artists like Dan Rawle splicing in Pop tones, there is a chance Folk and Acoustic sounds can make a bigger impact in the mainstream. Rawle is someone who writes about what he is going through and has that vocal prowess. I feel a lot of modern artists lack any real power and prowess when it comes to the voice. Rawle’s vocals bring the music to life and show so much wonder and brilliance. You get soul and passion together with tenderness and emotion. It is a complicated blend that pricks the ears and gets the heart involved. Couple this with lyrics that are in turns touching and original and you have an artist that stands away from easy labelling and prediction. Matter of Opinion deals with some tough and sad avenues but it is not delivered in a manner that would make you feel cold and overwrought. There is, as I said, always a lightness and sense of the accessible when it comes to Rawle. All of these ingredients mixed together makes for an artist that has the tools for success and longevity. There are other reasons why Dan Rawle can go a long way and make an impact in the scene. Every new release we hear from him seems to improve on the last and show new aspects of his songwriting.

It is that consistent that gets to me. It’ll All Come One Day, his E.P. released last year, was met with positive reception and won Rawle a lot of fresh fans. Whilst the core of his music has not shifted and there is that reliable central sound; you get something new and unexpected with Matter of Opinion. A lot of artists tend to make radical shifts between releases and lose what made them special in the first place. Others do well for a couple of albums and fade when it comes to further material. It is good finding an artist who can appeal and hook you to start but then, down the line, that magic can fade. Although Rawle is still pretty new; I hear that consistency that will not disappear anytime soon. He is a solid songwriter who has happened upon a great sound and will not abandon that at all. Rawle has been playing for years and honed his skills. The Oxford-based songwriter has worked the local scene and gained reaction and feedback from the stage. Growing up around artists like The Beatles and tuning his ears to what is happening in modern music; he has stirred all of this together and come up with something that is distinctly him. The reason why his songs are constantly engaging and strong is the passion and determination he has to succeed. Rawle want to take his music to the masses and has found his calling. Many songwriters are trying to be commercial or too afraid to attempt anything new and striking. You get, with Rawle, someone who can keep solid and dependable but add and layer his music. Right now, you get that acoustic bliss coupled with personal lyrics and a pleasing aura. I mentioned Joni Mitchell as a guide, I feel, most songwriters should adhere to. Her music is the template of what Folk music should be and I think it resonates in Rawle’s eyes.

Some would say that, if Rawle wanted to get Blue, then that would involve a bit more cloud and rain. The songwriter is known for getting the spirits elevated and bringing us music that shines and glistens. His latest cut has some darker and sadder aspects but still manages to keep its smile and movement. Maybe that is the best thing about Dan Rawle: he is able to give us songs that can connect with everyone but does not have to get too heavy-handed and teary. A lot of musicians I encounter feel pressured by big labels or what they think people want. Because of that, they are caught in two minds between doing what feels real and natural and what the market desires. It is hard for modern musicians but that does not mean you will alienate listeners if you release music that means a lot to you. This is what we get with Dan Rawle. There are a lot of modern songwriters who have talent and can go quite far in the industry. I think Rawle has the promise and variation to do a lot of good in music and make his way to the top. We need to embrace artists that have something real to say and can keep your mind invested. I like modern Pop and Rock bands but there is not enough variation at the top for my liking. Let us move onto a new subject but it is great investigating all the sides to Rawle’s music and what he is all about. I wonder what he will come up with next and whether there will be another E.P. – I will investigate that in the conclusion. I have alluded to what is happening at the very top of music and why we need to change things up a bit. There is a staleness coming through and a lot of the best artists are not receiving their due.

One could easily look at Acoustic and Folk and think of Ed Sheeran. He has his fanbase and crowd but, to me, there are too many new songwriters trying to be him. That is understandable if you want to follow his path but I feel there are few merits that come to mind. There are some great Pop/Acoustic artists but there are far too many out there who lack a sense of interest and personality – too eager to follow in Sheeran’s footsteps and get to play big stadiums. That may sound like a shot at Sheeran but I feel we are highlighting and elevating artists who can sell venues out and bring in the streaming figures – rather than those who can genuinely shape music and inspire future generations. The mainstream is, or should, be there to promote the finest artists around. I feel things are getting more and more about appealing to a narrow demographic and emphasising the wrong elements. Rather than encourage the most daring and brave to come through; we have this scene that is quite timid and commercial. Maybe that has always been the way but I’d like to think we can do better and make some real improvements. Dan Rawle is someone I would like to see higher up the ladder and has more substance and appeal than a lot of artists who are turning heads right now. It is difficult deciding which musicians are worthy and those who can make lasting impressions. Look at songs like Matter of Opinion and you have a sound that could easily capture those who love what the mainstream is putting out: those who like their music more credible and original will find much to love and react to it. That is what I mean when I say we need to retune the mainstream: artists being given the biggest props are not really remaining in the memory and doing anything spectacular.

Perhaps I am sounding bitter and not really given people a chance. It is a strange time for music and I believe we still need to make some changes and push things forward. I know Dan Rawle can remain for many years and it will be good to see what direction he takes. There is a great support behind him and he has captured something great in his music. You get an artist who has grown up around some terrific music and assimilated that into what he does. I know he has played hard and put his music out to the locals. He has gone further afield and is determined to get to as much of the nation as he can. All of this experience and exposure will elevate his standing and get his music to more ears. He is working hard on social media and perhaps there are other avenues that could be explored. I am not sure if there is an official Twitter account but I know there are a lot of potential contacts and fans there. It would be a great way to get to radio stations quickly and have your tunes spun by the very biggest influencers out there. By the same token; maybe a more regular video series or a look into his songwriting process would push the music into new directions. I am not sure whether Matter of Opinion will get an official video but I feel that is a good way of teasing in new people and showing a visual side to his music. Rawle has the promise and songwriting talent to go as far as he needs and is building his foundations as we speak. There are enough great songwriters out there but I think the more commercial – those who appeal to a teenage demographic – are getting undue prominence. Let us break this mould and look at musicians who are able to deliver solid gold and more interesting music.

Whilst the weather is a little mixed and today will not be an overly-sunny one; I am listening to music and looking for an escape. The opening notes of Matter of Opinion are gentle and soothing. If you did not see the single’s cover art – it shows a young Rawle on the shoulders of, what looks like his dad (I could not find a good-sized image to include here – then you might think the track had romantic and love-based origins. I guess the song can be taken that way but it seems, as the lyrics unfold, someone special has been lost and memories have been treasured. Our man walks along and is incorporating aspects of the departed in what he does. I am cheating a bit because I have interviewed Dan Rawle and know the song is about his dad who he lost to cancer when he was five – that was twenty-five years ago. He did not want to be too soppy about the subject but wanted to write a song that paid tribute to the man and how much he means. Today is an especially emotional day as it is Father’s Day and he will be thinking about his dad. Rawle was young when his dad died but he would have learnt a lot from him and has him in his blood. Those lessons he taught and the interaction they had was special and pure. The fact he is not around anymore does not matter: his dad is with him everywhere and his legacy remains strong. The song’s chorus/title relates to the opinion as to whether he is gone or not. His dad is not physically with us but that does not mean to say he has been forgotten. The hero remembers what he has been taught and is the embodiment of his dad. Because of the emotion coming through in the song; I was expecting something quite depressed and closed-off. Instead, we have a song that lets the listener in and casts images of Rawle’s dad.

Maybe an early strings section might have heightened the mood and given the song extra emotion and potency – perhaps some piano would have also helped. I feel Rawle would have considered this but wanted to keep things quite sparse and basic. Rather than crowd the song and take away from the vocal; Matter of Opinion is more of a sermon and conversation between Dan Rawle and his dad. You do not want too many elements in there that can distract the mind from the core and root of the song. Rawle’s voice remains solid and unbroken throughout – which is a hard feat – and you get a lot of dignity and respect coming out. Those stings do come in but, when they do, never intrude or come in too hard. What we get is a brilliant combination of that vocal and some delicate, stirring string. I was involved in the song from beginning to end and picturing scenes of Rawle and his father. I am not sure whether there will be more songs from Rawle concerning his dad but I feel his memory and impact goes into everything he does. Rawle believes his dad is still here and everywhere around him. So long as he keeps his memory alive and thinks about him; can we ever say someone has truly left us?! It is an impactful song and one that means a lot to the hero. Matter of Opinion will get people moved and make them think about loved ones they have lost. It would be easy to be overly-saccharine or teary but that is never the case here. Rawle always keeps his nerve and does not sonically weep. He has dealt with the loss and is not looking for sympathy from the listener. What we are hearing is a loving tribute to a great father and someone who has made a big impression in Rawle’s life – even though he has been gone for a long time. Matter of Opinion is a fantastic song that will take a few listeners to sink in. It is a song that has that emotional weight and quite difficult to absorb the first time around. You might need a few swings around but, when you give it time and more attention; all of the strands and aspects come together and sink in the head. It is a great offering from Dan Rawle and proof he is a songwriter that deserves more acclaim and opportunity. The more material he puts out, the more ears will come his way. I know he will travel far in the music industry and it cannot be too long before he is playing some rather prominent festivals. Matter of Opinion is a song that can resonate with the masses but has that credibility and sense of depth that seems to be missing from a lot of modern music. Let us hope radio stations and labels get behind Daw Rawle and get behind his music.

I have spoken a lot about Dan Rawle and various dimensions of his craft. There is a long way to go but I can hear the consistency and how strong his music is. He played Woodstock Social Club (Oxford) on Friday and is planning more gigs this year. Festivals are coming up and, whilst the competition is hot; we have someone who can easily pack the people in and deliver a great set. Rawle is playing a lot of gigs around Oxford but I feel there is a broad market that would love to see his music come their way. I wonder whether there are any London gigs or he is travelling further to the north. I guess demand comes when you push your music and people start responding. Matter of Opinion is getting a lot of heat and it cannot be too long before the talented young songwriter is getting his rewards. Maybe it will take another E.P. before he gets huge gigs but you feel it has to happen. I have not asked whether the new single will lead to an E.P. but one feels there is something just around the corner. Keep your eyes on his social media camp and discover what is going on right now. I predict some good things for him and, before you know it, he will transcended beyond the Folk clubs and local joints to play bigger venues around the nation. I think we often put Folk and Acoustic artists in boxes and assume they can only play venues set up for them. Rawle shows there is a lot more to his music than meets the eye and it is capable of capturing the wider imagination. He brings a lot of emotion and personal experience to his music but pairs it with a sunniness and energy that keeps the listener involved and smiling. That is a hard act to pull off and respect to him for doing that. I will leave things now but wanted to recommend people give Rawle a good listen and, if the music appeals, put it out there and spread the word. These are good times for Rawle and, if anything, the next year will be even stronger than the one he has just gone through. The man has solid material under his belt and a great local standing. Looking ahead, I feel he can move and shake with the best out there and prove himself to be a terrific future star. Matter of Opinion is a song that is striking a chord and, in my opinion (sorry!), there is no denying the clout and potential…

OF Dan Rawle.  

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PHOTOS:

Ian Wallman

TRACK REVIEW: IAKO - Paint

TRACK REVIEW:

 

IAKO

Paint

9.6/10

The track, Paint, is available via:

https://soundcloud.com/iakomusic/paint-1

GENRES:

Folk; Singer-Songwriter

ORIGIN:

London, U.K.

The E.P., Queen of Balance, is available via:

https://open.spotify.com/album/2apqA5PlUkepn0frmALnNk

RELEASE DATE:

25th May, 2018

_________

I have been given the chance….

to explore an artist who has stuck in my mind and made my heart race and conspire. I will talk about the solo songwriter and how new revelation and light continues to be explored. When it comes to IAKO; I wanted to look at the soundscapes one can produce and balancing quiet and loud; lyrical themes that are melodramatic but realistic. There are contrasts to look out for – so I will address them. I will look at unique life experiences and how they explore music; deconstructing works to get to the root of them; artists who have more to offer than simple songwriting and the cliché – I will end by looking at cross-pollinating cultures and music that has a gentleness to it. Looking at IAKO and he seems like the sort of man who might produce something Electronic and Pop-based. That sounds judgmental and stereotyping but there is something about the young man’s appearance that suggests that sort of music. That might be me getting all narrow and seeing too much – people who look like IAKO who play that sort of music – but it is pleasing discovering an artist who goes deeper and delivers so much more. I will talk about Folk edges and something softer later but, right now, let’s look at the way the British-based artist looks at dynamics. IAKO mixes the frantic and frenetic pace of life in London, where he is now, and the space and beauty of Venice (where he is from). The production is stunning whereby you get an interaction between the quiet and loud. He paints soundscapes and has a canny ear for balance and texture. Not only does IAKO write the songs and present to the people; the composition and production are so detailed and create their own little universe. What gets to me is the constant movement and how everything is physical and engrossing. You get a real view into the songs and are involved in each and every step. The artist knows a simple and uneducated production would not give the music the same depth and wonder it deserves.

What we get, indeed, is music that draws those close and tender aspects of life with the city-exploring and vast. Every note is put together supremely and this is a really personal and inspiring form of music. I want to talk about the songwriter’s transition – you get a great sense of where he came from and what he is all about. The man explores those gaps between notes and the huge divisions in music. A lot of artists are good at producing raw and energised songs: others are better when it comes to the serene and quiet. IAKO is someone who can interlock and weave those polemics into a song and not have things lose control. What I also love is the way the songs sound unique and new. A lot of artists sound like someone else and it is rather hard to distinguish from the pack. IAKO does not want to copy the pack and creates his own style and sense of personality. You get that care and attention regarding composition and sound; there are detailed and interesting stories that get into the heart and provoke thought. Paint, which I shall come to, looks at relationships and a sort of ‘end of the world’ as we know it. The song’s title is fitting: the songwriter has his canvas out there and paints brushstrokes of vivid colour and expression. That might all sound a bit pretentious and silly but there is something to be said for the sounds one gets through and how brilliantly everything is realised. I will move on from this topic but it is interesting looking at the young man work and how his music comes together. He works hard to get everything right and ensure the sounds are as spellbinding and addicting as possible. If you have not encountered his music and dived into his world of sound; ensure you get involved with the Queen of Balance E.P. and realise why so many people are so excited. I am a bit late to the reviewing party but I was keen to investigate IAKO’s work and what it is all about.

I listen to Paint – and songs on the E.P. – and there is that fusion of realistic and exaggerated. The song investigates a relationship after the end of the world. That could mean the ‘world’ as the personal and romantic. It could mean a literal ending and extinction. The song is never too hot and accelerated: the vocals are whispered and you are sucked into a brilliant story that gets into the brain and stays in the head. IAKO is like many songwriters; the need to explore the personal and romantic and resonate with the general public. If you write songs that are too oblique and strange then you are not going to get people involved. I have been looking around for musicians who write from a common perspective but can integrate new and unusual elements into the work. I am a big fan of those who are able to strike a familiar note but offer the listener so much more. IAKO has studied the market and, rather than conform with expectations and demographics; he realises what the listener wants from music and puts his personal spin on it. Someone who has such a grip on sonics and sound textures; a man who can balance extremes and make them work – this all comes through in his music. The lyrics are sharp and interesting and, as I said, look at something personal. There is nothing to suggest IAKO cannot go onto great things and make some changes in music. There are similar-minded artists like him out there who are getting some serious love and creating big waves. What I do expect to see if more material from the songwriter and further investigation of sound and lyrical possibilities. I have seen so many songwriters whose lyrics are full of tropes and really do not go beyond the average. It is a shame so many artists are being timid and unadventurous when it comes to words.

The reason IAKO sticks in my memory is down to his way with words and how they tangle with sound. Rather than compose a song and have the words sit separate, you get music that pulls everything tenderly together and leads to something wonderful. Those words relate and connect with everyone but there are phrases and expressions that are new and unexpected. It is a real listening experience and everyone is touched in a different way. I have not heard a lot of IAKO’s previous music but am compelled to check him out and follow his plight. There are a lot of songwriters out there but he seems to stand out and is venturing into fresh territory. Those contrasts and extremes are what makes his music so engrossing. I will use these words – ‘extreme’ and ‘engrossing’ – but that seems to hit the mark. You are sucked into a wonderful world that carries you a long and gets you thinking. If he were to write in rather average terms – looking at love and life like everyone else – then you would not be too moved and involved. I will shift to another subject but it is interesting seeing where IAKO has come from and what he is writing about. There were occasions, when he was growing up in Venice, where he had to be rescued from canals by his mother. There are plenty of them around so one can forgive the odd slip and fall. It seems there was a fascination to water and the beauty of the city. The young IAKO would go exploring and wanted to get closer to his surroundings. That tangible connection was, perhaps, a little too much but his mother was there to save him. The young man has retained that intrigue when it comes to canals and the natural world. There is more to IAKO than a few childhood experiences and being saved from the brink.

Literature and philosophy come into his work. Greek and Roman works are important and the talented artist borrows semblance and words from the masters. He has that interest when it comes to old-world figures and how life was back then. As such, one gets a new songwriter whose mind and spirit is bonded by what came before. I am not suggesting he lives back then and is trying to cast himself as a Roman writer. You do get a sophistication and classical mind in the music, though. I love how IAKO can mix the urgent and modern with something from long ago. He is great at those world fusions and drawing disparate plains into a whole. IAKO is still young but he has experienced movement and change. All of these details and colours come through in the music. It has been a life lived well and one that relies on a curious mind and determination. IAKO did not find a viable route into music until the age of nineteen – he has been making up for it since! You feel music was always part of his life and engaged his brain from childhood. I was struck by music around the age of six or seven and have followed it ever since. I am one of those people who remembers when and how music arrived and the sort of artists I fell for back then. I assume IAKO is the same when it comes to those early memories. I can imagine there was a blend of local and national artists together with the best of the U.K. and U.S. Given his love of literature and culture; you have that sophisticated edge – that is paired with an accessible and relatable sound that we will all be familiar with. Folk artists such as Lisa Hannigan and James Vincent McMorrow come through; you get touches of Erik Satie and Yann Tiersen in there. Mixing the modern wonders with established icons is a hard balance to pull off. The man is all about balance and has made a career out of unifying disconnection and creating a fresh and extraordinary world.

Before I come to look at the music itself; I want to address a couple more things. I am interested in music that is made up of so many different strands and ideas. Yesterday, on BBC Four, I was watching a classic album series that featured Graceland as its subject. This documentary was filmed in 1987 and interviewed Paul Simon and the artists involved in that record. It was fascinating seeing Simon play various parts of songs and explaining his lyrics. Tracks like Graceland and The Boy in the Bubble were taken apart and explained. He was in the studio and fading various tracks down. He would isolate the bass or a drum part; he would chat about Ladysmith Black Mambazo and how they managed to add their magic to the album. Various members of the group explained their role and it was great seeing how the songs came together. The reason I mention this is down to IAKO and how he approaches recording. You get the sense he puts as much of himself into the music as Paul Simon did back then. Rather than farm his songs to someone else to control them and add their print; the songwriter is curious to know how various elements can sound better and what the song means. Simon, in the documentary, looked at songs changing form and slaved over details to get a sound that was perfect. Modern songwriting is something we associate with quick turnaround and speed. We do not consider artists locked in a studio and spending a lot of time over the material. That might be true in some quarters but there are plenty who put effort and serious time into their work. IAKO has that tactile fascination with the natural world and history; he loves to explore and is interested in the human condition and psychology. One would expect a man, who has all this on his side, to be involved with every process and angle of recording.

IAKO does not sit back and provide minimal interaction. The man knows what his music will sound like and, whilst not as busy and layered as stuff on Graceland; you do get real attention to detail and phenomenal results. It would be good to see IAKO pull apart tracks and explain how the music came together. It is the lyrics that get to me and I wonder how they started life. We do not often question and study music these days – because there is so much rushing to the mind – but there are occasions where songs and artists warrant more time and focus. It is a great experience watching an IAKO song form and how it gets into the senses. I can imagine he would sit at home and gradually build a work. Starting with a germ of an idea; that would then grow and mutate as we go along. Whether inspired by an observation or favourite literary work…from there, we see the song flourish and get stronger. I want to go back to the start, with artists, and discover where songs come from. When I interview people, I always ask what the story is behind their material. IAKO is one of those people who has already led a vivid and rich life – he is entering a new phase and about to step into a whole new world. His fan numbers are growing and it seems more and more traction is being created. I am a new fan but can see how he has grown and the evolution visible. If you feel IAKO is rather ordinary and easy to understand then you are not listening to the music closely enough! He brings together his young life in Italy and what he saw around him with the bustle of London and how things have changed.

I will tip my hat to Italy and how he manages to retain some of home and that world with the modern-day sound of London. A lot of artists try to stretch their music and put as much detail into the work as they can. They may have lived in various countries and want to bring that in through the music. It is good to see that happen but many of them fail to create anything long-lasting and new. With IAKO, you have this man who has grown up around culture and taken it all in. He has had these close-call experiences (in canals) but involved himself with art and great works of literature. Then, when music became a big part of his life, he has come to the U.K. and followed that passion. I am sure there were times when he was doubting his career choice and did not think he would make it. You get a man who is always pushing boundaries and keen to step into new ground. Because he has had these experiences and learned a lot through time; he has managed to bring this to the music and explain to the listener where he has come from and where he is headed. The ambition comes through and one can hear how much music means to IAKO. It is not about sounding like everyone else and going into music because there is nothing better to do. You get real passion and defiance in every track. Even if the music is whispered and low-sung; you can hear and feel the intensity and meaning of the songs. I am a fan of Folk and the new artists coming out right now. We often overlook singer-songwriters and what they are all about. Assuming it will be rather bland and stale; we move past and go elsewhere. That is wrong because, as IAKO shows, there is a lot to be taken away and adored. So much emotion, richness and life come through in the music. You get depth and nuances we would not see in other forms of music. Let us leave it there – I hope I have covered enough ground – and look at the fantastic single, Paint.

Paint is a song that has been out a little bit and collected some passionate reviews and words. The song comes up lightly and there is a tender and sunlit mood that comes in. Projecting images of passion and touching realisations; the opening moments are gentle and get under the skin. There are touches of Bon Iver when you hear the vocal comes in. That same way of expressing words and projecting mood – you get that coming through with IAKO. The lovers, it seems, found room on a flame. There has been some confrontation and heat coming into the scene; they have struggled to find common understanding and it seems the sweetheart need some space. Our hero looks around and wonders what has happened. The words are teased out and you get such passion and tenderness emerging. I mention Bon Iver, not as an easy name and an insult, but as a genuine compliment. IAKO does not copy the U.S. songwriter but, instead, incorporates some of his vocal sound and songwriter into his world. I am a fan of those artists who can take time and let a song breathe. Although there is tension and something fractured coming along; there is immense beauty and sense of understanding. There are few angers and recriminations coming out in the lyrics. The songwriter keeps his language tight and interesting throughout. There are relatable strands and expressions that are new and stunning. IAKO has a way with words and ensures the maximum amount of wonder and brilliance is uncovered. You can hear how much heartache has come in and how things have worked out. There are no colours anymore, it seems, and one can feel the sadness come through. IAKO has a beautiful voice and create something sumptuous and graceful in Paint. You are involved every stage of the world and feel sympathy for the man. The vocals flow and soothe; the composition remains light but manages to elicit serenity, hardship and moonlight in equal measures. We do not know who the other party is but assume there is no way back and things have reached the end.

As Paint continues and goes through stages; you wonder whether things can be salvaged and there is time for things to heal. The composition rises and then falls. The heroine is painting scenes as she wishes but the heart of our man belongs to her. Things go forward and percussion and piano gallop. Grey butterflies are in the sky and there is that need for the heroine to close her eyes and have faith. The rain beats down and there is that sense that there are two people on different plains. All the colours they used to see have dried and has been replaced by something empty and faded. It is a heart-aching song that instantly gets into the mind and inspired thoughts. You swim in the song and see everything that is happening. I was stunned by the professionalism and immediacy of the song. It is a luscious, full and emphatic work that has so many different layers building and working alongside one another. The composition is wondrous and dexterous. The lyrics look at faith being given by the hero but the heroine not willing to reciprocate. The emotion and sense of strain that comes towards the end leaves one believing things might not see the light of day. They have had their moment and maybe it is best leaving it as things are. You are hooked by the full and changeable composition that projects so many scenes and emotions. What I was saying earlier, about quiet-loud and mixing polar worlds, seems to come to life right through Paint. The song begins softly and then builds into a rapturous and grand thing! The lyrics are stunning and you wonder whether our man is able to get over what has happened. I am one who believes songwriting is cathartic and you can move on. Whatever inspired Paint and its movements mean a lot and still shows its scars. You can relate to what is being said in the song but realise the words come from a man who has seen a lot and given his all.

Let us look at Queen of Balance and the reception it is getting right now. Many sources are excited by this work and celebrating IAKO. I have not had time to review all of the tracks but I would urge people to get behind them all and dive into this extraordinary collection. It seems odd to think there are some who would not give IAKO much time and feel the music lacks any heart. What you get, and what people are saying, is the emotion and textures that go into the music. It is a hugely impressive work and one that resonates with everyone. You cannot listen to songs on Queen of Balance and be unmoved. I realise how much attention and energy was expended by the young songwriter. He wanted to create a work that touched lives and explained where he came from and what he is all about – that has been achieved and the results are fantastic. I wonder whether there will be touring dates and new movements from IAKO. Keep an eye on his social media pages and keep updated with all of his movements. You can guarantee there will be a lot more to come from him and serious love thrown his way. People are responding to his latest E.P. and the music is making its way around the world. The London-based artist is hungry and excited to get his music out to people. Rather than remain passive and let people do the heavy lifting; he is promoting hard and ready for the next stage. IAKO has a lot more to come and is keen to explore the full spectrum of music. He has come a long way in a short time and created his own little world. I am keen to see where IAKO can go and what he comes up with next. Paint is a great song and one that announced a promising and unique songwriter into the world. Surrender to IAKO and let yourself into his sea of music. It is warm and enticing water and, when you are in, you will be reluctant to get out anytime soon! 2018 has been a busy and good year for him but, looking to 2019, and I predict…

EVEN bigger and brighter things!

______________

Follow IAKO

Official:

http://iakomusic.com/

Twitter:

https://twitter.com/iakomusic

Instagram:

https://www.instagram.com/iakomusic/

Facebook:

https://www.facebook.com/iakomusic

SoundCloud:

https://soundcloud.com/iakomusic

Spotify:

https://open.spotify.com/artist/5vb5OxjAG4MT01pnXSzOoX

YouTube:

https://www.youtube.com/channel/UC7sbF86JjQDv5GXy5zaY15w

TRACK REVIEW: SIIGHTS - GOT IT

TRACK REVIEW:

 

SIIGHTS

GOT IT

9.5/10

The track, GOT IT, is available via:

https://www.youtube.com/watch?v=rfVaqgn6Xko&feature=youtu.be

RELEASE DATE:

8th June, 2018

GENRES:

Pop; Funk; Alternative

ORIGIN:

U.K., EIRE

_________

THIS time around...

I have been looking at the new single from SIIGHTS. This is not the first time I have assessed the fantastic duo – it is great to be with them again and see how they have progressed. Mia Fitz is from Ireland and Toni Etherson is from Scotland. They are based in the U.K. but spend time in the U.S. I wanted to talk about internationality and spending creative time in the U.S. I will also look at female duos and why, I feel, they have the chance to make huge changes; creating a sound that is indelible and announces the summer; having a chemistry and connection that translates into the music/studio; a bit about fanbase and gaining acclaim – I will end by looking at the future for SIIGHTS and where they might head. First of all, I want to look at the U.S. and why it is a draw for many musicians. SIIGHTS have spent time recording and playing in America and, for my money, incorporate some of that U.S. sound into their own music. Although there is Irish and Scottish blood in the duo; when you look at the music, there is a nod to what is happening in America right now. I have only been to the country once but I know there is a different scene there and Pop/Alternative music has a different sound. What strikes me about SIIGHTS is how they have that British base and grounding but splice in some elements of Los Angeles and the energy coming from there. Fitz and Etherson are talented songwriters who have grown up around a lot of varied and interesting sounds. They pick guidance from all sorts of areas and, in terms of the overall effect, it is exciting and deep. I mention the U.S. because the girls have performed there and spent time writing among some great people. I think they have a definite future there.

I am not suggesting the duo move over there and remain but there is a definite chance they will succeed and find long-term love in America. There is a lot of affection here, as I will explain, but America is a market many struggle to create. I listen to the duo’s new single, GOT IT, and can hear that beautiful mix of sunny climate and a tough, solid sensation. I will reveal more but, before I address a new theme, it is worth looking at America and why it is such a draw. I have seen artists go to the country in order to find new opportunities and speak with record labels/venues there. It does not indicate a struggle here but, if you are an ambitious musician, it is only natural America would come calling. For SIIGHTS, they seem to have a connection with the nation and able to easily blend in there. If L.A. seems like a natural residence for them; look over to New York and the East Coast and what is happening there. I feel SIIGHTS could get a great reception here and grow their fanbase even more. It is hard breaking America and there is so much competition wherever you go. Whilst they might take a few years to get onto the biggest stages; there are some great, similar-minded duos playing in the U.S. that could offer them support slots. Whatever they have planned, I know they will be back in America and exploring what is going down. I hear the vibrancy and sweat of Los Angeles but there is a lot more working away in GOT IT. Fitz and Etherson are a tight and mesmeric force that is determined to get their songs heard right around the world. I have high hopes they will succeed and get some big international acclaim. Let us move on and explore a new subject.

The issue of sexism and gender imbalance always comes up and deserves debate. I am someone who takes the time to view music as a spectrum and equal market. There is nothing to suggest we cannot get parity and equality very soon – right now, female artists are struggling to get the same attention as men. That is, as I always say, the fault of men themselves. Maybe it is the same people in high positions being ignorant but, to me, there is that reliance and obsession with the band market – a corner of music that is nowhere near as strong and commercial as it once was. Duos have always been in music but, if you had to name your favourite five, would you be able to do that?! Most of us grew up around bands and solo artists but, lately, different configurations have played a bigger role. Duos are starting to take some of the weight away from bands and show how powerful they are. SIIGHTS intrigue me as they are a female duo that differs to anything out there. I have reviewed a few female duos, including REWS, and there is a lot to suggest they will take on the music industry and become a huge success. Whilst I feel the balance of men and women will take a bit to redress; female duos are a fascinating dynamic that, I feel, will be headlining the biggest festivals before too long. SIIGHTS are not the same as REWS, for instance: they are more concerned with heavier Rock and sound a little like Royal Blood. SIIGHTS have jagged edges but they are a more Pop-influenced and melodic proposition. In any case, one cannot easily define the female duo and what they are all about. I think bands are struggling for momentum and not as quality-driven and original as once was. Look back at the 1990s, for instance, and it was a time when bands ruled the land and were saying what needed to be said.

We are in a time where political and social divisions are rife and that need for commentary and guidance is high. Bands are struggling to do this – or the ones who are important are not given enough chance to shine in the mainstream – but there is something to be said of duos like SIIGHTS who are providing inspiration and a sense of relief. I am seeing so much vague and empty Pop music that packs a punch but does not really resonate and remain. In the case of Mia Fitz and Toni Etherson; they manage to provide sensational music with lyrics that strike the mind. There isn’t the needless wastage you get with bands – too many players or people fighting for leadership – and there something you do not get from the solo artists. I like male duos coming through but I think their female counterparts are far stronger. I say this because, in terms of sounds and style, there is a lot more on offer. It is the chemistry and closeness you get with SIIGHTS, I will look at soon, and the fact they share a love of the same music that means what they produce is so natural and long-lasting. You get all the personality and commercial draw you’d get with a great Pop solo artist but there is the attack, passion and force one might find in a band. I feel the issue of gender split will be a complex and tough one to resolve anytime soon: the fact we are seeing so many great female artists means people cannot ignore what is happening and why we need to see equality very soon. Let us consider how SIIGHTS came together and why they are such a tight and compelling unit. You only need to look at their latest track to realise they are going on to big things and ready to shake up the music scene.

You only need to look at the music of SIIGHTS to realise they are committed to what they do and keen to explore what Pop offers. Although their music is not solely Pop-based; you do get that vivacious and uplifting sound one associates with the genre. There are Alternative and Indie strikes that makes their sounds so illuminating and complex. It is no surprise Etherson and Fitz have that knowledge and confidence in their music as they spent a lot of time in the Hollywood Hills writing songs for other artists. The duo formed in 2016 and that is how they spent their early life: writing tunes for other musicians and getting a feel about the scene. That might not sound ideal and all that good but, when you look at the complexities and variations in their music; that sort of ambition can only come from writers who have had that start – discovering other artists’ music and what the scene is looking for. Take all that aside and it is the chemistry and friendship of the pair that makes their music addictive. Maybe male duos have a different bond but, for female duos, it is much more sisterly and soulful. I see it in REWS – Shauna Tohill and Collette Williams are so close and connected – and one can pick that up in SIIGHTS. Both Etherson and Fitz have that desire to make great music and they are on the same page. There is no natural standout, in terms of a leader of the duo, and they have that respect for one another. A true love and understanding of one another is hard to find in music: SIIGHTS have this and pour it into every song they create. I feel one of the reasons the best artists remain together is friendship and a trust in one another. Even when times get tough and there are those disagreements; they are willing to spend time apart and reflect; come back together even stronger than before.

I know SIIGHTS will be successful because their two members have a rock-solid fusion and they have so much respect for each other. It is great to see in music and is why duos are so appealing to me. You can exist in a band and have members that dislike one another. We have solo artists but it is quite lonely and can be a struggle. Duos are tighter and cannot exist if the members do not get along. Great music comes from connection and a passion for what you do. If there are tensions and cracks in the foundations then that will show in the music. SIIGHTS are pushing on and always keen to explore new ground. Not only is there no end in sight but there is that desire to conquer and play some of the biggest stages in the world. It is hard launching a single, regardless of talent, and getting it spread and shared. The duo writes all the songs and play instruments in the studio. They are keen not to farm out duties to too many others and want to have their say. That control and sense of identity comes through in GOT IT and, I know, will go on to be a big stormer. It has a readymade sound for the summer and proof SIIGHTS are to be taken very seriously. I have spoken about duos and why they are a great unit; I have looked at Fitz and Etherson of SIIGHTS and why they are so connected. Another reason why SIIGHTS are engaging is because they create music that sounds unlike anything out there. There are, sure, some Pop edges and something that might remind you of someone else – for the most part, you get unique and original intent. I have speculated how SIIGHTS’ sound summons summer and has that sweat-inducing quality.

The weather is, I guess, improving, and we are all want the heat and sunshine to come. It is almost here and, with that, artists are stretching and limbering to attack festivals. I think most of them are already booked but, in the case of SIIGHTS, there will be plenty of opportunities for them. They have that instant and popular sound people want to see in the open. I have listened to GOT IT a lot and, whilst there is emotion and a seriousness working away; you hear the composition and vocals and it gets the body moving and spirits flowing. I love music that goes deep and has a personal sense of emotion but long for music that can form some sense of escape and frivolity. What SIIGHTS have done is produce a song that has a universal message and can be understood by everyone but has a sense of fun that means it will prove popular in the live setting. I am excited to see where SIIGHTS head and what their next move is. The confidence and quality of their latest single sound so effortless. I know the duo works hard but they have been songwriting for years and know what they are doing. To me, GOT IT is the most urgent and alluring song they have ever created. They are in a different phase of their career and have transcended from the local stages and want to take on the world. Because of that, they need to produce a song that can survive in the world and cross language barriers. Listen to the power coming from their single and how it gets into the blood and you know it will get a lot of love from radio stations and fans across the globe. Maybe summer festivals have been overlooked – organisers have a full diary – but SIIGHTS will be tackling venues and spaces and taking their music to the masses. I have seen many artists attempt to write something summer-ready and anthemic – some succeed but there are plenty of weak attempts. SIIGHTS have created a gem that is stronger than most of the material out there and marks them out for great things.

Before I review GOT IT, I will look at how Mia Fitz and Toni Etherson have grown and been taken to the critical bosom. Tastemakers such as Greg James (BBC Radio 1) have backed their music and radio stations have played their music. Working in the U.S., they have plenty of support and visibility there – this combination and transatlantic appeal means they are in a much better position than most of their peers. The fact they have a big backing and on the rise suggests their talent and hunger is in no end of drying up. The duo is always keen to get to new fans and put their all into the music. The music of SIIGHTS has garnered a lot of love in Ireland and has done brilliantly in Scotland; the streaming figures speak for themselves and it seems that life in the SIIGHTS camp is very promising. I know the duo are in the same position as everyone else out there – they have to fight hard and success is not going to come overnight – but the combination of original sounds, experience and close connection makes me feel they will not have to wait too long. Stations like BBC Radio 1 have already backed their music and so, when it comes to new release, they do not have to create awareness. There are other stations out there that, perhaps, have not yet played SIIGHTS’ music. It is exciting to see how far they can go and which markets are yet to own. Fitz and Etherson will be busy getting the single out there and ensuring as many people as possible hear the song. GOT IT has that instant sense of hook and impact so it is quite possible it will rank alongside the best songs of the summer. I am not sure whether BBC Radio 1 has played the single yet but there is every chance it is on their radar. They could get some play on BBC Radio 2 and I am sure there are stations in America that would love to feature the track.

There is Funk and wah-wah cool that comes from the opening notes of GOT IT. Loose and catchy strings and a clicking beat get the kick going and elicit sunshine. The funkiness reigns and compels the listener to get up and get involved. Sexiness and seductiveness weaves and pops from the speakers as the lyrics look at a figure that is enticing from their head to their toes. Whether it is a sweetheart or new acquaintance; there is that sense of attraction and flirtation that comes through. Even before the first line has been delivered, you are captured by the song and involved in everything. The music is polished and pure; it has dirt in it but has enough sheen to get it to the masses. It is a complex production brew but all the notes and sounds hold together sweetly and get into the brain. It seems there is imminent connection and the heroine wants to feel the guy’s head when they kiss – experience that physicality and instant reaction. It is a rather heated and sweltering coming-together that promises something intense. You can feel that desire come through in the vocal: the composition provides plenty of energy and engagement; keeping the listener involved and the body active. Whereas the verse gets the momentum building and paints some vivid and sexy scenes; the chorus delivers the biggest hit and reaction. The words urge for swing and swagger; paen to someone who has that confidence and attractiveness that needs to be exposed. If anything, one can read the lyrics as an expression of self-confidence and pride. Whatever the reason and interpretation of the chorus’ lyrics; you are helpless but resist the electricity and passion that comes through. There have been some big choruses in music this year but SIIGHTS have crafted one of the best in GOT IT. From their name to the single’s title; everything is in bold-type and declared proudly.

There is a blend of simplicity and complexity that occurs in the second verse. The lyrics can be extrapolated and understood by everyone that listens to it. Speaking about missing the beau and not wanting to lose that affection; we can all get behind that and know where the heroine is coming from. The music and vocal connection between Mia Fitz and Toni Etherson is immediate and incredibly direct. Whereas Fitz takes on more of the production/musical duties; Etherson, to me, holds that vocal prowess that covers more emotional ground. Together, they fuse supremely and provide an intricate and multifarious sound. The composition throws bass and keys in different direction. There are flecks and twangs that delight the senses; a blend of Pop and Funk that is very pleasing to hear. Although GOT IT has a very modern sound and will register with fans out there; I hear elements of the 1980s in the music. The Pop legends of the decade, from Kylie Minogue (if not insulting to them) and Madonna, come through and it is a wonderful brew of the nostalgic and modern. Intensity and physicality keeps coming through and the duo are never willing to take the sound down too much. They want to put the song out there and know every note is being heard and danced to. You get a little rhythmic and melodic similarity to Cathy Dennis’ Touch Me (All Night Long). It has that sense of fun and instant memorability that made that song such a hit! Although GOT IT is a sub-three-minute track, a lot of ground is covered and you are compelled to listen to the song again and again. You get an idea of the intentions and story: the heroine has this lust and longing that needs to be satisfied and, when it is taken away, feels the void.

Rather than see departure and loss as a bad thing; she urges the hero to show what they have and there is that sense of togetherness and hope. I feel like the spotlight is turned on the heroine and a sense of sexual confidence. She is not submissive and playing a minor role: the two are on the same level and there is that inner-strength that comes through. Both Mia Fitz and Toni Etherson turn in incredible performances and fill the song with such vivacity and boldness. It percolates and booms; it is a big track that never feels cheap and commercial. It will appeal to all demographics and, unless some big injustice happens, will get a lot of airplay around the U.K. It is clear SIIGHTS are in a great place and making the best music of their careers. It is only a matter of time before they ascend to the mainstream – with tunes like GOT IT, that realisation and reality cannot be argued against. I was engrossed in the song and, not normally one to indulge Pop and get hooked, was affected and moved (literally) by the mood. There is Funk and Alternative sounds coming into play; it is a heady and sensational mixture of sounds that swims around the mind and stays with you for a long time. In a period where durability and memorability are hard to achieve, there is no issue with SIIGHTS’ current jam. They have concocted something that defines the summer and what we need to hear right now. I would be surprised if an E.P. was not forthcoming, considering what sort of material they are producing right now. A fantastic and nuanced effort from SIIGHTS. It is impossible to shift the song once you hear it the first time. It is one of those things that gets into the head and will not shift which is, given the slightly moody weather, exactly what we all need!

I am a big fan of SIIGHTS and love everything they do. Mia Fitz and Toni Etherson are great friends and have that sisterly bond. They are eager and determined songwriters that have made big leaps and are among the most able and varied out there. Lots of stations have already got behind GOT IT and that will lead to increased demand and bookings. I am not sure whether they have U.S. dates sorted but they could get a lot of gigs around the U.K. Having Scottish and Irish roots; there is already that knowledge of the local scene and where is good to play. The duo divide their time between the U.K. and U.S. but they have a lot of support in London. Having spent time in America, there is every likelihood they will get some gigs over there and, before long, they will get more international dates. I am eager to see whether there is more material coming. Perhaps there will be another single in 2018 but I feel SIIGHTS are ready to drop an E.P. They have the momentum and desire so it is only natural that should lead to a three/four-track release. Their brand of music is what we need right now and people will want to see other examples of what they are all about. GOT IT will satisfy the senses and get people talking but, when the song has done its work, there is going to be a hunger for something new. SIIGHTS are always working and striving to be as good as they can be. Each new release sees them take a big step and cover new ground. With a stunning video out and GOT IT picking up celebration and coverage; the remainder of this year will be a big one for the duo. There are some great duos out there but very few who do what SIIGHTS are producing. GOT IT is proof SIIGHTS are among the best forces in the U.K. and will, very soon, get their music to new lands. I feel they could get focus in Australia and that might be a good country to take their music. It is expensive travelling there but there are so many cities and areas that would flock to see them. Whatever SIIGHTS have in mind, I know they will continue to grow bigger and stronger. GOT IT is the sound of the here and now; what we need right now – proof Mia Fitz and Toni Etherson’s SIIGHTS are very much…

TRAINED to the horizon.

___________

Follow SIIGHTS

Official:

https://www.siightsofficial.com

Twitter:

https://twitter.com/siightsofficial

Instagram:

https://open.spotify.com/artist/59wzcVw9vvQvKIEHddgF7n?si=ySyNyeMc

Facebook:

https://www.facebook.com/siights/

SoundCloud:

https://soundcloud.com/siightsofficial

Spotify:

https://open.spotify.com/artist/59wzcVw9vvQvKIEHddgF7n?si=ySyNyeMc

YouTube:

https://www.youtube.com/channel/UCuyOXIw49mBFoX7F_YAjwJQ

TRACK REVIEW: Sharon Lazibyrd - Half Shame and Half Glory

TRACK REVIEW:

 

Sharon Lazibyrd

Half Shame and Half Glory

9.5/10

The track, Half Shame and Half Glory, is available via:

https://sharonlazibyrd.bandcamp.com/track/half-shame-and-half-glory

The album, Half Shame and Half Glory, is available via:

https://sharonlazibyrd.bandcamp.com/album/half-shame-and-half-glory-album

RELEASE DATE:

8th June, 2018

GENRES:

Folk; Singer-Songwriter

ORIGIN:

Somerset, U.K.

_________

EVERY new review request that comes my way…

provides the chance to delve into the artist’s sound and personality. I love getting inside a song and discovering where it came from and where it might lead. In the case of Sharon Lazibyrd; the music she provides has been recognised by some big radio names and celebrated by many. I will look at the title offering from her recent album in a bit but, before then, I wanted to address a few things. I will look at that D.J./big names side and why kudos like that can give confidence to an artist; extremes of music and how you can get such a range of sounds and possibilities; Sharon Lazibyrd and how she can bulk and expand her social media; Folk and the striking power of the voice; a bit about evocative sounds that bring you close to the world and make you think hard; local names building a platform and splicing that together with cooler festivals. That is quite a selection of subjects so, when returning to my point about Lazibyrd and being recognised by some big names; it is not a surprise to see why. A lot of the artists that come my way have been highlighted by D.J.s or fellow musicians – that is one of the reasons I get involved with them. In the case of Sharon Lazibyrd’s music; she has had the likes of Chris Hawkins and Georgie Rogers adding their praise – two BBC Radio 6 Music stalwarts who certainly know what they are talking about! Not that a nod from BBC Radio 6 Music is like getting licked by God: what I mean to say is (the station) is a credible and much-respected avenue that only plays the very finest music – that may be a subjective conclusion but there is no shortage of fantastic music on the station! I am a big fan of both those names and, for the past few years, have been seeking out musicians based on their recommendations.

It can be hard getting praise and recognition with so many other artists out there. Whilst I contend the most talented and able will get their rewards and recognition; sometimes, people do get overlooked and you have to work extra-hard to find them. In the case of my featured artist; she has worked solidly and with a committed heart for years. Rather than succumb to T.V. talent shows or craft something commercial and cheap; she has produced music that resonates inside her own heart and feels natural. THAT is a reason why these big radio names have taken her to their hearts and expounded some kind words. Not that she can sell her house and retire on the strength of those acclaimed quotes but there is every reason to suggest Sharon Lazibyrd will continue to grow and become a fixture on a station like BBC Radio 6 Music very soon. With her album, Half Shame and Half Glory, out; I predict songs (from it) will get spins and accrue some more heady praise. The songwriter has also played a session for Bob Harris – on his BBC Radio 2 show – and has reached a whole new audience. It is amazing to think how far she has come and the sort of people who have gravitated towards her music. The industry is so competitive and packed that every nod and bit of great feedback should be seen as a great thing. I know the fans’ love is just as important but, if you can get radio industry figures listening and backing your music; that can lead to some fantastic things and put you on the radar. I am sure Sharon Lazibyrd will continue to build on that foundation and reach new ears. The fact the likes of Harris, Rogers and Hawkins, among many others, have put their thumbs-up to her cause is deeply impressive. I listen to her music and realise there is an extreme and vast landscape out there waiting to be discovered.

I listen to an album like Half Shame and Half Glory and can see why so many people have raved about it. There is that Folk sound but, knowing how strong Lazibyrd’s voice is; you get that isolated shiver and that endlessly fascinating instrument comes to the fore. There are artists out there who mix their voice in with the music and do not feel it is strong enough to capture the imagination. The opposite is true here: we get that vocal high in the mix, summoning some serious emotions and making the listener buckle. I have been listening to a lot of harder, raw sounds recently and neglecting genres like Folk. Not that this is a sign of things to come. For the past few years, I have been featuring some of the genre’s best new artists and immersing myself in everything (the genre) has to offer. Now, with Sharon Lazibyrd, I get to look at another angle and why brilliant songwriters like her should be heralded. It is the poles and extremes of the music industry that keeps me hooked. I have been diving into great Punk bands and Rock artists; looking at the brilliant new work by Kamasi Washington and digging what is happening in the world of Pop – expanding and growing from what we consider the genre to be all about. So much colour is bursting and the industry is showcasing some seriously amazing talent. If you look at the softer, more engrossing sounds coming from singer-songwriters in Folk; you are being given a different sensation and brilliant impressions. It is still a genre that does not get its full esteem and, if you consider Sharon Lazibyrd to be Folk/Singer-Songwriter; you cannot deny she is a perfect example of why we need to shine a light on her fellow artists. I have been following her work for a while and can see her fanbase building. I wonder why we choose to concentrate on what is deemed ‘popular’ by the media and overlook certain sides of music.

That is not to say Lazibyrd has been lacking: her music has reached some big ears and spread around the world. I feel there is a general ignorance of some music because, wrongly, people feel it lacks weight and aplomb. Maybe it comes back to that issue of ‘cool’ and whether we see music as fashionable or not. I am part of a group of people who opens their mind and embraces everything the business has to offer. Music is at its strongest when we all succumb to its breadth and allow every note to sink in. If we close our minds and alienated genres then we deny ourselves the opportunity to become better educated and discover brilliant artists. I love how I can investigate a big Brighton band one week and then feature a Somerset-based musician the next – someone who differs entirely and creates very different music. I am very committed to exposing every brilliant artist out there and bringing as many genres as possible to the fore. Before I move onto the next subject; I want to look at why music like Sharon Lazibyrd’s should be augmented and studied. She seems quite modest and ordinary on paper but, when you listen to the songs unfold, you realise here is an artist that has serious clout and nuance. I am sure, in time, she will be playing bigger festival stages and rise to the level of a mainstream artist. That may seem extreme but, when you look at how music is changing and the need for artists pure and honest – can we claim someone like Sharon Lazibyrd will remain (relatively) underground and local? The industry is strongest and most profound when we open up the doors and move away from the ‘cool’ and ‘popular’. I can imagine Lazibyrd recording (her album’s songs) at Orchard Recording Studios in Somerset and working with some great talent – performing with a range of musicians and bringing all those ingredients together.

One of the reasons I feel Sharon Lazibyrd will be a big success/name in years to come is her hard work and determination. I say this of a lot of artists – and can be chided for it! – but feel getting the social media accounts bigger and more visual can add new dynamics and chances. Lazibyrd has her music on Bandcamp and Spotify; she is out there and updating the fans – maybe a few considerations can come in. Photos and images always come to mind and something I am keen to promote. If an artist has a sharp array of images then it lends for a more visually-pleasing article. Lazibyrd has a few great shots – among candid snaps and live photos – but, given where she is based, a great photoshoot in the open would be amazing. Maybe there could be an album-themed shoot that brings together ‘shame’ and ‘glory’. Working with a great photographer; they could work on some ideas that contrasts and connects the album’s title and shows a new side to the songwriter. The image I have used as a thumbnail (the album’s cover) is great but more of these kind of shots/quality images would bring a new aspect to the music. Social media is about selling yourself as much as the music. Sharon Lazibyrd provides great information about herself – a few new galleries, without breaking the band, would attract more journalists and help bring her profile to new people. The music is the master (mistress) when it comes to winning hearts but one must not overlook aspects like social media and visuals. Her fanbase, as I said, is growing but there are new clans and eyes that are, as yet, unaware of her music. Not that photos will get all of that missing estate and bulk: it is a useful step and something that could be considered. Having all the social media/streaming links on her official site/Facebook would make it easier to navigate and, if anything, some ‘behind-the-scenes’ features would add another angle to her music. People are intrigued how the music comes together and where she takes influence from.

Every artist needs to look at the complete package and see how they can bring their music to more people. Modern music is about the product and the cosmetic makeup of an artist. The actual songs are most vital but we are looking for those that can provide extra elements and strike when it comes to information and visuals. The reason I being up this (controversial) subject is because there is huge validity and potential regarding Lazibyrd’s music. If she were small-fry and meagre, I would not spend my time looking at new ways to promote herself and gain new opportunities. The festivals are coming up and, when you are a promoter/organiser, you are looking for a number of things regarding possible inclusions. The artist needs to be strong and original but they need to touch all the senses and stay in the mind. One gets that with Sharon Lazibyrd and, when you delve into her music; it stays with you and compels long-term investigation. Her world and look interests me. You have this songwriter whose voice summons big scenes and causes the heart to skip. Projecting that in visual-form would be very interesting to see. I know there will be a lot more music coming from her through the years – it will be great to witness how her profile builds and what direction she takes. Maybe I have argued too strongly regarding social media and its importance: for me, as a writer, I include lots of photos and like to make my pieces as stimulating and attractive as possible. Lazibyrd is someone who attracts the camera and, like her voice, brings the listener close. It is not a big recommendation or consideration but, maybe, as we head through the year the multi-talented artist will supplement what is out here with some more snaps. Let us return to what is vital and most prominent when it comes to Sharon Lazibyrd: that incredible voice and wonderful music!

I have discussed Folk and the voice but, when you listen to an album like Half Shame and Half Glory; listen to the notes and the way Lazibyrd projects them. She is someone who wrings the maximum amount of potency and beauty from the subject matter. Here is a person who has been in the industry for a number of years and taking a lot from her live performances. Reacting to the crowd and getting that experience; the artist has gained confidence and experimented with what she does. You can hear all that experience and desire come through with every sentiment and syllable. I am impressed by the way the music gets into the heart and how physical it sounds. You are never left to piece things together and figure things out. Lazibyrd puts the songs right into the foreground and ensures they make an impression. She has, as I mentioned, a range of great musicians featuring on her new album. You combine Sharon Lazibyrd’s voice and those brilliant performers working alongside one another and the effect is quite profound. I had to listen to certain songs, including the title-track, a number of times for everything to settle and register. I am always fascinated by the voice and think it is the most important side of music. You get potency from lyrics and instrumentation but, with a powerful and beautiful voice, you can make an average song sublime. If, like Lazibyrd, you have brilliant songs to begin with, then a sumptuous voice can bring them to rarefied heights! If you have a stirring voice that can move the listener than it is easy to exploit that and lack discipline. Sharon Lazibyrd is someone who keeps a level head and uses her voice economically. That may sound strange but, by that, I mean she blends her tones with the musicians and does not needlessly over-exert and underplay what she sings. It is a perfect balance and sound that compliments the music and ensures each line shines and strikes.

Whilst Lazibyrd spends time in various parts of the U.K.; it is Somerset I associate her with. I have not featured many musicians from this part of the world – as it has a particular ‘sound’ and is quieter than many parts – but there is something about the idyllic sights and geography that leads to music that possesses tenderness and soothe. I can imagine, when writing her album, Sharon Lazibyrd was taking from the views around her and compelled by the natural world. Although Half Shame and Half Glory looks at personal emotions and complex sides to the human psyche; every single song has that warmth, intimacy and sense of the beautiful. Maybe it is the performances or Lazibyrd’s voice that makes that happen. To me, the studio itself and the setting around it adds something extra to the music. I listen to songs that have been made in expensive studios in the capital and there is something fabricated and fake. You get a polished piece that is slick and radio-friendly but does not convey any sort of reality. Look at all the best music and there is something inside the notes that stands out. In the case of Sharon Lazibyrd; she seems to bring her surroundings and home into the music. There is this brilliant ecosystem and world of sound that mixes the natural world with the technical; the range of emotions we all feel but something deeply personal and unique. It is a stunning brew that cannot escape the memory. You listen to the work of the experienced songwriter and are included. Rather than take a passive approach to the music; one gets engaging and reacting to what is being sung. There are plenty of city-based artists who can do this but one of the reasons I feel Sharon Lazibyrd draws the listener in is down to the where she is based and how she sees the world.

Instruments and notes on Half Shame and Half Glory bring you close to the land or take you high into the sky. There is that contrast and range of extremes that elevates the senses and causes something quite wonderful. I do not have time to review the whole album but, as the title-track shows – and I will show in my review – there is so much to love and recommend. I will end this piece by looking at the remainder of the year and where Lazibyrd might head. Before then, it seems the songwriter is going to have a busy time of things. With a new album out in the ether; will see head on tour or promote the songs as much as possible? I feel there will be that need to get to the local people and start from there. She plays a lot around the South West but draws acclaimed sighs from all over the U.K. I mentioned how Sharon Lazibyrd has been lauded by BBC Radio 6 Music – she has also played at their festival a few years ago. I predict, this year, there will be new opportunities and festivals to play. The music of Lazibyrd sounds brilliant through the speakers and captures something strange and wonderful. I feel her sounds are strongest when you see them close and in the flesh. It is interesting to imagine how her songs translate on the stage and whether they employ all the musicians on her album. I have not seen her play but so many reviewers have expounded the virtues of her live set and how great she comes across on stage. Let us move on and get to the song in question: the brilliant title offering from the L.P., Half Shame and Half Glory. I hope the ‘adverts’ and ‘features’ – leading to the main picture and featured presentation – have provided information and revelation regarding Sharon Lazibyrd’s music and what she is all about.

The heroine casts herself as a bird-like figure in the opening of Half Shame and Half Glory. Maybe the title-track is the most personal and representative song on the album. By that, I mean it is a track that brings together all the album’s themes and is the perfect definition of what Sharon Lazibyrd is all about. One gets the impression of a rather reserved and scared figure in the corner wondering whether she should approach. She asks questions as to whether approach (or remain in the shadows). It is that classic case of half-shame and half-glory: feeling critical of herself and foolish but willing to stride forward and stride forward. The words put me in two minds as to the subject matter. One can interpret the song as being about success and taking what you can from life. If you remain quiet and timid then you might be overlooked: if you are too bold and cocky then people might be put off. Perhaps that half-and-half approach is the best way to do things?! Maybe there is an aspect of love and taking passion?! If you are reluctant to speak and make a grab then you will be overlooked. If you take the opposite attitude then that can be off-putting. I am just speculating because, right from the off, you are engrossed in the performance and the amazing vocals! There is “Half sweat and half rapture” from the heroine – suggesting love and success might be entwined and one of the same – and she wonders where her story will lead. The wordplay is clever and deft; there is a poetic quality and ambiguity that makes the brain conspire and draw its own viewpoints. Instrumentation is fairly minimal and this allows the full power of the vocal to come through and impact. One gets shades of classic Folk songwriters and some of the most potent voices ever. You hear Sharon Lazibyrd sing and you are transported back to the 1960s and 1970s. She has a very modern aesthetic but you cannot help but look at nostalgic elements and find familiarity. That is a wonderful thing to experience and one that keeps the listener involved and gripped.

There are half-tears and smiles that show different sides to the heroine. She wonders whether a sensitive side should be shown. Maybe being bolder and more overt is the way to go? You get the sense, the more the song goes on, we are looking at a personal conversation and dilemma. Whether (the song) is about love and unsure how to act around someone, or a confusion as to how the world needs to see her, these contrasts and contradictions make the song so vivid. That is a clever device: one line about glory and one about shame; a human caught between the waves and the shore, as it were. Sharon Lazibyrd is a superb writer who can pen songs that have agility, economy and, at the same time, immense passion, depth and intelligence. That is a skill many songwriters lack – every song the heroine produces stuns the senses and gets under the skin. Strings start to come in before the half-way mark and adds bristle and evocativeness to the piece. The heroine continues to question and wonder what is expected of her. Introducing other players to the song keeps the listener guessing and takes you by surprise. The flowing, twisting strings summon visions of the ocean, oddly. You get romance and moonlight but there are Celtic shades that come through. A passionate and intoxicating sound gives the song new light and summons up new images. Half Shame and Half Glory is this endlessly questions and conflicted song where, maybe, there are no clear answers. Sharon Lazibyrd is unsure how she should act and who she should be. Our girl asks whether (the hero) wants a second look – he can read her like a book, it seems. It is easy to see why so many people have fallen in love with Lazibyrd’s music and why it remains in the mind for so long! The song grows more powerful and impassioned as time elapses. The strings get heavier and hotter and it seems like the waves are crashing. Growing from an intimate and subtle start to a near-crescendo to end; we have moved through the stories and witnessed a definite and defined passage of time. A marvellous song from Sharon Lazibyrd and perfect representation as regards Half Shame and Half Glory’s sounds and definitions.

There will be gigs and local opportunities for Sharon Lazibyrd this year. With Half Shame and Half Glory picking up acclaim and pricking up ears; it is only a matter of time before she gets bigger festival bookings and more radioplay. I will try and see her perform but I feel the chance to get out there and spread her fabrics around the U.K. is now. There are cities - like London and Manchester - that would love to see her. She could get gigs up in Scotland and embark on a great tour. I am not sure whether that is already planned, or there are financial restrictions, but one feels the British masses would love to see Lazibyrd live. I am a fan of her music and have seen it grown the past few years. Every new offering provides fresh revelations and sides to the music. It is amazing to watch her grow and see those incredible sounds register. Going forward, I know there will be a lot more coming from her and those names I mentioned earlier, who have supported her music, will add fresh kudos. It has been an active and productive year for music so far. We have witnessed some great albums and brilliant new artists emerge that have made their mark and shown what a force the music industry is. If you have not heard Half Shame and Half Glory then make sure you take time aside and dedicate yourself to the wonders and colours within. I have been amazed and buckled by the emotions running through. Lazibyrd is an amazing artist and continues to grow stronger. Back this tremendous artist and see why so many respected radio names have had their say and got behind her. Even if her music is not normally what you go for; give it a bit more time and patience. I have ignored Folk and Singer-Songwriter realms for a bit but, with Sharon Lazibyrd, am determined to show more attention. It has been brilliant investigating Half Shame and Half Glory (song) and an artist who puts her all and everything into…

EVERY song she produces.

___________

Follow Sharon Lazibyrd

Official:

http://lazibyrd.wixsite.com/sharon-lazibyrd

Twitter:

https://twitter.com/SharonLazibyrd

Facebook:

https://www.facebook.com/Sharon-Lazibyrd-324663394401783/

Bandcamp:

https://sharonlazibyrd.bandcamp.com/

SoundCloud:

https://soundcloud.com/sharon-martin-37

Spotify:

https://open.spotify.com/artist/0VbJAjioekbd8TXP0DmYqo

YouTube:

https://www.youtube.com/channel/UC7MclQ3cFxU9PBHxdDVsM1A

TRACK REVIEW: Cubs Refrain - Breathe

TRACK REVIEW:

 

Cubs Refrain

Breathe

9.4/10

Breathe is available via:

https://soundcloud.com/cubs-refrain/breathe-1

GENRES:

Synth-Pop; Eledtroonic

ORIGIN:

Toronto, Canada

The album, Tell Me You Love Me (Deluxe), is available via:

https://open.spotify.com/album/7rrRZCo3wxN1R9Q8vmo7iw

RELEASE DATE:

6th April, 2018

_________

IT is back to Toronto…

I head as I look at a talented young duo. It is a rather interesting time for music so, with that in mind, the unique edges and expressions of Cubs Refrain have caught the ear. I will talk about their latest album/a standout track very soon but, before I get there, I wanted to look at Synth-Pop and songs that drive into the heart; how albums can come together and concepts; Canada and the richness of music coming through right now; music that can lift the senses and keep the energy levels up; media and the need to bring international music to this country – I will end by looking at duos and the male-female bond. I have looked at a lot of Pop artists the past few weeks and they all have their own sound and way of working. I am not a huge fan of the entire genre but there are areas of the genre that fascinate me. I feel like modern music is so wide and expansive that it can be hard to get a handle on everything going on and focusing on anyone. It is great seeing artists arrive and what they are about but there are few that remain in the consciousness for more than a few days. Erin and Jordan are Cubs Refrain and have been working together for a while now. Their music takes the mantle of Pop and then builds in synths and energised elements. It is not as sugary and commercial as mainstream Pop and has enough physicality and maturity to appeal to those who love their music with a bit more depth and clout. The reason I feel Synth-Pop is so appealing is because it is about optimism and motivation. There are Synth-Pop artists who look at emotive subjects but most use the platform to create something with more buzz and colour. I am looking for songs that get into the soul and do something wonderful – music that goes further and remains in the brain is to be commended and proffered.

There are many artists doing the same sort of work as Cubs Refrain but, with every Synth-Pop act out there, they bring their own take to the genre. This is not the first time I have encountered the Canadian duo but, with an album out there and doing well (more on that later), it got me thinking about their D.N.A. and what their music represents. Pop is a broad style of music that has evolved and altered through the years. Now, in 2018, we are seeing fewer commercial acts come to the fore and a more developed and deep sound. In terms of Electro-Pop acts, something interesting is happening. In Cubs Refrain, and many likeminded acts, I am seeing the sounds of the 1980s come into their work. The decade is often mocked and derided by many – seen as naff, uncool and rather lame. The thing is (that) we are seeing the decade come into modern music and artists of today are digging into the decade to add to their own sounds. Cubs Refrain look a bit young to have experienced the 1980s the first time around but you can hear little touches here and there. Mixed in with the 1980s sounds is modern-day Electro and some of the mainstream Pop tones that gives the overall sound a sweetness and kick. If you stir all of the tastes and colours together, you get something rather heady and compelling. As I say; there are others doing the same thing as Cubs Refrain so it can be hard distinguishing which acts should be highlighted and those that are producing something rather average. It is all well and good delivering music that has punch and energy but, if it doesn’t hit you and add any substance, one wonders whether there is much point to it. Luckily, there are few who are guilty of that but, in the case of Cubs Refrain, they have taken time to ensure what they put out is full of quality and originality.

Although Tell Me You Love Me has fourteen tracks and is a rather long thing, each track plays its role and the entire record is worthy of fond appreciation. Whereas love, interactions and emotions are part of a personal concept; what interests me most is how the album was recorded and made. In fact, if we track back and look at any concept album; there are risks associated with creating something like that because the words ‘concept’ and ‘album’ cause people to shiver and sniff. We do not see many of them in this day and age but, when it comes to Cubs Refrain’s latest record, it all works out. If it does not have the same intricacies and narrative as something like A Grand Don’t Come for Free (The Streets) you follow the story and involve yourself with all the revelations and developments. I am not sure whether there are particular people that compelled the songs – or it is based on loose experiences taken from Cubs Refrain’s life – but you get a record that collates sounds and ideas from several decades of music and pops them all together. I have described Cubs Refrain as ‘Electro-Pop’ but they bring in Indie and Rock to the palette. You get so many fantastic tones and sounds meshing together and it makes for a really vivacious and stylish album. Erin and Jordan independently spent months record, mixing and producing the fourteen-track album at the home studio they constructed. I imagine the beauty of nature and a rather perfect environment. Imaging all these songs and having that total control. I have tipped my hat to the variety of sounds we hear in Cubs Refrain’s music and how bits of the present and 1980s come together. It is the autonomy and personal input from the duo that makes the album so strong and natural. There are other players on the record, which I shall talk about, but the overall mood and direction of Tell Me You Love Me comes from the duo themselves.

Any concept record that arrives needs, ideally, to be experienced as a complete piece. One can listen to Cubs Refrain and their music – you can enjoy the individual tracks and get a lot from them. If you take an album that has an overriding theme and story behind it, the biggest benefit is listening to everything at once and letting it all sink in. I get these romantic visions of Erin and Jordan conspiring and imagining the songs that we hear on Tell Me You Love Me. I get the impression there is personal relevance to the music and each song relates to some aspect of their lives. There is so much going on the songwriting is uniformly excellent. I am excited seeing how Cubs Refrain develop and what their next album might contain. What we get now is something that has huge professionalism and personality coming through. The duo have taken care of all the creation and production and have made an album that means a lot to them. Each song has its own skin and one, Death of the Grand Piano 2017, Scissors on Wire, looks at the dismantling of a treasured grand piano. Throughout the album, you get so many wonderful stories and moments, it is impossible to put down. I shall move on from this point but admire the duo for taking charge and making an album that needed few other bodies. The cellos, drums and electric guitar we hear were all recorded acoustically. I am not sure whether all instruments were played solely by the duo but you get so much richness and imagination throughout their debut L.P. Lesser acts might be hard-pressed to make an album that ties different years, genres and themes together and make it work. Ambition and lofty ideals can crash and burn artists and critics can be rather cruel. There was little chance of that happening with Cubs Refrain. They have worked hard on this record and released something that steps back in time but it sounds perfectly organic in the current scene. Cubs Refrain are influenced by acts like CHVRCHES and you can hear similarities between the Scottish band and the Canadian duo.

Yesterday, I was in Toronto and reviewing For Esmé. I shall not repeat what I said then but, when looking at her music, I explored the scene in Toronto and why it is so alluring. The city holds so many treasures and there are fantastic venues to be found. Cubs Refrain are different in tone and nature to For Esmé but both have that distinctly Canadian sound. You could say the whole of Canada has an excellence and quality you cannot fault but, like any nation, each different area has its own vibe. The music coming from Toronto is different to that being made in, say, Montreal or Quebec. The reason I keep coming back to Canada is the variety and how consistent the artists are. It is a country that does not get the same oxygen as the U.S. – that is something that galls me. I love the music coming from America and there are few ‘mainstream’ artists from Canada. You have the likes of Drake, I guess, but more of the big-hitting acts are from America. It seems like the media has an obsession with what it deemed ‘popular’ and trending. I am not one of those people who values music in commercial terms: newer music that has more soul and originality is much more worthy. I think the nation warrants more celebration because, in my view, there is more happening compared to the U.K. and U.S. By that, I mean Canadian music is wider-reaching and more nuanced. You have the same commercial Pop acts but, in terms of other genres, all the boxes seem to be ticked. What I love about acts like Cubs Refrain is how they can add their own voice to Electro/Synth-Pop and not repeat what is already out there. Cities like Toronto stand in the mind because of the supportive nature of artists and the sense of community. You have that love and respect running through the area and the fantastic venues mean artists get a chance to cut their teeth in some spectacular spaces.

Canada has produced some legends through the years – including Neil Young – but the modern breed emerging are more intriguing. I feel we will see future legends coming from Canada that can match the best of the U.S. I am drawn to Cubs Refrain because I sense they want to remain in music for the long-run and inspire others. This is their debut album phase and the duo is keen to carve out their own landscape. Jordan and Erin have that connection and trust in one another and are a really solid unit. I feel the media needs to be more proactive when it comes to promoting music that falls outside of their comfort zone. Many British and American sources look at what is happening at home and they do not really take the time to explore anything coming from other nations. Maybe there is limited time to be too ambitious but, for U.S. journalists, Canada is right across the border. I wonder why few of the best new acts get highlighted by U.S. sites. I know there is a good local press in Canada but so many artists are being denied prominence and exposure – a trait the industry needs to stamp out. I feel Cubs Refrain will succeed and get where they need to be but it irks me so many good artists need to work tirelessly to promote their music. A lot of artists are quitting or getting disheartened because media sources overlook them or do not have time to cover them. I think more eyes and ears should be tuned the way of Canada and all the incredible music that is coming from there right now. In a busy and packed world of music, Cubs Refrain are worthy of bigger respect and, in time, will get that. Tell Me You Love Me is picking up good reviews but, like many artists, gigs and playing live is the way they will get their music to the people.

I compressed a few different points into the last paragraph and will finish on a couple of points. I hinted at the eclectic nature of Cubs Refrain and how the music gathers from various corners and explores a wide plain. If the variegation and scope attracts the mind and gets people curious; the energy and rush of the music gets the body involved and motivates movement. Synth-Pop is a genre that is gathering a lot of steam and is perfect for the summer months. Although Cubs Refrain are ripe in every season, what they have released on their debut album can soundtrack the warmer climate and get people moving. I am not certain whether the duo are heading around the country and involved with many festivals. There will be gigs coming up but, to me, there needs to be that contrast of more intimate venues and bigger spaces. Tell Me You Love Me is a record that, by its name, has intimacy and tenderness but the way that is expressed, at times, is bombastic and sparkling. Because of this, you need to witness the album in various-sized locations. I hope the guys get the chance to play some outdoor events and the people fall for them. They are picking up acclaim and traction but, to get it to new heights and countries, it is those all-important gigs that are most important. I hope the duo come to the U.K. and find the time/money to play some dates over here. Canada is a vast nation that has some wonderful venues that could easily house Cubs Refrain. I love their music and can hear the determination and strength right from the off. What amazes me is how confident and controlled their debut album sounds. They have taken great pains to make the record in their own visions and ensure there are no loose edges and sloppy tracks. Each expression is perfect in form and the brilliant production brings the music alive. The attack, intelligence and motivation you hear bouncing from the speakers infuses the blood and gets you excited.

I think there are some wonderful duos out there and, in terms of demographic, they are overtaking bands in terms of potential and quality. I get to experience many are whether they are of the same gender or not, it is the friendship and relationship at the heart that makes the music pop. Many of the male-female duos I experience are in relationships. That can be hard to balance and ensure there is no bleed-through that can impact the music. By that, that relationship can be strained if the duo spends too much time together. Home life and domestic life can spill into the music but, when they can get the balance right, you get some incredible music. The duo of Cubs Refrain, I assume, are not involved and it is the solid friendship and respect that means the music stays with you. I am not saying bands and solo artists lack that ability to infect the senses of awe but there is a different approach from the duo. The reason I love the formation is because it is tight and there is a second body. Solo artists have to shoulder a lot and they only have their own views and opinions. Bands can be democratic but, for the most part, the control comes from one person/the lead and their stock, in general, is waning – there are fewer big bands ruling in the market right now. Duos are not breaking into the mainstream that quickly – aside from the likes of Royal Blood and a few others – but the underground is sporting so many wonderful and interesting options. Let us think forward and look at why Cubs Refrain will get a lot of love. It is the skill, connection and intuition Erin and Jordan share that makes their music so incredible. There is the risk that, if they spend so much time together, there can be disagreements and debates – that is natural for any musician. You listen to their debut album and get the sense they were on the same page at every single step of the process.

Breathe is a perfect example of what Tell Me You Love Me is all about and what Cubs Refrain can produce. The song comes at the half-way point of the album and begins with delightful, high-sounding blips. There is a racing series of notes and something that percolates and delights the taste buds. The heroine comes to the microphone and delivers a smooth and breathy vocal – one that has sweetness and a sense of questioning. She is breathing in the afternoon – feeling this too soon. That might sound oblique and disconnected but it is an interesting way to open the song. Rather than come in with something rather vague or cliché; you have an expression that gets the mind working and forensically seeking. Maybe there is the headiness of love and a premature sense of affection; perhaps a contentment has come along as more caution should be imposed. Without too much revelation and explanation, you start to figure the song out and where it might head. The need to end a fight and resuscitate things is evident. It seems the sweethearts have been squabbling and fractured and they need to step back from the carnage. Whilst the lyrics look at tensions and a need for relief, the music keeps that alacrity and sense of upbeat high. The vocal carries weight but remains sweet and agile throughout. The Pop vibes keep the song from being too weighty and downcast; the arresting and bubbling synths add a seriousness and adult tone that takes the mind away from mainstream Pop. The duo combine vocals and give the song an extra layer. There is a conversation occurring that expresses two viewpoints but the truth has unity: the need for things to change and get back to a good footing. The composition gets more arresting and bold as the song progressed. The notes have that twinkling and spacey quality; it gets packed and brighter and, with it, takes the mind away. Jordan come to the microphone and wonders if the winds will change – so this fight can end and things can get back to normal.

It is when Erin and Jordan combine their vocals you get the biggest rush. They have different sounds and personalities so it is good hearing them working against one another and melting together. I guess one might need to look back on the Tell Me You Love Me to get a sense of why there is a fight and what caused this breakdown. The duo are determined to end things as they are and find something more positive. The vocals get more determined and they want to remain in each other’s lives. There is an addictive quality to Breathe that means you are invested throughout and keen to see where the story heads. It seems like things were great but now things have gone sour. Maybe the sweethearts want different things and they are on different pages. Perhaps the relationship hit a rough patch and, rather than talk and spend time apart, they have been too involved and unable to repair things. That passion and sense of physicality keeps the song above the parapet and keeps the mood lighter. It might sound strange but you never feel depressed or too anxious hearing the song. Even though the words express something broken and frayed; the listener is treated to a composition that keeps its head up and its body racing. By the end of Breathe, you wonder what will happen and whether things can be salvaged. Although the song deals with something routine and commonplace; the way it is expressed and delivered means things are never ordinary and predictable. Many will relate to what is being said in the song. It takes a few listens for the song to get into the head as there is a lot happening throughout. There are few artists that can balance the cheeriness and adventure of a composition and serious lyrics and make it work. The song is never cheapened and you are always rooting for the couple to get back together. Rather than accuse and throw acid at one another; there is that dialogue and need for repair and discussion. Although things night not return to what they were; maybe they will be able to find some sort of compassion and dispense with the bitterness. It is a strong and authoritative effort from the Canadian duo and the highlight from Tell Me You Love Me – Breathe is a song that will get into the mind and leave its impressions for weeks to come.

I have talked a lot about aspects of Cubs Refrain: where they come from and what music they make; why their debut L.P. is exceptional and where they might head. I feel like there is a lot of room they can gain and momentum is in their favour. I wonder whether they will come to the U.K. and what dates they have in the diary. Tell Me You Love Me is a record that can adapt to any market and venue. Even though there is a lot of spirit and energy throughout; that does not mean it is restricted to big locations and the summer. There is intimacy and revelatory tenderness at times and music that can be pared-down and made acoustic. The duo have the option to ramp things up and add more players; they can strip their music to the bone and have that adaptable quality. Music is such a crowded place and it is always hard keeping track of everything happening. There are artists that slip through the cracks and it is disappointing to consider after all the effort they put in. That may sound rather defeatist but music is so open and vast there are going to be casualties along the way. In terms of Cubs Refrain and where they can go, there is a horizon ahead of them and a lot of exciting days. I know there will be international dates coming up and the duo will get a chance to amaze different nations. I will end this by highlighting the benefits and qualities of Cubs Refrain and their new work. I have focused on one track but, as I explained earlier, a concept album like Tell Me You Love Me needs to be viewed as a whole. Songs work when they are isolated but take on a different quality where they are part of a complete story. Erin and Jordan have created something compelling and, in the process, announced themselves to the world. It may take time before they truly get into the top flights but they are working hard to put their music out there. The scene is changing and, as said, the band market is not as profitable as it once was. Duos are starting to come through and, alongside affection for Synth-Pop and the music of the 1980s, this all works in the favour of the Canadian duo. Make sure you grab Tell Me You Love Me and let it get inside your head. It may only be the debut album from Cubs Refrain but it shows they have the promise to…

BECOME a big success.

_____________

Follow Cubs Refrain

 Official:

http://cubsrefrain.com/

Twitter:

https://twitter.com/CubsRefrain

Facebook:

https://www.facebook.com/cubsrefrain/

Instagram:

https://www.instagram.com/cubsrefrain/

SoundCloud:

https://soundcloud.com/cubs-refrain

Spotify:

https://open.spotify.com/artist/6KibUqSwBOyTrLxj0u1nKn

YouTube:

https://www.youtube.com/cubsrefrain

BandCamp:

https://cubsrefrain.bandcamp.com/

LIVE PHOTOS:

Shay Markowitz at Bluetrail Creative

TRACK REVIEW: For Esmé - Small Talk

TRACK REVIEW:

 

For Esmé

 PHOTO CREDIT: Jeff Bierk 

Small Talk

9.6/10

Small Talk is available via:

https://www.youtube.com/watch?v=234-Vvm1_0c

GENRE:

Dream-Pop

ORIGIN:

Toronto, Canada

The album, Righteous Woman, is available via:

https://open.spotify.com/album/5PHnN0Wtf0KZTC8jAKQ12b

RELEASE DATE:

25th May, 2018

_________

PART of the reason…

I have been a bit angry recently – if my posts seem a bit firmer and more spiked – is the lack of female artists coming my way. I have been looking around and, when it comes to P.R. labels that send artists my way; it is disappointing to see the statistics: around 80% of all the submissions I get relate to men. I am not great at maths but the world of new music is not that male-heavy: there are just as many women as there are men. It is baffling why labels and P.R. firms recruit men or put them up for submission; do women feel they will not get a fair deal if they go to firms or are they better off representing themselves?! It is a subject I will touch on later today and, hopefully, arrive at some conclusions. I mention this because For Esmé, alongside a lot of other female artists, are rallying against sexism and expectations. It seems the songwriter’s name – perhaps named for the short story by J.D. Salinger where a sergeant meets with a young girl before being sent to war – is apt when it comes to Salinger and the scenes he painted. There is romance and battle; there is division and the need for improvement – having to cope alone at times, too. I will talk about For Esmé’s new album and the sort of themes being explored; why her music and artistry fascinates me; bringing other players and voices into the mix; why artists like For Esmé have the potential to go a long way; Toronto and why the city is bursting with promise – I will look at what the music world needs in order to progress. Let’s look at the first subject, For Esmé’s, and what Righteous Woman possesses. The record is designed to portray the modern, progressive and open-minded woman and all the challenges that come with that. Martha Meredith (For Esmé’s’ voice and lead) explores self-love and sufficiency; why the inner-voice and sense of courage are more important than the limitations placed by society.

The album itself mixes the personal and socially-aware. There is a nod to political corners and accusations; confessions and revelations that lets the listener in. Whilst I am not going to review the entire album; it has been interesting looking at the songs and what they represent. For Esmé looks at permission and being allowed to speak; why following the rules of others can be confining; how there are these rules and boundaries placed on modern women – the strike against patriarchy and why strength and courage are important. The record, as I say, is personal and looks at the heroine’s struggles, determination and anger she faces. There are general themes that look at feminism and sexism but, like her moniker, it is literary and fascinating. Songs flow and shine with tenderness; there are rousing strings moments and that blend of light and dark. What stuns me is how the ten tracks (on the album) all have their own skin and separate identity. Every track has its own momentum but they all hang together beautifully. Most tracks are around three or four minutes and the titles are either one or two-worded. It is a rich and rewarding listen that demands repeated study – an album perfect for every mood, season and time. I will move on to a new topic but, in closing, I wanted to urge people to listen to the album and listen to it closely. It is personal in nature but the biggest reaction one gets is that universal and inspiring sound that tackles issues and problems and provides something compelling and substantial. For Esmé gets under the skin and provides songs that make the listener think and look at the world as a whole; settle the bones and make the mind swim. It is wonderful seeing the young artist/band grow and get stronger with every release. I have been following For Esmé’s work for a little while now and can see how strong Martha Meredith has grown as a songwriter. Dave Thiel and James Bunton co-write and co-perform. Although Thiel and Bunton are important cogs and elements in the mix; it is the strength and colour of Martha Meredith that radiates and remains. It is that collaborative nature, mind, that compels discussion.

PHOTO CREDIT: Vanessa Heins

The Toronto-based artist has worked with Thiel and Bunton and there is deep and collaborative work to show from it. There are some fantastic players that appear on Righteous Woman and it is a great team effort. Although For Esmé’s core help shape the songs and get the record out there; one cannot discount the way every artist on the record adds their personality. The strings that appear add grace and delicacy; there is that strength and rousing passion that arrives in various moments. I am seeing a lot of solo artists and duos that tend to write rather basic and sparse songs. They may be able to create something interesting and deep with acoustic guitar and simple arrangements but I find adding extra elements can expand songs and result in extra nuance. There is never the overriding sensation, on the album, that it is all challenge and blaming those around. For Esmé shows a comfort with being in her own skin and Martha Meredith talks about having her own thoughts and not being ruled by others. Of course, you get that tackling of the status quo and whether we should be following blindly. That conflict and complex cocktail is examined and fleshed out by incredible musicians and writers. Our heroine has that incredible voice and lyrical determination; mixing that with the studied and exceptional players means you get this rewarding banquet and striking brew. Each song, as I said, has its own D.N.A. and voice. Many albums have sound-alike songs and creates little distinction. On Righteous Woman, you have these narratives and chapters that, returning to J.D. Salinger, seems to be part of a bigger picture. It is not a concept album, per se, but each song seems to look at various elements of society, feminism and the self. I am happy with the music out there and what we have before us: seeing For Esmé come through and produce an album like Righteous Woman stands aside and makes you linger and ponder.

PHOTO CREDIT: Laura-Lynn Petrick

I want to look at Martha Meredith and her individual strength but, before then, I will spotlight the music on the album and why the compositions and lyrics mesh together so effectively. A lot of artists have a talent for words or music: few manage to put them together so beautifully and have that overall genius. I want to bring in a few artists For Esmé reminds me of and why that should give a lot of spark and hope. Listen to tracks To Love and For Others and there is that combination of sprite/energised and swooning/calm. Songs go from gorgeous and entranced to racing without much warning. It might be hard, in lesser hands, to control that gear-shift but Martha Meredith and her band manage to ride the waves and provide something exceptional. Maybe they have been playing together for years – I should have checked my facts! – but it is amazing hearing that intuition and sense of connection between everyone. The production is fantastic and songs stay in the mind for a very long time. So much music today has limitations and songs seem to pass by and rush through. Even those designed to endure can disappear quicker than you’d hope. What you get with Righteous Woman is a record designed to settle in the brain and keep the listener coming back. It has that drug-like quality but, rather than offering a quick high and easy rush; you get something educational, revealing and luscious. I have been hooked on the album and every song on there. Although I am concentrating on Small Talk; you need to look at For Esmé in terms of the ten tracks that appear on the new album. For Esmé’s lead steps out and lets her voice paint a world of wonder and bring the listener into the fold. You are involved in the songs and follow them. It is a physical and spiritual experience that amazes and touches the senses.

Confection and confession sit alongside one another on an L.P. that addresses the inner-voices and doubts and brings them to the surface. It is strength and overriding motivation that highlights itself. I am hooked by Martha Meredith because she knows what changes need to be made in the world and how we can create a more balanced and progressive space. Rather than protest and sermonise; we have a songwriter who lets people in and has that accessible nature. The songs are fun and physical but that never cheapens the mood. I am reminded of modern-day icons like Joan As Police Woman and Laura Marling. Those two may seem very different on paper but the Connecticut legend (Joan As Police Woman) and British youngster (Laura Marling) are songwriters that challenge the established order and do so intelligently and consistently. I am more drawn to Laura Marling and her approach to music. Listen to For Esmé and the way the notes and musical elements flow into the foreground. The voice, in fact, of Martha Meredith reminds me of Laura Marling. There is that balance of young and mature; songs that are exceptionally developed and thoughtful. I am not comparing the two because it diminishes For Esmé and what is being produced: it is a compliment that shows why Martha Meredith and crew deserve a bigger platform. I get a sense there is stardom and a big future in store for her and the band. What I sense is developing success and that opportunity to get to the forefront. Maybe mainstream assimilation will take a few years to come but it seems like For Esmé will get to the top a lot quicker than their peers. Martha Meredith is a songwriter who can work with others but knows where she is heading. You get the feeling she is not going to rest until she is playing on the biggest stages and able to bring her music to the masses.

I am compelled by her because you have a strong-minded woman with natural talent. There is incredible beauty and power that comes from her; a knowing of what the market needs and how a musician should deliver. I feel a lot of artists are too commercial or seem to take from a book of clichés. You might get lumpen lines and trite exchanges; some rather mediocre expressions and lines that have been recycled by many others. This is not the case of For Esmé. Rather than give us a rather boring and routine album; we have that multi-coloured and challenging aspect. Songs are thought-through and you can hear the detail that goes into them. Each player and element on the album is crucial and everyone gets equal weight. It has that collaborative degree but one radiates towards the lead. It is that voice and passion one gets that stays in the mind. I may be repeating words and terms here but it is for good reason. It is hard to avoid the brilliance and standout characteristics of a phenomenal artist. I will move on to other themes soon but, before I get there, let us look at For Esmé and Martha Meredith. I have attached myself to some artists from the current market but many of them, sadly, go out of the mind. It is not their fault at all: the music world is so busy and changing, it is difficult remaining focused and keeping people in the heart. There is so much about the Canadian songwriter that makes me come back. It is a teasing and enticing kiss that rattles around the brain and leaves its taste in the brain. You have music that gets into the blood and does something wonderful. Every performance is committed and delivered with nothing less than utmost attention and meaning. The writing is sharp and, aided by assured and commanding production, Righteous Woman is a spellbinding album from a singular talent.

Toronto seems to be one of those hidden areas that is showing its skin. I say ‘hidden’ but that is only due to the naivety of the international press. If it were not for the artists (from there) who come my way, I wonder whether I would ever know about the area and why it is so amazing. Canada as a whole is stacked with awesome musicians who warrant wider acclaim. I am familiar with Ontario and all the variation one gets there. Hamilton and Montreal have come to my view lately; I am getting some great suggestions from Ottawa and right across the West Coast of the country. Toronto seems to be the leader of Canadian music. It is a vast and diverse landscape that seems to inspire musicians that live there. If London’s motivation comes from its eclectic population and history; Toronto seems to cause wonder because of its landscape and the nature of the people. There is a different vibe here and you cannot overlook the role of the people on the music. The population is friendly and humanitarian (for the most part); there is a native egalitarianism and warmth that helps calm the mind and get you into that creative headspace. The folk are kind and interesting and, aside from the odd rogue element, it is a place you feel safe and connected. I am interesting studying the link between a city/area and how its demographic enforces a particular sound. One can certainly make a case to suggest Toronto’s population and geography leads to wonderful music. I am not sure how long For Esmé has been based in the city but it seems to be a great place to make music and get it out there. In terms of venues and spaces, there are bigger ones like Four Seasons Centre for the Performing Arts and sports arenas; you get Massey Hall and Dakota Tavern; Lee’s Palace and Phoenix Concert Theatre; Baby G and Rebel; The Music Gallery and Lula Lounge. I can go on forever – check out https://www.blogto.com/slideshows/best-live-music-venues-toronto/ for more venues – but it shows what a wealth of great performance spaces there are.

PHOTO CREDIT: Vanessa Heins

I feel Toronto is flourishing where cities like London are starting to fail. Venues in the capital are having mixed fortunes right now. Some of the bigger areas are surviving but there is always the risk of places closing down. Modern bands and artists have reliable and ‘safe’ venues to go to: there are so many that have shaky legs and narrowing wallets. I guess that is the same for Toronto but you get the feeling the government there is more willing to subside live music and provide a financial bail-out for any venues that struggle. Coming back to For Esmé and it seems like it is a great location to make music. You have that varied live music scene and there are so many talented peers who can offer supporting slots and guidance. It is that open market and rich history that feeds into the soul of the city and promises growth. It is important if you are surrounded by prosperity and promise. Those musicians who live in a rather busy and challenging part of the world are producing the best music. If you are surrounded by mixed fortunes and venues that are closing; this can affect the mindset and have a damaging shock on the music.  Looking forward and I would like to see Toronto brought more into the international forum. I am aware of the artists who play there but there are so many more that get overlooked and forgotten. For Esmé is one of the strongest forces in Toronto and I wonder whether they will remain there. Will Martha Meredith and her players come to the U.K. or relocate to the U.S. anytime at all? Maybe New York will provide more of a stable and chance for riches. I am seeing Canadian artists relocate because they do not get the same acclaim as their U.S. peers. That is no slight at the city of Toronto and a sense of anonymity. The media is responsible for pushing the music of a place and I feel there is a naivety from the U.S. and U.K. that needs to be redressed.

PHOTO CREDIT: Laura-Lynn Petrick

There is, pleasingly, the sound of the 1980s in the opening notes of Small Talk. That line might provoke images of huge hair and naff clothing; cheesy Pop and Morrissey swinging his gladioli around the stage like a stabbed poet – I am looking, more, at the credible music and artists like New Order. The bubbling and burbling electronics have that nostalgic and retro edge but there is a distinct emotional conviction that puts it in the modern day. What I mean is (the notes) are tailored to the present time and are not meant to mimic what has come before. I was given that rush of remembrance and hints of the 1980s but, if anything, the combination of beats and electronics produces a fascinating figure you worship and lust after. The heroine comes to the microphone and elongates her words. As opposed to the fast-paced and cascading nature of the composition; the words are stretched and given semi-operatic quality. She asks whether you/we have died beneath the hollowness of deep space. If you mind goes there literally then that might provoke different imagery. To me, I was looking at passions and conversational awkwardness. Maybe an haphazard meeting or the routine or being with someone – where things dry out and it seems like the spark has gone. Martha Meredith, as a lyricist, creates lines that compel interpretation and have that poetic edge. She asks whether we dare find solitude and loneliness down in deep space. I was entranced by the vocal power – that brought to mind PJ Harvey and Florence Welch – but tried to untangle those images. Are we talking about being single and not relying on constructs and demands of society? Is it about the benefits of independence or the rush one gets upon that first romantic meeting? I guess every listener will have their own viewpoint but, to me, at that very moment, I sensed a woman who was writing from experience and addressing the sameness of conversation and being left disappointed. The composition has spacey elements and the electronics mix in intergalactic zoom; there is so much working away in the background.

PHOTO CREDIT: Jeff Bierk

Some artists keep the music in the back but For Esmé bring it into the foreground and entwine music, lyrics and vocal together. The more the song goes on, the more light that came in. Our heroine has been clinging onto people for life and love and found something is lacking. Maybe we are looking at love and the routine of small talk and trying to find something deeper. Maybe Martha Meredith has been on dates and it has been a rather shallow and disappointing experience. Perhaps she is looking inside herself and wondering why she chooses certain people and whether love is what she needs in order to become fulfilled and complete. Against the template of women’s rights and conforming with what others expect of women; maybe the heroine has been doing what others have and thinking she needs to blindly fall in love, get married and ‘settle down’. It is annoying to think there are these boundaries and age-old ‘roles’ that women need to take. It might be that Small Talk is a general look at contemporary stresses and how we define ourselves by romantic attachments. She is suspended in something she cannot sustain and there are racing thoughts that are coming to play. You are always gripped by the racing electronics and pulsing beats. The lead tries to untangle lies and eradicate dissonance. There is paranoia at work and a yawning void – people are trying to cure her pain and, through romance and chat, the result is the very same. Small Talk is about cutting out that foreplay, in romance and society, and place fears out there. It seems, the more the song goes on, the clearer the thesis is. Rather than look at romance and the routine of love; it asks people to cut out the meaningless talk and get to the root of big problems. We have problems that are not going aware and we do not seem to be any closer to a cure. Whereas we are focusing on insignificant things are not coming up with any real answers; we need to look at that and wonder what the actual solution is. Small Talk compels questions and thoughts; everyone will look at the song in different ways but it is clear something meaningful and important works away. One listens to Small Talk and is urged to listen again and again. You might need a few spins to understand the various threads and elements working away. It is a busy and full song that will get into the mind, heart and soul and takes you somewhere very special indeed!

PHOTO CREDIT: Laura-Lynn Petrick

I am thrilled to see Righteous Woman out there and hope I have managed to assess it well enough. I have been looking at the work of Martha Meredith and seeing how she has grown as a songwriter. Following the social media feed of For Esmé and I know there are plans afoot regards touring and promotion. The album is out there so many people will want to see it performed and close-up. I hope there are plans for British dates before the end of the year. It is expensive travelling and getting music out to the international crowds. I think there are enough venues over here that would cater the band and see their music given a healthy reception. I am not sure whether that is planned – or it is reserved for the coming years – but there is a lot of Canadian territory to conquer. After, maybe U.S. dates will come through. Keep an eye on the social media feeds to see what is coming and where you can catch For Esmé on the road. I have loved reviewing Small Talk and looking at the Righteous Woman album as a whole. I have learned a lot about myself and the world as a whole and found, in the album, one of the strongest of the year so far. We are living through a time where gender roles and rights are at the forefront of the conversational parapet. The nature of gender politics is more complex than ever and there are people calling for change and improvement. Whether you see sexism as a problem that needs immediate tackling or are of the opinion that self-sufficiency and self-love (from women) is a way of moving forward. It is clear society places impositions and limitations on women – I will look at this later – and we are not progressing as fast as we should! I shall leave things here but my suggestion is to listen to Righteous Woman what is documented. The album looks at feminism and social problems; it has the personal and universal – much richer and more complex than I am making it out to be. It is a fantastic album that keeps revealing something new every time you listen to it. I will follow For Esmé closely and see what comes next. If Righteous Woman is anything to go by, I feel For Esmé is going to be a name many more of us will hear about…

ON the world’s biggest stages.

___________

Follow For Esmé

PHOTO CREDIT: Vanessa Heins 

Official:

http://www.foresmemusic.com/

Twitter:

https://twitter.com/foresmeforever

Facebook:

https://www.facebook.com/foresmeforever

Instagram:

https://www.instagram.com/foresmeforever/

SoundCloud:

https://soundcloud.com/foresmeforever

Spotify:

https://open.spotify.com/artist/0CAiYPm8VTz5OgeuyVLlJb

YouTube:

https://www.youtube.com/channel/UCyWMDJEKC7w15aY1PI_Qjfw

BandCamp:

https://foresmemusic.bandcamp.com/

TRACK REVIEW: YONAKA - F.W.T.B.

TRACK REVIEW:

 

YONAKA

PHOTO CREDIT: Ryan Saradjola  

F.W.T.B.

9.5/10

 F.W.T.B. is available via:

https://www.youtube.com/watch?v=rDhObIqe_-c

GENRE:

Alt-Pop

ORIGIN:

Brighton, U.K.

RELEASE DATE:

11th May, 2018

_________

ONE of the reasons I am arranging my reviews…

so that I am making room for YONAKA is to complete a weekend of hard and raging sounds. Yesterday, when featuring Gold Phoenix, I had the chance to look at sounds equivalent to Queens of the Stone Age and Royal Blood.  I investigated the state of Rock in this country and whether venues/T.V. shows, when booking bands to play, are taking enough risks. That is an area I want to reinvestigate when speaking of YONAKA. I will also look at Brighton and why it is an area that infuses the spirit and compels great music; why acts like YONAKA are not only inspiring but deserve bigger focus; reality and genuine personalities in the music industry; looking out for those future stars that will define the scene – I’ll end the section by having a gander at bands’ connection and why YONAKA have a chance to help change the scene. I will come back to Rock and its complexities – like I did yesterday – because YONAKA are a band who can certainly turn up the wick! As opposed to those who play straight-ahead riffs and are all about the physicality of the performance; YONAKA are more concerned with lacing in dark Pop moments and Alternative strands. They are fierce and determined but able to create melody, variation and a sense of drama. I am not suggesting Rock artists are lacking sophistication and compositional nuance: YONAKA are concerned with more than slamming guitars and rousing percussion. The guys work a magical concoction that is starting to take a hold in the industry. The reason I am drawn to the band is because of their passionate and effusive performances. There is something electric and scintillating you get from their music; the layers and genres they splice together is deeply impressive. I guess you could call it ‘Dark-Pop’ or ‘Alterative-Pop’ but there is definitely some Rock and Grunge nods working alongside. I feel something is happening in music where bands/artists who can scare the senses and appeal to a certain ‘demographic’ are being overlooked and not given sufficient focus. That may sound snobbish but let’s think about the type of fan that would go to a YONAKA gig. People like me, with cool taste who knows a great thing, are drawn to them. We may not fit the conventional mould of a friendly and amiable music listener – that would be a rather judgemental assumption!

By that, I mean I am not a Pop fan who you’d find flocking to an Ed Sheeran gig and clapping my hands above my head for the whole show. Instead, when you watch YONAKA, you are treated to a rather more exciting and lively atmosphere. It all comes down to artists who are not boring and predictable. The mainstream is still so concerned with fostering artists inoffensive and conformist. Whilst that helps create a rather nice and incontrovertible environment; artists being elevated to the forefront are not really talking about the realities of life and appealing to a wide audience. There are a few mainstream artists capable of stretching their mind beyond basic love and clichéd themes: we still see too many music tropes and dull songs coming through. YONAKA, because of that, might be seen as outsiders – something they would be okay with, I’d assume. Fans and those with better hearing are demanding bands like YONAKA are given more time and appreciation. The band market itself is a little unsure at the moment. There is still that leaning towards solo artists and what they provide. Look out at what is favoured and the albums voted the very best of the year – the majority will come from solo albums/duos. The new breed are giving me hope there are bands who can challenge the established order and provide some variation to the market. YONAKA are one of those acts to watch because their sound does not copy what is out there; they do not aim for stadiums and try and pander to the critics. I will explore this subject more but it is interesting to see how the underground is shifting focus and starting to prick the senses. We have always been interested in what is happening in new music but now, as the mainstream starts to plateau and halt, we are looking underground and seeing who will come through in years to come. I may be rambling but am a bit stunned by bands like YONAKA and how ready they are to succeed.

The quartet of Theresa Jarvis, George Edwards; Alex Crosby and Robert Mason are a solid unit and one based out of Brighton. I am not sure whether they are still based there – or moved to London – but Brighton is a great area for new music. I was down there a few days back, just after The Great Escape, but had a great look around and saw some terrific venues. Maybe London is still the to-go-to place for big artists and those looking to get the biggest crowds. Most of the labels and big radio stations are based in London but that does not mean there is nothing outside the capital that warrants curiosity. When I was over in Brighton, even though it was a bit overcast, the atmosphere and vibe was hard to fault. Every time I am down there, there is that friendliness and easy-going vibe that is infectious. There is rarely any stress and people are calm and helpful. Whether walking down Brighton Pier or wandering The Lanes/North Laine; you are always in for a treat and in a good mood. There are venues like Green Door Store and Sticky Mike’s Frog Bar that are established and respected. Whilst there is not the same vastness and range you get in London; Brighton seems like a safer economy and one of the most upcoming spaces to discover the best of tomorrow. The vibe and colourful bliss you get from Brighton, coupled with the solid and unique venues, means YONAKA are in a great place to hear their music succeed. They are based close enough to London – and may relocate there soon – but, right now, with the weather warming and the seasons changing; who would not want to be near the sea and alongside the people there?! I wonder whether YONAKA will stick down on the coast and see how far they can get in Brighton. It is a sad inevitability that, the bigger artists become, the lure of the big city wins them. I hope YONAKA stay in Brighton because it is guardians and ambassadors like them that attract labels and radio stations down there.

I will move onto my next point soon but, before then, I will remain in Brighton. Listen to the sort of music YONAKA are making now and it is more enforced by local influence rather than national tastes. By that, I mean the mixtures of darker Pop and Rock seems a perfect fit for Brighton; the band take all the scents, personalities and flavours of the area and put it into their music. I am not saying music from bigger cities lacks personalities but it is harder to stand out and create something vibrant when there are so many people around and there is a certain expectation on the shoulders. Brighton is known for its rare spirit and distinct personality. It is less crowded and, whilst fewer big names are based down there, the local breed is free to create as they wish and produce music that differs from what is out there. YONAKA might relocate in years to come but, right now, they are doing their thing and standing out from the masses. I am not surprised Brighton is inspiring so many great artists and seeing so many native artists hit the big leagues. I feel YONAKA can make some big differences in the music industry and help create development and improvement. The guys are on the rise right now and enjoying music – creating songs that are pure to them and stand out in the mind. I am finding fewer songwriters that showcase imagination and tell stories. You look at a lot of music in the spotlight and there is that commercial sound with lyrics that do not really force intelligence and depth. YONAKA are part of a wave of artists who are making music that provokes imagination and genuine interest. I will come to look at their current single in a bit but I am determined to highlight the band as possible stars of the future.

I feel like there is too much of an imbalance and surfeit in terms of bands. Have a look at the mainstream and you will see few decent bands enduring and evolving. The greatest bands of the moment have been going a while and, if you look at the new acts tipped for glory; the majority of the big names are solo artists. Maybe it is a change of tastes and a phase but I feel there is a slight fatigue when it comes to bands. It is not like we have Fleetwood Mac and Led Zeppelin playing in the mainstream and showing what a genuinely stunning band can come up with. That is not to say the current crop lacks ability and longevity: things are becoming too routine and there is more affection put the way of the solo artist. It will be hard to overturn the dominance anytime soon but I feel, if we allow a passage thorough for bands like YONAKA, then changes will come. We have bands like Wolf Alice and Goat Girl who are splicing darker Pop and Indie with jagged guitars and fierce vocals. They are making headway and there is a reason why both band’s current albums enthralled critics – this is what we want in music and need. It is not as easy as opening the door for YONAKA and letting them change things and help bring about a revolution. The makeup of the market means there is still that core that prefers a certain sound and is unwilling to bend and break from their tastes. That is fair enough but there are so many out there who are scouring record shops and attending small gigs so they can get their fix. By allowing greater opportunity for bands like YONAKA, you will add balance to the industry and mean it is more balanced. I feel like the mainstream Pop market has too much say and money is more important than quality. I opened by looking at music T.V. and why I was keen to focus on Rock/harder sounds this weekend.

YONAKA are the type of band I could see doing a great set on a music T.V. show. Look at current options like Later… with Jools Holland it is a breeding ground for the best of modern music. There is no other T.V. show that gives that chance and, seeing as YONAKA are a bit too new to warrant a slot on the show, I wonder whether it will take a lot longer for them to get where they deserve. The guys are doing some great gigs and putting their music as far as they can. Another reason why I feel the guys are destined for something big is because they are genuine people. There are no guarded words and pre-planned quotes. They are not consulting with their people when answering questions and hesitating from tackling the big topics. Instead, the band is honest and revealing; they have a lot of guts and a sense of humour that comes through in everything they produce. You can hear their honesty and openness when chatting with magazines and radio stations; their music has personality and originality that does not aim for the safe seats and those want things sanitised, radio-friendly and vanilla. That is not to say the band is crude renegades that want to offend everyone and burn bridges. There are so few artists who want to be themselves allowed much of a say in the forefront of music. I know I keep mentioning bands like Wolf Alice and IDLES but, when you look at the quality of their music and how they come across in interviews; why would you hold them to boundaries and not give them a bigger say?! Maybe these band are more comfortable working just-outside-the-mainstream but I feel music’s elite need to take listens from these great bands. Look at YONAKA and they tread the same sort of lines. The music they put out gets inside the head and stays in the mind. It is so hard, with the music we have out there, to keep it all in and remember. That may sound worrying but there is so much choice – how often do we retain music?

I feel the scene will change so that YONAKA and their allies will have a bigger shout and define the next phase of music. The connection and relationships within YONAKA is what pleases me most. There is genuine friendship and an unbreakable bond that makes their music so authentic and strong. Nothing is faked and exaggerated for them: every note is as a result of a deep understanding and a love of music. I am hearing a few bands that are going through the motions or compromising what they do so they can ‘fit in’. Bands are suffering to get proper attention but that does not mean amending what you believe in so you can easily slot into the forefront. YONAKA want to succeed and get as far as they possibly can in the industry – they are doing it the honest way and proving themselves with consistently great songs and incredible live performances. It is their combination of skills and passions that gets to me. I am hearing a lot of effusive chatter regarding YONAKA and what they can accomplish. They are legends down in Brighton but, through bigger showcases, are getting into the national blood. When I discuss F.W.T.B. in a bit, I will look at the story and why it marks the Brighton-based band for big success. I will end this section by keeping on the road of connection and understanding. I listen to YONAKA play and know there are no standouts. That may sound cruel but, by that, there is equal footing given and a chance for each band member to shine. The songwriting brings the best out of each player and you get a sense every note and utterance means the world to them. I wonder how the band will progress in the next few years and where they are headed. On the strength of F.W.T.B., I suspect they will have plans to release more material and capitalise on their momentum.

Glory-twanging guitars and a funky kick mix with a slight flat-pack percussion sound. It is not the violence and aggression you might expect given the song’s title. The band subverts expectations and brings the song to life with plenty of colour and softness. The guitar sound is fascinating in the sense it creates so much melody and rhythm. The drumming and strings combine wonderfully and you start to conspire images and imaginations right from the off. Our heroine comes to the microphone after the drums tense and things rush to the fore. “Shut your mouth for a minute!” she declares and presents a stealthy attitude and lips that “won’t quit”. Listening to the opening vocals and there is that blend of the unique and nostalgia. I can hear shades of classics acts mixed with something unexpected and new. It is that kind of power and instant prowess that means the song gets into the brain. Jarvis is crawling and strutting around the microphone and flipping a two-finger salute to those who say she cannot succeed and needs to limit her horizons. She is not listening to the boss and unwilling to listen to negative words. I am not sure whether the song was compelled by a domestic and normal job or it is a larger look at the music industry and compromising to fit in with their visions. The band, as with their previous singles, mix Pop and its energy with something gutsy and Rock-lingering. The chorus is a big and emphatic shout-out that has plenty of life and fascination; the band provides some stabbed strings and lashings of intensity. The heroine, in the chorus, is the boss and she is sending a warning to anyone that overlooks her or tries to screw. It is a bellicose and direct warning that is a mantra of self-confidence. She has seen so many people mess her around and, in life, she wants what she wants. There is nothing she cannot achieve and, because of that, anyone who gets in her way is in for a serious kick in the nuts!

Maybe it was a bit premature of me to associate YONAKA with Rock – they mix in Pop and Indie with something Hip-Hop-minded. The chorus has that swagger and fast-flow that makes me think of genres like Hip-Hop and Rao but the way the band work around the vocal brings in Pop. It is a mix of darkness and light that is rich and satisfying. The chorus is instantly gratifying and memorable. It mixes the profanity of the title but it is never crude and meant to shock. Instead, YONAKA are sending out a message to anyone that try and trample and dictate. I did not mention female leads in music and how the industry needs to reshape and recast their mind. I have mentioned bands like Goat Girl and Wolf Alice who boast tremendous female voices but, in YONAKA, you have a different angle and equal weight. The band is not trying to follow the crowd but make music that sounds familiar and relatable. It sprinkles in, oddly, elements of 1980s Pop and would not seem too out of place in the mainstream. What differentiate YONAKA from a popular act of the moment is the intensity, personality and quality they expend in every note. They have accessibility but are raw and impassioned enough to alienate those easily scared and closed-minded. Jarvis constantly has her middle finger aloft and is not allowing anyone to mess with her. The song is under three minutes but delivers great punch and declaration in that time. The band turns the guitars up and provides plenty of swagger and punch to back the vocals. There is a great little standout moment where the song changes pace and allows the instrumentation to shine. It gives the track another twist and visual elements. Before long, the chorus is back in and we are heading towards the finishing line. It is the balance of simplicity and complexities of the track that mean it is so memorable. The chorus is the big star and the mission statement that is intended to get crowds chanting and provoke fevered dancing and fist-pumping response. F.W.T.B. is more confident and assured than anything I have heard from YONAKA so far. I am a fan of singles like Ignorance and Bubblegum but it seems like live performances and time on the road has strengthened their core. I can imagine YONAKA vibing from the success of their latest single and taking that ammunition to their next work. Things are hot with them right now and I am compelled to watch them grow and develop as a band. Their latest statement is stronger than most of the stuff out there and ample proof they are ready to offer something different to the mainstream. There are some great acts who balance Pop and heavier sounds with a fresh edge – none that do it in the same vein as YONAKA, mind. I would love to see the band get the chance to headline the biggest stages and you have to say, on the strength of their newest release, they are capable of handling that sort of pressure and intensity. A fantastic time for the Brighton band who, with every new release, show the music world needs more bands like them.

The band conducted an interview session of Facebook on Friday with the fans and revealed all about their world. They launched their single in Brighton last week and it went down a storm. I wonder whether there will be a music video for the song coming soon. It is the kind of track that would provoke a great storyline and some fantastic images. Maybe the band is working on that right now but, with their latest track fresh and gathering love; there is a lot of new attention the way of the band. The single for F.W.T.B. features an Asian woman with the song’s title on it – Fucking with the Boss – and, to promote the song, the band featured these facemasks out to fans at their gigs. There is a distinct edge and aspect to the band. Each song has its own motif and U.S.P. – rather than the bland and overly-engineered promotional campaigns you get with the bigger acts. YONAKA have some gigs booked over the summer but there are spaces in the diary the guys could rock. I know they will be playing up and down the country but there is still that bigger faith and spotlight in Brighton. They are getting lots of local love and thrilling the fans with explosive live sets and phenomenal songs. I am sure the band will go on to great things but, right now, they are cementing their name where they are and amassing some great songs. I think they have released four or five singles so far. That poses the question: Do they go for An E.P. and collate all their songs or release an album and recorded five or six new songs? I feel the former is more likely but the latter would be a good move. It is clear there is inspiration in the camp and they are buzzing off the support they are receiving.

Their Heavy E.P., actually, was out last year so they might have already fulfilled that part of things. It gets me thinking about albums and what their next step is. In Theresa Jarvis, the band have one of the most captivating and flexible leads in new music. She is capable, like Ellie of Wolf Alice, to go from a commanding and empowered scream to something more delicate and teasing. It is exciting watching the band grow and amassing some serious affection. I will end this by looking ahead for the band and where they might head. I mentioned how there are a few bands like them playing that are standing at the boundaries of music. I feel YONAKA have the chance to take their music on the road and reach all corners of the U.K. I feel what they are offering is popular and will resonate with so many people. F.W.T.B. is another example of what they can accomplish and how far they have come. Every new release sees them grow in confidence and assimilate new elements into their sound. They are never compromising and adapting their music to fit in with the mainstream. Maybe that will limit their rise to the big leagues a bit but, when they get there, they will do so on their own terms! It is wonderful seeing YONAKA take strides and gain the respect they deserve. They are one of Brighton’s best acts and, in a part of England that is producing some pretty fine artists, that is no mean feat! If you are immune to the wonders of the band and what they are producing then make sure you get your mind around F.W.T.B. It is a stunning work from a band who are inching their way…

TO glory.     

___________

Follow YONAKA

Official:

http://weareyonaka.com/

Twitter:

https://twitter.com/weareYONAKA

Facebook:

https://www.facebook.com/weareYONAKA/

Instagram:

https://www.instagram.com/weareyonaka/

SoundCloud:

https://soundcloud.com/weareyonaka

Spotify:

https://open.spotify.com/artist/3Wcyta3gkOdQ4TfY0WyZpu

YouTube:

https://www.youtube.com/channel/UCzBddYqg5UYiz3U6EhwDCEA

TRACK REVIEW: Gold Phoenix - Black Bullet

TRACK REVIEW:

 

Gold Phoenix

 Black Bullet

9.4/10

Black Bullet is available via:

https://soundcloud.com/gold-phoenix-1/black-bullet

GENRE:

Rock

ORIGIN:

Surrey, U.K.

The E.P., There’s No Illusion Here, is available via:

https://soundcloud.com/gold-phoenix-1/sets/theres-no-illusion-here/s-qNHCT

RELEASE DATE:

7th May, 2018

_________

THE nature of change…

is something that comes to mind today. I do not usually review artists I have featured before – as I am repeating myself hugely and it is incredibly hard finding a new angle - but, in a couple of circumstances, I am making exceptions. I will be covering ground I have already explored with Gold Phoenix but there are a couple of new aspects that come to mind. I will chat about relocation and the best place to be for a band like them; gentrification and how it is affecting music industries; a nod to development in a career and how determination and focus keeps them together; an investigation of the current scene and whether there is enough ‘edge’ around – I will start by looking at Rock and what its current state is. This might be something I tackled in the last review of Gold Phoenix but I want to circle back and explore how the genre is faring in today’s industry. We are seeing some great Rock artists emerge but the genre has split and is heading in other directions. If you look at bands like Arctic Monkeys, Shame and IDLES – people I mention a lot – then you have a Rock ambition but there it is not what one might expect. If you think of the riff kings of past generations – Led Zeppelin spring to mind – then there are not many likeminded modern equivalents. So many Rock acts are putting Pop and other genres into their sound in order to accommodate wider demands and accrue some sense of credibility. Maybe it is a shift we are seeing but I wonder whether we have lost that Rock sound and it is left in the past. Certainly, the mainstream is boasting fewer and fewer of these bands right now. I am straining my mind but, apart from a few here and there, there are not as many as you’d like. Guitar music, in general, is finding it hard to get the same footing as other types of music right now.

I am a bit worried music is getting a bit too experimental and softer; it is doing well when it comes to depth and originality but one wonders where those Rock pioneers are – pushing the music of the past to the generations of the future. Gold Phoenix are a band who take their lead from classic Rock gods but look at modern artists like Queens of the Stone Age and Royal Blood. I am not too fond of the latter because, to me, they are all about the live performance and chunky riffs. That may sound great when you watch them live: the listener at home demands more variation and nuance from a duo that has produced two albums now. It is okay having a certain sound on the debut: by the time you get to the follow-up; you need some more range and new elements. You might think that contradicts what I am saying and goes against the argument. If you look at a duo like The White Stripes and they were able to produce pure Rock and energised jams and mixed in other instruments and softer moments – a fuller and more studied form of band. Gold Phoenix are making strides and are part of the underground movement that has the potential to recharge Rock. I am speaking to a lot of acts in the genre and asking them whether they think people still hanker after it. They always agree they do but it is harder to get a footing in the market right now. Gold Phoenix are not going to compromise and, like current slammers like Queens of the Stone Age; the boys can blend knuckle-bruising lines with twists, turns and odd moments. It is a brew that we need to see right now. They have a good local following – I will come to that soon – and have a great live reputation. Gold Phoenix have that solid and established sound in their pocket; they fuse this with great energy and command on the stage – the songs bounce from the speakers and get the crowd going! Let’s hope they get a passage to the mainstream in years to come…

I am writing a piece later that asks whether modern music has lost its edge. More specifically, I will address music T.V. and whether executives are afraid of anything with an ounce of speed, aggression and danger. There is an unpredictability allowing a raw band onto the screen if you are filming live. They could smash up amps and swear; they might jam for a minute and then destroy the stage – or they might go on forever and play whatever they want. There is this perception that Nirvana are still around: a trio who had the balls to rip up the rulebooks and, in the process, create some memorable and shambolic T.V. appearances in their career. Whilst this sounds like a nightmare recipe for British T.V. executives; this is the sort of thing the public wants to see. We look at the modern spread of music T.V., shallow and limited as it is, and we have very few chances to salivate and have our eyes opened. Even if there is a Rock/Punk act playing; their performance is quite neat, controlled and close to what we hear on record. If you hark back to an act like IDLES; their live set has spit, swagger and plenty of carnage. If they tried to bring that to T.V., I wonder how that conversation would go. It is that genuine spirit and authenticity that seems to be lacking on the screens. I put that back into the industry as a whole and wonder whether there is much room for a band that wants to create mischief or, at the very least, stick a couple of fingers up. Gold Phoenix aren’t the types to steal a purse from your grandmother and take a leak against the wall of a pub – they are good lads but their music is not to be shackled and honed. There’s No Illusion Here is an apt title for an E.P. that shows what their ethos is: they are pure and honest in their endeavours; not to mess around with fine tunings and appealing to a Pop demographic.

It seems the industry needs a bit of a slap in order to awaken its senses to the potential of Rock and what it represents. Some argue the quality has been sucked from the genre. That may be true of those stadium-aiming artists whose choruses are flabby and trite; their songs calculated and forgettable. There are many artists who are being lumped in with those bands and suffering because of it. For Gold Phoenix; they are not motivated by commercial needs and, instead, follow their own minds and desires. I will come to look at one of their E.P.’s tracks in a minute but, if I can circle back to that issue of sanitisation and a lack of edge – is this creating long-lasting damage to the industry? Time will tell but, from the evidence in front of us, name a slew of great mainstream Rock bands that are changing the game. There are some fantastic Punk acts but, for the most part, they are playing second-fiddle to the bigger Pop artists and other musicians. This may sound doom-laden for the boys of Gold Phoenix but the opposite applies: they are trying to kick-start a revolt and have the chance to occupy some precious landscape. I get to view and listen to some great Rock acts most haven’t heard of and know, before long, they will get their due and succeed. The industry needs to be more ruthless when it comes to commercial Rock acts and those who show little improvement between releases; give credence and attention to acts that change the rules and switch things up. Gold Phoenix have been playing for a few years now and have made strides since their inception. I can see them getting bigger and bolder the more time progresses. It is clear there are doubting tongues regarding Rock’s cardiological state: can it still mix it with the masters of old?! Whilst Led Zeppelin, Jimi Hendrix and The Who have gone and have few like them in music now; that does not mean their like is a product of the past. I am hopeful there will be that explosion and the promising guns like Gold Phoenix will draw blood. Their music warrants serious acclaim and focus.

I will talk about their current music in a bit but, right now, a few suggestions for the lads. I am looking around and seeing towns and cities gentrified to the point of destruction. So many good music venues are suffering because, invariably, luxury flats are being erected and no consideration given to the established and popular pubs/venues that have been there for years. I tend to find the middle-class is responsible for this kind of ill. The working-class need somewhere to live but few are able to afford the sort of flats that are being put up. Although I hate where I work, in Surrey, and really can’t stand the people; there are a couple of good music venues that are under threat. I am hearing about high-end flats being planned and, with that, the future of a certain pub is threatened. It doesn’t surprise me the stupidity of planners and the selfish greed of those who move to the area outranks the needs of those who already live in the area. More and more, it seems planners and the better-off are strangling the lifeblood of live music and compromising the stability of great artists. This, again, sounds like I am mordent and unable to cast sunshine the way of Gold Phoenix. Their music, as you’ll see, will get a rather hearty tug in the trouser-area when I arrive there. I am building up a case around their music and painting a picture of what they must be experiencing. Your local boozers and long-standing venues are looking over their shoulders and checking their bank statements by the day. I feel there is that battle between bands/artists people actually want to see and the stuffy and ridiculous sensitivity of the people who move near to venues. The latter is a subject I will tackle later down the line but, here, I want to look at the quality and value of artists. There are many who want to go and see live music but are not being lured by the standard of performance on standard.

I want to go and see some live music but I feel there is that shift away from Rock and bigger acts and more acoustic-made sounds. Maybe that fits into noise abatement and trying not to piss off those within listening distance of the music. I feel solo artists and acoustic-led music is getting more prominence than bands and Rock artists. That might come back to quality and few having the ability to grip the senses. Gold Phoenix have terrific fire and ammunition when they take to the stage. Their recorded music is fine and gutsy; when they bring it to the crowds, they are able to add extra oomph and kinetic energy. I am excited to see how far they can go but I do wonder whether the capitalist motives of planners and middle-classes will marginalise them and restrict their gig movements. A solid and explosive band will always find a willing crowd and survive the test of time. When the nuclear bombs destroy everything but cockroaches and Home Counties posh with sticks up their arses; the Rock band that turns the volume up to eleven will be there to smash them away and keep the electricity buzzing. The boys are playing around the Surrey area and, to my mind, that is one of the riskiest places to be a musician. There is a lacking music scene there and facilities like ACM (Academy of Contemporary Music) are not producing the quality and potential they should be – aimed at commercial charts and the Pop-based radio stations. There are a few decent venues who cater to good musicians but, largely, it is boring and middle-classes who have more of a say; the music scene is rather lipid, boring and insignificant. London and Brighton are near enough for Gold Phoenix to strike and succeed. I would say London is their best bet when it comes to getting a footing and finding a crowd. The capital is packed and expensive but the benefits of staying at it are clear.

I know the guys are settled where they are but they need to think about their movements and where they can get more gigs. Not only are more venues threatened where they are and the scene becoming more beige and weak – as artists relocate and all that is left is something tepid – but there are fewer people coming out and watching gigs. I am not sure what their financial situation is like but I can see Gold Phoenix succeeding in London and getting much more business there. I have seen some great Rock bands fail in the capital – Los and the Deadlines among them – but with some great similar-sounding bands around London, like Duke of Wolves, they would have support and ammunition. There is a demand and hunger that needs to be satisfied and taken advantage of. Maybe that is in the future for the band (relocating and moving on) but I want to see them go from the smaller local gigs and thinking about the bigger stages. The boys have played in Europe and now, with a new E.P. out, more ears and eyes will come their way. With the biggest festivals a few months away; it is a great time to step out there and get your music in front of the masses. I wonder what the schedule is like for Gold Phoenix but next year is a big one for music. Glastonbury returns – it is a fallow year in 2018 so the greenery can return and give the land a rest – but many acts will vibe from that return and be in the mood. Gold Phoenix make terrific music and are one of the best acts I have heard in years. We need to embrace those musicians who are doing something different and want to succeed. Let’s go back to the sound of Gold Phoenix and see where they go from here. I am stunned by their E.P., There’s No Illusion Here, and the firecracker that is Black Bullet. I am sure there are bigger venues that want to get the boys on their stage and, with people throwing their weight behind the E.P., it is the time to get out there and take opportunities.

I wanted to focus on Black Bullet because it seems to epitomise and distil all the colours and aspects of the Gold Phoenix sound. The to-and-fro nature of the introduction gets the feet tapping and the crowd pumping. The guitar, bass and drum swagger and wind like a hissing viper in search of blood. The muscles flex and the tongue is out and ready to cause a bit of chaos. It is an addictive and scintillating opening that gets the blood boiling and the mind ready. If anything, maybe stripping a bit of the production away and putting the drums higher in the mix would give it an extra punch. The track is great because it has a raw and gusty quality that removes sheen and polish. The guitar gets the mind racing but it the percussion, a little higher up, would give it a bit more kick. That is the only (minor) flaw I can see when it comes to the introduction. What struck me is how the riff gets into the head but does not remind you too heavily of anyone else. You can hear a bit of Queens of the Stone Age’s boulder-sized cool but, for the most part, this is the Gold Phoenix brand taking a step up and hitting new peaks. Some of the earliest material from the band clung quite closely to their idols. Here, there is more unique spirit and confidence in their own minds. They are bold enough to let the introduction stretch and campaign for a while. They are exceptionally intuitive players and have that brotherly connection whereby they elevate one another and nobody steals the limelight. There is a pleasing little bit of early-era Jack White in the vocals from our lead. Jamie Tipson has experience of working solo (as Second Hand Poet) but brings something different to his Gold Phoenix role. There is that whine and pleasing anger in the voice that balances Jack White/Royal Blood but you Tipson annunciates and articulates in a very different way.

The man lets it be known there is a black bullet with your name on it – whether he is directing that to an enemy or someone who has displeased him. What separates bands like Gold Phoenix from current acts like Royal Blood is the production and presentation. There is no polish and shiny corners when you listen to Gold Phoenix. It is professional but, at the same time, you feel like this comes live from their bedroom. The song was recorded, like the E.P., in Wales at Rockfield Studios and Leeders Vale Studios with Nick Brine officiating – mastered by Pete Maher. Between them, they have worked alongside Seasick Steve, Jack White and The Rolling Stones. It is hardly a shock the guys should be able to get the best from the band and give the song an expert blend of unpolished and professional. What amazes me is the way the song sounds live but has enough nuance and strength to get you listening again and again. The vocal has a brilliantly conversational and off-kilter manner that stands aside. Tipson delivers one line in a certain way and the next might be a different speed. He didn’t catch the person’s name, who the bullet is aimed at, and he brings mystery and intrigue to the setting. Some of the words are muted and others more refined. It is a characterful and inspiring way to bring the story to life. That central motif, not catching their name and the anonymity of vengeance, is elongated and impassioned in the lungs of the hero. You are trying to guess the song’s origins and who is being ascribed in the moment. The band come together to provide constant energy and physicality. The song is not a simple dead-head that delivers aimless riffs and mind-numbing volume. The band contorts and jumps; the song goes in different directions and it is a thrilling ride.

It is amazing seeing how the song grows and builds from that catchy and intense introduction. You can hear little nods to favourites and popular acts but Gold Phoenix never step too closely into their manor. What you get is a skirting around the edges of commercial appeal and stadium Rock but there is that local and modest sound that means originality overtakes and outweighs everything else. It is pleasing seeing tight performances dominate but, in it all, a ruggedness and loose swing. There are not many bands at the moment that take a risk and produce something that has a dirtiness and lack of manners. There is exceptional personnel guiding the dong but they have not made the band compromise their ideals and try and become more ‘popular’. Gold Phoenix have been given room to do what they want and play the song in a way that seems right to them. Because of that, Black Bullet gets into the head and under the skin. The riffs bang their heads and the percussion clatters. There are those moments where the instruments step out and get a chance to cover ground. Our hero’s intoxicating and fired vocals match the volume and stun of the composition and gives the song so much life and lease. I wonder how Black Bullet will sound in the live environment. I can imagine the guys give it some extra welly and spit, for sure. In the final moments of the song, the percussion gets the chance to stand out and roll; the riffs spark and saw; the song steps in another direction and surprises the listener. There is that pleasing mixture of oblique lyrics and straight-ahead sounds that mean you can bond with the song instantly but will come back and try to unpick the words. If, at time, the band strays too closely to the sound of Royal Blood, it is when they throw in their personal D.N.A. things become really interesting. What separates Gold Phoenix from the likes of Royal Blood (or others like them) is their way with words and diverse musical mindset. Black Bullet always moves and never sounds obvious and predictable. I was struck by it’s the first time around but found new glory and possibilities several spins down the line. It is a confident and passionate song from a band that is getting more strident and bold with every new release. They are growing in stature and songwriting ability and have the potential to get bookings on the biggest festival stages before too long.

Gold Phoenix are among the hardest-working bands around and I know they will get to the biggest stages in years to come. I mooted the possibility they could move to London and ensure they get bigger gigs and find a more loyal audience. I can see them succeeding in the U.S. and doing well there – maybe the move will compel great visibility. Whatever they have planned for their base and objectives; the music is doing plenty of shouting right now. It has been a little while since we heard new music from them but the guys have been busy and crafting something that moves from their 2014 debut and draws in fresh influence. The connection between the players is stunning and the music has that balance of familiarity and unique edge. You can detect Band of Skulls and Queens of the Stone Age in various moments. The guys push further than most artists and have a sound that echoes in the ears for a long time after digesting it. I wonder whether there will be more material this year or (the band) favour touring and a more ruthless assault on the stage. Anyone who fears the appetitive of Rock has put on a dog collar and is quoting scripture needs to get their lugs around Gold Phoenix! The boys, instead, are ripping the clothes off a bountifully-portioned girl; throwing her onto the bed and breaking her in half. That may sound a bit explicit but my point is this: they have the gnarl and snark Rock needs and the public desires. I know the boys put on an exhilarating live show and that is what people want to see right now – a proper live show and experience that gets you talking for days after. Make sure you get your ears involved with There’s No Illusion Here and drink in every chorus, note and meaty guitar line. It is a big time for the band and one of their busiest years to date. I know they will involve themselves in the summer gigs and look to give their new songs a proper airing. When winter comes and they are thinking about their next moves; maybe there is going to be thought regarding big festivals and international gigs. The guys have recent touring experience abroad and are ready to command the big stages. I know they will get where they need to go very soon and, right now, they are impressing those around them. Gold Phoenix are solid and shining; they have risen from the ashes and, in doing so, provided Rock the jump-start and quality…

MANY say is lacking right now.     

___________

Follow Gold Phoenix

Twitter:

https://twitter.com/GoldPhoenixBand

Facebook:

https://www.facebook.com/goldphoenixband/

SoundCloud:

https://soundcloud.com/gold-phoenix-1

Spotify:

https://open.spotify.com/album/4iuMwL64g7TH4rzBdKvb5A?si=wC_raqh2RbqDj9rHcX-tng

BandCamp:

https://goldphoenix.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UC-2yB7igh-azwF8_TIDS3Hw

TRACK REVIEW: Brandy Zdan - Get to You

TRACK REVIEW:

 

Brandy Zdan

Get to You

9.6/10

Get to You is available via:

https://open.spotify.com/album/6k1kyAZwxPdXPyvniHraAn

GENRE:

Rock ‘n’ Roll

ORIGIN:

Nashville, U.S.A.

The album, Secretear, is available via:

https://open.spotify.com/album/1DnApX62Z3WSNbnLav1n1E

RELEASE DATE:

11th May, 2018

_________

IT is nice to be able to come back…

to another American artist and discuss a different side of music. I will speak about Brandy Zdan in a second but, right now, I have a few other things to cover off. I will come to look at Rock ‘n’ Roll and why so many new artists are tackling it; Nashville and how the city is proving popular for many from this country – and continues to be a source for inspiration among U.S. artists. I will then look at artists who have a varied history and experience and mutate to do something more personal; shifting cities and finding a comfortable place; language and how that inspires songs and albums – I will then look at domestic situations and how a secure and happy life can be the key to creating fantastic and compelling music. Maybe I am doing this out of order but it seems Zdan is an artist who has found her niche and is making music that means a lot. I look at her online pages and there is a lot of information and some great photos. She wants to keep the listener and fan informed and goes out of her way to produce as much depth as is possible. I am impressed by the level of depth and detail you get on social media. One can discover her entire career and how Brandy Zdan arrived in the U.S., from Canada, and has moved through various stages. I am stunned to see an artist so young with so much experience in her back pocket. I will look at that in a bit but, as we are here, it is worth checking out what style of music she is producing. I guess it is the move to Nashville but I notice a blend of Rock ‘n’ Roll and Country. There is the yearn and heartache; that plaintive and romantic nature – together with harder edges and some raw, older Rock. It is fascinating seeing it all come together and the stunning sounds mixing alongside one another.

There is a big difference between simple Rock and Roll ‘n’ Roll. The former, today, is defined by bands producing big songs made for arenas. You get subtler Rock acts but the genre has gone through a bit of a transformation. I used to gravitate towards it because it had that quality and stuck in the mind. Now, I hover to other styles of music and feel few artists bring something new to the plate. Rock ‘n’ Roll, on the other hand, has that vintage quality and, if fused with contemporary strands, can be electric and nuanced. I have been looking around for music that has the passion and drive or Rock but whips up images of 1950s artists and takes me back to another time. Zdan manages to bridge the modern and historic and brings her own voice into the mix. Rock ‘n’ Roll has a place in various corners of U.K, music. You can hear it in various avenues and it is making a comeback. It seems more prevalent in areas like Nashville and Austin. I will look at Brandy Zdan’s move from Austin to Nashville but, now she is based in Nashville, you have an artist embracing all the past sounds; looking ahead and creating her own style. Look at the Rock ‘n’ Roll pioneers and performers like Elvis Presley and Buddy Holly – they are less influential than decades ago but are still making a mark. Zdan splices Country shades inside the Rock ‘n’ Roll and you get an effusive and fascinating blend. One hears songs from Zdan and you get views of leather-clad men and rebellious women; some U.S. sun and scenery that sticks in the mind and gets the heart pumping. I have seen an evolution and change in Brandy Zdan’s music. She has covered a lot of ground already and continues to add new dimensions to her sound. Secretear, I shall look at later, is her latest album and one that crystallises and cements that incredible sound. I hope, the more and more people who hear her music, will look back on the classic sounds of the 1940s/1950s and discovers the artists who have influenced the U.S. star.

PHOTO CREDIT: Alysse Gafkjen

Brandy Zdan is a vivacious and bright character. She is photogenic and stunning; there is that star quality and image that stands out and marks her for glory. One might look at her and think she is an all-American artist. Zdan began life in Canada. There have been other moves but now, this minute, she is down in Nashville and vibing from the surroundings and myriad sounds. Like Manchester and London in this country; Nashville is proving a lure for so many artists. New York and L.A. are still popular but it seems like Nashville provides something different. You do not get the beach and physical climate of Los Angeles; New York has the five boroughs and bustle that is hard to disconnect from. Nashville is a perfect blend that provides eye-catching vistas and charm; there are lashings of beautiful spots and, alongside that, you have a lot of cultures and people packed together. Nashville is a calmer place and friendlier than somewhere like New York. Alongside that, you have so many different artists playing together. We assume Nashville is all Country and nothing more. The city has a vibrant scene that caters to all tastes and proclivities. Brandy Zdan has gone from Canada and, after spending time in Austin, she moved to Nashville and seems to be making music that sounds right and perfect for her. I could list all the bars and venues that are great to perform in; the top-ten artists in Nashville and all the wonders you can discover. Rather than being a musical TripAdvisor; I thought I would concentrate on why artists relocate and move here. I am seeing a lot of British artists play in Nashville more and more. It is expensive traveling that far but so many people go there for the environment and sensation that drips from every wall and gets into the blood.

PHOTO CREDIT: Alysse Gafkjen

I can understand why Brandy Zdan has gravitated there and feels comfortable. The history and legacy of Nashville is established and so many different labels and studios are based here. It is a great place to record music in and, as I hinted at, there are venues and spaces that have their own identity and colour. The people are responsive and receptive; the place has a calm and comfort but there is plenty of hustle and adventure if you know where to look. The weather is, for the most part, great and you have a wonderful climate/geography down there. All of these aspects come together and make this near-perfect location for the musician. It is not a million miles to New York and L.A. and Nashville has Texas to the south-west and Illinois to the north. A lot of British artists cannot afford to move to Nashville because of air travel and having to get a job down there. Many U.S. artists start life elsewhere and work their way down to Nashville. They take up smaller jobs and make ends meet and play as many gigs as they can. For Zdan, her life started up in Canada and she has plotted her way to the South of the U.S. and is making a new life there. Alongside her husband; there is that sense of a new lease of life and the next stage. I have mentioned changing cities and how movement can be quite common. Few of us find our feet and home that quickly: we all move around and it takes a bit to get to a point where we are secure and feel rested. Brandy Zdan has moved around and now, down in Nashville, she is embarking on the next phase of her career and, who knows, maybe there is another move yet. I can understand why she has come to Nashville and how the city’s past and present has led to where she is now.

PHOTO CREDIT: Alysse Gafkjen

You look at Brandt Zdan and think about where she has come from. It has been an interesting past few years and, in that time, there have been creative and geographical shifts. Nashville is where this unique brand of music is being created. The sound she is producing now is different to what she was coming up with whilst in Canada and Austin. There is a lot to unpack and look at when you are faced with Brandy Zdan. She has been a busy soul and picked up a lot of knowledge and experience along the way. She was part of a Gothic duo and released two albums – one in 2008 and 2011 – and were nominated for Juno awards (the ‘Canadian Grammys’); Zdan hooked with an all-girl band when in Austin and started to play with a range of different musicians. This seems to be where she is now and who she is most comfortable being. There are other musicians and people supporting her current work: the voice you hear is hers alone and it seems Zdan has more control over her output. The city is the perfect backdrop and the history as a songwriter means there is that ammunition and experience under the belt. Zdan has played for over a decade and released a series of albums – several of them as part of a duo. This, now, seems to be her first solo outing. Secretear is a solo outing but can you really count it as a debut? In terms of her new stage of life then it is: look back at all the work she has created and there has obviously been a lot of other stuff put out there. It seems all of the past material and experiences are the warm-up to the actual event. That may sound insulting to the people she has played with but it takes various different movements and configurations before you find who you really are. That backstory and knowledge has paid off when you listen to Zdan’s confidence and expansive songs. I have labelled her music as ‘Rock ‘n’ Roll’ but there is Indie, Country and Rock itself mixing inside of that.

There are many artists who shift around and never really find their calling and who they are meant to be. Others do not really take any risks and end up regretting that. Brandy Zdan has taken some risks and she has covered a lot of ground. It is impressive seeing her commitment to music and that curiosity rule. Zdan could have easily stuck in Canada and played the sort of music she was writing when she was growing up there. She embarked on a trip to the U.S. and has picked up bands and various albums along the way. Now, down in Tennessee, she has embarked on the next phase and it seems like this is the real deal. Brandy Zdan, then, has unveiled her debut solo album and I get the feeling she is not done yet – there will be many other albums and experimentations along the way. I will address some of the inspirations behind her latest album but, at this moment, I wanted to look at that development and past C.V. Starting in Winnipeg as a half of the duo Twilight Hotel, that has stuck in her mind and you can hear darker shades and the maturity that was present then. Look at the softer and Rock-inspired sounds on Secretear and you can trace that back to Austin and the music made there. Everything she has done before leads to this moment and enforces the music she is coming up with. The Spanish language, which is much more common in America’s South than Canada, is more prominent in terms of Secretear’s title and the sort of passions you hear running through the record. I shall move on from this subject but it is fascinating looking at Zdan and how she has moved along. Things are definitely hotting-up and it is wonderful discovering a fantastic young artist grow and find her place. I wonder whether there are more changes and moves coming from the Canadian-raised artist – maybe we will see another creative and personal change coming.

PHOTO CREDIT: @chrisphelps

I wanted to look at domestic situations and languages as spurs for creativity and inspiration. Brandy Zdan is married to Aaron Haynes (of The Texas Gentlemen) and some of the material on Secretear has taken its guidance from their courtship and little conversations they had. I Want Your Trouble, a single from the album, got its start from a text Zdan received from her husband – the title is what the text said; an odd thing to write but something that led to an incredible track. Haynes has co-written with Zdan and played the drums (on that track). Even though this is a solo outing from Zdan; she has other bodies on the record and it is a collaborative experience. It is similar to a piece I was writing on Jack White’s debut solo album, Blunderbuss. He was part of The White Stripes for all that time and played as part of The Dead Weather and The Raconteurs. His first solo album was not his first record but it is the truest assessment and distillation of who he is. That record addressed his recent divorce (from Karen Elson) and investigated cheating, doomed romance and, well, some cheerier things! He recorded that record in Nashville and it seems, with a group of great musicians and singers behind him; that album seems to be him hitting his stride and producing his finest material. I can see someone like Brandy Zdan hooking up with Jack White or finding her way to his Third Man space – crafting something on vinyl and enjoying freedom in his space. Domestic bliss and challenges make their way into Secretear. The album’s title derives from a Spanish term that refers to confidential talks and interactions and seems appropriate given the intimacy and passion you hear throughout. Given the fact she is (seems) very happy where she is in life right now; that could suggest all the songs are about her marriage and how she is settling into Nashville.

What you get from her record is much more than simple love and contentment. It seems natural to suggest she takes from her love life and there is that domestic inspiration. Zdan takes from others and the atmosphere; she borrows from music’s chest and sprinkles in her past life and experiences. It is wonderful seeing someone so young have that confidence and sense of direction. I have mentioned how Zdan has moved around but right now, it seems things are really starting to take off. Her online spread is fantastic and there are brilliant images to see. Zdan has produced some great information for newcomers and you can tell where she came from and the music she has already put out there. It is hard getting an idea of what an artist is about when you look at their social media. So many people keep things held back and there is not a lot to go on. Although Zdan’s music does a lot of the explaining; you look at her social media and one discovers all the history and the movements. I love the fact Zdan has taken risks and she has not easily settled. I mooted the fact she might move on still but you look at her current material and it sounds so solid and assured. Nashville might be a long way to come for some but, when you look at Zdan’s current music; all of the people she has met and what she has learned has gone into the music. Secretear is a summation of all her past sounds and movements but it is very much about the present and where the young artist is looking. You can read all of my words and theories but you need to look at the music to get a real feel of who she is all about and where she is headed. This is a big moment for Brandy Zdan. Her album has been out for a couple of weeks and, over the next few weeks, it will spread a lot further and reach so many more people – all will fall for it and discover their new favourite artist.

Get to You gets right at it from the start. There is a strange allure and sexiness from a groaned electronic note. It kicks the album off superbly and then bonds with a tense and riffling beat. Zdan steps to the microphone and puts out her declaration: it is going to take a long time to get to her subject. Given that, two tracks after Get to You is I Want Your Trouble, about her husband’s text; I wonder whether the opening track is about courtship and that flirtation. You can certainly hear the sweat drip and the heat rise from the initial seconds. The vocal is slightly processed and it adds a rawness and sense of intensity to the fold. I was invested right from the start and was hooked by the gravitas and passion coming from Brandy Zdan. There is a brief step-back where the heroine takes in all of the thoughts and impressions surrounding her. The chorus/title is repeated and there is that sense of calm. The beats come in and there is a sense of impending motion and unleash. We get Zdan looking around and searching for answers. When the song kicks up another gear, there are questions asked and a sense of discovery. The heroine asks who the man is; the need to know more and find out about this person – the first step to satisfaction, perhaps? You get a real sense of the bar and the sort of space she is in. The heroine is sitting across the room and watching the man walk in. She has been looking and watching; picking her moment and wondering what is happening. You get a view of the man and can imagine he is in a Nashville joint and drinking a beer. Maybe Zdan is drinking a beer as well and waiting for a girlfriend – or she is alone and looking to unwind. This man has come in and there is that traction and intrigue.

Sweet, energised backing vocals (wordless) add layers and physicality to the song. It is a thrilling and cool-as-crap song that has swagger and a drunken mind. That might sound odd but you get the impression our heroine is putting a few away and knows what she wants from this encounter. Spotting the man from across the other side of the room; maybe there are furtive glances and some sly winks. The chorus comes in and it is instantly recognisable. The sound reminds one of classic music and, I don’t know, it seems to remind me of music at its peak. Maybe that is Brandy Zdan showing how good she is: listen to the chorus and you get that rush of satisfaction and an instant hook. She is searching for something tonight but knows it will not be easy to get to the man. The song has a great live-sounding production aspect that makes it seem like you are listening to Zdan put out this song in the moment. You get rumbling and smacking beats; there is a groan and electronic bass that drives the song and adds sass and swivel to the thing. Zdan wants to get things turned up and wants to get what she wants. You never get anything too explicit and obvious with the song. Rather than go for the groin and present something quite juvenile; there is a mature yet exhilarated profession that is palpable. The heroine will lie – but only to herself – and wants that kiss. She can feel the electricity circle and there is a desire to have her way and get her man. The heroine twists words and elongates. It seems like the performance is a seduction and her body is contorting and grinding in a vocal sense. It is sexy and teasing; there is a hunger building up but we know things will not come together as quickly as hoped. It is frustrating but Zdan is biding her time and not being too hard on herself. I am not sure whether Get to You is about her husband and that first meeting. Maybe there is fiction involved but the song seems to have a special place in the heart of Brandy Zdan. It is a fantastic song that gets into the head and perfectly starts Secretear. Make sure you get familiar with Get to You and an extraordinary artist.

PHOTO CREDIT: Alysse Gafkjen

There are not many current musicians like Brandy Zdan playing right now. There is that rush of Rock ‘n’ Roll and something cool and sassy. The production throughout Secretear is clear and concise but allows enough natural light and manoeuvre to come through. Zdan is the star of the show and embraces and connects with every song. The ten songs vary in length but most of them are around the three-minute marker. Get to You is one of the shorter songs – I Want Your Trouble, at less than two minutes, is the shortest track on the album – but it delivers so much and packs quite a punch! The record is tight and focused and has so many different moods working alongside one another. Zdan played in Nashville a couple of days back and she is heading through the state and will play various gigs this spring and summer. The U.S. is a huge nation to play in and there are so many options for her. Canada is there and is where she came from – gigs back there must be in the back of her mind. I wonder whether Zdan will come to the U.K. and play over here. There are many people who would like to see her perform and get a first-hand account of the music. It has been a busy past year or so from the songwriter and things are going to get even better. As the summer looms, I imagine she will want to get out there as much as possible and play some gigs. There will be opportunities and many will flock and see Secretear’s songs live and in-person. I hope my words have done justice and represented Brandy Zdan in a fair light. She is a complete package and artist who is growing stronger and bigger. I know there will be challenges along the road but she will handle them with aplomb. The next phase of her career will be the most interesting. There is an album out there right now and it is stunning; how she follows this and what new sounds/inspirations she brings in will be interesting. Make sure you wrap your ears around Secretear and sensational songs such as Get to You. I chose to feature the opening track as it is one of the most immediate and intense. It is a fantastic workout and crystal from an album that has so much to love and dive into. I am still listening to the album and, the more I hear it, realise we are hearing the wings stretch from one of America’s…

PHOTO CREDIT: Alysse Gafkjen

STRONGEST young artists.     

_____________

Follow Brandy Zdan

PHOTO CREDIT: Alysse Gafkjen

Official:

https://www.brandyzdan.com/

Twitter:

https://twitter.com/brandyzdan

Instagram:

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TRACK REVIEW: Eleanor Friedberger - Everything

TRACK REVIEW:

 

Eleanor Friedberger

Everything

 

9.5/10

Everything is available via:

https://soundcloud.com/frenchkiss_records/03-everything

GENRES:

Alternative; Pop

ORIGIN:

New York, U.S.A.

The album, Rebound, is available via:

https://open.spotify.com/album/0oOqcEOKXsr3f6cfIfZqrX

RELEASE DATE:

4th May, 2018

_________

THERE is a lot to love and admire…

when it comes to Eleanor Friedberger. I will talk about her latest single (and album) soon but, before then, it is worth exploring a few sides to her personality and path into music. I want to talk about the bubble and excitement of New York; those artists who are inspired by great adventure and moments; a look at adding new elements to your career as time goes by; going from playing with a band to recording on your own (more or less); music and artwork that is more personal and self-reliant; getting good reviews from the critics; eyes being opened to new artists that can go really far. I will touch on New York because that is where Friedberger is based. I have reviewed a few New York artists over the years and it always brings me back to one subject: the thrill and excitement of the city (or state, if you want to be precise). It is a busy and adventurous area of the world that always inspires the mind. I have never been myself but have followed the music of New York for decades. It is a vast wonderland and has produced some of the biggest musicians from history. Whereas London is a city with all sort of cultures and possibilities working alongside one another; New York seems even more broad and exciting. I can imagine the sheer busy bustle of the place can be intimidating and scary to many people. What I wanted to highlight was the way the people and streets can compel songwriting. If one looks at Friedberger’s album, Rebound, and you get a lot of personal tales and insights into her mindset – there is influence from the flavours and feel of New York. I have been looking to go to New York to see what makes the music there so immense and compelling. No two artists (from New York) are the same: each one has their own drive but there is that common link and ambition. Friedberger is a mercurial songwriter who absorbs everything from her surroundings and delivers something majestic and pure.

I will look at other sides of her music but, before I come onto that; let’s look at artists who define what a city/area is all about. I love music that has variegation and goes in various directions. I feel, if Rebound were one-dimensional and easy to appreciate, you would not bond with it the same way and take much interest. Friedberger could never create an album like that: she puts her everything into the music and, as I mentioned, collates scraps and impressions from the streets. I do not want to bring gender into the mix but, in a week that has seen Courtney Barnett release an album, it seems there is a lot of attention coming the way of female artists – it is long overdue and, let’s hope, this will lead to something big and evolved. There are many strong female artists out there but, with songwriters like Friedberger and Barnett; you get every box ticked and taken into a wonderful and entrancing world. Both artists look into themselves and put their everything onto the page. Whilst Barnett’s music might be a bit harder and raw; Friedberger is a more passionate and ethereal soul – an artist who has made big strides and is gaining a lot of focus right now. I have mentioned New York and, when you listen to the music unfold, you might wonder how it correlates to the city and the impression we have of it – the traffic noise and the never-ending chatter and clamber. New York is a complex city and state that has so much beauty and richness working in every corner and seam. I will move on from this point but I can hear the vibes and scents of New York working through Friedberger’s album. Even if you do not hear what I hear: you cannot argue there is an immense amount of quality coming from here. London is dear to my heart but we often ignore New York and other areas of the U.S. Let’s hope, with Friedberger’s latest album out, there are more eyes cast the way of New York.

One of the things that has struck me is Friedberger and her 2016 adventures. There, she spent most of the time on the road and immersing herself in Greece and its people. Maybe that was a reason her latest album sounds so natural and confident: that need for rebirth and a sense of direction. Over in Greece, Friedberger was looking for a recharge and wanted to write some new music. This is where the inspiration from the album comes from. The pace of Athens differed from that of New York. In a year where political activation was occurring and change was occurring (not always good); there was tension and discontent in the U.S. Things were not exactly rosy in Greece but there was a different mood coming through. There was fight in the spirit of the Greek people but, alongside that, a lot of beauty and chance to relax. Friedberger asked a friend what she should do before she left. The reply she got was to visit a club called Rebound. It was/is only open after 3 A.M. on a Saturday and a spot that is a 1980s Goth space where people do The Chicken Dance and time, in many ways, stands still. It is isolated away from all the crap and tension going on outside. To go somewhere where people are free to be open and let themselves go; there are no expectations and you can be as silly as you want – liberating and freeing of the senses. You can travel the world in search of answers and that ‘perfect’ moment. In the case of Friedberger and her latest album; that spark and sense of direction came from an unusual and unexpected place. That club was very smoky – despite signs banning it – and there was warped and dark sounds coming from the walls. I am not sure whether there exists any other club like that in the world. It seems to be from a different time.

We are two years down the line and the album that is named after the club is out into the open. It is not only Rebound that goes into the album: there are embers and flecks of Greece you can hear alongside the New York inspirations. It is that balance between the modernity of N.Y.C. and the older, classical shades of Greece that perfectly contrast and conspire. So many genres and years of music fuse together and go into an album that seduces the listener and takes their mind away. Because of Greece and the adventure she took there; Friedberger invents her own little world and brings myriad sounds to the party. The strains in the U.S. and the political fire exploding in the air made her rethink her motivation and reinvent her ambitions. There was that need to escape from the angry voices and find a part of the world that provided magic and a degree of calm. If anything; there is a transposition of moods when you look at albums New View (2016, where she recorded with a band) and her current release. The former is a more serene and touching collection; the latter is a busier and more accelerated record – despite the country that, in many ways, inspired its creation. I guess Rebound is about the various worlds and mystical souls that converged in that space when Friedberger was in Greece. Her adventure was needed and it gave the music she is producing now an extra edge and brilliance. Artists travel and pick up new ideas from wherever they go. I have not heard of someone having such a radical shift and sense of confirmation from a brief trip. Friedberger was keen to find something wonderful in Greece/Athens – she found that muse and has brought all of her visions and memories into her latest smash.

I will look at Rebound and its latest single but, before I come to that, let us look at Friedberger and her progress. I have mentioned her 2016 album and how New View was recorded with a band. That band was the one she toured with and the sounds we hear on both albums are very different. I am not sure whether there was too much clutter on her previous record or there were too many bodies in the mix. I can imagine her head was in a different place and her ambitions were different. The turmoil of the past couple of years, politically, meant a restructure was needed and a chance to streamline things. New View is a fantastic album and one that jumps into the brain. There is great passion working throughout and the music is incredible. You can hear the evolution on Rebound and so many different colours coming into her work. I will talk about that shift from band to solo but, listening to Friedberger right now and you get the sense of an artist who has found her place and is extremely confident. Even though the line-up is different, you can detect fresh ideas coming into the music. Rather than stick with the same sounds we know her for; Rebound is a chance to keep that core strong but try out other ideas and really push things. I have been excited seeing how all the different layers and imaginations come together. It is as though that time in Greece, paired with her time in New York, has changed everything and given new lease. There are not many artists who would take such a leap and make it work. I feel this is the start if a creative attack that will lead to some awesome revelations. The critics are already raving about Rebound (released on 4th May) and throwing their weight behind it – no wonder when you dive in and listen to the tracks unfold.

I have alluded to the fact Eleanor Friedberger recorded her 2016 album with her touring band. Now, in 2018, she has changed dynamics and recorded alongside producer Clemens Knieper. They have worked through the ideas and crafted an album that sounds very much like Friedberger but takes some risks along the way. I will talk more about Everything soon but the song itself is indicative of what you get on the album – brilliant storytelling and music that stays in the brain for ages. Stereolab, Suicide and Lena Platonos are among the inspirations for Rebound. It is a fantastic album that benefits from that singularity and simplicity. Although this album is busier and bolder than anything Friedberger has done before; that is not to say her previous work should be overlooked and seen as a step to where she is now. Her career has been fantastic and, with every work, that confidence has grown. I know there is a lot more in the tank from Friedberger. Whether she recruits a new band to tour with – or has one already – and her writing process changes I do not know. It is good to hear something focused and incredibly immediate from Friedberger. She has taken all of her experiences from the past couple of years and embroidered them into a fantastic story. Each song flows naturally into the next but they all have their personality and place. Here is an artist that does not create songs to be forgotten and skipped. What one gets with every album she brings out is an immersive and fulsome climate that involves the listener in the music and makes them think harder about their own life. The new ambition and sound from Friedberger come from that self-reliance and a desire to cast away any distractions. Journalists have commended Rebound and realise how meaningful the songs are (to Friedberger). She is an artist at the top of her game right now – there is a lot more to come from her.

I will move on to look at her latest single but I wanted to mention a couple more things. I have mentioned personality and how that seems to define Friedberger as an artist. Every song she puts down on paper brims with candour, warmth and a sense of the mysterious. I have been looking out for artists who open my eyes and distract me from my daily tasks. I have been sitting down with Friedberger and finding so much wonder and brilliance in her music. She writes music that comes from the heart but wants to involve every listener in the experience. What you get is a musician who wants her music to touch everyone and reach around the world. That should hardly seem a shock when you consider the bi-continent influence of Rebound and the sort of things that compelled the songwriting. It is fantastic finding an artist who goes that extra mile and really puts their all into music. I am keen to distance myself (to a degree) from familiar sounds and embrace someone who has that unique edge and can hook the imagination. There have been some great albums this year but, to my ears, there have been few huge albums that have resonated and lingered. Maybe we have expected too much or it has been a bit of a weaker year than previous ones. Friedberger might not get the same attention as Jack White and Arctic Monkeys – she has, in my view, created a better album than both and should be given just acclaim. Rebound should challenge the top-ten of this year and be marked as a huge album. I have discovered an artist that will stay in my heart and gets huge respect. I feel other albums have failed to hit the mark and there have been missed opportunities. Friedberger has rocked up with a great album that has gained a lot of love and continues to drop knees and jaws. Everything is a song I wanted to highlight because it seems to distil all Rebound’s motives and skins into one and gets the mind working.

There is a lot to ponder from the first moments of Everything. There are some wonderful notes and a playfulness that gets the brain whirling and the imagination fired. The electronics and beats have a cheerfulness and light side that means you bond with the song instantly and are invested. The heroine is not one to settle, as she says, and wants everything. There is a sense of ambition and motivation that means life as she knows it is not quite that fulfilling. Maybe she has been stuck and, musically, there is a need to expand and move on. Given her success and experiences, one can forgive her for not settling and wanting to get a lot more out of life. She does not care who is right – she wants everything. There is a cryptic manner to the song and the lyrics. You see it, at first, as a song about wanting to get more out of life and chasing dreams. The more it goes on, I get to thinking about other angles and where she is coming from. You can read it from a professional standpoint: that evolution and casting off other people; embracing a new phase and wanting things on her own terms. There are romantic embers and ideas that come to the front. I was thinking about that want of the heart and fulfilling other passions. What I love about the song is it never truly reveals everything and gives too much away. The listener is free to cast their own story and decide what Everything is about. The composition comes to the front after a few seconds. There is a parp and jubilant lift; an additional spritz of light and fun that keeps that sunny and bright aspect alive. The track looks at the wider world and a variety of characters. There is the filmstar and lovers in Europe; people who want their integrity and honour – the brain works overtime and pictures various different ideas.

From that moment, when thinking about the film industry, something political came to mind – certain reviled figures came in and got me thinking about recent controversies. In any case, there is that look at celebrity and wealth; a certain excess that contrasts from the everyday desires and realities of most. Friedberger is casting her mind around the world and looking at the way various people have different objectives and standards – maybe they are never happy or are always looking for something more. There are people who want nothing and everything; never satisfied and sure of what they really want. One of the most celebrated lines from the song regards houses – wanting two of them after a moment of confusion. I get to thinking about materialism and that sense of extravagance. Maybe people think you need a certain level of material wealth and comfort to make life happy; they are living by other people’s standards and following something false and cliché. The narrator delivers lines about lacking clarity with real personality and humour. Alongside these questions and investigations is the composition. It adds so much story and imagination to the song. It has a simplicity and brilliance that makes you smile and, whilst you are thinking about the lyrics and what they mean; your mind pulls in different directions and comes to various conclusions. Everything is a fascinating song that means something different to everyone. It is clear in the mind of the heroine but there is enough room to wonder and draw your own conclusions. The contradictory nature of people and certain fickleness keeps emerging. People want nothing and then, all of a sudden, they want it all. This is delivered in a song that gets you digging deep and picking apart the words. It is a brilliant creation from Eleanor Friedberger and shows why so many people have been raving about Rebound. I keep listening to Everything and trying to get on top of everything. It is a song that will provoke realisations and make you look differently at the world around you. There are not many songwriters who are doing that right now. A wonderful, sparkling and entrancing song from one of the finest songwriters working at the moment.

I wonder whether Eleanor Friedberger is coming to the U.K. and playing this year. She is playing the U.S. and Canada right now and I do know she is playing Green Man in August. If you are near the Welsh festival, you can go and catch Friedberger bring her sounds to the people. I wonder whether there will be any other U.K. dates either side of that. You can look at her social media channels to keep abreast of all the latest happenings. I am impressed by Rebound and Everything. It is an exciting time for Friedberger and let’s hope she continues to look up. Her record is getting a lot of brilliant reviews and it is all rightfully and richly warranted. I have mentioned New York and Greece and how, in their own ways, they have inspired Rebound and where Friedberger is now. I wonder how she will move from here and what her next album will be all about. The U.S.-based artist will want to take time to tour and then, when it is all done, settle and have a bit of a chill. Music is such a demanding industry that people expect more material straight after you have brought something out. It seems, in any case, she is in a better place compared to a couple of years back. The music seems more immersive and the production clearer; the songs are at their peak and Friedberger has brought more to the party. That bold and innovative approach could have led to sticky and unfocused results. As it is; we have seen a new phase from Friedberger and her finest album to date. I have not had time to review the entire thing but I recommend you get involved with it and investigate every song. Things are hot right now and there are few artists out there who can challenge as hard and proudly as Friedberger. I will bring this to a close but I wanted to congratulate her on a wonderful album that will score big come the end-of-the-year lists. Another incredible achievement from an artist who is captivating and stunning every human being…

WHO hears her music.    

___________

Follow Eleanor Friedberger

Official:

http://www.eleanorfriedberger.com/

Twitter:

https://twitter.com/eleanoronly

Instagram:

https://www.instagram.com/eleanoronly/

Facebook:

https://www.facebook.com/eleanor.friedberger.official/

Spotify:

https://open.spotify.com/artist/42WJFNdxsAgcn9PfjT61Z3?si=5jhOhnyhR_mbkbqSY4OnOA

PHOTOS OF ELEANOR:

Chris Eckert

TRACK REVIEW: GAZELLE - Stay for the Night

TRACK REVIEW:

 

GAZELLE

Stay for the Night

9.5/10

 Stay for the Night is available via:

https://open.spotify.com/track/5ujSLrsAoUcnIxDRzDUVQ2

GENRES:

Electronic-Soul; Pop

ORIGIN:

Liverpool, U.K.

RELEASE DATE:

8th May, 2018

_________

I am always looking around for artists...

who fulfil all my needs and give me something to get excited about. I will talk about GAZELLE in a bit but, before I come to her, I wanted to address a few things. I want to talk about musicians who have a spark and true personality about them; bonding with sounds and curiosity at a young age; the music and legacy of Liverpool; fascinating stories that compel stories and interest; artists who are the complete and real deal; female artists and embracing sounds that are perfect for where music is right now. You look at GAZELLE and read her story and there is something about her. Not only is she arresting and stunning but there is a command and sense of confidence that leaps out and hits you. I will talk about her current single in a bit but, when you look at GAZELLE’s biography and where she has come from; you are drawn in and hooked. I am seeing a lot of artists come through but, for the most part, they are not staying in my mind. It is hard standing out from the pack in such a busy and crowded market. Every day, we are exposed to fresh artists and expected to take it all in and understand what they are about. I wonder whether the fact music is so crowded means we do not retain as much as we should and move on to the next artist. You do not want to move on from GAZELLE! She has a blend of cheekiness and vulnerability that implores you to finds out more and get behind her. There is a certain look and sound the Pop market looks for from its new artists: more and more; new acts are rebelling against that and going deeper and breaking with convention. We are seeing fewer processed and generic artists emerge; acts like GAZELLE add an original spin to the genre and put in bag-loads of personality. I have learnt a little about her but so much is delivered and revealed in the music.

One of the main reasons I feel GAZELLE is bound for big success is the way she adds her personality and spark into the music. Instead of copying someone else or aiming for a certain market; you get a pure and determined artist who dominates her own territory. Apart from a natural beauty and an immense sense of confidence; there is the music itself – it pops from the page and gets right inside the heart. Although Stay for the Night is new from GAZELLE; she has been around a bit and cut a few songs. In the conclusion, I will look at where she might head and what she can achieve this year. I am listening to a lot of older music because of the character and colour I get from it. I love some of the new artists making their way into music but, more and more, my mind shifts back to the music of the past. I look at GAZELLE and see is someone who wants to go very far in the music industry. One receives a real physical expression and delivery from the young artist. It is interesting listening to her voice and the music being produced…you know there is room for manoeuvre and mobility. I hear her sing and one can imagine a natural step to Hip-Hop or Rap; GAZELLE has that love of Jazz so something smokier and more alluring might be possible; she has the ability to step into club-based music and create a Dance smash. There are very few artists around who are able to step into various genres and project so many nuances. Right now, with her single; you have an Electro-Pop smash that is turning heads and getting into the public forum. Maybe my demands are too high but I am disappointed about the lack of real energy and depth coming from artists now. GAZELLE’s history and her present ambitions mean she is truly unique and bound for greatness.

I will come back to GAZELLE’s past and her story in a bit but, right now, a look even further back. We all get involved with music at different stages in life. For me; I think I heard my first piece of music at around two or three – the sounds of Tears for Fears coming from the radio in my first home. It is a spotty memory but the sound of their biggest hit, Everybody Wants to Rule the World, is lodged in my brain. In fact; those twinkling and evocative introduction notes still elicit magic and kiss after hundreds of listens! From there, I fell for bands like T.Rex and was exposed to a lot of Beatles vinyl – building to where I am now and the passion I have. GAZELLE, like many musicians, got involved with Jazz and greats like Nina Simone. In fact…do THAT many people have that great a taste so young? Even though her music departs from the silky and enraptured vocals of Simone; the musicianship, sense of feel and confidence one gets stems from her exposure to Jazz. I can imagine the young girl curiously sat back drinking in all the beauty and genius of Nina Simone. Simone, when you listen to her being interviewed, is a bold and, at times, spiky presence who certainly speaks her mind. I am not saying GAZELLE is anything like that – she seems incredibly sweet and lovely – but being drawn to such a strong figure has influenced what she does not and how her music sounds. The aspiring artist played piano and clarinet at school and fell for all the liberty and opportunity music provided. In addition to Nina Simone, I can imagine other artists coming into GAZELLE’s life. Not to get ahead of the game, but I feel a bit of Ella Fitzgerald and Billie Holiday was there; some Louis Armstrong or Duke Ellington. I can hear the sexuality and fire of Nina Simone; I get hints of the vulnerability and emotion of Holiday; the experimentation and brilliance of Ellington and Fitzgerald.  

In terms of my evolution as a listener; I moved from the 1980s best – and the tastes of my parents – the music of the 1990s. The Dance and club classics of the day are the ones that stick in my mind the hardest. Throw in Grunge, Britpop and all the majesty of the 1990s and you have a broad and eclectic palette. I am not sure how GAZELLE developed from Jazz – she is younger than me – but I can imagine some of the 1990s’ best were thrown into the mix. Like me; the young and hungry artist seems discontent doing anything but music. I can see her, as a girl, sifting through C.D.s and listening to her parents’ music; sitting by the radio and listening to the chart rundown. As the new century broke; she must have been excited to see all the changes in the industry – from the rise of British Hip-Hop artists (like Dizzee Rascal and The Streets) and the more emphatic and bold Dance music that was coming along – like Darude (Sandstorm), Spiller (Groovejet (If This Ain’t Love) and ATB (9PM Till I Come). That mix is a sweatier and more explicit form of Dance/Electronic than one got in the 1990s (where we had everyone from Dr. Albarn, CeCe Peniston and Basement Jaxx keeping us entertained. If you link the two together – GAZELLE’s love of Jazz and the music she would have experienced as a young girl (looking back at the 1990s, too) then you have a heady and rare brew. What I have noticed with a lot of musicians who pick up instruments young is they often move into other genres and dispense with that earlier teaching. I am not sure whether GAZELLE will go more into Jazz in the future but, seeing the talent she has, it would be possible to create an E.P. with traditional and smoky Jazz songs and sunny, rousing Electro-Pop songs. The world is open for GAZELLE and she has so many chances to rule and command.

I will come back to GAZELLE’s timeline but, before then, I will go to Liverpool and have a chat about the music there. I am, in the next few months, moving to Manchester and leaving behind the South. I am looking for the buzz and excitement of the city and the friendliness of the people. Some people do not look beyond London for new music and quality: eyes tend to be blind and we do not quint enough to see the brilliance available in the North. I will chat about GAZELLE and local exposure – it seems Liverpool is a great place for her to make music. Maybe she will sojourn and relocate to London – when artists get big; so many of them come to the capital – but I hope she remains where she is. Liverpool is a great city that mixes cultures, nationalities and tastes. One can easily see the teenage GAZELLE swaggering down town in some new webs and jibbing off some scuzzy lads; having a bifter and ignore the plazzy girls spitting and giving full attitude (I shall dispense with my attempts at Liverpool slang as it sounds completely fake coming from a southern softy!). My point is she has mixed the realness and character of the city with the beauty and culture that stems from every rose, pub doorway and historical monument. I will tip my hat to romantic exposure and song inspiration but, when I was mentioning musical tastes; I was remiss for not mentioning some of the acts based out of Liverpool. More modern – sort of – acts like The Coral (Hoylake lads) and The Cheap Thrills; Clean Cut Kid and Aystar; She Drew the Gun and Life at the Arcade. There are a tonne of boss (sorry!) bands and artists keeping the pure red of Liverpool gleaming and ecstatic. Look at established and legendary Liverpool acts like Cast, A Flock of Seagulls; The Lightning Seeds and Echo & the Bunnymen and there are obvious reasons why Liverpool holds such merit and reputation.

I have not mentioned the biggest Liverpool band of all time: Atomic Kitten…only kidding! The Beatles MUST have been part of GAZELLE’s early life: not because she is in Liverpool but because it is a unanimous and universal taste! When I listen to GAZELLE’s music and the way she expresses herself; I can hear her native tongue and shades of the mop-haired foursome. That might sound like a stretch – my ears are Vulcan-like! – but listen to an early slice of vinyl like Please Please Me (an underrated work of genius from the boys!) and there is SOMETHING one can compare between the 1963 release and what GAZELLE is doing now. Look at all the experimental bands and acts of Liverpool and the great Pop and Rock being made right now - ALL of this goes into her work and demeanour. I sense the young artist can go in any direction she likes. Her Jazz background, tied to Electro Pop could take her down one path; she could easily score a modern Pop jam or something impossible sensual and smoky; some fierce and knuckles-to-the-ceiling rave; a princely Dance banger that has people jumping and hemisphere shifting - the world, as I say, is her oyster! You look at great venues in Liverpool such as The Zanzibar Club, 02 Academy Liverpool; Kazimer, The Caledonia and The Shipping Forecast and there is a solid local foundation. Whereas many venues are closing in London and other parts; it seems the economy and loyalty of Liverpool is preserving venues – apologies if my local knowledge is flawed and any of these spaces have had to close their doors! I can imagine GAZELLE has played these spaces – or some of them – and is keen to explore everything the city has to offer. Toss in Sound City 2018 (that ran between 5th and 6th May) and it seems, I hope, a lot of eyes are turning the way of Liverpool. The aspiring artist has little reason to leave the people and passion of the city…maybe London’s assets and musical wealth will tempt her down?

I will end the introduction section by looking at female artists but, before I get there; I wanted to look at GAZELLE’s life after childhood and her time in France. I am not suggesting her time there involved a lot of drinking, adventure and wild nights – you picture a young woman moving to a new country and exploring every elicit and sexual thrill – but there was an unhappiness when she first moved there. She studied Chemistry during a university exchange of Versailles. The locally-placed Hall of Mirrors (in the Palace of Versailles) would have been an ironic and vivid revelation: the reflection staring back would have been an unhappy and displaced one. Whilst GAZELLE was acclimatising and trying to settle into a new landscape; the revelation of a desperate cry - Sauve mon âme! – meant she joined an underground art commune. This is what I mean about GAZELLE: she already has the life and characteristics of a Jazz legend! France, inevitably, plays a part in anyone’s life who loves Jazz. It seems the passion and the openness of the people embraces Jazz/Jazz-minded more than anywhere else. I could easily see GAZELLE’s life and upbringing turned into a biopic! She would spend her nights singing in a band and working as an Au Pair during the day. She taught herself guitar and fell for Electronic artists like Jamie Woon and their ilk; captivated by new beats and the language of love. This heady concoction kept her buoyant and satisfied. Rather than the cliché chemical and sexual experimentation one would associate with an underground commune – French, at that – instead; you get musical curiosity and a formative moment for the Liverpool songwriter. When she returned home and got her feet back under the table; that new exposure led her to tackle local bars and play guitar there. Acts like Lauryn Hill and India Arie – Gregory Porter and Erykah Badu, too – were new idols and helped craft that unique vocal style. That sort of takes us to now and where the young artist is. She has had that exposure and rare upbringing; an assortment of experiences that all go into her spectacular and rare treasure chest.

Before I get to the song itself; I’ll quickly touch on song inspiration and female artists. There is an ongoing argument that festivals and gigs are not featuring enough women in their line-up. I agree there is oversight and more needs to be done – are tastes and festivals trained towards men; does music favour male artists?! I feel there is that culture where we assume there are few female artists and the biggest draw will come from men. That is wrong because, as you look out, there are so many incredible female artists ready to explode! I feel there is still that sexism and naivety that means ignorance rules and so many great female artists are being overlooked. There are strong role models working away but is there enough reinforcement?! I wonder. GAZELLE is someone who can add her voice in the market and help affect real change and movement. She can handle the pressures of the big stages and has music that we all need to hear. She is getting some great gigs and opportunities right now but I wonder, when she gets proper-big; will the festivals look towards men?! I hope things change real soon. Stay for the Night is inspired by a friend of GAZELLE and a sort of love at first sight (I do not believe in that so let’s replace ‘love’ with ‘attraction’) experience. In an interview I conducted with GAZELLE; I asked about the inspiration behind her new song:

“…My mate met her boyfriend at Leeds festival a few years ago when we were there together. I find it so much easier to write about very specific experiences. The lyrics tend to be far more descriptive that way.

I think the exact story was that he spoke to her in Welsh in the middle of a crowd and she happened to know one phrase in Welsh which was “Shut up and go to bed”, which she replied with (and the rest was history). Pretty funny. I didn’t manage to get that bit into the song, unfortunately”.

That is a rather charming and lovely story one does not hear too much of! I guess we all have opinions of modern love and how people come together. I asked GAZELLE whether she has had that same spark and festival attraction. She has, like so many, caught eyes and felt that rush – there is that fire but, sadly, nothing materialised into romance. Being at a festival and surrounded by thousands of people; there are countless chances to meet someone and have that blossom of love – or the one night of sex and not going from there. I am glad this story is more than sex and the physical: there is something more material and long-lasting about the festival sweethearts! I am not sure whether the two are still together but it is a perfect inspiration for a song that has a unique eye. It is fitting that a song that could score festivals and summer gigs talks about two people meeting at such an event. Love and relationships often inspire songs and fine moments: maybe, when more material is out, GAZELLE will look at her own lusts/experiences and put them into the music.

I have listened to Stay for the Night a few times now and get a fresh blast of revelation each time I do. I am not sure whether there will be a music video for the track (there should!) but I can imagine GAZELLE and her friends chatting and dancing to the music whilst, across the way, her mate spots the boy – eyes lock and their seduction and connection follows the music. In fact, I can see a Michel Gondry-like video transpiring. The conversations and dance would be in time to the music and it would be a single shot – the camera never loses eye contact – with the sweethearts moving from scenes and locations (at the festival) whilst the night draws in. Rather than leap ahead and pitch the video myself – I might as well direct the bloody thing; such are the ideas coming to mind – you listen to the song and can present your own visions. The track wastes no time getting underway and making its presence felt. There are burbling and bubbling vocals captured under the jar of electronic heat. A warped and processed sound projects images of festival rush and excitement.  The song has that energetic and rousing chest that struts forward and brings the heat. You listen to the first notes and get that view of sunshine and bodies enraptured by the music. When the heroine comes the microphone; you get a soulful and rich voice that has chocolate, sensual entice and commanding tones mingling together. She recounts the story: the girlfriend saw the guy as their bodies were swaying in time to the music. With her lemonade-tinged drink and coffee-brown eyes; the petite woman leapt towards the boy and made her introductions. GAZELLE presents the scene and dynamics splendidly. You get those fine details (the drink and colour of eyes) but are left to explore and wonder other details – which band were on when that meeting happened; where were they exactly. It gives the song a mix of obvious and open-for-guessing that excites me hugely.

The composition is kept fairly unobtrusive as the heroine speaks about that flame and kismet. In the sun, they “started something beauty” and danced the whole night through. That chorus implore – to stay for the night; if only for tonight – comes in and is delivered with intensity and romance. There is less of the cheap thrill – getting your rocks off and having that thrill – and more of wanting to keep the conversation flowing. They have that instant attraction and do not want to leave things. In a way, you have a modern love story that reflects classic films. There are two people natural for one another and bonding over music and common traits. They could go their own way but they do not want to squander something special. GAZELLE, as narrator, reflects this physicality and perfectly articulates the emotions evident from the off. You get funky guitar flecks alongside soulful beats and clicked percussion. The music dissipates as the man kisses the woman on the forehead – they are leaving things where they are but it seems the opposites are attracted. Whereas they danced all night; you wonder whether it was fun in the moment but things are not destined to go past that. It is fascinating seeing all the elements brewing in the song. You start with that Electro rouse and bang before mutating into Soul and Jazz. GAZELLE’s voice is the instrument that stands out the loudest. She has the soulfulness and addictiveness of Lauryn Hill and an instancy that gets into the heart. She can change her tones and projections when the music calls for it – moving from rampant and physical to heartfelt and passionate. Stay for the Night takes the listener into the scene and the dialogue between the sweethearts. In a way; the song is the start of a concept E.P. that needs some answers: did the two remain together (you assume so) and what happened after that first night? Did they start dating soon after and where are they now? The listener will have those questions and want resolve. It is a fantastic track perfect for summer and the busy festival crowds. GAZELLE has entered a competitive market and already managed to stand aside with a stunning and intense cut. Her voice is the magic ingredient that puts the song into the stratosphere! The way she handles and treats words gives the song a realness and sense of personality. You will come back to Stay for the Night time and time again; compelled by various aspects and learning something new each time!

I will end things here and leave you all be – I hope my words have done justice to GAZELLE and what she is all about. I know there have been other moments in her cannon but Stay for the Night is where she is now and her declaration into the world. She has just played BBC Introducing/BBC Merseyside and will be in London on Wednesday for a live Facebook session for Pirate Studios – I might be in the area at the time. GAZELLE has been busy being interviewed and promoting her new track. A lot of new people are turning onto her and the future is very bright. I am not sure what she has planned in terms of touring and material but I can imagine there are those great local gigs and stuff down in London. I can imagine her getting spots further afield and a proper U.K. tour coming together. In terms of material and new stuff; I would like to see an E.P. from her. GAZELLE has such a broad taste and ability – an E.P. from her could be all-Electro or throw in some Jazz and guitar music, too. The striking songwriter is getting ready to attack the summer and, with that, festival demands will be close. I would like to see more people take to her music and give her the stage to shine and resonate. There are wonderful artists out there but none that have the same characteristics and contours as GAZELLE. She is that rare type of human being: fascinating and compelling and born with natural talent and confidence. All of this comes through in her music. I am not sure whether the young songwriter will want to see how Stay for the Night fares before making her next move. Whatever she plans - maybe a quick break to recharge the batteries! – it will be fascinating to see! Stay for the Night is a song that shows GAZELLE, in a good way, is on her bill (sorry – last slang from me!). She occupies a rare space that will inspire other artists and shows, in GAZELLE herself, we have a musician who will…

BE around for decades to come.   

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