TRACK REVIEW: Jamie Coleman (Feat. Toni Etherson)- That Goodnight Msg

TRACK REVIEW:

 

Jamie Coleman (Feat. Toni Etherson)

 

 Photo: Pat McGuire/PMG Photog

 

That Goodnight Msg

 

9.2/10

 

 

Photo: Pat McGuire/PMG Photog

 

That Goodnight Msg is available at:

https://www.youtube.com/watch?v=jC8eNz81WMs&feature=youtu.be

RELEASED: February 12th, 2016

GENRES: Rock/Pop; Blues

ORIGIN:

Glasgow, Scotland

____________________________________

WITH another Glasgow-based musician coming to my attention...

it may be prudent just to mention the city for a bit- not spending TOO much time there.  I have reviewed a lot of Glasgow artists and something new and exciting always reveals itself.  I am not sure what it is about the city that compels such a drive and creativity.  In previous posts, I have mooted the question around Glasgow bands and their dominance- how few solo acts there are by comparison.  Here is a city that very much favours the bands and a particular style of sound.  Whether that is rooted in heritage and the past- Primal Scream, Belle and Sebastian and Del Amitri hail from the city- I am not too sure.   From Paws’ Blink-182 approved tracks (the track Jellyfish was lauded by the Blink’ front-man recently) to Machines in Heaven:  there are a lot of terrific artists emerging right now.  What I am noticing (about Glasgow) is the determination and confidence that stems from musicians.  While I mentioned there is a particular ‘sound’ in Glasgow- a lot of Punk/Indie-inspired bands favouring guitar-driven music- there is also diversity and genre-fuse to too.  Catchy and uplifting bands such as White and Holy Esque are inspiring a wave of like-minded bands to take action and bring their music to the people.  Clearly, community and support are important to Glaswegian musicians.  Across the years; I have assessed a wide range of Glasgow acts- mainly bands to be fair- and always find the same thing:  they will recommend fellow artists and support what they do.  Whereas London (and other huge cities) perhaps have less of this- maybe it is the sheer numbers and stress of the place- Glasgow is showing a lot of thoughtfulness and respect.  This is leading many up-and-coming musicians to come into the music world and take a gamble.  The results are really speaking for themselves:  Glasgow is among the most exciting and prosperous hubs for new music right now.  For those who prefer their music band-made; you have a lot of choice and quality on offer.  If you want something less ‘obvious’ or just a bit different:  there are some great and agile young alteratives around.  Although Jamie Coleman plays with his band The Giants (thus making Jamie Coleman and the Giants) Coleman has been a successful and hard-working artist for a long while now.  Right now, there is a lot of excitement regarding Coleman’s latest song, That Goodnight Msg.  From the modern, short-handed third word (Msg); there is something of-the-moment and current about the song.  Drawing in Blues, Pop and Rock influences- nothing too obvious springs to mind- you have a hungry artist who is keen to make a big impression on music.  Before I raise a new point; let me introduce Jamie Coleman to you:

 “Touring artist Jamie Coleman, a talented singer/songwriter from Clydebank is due to release his single ‘That Goodnight Msg’ ft. Toni Etherson on Friday 12th February through GQ Records, the first in the line of singles due out in 2016 including guest artists such as Toni.

‘That Goodnight Msg’   is available to download from iTunes, Deezer, Spotify and all other media download sites. Toni first performed this song with Jamie on STV Glasgow’s Riverside show “Live”  in Feb of 2015.

Singer/songwriter Toni Etherson has toured Europe, Australia and America as well as recently collaborating with ‘Jack Eye Jones’, by writing and performing ‘Fire in your soul’, and  the title track from their album ‘Summer Nights’.

Jamie’s band ‘Jamie Coleman and The Giants’ are also due to release their first single ‘Day Trippin’ in Mid-March, with an album due to follow later in the year, along with Jamie’s own solo album.

Jamie has already been making a name for himself touring and supporting artist and bands like Alabama 3,  Ocean Colour Scene\ Merrymouth ,  John Power &  Jay Lewis of “CAST/The Las”,             Barry Sutton “the Las”, Chris Helme “The Seahorses , The Bluestones, The View, Curtis Harding, BrownBear and many more.  Also playing various gigs at Alan McGee’s Creation Sessions from Glasgow to Wales.

An exciting year lies ahead for Jamie, not only as a solo artist a collaborator and writer, but working with his band The Giants. The music industry will be seeing a lot more of Mr Coleman”.

Coleman will be taking the Giants around the country and preparing for the launch of the album.  Having heard previous cuts from Jamie Coleman and the Giants- and noticing the evolution and progression that has occurred- it will be exciting to hear an album from the group.  It is rare I get to feature a female singer in these pages- the last few reviews have been boy-heavy- so bringing Toni Etherson into the mix is very exciting.  Finding herself nestled in the splendour and dreaminess of the L.A. scene- in the Hollywood Hills by the Santa Monica Mountains- it is alright for some people!  I must admit this:  I was a stranger to Etherson until last week.  It has been a revelation discovering a singer with such a terrific voice, talent and passion.  Whilst a lot of her time is spent in the U.S.; she has a lot of support from the Scottish crowds- a lot of Scottish musicians I follow on social media follow her.  Thinking about Etherson- and the dreamy yet direct nature of her voice- makes me think about collaborations and artists hooking up.  You do not need an advanced degree to know what richness can be exploited from musicians coming together.  Too many bands are rigid and rarely bring other singers/producers to the fore.  Solo artists- not all but many of them- are concerned with getting THEIR voice on record and do not collaborate too often.  It is always fascinating witnessing two sole voices come together to create something new and natural.  That Goodnight Msg has an understated quality yet it resonates and produces shivers.  There is something completely RIGHT about Etherson and Coleman’s parabond:  two artists that GET one another and fit like hand in glove.  The two have very different lives- Etherson’s U.S. sunshine and Pop influence; Coleman’s Glasgow base (the sun does come out there sometimes) and harder sounds- but the combination and pairing produces a chemical reaction that cannot be faulted or undervalued.  I for one would like to see more acts sharing microphones and blending their music together.   Some of the most exciting and nuanced sounds I heard from last year arrived from collaborations:  two parties joining forces to give the music world something wonderful and rich.  Of course, collaborations do not always work:  there are unions that are completely wrong and clunky.  That is perhaps a subject I should explore another day- if I am lucky enough to review another joint effort- but I am excited about the future of Jamie Coleman and Toni Etherson.  Whether Etherson has an E.P. or album in her- an artist that seems capable of performing with any artist and elevating their work- only time will tell.  A young and exceptional talent I will be following and seeing how she blossoms.  Coleman is preparing for a new album and will doubtless be hitting the road throughout the spring and summer- let’s hope he heads down London way for a brief spell!

That Goodnight Msg is the latest unveiling from an artist who has been growing in confidence and direction the last few months.  Looking back at Jamie and the Giants’ past sounds- particularly Calm Yourself Down and Day Trippin’- and you get a sense of a musician who is still finding his feet.  Whilst the band’s past maneuvers have been met with celebration and acclaim:  you cannot help but think this year will see the finest work from the Glasgow clan.

   Calm Yourself Down boasts a raw and determined lead vocal that cuts through the mire.  The composition has a rollicking and Blues-tinged drive that gets bolder and bigger as the moments elapse.  Coleman’s gutsy (yet restrained) talks about time being wasted- maybe a girl or friend is screwing our hero around- around a ‘90s-sounding track.  You could imagine the likes of Oasis or Ocean Colour Scene tackling such a number.  Aside from the 1990s flavor; you get a distinct accent and local flavor- Coleman’s accent and pronunciation possesses a distinctly Glasgow feel.  You get caught in the song and the addictive nature of the beats; the wracked and powerful vocals- the kinetic and dynamic energy of the band.

  Day Trippin’ may lead you into 'Beatles territory- with its similarities to Day Tripper- but it is a song that shows a different side to the band.  Coleman’s vocals have raspiness to them- recalling a young Bob Dylan- and the harmonica-and-voice combination that puts me in mind of debut-era Bob Dylan.  A softer and more contemplative number:  our hero is gone (nobody notices his absence) as he trips in the “midday sun”.  Part-sad; part-freeing- a song that has a relaxing and carelessness to it- you get drawn into a song that assesses a particular feeling/mood with effectiveness and memorability.  There is a relaxed and lounging vibe to the song that makes you smile and imagine.  What inspired the song is hard to say:  whether Coleman was reflecting on past memories or writing from fiction.  What you find (with regards this track) is another side to a multifarious and boundless songwriting who manages to retain a core sound but employ different strands/genres to ensure the music remains surprising and fresh.

It will be interesting seeing how Jamie Coleman progresses and evolves throughout this year.  I know there is an album due:  it is sure to feature the aforementioned songs, one would think?  Coleman’s songs have depth and wisdom to them:  I’d like to see a bit more grit and rousing energy across future songs.  Coleman has a voice and passion that is crying out for a volume kick and additional boost.  The band has that talent and potential so let’s hope we will see this exploited when the album arrives.  As it is, the young master should have no fears or concerns.  A songwriter that has immense promise and originality:  you always wish the best and have high hopes for a new Jamie Coleman work.  That Goodnight Msg allows the Glasgow-based music to join forces with another voice- creating something rich, compelling and primed for some serious radio play.

Excitable beats and a real sense of occasion greet That Goodnight Msg in.  Those early percussion notes- punctuated and slam like a punching heartbeat- start static and powerful before mutating into something more open and variegated.  The building introduction sees tender strings join the fold and augment the initial sense of romance and seduction.  The song’s first words (“Here comes a smile”) are perhaps not what you’d expect.  A neat choice of words- that gets the mind racing and imagining from the off- we see Coleman and (Toni) Etherson combine voices to elicit beauty and grace.  A tenacious and perfectly blended vocal performance:  you get heartfelt purity radiating from two very purposeful vocalists.  It is perhaps no coincidence Etherson and Coleman sound in-tune and natural together- maybe they have been fans of one another for a while? - but there is no gamble or risk here.  The duo sounds like a couple in the midst of a wonderful, romantic night.  “Straight out of nowhere” there has been a message delivered to the heroine (or perhaps the same message has been received by both).  The impulsive missive- one assumes it is a text message rather than a letter- seems like juxtaposition when balanced against the composition.  Those aching and old-time sentiments- there lingers a distinct ‘60s Folk vibe-cum-Country sound- has a distinctly traditional/vintage purity to them.  The foreground- the modern love story that unfolds- does not seem out of place or odd at all.  Coleman’s easily accessible lyrics come without complexity and obliqueness:  they are direct and from the heart; there is a university that makes them very amenable and happy-go-lucky.  Listening to the two joins voices and you get a real ‘live feeling’ to the song.  The production is clear and concise yet gives the song a live sound that draws the listener in.  If it were too polished and shiny the song would sound alien and completely fake.  As it is, you have a track that has no borders and boundaries:  it is a direct and all-encompassing number that we all can appreciate.  The lovers (the parts Coleman and Etherson portray) are in the midst of late-night message exchange.  Whatever the text says- a simple platitude or trope; something more personal and meaningful- it has its effect and resonance.  That sense of ease and comfort comes out in the twin vocals.  Each performer is invested in the song and sound completely awed and comfortable.  A lot of collaborations have problems and limitations.  Either the artists sound distant and shoed-in- like the vocals have been recorded in different studios and lazily welded together- or the parts do not blend well together.  There are no jarring issues to be found within That Goodnight Msg.  Each artist commits themselves to the subject matter and you can picture the studio scenes and recording process.

 Photo: Pat McGuire/PMG Photog

 

At every stage, I was impressed by the simplicity and everyday nature of the song.  There are no sweeping dramas or recriminations:  a lot of songs deal with anxieties and splits; something big and painful.  That Goodnight Msg seems almost mundane and pedestrian if you read the lyrics.  As the song progresses- and the conversation unfolds- you learn a bit more about the messages/texts.  One asks how the other slept- providing some intrigue and another side to the story- and it is something not ascribed in many songs.  If you think about love songs and romance, consider this:  how many strip it down and look at the everyday familiarities?  Here, we get something personal and ubiquitous.  The lyrics’ strengths lie in those lovely details and unspectacular ideals.  Coleman is an exceptional songwriter capable of some rather moving and profound ideas.  By keeping things charmingly simple; you have a song that has widespread appeal and ounces of charm.  Whereas our duo yearns to be in each other’s arms- relying on to-and-fro texts and messages- you wonder why they are separated.  Maybe an ocean separates them- appropriate given Etherson’s L.A. residence; Coleman based in Scotland- or there is a long-distance relationship unfolding.  With the exchanges “Lighting up my phone”; there's purity and positivity in every lyric.  Both seem happy and comfortable in themselves.  The heroine wishes she was not sleeping alone- desiring the touch of her man- and there is an underlying heartache and pain within the track.  As impressed and fascinated by the lyrics as I was; my brain looked at the composition and how it supports the vocal.  The aching strings have those Country elements:  they draw in Blues touches without sounding too outdated and divisive.  There are a lot of people that dislike Country- I am among them to be honest- but That Goodnight Msg has accessibility and a British sound/sensibility to it- thankfully, the song is not TOO Americanised and Nashville-influenced.  Towards the final moments, the duo blends their voices to ensure that connection and intensity continues.  Etherson showcases an immense beauty and a wonderfully adaptable voice- something that augments the lyrics’ beauty and tenderness.  Coleman’s soulful and masculine tones are a perfect blend:  together, the duo elicits shivers and tingles at will.

That Goodnigtht Msg is a departure for both artists- Coleman and Etherson- but does not show any weaknesses.  Jamie and the Giants’ back catalogue is perhaps more personal (songs that shy away from love and more towards personal insights) and have a more driving and Blues sound- here the vibe is more Country-based with U.S. twangs.  Etherson’s collaborations and work have seen her go into Pop and Dance territory.  Fire in Your Soul (her hook-up with Jack Eye Jones) saw something rather bracing and immediate come forward- no wonder it was championed by Radio 1!  If anything; That Goodnight Msg would be more at home on B.B.C. Radio 2:  it has a more mature and softer approach.  The track signals how talented and passionate both performers are.  Not only do they sound completely right together- like they have been recording duets for years- but they both sound committed and dedicated to every word.  There are no false emotions or any weak moments to be found:  the performances are exemplary and packed with emotion.  Supported by a tight and wonderful band performance- that creates a rich and sensual backdrop- you have a song that will appeal to a mass of listener and music lovers.  I know Toni Etherson has a great future and can easily slot alongside any other musician.  She has great potential as a solo artist: there will be some choices and options ahead of her.  As for Coleman:  he will embark on work with his band and see what results from that.  Both artists have prosperous and busy years:  it has been great hearing them combine in a track that is hard to shake off and ignore.

I should perhaps stop acting surprised every time a Glasgow act remains in the memory- lest it is interpreted the wrong way- but once more, I get to witness another of the city’s musicians fare so well.  Like the city itself- which grew from a rural community into a thriving centre of U.K. culture today- the musicians of Glasgow are increasing in stature and ranking among the world’s very finest.  Perhaps the bands of Glasgow are fitting more tightly into moulds- Rock and Soul/Blue hybrids- but that is not to say the music is stilted and unexciting.  There is plenty of pioneer and mobility to be discovered inside Glasgow’s best and brightest.  Jamie Coleman has cemented a local reputation- together with his band he has made big waves- and will capitalise on that reputation as 2016 moves through the gears.  It will be great seeing what an album will contain and how the band develops throughout the year.  Glasgow has such a thriving band scene:  Jamie Coleman and the Giants are one of the more exciting and compelling examples you will hear.  I feel London’s current reign- as the hotspot for musical excellent- may concede defeat to Glasgow in years to come.  Never have I seen a city so prosperous and evolving.  Every month seems to produce wondrous musicians and something unexpected and original.  Certain areas/towns have a very set sound:  Glasgow provides much more intrigue and colour than meets the eye.  If you dig under the raft of Indie/guitar bands emerging you will find all manner of styles, genres and sounds being fused and experimented with.  Coleman is one of the city’s more mature and accomplished songwriters.  Not someone who sticks with the tried-and-tested clichés of the scene- the heartbreak and overly-played motifs of broken souls- you have music with much more depth and intrigue.  As I type this, I am listening to Wild Beasts and the track Sweet Spot.  From the instrumentation- the track featured on their most current album, Present Tense- to the divine and swooning vocals- you have a band that get better by the release.  Their stunningly tight, original and  dynamic songwriting- the band’s vocalists Hayden Thorpe and Tom Fleming are a natural pairing- gets inside the head and provides so much intensity, passion and soul.  The same can be said of Jamie Coleman.  A young artist that is never going to be bogged down and wants to push the music to new heights.  There is a transcendental reach and sonic experimentation (inside Coleman’s work); a perfect balance of emotions and vocals.  Band parts are written to exploit the potential of instruments and timbre:  someone who does not put themselves in the spotlight and neglect the rest of the band.  Maybe I am over-emoting and going too deep:  assessing a songwriter’s strengths can lead my thoughts in all sorts of directions.  The point remains this:  Glasgow has produced another gem and stellar craftsman.  Toni Etherson has leant her voice to a song that taps on modern themes- with a vintage and old-fashioned ethic to it- and puts the listener right into the mix.  Those Blues and Soul influences- that have been the hallmarks of Coleman’s writing- allow Etherson to create a vocal filled with yearning and serenity.  That Goodnight Msg has Country themes and strings that perfectly sits inside a Blues core.  The ensuing track allows Etherson to make a huge impact and showcase a serious talent.  Her social media numbers have been climbing and reaching dizzying heights.  One of the most noteworthy and rising stars in the music world:  make sure you keep an eye on her progress and career.  I am sure there will be album or E.P. very soon.  Having been featured on B.B.C. Radio 1; her voice has captured the public imagination and resulted in a fervent and dedicated fan-base.  I hope Coleman and Etherson combine somewhere down the line.  On paper, you would not imagine the two coming together:  that is the beauty of collaborations.  I find myself in a tawdry quandary at the moment:  trying to unearth genuinely exciting musicians that offer a long-term future and quality.  It may sound like a rather basic concern yet there are few (musicians on the scene) that can promise that.  May competiveness and quantity is always going to lead to indeterminism and once-a-year heroes.  When listening to Jamie Coleman (knowing how good the band is; how strong Toni Etherson is) you get a sense this young artist can be triumphing and compelling for years to come.  Not to place too much weight on young shoulders:  the stage is primed for something rather special to take place.  Not a musician confined to the softer side of music- the tender ballads and aching songwriting- you get rockier and more gritty moments; songs that have drama and force.  Whether my assessments will make him say “shut your geggy” or cause a bit of greetin (my Glasgow slang might need some fine tuning); I apologise.  A musician that is going to be a name familiar to us all soon enough: take a glimpse into a song that promises intrigue and fascination.  I am excited to see where Jamie Coleman head this year.  Whether the album (rumoured to be released very shortly) expands on That Goodnight Msg- more of the same sort of thing- or pushes more boundaries; that is going to be exciting.  For now, and whilst the record is still waiting to be unleashed, cherish a talent who is…

Photo: Pat McGuire/PMG Photog

 

ON the precipice of something big.

 

[youtube https://www.youtube.com/watch?v=jC8eNz81WMs&w=420&h=315]

 

________________________________________________

Follow Toni Etherson

Facebook:

https://www.facebook.com/ToniEMusic/

Twitter:

https://twitter.com/tonietherson

________________________________________________

Follow Jamie Coleman and the Giants

 

 Photo: Pat McGuire/PMG Photog

Facebook:

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

Twitter:

https://twitter.com/Jamie_Cmusic

__________________________________

Music:

 https://soundcloud.com/jamie-and-the-giants

________________________________

 

 

 

 

 

TRACK REVIEW: Nicky Davey- Been Lovin' You

TRACK REVIEW:

 

Nicky Davey

 

 

Been Lovin’ You

 

9.6/10

 

Been Lovin’ You is available at:

https://www.youtube.com/watch?v=1Sz1Xk4Fiec&feature=youtu.be

RELEASED: 5th February, 2016

GENRES: Soul; Rock; Pop

ORIGIN:

Los Angeles, U.S.A.

____________________________________

AS I get to feature another Los Angeles-based artist...

it is worth talking more about the city (and its musical culture); fusings of Rock and Soul- a little bit about the Pop mainstream and unsigned acts.  Wandering back into L.A.; it gives me an opportunity to meet one of the most exciting acts emerging from the city.  Nicky Davey produce ‘noise alchemy’ and are mingle beauty and soulfulness with something edgier and Rock-inspired.  Although Nicky Davey are touted as a duo- they do have Bert Gay on bass- their sound suggests something band-made and much larger.  I shall get to them soon:  for now, it is worth looking at the best bands coming from the city.  In a historic sense, the likes of Guns N’ Roses, The Doors and Rage Against the Machine have called L.A. home.  Throw in Hole, Weezer; The Byrds and Bad Religion:  you have an epicenter of musical creativity that has spawned some of the greatest acts of all time.  In terms of Rock acts alone- and artists who play within various sub-genres of Rock- and you have a plenty of options there.  I guess Los Angeles is always going to be associated with a certain sexiness and hardness.  The tough and granite sounds of Rage’ and Hole; the riffs and histrionics of Guns N’ Roses:  many will have clear impressions of L.A. music based on its legends and past masters.  The scene has changed today and is a lot more surprising and varied.  Lord Huron’s sweet-leaf jams (and songs about marijuana parties) have enthralled critics and the local crowds.  In the Valley Below (who hail from Echo Park) pen Indie lullabies and are the epitome of the uber-cool and happening.  The Peach Kings are another duo (like In the Valley Below) who teases ‘70s Rock sounds alongside smoky lead vocals.  If you want something a bit more underground:  The Koreatown Oddity spits his raps and rhymes behind (a creepy-looking) wolf mask.  Los Angeles Police Department thrilled audiences with their self-titled 2014 E.P.:  their melody-driven music has seen them grow in reputation and stature.  Chela is perhaps the most relevant example- when looking for like-minded acts of Nick Davey- and has crafted stunning Pop sounds without compromising her ideals.  Hailing from Australia- ensconcing herself in West Hollywood- here is an artist who blends universal sentiments with ‘80s synthesisers to create music that gets the feet moving.  Los Angeles- and California in a wider sense- are producing some of the most varied and consistent musicians in the world.  Having never visited L.A.- it is something I must rectify in future years- I am not sure what motivates such a drive and sense of quality.  In London, there are some terrific venues a musician can cut their teeth in.  Certain areas of the capital have wonderful enclaves where musicians support one another.  There is that sense of kinship and togetherness that propels creative spurts and inventive writing.  Perhaps that can be said of Los Angeles.  We all assume the city to be over-crowded, bustling and stressful- hardly conducive to great leaps of musical productivity- but perhaps that is a false impression.  Like every major city; Los Angeles is going to have its limitations and repression.  There are a lot of musicians that rebel against the worst traits of the mainstream- the over-produced and committee-written songs; the boring and predictable sounds; musicians that want fame over respect- to present something much more credible and laudable.  Before raising new points; it is worth me introducing Nicky Davey to you:

Nick Green – Vocals Dave Rosser - Guitar, Vocals Bert Gay - Bass, Vocals

The LA rock and soul duo Nicky Davey just dropped a video for their single "Been Lovin' You". Nick Green and Dave Rosser officially formed the project in 2011. They started out just making records together under various aliases until they carved a sound they could truly call their own.

Their approach to songwriting has always had a strong emphasis on beauty, combined with infectious hooks. Their music features lush vocal arrangements, infused with the melodic honey of the talk box over organic beats. Constantly striving to reinvent the modern pop song, they were given the opportunity to work closely with Odd Future affiliates, The Internet. Lead Singer Nick Green's vocal production on The Internet's Ego Death helped earn it a Grammy nomination for Best Urban Contemporary Album.

Directed by Rich Yodsukar and filmed in the streets of downtown Los Angeles, the music video captures in a light-hearted way the reality of being musicians in L.A "We live and breathe our music and are willing to do anything for it, even walk all the way down to Hollywood Boulevard. to play outside in front of people, that's just the spirit we have". "Been Lovin' You" is the last track on the NOW compilation album that went in stores everywhere on February 5.

Nicky Davey is the only artist unsigned to a major label to be featured on NOW 57. The duo is working on new material and will release a new EP in spring 2016”.

I am glad Nicky Davey have made it onto a major release (Now That’s What I Call Music! 57) but perhaps not something I would lead with.  It is a great achievement but they sit alongside some rather questionable artists.  In the past, the Now’ series has been synonymous with the best of music- until the 1990s at least- but now is a collection of the media-approved Pop artists a lot of people dislike.  While you get a few credible songs in the mix- Alessia Cara is among them- the majority is filler and bland Pop- Coldplay; Justin Bieber etc.  A notable achievement for the L.A. group but it does them a disservice, I feel.  Nicky Davey expertly blend their Soul/Funk influences- Stevie Wonder; Jamiroquai- with lush vocals and stunning hooks.  You get impressions of downtown L.A. and vintage shades of the 1970s- hardly what you’d associate with a modern Pop act.  To be fair, Nicky Davey have more in common with their idols than they do their peers.  Able to transcend borders- and chart positions too- they are a hot proposition.  It is amazing the duo is unsigned at the moment:   let’s hope that is something they cannot claim in a few months.  I guess that is one good thing to come from the compilation inclusion:  it will open record labels’ eyes and start a bidding war before too long.  If that doesn’t; Been Lovin’ You certainly will.  A confident and exciting slice that roots itself in the brain and pleases the senses:  a wonderfully rich and catchy song from a seriously promising act.  Maybe not strong enough to sway my opinions on the mainstream- it will take a lot more than that- it does raise some interesting points.  A lot of us are too concerned with the mainstream and those artists climbing the charts- when it comes to the so-called ‘best’ music has to offer.  I think that notion is rather dated and misleading.  While Nicky Davey are certainly worthy of long-term success; they have an edge and nuance most of their contemporaries lack.  They nestle alongside Coldplay (on the Now’ compilation) but are far stronger than the British act.  What separates Nicky Davey from the crowd- aside from their unsigned status- is the genres they combine and the lyrics they put out.  The songbooks look at universal themes- love and longing; loss and heartbreak- but ensure their songs are a lot deeper and more original than their subjects.  I hope Nicky Davey capitalise on their momentum and nods and keep the flame burning.  I know there is a spring release (for a new E.P.) and the boys will look to tour and take their music out there.  Whether they are stopping by the U.K. - I know how many fans they have over here! - is probably down to them.  Been Lovin’ You is just a fraction of what they are capable of.  A teasing and salacious slice of Blues-cum-Soul-via-Rock:  one of the most arresting and compelling songs from one of Los Angeles’ best.

Whilst the video for Been Lovin’ You was released very recently:  the song has been on the Internet for a few months now.  Last year; Nicky Davey released their self-titled E.P.  The five-track collection demonstrates plenty of variation, personality and strength.  While Been Lovin’ You is the strongest of the set- a natural lead-off track and single- that is not to say the remainder of the E.P. suffers.

   Dreamgirl has that delirious and stunning lead vocal swooning and pervading.  Velvety and soul-nourishing:  you get embers of Michael Jackson and Prince come through in the notes.  Haunting, romantic and luscious:  a song that makes the hairs stand on end and shivers arrive.  Multi-layered vocals and sparse electronics combine to create something rapturous and hugely sensual.  The vocal quality reminds me of Boyz II Men and the best work they produced.

   Rainbows relies less on the choir-like vocals and has a more focused central performance.  “She had bullets in chamber”; in a “pistol full of danger” are evocative words that look at love’s harder times.  Locking and loading; guns and danger are used as metaphors to ascribe a relationship that has its perils and pitfalls.  Edgier guitar and driving beats bring Prince comparisons to the fore.  You get a delicious blend of Funk and Rock around a rich and soulful performance.  A huge and impressive lead vocal pushes the song and ensures every word gets inside the mind.

Hollywood is a driving and sassy number that is fast, furious and divine.  With embers of D’Angelo underpinning that ecstatic drama:  here is a song that is instantly catchy and filled with promise.  Vocal layers and insatiable guitar seduce one another and create something hugely atmospheric.  You get recollections of Prince and Michael Jackson inside modern and polished production.

   Gonna Love Ya is perhaps the most mainstream/Pop-influenced track on the E.P. - maybe the weakest track of the set.  That said, there is plenty to suggest it is more than the sum of its parts.  Dig deep, and you find a song that has more maturity and edge than most of today’s Pop.  Cosmic electronics and a constant energy ensure the track is never boring or passes you by.  Once more, you get committed and chocolate-smooth vocals that vary between scatting and elongated.  Dynamic, nimble and changing pace at will:  the song keeps busy and restless until the final moments.

Nicky Davey released their E.P. with plenty of conviction and quality.  The attention to detail and workmanship that went into its creation is hugely impressive.  Whether there were a lot of writers and producers brought in- or the boys themselves had more control- it is hard to say.  What you get from the quintet of tracks is impressions of 1970s Soul/Pop greats with some very modern and relevant sounds.  It means (the E.P.) is not primed and directed at the Pop charts.  There is enough maturity, quality and depth to distinguish away from the bland and over-hyped releases we have seen the last year.  Nicky Davey is an act that has plenty more to say:  it will be interesting to see how they develop and what their next move is.  Given the reaction to Nicky Davey- and how critics have celebrated it- I would not be surprised to see their forthcoming E.P. get the same attention.  The real test will be whether they keep their qualities and personality shining in the new E.P.  A lot of artists would be tempted to sell-out and succumb to the lure of chart positions and dumbing things down.  I am confident the L.A. boys will keep their sound intact and strong:  not ones to let their fans down and change things now.  Whatever they come up with will be hugely exciting and promising, I am sure.

Been Lovin’ You is the most-played and shared track Nicky Davey has written.  The standout and gem from their E.P. - the most urgent and nuanced song from them- has hit people hard and left its marks.  Tribal sounds and curiosities open the track.  You get electronic click and jungle calls mixing inside acoustic strings:  a build-up that gets more heated and colourful as we progress.  From the edgy and dark recesses of the start; the track opens up and you get something light, breezy and dancing- the acoustic string section reminds me of The Doobie Brothers’ Long Train Running.  After the head-spinning and exciting opening; that smooth and honey voice arrives to give context and explanation.  The vocal rides the acoustic guitar and is enraptured.  Our lead is clearly in the throes of love and has a particular girl in mind.  When seeing her face- or the first time he saw her- you get a sense of an angelic and heart-aching beauty.  With his blood hot and heart racing; there is that desire to get the girl and gain her heart.  Maybe the two are not together at the moment- there is a seduction call and ritual unfolding- and our hero keeps his emotions at bay.  Working hard to get her- through patience and romance- you start to picture the scenes and the parties involved.  In a way, Been Lovin’ You is more classic than it is modern.  Hints of Michael Jackson and Prince- two names that crop up when describing the band’s songs- influence the vocal and direction.  Soul and Pop spar with modern beats to create something instantaneous and classic.  On the one hand, the production and composition have a modernity and radio-friendly vibe that will appeal to many Pop fans and mainstream stations.  On the other hand- and perhaps more pleasingly- is the 1970s/’80s vibe that will draw in older listeners and those with a genuine love for great music.  It is impossible to ignore the beauty and sweetness in the voice:  the acoustic guitar keeps swinging whilst the beats continue to crackle and impress.  Our hero asks for (the girl’s) number and is biding his time.  Ready to explode- he will school her “like a teacher”- and wants a relationship with depth and potential.  Promising to stay true and loyal- unlike the braggadocio and arrogance of some men- there is some honesty and maturity to the lyrics.  The sweat keeps dripping and there is a palpable lust and longing that burns brightly.  You feel our hero is about to explode and desperately wants the girl.  Other guys might rush in and come on too strong.  In order to succeed and separate himself from the clowns; there needs to be some control and discipline.  Upon first listen, Been Lovin’ You is all about that vocal and how aching it is.  There is never melisma and ululation to be found:  the notes and delivery are controlled and in keeping with the lyrical tones of the song.  After future investigation; you discover layers and new joys- the composition and production after the second listen; the lyrics on the third, etc.  When first hearing the song- I have since gone to study the song in a lot more depth- it is impossible to ignore that arresting vocal and the evocative lyrics.  There is so much spark and shiver that emanates from that voice:  the lyrics suggest a young man who has found a rare girl that might be with another guy.  There is some ambiguity in the song that allows the listener to interpret their own version of events.  Maybe the heroine is with someone else- and our hero wants to steal her away- or perhaps the two have just come together and are taking things slowly.  In my mind, the two are single but not wanting to rush into things.  Our man has loved her (whoever she may be) for a while and wants to claim his queen.  Backing the vocal- with layers of voice and delicious compositional touches- and you get a rich, deep and uplifting song that gets into the soul.  Guitars, xylophone-like sounds tie together; the beats remain sparse but effective throughout.

For those who adore the Soul legends and Pop masters of old will find much to recommend and love within Been Lovin’ You.  There is a sense of authority, genuine knowledge and command that makes the song sound so pure and natural.  Nicky Davey has grown up listening to the likes of Prince and Michael Jackson and done them justice here.  Plenty of originality and personality comes out in the song that deserves a lot of respect and radio play.  Too much chart/mainstream music is over-produced, hollow and vacuous.  Too many ‘stars’ have armies of writers working for them:  the music lacks identity and any focus whatsoever.  Worse than that; you have a scene that lacks imagination, intelligence and cross-border appeal.  Nicky Davey has ensured they do not fall into the traps laid by some of music’s least and slight.  Been Lovin’ You has gained a lot of focus and admiration (rightfully so) and shows just what the boys are capable of.  It means their forthcoming E.P. will be met with huge anticipation.  I cannot wait to see what they come up with.

It will be exciting to see what Nicky Davey produce when spring arrives.  Been Lovin’ You is a strong statement from an act that have grown and developed since their inception.  Formed in 2011; the hungry L.A. act have distinguished themselves from the mainstream.  One of the most credible and exciting propositions coming from music:  make sure you check out what these guys are providing.  Nicky Davey are looking to reinvent and push Pop/Soul forward.  In a scene that is still defined by its shallowness and lack of quality- predictable tracks and uninspiring artists- Nicky Davey are on a noble surge.  What you get from the duo (or trio, if you will) is passion and hunger without limits.  It is clear music means everything to the group.  That passion and determination comes through in the music and videos they produce.  It is not about money and column inches with the guys:  they record music to influence others and show their spirit and heart.  I have grown a bit tired of the mainstream and Pop world in general.  Aside from the odd gem you can find; still there are too many one-dimensional and effete artists that all say/sound the same.  What is the point of coming into music is you are not going to put the effort in?!  Maybe there is a degree of lacking talent- said Pop artist just doesn’t have the ability to be different- but there is a worrying trend happening.  Award ceremonies are still highlighting some of the worst and most unspectacular acts music has to provide.  The truly worth/credible artists are those whose musical ability outstrips viewing figures and chart positions.  Nicky Davey haven’t been prostituting their music and hogging red carpets in a (shallow and deplorable) bid for stardom.  They have been grafting and honing to ensure their music reaches as many people as possible.  I love the little touches of Soul legends- Stevie Wonder is a big name you recall- and the ghost of Michael Jackson.  The stunning and rousing vocals beautifully nestle with more modern acts such as Justin Timberlake and Macy Gray.  It seems like the boys are at home in L.A. and feel very comfortable amongst the people.  A huge and supportive crowd follows them and is keen to share and support their music.  It would be great to see the guys come to London and play across the U.K.  There are certain musicians that have wide-ranging appeal and will be in demand across the world.  I can see Nicky Davey playing across Australia, Europe and Asia.  Whether they want to concentrate more on U.S. gigs- and their hometown crowds- I am not too sure.  A new E.P. is mooted and will be snapped up by those who prefer their artists to be obsessed with quality and not fame.  Nicky Davey understand the realities of the city and the struggle musicians have to go through.  Poking fun at the struggles and pitfalls of the game- the video for Been Lovin’ You spoofs it brilliantly- there is happy-go-lucky charm and smile with everything they do.  Too many artists are dour and determined to be as downbeat as they can be.  There is no such danger when it comes to Nicky Davey.  The music world is a lottery that does not seem to have any real sense of justness and balance to it.  I have witnessed too many great artists fall early; so many undeserving artists succeed and prosper.

That capriciousness and unpredictability is worrying for new musicians coming onto the scene.  The first few years are always a real test of durability and strength.  Having been playing for a few years now; Nicky Davey have already jumped the first hurdles with impressive aplomb.  Before wrapping up, I will circle back to the finest L.A. musicians coming through and the importance of blending Soul and Pop.  L.A. had a huge year in music throughout 2015.  This year looks to be even more exciting and prosperous.  Perhaps the finest and most productive city for music:  Los Angeles keeps on giving so much wonder and originality.  Death Valley Girls- Echo Park neighbours of In the Valley Below- fuse Psychobilly and Punk with songs that look at the darker side of life (the occult, for one).  Justin Jay is a master of euphoric and sky-scraping hits:  marimba-like synths. go into songs that compel audiences to chant and come together in an orgy of excitement and delirium.  Swarvy puts old-skool beats and electronics together with Jazz fusions and Rap samples.  Flecks of Thom Yorke emerge in Toy Light:  a daring proposition that adds originality and personality to Electronic music.  I mention other acts- and L.A. peers of Nicky Davey- to show what diversity and excellence is coming forward.  The charts are not really indicative of what real music is all about.  Acts like Nicky Davey are creating disambiguation and given listeners something deep, meaningful and without cynicism.  There are so many artists that are fake and really lack any quality whatsoever.  Some of the musicians being celebrated/awarded at the moment- from Coldplay and Adele to Ed Sheeran- really do not give music a great name.  A trio of artists who have been derided and criticised- Adele and Coldplay’s latest albums lacked inspiration, overall quality and consistency- yet seem to scoop up awards, regardless.  Unsigned and putting out exceptional music:  Nicky Davey deserve more acclaim and following than the likes of Ed Sheeran and Coldplay.  Putting Soul and Pop into a dizzying blender has seen their fan-base climb and their reputation grow in leaps and bounds.  This year will be exciting for the guys and let’s hope they keep their momentum going.  Been Lovin’ You is a song that makes you smile and implores listeners to get involved.  Respect to a musical force that is going to be…

AMONG this year’s most exciting acts.

 

[youtube https://www.youtube.com/watch?v=1Sz1Xk4Fiec&w=560&h=315]

_____________________________________________

Follow Nicky Davey

 

Official:

http://www.nickydavey.com/

Facebook:

https://www.facebook.com/nickydavey?_fb_noscript=1

Twitter:

https://twitter.com/NickyDaveyMusic?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor

_______________________________________

Music

https://soundcloud.com/nickydavey

TRACK REVIEW: Defeat the Band- Love and How It Got That Way

TRACK REVIEW:

 

Defeat the Band

 

 

Love and How It Got That Way

 

9.5/10

 

 

Love and How It Got That Way is available at:

https://soundcloud.com/defeattheband/love-and-how-it-got-that-way-1

RELEASED: December, 2015

GENRES: Indie-Rock

ORIGIN:

Tuscon, Arizona

____________________________________

AS every day passes I am not exactly becoming...

prouder to be a British music fan.  Last night saw the televisation of the annual Brit Awards.  While the ‘Oscars’ and similar award ceremonies have been derided because of the lack of diversity- the nominees are predominantly white- the same is true of the Brits.  I am not saying we need to fill quotas or employ reverse-racism:  Making sure there are black names on the list, regardless of talent.  There are plenty of talented black artists in British music:  The award categories are too few and broad; they do not reflect the wider music community.  The Brit Awards tend to have that reputation as being white, middle-class and boring.  The ‘winners’ from the night include James Bay, Adele (who picked up four awards) and other musicians who did not exactly set the music world alight.  Adele’s album 25 was a massive disappointment and undeserved award winner.  That album did not depart from her previous efforts:  It packed little punch and range; relying on the same big ballads and tear-inducing tracks.  If this is the ‘best’ album from the past year you have to wonder what is happening with music.  Of course, 25 was not actually the best from 2015.  There are dozens of other more deserving albums:  the Brit Awards has a very ‘type’ of audience and has to configure to mainstream expectations and chart figures.  Last night showed how out-of-touch the Brit Awards is with actual music.  The fact Coldplay won the award from Best British Group- how many people would say they are the best we have to offer?!- speaks volumes about the uncool and tragic nature of the awards.  They do not represent people with an actual passion for quality music.  With no edge and terrible dated ‘humour’- Ant McPartlin wearing a dress was the nadir and death knell of their attempt at humour- you had a ceremony that dripped with embarrassment and stupidity.  The worst and most chart-friendly musicians played and were nominated:  what a terrible time and showcase for British music.  If you want to discover proper music and what it offers:  you need to stray award from the idiotic award shows and look deeper.  Maybe there will be a day when national award shows are more diverse and quality-controlled- I am not holding my breath to be honest- but forget about them.  For me- when trying to unearth great music- I do not rely on such nonsense.  Luckily my featured band has erased the sour taste of the Brit Awards.  Before I get to them, I wanted to have a look at the music coming out of Arizona- where Defeat the Band are based.  It may seem like an odd diversion to many:  I do not get to go to U.S. areas away from L.A. and New York that often!  From Gospel Claws through Jimmy Eat World; along to Dear and the Headlights and The Format: there have been so great artists emanate from The Grand Canyon State.  Given its proximity to California; perhaps it is not surprising Arizona houses so many great musicians.  Over the past few years, the state has showcased some great talent.  Future Loves Past (from Tempe) mix ‘70s Pop and Psychedelia; What Laura Says (from Phoenix) boast a wonderfully sunny ‘60s Pop sound; Gospel Claws (the best from Mesa) are one of the best Arizona has to offer.  A lot of us do not look beyond L.A., New York and obvious U.S. areas:  Arizona has plenty of wonderful bands showing what they are made of.  What Arizona does well is stamp some terrific, original Rock bands out.  Defeat the Band is starting to make waves and recently unleashed their album, Something Unheard Of.  Before continuing my investigation- and raising a new point- let me introduce the Tuscon-based band:

Anthony Winkley- Vocals, Rhythm Guitar Michael Story- Bass, Backing Vocals James Ringstrom- Drums

Defeat the band is a Pop/Punk/Showtune band based of Tucson, AZ. Founded in early 2013 as an acoustic solo project by frontman Anthony Winkley, it has since grown to a three piece with hopes to add more. The lineup started to build and change as the band started to form in early 2014, eventually settling on James Ringstrom as the percussive backbone of the outfit. Although Anthony is the composer for most of the songs, James brings the aggressive punch necessary to deliver the experience of a DEFEAT song. The latest addition of Michael Story is exactly the boost the band needed. The new record "Something Unheard Of" released December 18th, 2015 an album meant to set the tone for a springtime US tour in April 2016. Please Download the new record atwww.soundcloud.com/defeattheband and if you enjoy the record and want to help us come play near you the donate at www.gofundme.com/defeattheband”.

The boys are doing things honestly and working hard to get their sounds heard and supported.  While the guys wear some of their influences on their sleeves:  they are not a band that wants to be the same as everyone else.  They kick harder than most groups I have come across; stay in the memory and are consistently impressive and innovating.  Among a scene of rather indistinct bands:  it is nice to discover a group that balks against the trend and does things their own way.  Our Tuscon guys are not in music for the money- although they would like to have a bit! - but get their music heard by a wider audience.  Their new album is gathering praise and review but not as much as it should.  That brings to mind how hard musicians need to campaign to get their voices heard.  It is true there are an awful lot of musicians coming through by the week.  It is a huge challenge keeping control and sifting through the silt- to get to the real gold.  I think the busier music gets; the harder it will be to champion the most deserving musicians.  Social media is only effective to an extent- and needs a lot of work- so I am not sure what the answer is.  Defeat the Band has gained reputation and respect in Arizona- and wider afield for sure- but are almost unknown in the U.K.  I hope the boys come play here as there is a market and a real demand for bands (and musicians) with realness and grit to them.  Tired of the mainstream Pop crap- and the vanilla sounds that plague award shows- we need to foster artists like Defeat the Band.  Something Unheard Of is an impressive nine-track release that proves what a force the band is.  I will follow them (as much as I can) as there are few bands that are as hard-hitting and ambitious as them.  I hope their passion and drive pays off very soon.

The band has not been around too long but have already released quite a bit of material.  A couple of months ago; the boys unveiled Sorry for the Weight:  a five-track E.P. that laid out their intentions and sound.  American Grief has Country tones and a reflectiveness to begin.  Aching vocals and plaintive strumming looks at our man in the wilderness and looking at who he is.  A song that looks inwards for answers- someone that has been blinded by city lights- you sense a soul that needs direction.  Blood Habit has a similarly acoustic-driven sound and showcases the tenderness and sensitivity they are capable of.  The E.P. is a live-sounding and raw insight into the band’s pastoral and acoustic side.  It does not have the same directness and attack of Something Unheard Of.  What you get- and a nice comparison to their album- is how diverse and able the boys are.  Capable of seducing no matter how they sound- whether calmer or going for the jugular- their songs are just as effective when stripped down- compelling when meaty and menacing.  Drawing from U.S. Rock bands- it is hard to overlook the effect Foo Fighters have had- they bring in other artists like The Front Bottoms, Pup and The Rifle.  The band was originally conceived as a solo endeavor (back in 2013) but expanded soon after.  Experimenting with line-up and sound:  the boys seem settled now and are an effective and tight-knit trio.  Given the changeable nature of the band- and how they have evolved- you would expect the music to have some weakness and uncertainty.  There is no such fate with regards Defeat the Band.  Whilst front-man Anthony Winkley puts his stamp on the music; the trio is a democracy where every player has their role and place.  This balance and brotherhood result in music that has seen the group grow in popularity and regard.  The guys will embark on a U.S. tour in a short time and take their latest album far and wide.  Given the fans they have accrued already- their social media numbers continue to widen and climb- it is clear the music is resonating and hitting the mark.  The trio employs mainstream and radio sounds together with individual touches- their native accents and intuition overrides everything- to bring us something deep, direct and nuanced music.  I cannot wait to see how the band progress when it comes to this/next year.  They have momentum but are still looking for that defining moment and a wider audience.  I know the guys are seeking money, fans and tour dates:  they are determined to be big names and have lofty ambitions.  If they continue on their path- and bring more of the same- they are not going to be secrets for too much longer.

I chose to focus on Love and How It Got That Way- I do not do a lot of album reviews- because it is the most instant and memorable (in my view) track from the album.  From the opening moments; you hear that passion and intention come out.  The drum trickles, rolls and patters; the guitars elicit punctuation of aching, sensual strings.  An upbeat and rousing introduction that gets the listener standing to attention.  You will not be able to avoid nodding your head- or moving your feet- hearing that effusive and racing introduction.  After the band have set out their stall; our hero comes to the microphone with concerns.  Whether he is in a relationship- or looking back at one that has ended- there seems to be some issues and questions.  The girl in question- the heroine that is being attested- thinks things are ridiculous; there is something teenage and juvenile in places.  Digging into the lyrics and their meaning; the listener will have their own interpretation and what the song means to them.  Maybe the love was/is not so pure.  The song’s subject is leaving our hero restless and up and night:  the memories of their bond is causing some turmoil or consideration.  There is a spikiness and directness to the heroine which have caused their scars.  When our boys lies awake at night; he starts to bring those memories back and replay the times again and again.

While some of the lyrics get buried in the mix- the instrumentation drowns some of them down- you get hooked into the song’s rousing energy and catchy backdrop.  The guitars, drum and bass kick and skip; change course and remain constantly engaging.  Never descending into Pop territory:  you have a song that brings in some Punk and Rock together with Indie and Alternative strands.  That quiet-loud switch the band have cemented appears throughout the song.  Whilst the majority of the song is quite controlled and calmed:  at various intervals, the vocal reaches an intense point and breaks through the mist.  When a new number arrives; I try and see what motivates the lyrics and pick it apart.  Looking at Love and How It Got That Way and you sense a band that have been messed around in love and are assessing something quite shallow and basic.  The heroine is someone who satisfies (our hero) sexually:  there is nothing deeper or more profound.  The girl has defiled the bed- the imagery the band employ direct and colourful language to drive the point home.  Perhaps the two lovers have different objectives and perspectives.  Maybe there was miscommunication or different ideals.  Our man is showing some scars but also maturity.  Perhaps he did not want something long-lasting or permanent but seems a little annoyed.  Whilst one part of my mind looks at the relationship and scenes- the hot and heavy nights and lack of conversation- I am also invested in the composition that keeps driving and impressing.  It has addictiveness and memorability that ensures it gets inside the brain.  The percussion drives whilst the bass and guitar chug, slam and change courses- ensuing the song remains unpredictable and nimble.  Our hero picks apart the wreckage- maybe the two are together but you’d hope not- and assessed the changing nature of modern love.  In past years- something old and vintage- love was more pure and meaningful.  It seems like there is disposability and sexualisation that is replacing emotions and longevity.  Making sure the vocals are arresting and potent; the band unites to chorus “hey” and “ho”.  That boisterousness and rabble injects some ladishness and swagger.  Maybe the two were on the same plain to begin with.  In so much as the ‘relationship’ had its shallowness; there must have been some more fulfilling times.  Our man pines over his girl and what they had in the past.  Whether it is just about sex- and getting that spark back and alive- the damage has been done.  “Until my voice is rotted through” our hero will pine and yearn.  It is a descriptive and vivid emphasis of this loss and lust.  Strangely, you begin to sympathise and wish the two would rekindle.  Maybe the girl has moved on or the relationship met an untimely and sticky (maybe not the right word) end.  By the closing notes, all has been said and you feel compelled to replay the song- hear those addictive and stunning jams one more time.

With another Brit Awards ringing in my ears (like a screaming child on a plane) I am looking for a musical cold shower.  Something that can wash away the stench of blandness and horridness.  Luckily, Defeat the Band have provided a much-needed dose of perspective and reality.  You will not see these guys pandering to the needs of the charts and mainstream radio bosses- dreary Pop with no insight, originality or guts.  In fact- if they were to attend an award ceremony- you’d like to think they would smash a few tables up and causes some chaos.  I shall leave award shows alone- I could go on for days, to be fair- but my larger point is this: the best and most worthy musicians are not represented by award shows and the nominees.  Love and How It Got That Way is a snippet inside Defeat the Band’s latest album.  I know how hard the boys have worked and toiled to get the record ‘just so’.  The U.S. is putting a lot of great bands our way and we should all be a lot more attentive.  Far too many focuses on British music and are stubborn when it comes to trying new cuisines.

Whilst U.S. politics has bat-sh**-crazy lunatics like Donald Trump rising- and moronic voters in Nevada brainwashed by his insanity- at least the music has sanity and truth to it.  Wouldn’t it be so much easier if we could get rid of the politicians- people elected to speak for us- and let music/musicians lead the way?  It would be a more popular democracy and promote peace and unity over… whatever our leaders proffer.  Anyway; let’s all do our best to look beyond predictable and safe options and celebrate music from other parts of the globe.  Before I finish things off, I wanted to come back to Arizona musicians and the impact they are making.  Go to the Internet and check out musicians like Celebration Guns, Factories and The Holy Coast- a trio of acts playing out of Phoenix.  Away from the state capital, you have a variety of agile young artists staking their claim in music.  Between Tuscon, Tempe and Arizona you have a veritable army of musicians that could happily conquer the scene- were they given enough exposure and attention.  I feel the media- and radio stations to a large extent- do not take risks and take their minds away from the larger cities/states.  I am not sure whether things are different in America- and national radio brands are more adventurous- but it shouldn’t be down to local radio/media to help champion the best a state how to offer.  New York and California get their dues and are put right into the forefront.

What of the solo artist from Boise or the invigorating five-piece from Tallahassee? We might never heard of them- unless we are in the right place at the right time- and lose a wonderful opportunity.  Maybe it is just an issue of numbers and size.  With music growing larger and more corpulent by the day:  how hard is it for a modern-day artist to get their music heard?  Arizona is a wonderfully rich musical centre but there is so much competition at local level.  As good as Defeat the Band is; they have had to work relentlessly to get their music beyond state boundaries and to a wider audience.  I guess the best music has to offer will always win out- even if their struggle is fraught and long.  I have been enjoying what Defeat the Band has to offer.  Their entire album- Something Unheard Of- showcases a consistency and solidity that few other acts possess.  Every song has that unity and tight performances coming out.  The boys have been hitting the road and honing their skills:  taking that experience to the studio and delivering some terrific tracks.  At one moment they roar and deliver feral vocals- Don’t Feed the Bears is particularly direct- whereas songs like Ultra Blue showcase depth and musical innovation- the composition is particularly impressive here.  Among the passion and fervent vocals lingers heart and tenderness.  The band switch between anger and control without a moment’s notice.  They are a collective that puts you in mind of the best stadium Rock band playing.  They have a little bit of Foo Fighters- at their most credible and compelling- without sacrificing their integrity and unique sound.  There is something pleasingly comforting about the Arizona group.  They put your mind in a better place and write music that gets in the head and makes the listener warm.  It might sound like faint praise but too many bands do not leave lasting impressions.  Go and support Defeat the Band as soon as possible:  a band who want to bring the listener in and ensure their music creates smiles and fascination.  It is hard to not love the guys and become immersed in their direct and to-the-point tracks.  Nuanced and deep; compelling and hard-hitting:  genuinely one of the most impressive bands I have encountered this year.  Don’t take my word for it…

DECIDE for yourself.

 

[soundcloud url="https://api.soundcloud.com/tracks/238101717" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

______________________________________________

Follow Defeat the Band

  

Facebook:

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

Twitter:

www.twitter.com/defeat_theband

Instagram:

www.instagram.com/defeattheband

_________________________________________

Music

https://soundcloud.com/defeattheband

 

TRACK REVIEW: Terrorista- Sarah Michelle Gellar

TRACK REVIEW:

 

Terrorista

 

 

 

Sarah Michelle Gellar

 

9.4/10

 

 

 

Sarah Michelle Gellar is available at:

https://soundcloud.com/terroristamusic/sarah-michelle-gellar?in=terroristamusic/sets/softpush-ep

The E.P., Softpush is available at:

https://soundcloud.com/terroristamusic/sets/softpush-ep

RELEASED: 12th February, 2016

GENRES: Post-Punk

ORIGIN:

Toronto, Canada

TRACK LISTING:

Sarah Michelle Gellar

Softpush

Morriseau’s Black

In a Crowd

____________________________________

FOR the first time this year it is...

back to a band who do things a little differently.  Last year- I can’t remember the exact date- I got to review Terrorista and their split-cassette release (they teamed up with fellow Canadians, Outer Rooms).  That particular record really excited me because it seemed very retro. and unusual.  In this day and age- where everything is digital and intangible- to release something on cassette is a bold move.  Like the V.H.S.; cassettes have rightfully been consigned to the annals of history- they were a terrible and flawed invention that were unreliable and frustrating.  Given the fact C.D.s has arrived, we can look back with fondness and relief- more bands should release stuff on cassette.  One of the good things about Terrorista/Outer Room’s endeavor was the mingling of two like-minded and forward-thinking bands.  The Punk/Post-Punk sounds produced really got into my head and elicited something quite wonderful.  I hear a lot of bands that use Punk as a template:  Splicing in Alternative and Rock sounds to create something modern and direct.  Before coming to Terrorista, it is worth talking about their contemporaries in Toronto; other Post-Punk bands coming through- completing with a bit about the wider music scene.  I have featured Toronto-based musicians before and compared them with the bands coming through in the city.  We all know the hottest U.K. acts emerging- or those relevant to us- but Canada is a bit more of a secret.  If you look at the band Toronto has produced- Broken Social Scene, Barenaked Ladies; Crystal Castles and Cowboy Junkies- and you have a vibrant and receptive musical centre.  There is not just a particular ‘sound’ or scene when it comes to Toronto.  Like all great cities- that promote diversity and variation- you have so many options and alternatives in your music.  The bands are not confined to same-old sounds and similar genres.  Last years, acts like New Chance and Princess Century were among the most productive and stunning Toronto had to offer.  It is not just the sound quality that is amazing (with regards Toronto) but the originality of the dynamics.  In some areas, you get predictable four-piece bands and little variation with regards gender and numbers.  Toronto has some great female-fronted bands coming through at the moment.  Weaves, The Beaches and The Beverleys are just a trio of names that have got critics excited and put their stamp on the local scene.  Away from female-lead acts; you have some tremendous duos doing sterling work- Terrorista are among the finest.  I love discovering an act that is not your four-piece-making-Alternative-sounds type:  The same old band we see shoved in our faces by the media on a daily basis.  It does not matter so long as the quality is up there (with regards the four-piece) but there’s a part of the brain that tires of the sameness and turgid lack of surprise.  When confronted with Terrorista last year- and not knowing their back catalogue- they instantly appealed to me.  It is not just that kinship that gets inside the brain- the boys have a kinetic energy and understanding that enforces their music- but the types of songs they were coming up with.  There is scent social media information with regards the boys- they have no official website or biography- so you have to put little bits together to try and get a full impression.  What I do know about them- it is the mainly the music and their reviews- is how highly the duo is regarded.

Terrorista are not just confined to local circles and have hometown appeal:  They are an act that have translated further afield and are making big waves in Canada.  Softpuh is the first E.P. from trhe band in a while and it is great to hear brand-new sounds from a two-piece who have a big future.  What I love about Terrorista is the attention and detail they put into their music.  The sounds recall Punk masters of the ‘70s; a little sprinkling of Alternative music of the ‘90s/’00s- a dollop of up-to-date Rock.  Together, you have an explosion of sound that digs deep and provides colour, emotion and fascination.  The song titles are eye-catching, to say the least.  Not your average tropes and boring clichés- nothing as pedestrian as Home or I Love You- the boys Hollywood nominals (Phillip Seymour Hoffman) with pithy, intriguing one-worded songs- Canvas and Prig for example.  After the split-cassette release of last year- and their Pink Tape work before that- it is exciting to hear the new stuff from the boys.  Whereas their past body of work has been cassette-themed/base; here is an E.P. that is purely digital and modern- maybe they will release it on cassette?  What does remain is that astonishing confidence and the intriguing song titles.  Sarah Michelle Gellar is a curious title- if Fall Out Boy can write about Uma Thurman; why not write a song about the former Buffy the Vampire Slayer actor? - and Morriseau’s Black compels the imagination- Norval Morriseau was an Aboriginal Canadian artist referred to as the 'Picasso of the North' whose work depicted struggles between Canadian and European cultures; spiritualism and mysticism.  If you look at the Post-Punk bands of the ‘70s and ’80s- The Cure and Orange Juice- their legacy has compelled a lot of modern-day examples.  Canadian Post-Punk bands such as Metric, Viet Cong and Fifth Column have shown there is a market for it.  A lot of listeners yearn for that revival of Punk:  Getting back to basics and producing music that provokes a reaction.  Of course, it is hard to really define ‘Post-Punk’ as it’s a sub-genre that straddles geography, sound and dynamics.  Each band (that plays Post-Punk) employs different instruments and may take a different direction.  For that reason, a lot of media sources are frantically promoting the best of the crop:  Rhythm of Cruelty, Freak Heat Waves and Teledrome are among the most hotly-tipped and exciting Canadian Post-Punk bands.  Terrorista are getting themselves out there and nestling alongside the finest out there.  Softpush is another confident step from a duo that has tremendously conviction, consistency and nuance.  In music- and in the wider sense- there is a lack of diversity and originality- the lack of diversity in music (and award nominations) has been lambasted and criticised.  For music to grow and inspire, we need to highlight artists that have that diversity and difference- put them at the forefront.  The media still has an obsession with a particular type of band and artist.  Until they broaden horizons- same goes with award show panels- we are in danger of seeing homogenisation and a rather depressing state of affairs.  I feel Terrorista are capable of- in addition to their peers- forming a shake-up in music.  Revival, improvement and evolution begin with small steps.  By embracing artists that do things differently (and have exceptional quality) it broadens the mind and leads to positive changes- other races being nominated for music awards; a less discriminatory palette.  That is a hotcake for another day- an argument I am keen to explore in depth- but for now, I am thankful Terrorista are back in force!

When Terrorista released Terror Rooms (the split-cassette offering with Outer Rooms) and the Colour Tape Compilation; there was plenty of quality and urgency to be found.  There have been no radically changes and developments over the last couple of years.  So confident and defined early on; the boys didn’t really need to change things too much.  With a hard and gritty sound; the biggest change has been the confidence and subject matter development.  The production values on Softpush are cleaner and more polished than on earlier cuts:  To that end, the guys have grown in stature and confidence and sound completely in their element.  Collaboration and touring has strengthened their sound and what you have now- across the four tracks of Softpush- are songs that demand multiple listens and reaction.  In their earlier cuts, I was compelled to come back time and time again.  This time around, that fascination has not relented for one second.  If anything, I find myself more drawn to the songs and the steps Terrorista have taken.  Perhaps the tracks are more rounded and accessible than on earlier efforts.  Whatever the reason, you can see clear evolution and improvement from a duo that gets stronger with each step.  It will be great seeing how the boys develop from here.  Whether we will ever see a full-length album from them- or that comes years down the line- I am excited, for one.  A duo that is incapable of producing weak songs:  Make sure you get a hold of the latest release from one of Canada’s finest acts.

Sarah Michelle Gellar is the first single from Softpush.  It is a perfect example of all the ingredients that make Terrorisata stand in the mind:  That instantaneousness and raw passion alongside emotional depth and compositional intelligence.  Concise, clear and seductive strings open the song:  It is a reflective and teasing introduction that gets the listener involved straight away.  The sound of the guitar- hard to explain or tie-down- has a romanticism and gracefulness to it.  Evocative and strong- knowing the duo you expect an explosion very soon- that guitar starts to move and become more ambition.  Recalling Post-Punk bands of the ‘70s and ‘80s; Alternative sounds of the ‘90s- with a bit of Grunge thrown into the mire- and you have a bubbling cauldron of exciting scents and possibilities.  I was bracing myself for something bomb-like and bracing.  That bolt and brace arrives soon enough and takes you by the lapel.  Recalling previous tracks- the sound and force of the vocal- you have some familiarity and consistency to that performance.  Fans of the duo’s older work will be pleased the guys have not made any radical departures.  New listeners will be drawn into the song’s electricity and sense of fascination.  When looking at the lyrics; you get some curious insights and possibilities.  The track’s central figure- not sure who it is in the earliest stages- has their face illuminated by traffic lights.  Maybe the song recalls/accounts a date or romantic endeavor (our hero waits for a perfect moment to say goodnight) and there is clear tension and doubt to be found.  Given the song’s title- and the images that come to mind- I wonder whether the U.S. actor was in mind when the lyrics came out.  Maybe our lead saw himself- in a dream or otherwise- courting Sarah Michelle Gellar or involved in some romantic tryst.  The listener gets caught in the ferocity and passion of the vocal.  Some of the lyrics suffer decipherability issues in these exchanges:  The lyrics get buried among the sheer noise and do suffer some clarity problems.  It is not a major quibble as the song grips you with its exhilarating slam and intensity.  I get the impression the song looks at love and the sheer joy of being involved- the duo may correct me on that.  Inside the explosions and raptured utterances, there is subtly and romantic implications to be discovered.  Those early lyrics (the reflection of the traffic lights against the heroine’s face) has a mix of teenage awkwardness and Indie movie charm.  You picture our lead waiting for the perfect moment to make a move- kiss the girl or leave the date on a high- and there is a great sense of what-if and possibilities.  Terrorista display their talent for quiet-loud dynamics and building suspense.  The heroine smiles and our boy seem in the grasp of a very delirious and soul-capturing passion.  After those near-orgasmic Punk explosions, the boys calm things down and allow reflectiveness and tenderness to come in.  Many would expect a Post-Punk band to be all about anger and rebelling against society.  It is a cliché and oversite that is seeing some great musicians being overlooked.  Terrorista demonstrate how much depth and subtlety you can being together with Punk sounds.  Sarah Michelle Gellar juxtaposes its feral moments with some restrained and reflective instrumentations.  You have a chance to breathe and reflect at various junctures.  The track has a constantly movement and always subverts expectations.  One moment it will jagged and savage; the next it will demure and show plenty of heart and soul.  While some of the lyrics will be lost and trip over themselves, the central decelerations and emotions are clear.  Our man is in the midst of a pure love and with someone who is causing all manner of excitement.  Whether this love is reciprocated, it is hard to say:  It doesn’t seem to matter at all!  That emotion and sheer passion makes everything seem right and positive.  The boy will wait until dawn for that perfect moment:  He wants things to end of a high and get a chance for another date.  Maybe the song is based on an established love- and the bond he has with a girl- or there may be some fictionalisation.  It is always great deciphering a song and seeing what inspired it.  The song’s heroine may have flaws and human aspects:  This reality makes that love more intense and provokes realisation and declaration.  You can hear that lust and affection radiate in a vocal that remains compelling and enthralled from the first to final moment.  Terrorista are a two-piece that sound like a big band.  They have so much power and potency at their disposal it is amazing to think it derives from two guys!  What Sarah Michelle Gellar shows (best) is how consistent and impressive the boys are.  A perfect example of what Softpush represents:  Sarah Michelle Gellar is a memorable track that will linger long in the mind.

Softpush continues Terrorista’s hot run of form and shows just what the boys can do.  The four-track E.P. contains no filler:  Instead, you have gems that get shinier and more precious as time elapses.  Songs that hit you upon first investigation- and reveal new wonder after further study- you have an E.P. that balks against the disposability and un-nuanced bands of the moment.  In a Crowd is a quiet-loud brooder that grumbles the one moment; snakes and crawls with venomous intent the next.  Little hints of Joy Division appear in the quieter moments:  The song suddenly explodes and brings about an intense and venomous delivery.  As “We’re all going to go the valley’s edge” where the dead will be raised- not the most evocative image in a song full of memorable visions- you have one of the most visual songs on the E.P.  That tight and intuitive bond (between the duo) is at its peak on the E.P.’s closer.  Consistently intense and focused:  In a Crowd never becomes undisciplined or loses its direction among the throng of sweaty notes and insatiable anger.  Rising from piranhas’ jaws; death-defying moments and repeated mantras lodge into the brain and create something hypnotic.  The E.P.’s title track has soft and tender beginnings- showing the range and diversity of the duo- that soon shifts to balls-to-the-wall aggression.  Snarled vocals are propelled by granite percussion and chugging guitars.  The boys’ ability to shift a 180-degree sees the song go from restful to rampant with nary a moment’s breath.  One of the grittiest and most direct songs on the E.P. - the best representation of Terrorista’s past sound- it is also one of the deepest and busiest songs, too.  The guitar notes create different impressions and ideas- there is so much depth and emotion portrayed- whilst the percussion mixes bellicose tribalism with something accessible and graceful.

The song changes path and evolves as time elapses:  A perfect example of how nuanced the duo can be at their peak.  Morriseau’s Black starts with rumbling guitars and something quite anxious at the start.  Perhaps as conflicted and vivid as its name-sake influence- the Canadian artist whose paintings inspired the boys- you have a song that looks at conflict and clashes.  The central vocal has such a passionate intensity and attack to it; you cannot overlook or ignore its ferocity.  Among the finest cuts from SoftpushMorriseau’s Black is a song that will leave the listener guessing and wondering- just what inspired the words.  Upon first listen, you try and take everything in and remember as much as you can.  You will go back and piece new strands together; recalling memories and finding fresh revelation.  Perhaps the strongest and most focused work (the duo has created):  A confident and exceptional release from one of Canada’s finest Post-Punk acts.  Before leaving things, I wanted to (briefly) come back to my Post-Punk points; a word about Toronto music and the emerging acts to watch.  In the U.K., there is not a great deal of Post-Punk bands being proffered.  Since the days of Echo and the Bunnymen and The Cure- two of the most influential bands of the genre- there have not been too many modern examples pushed to the forefront.  That is a shame, because as Terrosita have proved, there is so much potential and excellence to be discovered.  We in Britain have some stunning Rock and Indie bands appearing:   We need some ambitious Post-Punk bands to arrive and create a bit of shake-up.  I mentioned how a lack of diversity in music is creating a negative awards culture.  When we look at the nominations for the Brit Awards and the Grammys; there are few black and female faces among the proliferation of white ones.  Perhaps it is an age-old issue- when were award shows ever synonymous with diversity and equality- and it is particular prescient in this day and age.   If positive changes will occur in years to come- let us hope controversy and protest affect change- I am not sure.  What I do know is music is less homogenised than award shows suggest.  There are so many varied and wonderful artists emerging- Kendrick Lamar’s To Pimp a Butterfly demonstrated that- who deserve great acclaim and attention.  In terms of sounds, a lot of people are not as bold and adventurous as they should be.  The only way music is going to develop and grow is by taking chances and acknowledging a broader spectrum of musicians.  Softpush is a tight and accomplished statement from a duo that do things very diffidently.  From their quirky and original cassette releases:  We have an E.P. that shows such ambitious, quality and consistency.  Canada- and Toronto especially- is hardly foreign when it comes to waves of Post-Punk genius.  Many have a particular view with regards Post-Punk:  The genre is limited and will just be noise with no depth.  That may be true of some Punk bands- who rigidly adhere to particular acts- but Post-Punk has a lot more variation and range than you’d expect.  I am glad Terrorista are back and they show no signs of slowing any time soon.  What the rest of the year will provide- tour dates or another release- is anyone’s guess.  I hope in time they come to the U.K. and play here.  Whether financial restraints hold them back- or they feel there is little demand- it is hard to say but there is a definite need for their music on our isles.  Check our Sarah Michelle Gellar and Softpush and show how music…

SHOULD be done.

 

[soundcloud url="https://api.soundcloud.com/tracks/245118066" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

__________________________________________

Follow Terrorista

 

Facebook:

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

Twitter:

https://twitter.com/TerroristaMusic

______________________________________

Music

http://terrorista.bandcamp.com/

FEATURE: The Optimism Playlist

FEATURE:

 

 

 

The Optimism Playlist

_________________________

AS every day passes; I find so many people taking to social media...

talking about mental health.  Whether going through stress and heartbreak; confusion and sadness:  It is always galling seeing so many people affected.  I guess it is no surprise so many of us are affected by mental illness.  It is estimated 1 in 4 of us will suffer from a mental health condition- I am surprised at that statistic, to be honest.  Most people I have ever known have suffered from some form of anxiety and depression.  I guess that figure (1 in 4) relates to those diagnosed with depression/mental illness.  To be fair, and if you think about it, how many people have never encountered depression or some form of poor mental health.  With so many of going through it- more and more by the day- there are some alarming stories coming from the press.  It seems most of us who seek help- to combat or deal with the effects of mental ill health- is not getting adequate support.  When perusing social media- I tend to do it more than I should- I am witness to statuses and comments relating to depression, stress, anxiety and other mental disorders.  Those of us who have to endure the misery of depression (for example) always find the same thing:  Most people do not understand what we’re going through.

There are great charities out there campaigning for those who have to go through dark and uncertain days.  From SANE to Depression Alliance:  Some wonderful bodies exist in the U.K.  In desperate need for continued donations and support:  I hope the government invests more capital into charities that are under-funded and overlooked.  Cancer and cancer research gets such a spotlight and focus (only right) but it comes at the cost of other charities and causes.  In 2016, mental illness is still seen as a stigamtising and divisive theme that should not have to fight for respect.  Those who are polemic and short-sighted- people with mental illness need to “get over themselves”- need re-educating and a swift kick.  It is shameful (things like) mental illness is taboo and is relegated to the shadows.  Nearly every one of those will feel the sting or depression or anxiety; the struggle of B.P.D. (Borderline Personality Disorder) or anorexia- or just a few days where we are very down and forlorn.

In the past, I have launched various attempts at a viral charity campaign- including pitches for Shelter and Mind- but have found little support and backing.  I am back highlighting SANE and the great work they do.  Having contacted the charity- I am still waiting for their reply- it is hoped they will get onboard and lend their patronage to my idea.  What I am going to do is premiere The Optimism Playlist.  It would involve sharing a playlist from YouTube.  Each listener would go to the site and select between 9 and 16 tracks that make them feel better/optimistic/reflective.  If the song (you choose) makes you reflect or more open; puts a smile on your face or takes your troubles away- put them all together!  Once you have selected your songs; share that list across social media.  Like the Ice Bucket Challenge; you would nominate a few people- not confined to three- to carry on the incentive and do likewise.

Not only does the campaign encourage people to think more about music and what makes it special to them:  They would have the chance to discover new music and artists they weren’t aware of already.  Similar social media campaigns have been met with success- #NoMakeUpSelfie for one- and raised a lot of money.  In my view, there has not been a real attempt to start a campaign for a mental health charity.  On Facebook; the post would look similar to this:

Here is my entry for The Optimism Playlist:  (List link)

Donated (amount) to: (SANE donation link)

I nominate (Person 1); (Person 2); (Person 3).

 

Twitter would be similar, too:

 

#TOP entry (link).  I nominate @1st person; @2nd person; @3rd person.  (Mind donation link).

 

The Optimism Playlist would be easy to do/share and each ‘participant’ would be encouraged to donate to SANE- there would be a central link that allows you to donate (you can do so by text too).  With SANE on board (hopefully) it would give control to the charity and ensure they could keep a track of donations/the plight of the incentive.

The Optimism Playlist would not just be a chance to share music and spend some time checking some wonderful sounds.  The objective is to consider those who suffer from poor mental health and struggle with a harsh reality.  Go to SANE’s website and hear stories of those who live with the burden of mental illness.  It will give us- anyone not aware of the struggles some people feel- a chance to share that pain and feel more empathy and sympathy- to people who seem to be overlooked by society.

If something like the Ice Bucket Challenge- with its simplicity and vague link to A.L.S. - surely The Optimism Playlist can gain similar support?  The important thing is to include SANE and make sure mental health is brought in and put in the spotlight- rather than a viral campaign that ignores it altogether.  It will take some time and involvement- very few people take part in things like this unless it trends on social media- but I want to raise money and support for a charity that helps so many people out- their aim is to ensure everyone with a mental health problem gets the help they need.

It is no bromide of fad thing:  I want to raise thousands (if not more) for people who desperately need support and guidance.  I will officially ‘get the ball rolling’ next week and post my entry.  My choices so far (subject to change) are:

  1. Higher Ground- Stevie Wonder
  2. Tusk- Fleetwood Mac
  3. Go with the Flow- Queens of the Stone Age
  4. Up the Bracket- The Libertines
  5. Don’t Mug Yourself- The Streets
  6. Shake Your Rump- Beastie Boys
  7. Mr. Wendal- Arrested Development
  8. Step On- Happy Mondays
  9. Tender- Blur
  10. The Boy in the Bubble- Paul Simon
  11. Grace- Jeff Buckley
  12. Deacon Blues- Steely Dan
  13. Groove is In the Heart- Deee-Lite
  14. Carnival- The Cardigans

 

 

 

FEATURE: Jeff Buckley- Me, You and I

FEATURE:

 

 

Jeff Buckley

 

 

Me, You and I

_________________________

PERHAPS apropos of nothing...

it is to Jeff Buckley I divert my passion.  A man capable of awed hush and frisson:  A true musical angel who remains my music idol.  This feature is not entirely without relevance and timing:  In a few weeks, a new compilation is released- bringing some never-heard-before material and early cuts- that were committed to tape before Buckley recorded Grace- his seminal debut and only studio album.  You and I bring some previously heard material- Everyday People and Just Like a Woman has surfaced on YouTube- will nestle with cover versions (The Boy with the Thorn in His Side; I Know It’s Over) with an early version of Grace.  Before I investigate Buckley- and the true reasons for this post- I implore everyone to get You and I when it is released March 11th):  It is an album that shows a once-in-a-lifetime talent in his element; showing an extraordinary talent for interpretation.  Buckley is an artist who not only penned extraordinary original compositions but was a masterful cover artist.  From Led Zeppelin- Night Flight- to Poor Boy Long Ways from Home (a traditional Blues number that the likes of John Lee Hooker have covered this); you have a range of tracks that showcase Buckley’s immense voice and peerless talent.  Just listen to Just Like a Woman—Buckley’s affection for Bob Dylan is evident and clear- and you get shivers and start to lose breath.  Whilst purists argue Dylan tackled the song with more grit and directness- perhaps appropriate given the song’s lyrics- Buckley’s version has such passion and soulfulness- elevating the song to the realms of godliness and Heaven-kissed beauty.  The way that voice wraps itself around the words- almost a sermon from a young man who could relate to every word- is just one snippet of what to expect.

 

[youtube https://www.youtube.com/watch?v=eh-PMHmd00o&w=560&h=315]

 

There will be those- Buckley fans included- that will argue against You and I’s release.  Many will ask why it took so long for these recordings to come to light- given the fact they are over 20-years-old.  Whilst it would have been easy to unveil this compilation following Buckley’s death (in 1997) perhaps it was never appropriate or right at the time.  Others will debate the reason behind the compilation- for financial gain or a way of getting every Buckley moment into the ether- and question the necessity of these recordings.  If Buckley were alive he would probably not want the record to be released- he was a fierce perfectionist throughout his career- and wants to keep these songs private.  Whichever side of the fence you come on, for me at least, You and I is a window into a phenomenal talent finding his feet- discovering who he was as a musician and singing these spellbinding love letters.  I agree it goes against Buckley’s will and desire- a conscience-troubling greediness I will have to reconcile- but you cannot leave these songs in the vault.  Every recording reinvents the original- Calling You is one of the most spine-tingling recordings from Buckley I have heard—and you feel like you are in the studio with Buckley- such is the intimacy and immediacy of the production.  It is just one man and his guitar:  Allowing the songs to pass through his blood; you feel the chills come and drift away.  I cannot wait to get the album (on vinyl; as the gods of music intended) and allow that wondrous voice do its thing.  Of course, You and I arrives with a bittersweet price:  It is terrific hearing new material from Buckley; the fact he is no longer with us is something I cannot get over…

 

[youtube https://www.youtube.com/watch?v=6CHwqGCnh7E&w=560&h=315]

 

Despite the fact I never met Jeff Buckley- I was a 14-year-old when he died- thinking about his death almost reduces me to tears:  Such a beautiful man taken in such a random and avoidable fashion.  En route to the recording studio- Buckley was priming himself to begin recording the follow-up to Grace- the 30-year-old was driving through Memphis.  Having seconded himself in Memphis- he rented a shotgun house and laid some tracks down on 4-track- things were looking very promising.  Buckley was  worlds away from New York and L.A. - the big cities he had called home at various points- and seemed at peace in a tiny house away from the hurly-burly of modern life.  Happy with how things were going- the recording sessions prior to this time saw Buckley dissatisfied with the results- and things were starting to come together.  Buckley went for a swim in Wolf River Harbour (on May 29th) and I cannot figure out why.  Perhaps the water looked inviting and romantic that evening:  Maybe there was a lure or it was a hot day that required a cooling-off opportunity.  After being dragged under the water- passing tugboats had created waves that dragged Buckley down- the U.S. legend was reported missing- his body was discovered days later by a passing tourist boat.  It is such an unfair and insane thing to happen.  One of the music world’s most promising and prodigious talents was taken from the world in such a strange and unnecessary way!

Perhaps it is fitting of an artist so impulsive and bold that he met with such an ending.  Many will argue with mythology and ‘inevitability’- Buckley’s father, Tim Buckley, died at 28- but the truth is it was a tragic accident that should never have happened.  Maybe if Buckley had decided to drive on- get to the studio and pass by the river- music would have been changed forever.  Maybe the young hero would have retired from music in years to come- dissatisfied with the changing face of the industry.  Would he have embraced social media or seen it as an unnecessary tool that takes away human connection?  These questions will (sadly) never find an answer:  That fact causes heartbreak and immense sadness in me.  It is unusual to be attached and in love with someone who was a sound through the speakers- a human I never got to see up-close and personal.

Some people dislike Buckley and find his reputation and legacy rather shallow- a column published in The Guardian back in 2007- http://www.theguardian.com/music/musicblog/2007/jun/02/jeffbuckleynothankyou- saw the writer (a foolish human!) list her reasons and arguments.  If well-argued- plenty of passion in his disapproval- Jude Rogers- the author of the piece- saw Buckley as too calculated and self-aware; someone who penned only a few decent hits- someone who employed melisma and overly-emotive phrasing too often.  Whilst I would never deny anyone their freedom of speech; I cannot agree with anything in this article. True, Jeff Buckley was a man who knew he was good looking and had a tragic past:  Unavoidable, genetic predispositions that he could not overlook or ignore.  Given the fact he only recorded one studio album; it is unfair to criticise a lack of breadth and consistency in Buckley’s songwriting.  An artist who covered a lot of artist- the recordings that surfaced after his death (that could have featured on his 2nd album) were by no means artist-approved and complete- you cannot judge a songwriter on the strength of a few songs.  Sometimes Buckley did over-exude when phrasing and delivering lines; some of his songs lacked necessary intensity and quality- Grace’s Eternal Life lacked the rawness and kick it would be given in the live setting- whereas So Real does not demand repeated listens.  Every artist and album contained a couple of less-than-perfect tracks- how many albums ever recorded are flawless?- and it is unfair to see Jeff Buckley as purely the result of Grace.  If you love the album- the vast majority do- or are indifferent to its charms; the American legend had so much more to him…

Why do I love Jeff Buckley, then- and the real motive behind this piece- you might be asking?  Buckley (I’ll start calling him ‘Jeff’) was a lonely man whose childhood was fraught with constant moving and instability.  Having never known his father- Tim Buckley died of a drugs overdose when Jeff was a boy- he was moved between states and cities.  Music was Jeff’s way of making sense of the world; the way for a shy man to make himself heard- a way for him to express what was inside.  So many musicians today seem so anodyne and robotic- you wonder whether there is a soul behind the eyes- you cannot connect with them or fathom why they are in music at all.  No other artists I have ever known seems so at home in music.  For Jeff, music was not just a vocation or thing to do:  It was a calling; the only thing that really made sense to him.  You only need to hear a few seconds of a Jeff Buckley song knowing how much music means to him.  Every song seems like an exorcism of sorts:  That bruised spirit finding peace and purpose in something pure, magical and transcendent.

Listen to the man talk- with that sweet and angel-like speaking voice- and you can hear that passion and love pour from him.  A human who possessed extraordinary intelligence, wit and wisdom:  Every interview I hear (Buckley conduct) teaches me something new about the world.  Not a soundbite-friendly musician who trots through interviews with expressionless fatigue:  Jeff Buckley was a man who oozed charisma, charm and authority.  The ‘90s was a decade that saw so much terrific music emerge:  Jeff was an artist who stood among the best and brightest from that time.  One of the most influential musicians of all-time; you can hear that legacy in so many of today’s artists.

Main Photograph

The link below- a retrospective feature on Jeff Buckley- is a recent discovery that compelled me to write this piece.  A passion piece that pays tribute to a phenomenal human being:  New information and revelations came out; new sides to a musician I feel I had all figured out.  The narrators/contributors documented Jeff’s time in the U.K.- the young star was excited playing his first gigs in the capital- and the trials and tribulations he faced.  Having to overcome stupid and ignorant interviews- who unwisely brought up Tim Buckley; against Jeff’s wishes- those tense moments were overshadowed by a hungry artist who wanted to bring his music to as many people as possible.  One of the best parts of this documentary- and what really defines Jeff Buckley to me- is how anger defined his music.  During one London interview- Jeff was pissed-off after the D.J. name-dropped Tim  prior to his arrival in the studio- there was so much tension in the air.  Jeff gave one-syllable answers and was (understandably) frosty towards the D.J.  What followed- asked to perform the song Grace- is the stuff of legend.  That particular performance- against the circumstances and anger inside Jeff- dropped jaws and showed how that music; the voice and that soul can turn anything into awe-inspiring beauty and divinity.

 

[youtube https://www.youtube.com/watch?v=Jeno5OeURjo&w=560&h=315]

 

Whatever shit was happening around Jeff- whether it was other people’s stupidity or his struggles with depression and loneliness- it was the music that brought him back to a safe and warm place.  Nothing else mattered when he was lost in the moment.  All the stress and negativity were funneled into something pure and biblical.  One of the great tragedies is the fact I never got to saw Jeff perform live- imagine seeing the legend in an intimate venue absolutely owning it- so have to rely on recorded tracks, interviews etc.  Jeff might not have transitioned well into the 21st century.  A musician who favoured intimate gigs over stadiums- most bands and artists today do the opposite- he would have hated Twitter and Facebook’s ‘influence’ on people- the way communication and friendships are faked and fed through computers.  He would have despised a lot of modern music and what it is turning into.

What I do know is- had Jeff have lived- is the joy and pleasure he would have brought to the world.  You cannot change the past and the tragedy that claims the finest humans:  We are lucky to have had this man on Earth for the short time he was there.  It is hard keeping my emotions in check when typing this- I hear his voice and picture his smile right now- and am so sad it has been 18-and-a-bit years since his death- how has it been THAT long?!  Jeff Buckley is my idol because he epitomised what every musician should be/do.  There was no calculation and fakery to his personality and words.  Someone who was uninterested in sell-out venue gigs and magazine photoshoots:  He was a pure musician that simply wanted to spend his life showing his affection for something that meant so much to him.  Perhaps it is appropriate he is no longer here- he would seem strangely out of place in today’s scene- and the world is so much sadder for his departure.

Main Photograph

I shall leave this piece with a song/moment that (for me, anyway) defines Jeff Buckley- and explains why I idolise this man.  There was no pretense and bullshit; there was just a beautiful man trying to connect and find meaning.  If you have never heard Jeff Buckley’s music- what the hell have you been doing with your life?!- this clip perhaps defines why you should rectify this.  A one-off treasure we will never see the likes of again; I am thankful for any new material that comes to light- You and I will be on my stereo for many months to come.  Jeff Buckley made me connect more with music; he made me feel less alone and lost- a person who seemed similar to me- and I am so fu***** mad he was taken from this planet.  Whilst that anger will never abate; I am at least thankful for what he gave- and what he still gives to us- and the undeniable effect he had on the music world.  For that, and because I don’t need a reason to say this, I will end by saying…

 

[youtube https://www.youtube.com/watch?v=UyZ_trx-sHQ&w=560&h=315]

 

THANK-YOU Jeff Buckley.

____________________________

The Jeff Buckley Playlist:

Main Photograph

[youtube https://www.youtube.com/watch?v=A3adFWKE9JE&w=420&h=315]

[youtube https://www.youtube.com/watch?v=3MMXjunSx80&w=420&h=315]

[youtube https://www.youtube.com/watch?v=y8AWFf7EAc4&w=420&h=315]

[youtube https://www.youtube.com/watch?v=vLHcHWDvgfQ&w=420&h=315]

[youtube https://www.youtube.com/watch?v=lOFmZ3WlTBE&w=420&h=315]

[youtube https://www.youtube.com/watch?v=cMTslWyj8hg&w=560&h=315]

[youtube https://www.youtube.com/watch?v=sA5UAbl1OWY&w=560&h=315]

[youtube https://www.youtube.com/watch?v=LzgbIaBP9cU&w=560&h=315]

_____________________________

For more information on Jeff Buckley:

Main Photograph

http://jeffbuckley.com/

 

TRACK REVIEW: K-Syran- Heartless

TRACK REVIEW:

 

K-Syran

 

 

Heartless

 

9.3/10

 

 

Heartless is available at:

https://www.youtube.com/watch?v=bNUUFaCoT2c

RELEASE DATE:

March 20th, 2015

GENRES: Dance

ORIGIN:

Norway

The album, Smoke in My Veins is available at:

https://itunes.apple.com/gb/album/smoke-in-my-veins-deluxe-edition/id1048025201

____________________________________

IN this rare instance I get to look away from the…

usual themes I discuss and concentrate on an artist (and sound) that is new to these pages.  Before introducing K-Syran; I wanted to look at artists coming out of Norway; acts that take their influence beyond music- completing with a bit about Dance music and mixing genres into that sound.  When I get to venture beyond U.K. and U.S. artists; I tend not to focus too heavily on countries such as Sweden and Norway.  It is perhaps a shame, as these nations are housing so many fascinating and compelling artists in music.  Not just confined to Indie, Alternative and Pop music:  There is so much more adventurousness and direction when you assess a Scandinavian act.  When we think of Norway; I guess a lot of us will envisage Heavy Metal and Thrash Metal acts and a darker side to music.  That may be true of Sweden, but as I have shown in past reviews, this is an oversite and ill-judged assessment.  Norway has a lot of those artists playing- they have spawned everyone from Wardruna to Burzum; Immortal to Taake- but there is a lot more subtlety and depth.  If you want to hear the best black Metal the world has to offer, head to Norway- make sure you dig deeper and look at artists with more heart and passion.  Whilst there is a constituently impressive music scene in Norway; few ears tend to spend much time here- assuming there will not be any treasures at all.  If new bands like Team Me have proved- an Elverum-based Indie/Pop band- there are mainstream and accessible acts a-plenty.  Aurora has recently burst onto the scene- her rather cover versions are rather unspectacular and bland- who will impress more when focusing on her own material.  A sweet-voiced singer that has enough heart to overcome her limitations:  Someone who can make an impression in music shortly.  Away from female Pop you have Rap artists- Norway does have a few, interestingly!- Awill; Indie band Comet Kid; Farao and Highasakite are darlings of Norway right now- showing how many different acts are playing in the country.  Throw in some magic from Jenny Hval, Truls and Samsaya and you are rather spoiled for choice!  I guess you just have to dig deep if you want to unearth great musicians.  Norway is a national that does not get a lot of focus from media in the U.K. to be honest:  A sin of omission that should be rectified given the musicians breaking through.  K-Syran is one of the most impressive and multi-talented coming from Norway right now.  A human who is not just content to let her music impress- her charity and ambassadorial work is laudable; I shall mention that soon- has put her in focus.  Before coming onto my next points, let me bring K-Syran to you:

Norwegian born K-Syran is a singer-songwriter who has received acclaim for her acting achievements on stage and screen, including ‘Voyage in the Dark’ at The Young Vic.  However, her tender vocals always got her noticed and singing in each of her productions.  With a professional drummer as a father, she was deeply inspired by music from a very young age.

Her new album, recorded at the legendary Metropolis Studios, ‘Smoke in My Veins’, is a fusion of Classical, pop, rock, jazz and techno influences together to create her distinctly unique sound. K-Syran nurtured her voice as lead vocalist for a number of groups, but it is as a solo artist that she is enjoying the greatest success.

Running parallel to her catapulting music success, K-Syran has also made considerable waves on the global arts and humanitarian scene. Earlier this year, she took her own play, ‘Breaking The Silence’ to New York. The play was nominated ‘Best Play’ at the Global Summit To End Sexual Violence In Conflict organised by Angelina Jolie and William Hague. K-Syran is also raising much needed awareness for Human Rights Watch through her work.

It is surprising that someone of K-Syran’s calibre and influence has not accrued more followers across social media (they are in the hundreds at the moment).  I have witnessed a lot of acts- to be fair, fly-by-night examples- that amass a huge following and are talked about in honeyed tones.  Whilst their name will escape the lips of many very soon; someone like K-Syran is going to be around for a long while- as a musician and as a humanitarian.  It is the worst side of social media- and perhaps modern society to an extent- that those noble and worthy receive the least; have to struggle to get their name heard.  K-Syran does not threat over social media numbers and ranks:  Her work is shouting loudly and here is a serious proposition.  Whilst Smoke in My Veins is the latest album from the Norwegian; I wanted to focus on a previous track- a little window into her past work- and how she has progressed musically.  Before arriving at that, it is worth talking about (given K-Syran’s humanitarian work) musicians that do more than music alone.  It might not seem worth discuss- I would respectfully disagree- but I feel a great pride when musicians involve themselves with humanitarian/charity efforts.  K-Syran is deeply committed to promoting human rights and is someone trying to bring about (positive) change in the world.  Too many artists simply arrive and record their music; see how it does and then carry on regardless.  I am not suggesting every new artist needs to involve themselves with other people:  It would be nice seeing more go out their way to make the world a better place.  Not only does it give music a great name; it inspires others to follow suit and continue that example.  K-Syran has that passion for improvement and humanity:  lt is hugely impressive discovering a musician that wants to affect change in society.  Blending Dance music together with Pop, Jazz and Techno; here is an artist with so much depth and endeavor.  Previous efforts have shown K-Syran bring immediacy and passion together in songs that have universality and reflection.  Smoke in My Veins is a bold testament and insight from a musician that has a promising future ahead.  She will surely translate across the land- break from Norway/London and gain plaudit further- and is making huge strides already.  In addition to playing in London (this coming March) I will be excited to see where the Norwegian star is headed.  Her sound (and album) has that ubiquitousness and mainstream appeal; there is subtle nuance and hard-hitting emotions- everything the serious music lover looks for.

Smoke in My Veins is the latest album (K-Syran’s second album) effort from an artist who has been around for a few years now.  Tracks like Heartless and Intimacy show two sides to a hungry and talent musician that will linger in the mind for a long time.  It is hard to compare the Norwegian to any other act- not instantly race to mind- so the best thing you can do is assess the tracks on its own merits.  Smoke in My Veins is a confident and multi-genre release that signals a musician that has plenty more albums in her.  I know K-Syran is a playwright- spending a lot of time promoting human rights- and someone who will not sit still and is always working.  This work rate and itinerant passion will see more music emerge from one of music’s brightest propositions.  Whether any future albums continue along the lines of Smoke in My Veins- blending Dance, Pop, Techno and Jazz together- I am not sure.  The immediacy and confidence are there right from the start; each of the album’s tracks say something new and are synonymous with directness and nuance.  You find yourself being hit and affected upon first listen:  Further investigation reveals new light and sides to the music.

Heartless is the second track from Smoke in My Veins and is the finest track the Norwegian artist has produced.  Reading interviews with her; you get insight into a musician that possesses wisdom, humanity and a great affection for the music itself.  Not an artist that simple turns up and puts the bare-minimum into the sound:  Heartless showcases the depth of imagination and daring genre-fuse that has defined her previous work.  Beginning with teasing beats and something exhilarating.  You get control and discipline in the percussion- it never needlessly explodes and wanders off- remaining tight and focused.  Those hissing undertones parabond with the striking percussion core to get the feet tapping and propels the introduction forward.  Synths. and electronic sounds linger in the background to make the composition richer and more varied.  Lush and emotive colours nestle inside the black-and-white directness.  The listener has no idea where the lyrics and song might lead after those initial seconds.  When our heroine approaches the microphone, there seem to be some recriminations and accusations emerging.  Despair and heartache would have been erased had the subject (the hero or heroine of the piece) looked our heroine “in the face”.  Whether these words look at the splits in a relationship or the breakdown of a friendship I am not sure.  There's certain universality and ubqiutousness to the sentiments; so it is hard to know the exact origins behind the song.  Riding the wave of bristling electronics- those tense and teasing beats continue to play- the vocal has an air of anxiety to it that makes you wonder what has occurred.  Perhaps there has been a lack of trust prevailing; our heroine is going to take her tears and take this person down.  In the early moments of the song- and the sound of the composition- you get recollections from ‘90s Dance acts- the likes of Sasha and Corona- that takes you back to a golden time of music.  Whilst some of the vocals have that processes/machine-fed sound to them- they create a mood and urgency rather that paper over a limited voice- you never feel like you are listening to an average artist.

A lot of Pop/mainstream contemporaries process their voice to deceive the listener.  K-Syran has a fine voice but uses technology to add a certain jaggedness and directness to the voice.  The so-called “heartless man” is not working with our heroine and seems like a deplorable sort.  Boasting an endlessly dramatic backdrop- that mix of ‘90s Dance and modern-day edginess is perfect- no one is immune to the song’s strength and meaning.  I get the impression K-Syran is attesting a past love and somebody who was not right for her.  Maybe there was deceit and cheating- maybe there were some mind games and cat-and-mouse double-cross- but whatever the situation; the man is being given a dressing-down in the track.  That central voice keeps strong and passionate- never succumbing to moodiness and ineffectiveness- and ensures the song remains focused and buoyant.  The future would be so much brighter were this man (to let our heroine) into his dreams.  There seem to be conflicts and some contradictions in the track.  On the one hand, you have that accusatory tone and a lot of anger surfacing.  There is that need to eviscerate a rather unsavoury character:  Digging deeper, there are lingering passion and feelings.  Complexity and conflictions lie in our heroine’s heart; Heartless is a song that evokes a wealth of emotions and possibilities.  That composition is not merely there to boast the foreground.  I love those ‘90s vibes and the floor-filler potential that bursts from the speakers.  The modern-day club-goer will find much to love and will no doubt revel in the ecstasy and attack of the composition.  Others will find classic strands in the music that recalls heady days and Dance artists from the past.  As the song progresses- and before that chorus comes back- our heroine keeps her campaign burning bright.  A heart that is more open and pure will become stronger and more human.  The blend of direct and oblique lyrics never reveals names and situations:  It gives each listener a chance to theroise and imagine.  As the feet and voice rise and sway; the mind imagines and the soul tries to uncover truths and the crux of the song.  Past the half-way mark of the song, there is a chance for calm and reflection.  Our heroine launches through the chorus- seeming more determined and attacking than ever- and allows her voice to really push and pervade.  The emotion and directness that comes through- bite and venom linger within the notes- cannot be ignored.  As the song progresses, your attention- perhaps just me in this case- starts to concentrate more on the vocal and composition.  I have perhaps dug as deep as I can with the lyrics- the ideas of infidelity and dishonesty; that man who is heartless and despicable- and pay attention to beats and electronics that get more direct and strike.  The final moments of Heartless repeat the chorus and ensure the central message is understood and reinforced.  By the end, you reflect on the song just past and what our heroine has had to go through.  An exorcism as much anything- there seems to be little lingering hurt and anger- it is a direct and compelling testament that perfectly highlights Smoke in My Vein’s ideas and sounds.

Smoke in My Veins is just one side to a musician that is a lot more than the music alone.  Concerned with affecting change in society- her plays and involvement with humanitarian work is to be applauded- you have a human that cannot rest and is always looking to make things better.  While it may seem separate from the music (human rights involvement) it gives inspiration for those musicians coming through; people that want to find idols and heroes.  K-Syran’s latest album shows a rare talent that will be on the music scene for a long time yet.  Heartless appears on the album and is just one- the album has 12 originals plus a few remixes- side to a mercurial artist with a terrific voice and direction.  I started this review by raising points about Dance music- splicing genres around this core sound- the nature of the life-improving musician; the great artists coming from Norway.   When I was approached with the prospect of K-Syran- via her management company- and the term ‘Dance music’ was leveled my way- I got a slight sense of unrest.  I am not a huge follower of Dance and have to pick carefully when investigating artists of the genre.  Luckily, K-Syran uses Dance as a core and expands and stretches the sound to great effect.  There is that pulsating and insatiable base- that gets the heart pumping- together with softer Pop moments; Techno savageness and Jazz seductiveness.  A mellifluous-cum-direct concoction arrives from one of Norway’s most stunning musicians.  Few of us look towards Norway when we want to find a great musician to follow.  We all tend to stay in the U.K. and U.S.:  Occasionally we look further afield but are somewhat limited in our horizons.  I am culpable of this and am glad to have been brought to the attention of K-Syran.  Her music has compelled me to look at Norway’s music scene and study the best the nation has to offer.  I stated a few examples above- the likes of Awill and Truls- and there is plenty of variation and quality.  That stereotypical view of Norwegian music pervades:  We assume there is nothing but Death Metal and rather bracing music.  While there’s a great deal- and rich heritage of- Death Metal; it is unfair to say that is all Norway has to offer.  Rap artists are shining whilst some great Pop moments are being produced.  Young Indie and Rock bands are nestling alongside the best from this country:  Norway is a nation we should all be looking to for some seriously great acts.  K-Syran is putting Norway into focus and showing just what excellent and range can be found here.  Her stunning music is just one side to a fascinating character that is making changes in the world and setting her sights high.

A playwright and spokesperson for human rights- committed to using her voice to spread positive messages- a truly modern musician that is going to inspire many others to spread themselves and think more deeply about the world.  If we look at the music itself- the album Smoke in My Veins especially- you have a talent that is getting stronger and more assured with every release.  I have looked at K-Syran’s previous tracks- some of which appear on her new album- but the sense of immediacy and quality is apparent the second you start digging into the album.  I have spent a great deal of time looking at Pop, Rock and Alternative acts these past few weeks.  K-Syran takes a hard and effusive Dance beat and marries a variety of sounds to create something stunningly evocative and blood-rushing.  If you have not encountered K-Syran; Smoke in My Veins is a perfect starting place and a wonderful representation of where she is right now.  That confidence and talent radiates in every song:  You cannot imagine K-Syran slowing down anytime soon.  I know our heroine comes to London in March to play:  Let’s hope there are more U.K. gigs booked- K-Syran resides in London now- as so many here would love to hear that music up-close and personal.  Heartless hits you from the first seconds and does not relinquish its grip until the final notes.  In the midst of the rabble and push is a heartfelt nature and openness from a musician that wants to involve the listener and bring them into the moment.  My next week will see British and American acts come together and appear under my radar.  Having heard K-Syran- and searched for some like-minded acts- I have immersed myself in the Norwegian music scene and will champion some of the best from the country.  If you want something bracing but deep; immediate and nuanced:  K-Syran is a musician that provides all you could ever want.  Heartless is a window into a talent that has a lot more to say.  Snap up Smoke in My Veins and support a fertile young musician who…

WANTS to make the world a much better place.

 

[youtube https://www.youtube.com/watch?v=bNUUFaCoT2c&w=560&h=315]

__________________________________________________

Follow K-Syran

 

Facebook:

https://www.facebook.com/ksyranmusic

Twitter:

https://twitter.com/Ksyranmusic

Instagram:

https://www.instagram.com/ksyran/

________________________________________________

Videos:

https://www.youtube.com/channel/UC4UUVwavIgJBf-PqiKvvQHg

TRACK REVIEW: Sunflower Bean- Easier Said

TRACK REVIEW:

 

Sunflower Bean

 

 

Easier Said

 

 

9.6/10

 

 

Easier Said is available at:

http://sunflowerbean.bandcamp.com/track/easier-said

The album, Human Ceremony is available at:

http://sunflowerbean.bandcamp.com/

GENRES: ‘Night Music’; Rock; Psychedelia

ORIGIN:

Brooklyn/Long Island/Manhattan, U.S.A.

TRACK-LISTING:

Human Ceremony

Come On

2013

Easier Said

This Kind of Feeling

I Was Home

Creation Myth

Wall Watcher

I Want You to Give Me Enough Time

Oh, I Just Don’t Know

Space Exploration Disaster

____________________________________

I wanted to review Brooklyn’s Sunflower Bean- without commission or request- because…

their music and way of working really fascinated me.  One of those bands that are doing well in the U.S.- and gaining plaudit and name in the U.K.- they have escaped the ears of some.  It is not often I feature an ‘established’ act- those that have a reputation and cache to their name- and stray away from the unsigned/fledgling acts.  The group’s album Human Ceremony has just been named Rough Trade East’s ‘Album of the Month’- an honour for the New York-based clan.  It seems like their stunning blend of Punk, ‘Night Music’ and Indie has translated to us here and is gaining a lot of steam.  In spite of the recognitions and honorifics:  Sunflower Bean deserves a wider platform and more exposure than they are receiving.  I shall come to that issue soon, but for now, wanted to raise a few points.  Hearing Sunflower Bean- who cover Long Island, Brooklyn and Manhattan in their D.N.A.- give me a chance to get back into New York music; mixing older psychedelia and Punk with new lo-fi; bands that are making impressions in their home countries.  Great as it can be digging the music that emanates from the U.K.; going to the U.S. and seeking the best from their:  That is a pleasure and treat I do not get to do too often.  It is axiomatic saying London has variability and a range of different musicians coming out.  This cultural mix and genre-fusing ambition have made the city synonymous with daring sounds and stick-in-the-brain artists.   It is a claim and fact that has resulted in so many bright and agile musicians locating to the capital and staking their claim in the world of music.  If anything, New York is even more diverse and qualitative.  Given its sheer size and spread- a state that is America’s fourth most populous:  Behind Florida, Texas and California- it is not a shock so many great musicians play around New York.  Whilst California has always been a fond source of U.S. music- a state I go to when I need to discover something warm and engaging- New York has that much-needed grit and excitement.  Maybe living up to stereotypes of the states- California warm and sunny; New York more dangerous and edgy- I know New York will always produce music of the highest order.  Among a busy and no-room-to-maneuver state; I am always surprised musicians can come up with such natural and un-suffocated sounds.  Sunflower Bean is not a band who sounds hustled and strained:  Their songs have room to breathe and a terrific amount of focus and ambition.  Before I continue onto my next points, let me introduce the band to you:

Jacob Faber (drums) Julia Cumming (vox/bass) Nick Kivlen (vox/guitar)

In their first year, Sunflower Bean has made waves coast to coast. Julia Cumming (vox/bass), Nick Kivlen (vox/guitar), and Jacob Faber (drums), draw from a wealth of rugged lo-fi sounds, adapting the heroic charisma of VU psychedelia and Black Sabbath’s dark rock to fit their own generation’s drowsy ethos.

Having formed a few years ago, the trio quickly established themselves as one of America’s hottest propositions.  Not just confined to New York and the east of America:  The guys have played all across the land and taken their music internationally.  Recently, they traveled to France and played a gig there (playing Lille on the 13th) before coming to the U.K. - Edinburgh and Manchester were covered and conquered.  The band is preparing for extensive dates across the U.S. - Canada is part of the itinerary too- and it seems they have little time for rest.  When confronted with a band- and deciphering why they are so popular- I de-compartmentalise their sounds and deconstruct them a little.  It always baffles my brain when certain bands do so well and gain (undeserved, to my view) credibility and gig slots.  There are too many artists pandering to critical expectations and taking risks in music.  The Indie-cum-Alternative bands that toss-off second-rate replications of existing bands- the same suspects are often subjected to piracy- are those culpable.  Whilst it is great hearing a band with passion and desire:  That should not come at the expense of originality and surprise.  Sunflower Bean has their influences and idols but cunningly mix lo-fi Punk with darker strands and Heavy Metal influences- ensuring at heart they remain accessible and embracing.  This is a trio that packs plenty of punch without drawing too much blood.  They have humanitarianism and fight; they possess contrasts and complexities- all found in music that begs for deep study and repetition.  Having enthralled and seduced America- no easy feat; even if you live there- they have deftly intoxicated Europe and threaten to colonise and dominate the globe.  Whilst they have no plans to relent touring and rest anytime soon- their next few months are going to be very busy- it would be great to see the band take some time out and relax.  Human Ceremony will be dropped soon to the public:  An 11-track album that boasts wonderful titles (Space Exploration Disaster for one) and plenty of nuance.  The album has already gained pre-released thumbs-up- including that shout-out from Rough Trade East- and come highly recommended.  Having just played Brighton last night- not sure if they are sticking around the U.K. for a bit longer- the trio is excited to see what their (first) album does.  It has gathered some respect and applause so far:  It is only a matter of time before the group plays our biggest festivals- 'Reading and Leeds' seems ready-made for them!  Being so tightly bonded and electrifying- it sounds like the guys have been playing with each other for decades- you cannot escape the immediacy and intensity of their music.  For those scared off by the pronouns, verbs and damned right proclamations:  Here is a group that welcomes the listener in and sucks them into a wonderful place.  Recalling memories of ‘70s Punk with of-the-moment Rock- via some Led Zeppelin and The Velvet Underground- and you have a group that is ready for the big leagues.

Human Ceremony is the first full-length release from Sunflower Bean.  Although the band has released E.P.s in the past- Show Me Your Seven Secrets was a 6-track cut- they have shown growth and evolution from their initial days.

   Bread was the first release from the band- recording in a home studio in 2014- and showcases some atmospheric and far-off vocals.  Dreamy and drugged- embers of The Velvet Underground echo- you have a song that has that under-produced/D.I.Y. charm and a clear signature sound.  Recalling elements of other bands- but never too obvious with the influence- the track gets inside the brain and subverts expectations.  Changing course and pace at will; the song starts to race before the halfway mark.  Tender notes and sprinting strings melt with cosmic interjections and echoed notes- creating something dizzying and intoxicating.  The band employs few lyrics- the 2nd half of the song is largely compositional- and creates mood and fascination with the instrumentation.

Show Me Your Seven Secrets was unveiled early last year and saw the band at their moist ambitious.  Past E.P.s- 2014’s release, 2013 was a 2-track cut- were concise and short insights into the band’s current ideas.  Show Me’ boasted 6 tracks and expanded their sound across a mini-album.  2013 starts with racing strings and an air of excitability.  Carefully deployed words- lines come with an ellipsis after them to begin- leads to more heavy and hot projection.  The band showcases their unique dynamics and discipline- changing pace at a moment’s notice to evoke the biggest reaction- and seem at their most confident.  2013 is a song that contains so many details and ideas.  Futuristic and retro. at once- a song that looks back but seems like a prophecy- it has a quirkiness and charm that is hard to escape.  Tame Impala starts with some hooking bass before going straight into some devilish and attacking guitar.  Focused and intense; the vocal has such intensity and ferocity.  Reminding me of Alison Mosshart’s most febrile performances- that same sort of thrust-and-parry can be detected- the song is darker than 2013.  Head-spinning, psychotropic and teeth-baring; there are (again; like other releases) shades of Velvet Underground and bit of Led Zeppelin’s Physical Graffiti.  The blend of Rock and Avant-Garde fuses beautifully in a song that draws you in and demands a reaction.  Ok Mr. Man begins with echo and intrigue before expanding into light-seeking and impassioned compositional charge.  Whilst the vocal seems to be mixed quite low to start- playing the lesser role in the early exchanges- the band demonstrate their innovativeness and spectacular musicianship.  A composition that promotes so many images and possibilities- it drives and saunters down a desert highway- there is mysticism, heart and darkness in a song that showcases the full talents of Sunflower Bean.

Human Ceremony is not such a gamble given the past of a band that gets stronger and more confident.  Show Me Your Seven Secrets was met with critical acclaim and showed they could remain enthralling and essential when spreading their sound out.  The fear was- given this is the first album from them- whether they would sustain interest over 11 tracks.  Sunflower Bean has so much inventiveness and talent they make sure no two songs sound the same.  Human Ceremony is not a grand-natured departure or about-face:  The band keep their core sound intact and show the same confidence and quality they have always boasted.  What is new and unexpected is how assured and nerve-free the trio is across the album.  There are no weak songs and if anything, the New York band showcase their most nuanced and stunning work to date.  Whether it is the touring and honing- having spent so much time on the road- you get tight and stunning songs that remain in the memory and compel the listener to come back time and time again.

Easier Said kicks off with light and breezy strings that evoke summer and something quite pure.  Relaxed and charming; the listener is gently brought unto proceedings.  It is hard to bring other bands and sounds into mind (when considering that introduction) but you get a little drop of ‘60s Pop and Avant-Garde inside Fleetwood Mac-esque vibes.  Once those effusive and serotonin notes have completed, our heroine comes to the microphone.  Allowing her voice to stretch and campaign:  Early words see her “on the outside” trying to look in.  It seems (she) needs to prove herself and has been cast aside for some reason.  Wanting to demonstrate she is in the “right mind”; the brain instantly gets to worth uncovering the origins of the lyric.  Maybe broad interpretation steers towards love and relationship quandaries.  Maybe our heroine has encountered some fragmentation in a relationship:  Trying to get onto an equal footing; there's anxiety and desire coming through in the voice.  Needing that justice and opportunity- to prove herself and redress the balance- unafraid “to take the blame”; you get more intrigue and fascination.  She will take a chance and make things right; concede some defeat and blame perhaps.  Every word and line bring new images and possibilities to the mind.  I find myself looking at the issues of love and relations as each sentiment emerges.  Backed by lilting and graceful strings- that have that summertime Pop and passion to them- the vocal continues to impress and get inside the brain.  Never too haunted or pressing; that control and consideration ensure the listeners are never lead in one direction.  Each person has a chance to interpret as they feel and arrive at their own conclusions.  I scanned Google to see if there were any articles about the song- to see where the origins lie.  The first couple of verse are:  “You try hard to see but I'm lying/On the outside/Give me one last chance to see it/I'm in the right mind/Act so tough, make you prove/Don't be afraid to see it through/And I'm not scared to take your place/It's not your fault, emancipate”.  From those lines, I get the idea of love but also of music itself.  The lines regarding “take your place” and “emancipate” give me insights into a band that are rebelling against the tried-and-tested.

It is the curiosity and obliqueness of the lines that will probably intrigue the listener most.  Whilst the composition-and-vocal combination has dreaminess and Pop sentiments- perhaps the more serene and enchanted the band have been for some time- it is those lines that create the biggest impressions.  When the chorus arrives, our heroine attests she “heard you right the first time”.  At every turn, I grow more curious as to the reality and inspiration for these lines.  My mind is split between relationship battles and something rooted in the music business.  Perhaps Sunflower Bean is fed up with the tired bands that all project the same sound- that blend of Post-Grunge and Alternative.  Being more developed and original; there is that push against the stolid nature of music and the necessity for boldness.  Perhaps bands make proclamations about moving on/growing:  It is easier said than done when it comes to execution.  The best songs have depth and are never too obvious in their meanings.  Easier Said digs deeps and allows the listener to transpose themselves into the mix and extrapolate their own conclusions.  Whether I am near-the-mark- or some way off- it will be interesting to see what inspired the song.  When the next verse swings in; you get the same heartfelt vocal and spirited composition- keeping those warm vibes flowing- and more pieces of the puzzle.  “Trying to ride by our cabin/It's in my head/Should have just stayed home when I'd rather/Be alone instead” are lines that take my interpretations to other avenues and my thoughts start to stray away from love- more firmly rooted in something music-based or creative.  In spite of the near-ethereal nature of the voice; anger and accusation linger in the delivery.  “You’re getting old/So act your age” is delivered with the necessary amount of directness and fatigue.  Every new revelation has that unfettered and natural smile that keeps the song uplifted and positive.  The song’s core and title is a relevant one to all of us.  It is easier said than done when it comes to promises and changes.  Whether representing a friend, lover or music peers:  You get a track that has a lot of truth and relevance to it.  By the closing stages, more truth and insight is revealed.  Mistakes are being made (the same old ones) and it is getting quite sad- certain patheticness pervades throughout.  Buoyed by the light-seeking and Lush-inspired strings; the band unify for one final push.

Easier Said might be a red herring when it comes to Human Ceremony.  Reviewers and press have noted how light and airyated Easier Said appears- contrasting their most recent work and hardness.  Influenced by ‘60s and ‘70s Pop; you have a number that shows new sides of Sunflower Bean whilst keeping their core firm.  Backed by tremendous production- that allows every element to be heard and shine- the trio sound more urgent and addictive than ever before.  A beautiful composition and stunning vocal are only the start of things.  Dig deep and Easier Said reveals new layers and gold with every listen.  Whatever the truth of the song- an enigma I may never crack- it is exciting to speculate and imagine.  Human Ceremony is an album that is defined by range and variation:  Easier Said is a perfect example of the quality and passion Sunflower Bean possess.  The confidence that is lacking from some bands is compensated in the ranks of the New York trio.  Few bands sound as elemental and assured as Sunflower Bean.  Easier Said has hints of '80s Blondie with some U.K. Indie:  A concoction of genres and decades that hangs together supremely.  A stunning glimpse into their forthcoming album:  Make sure you involve yourself in the beauty of Easier Said.

Human Ceremony is an album that comes with expectations and speculations.  After amassing loyal fans and attracting the ear of the media- their previous E.P.s have all been greeted with near-universal approval- many wonder how the band with adapt to a full-length release.  Would their established and unique sound become labored over the course of 11 songs?  Would the guys betray their core- in the face of rising popularity- and go with something safer and more ‘mainstream’?  Thank goodness the trio have answered both questions with a resounding f*** off.  If anything, the New York trio sounds as urgent and meaningful as ever.  The best moments of Human Ceremony- there are many of them- are focused and assured.  No song runs too long and by the end of the album; the listener will be asking for more.  Bringing in new lyrical inspiration and fresh confidence- the extensive touring has honed them and shows in their tight compositions and assuredness- you have an album that explodes with brilliance and potential.  Our favourite new band have not sacrificed their integrity and intuitions and replaced it with something vanilla and watered-down.  Finding gold and new beauty in each number; fans can breathe a sigh of relief.  Those who have followed Sunflower Bean from the beginning will find much to love in their new album.  What is new- and will bring in fresh faces for sure- if how current the music sounds.  Whilst there are those embers of Zeppelin and other idols:  Every moment is so gripping and pure it does not confine itself to any particular group or genre.  Open and honest; layered and complex:  These are the qualities that make Human Ceremony a much-heralded creation.  I would elucidate- perhaps an album review at a later juncture? - although Easier Said is a perfect insight into an album that will firmly place Sunflower Bean on the map.  Before wrapping proceedings up; coming back to my original points would seem pertinent.  Gleaning information from interviews the band has conducted- the guys recently chatted to Paste- and you get wisdom and honesty from a group who know exactly where they want to be.  Whilst talking about the mortality of creative peak- they explained that artists and directors get better with age; musicians seem to hit their stride younger- they seem very down-to-earth and realistic.  Music is so demanding and cut-throat- the group wondered whether they would have a chance to play if their album fell short; not a fate they should contemplate- yet Sunflower Bean seems unlikely to fail.   This trio constantly evolves and grows- taking influence from modern artists like Tame Impala in addition to older idols- and write with contrasts and human emotions firmly in mind.

One of the reasons I raised a point (up top in this review) about their inimitable blend- the lo-fi Punk and ‘70s Rock- is relevant to the band’s creation and sound.  In 2012, there was a lot of Post-Grunge/Art-Noise bands playing- all sounding the same; none that inspired- and directionless-ness and fatigue around Brooklyn.  Straying from that mould; Sunflower Bean took the heart and soul of Fleetwood Mac and Led Zeppelin:  Transformed it into something modern and unique.  The band themselves have already started penning new material- perhaps another album will appear some way down the track?- and are passionate and hungry to get their music into the ether.  With New York’s reputation as the doyenne of music- the finest and most splendid bands hail here- I am not shocked Sunflower Bean have done so well.  They have seen/been put off by the rather predictable sound of 2012- that need to recapture a past movement with no imagination- and displayed the best traits of the state.  Taking guidance from their heroes and influencers- the Rock gods and Krautrock artists of the ‘70s- and you have sensational music that is constantly engaging and inspiring from beginning to end.  I am sure Human Ceremony will do a roaring trade upon its official release.  The fact it has already picked up adulation in the U.K. bodes well for potential festival call-ups.  So many people are fed up with the samey bands who headline our biggest festivals- Coldplay, rather predictably, have been announced as headliners for Glastonbury (*sigh*).  I do not know who will headline 'Reading and Leeds'- probably Muse or someone like that- but there are so many treasures waiting to be discovered.  While Sunflower Bean might not (as yet anyway) be main-stage-ready quite yet:  I wouldn’t bank against them being festival headliners very soon.  If you have not heard Easier Said; ensure you dive into song and prepare to be blown away by one of music’s biggest emerging bands.  They have worked hard and relentlessly to ensure their sounds distinguish themselves from the crowd.  I cannot wait to get a hold of Human Ceremony and see the band in the flesh.  As they prepare to head back to the U.S. - a restless and tiring tour schedule awaits them- it will give the New York trio a chance to showcase the new material and gain feedback.  For those who feel depressed with the under-ambitious nature of some bands- who seem stuck in a rut and rudderless- ensure you give Sunflower Bean proper attention.  Never ones to disappoint; their music digs deep and will take you somewhere…

YOU will never want to leave.

 

[bandcamp width=350 height=470 album=1281511610 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=3168079846]

____________________________________________

Follow Sunflower Bean

 

Facebook

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

Twitter

https://twitter.com/Sunflower_Bean

Instagram

https://www.instagram.com/sunflowerbean/

_________________________________________

Music

http://sunflowerbean.bandcamp.com/

_________________________________________

Videos

https://www.youtube.com/channel/UCPKGJGJM-g9waSw1zVvZuKw

TRACK REVIEW: Aperture- Get in Line

TRACK REVIEW:

 

Aperture

 

 

Get in Line

 

9.3/10

 

Get in Line is available at:

https://soundcloud.com/apertureedinburgh/get-in-line-1

RELEASED: November, 2015

GENRES: Alternative; Punk; Dance; New Wave

ORIGIN:

Edinburgh, U.K.

____________________________________

GIVEN the depth of feeling among the music community...

Given the untimely passing of Viola Beach- a bright young band who were recently killed in a car crash in Sweden- there is a campaign to get their song Swings & Waterslides to the charts.  It is perhaps only right that a group who yearned for stardom and success should be honoured in such a way.  Given the horrible surroundings that propelled this campaign:  Let’s hope this is not just a zeitgeist measure that is a one-off thing.  Viola Beach are the personification of a band that is a lot more than the sum of their music.  Their attitude and personality were highlighted- fans and listeners that saw them in the flesh- and they are a group whose back catalogue- every song they have recorded- deserves wider scrutiny and long-term investigation.  While it is sad to see one of our up-and-coming groups taken away; the tragedy has at least proven how much the public care about real music.   It is a point I want to raise- the definition of the word ‘real’- in addition to Punk/Alternative sounds emerging; finishing off with a bit about Edinburgh’s best bands emerging.  Among by midst of skepticism- some bands that are not quite up to standard at the moment- there are a fair few that are pioneering some rather exciting and unexpected songs.  While there are some weak and ineffectual bands around- a depressing amount when you think about it- there is enough out there to suggest we have some future legends in our midst.  It is difficult to distinguish yourself from the crowd- given the amount of artists emerging- so gaining recognition is a hell of a challenge.  We all have our definition of what ‘real music’ consists.  To me, it is those who do not follow the pack and have their own way of working.  One of my main criticisms- when it comes to unoriginal bands- is how they just replicate their idols’ sounds.  Artists that are brave enough to experiment and pioneer are those who will get my applause.  Whether they are Rock or Alternative; Pop or Heavy Metal:  I will always follow those bands that push the envelope and do not copycat anyone else.  A lot of the bands heralded by critics over the past year- Chvrches, Wolf Alice and Beach House for example- have gained recognition for their incredible albums and way of working.  There is a trio of acts who very much have their own sound and are determined not to singled-in with any other group.  That said- and despite the recognition they have obtained- it seems to be the solo artists who have stolen focus.  I am not sure whether there are fewer bands that are truly exceptional- the lone stars are gaining foothold and plaudit- but their once-held dominance is starting to slip.  Among the newcomers working in the underground- trying to ensure bands are not overlooked- are some wonderful artists.  Aperture are an honest and hard-working quartet that have the potential to be one of our big artists of the future.  Before I raise a couple of new points- and highlight the merits of Aperture- let me introduce them to you:

Lisa McGlynn (vox) Lachlan McIntosh (drums) Tom Galbraith (guitar) Martin Munoz  (bass)

Aperture were formed in 2010 by Lead Singer Lisa McGlynn, as a female -fronted alternative rock band. Independently released debut single 'Chemistry' .

Possessing a defined archaic sound, ‘Get In Line’ instantly finds your mind wandering into a souped-up version of the 80’s rock scene. While being complimented by both modernised adventure and tributes to Aperture’s inspirations (The Cure, Yeah Yeah Yeahs); ‘Get In Line’ is the definition of a time-hop, neatly allowing the track to be likened to every era of music." (Gigslutz)

 

Aperture tracks have been played on Aaron Philips Amazing Radio Rock Show, Jim Gellatly's Amazing Radio Show, Leith FM, Diamond FM, Pulse Radio and Radio Salford. The band have played with excellent Scottish acts such as Bwani Junction, United Fruit, Aerials Up and White Heath, Make Sparks and Vukovi.”

Aperture walks the line when it comes to originality and tribute.  The band has their heroes and favourite acts- including The Cure and Red Hot Chili Peppers- but do not sound too similar to any of them.  A lot great Alternative-cum-Punk bands are emerging and gaining the ear of radio stations and the media.  Whether it is the favoured sound at the moment- and rebels sufficiently against the bland Pop that seems to persist- I am not sure.  One thing I do know is that the public yearn and crave music that is direct and pure.  With no polish, garnish and falsehoods:  They seek bands that recall the legends of old whilst injecting something original and hard-hitting into the blend.  Aperture was new to me until a few weeks ago:  It has been great discovering a Scottish band that are gaining headway and respect.  Whilst I have looked at the Punk/Rock blends of Aperture; there is much more to them than that.  Throwing Dance and New Wave together to create music that fire on all cylinders.  Not your average and predictable band here:  The four-piece are a lot deeper and assured than the majority of their peers.  Anyone seeking a band that sticks in the mind and has the potential to remains on the scene:  We have a fine example of what you are looking for.  Edinburgh has come under my radar a lot over the years.  Whilst my last Scottish-based review concerned Glasgow- and I looked at the great bands from that city- it is to Edinburgh I am headed today.  Historically, the city has produced some dodgy acts- Bilbo Baggins are the stuff of nightmares- but are cranking out some of modern music’s finest acts.  Boards of Canada have been established for a long time but continue to produce wonderful music.  Young Fathers and Broken Records are among the most important modern-day acts playing around Edinburgh.  With The Beta Band and Idewild being among the city’s most influential artists; it is clearly a rich musical pedigree with regards Edinburgh.  In terms of the new artists coming through, Birdhead, Black International and Law are just a few examples of future stars.  The media does not spend a lot of time concentrating on Edinburgh bands- compared to the time they expend in London and Manchester- so we often have to rely on social media links.  What I do not is- from reviewing act around Scotland- is how many fine young musicians are playing here.  The future of music is going to hinge on whether the media expands their horizons and gives equal time to bands from other parts of the U.K.  Aperture have received some great radio play and are definitely on the rise:  I feel with a bit of media patronage they could transcend boundaries are emerge into the mainstream in years to come.  Whether they have an E.P. or album coming this year- I am not sure what their studio plans consist- they are a band worth keeping your eyes on.

If you have not heard of Aperture; you might be looking for acts and bands that have inspired them.  The list below- taken from the group’s Facebook page- is an indication and good guide:

The Cure, Siouxsie & the Banshees, Joy Division, PJ Harvey, Red Hot Chilli Peppers, Artic Monkeys, Skunk Ananasie, Led Zepellin, Soundgarden, Nevermore, Altered Images, Blondie, Yeah Yeah Yeahs, Paramore, Flyleaf, Steven Severin, The Bay City Rollers, Pat McGlynn Band ............Classic Rock

There are a lot of names on that list but it gives you an overview of what Aperture are all about.  I was excited reviewing Get in Line but was keen to look back and see how the band started out.  When looking at Get in Line- and how the song has developed from older efforts- Good to Know You is a pertinent start.  Confident and catchy from the off, it boasts some terrific band interplay and memorable lyrics.  If anything, the song requires that addition kick- a bigger performance and extra volume- but is an early song that showed just how nimble and authoritative the band is.  The lead vocals have clarity and run a gamut of emotions.  Switching course and breathless in its campaign:  One of the most compelling and passionate vocal performances from the band’s catalogue.  The chorus is instantly memorable and will leave you singing along and chanting upon further listens.  Hard to compare with other bands and artists- it has a distinct uniqueness- there is a mix of sounds and ideas brought in.

With Good to Know You released four years ago; Click is another song that is was released around the same time.  Displaying a similar force and passion of Good to Know You:  Here is another driving and determined assault that highlights that tight-knit bond the band shares.  The percussion and bass particularly stand out here.  The former is impressively teasing, ear-catching and consistent- a performance full of pace, power and technique.  The bass is allowed to shine and guides the song perfectly.  To be fair, each instrument is allowed to shine and demonstrate the musicianship and talents of all the band’s members.  Whilst not as catchy as Good to Know You; the band sounds tighter and more confident here.

Before their Get in Line E.P., the band sounded formed and confident, to say the least.  Their E.P. - and the song Get in Line- benefits from more polished production that brings that force, volume and clarity together.  Sounding stronger and more direct than ever; songs like Chemistry get inside the mind and the originality the band has.  Bringing in a few different influences- nothing too obvious- you get a song (and E.P.) that bristles with edginess and attitude; there's heart and soulfulness- all coming together in exceptional performances.  The E.P.’s title track is a perfect representation of the band’s evolution.  The guys sound more together, confident and forceful than on earlier efforts.  Those sapling cuts had layers and hugely memorable moments, yet I felt there were some nerves at work.  Maybe not as full-bodied and bold as they should be; the newer songs are much more compelling and potent.  Maybe touring and gigs- between the older and new songs- has strengthened the band and lead to this improvement.  Whatever the reason; we have a four-piece that keeps getting better and Get in Line’s title track is a song definitely worth investigating.

With every track I assess; I try and dig down to its core and extrapolate meaning and definition from the lyrics.  As I settled down to study Aperture’s current single; I was stunned to attention.  The initial moments see that inimitable bass shine.  Few tracks give the bass a chance to come up front and lead a song.  When I look at band’s and bass players that get exposure- Led Zeppelin and Muse among them- I wonder why it is an instrument few others give exposure to.  Not as shredding and electrifying as guitar; it is a component that is hugely important and vital to the mix.  Aperture understands this and ensure Martin Munoz’s weapon lead the charge.  With its funky and sassy crawl- a snake-like slither that has plenty of teeth- you get hooked into that swirling and teasing line that is like a bomb floating through the sky- not exploding but menacing in its presence and potential.  That explosion arrives soon after:  The band unleashes some kick-ass and lightning licks that scratch, explode and endeavor.  The beginning- of the riffs that is- have that scratchiness and composure.  Never bursting and losing control- instead, they keep things tense and under-the-surface.  When our lead comes in; the lyrics have some obliqueness and open-for-interpretation mystery.  When looking up and down; side to side and all around- time is being taken and annoyance comes through in the voice.  As our heroine looks around; everybody is going to “take your time”.  Whilst getting things wrong- not sure if it is reference to something musical or romantic- you start to wonder what is being referenced.  The band repeats lyrics as mantras in the song.  The ideas of getting in line and taking your time are reintroduced time again.  Amazed by the band’s bond and passion- they have a knack when it comes to stunning compositions- I was trying to get to the bottom of those lyrics.

Sounding completely struck and involved; our heroine ensures every word hits the mark and speaks to the listen.  In those early exchanges, you start to piece things together and discover some truth and insight.  Telling people to get in line- whether music contemporaries; friends or perhaps people in general- there is emotion and revelation unfolding.  The true nature of the song is something I am not sure- may have to hear from the band on this one- but I get impressions of a woman who is struggling against the pressures of the modern world and expectations.  Perhaps it is a general statement of discontent and something political coming through.  Maybe being a young woman in a young band- and having struggled to get true recognition- it is a campaign against the political scene.  Maybe there are odd expectations in music- Aperture are not getting recognition they deserve- with everyone expecting something different.  Maybe there remains a simpler romantic unhappiness or stresses of life starting to surface.  Whatever the origins; you get involved in a performance with heart and sheer passion.  Before any more words are revealed, the band unleashes some catchy and spirited riffs- crossing Artic Monkeys with Siouxsie & the Banshees- with the entire band sounding tight and together.  That determination and simplicity rule throughout a song that is direct and economical.  There are few lyrics overall- a set of a few lines repeated throughout- whereas the composition is muscular, disciplined and concentrated.  Our heroine’s lead has plenty of life and diversity to it- at once spiked; the next breathless and pissed-off.  By having those core themes and lines; the listener cannot help but remember the song and find yourself singing along.  Imploring people to “move along”; there is a mix of confidence and mystery to the words.  Gaining pace and power as the song progresses; the band get heavier and more intense into the final moments.  The vocal quickens and that determination becomes more pronounced.  A song that could find itself played across national radio- it is not an inferior example of the type of music popularised at the moment- you wouldn’t bet against the Edinburgh quartet making big strides over the coming months.  By the end of Get in Line, I was compelled to listen again and discover new depths and insights.  That insatiable and deep performance- the vocal especially stands out- and catchy composition ensures repeated investigation.  More intent and confident than they ever have:  The band is on a trajectory that few others boast at the moment.

Congratulations must be leveled at a young group that has found inspiration and a very defined sound.  They have recollections of ‘80s Punk and some of their idols.  The band goes deeper and is more distinct than most on out there.  Loving their earliest songs- but finding them not getting the most from the group- I am pleased to hear a track that highlights the strengths and merits of Aperture.  The Scottish band leave the listener guessing throughout Get in Line.  Everyone will have their own ideas and meaning when they hear the song.  Not revealing any truths or direct insights; it is down to you to arrive at conclusions.  Lisa McGlynn’s lead voice perfectly brings passion and power to a song that forces its way through the speakers.  Forceful and intense- yet never overpowering and harsh- you have soulfulness and heart inside a voice that is enamoured of music’s legends.  Little embers of Punk mistresses and Rock masters come through in a performance with grit and determination.  Equally determined is the percussion of Lachlan McIntosh that boasts power, leadership and vitality at every stage.  Giving the song its heartbeat and punch; it is a performance that showcases him as one of the most consistent drummers on the block.  Tom Galbraith’s guitar work is busy and innovative throughout.  At once blood-letting and gurgling; the next spiky and scathed- it has so many layers and ideas.  Ensuring the lyrics are given perfect sonic representation:  It is a performance that has depth and power in spades.  An impressive and accomplished turn from a guitarist who is crucial to Aperture’s success.  Martin Munoz’s bass leads the song and shows what a talent he is.  Ensuring Get in Line begins with intrigue and panache; it is an instrument that brings all the components together and keeps the song disciplined and defined.  Melody, rhythm and personality come through in the bass that keeps on plugging and fascinating to the very end.

 

I have been checking Aperture’s Facebook timeline to see just where 2016 is going to take them.  The band have been hitting the campaign trail and promoting Get in Line heavily.  It is a song that has resonated hugely with critics and the public.  There is just something about the band performance and spirit that has awed and inspired.  The group unleashed the E.P. Get in Line last year.  That four-track release showed how intent and intense the band are/were.  Whilst the band are unsigned- an oversite that should be overturned soon enough- they certainly have momentum and impetus.  It is always hard and fraught making proclamations- with regards a band’s shelf-life and longevity- but I always feel confident when making such predictions.  Aperture have a defined and original sound that has enough familiarity to it to appeal to a wide range of listeners.  Bringing in hints of familiar acts- PJ Harvey to Yeah Yeah Yeahs- the Edinburgh alliance has plenty of unique insight and direction to stick in the mind.  While Get in Line has intensity and force to it:  There is enough dance and uplift to be discovered, too.  Whether the group has any immediate plans for a new E.P. - or will be touring for a while yet- it is hard to say.  From looking at Facebook; it seems the group are heavily promoting Get in Line and seeing how far they can get the song/E.P.  The band plays Stramash on February 24th and will be deciding what to do after that.  Following the acclaim the E.P. Get in Line received- and how much credit is still accruing- I can see the guys getting into the studio and giving us another E.P.  Until that time- and whatever they have in mind- it is great discovering a hungry young band that is working tirelessly.  Deserving of more than hometown appeal- they could gig down in London and find venues- I hope one day to see the band in the flesh.  Before concluding, it is worth coming back to the Edinburgh band market; Punk and Rock sounds; the importance of fostering ‘real’ music.  Whilst I have waxed lyrical about Glasgow over the past few weeks- when featuring some wonderful acts from the city- it is Edinburgh that comes to my focus today.  The city has hardly been idle when it comes to producing awesome bands.  If the likes of Young Fathers- a Mercury Prize-winning band whose album White Men Are Black Men Too is a staggering feat- proved anything is how much versatility and passion lies within the city.  I find there is a lot of diversity in Edinburgh bands- mixed races and genders rather than the predictable homogeneous- that leads to richer and more nuanced music.  Aside from Young Fathers, there a swathe of eager bands putting the Scottish capital on the musical map.  Great bands are great bands- regardless of which city they hail from- but I love looking at particular areas.  I am not sure what it is about Scotland that results in such consistency, quality and power.  It is a theory and question that will have to wait for another day, alas.

Bands that offer range and width- a point I have raised before- are always going to be more successful and lauded than those who lack imagination.  Too many lifeless and narrow bands play- finding long-term success hard to come by- whereas Aperture mix genres into their music.  It is not just Punk-Rock/Alternative hybrids, here.  There is Dance and New Wave to be discovered when you dig down.  Despite the varied and multifarious mixtures; there is consistency, focus and plenty of direction.  The original and nuanced music has already seduced critics and has seen the four-piece gain confidence and insensitive.  Where this takes them is down to them alone.  Let’s hope the guys make plans for the rest of the year and get their music to as many people as they can.  I shall leave things on a semi-sombre note.  Whilst I have mentioned Viola Beach- and the harsh circumstances that have brought their music to focus- it seems like a lot of great bands are being lost.  Not by death you see, but just calling it time and finding the pressure too much.  Among those who leave us; I am finding so much wonderful music being lost.  I am always stunned by the rise and prominence of musicians that have no quality or individuality to them.  It seems some fans are going out their way to promulgate and proffer the worst music has to offer.  Those with genuine innovation and ability have to fight harder and longer.  With the death- or temporary hiatus at least- of X Factor; it seems like there is a shift away from manufactured and committee-selected artists and towards those doing things honestly.  My lasting hope is that talent shows and plastic Pop stars are vanquished very soon.  The ruination and endless stink of music; they are taking time, attention and acclaim away from artists who are real and relatable.  Aperture have a long way to go- and will battle hard to get into the public focus- but are making big strides already.  Get in Line is a song that signals their intentions and lodges deeply in the brain.  Here’s to a successful and prosperous year for…

A band with a lot more to say.

 

[soundcloud url="https://api.soundcloud.com/tracks/230197468" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

______________________________________________

Follow Aperture

 

Facebook:

https://www.facebook.com/apertureedinburgh

Twitter:

https://twitter.com/apertureedin

_________________________________________

Music

https://soundcloud.com/apertureedinburgh

TRACK REVIEW: The State of Georgia- No Man's Land

TRACK REVIEW:

 

The State of Georgia

 

 

No Man’s Land

 

 

No Man’s Land is available at:

https://itunes.apple.com/gb/album/no-mans-land-single/id1079663272

RELEASED: January, 2016

GENRES: Alternative/Pop

ORIGIN:

Leeds, U.K.

____________________________________

BREAKING away from bands and male artists at the moment...

it is good to be back with a solo artist who is back with a new track.  Before I get to The State of Georgia- and the album Roses & Swallows- I am looking at female solo artists and those coming through; the variation available within Pop- finishing by looking at how musicians are finding their ambitions and dreams.  I have talked a lot about female solo artists and the variable quality you can find at the moment.  It is interesting looking at the mainstream artists coming through and seeing which ones are going to go the distance.  I have previously highlighted Elle King- a new U.S. singer-songwriter who fuses Country, Rock and Soul- and how she seems to be leading quite a charge.  Her music has that effectiveness and directness- especially the single Ex’s & Oh’s- and the way she fuses multiple genres into something unique and personal.  End-of-year polls (released last year) touted a few examples that could be making waves across 2016.  Everyone from Izzy Bizu and Alessia Cara has been tipped for greatness this year:  Hardly surprising given the way they have exploded onto the scene.  Perhaps a lot of media sources are focusing on the bands and what they can achieve- they tend to overlook some wonderful solo talent.  I am always fascinated to see which lone stars are going to shine and the most worthy in music.  I still maintain the fact female solo artists are more adventurous and stunning than the male examples.  It is not reverse-sexism or anything cynical:  I find the guys are lacking necessary spark and adventurousness in their sounds.  You never know what music is going to give you and who will emerge:  That surprise and unpredictability can lead to some major revelations.  Nobody can deny there are some terrific young bands emerging in music right now.  They get a lot of attention and acclaim- the festival headliners that will always be a huge draw- but those solo acts have to fight harder to be heard and have a more challenging life.  Too many sound-alike, characteristically dull acts are playing which makes the job (deciphering which is best) so much more difficult.  The girls of music- most of them anyway- are making big strides with some tremendously passionate acts showing their stuff.  Before I continue onto new points, it is worth mentioning Leeds-based The State of Georgia.  Like some of the mainstream’s hottest up-comers- Elle King being among them- The State of Georgia deftly blends genres together to create something accessible yet personal.  I have been a fan of hers (Georgina Jakubiak is the face behind the name) and have been following her plight.  There are a great many ambitious and wonderful solo acts performing:  The State of Georgia is among them and continues to grow and develop as a musician.  With the album Roses & Swallows coming up; it is time to embrace those talents that go further and put more depth into their music.  I understand people want something quick and easily digestible- music that just hits you without necessarily leaving an impression.  There are too many mainstream artists that simply turn up and seem to put such little effort into the music.  From Dance acts who are Auto-tuned to the hill- and sound robotic and sterile- through to some of Pop’s most lipid- such a depressing state of affairs at the moment.  I am not suggesting music is in decline- and that we are seeing a huge dip in quality- I am just tired of so many poor and under-achieving musicians come through and do nothing about it.  Too many are getting away with doing the bare minimum and it is really annoying.  The State of Georgia’s heroine is someone who puts effort and time into her songs to ensure they are special and nuanced.  Not another of the turn-up-and-lazily-toss-something-together crowd; a talent that understands how important it is to put passion and grit into the mix.  No Man’s Land is another step forward from a young musician that is completely in love with music.  You can tell how much it (music) means to her and what effort has been expended.  It has not been an easy ride for The State of Georgia and getting where she is now.  One of the reason Roses & Swallows has come to light is the support and backing of her fan-base.  Having found funding through Kickstarter it has raised an interesting point.

Music is an alluring mistress that demands a lot of dedication, drive, originality and… well, money.  It seems anything that appeals and drives humanity- when it comes to passions and dreams- involves a certain capital outlay.  I have been planning ideas and goals myself- a music café in London and radio station- and it is mind-boggling the amount of money needed to get things kick-started.  Musicians have a particularly tough time when it comes to finding the pennies.  When you have that talent and zeal- yet know the financial implications associated- it can be infuriating trying to get funding and support.  The State of Georgia’s forthcoming album has gained public support already:  The fans across social media have donated and backed the project; ensuring it got to the studio and will reach us.  Sites like Kickstarter have their detractors- who claim musicians are not doing things honestly: They should be funding their own music- but they are invaluable and a useful tool for musicians.  If it were not for the crowd-funding sites we would be denied a lot of terrific music.  I am glad the fans have stepped up to the plate and shown faith in an artist that is on the rise.  Having evolved and galvanised as a musician- each new release sees steps forward and new vision- it will be exciting to see The State of Georgia’s new album gain airplay, feedback and respect.  No Man’s Land is an insight into the new sounds and sees the Leeds-based artist in fine form.  Not many musicians are capable of longevity, consistency and originality:  For that reason, The State of Georgia should be congratulated and encouraged.  Using Pop as a starting block; she unites elements of Rock and Alternative into the pot- the result is a heady and seductive sound that has struck the public ear.  I hope she comes play London and the south as the year ticks on- people down here would love to come see her- and it will be exciting to see what is in store.

No Man’s land is The State of Georgia’s latest track and shows huge promise and quality.  From the album Synesthesia- released a few years ago- to this moment, there has been evolution and development from our heroine.  Concentrating on a few tracks- Arm, The Beast and Stay Awake- you can see definite change and mutations.

  Arm is a track that boasts some immediate and stunning vocals- crystal-clear and direct- around a swirling electronic soundtrack.  The strings rise and rouse; the piano lightly plinks and seduces.  With those influences of Kate Bush and Tori Amos combining; we have a number that looks at troubles and doubts.  Our heroine is usually “so strong” but cannot get through today.  Perhaps a partner or lover has been disappointing and insincere.  That bond and passion have faced a challenge and reduced to photos “in the bottom of my bag”.  Arm hooks you with that beautiful vocal and composition; the lyrics show some emotional vulnerability and strength-against-the-tide.  A number that stands up to repeated assaults- a song that never seems to lose any of its appeal- it was a confident and impressive track from The State of Georgia.

   The Beast was released a year ago and carries on from Arm.  The two tracks share D.N.A. yet The Beast shows new inspiration and light.  Those haunting and spirited strings are all here and present:  Making sure the song has grandeur and passion; they combine with spiked and exhilarating electronics.  Harder and more forceful than Arm; you get a dizzying array of strings, electronics and beats.  The song has a quiet-loud dynamic that is centred around a committed and beautiful vocal.  Our heroine asks “Will you love me when the sky is grey?” and you have another track that looks at commitment and love.  The beast inside our lead can be vanquished by devotion and faith- her man standing by her and easing the burdens.  Warning not to “let it out”- the beast inside her- you have a Jekyll and Hyde switch.  When flying and posing questions; the vocal is light and tender.  When the images of beasts and emotions are unleashed you get a more direct and assaulting charge.

Given the quality and consistency; it is no surprise Stay Awake is a gem.  The song perhaps strays away from orchestral territory- the vocal is sharper and more concentrated; the composition straighter and tighter- and shows another dimension to The State of Georgia.  The track’s themes are more positive and redemptive.  Our heroine saw a face and “time stood still” with the rest of the world falling away.  Rushing and Disco-inspired beats create funkiness and a driving song that gets the feet tapping.  Alive, alert and pulsating:  Stay Awake is a song that has that mainstream appeal whilst retaining its huge credibility and uniqueness.  The swirling electronics recall legends of the ‘80s- Prince and Michael Jackson stand out- and has a very modern sensibility.  Our heroine stays awake just to ensure (her subject) will be okay.  A song that shows heart, tenderness and thoughtfulness:  It appeals for so many reasons and has tremendous nuance.  You find yourself revisiting the song to get inside that effusive and hypnotic composition; the tight and punchy beats- everything comes together superbly.

The development and change between tracks- a natural progression and range- show different sides to an artist that keeps on getting better and more confident.  No Man’s Land recalls some of the early-days sounds and some more recent efforts.  What you get is a song that will be familiar to established fans- there is no big departure or about-face- but will hook new listeners in with its directness and layers.

Beginning with a haunting piano; our heroine looks at a figure “in no man’s land”.  Crossing Florence and the Machine with Tori Amos; you have early moments that mix low-pitched seriousness with beautiful multi-tracked voices.  The instantaneousness of the song cannot be overlooked:  Instantly you are hooked in and invested in the story.  The song looks at this heroine being in a bad place having has her friend taken away.  The State of Georgia questions God and why so much is thrown at one person- the unfairness and casual cruelty that has befallen a great human.  I sense the song is inspired by real-life events- something so particular and unique cannot be fictional in my mind- and it will be interesting to hear the origins of the song.  Clearly, a friend has been affected and dented by the capriciousness of life.  Whatever the circumstances behind tragedy and the unhappiness- illness or accident; whatever the reasons- you have a song that gets inside the heart and evokes response instantly.  Keeping the composition reverent and respectful- it is a dignified and emotive coda that backs the lyrics- few listeners will be unaffected by those early exchanges and emotions pouring out.  The song’s heroine is falling from a great height- any cushion that is placed beneath her will not make any difference- and you get a real sense of harrow and sadness emerge.  I have mentioned Tori Amos and Florence Welch early on.  The former is an idol (of Jakubiak) and her piano-and-voice combination puts me in mind of Amos’ best work.  The soulfulness and bare compositions (we see on No Man’s Land) have tonal comparisons with Little Earthquakes- the U.S. legend’s 1992 debut album.  The State of Georgia possesses a similarly striking mix of soul-bearing and directness.  Whereas Little Earthquakes was a personal album- that looked at Amos’ struggles and issues- we have a song that is no less personal and affecting.  With its sound in the early-‘90s; that voice brings in recollections of Florence Welch and her striking tongue.  Away from comparisons and other artists you have a musician with a unique direction and sound- one who recalls legends and great singers without utilising them too heavily.

No Man’s Land continues its quest and reveals new insight.  Few artists speak to God and address religious matters in music- being an atheist I hardly go out my way to find God in music- but it is rewarding finding an artist that does not simply do what everyone else is doing.  Our lead looks to the skies and asks why a divine creator would allow such tragedy to befall a person.  That struggle-against-faith- that questions whether God could exist given the cruelty that plagues the world- shines through in a song that seems like a confession or exultation.  With soul bared and the emotions crying out; the funereal/majestic piano- that has shades of Radiohead’s Amnesiac- perfectly scores lyrics that pose questions that need answering- the fact is; they will not be answered.  Our heroine looks up but gets no reply or sound:  She is trying to discover justice or insight but is received with silence and emptiness.  It is clear a lot of effort and time has been invested in the song.  The vocal has that gorgeous mix of Amos, Welch- with Jakubaik’s unique style- whilst the composition flourishes, dives and seduced.  The piano is hugely impressive and produces a wealth of emotions and ideas.  With the chorus reinforcing the pertinent questions- why would a loving deity not protect a good soul- you have a song that transcends religious boundaries and has a universality and intelligence.  We have all been in that situation where a friend or loved-one has been taken from us or experienced huge hardships.  It never seems just or right that life is so indiscriminate and callous.  When good people are dealt a bum hand, we always go looking for answers and explanation.  Our heroine has been scarred by this tragedy and cannot make sense of this fact:  The chorus reinforces that desperation and anger felt.  This is a very human track that does not selfishly concentrate on love- the over-worn sentiments that so many songwriters favour- and looks at something troubling and unfair.  The song’s subject has lost a friend- curious whether Jakubiak is using herself as the central figure; having lost a friend- and you get a noticeable rise into the second half.  The chorus gets more intense and that vocal is layered to create something gospel-like and explosive.  Following that, the piano becomes more brooding and impassioned; the percussion slams and the intensity grow.  Swirling around enraptured and crying-out vocals; the composition matches that fever-pitch emotion to create enormous force and atmosphere.  No listener will be able to ignore the song’s crashing waves and hurricane magnitude.  Allowing emotions to reach their height- as no answers have been provided still- you get caught off guard by that rise and build.  The vocals are especially impressive- they mix inside one another and create something transcend- whilst that piano builds and builds.  Such a busy and layered song- elements of ‘80s Pop with modern-day Indie; Amos et al into the agenda- and you have to go back to the song to get to grips with things fully.  It is clear a woman has had her life torn apart; whoever that is I am not sure.  I keep thinking of Jakubiak speaking in the third-person:  A direct friend of hers has been scarred and this is her response to such unfair and harsh circumstances.  Whatever the true origins of No Man’s Land; it is a song that epitomises the diversity and quality in music.

Whether the track will lead-off Swallows & Roses- or will be further down the running order- it is going to be wonderful to hear the rest of the album.  If this is a taster of what we can expect then we are in for a huge treat.  Few artists have such a way with words as Jakubiak.  Addressing something personal and harrowing can be difficult to translate into music that will appeal to the masses.  Compelled by her heroines and heroes- Tori Amos seems the most relevant name to bring in again- you get a song that is the result of intense work and passion.  Each element and component works with one another and drives the song forward.  Lee Smith provides guitar, bass and drum and makes a huge contribution to the song.  Partnering with Jakubiak; the duo seamlessly blends and augment the other.  The intuition and kinship between the players result in a composition that has such depth, imagination and spark.  From haunted and tender piano to fizzing and explosive percussion:  This is a song/sound that more musicians should be doing.  Lee and Jamie Lockhart recorded and produced the song and have done a great job.  They have not changed The State of Georgia’s sound and allowed her to provide personality and her own voice, unfettered.  Were they to come in and change everything- make her sound like every other artist- you would be disappointed with the song.  Understanding how good and intuitive she is; they have simply added polish and guidance to ensure No Man’s Land is the best it can be.  What you have here is a song with resonance, nuance and startling breadth.  It is no minor compliment to say this song could rival the best from Little Earthquakes- and the brilliance Tori Amos shows across that record.  An accomplished and wonderful work from one of our brightest and best artists.

Since her earliest recordings, I have been a fan of The State of Georgia and the terrific music.  Jakubiak is blossoming as an artist and seems to become more confident and assured as time goes on.  Roses & Swallows is an album that will see her pick up new fans and fresh venues call on her.  It will be great seeing just where she plays and what feedback will be gained.  No Man’s Land is a typically special and memorable from one Yorkshire’s finest artists.  There is a lot of competition and variety in music, so standing out is always a huge challenge.  As I stated up top; it is not just good enough turning up and throwing something out to the world.  There are those musicians that do not understand how important it is to be original and differ yourself.  From Pop’s tired and predictable clan- I shall mention no names but we all know the type- to the anodyne and robotic Dance tracks- there is an alarming amount of horrendous music blighting the landscape.  The bands and their music- the all-male variety is particularly popular- have the ear and eye of the music press and are a necessary force.  Even in the band arena, there are too many examples of musicians that just want to sound like someone else.  Those acts that are tipped for big things- appearing on polls and radio stations- go the extra mile and recognise the need to get inside the brain and elicit fresh emotions.  Too often I hear music and a new artist come through and find myself tired and unaffected.  The song(s) will not stay in the mind and there is a definite lack of nuance and repeatability.  The most affecting and memorable tracks I have heard in the last few months have been from (predominantly) female solo artists.  Whether it is an arresting voice or stylish blend of genres:  The girls of music are showing more courage and intelligence than their male peers.  Whether this imbalance corrects itself this year- there are a few cool male acts that could steal focus- I am delighted to discover The State of Georgia in splendid voice.  One of those musicians that will get to the mainstream eventually- she has hometown support and a solid fan-base around the U.K. - No Man’s Land is a stunning track.  Make sure you take time out to listen to it- and check the music video out too- and see one of our most exciting artists do her thing.  Roses & Swallows is the result of hard work and a lot of graft.  The fans have got behind The State of Georgia and shown faith and love for a musician that improves and reveals fresh insight with every release.  Before closing this, it is worth coming back to the variety of solo artists available; a bit about Yorkshire- where The State if Georgia will be headed.

I have alluded to some terrific young solo acts coming through:  It seems we could see a lot of stunning moments emerge in 2016 and some long-term stars emerge.  I love the likes of Billie Marten and Alessia Cara and what they are doing:  Two solo artists with very different sounds but immense promise.  Away from the mainstream-tipped artists, there's a wealth of prosperous musicians coming in under-the-radar.  Perhaps the one-dimensional and simplistic artists have their market and necessity- they seem to resonate with a certain core- but I will never embrace what they do.  It is those that go deeper and put more thought into music that will always win me over.  I understand how many acts are playing right now- and how hard it is to be distinct- but it does not take a monumental effort to be original whilst being inspired by other acts.  I feel too many musicians are going for easy recognition and cheap acclaim.  Those daring enough to take the time to forge something original are those that will obtain longevity and respect.  The State of Georgia- with the help of musicians and producers- is an act that puts so much heart and passion into her music- hardly surprising her fan numbers are growing.  Ensuring her Pop-based songs do not come across too familiar and run-of-the-mill; other genres and ideas are blended around a singular and impressive voice.  No Man’s Land is a teasing and tender insight into what Swallows & Roses will provide.  Romance and introspection will sit alongside personal revelations and uplifting moments.  Influenced by everyone from Kate Bush and Tori Amos- two of music’s most innovative artists- you get little hints of each inside Jakubiak’s captivating tones.  When the official video arrives for No Man’s Land- in the next couple of days- make sure you have a watch and see the visuals behind the music.  Dive into a song that sees one of our brightest stars progress and shines without hindrance.  Yorkshire keeps its reputation ablaze- for producing wonderful artists- and it is a county that always amazes me.  The diversity and quality is only matched by consistency and originality.  Perhaps it is the landscape or the communities there; maybe the support musicians give to one another- whatever it is, more people should look to Yorkshire for guidance.  Congratulations to The State of Georgia on the progress that has been made.  Clearly the fans and followers have faith in the music and this has resulted in an album that will please existing supporters and bring in fresh ears.  I cannot wait to see where Georgina Jakubiak goes and where the music takes her- perhaps international gigs or some spots in the capital.  Whatever comes around, two things can be guaranteed:  The crowds will adore the new music and…

THE young artist will continue to amaze.

 

[soundcloud url="https://api.soundcloud.com/tracks/239287061" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

_________________________________________________________

Follow The State of Georgia

 

Official:

http://georginalashbrook.wix.com/thestateofgeorgia

Facebook:

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

Twitter:

https://twitter.com/stateofg

_________________________________________

Music

https://soundcloud.com/the-state-of-georgia

TRACK REVIEW: Cold Summer- A Time Imagination Forgot to Inspire

TRACK REVIEW:

 

Cold Summer

 

 

A Time Imagination Forgot to Inspire

 

9.4/10

 

RELEASE DATE:

February 19th

GENRES: Post-Hardcore

ORIGIN:

Leeds, U.K.

____________________________________

THERE are some mixed emotions hanging in the balance at the moment...

With Valentine’s Day here- in itself a mixed affair that is divisive to the extreme- I am hearing some sad news in the music world.  In addition to great bands calling it time- it is always heartbreaking to hear that- Viola Beach (a very talented ban primed for the big time) were involved in a serious accident- unfortunately all their members lost their lives.  It seems like an odd/harrowing subject to raise in a review:  It just goes to show how unpredictable and unfair music/life can be.  My actual point is- taking it away from the realms of the morbid- is highlighting great bands and how we should cherish them.  Aside from the ill-fated and upset surrounding Viola Beach; they were one of the last new bands that really excited me.  The Warrington-based lads set ablaze venues and fans with their kinship and tightness:  Musicians that enthralled people with ease and left huge smiles on faces.  While their music and legacy will remain- let’s do our best to spread their magic- it has made me appreciate music more and not taking so much for granted.  I have been on a downer when it comes to bands- and how variable the quality can be- there are some phenomenal young artists emerging.  Whilst I have grown a little fatigued of Alternative/Indie bands- too many acts blurring into one- there are those on the fringes that are impressing and originating.  It is brilliant to discover a young act with so much potential and verve to them.  Before I come to my featured act- and what they are all about- it is worth mentioning young bands playing at the moment; the genre of Post-Hardcore- completing with a word about changing the face of mainstream music.  It is always exciting discovering a young band that is just starting out and on the precipice of something great.  Music is such a challenging and unpredictable mistress when you think about it:  So many terrific bands can fail whilst lesser examples flourish and prosper.  I feel there is perhaps too much reliance on finding a particular type of band.  There is very little chance for the more original and diverse bands to get a chance to shine in mainstream festivals.  With the likes of Foo Fighters, U2 and Coldplay hogging the limelight- you can predict Glastonbury’s lineup before it’s even announced- I feel like a shake-up needs to occur.  The solo artists of music are gaining kudos from reputable, mainstream sources- such as B.B.C. - and it seems like a lot of bands are being overlooked right now.  Maybe there is a trend towards solo acts and a push away from bands.  I have heard a lot of people bandy about phrases such as “Rock is dead” and “Bands are getting worse these days”:  There seems to be a feeling the edge and originality is seeping out of the band market.  If you go away from the mainstream acts- and those that are pushed in our faces- the skepticism will be removed and you will find a lot of quality.  The small venues and lesser-known radio stations are doing their utmost to ensure the smaller bands are getting spotlight- and the attention they richly deserve.  Before I continue to new points, let me introduce Cold Summer to you:

Dan Feast - Vocals Chris Harrison - Guitar Chris Hepworth - Bass Guitar Justin Eastwood – Drums

Collectively, Cold Summer are an energetic post-hardcore 5-piece from Wakefield / Leeds, writing experimental melodic rock with a twist that is developed through a wide range of influences between them. The end result being music which portrays a bitter sweet ambience with angst and raw passion from their punk and hardcore roots. Formed in late 2011 the band have seen their releases (despite being ‘under the radar’) meet critical acclaim, following the self release of two EP's, 'Transitions' and 'Wake' during 2012 and their ‘Self Titled’ album in July 2013. In addition to this band self booked a tour back in January 2014 to promote the album release as well as heading out in support of He Is Legend on their UK tour in October 2014. The bands strong DIY ethic has been reflected in their relentless show & recording output. These contributing factors has resulted in a large and growing fan base across the North Of England, as a result of playing shows alongside well respected yet diverse bands such as: Funeral For A Friend, Polar, He Is Legend, Self Defense Family, Lemuria, Milk Teeth, Brawlers, Grieved & Employed To Serve The band have completed recording of their follow up release with producer Mike Bennett (Empires Fade, The Eyes Of A Traitor, The Ocean Between Us) which is set for release early in 2016.

Hardcore and Post-Hardcore are genres (and sub-genre) that you do not hear a lot of in the mainstream.  Aside from particular radio shows- Daniel P. Carter’s Sunday show on B.B.C. Radio 1- you do not get a chance to hear the best Hardcore has to offer.  I feel a lot of people have that same image in their mind:  Hardcore/Post-Hardcore bands will be all screaming and no musicality.  If you cast aside the clichés and preconceptions there are plenty of acts that subvert expectations and can really amaze.  Sure, there are bands that are very in-your-face and bellicose.  Most of the Post-Hardcore bands emerging have necessary nuance, subtlety and accessibility to them.  If you look at the best Post-Hardcore bands around- from Silverstein and Of Mice and Men; to Sleeping with Sirens to Pierce the Veil- you have a rich variety of examples.  Aside from the fact (the aforementioned peeps) are male-driven- I would like to see more female Post-Hardcore bands get equality and fair measure- there is a sea change in terms of lyrics and themes.  While a lot of Post-Hardcore bands hail from the U.S. (Florida seems to be a hotspot) there are some great British examples emerging.  Cold Summer are among a wave of hungry young bands that are setting the music scene alight.  Post-Hardcore is embracing more positive themes and uplifting ideals.  Many people assume- when it comes to Hardcore music- there will be a lot of negativity, isolation and anger.  That may be the case with some bands- these are themes that are embraced by many bands- many Post-Hardcore bands are mixing heavier compositions with redemptive and thought-provoking lyrical themes.  With Funeral for a Friend calling time- one of the better British Post-Hardcore bands- it is to the new crop for guidance and inspiration.  Cold Summer are a band that hail from Yorkshire- a county not exactly shy when it comes to terrific music- and have the potential to transcend borders and limitations.  I am getting a little tired of some of the ‘mainstream’ acts coming out right now.  Whilst there are some innovative and layered bands showcasing- those unsigned blazers that have much more clout to them- there are still too many weak, vanilla bands being heralded.  I am not saying only the loudest/most direct should succeed:  There is too much patronage of weak and overly-predictable bands, alas.  The festivals and big boys- Reading and Leeds, Glastonbury etc. - are not helping the matter.  The mainstream’s most tired/ineffectual bands get top billing; bands that have much more spark to them are further down the bill- appearing on smaller stages whilst gaining much greater plaudit.  It would be great to see bands like Cold Summer giving earlier exposure and the chance to share the big stage with some legendary names.  I know there are festivals (niche but well-attended) that showcase Post-Hardcore/Hardcore bands; it would be nice to see better integration and diversity at the largest festivals- providing music with greater richness and quality.

If you are a newbie to Cold Summer- I must confess, I was until a week ago- you might be wondering who influenced the Yorkshire clan.  The below list (sourced from their Facebook page) gives a good- if rather verbose and expansive- list of influential artists.  Showing depth, variation and quality:  If you appreciate any of the below, you will find relatable strands within Cold Summer:

Brand New, Thrice, Letlive, Night Verses, Deftones, Architects, Gallows, Queens Of The Stone Age, Cave In, Soundgarden, Poison The Well, Jeff Buckley, Sunny Day Real Estate, Glassjaw, A Perfect Circle, Nine Inch Nails, Converge, Foo Fighters, Husker Du, Tool, Quicksand, Texas Is The Reason, Vaux, Filter, ....And You Will Know Us By The Trail Of Dead, Russian Circles, Blindside, Rise Against, Norma Jean, Boysetsfire, Alexisonfire, Self Defense Family, La Dispute, Touche Amore, Thursday, Defeater, Deafheaven, Funeral For A Friend, Drug Church, These Arms Are Snakes

A Time Imagination Forgot to Inspire is the latest revelation from a band that has enjoyed a steady rise.  The band has been playing for several years and seems to get stronger and more confident by the year.  Back in 2012, Wake was release to the public- a five-track E.P. that mixed Punk and Hardcore into one.  Waiting opens proceedings with twanging bass and militarism percussion fire.  Ramping up the tension, the band unites in a furious and atmospheric introduction- one that has ‘epic’ all over it.  Recalling elements of Muse and Guns N’ Roses, our lead looks at “crooked roads” and meeting people that are not the same.  Showing some impressive vocal chops- stunning when wracked and pained; passionate and soothing when letting that voice dip- you have a song that shows intentions and huge promise.  A is for Arson packs more meaty riffs and Muse-esque riffs that leads to one of the most fast-paced and urgent tracks.  That need to change and rebel- the double-edged sword of truth and deceit- in an accessible anthem that packs a great wallop.  It is interesting to see some very modern edges- Royal Blood seem to have inadvertently replicated some of Cold Summer’s sound- in songs that sound ageless and ever-relevant.

From their impressive debut; the band expanded their sound on 2013’s Self Titled.  While their debut wore some influence on its sleeve- from Funeral for a Friend and Muse; through to Green Day and Queens of the Stone Age- there is more originality on their sophomore effort.  The debut melted Queens of the Stone Age’s Desert Rock riffs with some Billie Joe Armstrong (Green Day) vocals- in a vacuum of Punk/Hardcore seduction.  Self Titled included some new tracks- alongside demos and alternative versions of debut-era cuts- that show the progression they made.  The Fallen boasts their most head-smashing percussion; wonderfully direct and savage vocals- compositions with more nuance and variety.  Bringing in political themes and motivation- that need to get your voice heard and fight- come out brightly.  Allowing more melodic/accessible sounds to sit with devil attack:  You have an E.P. that reaches its net further and allows those unfamiliar to Post-Hardcore to come in.  Ships contains some calm among the storm.  Its stop-start dynamic- some calmer strings punctuated by rapturous bursts- sees ships coming to the shore.  Loneliness and self-examination are chronicled in a song that sees Cold Summer unveil one of their most accomplished track.

I have heard Cold Summer’s forthcoming E.P., Fight to Survive- one of those smug media types that have rare privilege- and love what I hear.  The band is more honed, original and ambitious here.  The vocals are less Armstrong-esque and have come along over the past couple of years.  The sharp and volume-esque highs are more potent- cutting to the bone like a saw- with new melody and passion brought into the mix.  The band is tighter and have gained more discipline and sharpness through touring.  The E.P. is a six-track release that shows huge nuance and economy.  Coins Fall (But Don’t Make It) has an insane introduction that can blow any speaker off its goddamn stand!  The lead vocal has those shades of Billie Joe Armstrong/his peers but less reliant on U.S. influence.  Whilst some lyrics get squashed in the mosh- less decipherable than you’d like- there is enough clarity and intelligibility to be found.  Coins drop and wishes are attached to them.  The song could be related to governments not fulfilling the wishes of the voters; the evilness and corruption that lingers perhaps.  Car Crash (in Progress) is an opener that shows the verve and attack that is lacking in a lot of modern acts.  High emotions can be found in a song that looks at jealousy and greed.  No good intentions pervade:  We need to cast aside the self-obsessed age and make a better world.  The song mixes the snatches of vitriol- those Hardcore slams- with calm and more reflective phases.  A catchy and insatiable composition- if will get every part of the body moving- it shows the band has lost none of their quality and potential.  Something, Nothing, No-one ends the E.P. on a natural and stunning high.  Political attacks and dissatisfaction is all here and present:  Our boys are fired and compelled by the inequity and stupidity that can be found among society.  Such leaps have been made in a short amount of time- a band that gets stronger as they go.  Make sure you get Fight to Survive when it is released and hear a group that is hitting their stride.  A band that is sure to have festival bragging rights in months to come.

A Time Imagination Forgot to Inspire (a cool title that already gets the mind working) sits lower down Fight to Survive- it remains (for me) the key cut from Cold Summer’s latest E.P.  I hear a little of Slash’s (Guns N’ Roses) slash-and-burn pyrotechnics in the early moments of A Time’- I half expected the song to go into Appetite for Destruction territory for a moment!  Fans of the band will find much to love in the sapling moments of the song; there are new threads that will surprise some listeners too.  Right from the off, the listener is braced to attention and you know the band means business.  No slow-build or anything kitten-like:  The composition has such intensity that soon leads to a vocal packed with direction and conviction.  The early exchanges and ideas- “There’s a question burning through my head”- regarding the death of imagination split my interpretations between political dissatisfaction and something more personal.  On the one hand, here is a band who have always been concerned with justice and equality:  Their songs look at political imbalance and corruption that stinks society up.  The earliest words got me thinking about those themes:  The Conservative government are not speaking for the U.K.; U.S. politicians and their ills etc.  We all congratulate and praise- again, maybe leveled at elected politicians- but no difference can be seen.  On the other hand, perhaps there is a little shout-out to musicians and their lack of innovation.  We celebrate and champion artists all the time:  How often do these musicians provide anything new and wonderful when you think about it?  That open-for-speculation start got me thinking and I was fully invested in the song.  Enthralled by the band’s committed and disciplined performance- it does not explode or wander at all- those duel theories keep playing and poking.  Our man is “not seeing a change”- his country suffers the same problems; maybe musicians do not expand the mind- and you can tell just how meaningful those words are.  The dissatisfaction and annoyance is palpable in a vocal that threatens to explode in anger- harrowed and wound-up by realisations and hard truths.  Fans of Cold Summer will find familiarity in the song- there are still those Punk vocals and similar compositional dynamics- whilst the themes of politics and imbalance find new meaning and force here (they are stronger and more galvanised than on previous releases).  With bands like Funeral for a Friend dissipated- other Hardcore band starting to feel pressure- it is encouraging to see an eager young band with no intentions of submission or slowing.  Books sit on tables- with pages “torn away”- and you get a real insight into a band that likes to do things differently.  Whilst there are some strands of Green Day’s American Idiot- a British version perhaps- the lyrics still leave me guessing as to their true nature.  The band has certainly upped the ante and come up with a song that builds on their strengths.  The unrest and dissatisfaction they- annoyed and appalled by misrepresentations and corruption- is much more subtle and disciplined than other bands.

The guys have managed to mix melody and something accessible with plenty of passion and force.  Having toured extensively- and a couple of E.P.s under their belts already- you have the strongest statement from a group who never disappoint.  A Time Imagination Forgot to Inspire could easily look at (perhaps, subconsciously) lack of musical firepower and bliss.  At face-value- and how I see things at least- there is social unrest being appropriated.  Cycles go on- as the band themselves claim- and no changes are ever made.  No matter who we elect and what happens in the world:  There is never any real improvement or anything different occurring.  That quiet/loud/intense/controlled dynamic can be heard here.  Whatever we do and whoever speaks for us- whether a popular choice or not- seems to fall short of the mark.  The boys manage to unleash a composition that stops and stutters:  Catchy moments and joyous little kicks give it an additional spark that is sure to appeal to the live crowds.  On that point, the song is one that can be chanted and will get the throngs uplifted and moving.  The lyrics look at disbelief and confusion- not sure what to believe and what is true- and this central figure (whether a P.M. or personal figure) less-than-idealised and appealing.  This rhapsody-against-disappointment mandate is not often heard in the mainstream- left often to the more niche genres/musicians- so it is nice to hear a song that deals with weightier topics have such potential.  It is not a song that is reserved for the Hardcore/Post-Hardcore/Punk crowds:  The track could find its way across mainstream stations- probably B.B.C. Radio 6 Music- and appeal to their listeners.  The final moments repeat that core statement- “I don’t see anything new”- and reinforce that anger and dissatisfaction.  The lads slam and strike to the end and ensure their song gets inside the head- without ramming it down your throats.  Coming away from the song- and evaluating it in silence and reflection- it takes several listens to get the full meaning and have an understanding.  I still think about political ideas; there are possibilities of personal relations- a friend or sweetheart breaking promises- and musical imbalance and false ideals.  I am pleased Cold Summer  have such a firecracker on their hands.  Some bands in their position- that feel the need to change and alter their sound- have developed natural evolution whilst keeping their core intact.  Those blitzkrieg vocal explosions and calmer moments- the boys mix melody and overt together- still can be seen; they have new lease and inspiration.  What you have- that may have been missing in previous releases- is more originality and more honed songs.  The tight and kinetic performance (displayed best on A Time Imagination Forgot to Inspire) is matched with intention, focus and new musical influences- new and upcoming kings of Punk-cum-Hardcore make their way in.  What the Yorkshire fellas do it embrace their own voices more- whilst keeping some influences in play- and are much stronger for it.  A wonderful insight into their upcoming E.P.- the single is not released for a few days- make sure you get the song when it comes out.

I always love when bands come to me looking for a review.  Ordinarily, it may not have been easy discovering them- what with the mass of acts coming through; social media and its limitations- so it is great coming across Cold Summer.  My usual exposure to Post-Hardcore has been through stations like Radio 1.  Whilst key to championing the genre; there are genuinely worthy bands that have escaped their radar.  Inspired by a wide range of acts- from Russian Circles to Deftones- you have a Yorkshire band with a bright and prosperous future.  I have may have started the review with a rather downbeat and haunted subject- just a shock to see a young act taken too soon- but it is meant as a parable against those who overlook great acts.  I yearn for the day we see radio stations emerge- magazines and publications- that give more weight to bands (that would otherwise) find regard in smaller circles.  Too much focus and attention is being paid to some insincere and fly-by-night bands that do not leave impressions in the mind.  For the music fan that requires intelligence, directness and depth:  Where do you go to get your fix?  It may be a quandary that has no easy answer- or will take a long time to rectify- but for now, it has been great seeing what Cold Summer is all about.  We need to support the best young bands around and ensure they get the support they require.  I have seen too many groups capitulate and struggle through lack of donation and airplay.  Maybe there is over-saturation that is causing detriment to some wonderful acts.  Cold Summer are getting attention in Yorkshire and the U.K.:  I feel they have the type of sound that can reach the U.S., for sure.  With some like-minded Post-Hardcore bands doing good business in the U.S. - Florida, as mentioned, is a natural house- I can see the boys gigging across the pond and enthralling the American crowds.  Whether this happens in years or months- the latter seems like a real proposition- it will be exciting to follow the plight of one of our most exciting bands.  I have never been a loyal acolyte of Hardcore and Post-Hardcore bands in general terms.  Too many examples play with force yet lack direction, originality and reputability.  Too direct and angered to create necessary nuance and dimension; the wave of Post-Hardcore bands seem a lot more ripe and receptive.  Themes are starting to shift to positive oeuvres- although Cold Summer feature songs of isolation and anxiety- and more people are embracing the genre.  That is not to say Post-Hardcore bands are selling-out- dampening down their potency and replacing ethanol with soya milk- but they are showing more heart and control.  There are still the pure and explosive bands- that give voice to those that feel alone and isolated- but it is nice to discover acts that are brave enough to show some layers and depth.  Cold Summer’s forthcoming track mixes all the things I love about music is one place.  There is that core of guttural and stomach-kicking sound:  Compositions that evoke serious head-swinging and feet-stomping.  The lyrics mix relatable and everyday concerns- dissatisfaction and heartaches- with personal insight and something more oblique.  So where do Cold Summer fit into the Hardcore scene?  Well, they are more than the genre’s history would suggest.

There are still the pure and explosive bands- that give voice to those that feel alone and isolated- but it is nice to discover acts that are brave enough to show some layers and depth.  Cold Summer’s forthcoming track mixes all the things I love about music is one place.  There is that core of guttural and stomach-kicking sound:  Compositions that evoke serious head-swinging and feet-stomping.  The lyrics mix relatable and everyday concerns- dissatisfaction and heartaches- with personal insight and something more oblique.  So where do Cold Summer fit into the Hardcore scene?  Well, they are more than the genre’s history would suggest.  With a lot of their peers focusing on overt anger- without any intelligence or meaning- we have a band that is more political and socially-driven.  The upcoming E.P. Fight to Survive has a title that leaves little to the imagination.  What you get are songs that show fight and the need to survive against oppression and governmental control.  With so much greed, corruption and naivety in government- not just our Conservative ‘leader’; the wider political spectrum- it is apt to find an act that is saying what we all think.  Megalomaniac monsters like Donald Trump- a caricature that seems to become more cartoon-villain-in-a-suit by the moment- there is a lot of fear and disgust among the population.  Balkanised against politicians that do not represent the masses- their own agendas enforce questionable decisions- some great bands are electioneering with a much more attractive manifesto.  When I was guessing which acts will headline Glastonbury; rather predictable and depressing names come to mind.  Foo Fighters and Muse are speculated and tipped.  How rebellious and original of the Eavis’!  With the more appropriate acts- Radiohead, Blur and Gun N’ Roses- given longer odds, you have to wonder whether these festivals represent the diversity and quality in music.  Ed Sheeran and Adele are also mooted- they have their fans but plenty of detractors (me for one)- and Glastonbury is losing its grit and influence.  It is not good having the same-old acts topping the bills- why not give a shot to upcoming, younger acts?  Who knows, but what I do know, is there are some tremendous artists emerging that deserve a bigger stage.  Cold Summer drop A Time Imagination Forgot to Inspire very soon- their E.P. will follow shortly after- and it is another confident step from one of our most direct and developed bands.  That blend of Punk and melody fuses in a bonfire of explosive vocals and dissatisfied lyrics.  For those seeking cobweb-vanquishing sounds- that blow the senses wide open- cast your gaze…

TO a band that speak for us all.

___________________________________

Follow Cold Summer

 

Facebook:

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

Twitter:

https://twitter.com/coldsummeruk

_______________________________

Music

http://coldsummer.bandcamp.com/

__________________________________

Videos

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

 

TRACK REVIEW: Eric McGrath- Always the Same

TRACK REVIEW:

 

Eric McGrath

 

Eric McGrath - By Lucy Spartalis - Web-18.jpg

 

Always the Same

 

9.0/10

 

Always the Same is available at:

https://www.youtube.com/watch?v=5KamjtlS2p8

GENRES: Folk-Jazz

ORIGIN:

Dublin

The album, Far From Here is available at:

https://itunes.apple.com/ie/album/far-from-here/id1044540966

TRACK LISTING:

These Are the Good Old Days

Always the Same

Let You in on a Secret

You Mean the World to Me

Sweetest Tasting Kiss

Ripples into Waves

Somebody

Let’s Get Curious

Far from Here

Carousel

RELEASE DATE:

30th October, 2015

LABEL:

M:89 Records

____________________________________

IT is sometimes hard to talk about new subjects….

When presented with a review subject.  Today there are no such obstacles:  Eric McGrath is an act I would not normally have stumbled upon- I was brought to his attention via McGrath’s management company.  Before I introduce you to the singer-songwriter I wanted to talk about Dublin musicians- looking at heritage and nationalities- exploring Jazz and Folk blends- completing with a bit about slow-burning/non-instantaneous sounds.  When reviewing musicians, I am always curious to see from whence their roots were planted.  It is rare to find artists that stray too far away from predictable locales.  From the Londoners across to Yorkshire- two of my most commonly assessed areas- I feel hometowns/location affects a sound and style.  Maybe it is the wider music community (in that area) that enforces a particular sound.  Dublin is a city I have not been to (in musical terms) for a long while now- I cannot remember the last review to come from there.  Having spent a lot of time in obvious realms- the U.K. and Australia; Canada and the U.S.- it is nice to put my mind back here.  Historically, the city has produced some of music’s best bands:  From U2 and My Bloody Valentine; there have been a wealth of interesting acts to emanate from the city.  Away from some of the dodgier examples- The Script and Boyzone hardly do the city any favours- it is the new musicians of Dublin that are more fascinating.  Sleep Thieves are a mixed-gender three-piece that has been playing for a few years now.  On the rise, the band is making their marks on the musical landscape.  Away from them, Indie duo Darling mix heavier influences with ‘80s acts like Ultravox.  SPINES are a four-piece Punk band of girls that are making all the right noise.  Kingdom of Crows and Leaders of Men are attracting attention from across the water (the latter has been played on U.K. radio) and there are some hidden treasures to be found in Dublin.  The Republic of Ireland, in general terms, is an attractive musical landscape that is more than its history suggests.  I feel music media in the U.K. negates cities like Dublin- for the life of me I am not sure why.  Whilst Eric McGrath has settled in Austrailia- having had an nomadic background- it seems a shame so many Irish musicians are relocating- perhaps they do not get exposure they deserve at home.  When interviewing acts- and asking why they move to the U.K./change locations- it all comes down to that lack of attention and proper backing.  I think people assume- looking at Dublin acts like The Script- the music of the city will be rather mainstream and pedestrian.  It is true- as is the case with other cities and areas- there are some rather lukewarm artists.  Dublin is a bustling and musical city that is seeing a lot of homegrown glory created.  It is just a shame there is not a stronger communication to the U.K. - and the press here do not spend much time here.  Before I raise a new point, let me introduce you to my featured act:

Folk-Jazz singer, songwriter, and musician Eric McGrath was born to a Spanish mother and an Irish father in Dublin. Having spent his childhood growing up in Spain and Ireland, and the past few years living in Melbourne, Australia, Eric’s international upbringing is reflected in the style of music he writes and performs today. With a strong love of Latin grooves, 1920's North American song craftsmanship, and 1960's Surf harmonies, it wasn't long before Eric began to blend his diverse inspirations through his own unique compositions.

After completing an honours degree in Chemistry at University College Dublin, Eric finally succumbed to his true calling by obtaining a Masters in Music from Trinity College Dublin.

Recently signed to the prestigious Metropolis London Music Ltd., Eric has partnered with some of the world’s leading musicians and producers to craft his latest record ‘Far From Here’. Eric’s instantly catchy harmonies, unusual chord progressions, and breezy instrumental arrangements can again be heard throughout his latest record, which is already turning heads through regular international radio play.

A wider audience awaits...

McGrath has had a busy and interesting life so far.  That mixed heritage- the Spanish roots with Irish blood- is not a mixture I have encountered in a musician.  McGrath has traveled wide and seen some fascinating countries and people.  It is this never-sit-still attitude and zeal that has translated into music that is rich and original.  Whilst the core of McGrath’s music can be seen as ‘Jazz-Folk’; that is not to say it is a one-dimensional sound.  Those Latin grooves and ‘60s harmonies sit alongside modern Folk influences and bygone days Jazz motifs.  I was a little skeptical reviewing McGrath for a bit:  On paper, I was expected someone who was closer to Jack Johnson (an artist I do not like at all) than I would like.  The truth is- it is an influence of McGrath to be fair- that is doing him a huge disservice.  Our hero has his own style and range:  A breed and chemical mix that has seen his latest album (Far From Here) catch the attention of international media.  It is that adventurousness/cross-genre pollination that has led to such acclaim and recognition.   People may balk if they saw the words ‘Folk’ and ‘Jazz’ appear next to a musician.  Considered still- in this day and age- as minor genres; it would be naïve to overlook acts that go way from the mainstream and dig deeper.  If you are not a fan of Folk and Jazz- and variations upon the themes- that is not to say you should ignore a musician like Eric McGrath.  Not every musician that plays these genres will sound the same and be exactly similar:  You need to take a chance on music and allow something new to come into the consciousness.  I am not a fan of Country music yet am always willing to investigate artists that play in this genre.  Once in a while, you can become surprised and pleased of the endeavor.  Luckily, Jazz and Folk are genres I am not a stranger to:  It was without fear I approached the shores of Eric McGrath.  His music can be described as quite gentle and slow-burning.  You do not have devilish riffs and slamming sounds emerging from the speaker.  What you do get- something much more impressive- is music that reveals beauty and wonder after multiple listens.  Upon the first study, you have sounds that elicit charm and easy-listening appeal.  The older days charm and candour of the music- you imagine an artist that would be at home in the 1920s- puts you back to a simpler and easier time.  There is modernity and grit to the music; plenty of uplift and passion can be found- a blend that music listeners crave and demand.  The young artist has found patronage among B.B.C. Radio 2 and has struck a chord with the wider world.  Not a hometown secret, the Dublin-born artist has a gilded and busy future ahead of him.  His album, Far From Here, is as inoffensive and hard-to-not-love as you could get from any musician.  If you are hesitant and thinking it will be too effete to really get inside the skin:  Take time with a musician that digs deep and has much more than meets the eye.  If we should learn anything from music- 2015 was a rather spotty affair with regards great acts- we should take chances and give artists time to flourish and seduce.  Whether Far From Here manages to unite fans that prefer their music heavier and harder- tending to stick rigidly to Alternative sounds- I am not sure.  The music on offer (throughout the album) has plenty of appeal and heart to it.  I know McGrath will be playing around the land and meeting new fans as the year continues.  Having caught the eyes and ears of some influential stations- the media are starting to champion his latest work- you have a young man that could go a very long way.

Eric McGrath - By Lucy Spartalis - Web-22.jpg

If you want a full impression of Eric McGrath’s talents; it might be worth checking out some of his ‘older’ numbers.  A few years ago, McGrath started to put music on SoundCloud give the public an insight into his musical mindset.  While some of the tracks released a few years ago feature on the new album- including Carousel and These Are the Good Old Days- there are some tracks that do not feature on Far From Here.

Let’s Get Curious is gentle and boasts a vocal that is calming and has its mind across the waters.  Letting that voice stand out front- it is sharp and has a bracing quality to it- you have a song that has playfulness and romance at the heart.  The hero and his girl are alone together- time to get curious- and the song is a beckoning call in a sense.  The guitars strum and fire; there are brief blasts of horns and lyrics that go deeper than most.  Our hero does not want to play possum and there is wisdom and maturity in a song that implores taking chances and making the most of life.  Whilst some of the guitar sounds do recall Jack Johnson; there are elements of Norah Jones’ entrancing vocals and musical blends.  That said, McGrath has a unique style and Let’s Get Curious is a song I would love to see more exposed and played across radio.  It is one of those songs that could inspire upcoming musicians and has an enormous amount of nuance- I kept coming back to play it!

Eric McGrath - By Lucy Spartalis - Web-04.jpg

   A Lost Romance is perhaps the most Jack Johnson-esque track- the guitar/ukulele sound especially- whilst the vocal is perhaps less direct than Let’s Get Curious.  There are relaxed vibes and something borderline Reggae across a song that has a breeziness and casualness about it.  The track looks at growing old and missing chances- the lost romance is the most heartbreaking and haunting- and it is another song that has relatable and universal colours.  Another song that could make it onto the album- there was room only for the select few- it showcases a broad talent that has many sides to his art.  Regrets are common and lamentable- we all have to deal with this- and you immerse yourself in a song that will resonate with many.

With a rare piano appearance; Before You Left has touching and unexpected opening notes.  The introduction builds and creates something semi-symphonic and Classical.  The vocal is quite affected and haunted- words that can be tied to many of his songs- and that swirl of electronics and piano have spectral echoes and something troubled.  The brooding beauty and sunlight poke through- mixing Spanish and Irish sounds together- and you get a song that has so many working away.  Vocal snippets- not sure what it is from exactly- creates dialogue and storyline whilst the composition continues to impress to the final notes.

Eric McGrath - By Lucy Spartalis - Web-24.jpg

Since these days- and the first recordings put out there- McGrath has grown in ambition and confidence.  To be honest, the consistency and talent was all evident years ago.  I am surprised just how authoritative and formed McGrath is in these sapling cuts.  What we have in Far From Here is a continuation on a theme- some of those earliest numbers are now album tracks- and an increase in subject matter and variation.  The songwriting is perhaps deeper and more impressive than some earlier numbers; again McGrath was always pretty assured and unique back then.  Whilst no sonic leaps were needed; it is good hearing some non-album tracks and other sides to a mercurial musical talent.  The rate of progress and passion signals a musical future with many more records and possibilities.  It will be good seeing where the young artist heads and what direction he takes.  Given the strength of his current output:  There is going to be no huge need to change things and really alter what is already out there.

Eric McGrath - By Lucy Spartalis - Web-34.jpg

Always the Same mixes some tender percussion with some lightly strummed guitar.  Right from the off you get that sun-kissed vibe and something quite tranquil and romantic.  This blend of charming beats and smiling strings elicits early positivity and smile that is hard to ignore.  You get those reminders of Jack Johnson- only the merest of touches, mind- and what you get is an introduction that is scenic and deeply involving.  You cannot just listen to it and not have your mind taken somewhere.  Provoking some gentle feet tap and finger-clicking action; the early words see the hero in strong voice and with clear intentions.  It seems that tip-toeing around the issues- whether it refers to troubles in romance- has never been beneficial or solved the problem.  The vocal is breezy and cool- McGrath has that natural warmth and effortlessness to his tones- and you get swept up inside the gracefulness and passion of those vocal.  The lyrics are presented with plenty of heart but there is always a causal disassociation and detach.  Whatever has inspired the song- if it regarding a blossoming romance or strife- our hero wants everything to be kept cool.  This casualness and lack of commitment leads me to believe our lead has been through the mill and experienced too many splits and needless arguments.  Perhaps he has learnt lessons from love- the way things go if you plunge in too deep- and wants something more pure and different.  This girl he has is perhaps not exciting him quite the same as he’d imagined.  The conversations are empty and rather wasted.  Tired of shooting the breeze- that small talk and awkwardness is evident- is starting to take its toll.  Sure; the girl feels blue and alone now and then:  This is not ignored or overlooked by our hero.  What he wants- aside from the openness and bond- is conversation and an actual connection.  It seems there is this pattern that has been repeated time and time again.  Unable to extricate himself from the monotony of a rather predictable love- and a day-to-day existence that is stilted- you start to yearn for our boy to find something good.  Perhaps the girl herself is a nice and perfectly pleasant person.  You get the feeling it is a rather listless love and maybe the two are not as matched as they once imagined.  Away from love possibilities- it may just be a friendship that is feeling strains- you start to wonder how things will resolve and develop.

Eric McGrath - By Lucy Spartalis - Web-20.jpg

McGrath is always light and lacking anxiety when he delivers his voice.  There is no spite and accusation when speaking of dissatisfaction and lacking inspiration.  You get involved in the energy and tenderness of the song- the composition boasts some skipping strings and light beats- and start to speculate as to the truth of the matter.  Things are always the same and this isn’t a casual fling being documented.  McGrath has been with his sweetheart for a while- you sense history and a lot of tribulation- and there have been mistakes and problems in the past.  Accounting that this bond is “forever”- showing commitment and a desire- there needs to be some fix and patching-up.  Unwilling to talk away and find someone new; you have a song that pledges its allegiance to a love that could go the distance.  Those minor issues and humdrum days- the sort of bland conversation he wants to get away from- seem like they can be fixed and repaired.  That loyalty and commitment is there- the hero stands by every word he has said- yet there needs to be some separation and breathing.  Maybe the duo has been too involved and under one another’s feet.  Every day seems to bring pain and a predictable clash:  The hero wants to get away from that crap and foster a healthier and less fraught love.  The suggestion is this:  Having some distance (for a while) whilst both can unclutter their minds and come back healthier and happier.  Whatever they have right now is not really working out for the best.  The love burns and goes deep and you just know they will go the distance.  I guess every relationship has its stumbling blocks and quandaries:  How you deal with them and move on is the test as to its purity and promise.  Ensuring the song remains uplifted and positive:  The vocal and composition has a smile and effusiveness that hooks the listener and makes proceedings light and casual- probably befitting of the song’s nature and desires.  As the song reaches its latter moments; you get more into the story and the fates of our duo.  The hero always saw this relationship being unfaltering and rock solid.  It is perhaps a bad time for the two- one that is going to have to be addressed- and that regret and sadness does start to creep in.  To ensure balance and romance; you get pitter-patter percussion and impishness from the strings.  Your mind has one foot at the beach and sunnier climbs.  That near-the-waters vibe and tranquility is an asset that few musicians employ in their music.  Whereas contemporaries like Jack Johnson have little besides that sound- his lyrics do not really leave marks in your mind- McGrath is a songwriter with a lot more depth and quality to him.  The rich and silk-smooth voice looks at the results of this new type of love:  The heroine will come running back and want things to be the same as before.  As has been explained- a mantra for the song in fact- is pain will always come through.  Whatever happens during that day; the two will quarrel and end up at each other’s throats.

Eric McGrath - By Lucy Spartalis - Web-32.jpg

Eric McGrath has produced a song that stands up to a lot of listening and scrutiny.  Always the Same is a song that showcases the songwriting chops and skill that run across the album, Far From Here.  It is great to discover an artist that has such a sense of identity and purpose so early on.  McGrath has that boy-next-door charm and a songwriting talent that does not sit still and sound predictable.  Covering various themes and ideas; you have a musician with a busy mind who wants to appeal to a wide range of listeners.  Always the Same seems very real and personal:  A song that recounts a time in his life (maybe it is still there) and that need for something different and care-free.  McGrath is not an artist that plays too safe and honed.  Unlike Jack Johnson- who likes his style and does not often push beyond it- our Dublin lad has more diversity and spit to his music.  Among the warmth and tenderness, there is enough to suggest something more rebellious and impure lingers.  Never a bad thing- it could lead to some rather exciting sonic developments later down the line- the main strengths lie with McGrath’s voice and songwriting.  That voice is rich, warm and soothing:  Qualities that ensure his tracks bring positivity out of the darkest situations.  Compositions melt surfing scenes with ‘20s Jazz ideals; something rooted in traditional Folk and of-the-moment Pop.  I cannot wait to see how this young and vibrant talent develops in the future.  Always the Same is an impressive statement from an album with plenty of firepower and quality.

Far From Here is an album that has plenty of great moments and standout numbers.  Always the Same is perhaps the highlight- it is for me at least- but there are a lot of instant and memorable tracks to be found.  These Are the Good Old Days has already been featured across the airwaves- being picked up by B.B.C. Radio 2- and has enjoyed minor celebrity early on.  Away from these tracks, there is plenty to suggest that the restless musician will be one of our big names in years to come.  It would be great to see Far From Here collect more reviews- there is a criminal lack of them I can find- as the album is testament to a hard-working and passionate musician.  McGrath makes music that calms the soul and eases the strains of everyday life.  Described as ‘soulful’ and ‘uplifting’ in various reviews:  How could you ignore an album (and artist) that has such an attract set of qualities?  I am not sure; what I do know is there will be a lot more music from McGrath.  Into 2016, the hero will be taking the album on the road and seeing how it is received in the live setting.  The music is slow-burning- but reveals huge promise as you listen more- but is guaranteed to put you in a more positive mood.  Those compositions blend the wisdom and drive of Folk; Latin grooves and harmonies that take your mind somewhere special- topped with Jazz iconography and elements.  Before completing this review- and imploring you check Eric McGrath out- it is worth coming back to my earlier points- relating to Dublin, gentler music and the blends of music available.  Artists need to be adventurous and thoughtful when it comes to their music.

It is not good enough- unless you want to be forgotten about quickly- to just produce songs that have a similar sound and are predictable.  I know it is very tempting- a lot of bands and artists do this- to replicate artists and produce music that is well-worn.  There are far too many acts that try to fit into moulds and what the critics/mainstream want.  Those that push further and are more ambitious- tying different genres together- are always going to gain more appeal and support.  It is a hard trick to get right, really:  If you do not get that blend correct; it can backfire and put listeners off.  McGrath has a love of ‘20s artists and Jazz ideas; Folk core and modern-day Pop.  He brings all this together in music that will unify ages and all music lovers.  There are no borders and constraints (on McGrath’s music) and it is only right his fan-base increases.  At the moment, the social media numbers are growing and McGrath’s reputation is increasing.  Having originated from Dublin- he may still live there; I am only assuming he resides in London- it has given me a chance to revisit a wonderful and captivating city.  Many speak of Dublin in fevered tones- I am desperate to go visit the place- and always say the same things.  The warmth of the people is only matched by the wonderful streets and vibrancy.  You have so much to see and do; Dublin has such a warmth and friendliness that it’s hard to refute its joy and magic.  It is unsurprising musicians hear leave impression in the mind and have that comparable set of attributes.  Whilst Dublin has/is producing some great Rock bands- those with genuine nuance and originality- they have always been better when it comes to more adventurous/unexpected artists.  The artists in the city- that play heavier strokes- are mixing in other genres to create a more full-bodied and exciting palette.  The Folk-cum-Pop artists- a regular staple on the mainstream scene- are impressive and studied.  The development of McGrath- from his earliest cuts and experiments- is wonderful; the young artist has grown and matured into a musician with clear site and direction.  I cannot wait to see how McGrath’s career develops and expands.  Having uprooted from the home-only appeal- translating into the international realm- it is only a matter of time before more radio stations and countries are conquered.  That slow-burning bliss- that sits on McGrath’s debut album- fuses with emotive performances and uplifting vibes.   It would be good to see some London tour dates from McGrath- I am not sure what his diary is looking like so far- and the crowds here would embrace the gentility and captivation of the music.  Far From Here is an appropriate title for an album:  Our hero has traveled wide and has that heritage few others possess.  With Irish and Spanish blood- the nations and people he has seen- you have a set of D.N.A. that goes into music that is just as mixed and fascinating.  If you want music that puts you in a positive frame and smile…

Eric McGrath - By Lucy Spartalis - Web-06.jpg

FEW acts do it as effortlessly as Eric McGrath.

 

[youtube https://www.youtube.com/watch?v=5KamjtlS2p8&w=560&h=315]

 

_____________________________________________

Follow Eric McGrath

 Eric McGrath - By Lucy Spartalis - Web-40.jpg

Official:

http://www.ericmcgrathmusic.com/

Facebook:

https://www.facebook.com/EricMcGrathMusica/

Twitter:

https://twitter.com/_ericmcgrath

____________________________________

Music

https://soundcloud.com/ericmcgrathmusic

_______________________________________

Videos

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

 

TRACK REVIEW: Night Wolf- The Tailsman

TRACK REVIEW:

 

Night Wolf

 

 

 

The Tailsman

 

9.5/10

 

 

The Tailsman is available at:

https://soundcloud.com/nightwolfuk/the-tailsman

RELEASED: February 8th, 2016

GENRES: Chill-out

ORIGIN:

Bedford, U.K.

____________________________________

VERY few artists come across that differ from the pack…

and present something genuinely new and fascinating.  Of course, there are some terrific artists (past and bygone) that demand fond investigation and admiration.  What I am talking about are those acts that go the extra mile and unveil music that sounds completely fresh and exciting.  Before I come to Night Wolf- and the man behind the moniker- I wanted to look at Chill-out sounds and instrumentals; putting listeners into a song- and the key producers/collaborators emerging right now.  Away from the heaviness of Rock and Alternative; through to the seductiveness and sedate Folk motifs:  There are a great range of genres for every listener out there.  Whatever your tastes and preferences you are pretty much sorted.  I have had the privilege of reviewing so many different acts- covering most genres in modern music-and am always amazed when I happen upon something genuinely new and unexpected.  Whether it is Jazz or Pop:  If an artists does something new with the genre; it makes the listener experience that extra bit rich and rewarding.  Chill-out/instrumental music is not often heralded and focused in the mainstream:  It tends to be something that plays in the underground and not often uncovered.  I am not sure why genres like Chill-out are not played and represented more across radio and music in general.  From the ‘90s club classics to the ambient soundscapes that take your mind somewhere else- there is a wealth of magic to be found here.  It does not have to be an instrumental track either:  Adding a vocal to Chill-out/Electronic compositions can result in a wonderfully rich and evocative song.  I feel there is still too much emphasis on the voice- and creating mood and texture- that compositions seem to be second-best and overlooked.  Some of the best bands and artists are synonymous with their compositional innovation and talent.  Too many listeners go for immediate impact and something familiar:  They are overlooking sounds that have so much more nuance and longevity to them.  Songs that leave the lyrics/vocals out- and compel you to imagine your own scenes and possibilities- have so much potential.  If you have lyrics and vocals left in, you know what the song is about really- or have fewer outcomes to choose from.  By setting-aside those dynamics; you can elicit far more and leave songs completely open to that individual.  What I love about Chill-out- sounds that are dreamy and dig into the soul- are what they do to the mind and body.  It is great being jolted and struck into life:  Music that relaxes me and gets my mind working; that will always mean a lot more to me.  Ryan Wilcox is the man behind Night Wolf and has always amazed me with his production and composition talents.  From harder and more slicing cuts- that have dark undertones and bite- to something dreamier and more luscious:  The man can pretty much do anything he sets his mind to.  Before I continue on my point, let me introduce Night Wolf to you:

I am a composer/producer/artist working with MusicJar (UK) + SumSerious Music LLC (USA) + Sky Rocket Records (Europe) + GungHo Music Group Ltd (China). Started out in rock bands as a drummer, had classical piano training at the age of 7, gave up after grade 3 to concentrate on my own music. Alongside solo projects I work with my partner Centrist (Mike Ziegler) From Dekalb Il. We formed into Harmony's Descent around 1 year ago. Please stay a while and sit back and browse over some of my work, please leave feedback as its always welcome, I am always on the look out for new artists, accapellas and producers to collab with.

Night Wolf is an artist I have been following for years now and always amazed by how stunning the music is.  What is most impressive is how each song draws the listener in.  It is not music that boasts egos and showboats at all.  You get compositions that are for the listener and bring them into that experience.  Wilcox writes tracks that are for the mind and soul:  You cannot just listen to one of his tracks not take something away from it.  Emotive and dramatic- romantic and symphonic- you get a range of genres and styles thrown into an exhilarating boiling pot.  He is a producer that has attracted a great array of singers and collaborators.  Keen to work with a promising up-and-coming musician:  Names and artists have all been eager to share their talents with Night Wolf.  I am stunned more artists have not come through and wanted to appear on Night Wolf material.  Every time I hear a new composition (from Night Wolf) I think about the vocal possibilities and all the potential you can get from that track.  Those amazing production values- the musical innovation and wonder- and you have limitless songs that demand stunning vocals and a passionate talent.  Wilcox recently launched his Songs of Travel blog.  This is a venture that sees our hero travelling Europe and writing a new song in every country he visits.  Looking at the blog- the people and sites Wilcox visits- you have songs that reflect the country’s geography and multiplicitous joys.  Away from Songs of Travel, Wilcox is writing music for films too.  Uncle Sam Needs Money and Jester Hill are two new songs- both amazing and different- that showcase a rare talent with a big future ahead.  From the E.P. days- and the development and evolution you get from each one- Night Wolf has new inspiration and ideas.  The Tailsman is a track that will please existing fans and sure to bring new people in.  I will be excited to see what is next from a producer that seems to have no limitations.  Constantly inspired and in love with music:  There is no telling just how far Night Wolf can go.  I hope the social media numbers climb and more people discover one of our finest composers and musicians.  I love discovering musicians that are anything but predictable and samey.  Each time I come across a new Night Wolf composition, you get something new and genuinely fascinating.  With so many new endeavours and plans under his belt:  Who know just what this year will have in store?  I can see an album arriving perhaps.  Maybe Night Wolf will unleash something that goes back to his Moonlight E.P. (released in 2013) or a series of travelogues from his adventures.  There is so much going on with him now- writing for film and looking for hook-ups- I would like to see an array of singers lending their talent to the music.

When looking at The Tailsman; one must look back and see how far Night Wolf has come.  The new songs being out right now- there are several on SoundCloud- have a lot in common with previous offerings.  With Night Wolf, you never get a total departure and about-face.  The producer does not want to put off existing fans and constantly have to reinvent himself.  Even from the earliest days, the songs had such depth and variation- hard to compare two songs to each other- and the evolutions and steps lie elsewhere.  What you get now- from the earliest days perhaps- is that huge confidence and nuance.  Night Wolf’s early cuts had plenty of passion to them, but if anything, the latest offerings showcase an artist with renewed direction and intention.  Perhaps travel and time has led to this step-along and improvement.  The Tailsman digs even deeper than songs across previous E.P.s and seem tighter and more focused.  You get the same amount of joy and bliss but the music is more concentrated and disciplined.  That said, the consistency- the songs will keep existing fans happy- is the most important aspect.  Night Wolf never drops a step or produces weak songs- not one since the creation of his act- and right now you have a talent that can get even better and bigger.  The fact Night Wolf is so in-demand- having his music featured across T.V. and film- can be attributed to this consistency and growth.  Artists that leave big gaps between releases tend to lose a bit of edge and quality.  Night Wolf has never really been out commission, and as such, keeps honing and developing his craft.  The Tailsman finds the young artists in new form and finding inspiration once more.  In the past I have known what various tracks are influenced by- whether political stress or social issues- but here things are less direct and more open.  It is a song that has no set meaning- or not one I can see- that means every listener will have their own ideas and mindset.  If anything, Wilcox is becoming more diverse with his compositions and finding fresh angles and influences.  Traveling across Europe- part of his Songs of Travel adventures- that scope is wider and bolder.  This rate of progression and curiosity is a positive sign that can lead to a wonderful E.P. or album.  I know Night Wolf has enough material and new steps to fill an album- let’s see if that happens in 2016.  What existing fans will find is the quality rising once more.

It has been a little while since I have reviewed a new Night Wolf song.  Not knowing what to expect-if I would hear something that recalled the early days- it was fascinating sitting down with The Tailsman.  The first notes see some rising strings/synths that have edginess and a haunt to them.  Mixing intrigue and curiosity to them; bringing in some passion and romanticism to the fold- a song that gets inside the mind right away.  Tense and taut beats come to the fray to create a building atmosphere that takes the song in another direction.  The composition keeps building and you get a real sense of aesthetic and drama early in The Tailsman.  In the early exchanges the focus is on beats and the way they tumble and work.  Almost finger-clicked and tumbling:  There is a stunning mix of pitter-patter and direct slams.  Tumbling, swimming and dancing:  It is hard to overlook the beauty and magic of those notes.  As I have said before- in the introduction about depth and nuance- every listener will have their own ideas as to what the composition is trying to say.  It is an instrumental track that will see thousands of different visions and storylines.  It is quite rare to discover artists that create instrumental tracks that possess so much emotion and possibility.  Most music has vocals and lyrics, so when faced with something that contains neither it gives you a chance to arrive at your own conclusions and decisions.  Those slamming and cutting beats then start to fuse more with the electronics.  Compelled and driven by that constant sound- the swooning and swaying electronics- you have a beat that jumps and moves with a restlessness and sense of purpose.  My mind was imagining a shadowy man lurking in the dark of a huge city.  The neon lights might be buzzing and there is a strange sensation in the air.  Perhaps there is a mission or job to be done- here is a spy or government figure- and a definite target in mind.  With nary another body on the streets; you get drawn into an adventure or mission that is sure to build in intensity and force.  Listening to The Tailsman and it seems like a track ready-made for T.V. and film.  It is a song- even in the earliest moments- that could score a tense drama like Luther.  In that same spirit, I could see it soundtrack a big Hollywood scene or inside a low-budget Indie film.   I get little flecks of past Night Wolf work, although to be honest, we have such a leap and new sound at work.  Whilst existing fans will find a lot to recommend- it does not completely negate that solid core- you have so many new ideas and possibilities.  There is a catchiness and addictiveness to the beats that get your head nodding and the feet tapping.  Joining that exciting percussion are twitchy and spacey electronics that spark and elicit a quirkiness and odd charm.  My early impressions- regarding spy-in-the-cold-danger- start to mutate and alter as the song progresses.  There is romanticism and chill to the track that gets me thinking about love and something more relaxed.  Reminding me of acts like Massive Attack- who could deftly fuse the dramatic with romantic- and here’s a song that keeps blossoming and providing fresh promise.  Captivated by that insatiable beat- that seems to provide new story-line with each moment- the listener will have their own ideas as to what the song represents.  Thinking about it, I get remembrances from dreams and something quite abstract.  The Tailsman has that dreamy quality that takes you somewhere strange yet safe.  The composition remains fairly accessible and light- previous Night Wolf numbers have been more carnivorous and attacking- and that sense of calm is always there.  Part of me sees the song as a travelogue and glimpse inside a foreign land.  There is that sense of movement and energy that got me thinking about passing landscape and new cities.  That nervous energy and passion could be the representation of new discovery and foreign scenes.  As I said, everyone will take something different away from the listening experience.

   The Tailsman is a song that showcases new promise and ambition from one of the U.K.’s finest talents/producers.  A vibrant, rich and atmospheric track here:  We have a song that never allows the heart and mind to become involved and immerse themselves in a strange and beautiful number.  It is also a song that could be given new life were a vocal to be attached.  I know Wilcox is looking for artists to work with and it seems like The Tailsman would suit a female voice and soulful performance.  It is a song that could fit some great lyrics and be backed by a committed and rich vocal turn.  Whether that is the direction Night Wolf will take- or if it remains an instrumental track- what we have is a song with so many possibilities and potential.   The production values and superb which allows all the notes and ideas to come out with clarity and naturalness.  Having a few other new songs out there- I will give an overview below- it has been a creative and fertile period for the young producer.   It has been a while since I have heard Night Wolf so excited and dedicated to the act of music-making.  There is new passion and a lease of life that translates into The Tailsman.  Here, we have a song that could fit into a variety of situations and places.  It has the potential for radio play and will surely be picked up by stations that have championed Night Wolf previously.  In addition, the track could find new followers and it will be exciting to see if it features on upcoming films and T.V. productions.  Congratulations to Night Wolf on another step forward from an artist that becomes fascinating and promising by the year.

There are five new songs out there that Night Wolf is keen to share.  Jester Hill has enraptured violins and echoed vocals that create an odd and trippy opening.  Bonding with hard-hitting beats- it races and gets underway with intensity- you get drawn into the drama and emotion poured out.  A dangerous and busy opening few seconds; the combination of elements- violin and beats together with vocals- then leads to something symphonic and driving.  A sound collage that could easily score T.V. and film scenes a-plenty- no listener is immune to the drama and racing heartbeats that come out.  The song mixes various different genres into the pot.  There are Dance and Electro. elements joined by classic guitar- Flamenco and Salsa tangos inside the notes.  Dancing piano and juttering strings give the song an edginess and anxiety; mixed with the grand passions and lust and the song gains new majesty and life with each passing moment.

  World of Delusion has spoken vocals- with dancing pianos and strings- that gives a different angle to other songs.  The addictive and mesmeric composition brings strings and piano together in a peculiar and powerful dance.  Teasing and hissing beats provide energy and uncertainty around a mind that is besieged by contrasting thoughts and emotions.  Differing percussionary notes- sounds of a tabla or bongo lurk underneath perhaps? - are interrupted by vocal snatches that have me wondering about the origins. While the compositions remains fairly grounded- repeating its ideas and consistent as it goes- it is those vocal passages that perhaps get the mind guessing.  I am not sure who spoke them but you get various different snippets come out- “Your mind is what there is” for one- that ends with a very clear message:  The necessity of remaining in a state of delusion.

Uncle Sam Needs Money is edgier and recalls past work of Night Wold.  Vocal snippets- Uncle Sam needing money- reminds me of the work of The Avalanches.  That experimental and cut-and-paste freewheelin’ sees the track constantly on edge and fascinating.  It is a song that is breathless and is constantly pressing.  The beats tumble and slam with intent whilst those jagged (and wordless) vocal snippets create an odd sound that gets inside the brain.  You cannot escape the sense of suffocation that comes through through the track and the urgency that pervades.  So many ideas and so much life is put into a song that doesn’t even top three minutes.  It is a testament to the talent an ability of Night Wolf that Uncle Sam Needs Money seems like one of those epic tracks.

These new tracks show different sides to Night Wolf that unite the past and embrace the future.  Continuing the ideals of political unrest and anger (Uncle Sam Needs Money) you get dreamy soundscape and entrancing music nestling together.  I can see these tracks sit alongside one another on an E.P. and it will be exciting to see how they fuse with one another.  It is clear there is a lot more potential and music inside Ryan Wilcox.  If you have not heard the new music then make sure you do not overlook it- some of the finest sounds he has ever created, for sure.

Night Wolf is one of those acts that never seems to tire and pause for breath.  In a music world that sees so many short-stay artists do their thing- play a few tracks/E.P.s and then fade away- it is encouraging to see a musician that gets better and bigger.  It is not just the passion and energy that impresses me:  That variation and evolution is stunning to hear.  Having that potential and openness- not bound by particular genres and vocals- you get such rich and variegated sounds.  Every new moment (from Night Wolf) takes you somewhere special and wonderful.  Following the Songs of Travel blog- and the songs that represent each country Wilcox has visited- you imagine all sorts of scenes, streets and people.  Vibing from the beauty and uniqueness of each country:  You get an aural representation of every sight, sound and flavor from that nation.  When listening to his E.P.s; I was amazed by the boundless invention and talent that was brought into every song.  Whether inspired by financial woes and political issues- or problems in love and relationships- our hero always injects so much potential and passion into everything he does.  The Tailsman is another side to a composer/producer that differs from early work- in terms of the sound and inspiration- but retains that distinct and Night Wolf-esaque reach.  You have a composition that encourages the listener to immerse themselves inside the song and imagine what is unfolding.  I am not sure what the exact origin behind the song is- I prefer to leave that to my imagination- but listened to it again and again.  Every new play reveals hidden beauty and possibilities:  A song that evokes a wealth of emotions and ideas.  I have loved reviewing and discovering the past work from the Bedfordshire-based talent.  Wilcox is one of those humans that does not like resting and allowing too much time to past.  Influenced and motivated by everything around him- from different countries to news events- you are guaranteed to hear more Night Wolf work throughout 2016.  With his film scores and work- there are examples being unveiled at the moment- I am sure we will get a new E.P. or album.  What form that will take- maybe a series of numbers based around Songs of Travel or something that harks to past E.P.s- it will be interesting to see what direction Night Wolf takes.  Before ending things here, I wanted to circle to the original points around Chill-out and immersive music; the great producers that are coming through right now.

It might be a bit narrow to call Night Wolf’s music ‘Chill-out’- there are so many genres he mixes into the music- but you certainly gets music that elicits emotion and a response.  It is quite daring presenting music that is compositional and encourages the listener to think deeply.  The modern scene has that fixation with great vocals and band music:  Night Wolf seems like a renegade that is making music that balks trend and seems more credible for doing so.  There are so few genuinely wonderful musicians emerging that separate themselves from the mainstream and go much deeper.  What Night Wolf does- and has been doing for years now- is create soundscapes that have that chilled and ambience to them.  You get emotions and passions coming through:  There are energy and raw emotions that provoke all manner of thoughts and scenarios.  The Tailsman is another insight into a fascinating talent with no limitations.  The reason I have followed Night Wolf so closely is the originality and variation he provides.  Each Night Wolf song takes you into the music and allows your mind to drift and imagine.  I hear so few musicians that involve the listener and really provide that depth and detail.  Night Wolf tracks have that colour and majesty in every moment.  If you are looking for something that distances itself from the disposable nature of music- those artists you know will not stick around long- you need to get involved with Ryan Wilcox’s alter ego.  He is one of the finest producers around and stands above his peers.  There are some near-genius producers working across music- from the club D.J.s to those scoring films and T.V. - but Wilcox seems to have his own niche and sound.  Having appeared on B.B.C. Three Counties several times; various artists lending their voices to the music:  Just what can the rest of this year give to Night Wolf?  Well, it is sure to be another busy and productive one from our hero.  I hope those social media numbers get themselves rising- he deserves a lot more attention and supporters- and will be enthralled to see where this rare and special talent goes next.  The Tailsman is on SoundCloud now and is joined by Jester Hill and Uncle Sam Needs Money.  With each song title, you can probably arrive at your own conclusions.  When you listen to the music- and let those compositions get inside the head- you might change your views or discover new potential.  That is the mark of a truly great musician/producer:  Someone who can keep surprising and prompting you to revisit the songs time and time again.  Ensure you investigate The Tailsman and let its beauty and power get inside the mind.  Once you do…

IT may never get away.

 

[soundcloud url="https://api.soundcloud.com/tracks/245919303" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

____________________________

Follow Night Wolf

 

Facebook:

https://www.facebook.com/nightwolfuk/

Twitter:

https://twitter.com/SongOfTravel

______________________________

Music:

https://soundcloud.com/nightwolfuk

INTERVIEW: Dexter Krenal of Meat Loving Vegans

INTERVIEW:

 

 

 

Dexter Krenal of Meat Loving Vegans

 

 

THERE are a lot of quite false and fake artists playing at the minute…

that all sound alike.  So many musicians are playing very samey and uninspired sounds- that clone others and show such little personality.  In interviews, some artists give very little value and fascination.  Meat Loving Vegans are a London-based band that cannot be accused of being boring and predictable.  Fusing some classic Punk sounds with British and U.S. contemporaries:  You have music that is sure to elicit a very positive response.

The boys are preparing to release a new album- following on from Lost in Fiction- only a few months after their debut.  Promising new direction and familiar strands:  I was keen to catch up and see what was in store.  Frontman Dexter Krenal gives us a glimpse into the band’s unique chemistry; the plans they have for 2016- which artists and bands inspire Meat Loving Vegans…

_______________________

Hi Dexter.  I hope you are well.  How has your week been?

Cheers Sam mate.  I’ve been busy as fuck – 3 gigs, 2 rehearsals; a day recording demos with the band- working my botty off in my bar job (the worst was a 13-hour shift yesterday!).  Not for much longer though (my last shift is this Saturday).  Boozing and not sleeping much.  I’m paying for overdoing it, though.  I’m buried in sheets in my girlfriend’s attic/room gorging on tea, smoking roll-ups and feeling like death.

For those new to the music of Meat Loving Vegans:  Can you define it?

Bit of a toughie that really, coz it’s a massive blend of loads of stuff.  I add the hard-hitting British, working-class, Punk-Rock/Alternative vibe:  James (keys) is a Jazz fiend; Sam (drums) comes up with some really cool, weird shit (the Eno of the band); Matt (bass) comes from a Classical background which helps us hold it all together.  I think left to me, James and Sam it’d be the musical equivalent of an epileptic fit… On steroids.

Looking back at 2015:  Which memories stand in the mind as particular highlights?

Finishing the debut album (Lost In Fiction) – mostly by myself (although I did have some help)- putting the band together and doing loads of shit gigs.  Now I listen back to the record, I hear what I wanna do differently next time.  Same looking back on the gigs:  I know what needs to happen to take it up a notch.  Was (overall) a real good time honing our craft; doing what we love.

Meat Loving Vegans’ sound has echoes of Blur, The Clash and Punk greats.  Which artists and musicians were important to you growing up?

Too many to mention!  The first proper run-in I had with music was my grandad playing his old Jazz records- he mainly got them from New York when he was in the navy.  The music would really piss my nan off, which I thought was hilarious!  Then in school, I had to sing David Bowie’s Life on Mars in assembly, which I loved too.  But what really got the ball rolling was my mate James.  We’d skive off school, smoke fags; drink some vodka we’d nick off our parents; listen to Guns N’ Roses and try to play along.  Was fucking great!  Then, I found the Sex Pistols a bit later on which made me realise you don’t have to be the prettiest player/singer:  What REALLY matters is the message and the energy.  Was no stopping me from there!

On that note:  Which modern-day artists are inspiring you?  Any you would recommend to people?

Yeah.  I’m actually getting into quite a lot of newer stuff at the minute, which is cool.  For ages, I couldn’t find fucking ANYTHING that I liked!  I played with these two bands- Sleaze and Sex Cells- at the Windmill in Brixton last Friday.  They were both really cool.  Slaves, Misty Miller, Black Honey; Tess Parks, Fat White Family; King Krule, Mac DemarcoThe Brian Jonestown Massacre keep pumping out amazing new albums- although they started in the ‘90s...

I love the past work of Meat Loving Vegans.  Can we expect some new music sometime soon?

Ya sure can mate!  We’re working on our next album now.  We don’t have don’t have release dates yet but it’s looking like we’ll have a couple of singles out in April- and the album should be out in May.

In terms of your new material:  What subjects/themes have defined its creation?

Well, there’s a lot more depth to the second album.  We’ve tried out some really heavy, crazy stuff.  We’ve also gone further the other way and done some really quiet, dark, trippy stuff too.  It’s all about life in London the way I see it, more-or-less.  Roughing it, drink and drug addiction; the wealthy shitting on the poor; sticking with those that matter (to pull through the dirt).

With reality shows like X Factor dying out- having been removed from the schedules- do you think music is starting to embrace ‘real’ musicians more?

Hurrah!  Let Jah be praised!  Let’s hope that’s the case.  I’d LOVE for that to happen, but I doubt it.  When one crap thing like that’s extinguished there’s normally some wanker with another crap idea and a huge wallet in line ready to fill the gap.

We might end up with a super-charged version of X-Factor blended with Take Me Out.  One where a bunch of contestants desperately run around a room singing Pop cover songs at the top of their voices, half-naked- with the aim of getting a shag whilst simultaneously trying to impress record company executives to give them a multi-million-pound contract.  In fact, I’d watch that.  That actually sounds brilliant!

You live in London- formally a member of the Camden community- and are in the heart of things.  Do you think it is easier for musicians in London to get exposure and gigs?  What are the benefits of living in the capital?

Well, it’s AMAZING and BRUTAL at the same time!  I grew up in this little place daay’n saaa’f (sic.) called Gosport (next to Portsmouth).  Proper community vibe there; everyone mucks in with each other to make the music happen- and some of the stuff people are doing there is really good.  But there’s NO exposure:  Hence, I came to London.  Otherwise, I would’ve been the best guitarist in my bedroom and that’s it.  Here, it’s totally different.   You see incredible guys busting their arse and not getting anywhere; other people you see doing well and think "how the fuck did you get where you are?"’  There are just so many people trying to climb the ladder; everyone’s falling over each other.  But what are the benefits of living in the capital?  If you look for it, there’s some mind-blowing stuff going on- and it makes all the crap that comes along with it worthwhile.

There will be some young artists inspired to follow in your footsteps.  What advice would you give them?

Don’t do it!  Save yourselves!  Hahaha.  No, do it!  No, on a serious note:  I love making music.  It’s rarely easy but it’s so worth it.  So my advice would be:  If you love making music too; forward march brothers and sisters.  Troop on, and shine your light onto the darkness!

You have a good band behind you- James, Sam and Matt play with Dexter - and a tight bond comes through in the songs.  How did you guys meet?

We went to this music college called I.C.M.P.  That was my ticket out of Gosport and up to London, so I took it- although, we didn’t start playing together ‘til we’d pretty much finished.  The four of us are a pretty unlikely mix, to be honest:  James and Sam are like a loving, married from Newcastle; I’m a southern nutter from a council estate and Matt can be quite an argumentative (yet passionate) French/Italian fella.  The common ground we all have is to make great music; so it works.

If you guys could put together a ‘dream line-up’- of acts and musicians past and present- into your own festival; who would appear on that list?

I don’t know if anyone would show up if we put that on; it’d be mental!  I’d have a bunch of in-your-face Alternative/Rock/Punk; Lo-Punk/lo-fi bands like Slaves and The Brian Jonestown Massacre.   James would follow that with some Jazz guys like Charlie Parker (if he had resurrecting capabilities).  Sam would shake it up even more with some experimental stuff:  Like having Eno play discordant stuff on a synth with his photography being projected like strobes.  Then Matt would confidently stroll up to headline, armed with a bloody orchestra to finish it!  We’d get killed!

I always love to find what inspires musicians’ songs and creative spurts.  What inspires Meat Loving Vegans when it comes to writing new music?

It can be all sorts, really.  It’s so cliché but it’s true:  You never know what’s going to come into your head or when.  Sometimes, I’ll be listening to a lot of a certain artist and end up having an idea come into my head that’s a similar vibe.  Other times, I’ll be thinking of something and a tune will just arrive.  I’ve woken up at stupid hours of the night with a song and had to jot it down before I can get back to sleep.

It usually starts with me writing the basic track then taking it to the band:  They put their stamp on it and we go from there.  I’ve written a couple of the band’s ideas recently which is new.  I’m always late to practice (sorry guys) which gave them a chance to jam this really cool, trippy idea- it ended up becoming Purple Shores on the new record.  It made me think of being a teenager:  Slightly stoned/merry on the beach back home with my mates.  It ended up becoming what the song was about.  Another was when James went to the toilet for …business… and that made me think of all the shit stuff that happens in London.  Out came the song Only in Bloody London (again, going to be on the new album).

Music means a lot of things to different people.  What does it mean to you (and the band)?

Sanity!  Without it, I’d lose the plot.  I was always looking for a way to express myself when I was younger; I had all sorts of weird hobbies.  One was writing poems onto parchment paper with a quill:  Dipped in Indian ink and sealing it with wax and a stamp (as if I lived in the early 19th century).  A nutter from birth!  So lucky I found music (or that it found me).

Finally- and for being a good egg- you can name any song you like; I’ll play it here…

Nice one geeza!  Since we mentioned Gosport earlier, let’s go with The Ballad of Gosport.  There ain’t nowhere like home…

 

[bandcamp width=350 height=470 album=1798334013 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=488148593]

 

_______________________________

Follow Meat Loving Vegans

 

Official:

http://www.meatlovingvegans.com/

Facebook:

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

Twitter:

https://twitter.com/meatlovinvegans

YouTube:

https://www.youtube.com/c/meatlovingvegansofficial

SoundCloud:

https://soundcloud.com/meatlovingvegans

Instagram:

https://www.instagram.com/meatlovingvegans/

 

TRACK REVIEW: Yui Karlberg- Seasons in a Day

TRACK REVIEW:

 

Yui Karlberg

 

 

Seasons in a Day

 

9.3/10

 

 

Seasons in a Day is available at:

https://www.youtube.com/watch?v=bAt4jm7c8uo&feature=youtu.be

RELEASED: November 20th, 2013

GENRES: Folk; Pop

ORIGIN:

Bournemouth, U.K.

____________________________________

IT is not often I get to look at serious issues when it comes to musicians...

When reviewing acts, I spend a lot of time investigating the artists themselves- rarely does anything away from music come to mind.  Today, and with regards my featured artist, it raises new themes and something important.  In addition to looking at transgenderism and how it addressed (in the music world) I wanted to look at inspiration and how the voice can change everything- finishing things by looking at musical transformations and developments.  Over the course of several years- the length of writing this blog- I have always just reviewed a band/act and left it at that.  Even if the music has been great- which it often is- that is where it is left.  I never look at anything deeper or discuss social themes at all.  Yui Karlberg is a transgender artist that has had to fight to get her voice heard.  In a world where it is difficult enough getting the music heard and favoured:  Talking about subjects like transgenderism is even more challenging.  In a so-called ‘modern world’ there are still conversation points that are seen as taboo or awkward.  People are not nearly as open-minded and accepting as they should be (not everyone, but a lot) and it can create a lot of anxiety and upset (for those affected).  When it comes to transgenderism, a lot of people tend to skirt around the subject.  It is always really depressing and angering watching people close their minds and not embracing humans the way they should.  It baffles me why areas such as transgenderism, race and sexual orientation still have to fight stigma and repression in 2016.  We have come a long way in some respects- with regards technology and science- but when it comes to emotions, human development and awareness:  Are we as ‘human’ as we could be?  Far from being unusual or strange, transgenderism should not be an issue at all.  If a person wants to change their gender and become who they are supposed to:  Why should there be any problem with that?  Perhaps the general population are scared by something that is slightly different or foreign to them.  Maybe we all get used to a perspective of ‘normality’- or what we define it to be.  Anything hat rests outside of that definition scares us.  It is a problem of human-kind that we are not as accepting and loving as we should be.  Whether transgenderism is wholly accepted and embraced in society- unfortunately, we may have to push a lot harder- I am not sure.  Where it shouldn’t be a problem- and should actually be seen as a massive positive- is when it comes to music.  My featured artist has shown bravery and a lot of courage in her life.  Looking at transgenderism, it is not something that is being addressed by music media and the press.  While there are quite a few artists in new music who are transgender:  The only mainstream role model we have is Antony Hegarty.  We should valorise musicians who are transgender and not see it as an embarrassing thing to discuss.  It is hard enough having to live and succeed in life as it is:  If you have to fight against people’s narrow-mindedness and prejudices, it makes things a whole league worse.  Hegarty is an artist who has come out in the press and stated he is a transgender artist.  In early interviews and features, Hegarty started how she struggled to identify herself and has wrestled with demons.  Hegarty is a female artist that has a distinctly male voice:  This is something that scares people and they cannot understand it.  Maybe it asking too much for humans to fully change their perceptions and ideals of normality:  I plea that in years to come we will see transgenderism addressed and discussed in very positive tones.  With the likes of Hegarty inspiring legions of musicians coming out, we have something terrifically starting.  By talking about the topic (transgendrism) it is seeing other musicians come through and talk about it.  Yui Karlberg is someone inspired by Hegarty and his fight.  Not only compelled by her (Hegarty) amazing voice and distinct sound:  The way Hegarty has embraced and realised who she is has motivated Karlberg to talk more widely about transgenderism and how important it is.  I shall not labour the point too much- we are here to talk about the music, alas- but I am pleased something other than music comes to my attention.  Before I move onto new topics, let me introduce Yui Karlberg:

Sometime way before March 2012, Yui had heard 'Skinny Love'. A song written and produced by Justin Vernon aka. Bon Iver. She then purchased his debut album 'For Emma, Forever Ago' and she was hooked...

She had been playing songs and performing under the stage name of Miss Interpreted for about a year and then in January 2012, she thought she wasn't getting anywhere and called it quits.

For 2 months, she was mentally somewhere else...in a zone searching for the 'new sound' referring to an episode of hit UK comedy 'The Mighty Boosh'.

She was tired of singing in a voice that everyone else around her seemed to be doing. She was tired of playing guitar like most other people do too. It was time to go back to the drawing board.

Then she remembered a song of hers called 'Unspoken' that she wrote back in 2005 in DADGBE tuning (standard tuning is EADGBE).

For those of you who don't know and it's not such a big deal , but it is relevant for this biography...is that Yui is a transwoman...which means she was born male but lives, talks and does anything else that most women of her own age do.

So bearing that in mind, she remembered about Bon Iver's vocals and used that as an inpiration to sing 'Unspoken' in a falsetto/high voice.

After a few singing lessons, she tried it out at a local open mic and people wanted to hear more.

She was astonished!

Shortly after, she worked out how to play chords in that tuning and wrote 'Endless Journey' ....

Her debut album 'YUI' was released mid 2012 via iTunes. It has sold over 200+ copies.

Since then, she has recorded a second album 'Beauty Within the Beast' which is by far her most popular yet and this is what transformed her from an ambient folk artist to the electro-pop artist she is today.

As Karlberg is inspired by Antony Hegarty; it brings to mind the relevance of having a stand-out voice.  The voice is not just an audible representation of your music:  It is the dynamic, personality and spirit of the music you are performing.  While lyrics and composition hold a great cache:  The voice, to me at least, is the most vital aspect of music.    A lot of musicians still undervalue the vocal and do not give it enough originality and power.  Karlberg has been compelled by a range of artists but Hegarty is someone very important to her.  By that same token, Bon Iver (Justin Vernon) has also been vital with regards moulding her sound and music.  If you consider those two musicians, you have deeply atmospheric and bold vocals.  Hegarty has that operatic and transcendent low:  Capable of rising to a delicate high, it has enormous grace and peculiar allure.  Hegarty is seen as one of most singular voices in music history:  Karlberg possesses some of Hegarty’s wonder and etherealness.  When I Am a Bird Now as released- the 2nd album from Antony and the Johnsons in 2005- critics noted how metaphysical and otherworldly the record was.  The multi-octave vibrato tackled themes like love and loneliness with new life and light:  Few artists before have made these themes sound so new and heartbreaking.  Karlberg has that ability- to turn everyday themes inside out with a powerful voice- but plenty of beauty and tenderness too.  With Bon Iver’s lead being an idol- and that unescapable voice defining every song- you get themes of isolation and struggle being addressed.  Whilst the aforementioned artists address darker themes and battling the odds; they do so with unique beauty and wonderfully rich and engrossing songs.  Karlberg is perhaps a little less haunted than some of her idols:  The songbooks contain a little more celebration and positivity.  That said, she is keen to make the songs stand out and get inside the head.  The voice can make any song sound essential if you get the blend right.  A lot of artists either come off too powerful and wayward- those Pop idols whose force of nature approach can fatigue quickly- or ridiculously slight and passionless.  Karlberg is one of those musicians that has a perfect blend of sky-scraping and intimate.  Having begun as a Folk artist in the early days- no doubt enforced by the likes of Bon Iver and the sound of For Emma, Forever Ago- Karlberg is playing Electro.-Pop with less introversion and more layers to it.  While those early years showcased songs with intense emotion and a stunning originality:  What we have now is perhaps something more layered, accessible and uplifted.  That is not saying the music has taken its heart away from beauty to embrace something commercial and insincere:  Seasons in a Day is perhaps Karlberg most arresting statement and demonstrates a songwriter with an arresting voice and plenty of years yet to come.

Having spoken about how Karlberg has developed and changed as an artist; it is worth looking back at the early sounds and how the music has come on.  Yui is a song released a couple of years back- when Karlberg was starting to make her first impressions- and showcases a wonderful musicianship and tones.  You get a mix of deep and beautiful vocals- that come together beautifully and purely- and a song that has plenty of punch and drive.  A personal statement and summation of musical influences- Thai sounds and Pop music alongside Folk- you have a performance that is engrossing and stunning.  Personally open and with some familiar tones- you get a bit of Antony Hegarty’s wonderful timbres- it is a solid and confident song.

  The Ghost of Love is one of Karlberg’s most celebrated songs- the debut single from her- and demonstrates new direction and purpose.  The vocal has a huskiness and depth that gives the subject and lyrics the emotion and relevance required.  Needing instruction and guidance- how to love and be “your lover”- there is that calling-out.  Whilst friends are procrastinating and not helping; our heroine sings to Romeo and puts her heart out there.  The track has an addictiveness and catchiness- that Pop energy with a chorus that cannot be ignored- and you have a song that is short but very sweet.  It is no surprise the track has gained popularity and a cult status among fans:  It draws genres together but its central themes of desire and acceptance are relatable and very human.  It is an honest and heartfelt song from a musician that shows a step forward and natural evolution.

  Restless Mind is another track that shows a jump forward and sea change.  Whilst Karlberg has always been an artist with innovation and quality in spades:  Here, we get a song that seems to be one of the most urgent and direct tracks to date.  Released last year, the song’s title is repeated over hard beats and a Dance-cum-Electro.-Pop composition.  While earlier numbers have been more Folk/Pop-driven:  On Restless Mind, we get something that could be destined for the club dancefloors.  It has that pounding and relentless energy that gets people united in dance and voice.  A pumping and daring- bangin’ and hard-hitting- you get drawn into the vibrated and echoed vocals.  Tender piano notes mix inside quivering electronics- a daring mix of ideas and sounds- to create a song that has so many layers and nuances.  A bona fide club classic- something that has the drive and ambition from ‘90s Dance music- it is a song that stunned me upon first listen.  Such an authoritative and confident song- Karlberg sounds completely lost in the beauty and headiness of the music- you have a song that demands multiple listens.  The quirky-cum-accessible composition drives a vocal that documents a restless young woman who is struggling to overthrow anxiety and troubles.  Perhaps my favourite song from Karlberg- one of those that just hits you and does not escape attentions- it proves what a varied and stunning artist she is.

That range and forward-thinking approach will make any future E.P. a tantilising proposition.  It would be great to see songs like Restless Mind kick things off; a bit of The Ghost of Love with Seasons in a Day.  With those three songs you get a varied lyrical bent- love and anxiety sits with uplift and hope- whilst the compositions switch between tender introspection and out-and-out swagger.  I cannot wait to see Karlberg release a solo effort this year- I know she is busy with band music and performances- but there is so much promise and variation.  The music has universality and it would be wonderful to hear the songs played more widely across radio.  Tracks like Seasons in a Day and Restless Mind could alternately play across Radio 1 and 2- the former being suited for that audience; the latter for theirs- but the truth is, the music could easily slot into any radio station.  There are no walls and divisions in the messages and compositions.  Seasons in a Day is one of Karlberg’s proudest achievements and one of the most personal statements from an artist with a clear sense of identity and strength.

Seasons in a Day has gained a few listens across SoundCloud and YouTube- to my mind, it deserves more attention and views- but the social media crowds have been keen to highlight a track with a terrific consistency.  From the early notes you get recollections of a young Nick Drake and his haunting refrains.  The acoustic guitar finger-picking and notes put me in mind of Five Leaves Left and Bryter Later.  With its pastoral/Folk elements, there is a nod to Karlberg’s earliest days and her love of acts such as Bon Iver.  Without a word being evoked, you are transformed somewhere scenic and befitting of the song’s title.  The seasonal and changing sound- the introduction gives impressions of summer’s warmth and the grace of autumn- puts your mind in a better place and makes you smile.  Not only is the guitar playing exceptional and original- few guitarists give new ideas and room when it comes to acoustic introductions- but it is impressive to hear Karlberg completely in control and lost in her music.  There are doubts and questions in the early stages of Seasons in a Day.  The central character- whether Karlberg is using herself as the heroine in the song- has been walking road for years and trying to find who she is.  Filled with doubts and concerns- her mind struggling to find truth and happiness- there is that quest to overthrow negativities and discover happiness and truth.  With friends around her- who are meant to eradicate the doubts and fears- there seems to be a lot of confusion and fear early on.  Perhaps Seasons in a Day refers to the way a single day can go through various stages- the cold and uncertain to the positive and light-baring- and that balance of beauty and heartache is perfectly represented early on.  Karlberg has said- when she began music in 2012 and had doubts about it- the need to break away and show a voice that differed from the masses- she grew tired of singers sounding like everyone else and not being original.

That passion for individuality and personality shows itself in a vocal that has enchanted beauty and wonderfully rich harmonies.  Whilst the elliptical and arpeggio guitars have Folk tones- and can be easily compared with masters like Nick Drake- the vocals draw in the Chamber-Pop of Antony and the Johnsons with the intrinsic transcendence of Bon Iver.  The mix of sweet and low notes fuse together naturally and augment and emphasise the lyrics.  You get swept inside the wave-crashing harmonies and the stillborn beauty they contain.  At every turn, I get the impression the song is autobiographical- or at least has a lot of Yui in it.  The girl- the central figure of uncertainty- is trying to find a voice and a sense of satisfaction. Seemingly a “bit distant”- perhaps struggling to find acceptance with some and fighting hard- there is that heart and determination that comes through.  Ascribing some loneliness and soul fallowness- a heart that is not beating as fast as it should- it is an emotional performance that compels the listener to surrender themselves to its purity.  That mix of low and higher notes creates an odd sort of beauty:  You do not hear many singers with such a range, so as such, it may take a few listens for the vocal to truly resonate and seem natural.  Karlberg is a singer that can inject the soulful beauty- everyone from Antony Hegarty to Jimmy Helms- whilst having that sweet and agile side to the vocal.  If you take away preconceptions and embrace the vocal in all its wonder:  You will find so much joy inside Seasons in a Day and what it offers.  As the song progresses, more insight and storyline is revealed.  The heroine- in spite of the distance and aloofness at times- is okay and doing fine.  The song seems to look at the way some people can change moods and attitudes within a day.  Some days can throw so many obstacles and unexpectedness:  We all have to face uncertainty and difficult times.  At the end, everything will be okay in spite of the troubles and strife.  With that calming and trance-like vocal swimming and calm against the ocean; the consistently impressive guitar work keeps the heart beating and the soul enriched.  The blend of fast and consistent strings- against the slower and more emotive vocal- gives Seasons in a Day a wonderful contrast and identity.  That sense of not knowing whether “she’s coming or going” is reintroduced and highlights the confusion the heroine feels.  Perhaps some friends have not been supportive as they should- some people not truly understanding- but it is those that are loyal and loving that eradicates the confusions and loneliness.  Seasons in a Day has a lot of Karlberg in it- that desire for acceptance and belonging- but has such a universal and open-ended potential.  So many of us feel distance and struggle- whether depression or anxiety or feeling lost- and we all seem to go through a rigour of emotions.  The track assesses and highlights the desire for comfort and safety:  Overthrowing those negative people/thoughts and finding a more assured and safe tableaux.  The breath-defying beauty of the song keeps pervading until the final notes.  Such gentility and softness partners with a deep and conscious song that wants you to think deeply and understand what is being said.  Whether I am off the mark- with regards the origins and true nature of the song- it struck a chord with me and really seemed to speak for me.  With that heroine in the spotlight- whether it is Karlberg herself or a friend- you look at someone that has some bad times and shadows- in the end, she will be okay and find her way.

When Crowded House addressed similar themes- in their track Four Seasons in One Day- they address how contradictions can occur within a day.  The bed could feel cold while the blood can run hot.  Whether personal relationship- or struggles with the self- are in the fore:  You can go from elation to sorrow; change to numb and angered over a single day.  Karlberg’s seasons-of-uncertainty track has more personal relevance to it yet has an openness and need to connect with the listeners.  Looking back at Karlberg’s tracks- her early recordings and head-rush anthems- you have an artist that is always moving and has a restlessness.  Karlberg has released some tremendous albums over the years- including YUI and Beauty Within the Beast- and seems at her most assured and stunning here.  Whilst I love other songs she has done- Restless Mind is a song that deserves huge acclaim- Seasons in a Day seems to tie together Karlberg’s past and present together with her musical passions and ideals.  On a lyrical basis, you get insights into a human that is on a path to discovery and seeks happiness.  Whilst a day can see seasons change- friendships and support capricious and nights cold- there's a well-being and security to be found.  When we look at the vocal, you have the inter-gender range and beauty of Antony Hegarty.  The hit-you-in-the-gut lower notes elicit different responses to those high-pitched and angelic notes.  When blending together, you get a mixture of debut album-era Antony and the Johnsons with more current and contemporary Pop sounds.  Bon Iver is an idol of Karlberg and you get that intimacy and frozen beauty that can be heard across For Emma, Forever Ago.  Whilst Seasons in a Day is not as isolated and hermetically sealed as Bon Iver- the oblique lyrics and little concern for personal insight and narrative- Yui Karlberg is more direct with the lyrics and a more confessional musician.  With 2016 promising productiveness and new music:  Seasons in a Day is a confident and memorable song from one of music’s most important stars.

It has been a good review for me, because I get to look at things besides music.  While Yui Karlberg is a great artist with a big future, she has made me connect more deeply with transgenderism and how important it is.  Not many people talk about it and it is not one of those areas that is addressed in the media.  Whilst others fight to have transgenderism discussed and accepted- in should already be; such is the way of the modern world- the music media needs to do more.  I shall bring Antony Hegarty back in- she seems the most relevant artist with regards this point- and how transgenderism is being fought and highlighted.  Back in 2012, Hegarty was interviewed by The Independent and explained his shock with regard’s the attitude of the press.  She stated how interviewers talked (euphemistically, in her words) about the anatomy and were very forward and insensitive.  Whilst it is great to hear about the person behind the music:  Hegarty feels the media does not take golden opportunities to address bigger issues and talk about transgenderism in a positive and human way.  That de-humanisation and (often, degrading) way of speaking seems callous and hugely immature.  Like schoolboys snickering in the playground:  It is shocking that such normality is seen as taboo and abnormal.  While it may not be widespread- with regards the amount of transgender people in the country- that does not mean to say it should be overlooked and derided.  Hegarty explained how she had become accepted- not the case with a lot of peers and friends- and how there is confusion between transgenderism and transsexuality.  With terminology and definition being muddled and confused:  Is it any wonder transgender artists feel such anger and alienation.  Hegarty explained how that alienation (for her at least) can lead to positives:  Make you a stronger person and that growth-through-pain experience leads to great things.  Karlberg has brought transgenderism to my mind and given me a platform- however small or under-subscribed- to address this point and ensure other people open their minds.  There are over 10 million transgender persons on the planet- that number is growing as communities and countries become more accepting- and it is vital musicians promote transgenderism and transfeminism to de-stigmatise it.  In a later interview- recorded in 2014 by Flavorwire- Hegarty spoke candidly about how the word ‘he’ was an invisible pronoun.

By calling (Hegarty) ‘she’ it gave validation and identity:  Something that is lacking and shows ignorance in some people.  Yui Karlberg is an upcoming musician that is keen to keep the topic burning and ensure it is discussed.  Not just having the words ‘transgender’ and ‘transfeminism’ on her bio; she promotes it and compels other to discuss it too.  That is a brave and noble move from a musician that wants people to think deeply about something that is important and very personal.  There is still that reluctance to ‘accept’ transgenderism:  Karlberg is going a long way to ensuring attitudes change and we all become more open-minded and human.  When we look at the music; there is so much to recommend and point to.  Whilst Karlberg has been performing a string of intimate gigs- smaller venues and crowds- that is not to say she has niche appeal and a small fan-base.  Those fan numbers are growing and spreading by the week.  That loyal core promotes her music whilst new appreciators are coming in and discovering a rare artist with a definite future.  Seasons in a Day is a perfect representation of what Karlberg is about and how effective she is.  I am not sure what the plans are for 2016:  Whether there will be a new E.P. or a string of singles will be unveiled.  Inspired by Thai music- not surprising given Karlberg’s heritage- and modern artists like Sanitgold and Rhianna:  You have an artist that is very unique and should inspire many others.  That central voice has the depth and glorious power of Antony Hegarty and Justin Vernon but is capable of a special intimacy and universal passion.  Those distinct contrasts and blends feed into music that is affecting a lot of listeners.  Based in Bournemouth, it would be great to see Karlberg perform a few gigs in London- and travel around Britain- and amaze the crowds here.  I feel Karlberg will have a prosperous year and showcase a lot of great songs.  Before completing it is worth readdressing the importance of evolution and vocals in music.  If you have a very special and powerful voice- which Karlberg does- you are much more capable of reaching a wider audience and ensuring your music is remembered.  The mainstream has too few genuine singers who stick in the memory.  There is too much disposability and featherweight vocalists around so it is always pleasing discovering a singer with a lot more depth and ability.  Karlberg is a musician that wants to get people talking and ensure the music is allowed exposure and consideration.  An artist that is difficult to compare with anyone else- one of the most unique I have encountered- that success and evolution is no happy accident.  From the early days as a Folk artist- and compelled by heroes such as Bon Iver- the music has transformed and grow into stunning Electro.-Pop moments.  Those Folk elements still remain:  The songs are broader and more urgent; the vocals more assured and affecting- everything has improved and grown.  That growth may have resulted from confidence and acceptance- lots of fans and supporters embracing Karlberg and the subject of transgenderism- but I feel like she wants to get more people converted and talking.  Take some time to discover a musician that possesses a fantastic sound a consistent songbook.  The pleasures and moments you can take from Yui Karlberg make it all worthwhile.  She is an artist that addresses the wider world- universal subjects come into the music- but is keen to look at personal growth and feelings.  In a world where there are still too many narrow and close-minded people; we all need to do more to ensure attitudes change and acceptance reigns.  Whilst transgenderism may be a subject that will take more time (so it is properly accepted) one thing you cannot ignore…

IS the power of Yui Karlberg’s music.

 

[youtube https://www.youtube.com/watch?v=bAt4jm7c8uo&w=560&h=315]

___________________________________

Follow Yui Karlberg

 

Official:

http://yuikarlberg.wix.com/yuikarlbergmusic#

Facebook:

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

Twitter:

https://twitter.com/YuiKarlberg

__________________________________

Music:

https://soundcloud.com/yui-karlberg

_____________________________________

Videos:

https://www.youtube.com/channel/UCn_ebkcntYmnEL0vMIAGiLA

 

 

 

TRACK REVIEW: Robert Lane- My Love's in Deep

TRACK REVIEW:

 

Robert Lane

 

 

 

My Love’s in Deep

 

9.6/10

 

 

My Love’s in Deep is available at:

https://www.youtube.com/watch?v=N64Z9YFRBzE&feature=youtu.be

RELEASED: February 4th, 2016

GENRES: Pop

ORIGIN:

Birmingham, U.K.

Robert Lane

The extended E.P., Ends and Starts is released on March 26th.  It can be pre-ordered via:

http://www.fishrecords.co.uk/robertlane/robertlaneendsandstartsextendedep.html

TRACK LISTING:

My Love’s in Deep

Feels Like 5000 Miles

Break My Heart Blues

Willful Independent

Teardrop Tattoo

Alone Now

Mary’s Theme

Launch Date:

Birmingham Museum and Art Gallery on the afternoon of the 26th of March

E.P. tour dates:

06/02 Albion Brewery Bar, Northampton

13/02 Busk Love Folk Festival, Southport

24/02 Bury Songwriters Circle

25/02 Speakeasy, Sunderland

26/02 Launderette Sessions, Durham (supporting Bob Fox)

27/02 Suddabys, Malton

21/03 Stafford Gatehouse (Supporting Kelly Oliver)

26/03 Album launch Birmingham Museum and Art Gallery

01/04 Foley Arms, Malvern

03/04 South Hill Park Arts Centre, Bracknell

08/04 Kontra Roots, Finnedon

09/04 Old Cock Inn, Droitwich

14/04 Southside Blues, Birmingham

27/04-03/05 Tour of Germany

____________________________________

WHEN considering today’s featured artist it provokes me to...

Look at a different type of solo artist; the importance of character and charm in music- in addition to the discipline of being an actor and musician.  I will start off with the little point which is an interesting one to raise.  A lot of the upcoming musicians tend to focus predominantly on music itself.  Rarely do you come across a musician that exists as an actor- or has another discipline to their name.  It may seem like an irrelevant point to make, but it interests me to see how acting translates into music itself.  I have reviewed a couple of actors- who are musicians too- and always find the performances and songs that little bit more special.  Perhaps it is the skills involved within acting- projection and performance- that easily leads to some rather accomplished music.  I am not sure, but what I do know is the actor-musician label should not be one open to derision (it can often get a bad reputation).  If you look at some T.V. stars that have made a stab at a music career- I shall name no names here- their attempts can be summed up as ‘mixed’.  You get a few actors who can deftly amaze in music- bringing their skills and personality to great songs- but many come off embarrassingly short.  In modern music, there are a lot of singers/musicians going into acting; the reverse is also true.  Perhaps the two areas have a closer link (than I imagined) or there is something inherently attracting about a music career- something an aspiring actor cannot refute.  I raise the point because my featured artist mixes acting with music:  A talent that is making in-roads in both fields.  If you have not heard of Robert Lane- he is one of many making their way through right now- then yu will do soon enough.  One of those honest musicians toiling and crafting their current sounds- trying to get as many as possible engaged and listening- this year will see his extended E.P. dropped.  That seven-track record showcases a unique talent with a different way of working.  I have mentioned Pop music a lot recently- and the much-maligned attempts from our current crop- but it needn’t be that difficult.  Before I carry this point on, let me introduce Rob Lane to you:

“Robert Lane is a singer songwriter based in Birmingham.

Robert’s musical path began with liberating his brother’s guitar from a bedroom cupboard. “He’s eleven years older than me so he had all the cool toys, including this guitar. I asked if I could have a go or even borrow it, he always said yeah sure tomorrow. So in the end I went into his room one day when he was at work and sat on his bed playing it. I did this for a week or two, having to put it back in his cupboard before he came home. I couldn’t re-string it as a left handed person should do as that would give me away. By the time he lent it to me legitimately I had learnt too much to start again left handed and so to this day I play the wrong way round.”

Inspired to write and perform by the likes of The Beatles, Pete Townshend, Rufus Wainwright and Ron Sexsmith, Robert played with various bands as a guitarist before taking the decision to perform as a solo artist.

 

Robert was chosen by the LG Arena to perform before concerts by Dire Straits front man Mark Knopfler, BBC Sound of 2010 winner Ellie Goulding and international superstar singer/songwriter John Mayer. In May 2013 he returned to the Forum Live to play before Eric Clapton’s main stage appearance. In August 2013 he was one of 15 songwriters selected to attend a song writing retreat/course with Kinks front man Ray Davies. Robert has appeared at Beverley Folk Festival, The Edinburgh Fringe Festival, Birmingham Artsfest and The Tenby Blues Festival as well as venues including Birmingham's Glee Club and Jools Holland's famous venue The Jam House. He has supported a wide range of performers including Nell Bryden, Polly Paulusma, Gary Knock, Lotte Mullan, Paul Liddell, Alice Gold, Cattle and Cane, Jazz Morley, Edwina Hayes, Dan Wilde, Jess Morgan, Steve Gibbons, Jay Leighton, Dan Whitehouse and Steve Ajao.

As well as writing and performing Robert works as a guitar teacher and workshop leader for musicians of all ages. “I’ve learnt an awful lot whilst teaching. Sometimes you have to find new ways to explain things you haven’t thought about for years, and in doing that you get a new understanding of them.”

 

He’s worked as an actor, comedian and shoe salesman. “I’ve performed in some very strange places…a shed, a tree house, busked on the street, art galleries, in a glass box for 6 hours on BBC3…strange but wonderful.”

Robert’s work as an actor and teacher has brought new skills and realisation into his music.  His exposure and work with musicians/actors has enforced realities and truths about the industry.  These realisations come through in the music which distinguishes itself from what is out there.  So many Pop crop wannabes are throwing the same old jams out there:  Those love songs with a few chords to their name.  Away from the derisory and ill-fated attempts at Pop:  There are artists that are doing something different and exciting.  Robert Lane- to be fair is not a pure Pop act- plays Acoustic, Rock and Alternative sounds- infuses them around a Pop base.  What impresses me about him- and one of the reasons for assessing his music- is the charm and charterer that emerges from the music.  Maybe that stems from his natural acting ability- an issue I will have to explore more in future- but you hear that smile and depth emerge in every word.  Not someone simply going through the motions:  The songs he puts forward stick in the imagination and showcases a natural talent who wants to keep making music.  It is often hard bringing new light when talking about solo acts- I have been doing this for so long now- but Robert Lane is an artist that subverts preconceived expectations.  Over the years, he has performed at a string of festivals- and supported an array of great musicians- and has grown in confidence and stature.  He is an artist that manages to balance his many endeavours- from acting to teaching- whilst ensuring the music is stronger for it.  Lane takes some well-worn/traditional themes- love’s strife and the unfairness of relationships- but ensures there is much more originality and diversity across his sounds.  Quirky tales and wonderful charterers mix with songs about wit and confessional moments.  It is clear to me Lane has gone to great lengths to ensure his music has its own mark and distinction.  Not an average Pop singer:  An artist that has a unique flair and voice that should be fostered and encouraged.  His E.P. is available to order and shows what a proposition he is.  The consistency and breadth across the E.P. mixes the themes of heartbreak alongside charming tales and songs filled with imagination.  Birmingham is perhaps not a region that has produced a lot of current masters- Mike Skinner was the last great musician from here- but there have been some legends who hail from here.  Everyone from Jeff Lynne (E.L.O.) to The Beat; Duran Duran to Black Sabbath:  There have been some terrific musicians that call Birmingham home (or hail from nearby).  Lane wants Ends and Starts (his new E.P.) to inspire people and get fans talking.  Having collected some dedicated followers across social media- all attracted to that very special type of music- you would not bet against those numbers swelling and expanding.

Seeing as I am a fairly recent fan of Robert Lane:  It was apt to have a look-back and investigate his earliest moments.  Having been performing music for a while now, I was expecting his sapling songs to be a little under-formed and slight.  Well Adjusted was unveiled six years ago and shows how confident he was from the start.  Catchy and memorable- I get touches of Oasis, The Beatles and Bob Dylan at various intervals- it is a song that showcases a terrific and emotive composition.  Our hero holds a line he cannot cross- he feels lost and disconnected- he speaks to a heroine that thinks he does not care.  Unable to bare the tensions and realities of the situation- hoping there is more than this- no-one does it “like I do”.  The well-adjusted star boasts incredible vocals- the lead performance is emotive and passionate throughout- bringing in huge backing vocals to enforce the lyrics and add to the mood.

  Lost But I Can’t Care is another song that showed Rob Lane’s many sides and abilities.  A softer and tenderer vocal- compared to a track like Well Adjusted- we go into more Folk/Soul territory as the young musician shows his adept ear for melody and a catchy chorus.  Few artists craft such melodic and memorable tracks so early in their career.  In the earliest cuts, I was swept in the graceful and gorgeous moments; the strong and nuanced lyrics- everything hangs together and Lane sounds completely natural.  Giving the impression he has been playing for decades:  Such an assured and confident artist grows in strength with every release.

More recent tracks like You Want It Both Ways and One of Those Guys demonstrate that evolution and Lane’s ability to craft classic-sounding Pop- the likes of The Beatles keep coming to mind- whilst throwing wit, intelligence and mature into the mix.  Those big and memorable choruses can be found once more- You Want It Both Ways’ is particularly stunning- whilst the compositions have retained that mix of Folk, Pop and Alternative blends.  What you get- comparing the earliest sounds with the songs produced a couple of years back- the consistency and quality.  Lane does not sound fatigue or lacking any inspiration:  If anything, his songwriting is more ambitious and he brings new ideas and sounds into the frame.

  My Love’s in Deep is perhaps Lane’s most assured and stunning cut to date.  The composition employs more grit and gristle- some scratched electric guitar strings- and boasts Lane’s most soulful and direct vocals ever.  It is a song that marks new life and direction whilst retaining his identity and sound.  I will be fascinated to see if the E.P. continues the themes of My Love’s in Deep- it may stray away and concentrate on other areas.  What I do know is how confident Lane appears right now.  You can tell his years of performance have strengthened his music and given him fresh inspiration.  This will mean future records carrying this trajectory on and building on these exceptional foundations’.

My Love’s in Deep is Robert Lane’s latest single, and- judging by the feedback across social media- it has connected with a lot of people.  The opening strings race and hustle into life.  Sprightly and ready for action:  You get a boisterous and invigorated introduction that gets the listener involved and ensures their attention is focused.  Unable to sleep- with his love being in deep- you get Country-esque twangs and Folk threads coming out in Lane’s vocal.  With perhaps a touch of early days-Dylan in the delivery- that acoustic guitar sound reminds me of his earliest work- the song starts off with a solid and impressive flourish.   Having lost his “last chance to leave” I began to wonder whether the hero was in a rather struggling bond.  Maybe the relationship has felt strains and seems beyond the point of repair.  Most songs that deal with love both address break-up and its heartache; some look at casting blame and pointing fingers when necessary.  As the lyrics start to unfold, I realise my early interpretation is a little wayward.  The hero continues his story and looks back at when the two first met.  That vintage/classical storytelling- the superiority of the ‘60s songwriters against the grain of some modern-day cliché- boasts a terrify narrative and charm.  The duo- you start to picture what the girl looks like- met by chance it seems.  Perhaps the heroine is someone Lane knows- or has seen around- but he always wanted to see her one-on-one.  That cute and almost teenage-like meeting- perhaps it is a recollection from an older bond- see the girl inviting our man to see a band.  The hero becomes god-smacked when the girl takes his hand- enforcing that innocence I get from the song- and the bond starts to blossom.  As they go and see the band- that feature’s the heroine’s best friend- you start to explore possibilities and various images.  Our boy cannot sleep and it seems like this girl has made a huge impression early on.  Having lost that chance to leave- you wonder whether he wants to leave or feels he needs to- there is no turning back.  Perhaps this is new territory- or the romance is moving along too quickly- but you get some nerves and hesitations early on.  With the initial stages laid out- the hero letting his voice campaign and explain- a beautiful compositional punctuation adds evocation and atmosphere.  Blue-inspire guitar soloing sits with energised and heartbeat percussion to move the song on and give the listener a chance to reflect.  Lane is one of those artists that is capable of inspiring various parts of the body.  The lyrics and vocals get in the mind and heart- that mixture of thoughtfulness, romance and intelligence- whilst the composition ensures the feet and arms are activated.  I love the layers and different genres Lane can bring into a song and make everything sound consistent and completely natural.  That authority and bravery emerges throughout My Love’s in Deep.  Following that chugging motif, we hear more of the story.  The two- our boy and his girl- sojourn to a party after the gig and that is when the first kiss arrives.  The hero did “not stand a chance” and is taken unaware.  Recollections of early-days Beatles- the songwriting style of Paul McCartney especially- comes through in a song that never fails to put a smile on the face.  As they are at the party- and that kiss has been planted- the two go for dinner (the girl would not let our man pay).  The heroine is used to having her own way and there seems to be differences in this relationship.  As things have continued and flourished- from those early days they are now more settled- there is no guessing where things are headed.  Those nervy and quick-moving moments are in the past:  What we have now is a love that seems serious yet has uncertainties.

Lane has a beautiful knack of storytelling and narrative- perhaps not surprising given he’s an actor- that moves things forward but ensures the listener can envelop themselves in the lyrics.  The coming-together/bond has been, in the words of our hero, an “unqualified success”- almost as quirky as The Streets line in Let’s Push Things Forward:  “I wholeheartedly agree with your viewpoint” against scenes of disagreement and argument- showing a distinct Britishness and distinct pen.  With so many songwriters being overtly direct and blunt- their choice of language and words lacks imagination and surprise- Lane has a distinct dictionary and a great turn of phrase.  Unable to sleep- in the grip of this deep love- the hero seems invested and stuck (perhaps not the best word) in the relationship.  That infectious and rousing chorus is reinterpreted to emphasis the points and get the listener singing along.  One of the most catchy and unforgettable choruses I have heard all year- an out-and-out stomper- the song’s final moments are a riot of uplift and addictiveness.  The guitars chug and spark; the percussion rifles and smatters- that voice continues to climb and strike.  A coming-together of all Lane’s strengths and assets:  My Love’s in Deep is his most accomplished and impressive song so far.

   Ends and Starts’ lead-off song- and perhaps one of the most upbeat that will appear in that collection- shows just how confident and accomplished Robert Lane is.  I have heard his older material- and how assured he appears on those cuts- but his latest revelation is the most memorable he has ever produced.  The lyrics bring together childlike innocence- a love story that could be taken from 1950s Rock ‘n’ Roll- with something modern-day and contemporary.  With that in mind, the composition has a great blend of Rock, Blues and Alternative.  Robert Lane is an artist with one mind in the past; the other firmly planted in the future.  The way they come together (on his latest track) will appeal to a wide range of listeners and those who love their music with depth and nuance.  I find myself revisiting the song and becoming entranced by the storyline and that final coda.  There are so many strands and little touches that reward a devoted and passion listener.  In the solo world, it is so challenging discovering an artist that differs and really sticks in the mind.  Robert Lane has shown how he can negotiate and overcome hurdles- an artist that has continued to play for years- and this is a good thing.  My Love’s in Deep is a stunning number from a songwriter that ranks himself among the most talented and able we have in this country.  Do not let him pass you by.

Ends and Starts is a collection of songs that showcases what a talent Robert Lane is.  Not just reserved to narrow themes and tastes:  The width of genres and subjects explored across the record are hugely impressive.  At the heart is that consistency and core which will ensure his existing fan-base go away very happy.  With every release Lane seems more assured and confident.  As an actor and teacher it is only natural the musician would be able to project and inspire- one of the most credible and respectable actor-musicians working in the U.K.  Bringing influences as wide ranging as Kate Bush and The Beatles into his songs:  You have an artist that has a great love of the legends of the past.  Of course, there is a contemporary edge to Lane’s music- it is very much the sound of here and now- but those older/classic touches mean his music resonates with older generations and more mature listeners.  I got hints of Paul McCartney when listening to My Love’s in Deep:  One of those lovely tracks that could easily have slotted onto Sgt. Pepper’s Lonely Hearts Club Band.  It is a track that has a charmed smile and plenty of character.  Lane is an artist whose lyrics get inside your head and paint pictures and vivid scenes.  Few songwriters are capable of stepping away from cliché and providing music that has character and nuance.  If you have not heard Robert Lane then check his previous songs out- available on his SoundCloud account- and get to grips with one of the rising stars of British music.  With people seeking what London and the big cities are providing music- Birmingham is a part of the U.K. that is showcasing some great artists.  While not on the same level as London, there is evidence to suggest here is an area that could grow (as a musical hot-stop) in years to come.  Robert Lane is a fascinating example of what can be achieved when it comes to music.  Having his fingers in a few pies- as a teacher and actor- you would see him on paper and maybe think this:  Here is another actor who is trying to become a musician!  Truth is, music has always been a key love for Lane:  Acting is just another area that interests him and he loves to do.  You can tell how vital music is and what a passion he has.  From his compositions- that mix Acoustic and Blues together with Pop and Folk- you have a musician’s musician that wants to inspire others.  That will not be hard to do- I know others that have latched onto Lane’s music- and it will be exciting to see what this year has in store.  Lane is going to be traveling across the U.K. in support his new record:  A chance for fresh listeners to come see him and hear those songs in a live environment.  I hope he gets to come to London and give the capital a glimpse into his stunning music.  For now- and with his extended E.P. dropping- it is going to be great seeing just how far Rob Lane can go this year.  I can see more music arriving and the young musician making plans for festivals.

With a ubiquitous and much-need sound at his disposal, it seems like Lane has the ability to translate abroad and have a career there.  It would not be an exaggeration to say he could gain plaudits in the U.S. and Australia.  I mention these two nations- as I have done in a lot of reviews- as they are the most popular and notable nations for new music (Australia to a lesser extent).  The point is, Robert Lane has the ability to get his music heard far and wide- marking him as one of the brightest talents around.  With Birmingham recently voted as the third happiest place to live in the U.K. - a recent survey showed areas of London to be the least happy- fewer sniggers should be leveled here.  It is clear the atmosphere and lack of anxiety in Birmingham works wonder for musicians.  Take away the jokes and clichés- the accent gets a bit of a ribbing- it will be interesting to see if this honorific achievement will reveal similarly exciting songwriters.  I always find it interesting London- with its anxiety and bustling environment- showcases so many unfettered and great artists.   I feel London will relinquish some of its dominance as its boroughs become more compacted and overly-populated.  The sheer numbers flocking to the capital is exciting for music- the range and mass of artists to be found- but a lot of the young artists are feeling the strain.  I talk to many artists from London who all tell me how difficult and challenging life in London can be.  It appears other parts of the U.K. are stealing focus and producing treasures.  Robert Lane is promoting and campaigning hard- with the release of Ends and Starts- so keep your eyes on him.  The solo market is producing a depressing amount of robotic and faceless acts.  From the boring and lifeless acoustic guitar-strumming Pop example; through to the big-choruses-and-uplifting-messages female solo acts:  I get rather red when looking around music at the moment.  Those musicians that strike against the conformity and sheer averageness of music- and the worst traits of the young coming through- should be commended and congratulated.  Not only does Robert Lane stand aside with regards quality and consistency:  The individuality and personality of his music makes him a very relatable and warm artist.  My Love’s in Deep is Ends and Starts’ lead-off song and a great representation of Robert Lane’s music.  Possessing all his traits and ingredients; it is a track impossible to ignore and guaranteed to put a smile on your face.  An exciting and original musician that deserves a wider fan-base; let Robert Lane become a part of your music rotation.  Few truly unique and memorable solo artists are coming through so here is someone…

WE all need to follow.

 

[youtube https://www.youtube.com/watch?v=N64Z9YFRBzE&w=560&h=315]

___________________________

Follow Robert Lane

 

Official:

https://twitter.com/robertlanemusic

Facebook:

https://www.facebook.com/robertlanemusic

Twitter:

https://twitter.com/robertlanemusic

_____________________________

Music:

https://soundcloud.com/robert-lane

TRACK REVIEW: Hunting Bears- Sweet Anthony

TRACK REVIEW:

 

Hunting Bears

 

 

 

Sweet Anthony

 

9.6/10

 

 

Sweet Anthony is available at:

https://soundcloud.com/huntingbearsband/sweet-anthony

RELEASED: December, 2015

GENRES: Baroque-Pop

ORIGIN:

Leeds, U.K.

____________________________________

WITH the raft of Hard-Rock bands that fill my...

daily playlists- I am a guy who likes his bands to be a bit heavy- I am always pleased to review new music- bands that differ from my usual rotation.  In my day-to-day I tend to immerse myself in a range of music- with Rock and Alternative being at the heart- and love to dip into a spectrum of sounds and genres.  When it comes to new music, perhaps the assortment of music is not as varied as you’d always hope.  It is true, there are some fantastic artists fusing genres and crossing boundaries:  Musicians that are rallying against predictable and obvious to provide the public with something genuinely innovative.  My featured artists are a Baroque-Pop band that has opened my eyes to a whole new possibility in music.  Before I come to them, it is worth talking about that genre:  Moving onto investigating consistency and evolution among musicians- concluding with a bit about embracing music that is outside our comfort zone.  Leeds has once more produced another wonderful act- a catchphrase of sorts for these pages- and I never cease to be amazed at the breadth and quality of the musicians that play here.  I shall not wax lyrical (once more) on this subject but it is great to see the city so fervent:  Where else in the U.K. do you get such a range and consistency of music?  Maybe London is boasting the same variety and ingenuity:  Leeds is a constant hotspot that many should look to if they seek something special and fresh.  Bereft of sameness and fatigue:  I can see 2016 showcasing a whole wave of phenomenal Leeds-based musicians.  Pop music is a style and genre that has enormous possibility yet seems to have few true pioneers.  In the mainstream, we still hear too many power ballad-producing artists (normally female) that are aiming at a very specific audience.  It is essential to have a few examples of this type of music- to provide inspiration to young women- but there is a suffocation and over-reliance on rather bland and unoriginal motifs.  The most standout artists- in my view anyway- are those that take that Pop core and mix in other genres.  Whether it is Rock or Electronic ideas; something Folk-based or pastoral:  There are no limits to how far you can stretch Pop to create something sensational.  Baroque-Pop fuses Rock sounds and is commonly played by artists from the U.S. and U.K.  During the 1960s, artists like The Beatles, The Beach Boys and The Rolling Stones brought the style into public prominence.  By the mid-1970s, the popularity (of Baroque-Pop) started to fade due to the rise in Disco and Punk-Rock artists- and the explosion of Punk music for that matter.  With that said, the genre never truly died and gained resurgence during the 1990s.  With acts such as Belle and Sebastian- Regina Spektor and the Divine Comedy displaying immense talent- revitalising the genre:  That has influenced modern artists to keep the torch burning bright.  Designed to be less commercial and more mature- less edgy than Rock- Baroque-Pop incorporates Classical elements and instruments to mix the popularity of Pop with something more cerebral.  Hunting Bears have a little in common with the likes of Regina Spektor and classic acts like The Beach Boys.  Being relatively unfamiliar with Baroque-Pop, it has been great looking into the band and how their sound has developed.  The orchestral Folk-cum-Pop blends of the quintet from Leeds has enthralled and stunned critics and music reviewers.  There are few acts like Hunting Bears which got me thinking about how difficult it is to be consistent in a music scene that sees so much brief fling and beauty.  I have often stuck to a band that seemed promising and amazing upon their first release:  With my heart seduced, said band/act would crumble and feel the pressure of the industry.  It is always sad to see a genuinely promising artist feel the pinch of a jam-packed music climate.  Those artists that can pervade and remain in music are those that deserve a lot of applause and respect.

Day-to-day- speaking with musicians on social media- I hear about their daily woes:  The struggles to get gigs and earn money; the disappointment of underwhelming radio play and patronage.  It is heartbreaking to find great acts so disheartened and despondent.  Passion and purpose go a long way to ensuring musicians survive and prosper.  Away from that, it is the originality of music and the evolutions of music that create footholds.  It is great having an induvial sound- one that has commercial promise but is unexpected too- but you need to keep evolving and provide the listener with new ideas now and then.  Even the legendary acts of old- The Beatles, Led Zeppelin etc. - did not stick to rigid sounds in their music.  From each album, you get new ideas a definite progression.  By the same token, modern-day artists must ensure they keep their music fresh but consistent.  Hunting Bears are looking to create their third E.P. - rumours it will surface this year- but do not doggedly stick to a narrow sound and stretch it across the E.P.s.  Every song has a definite personality and sense of purpose.  While their debut E.P.- 2011’s So Long- was a confident and immediate release; Brother Sister (unveiled in 2014) was a step forward and showed new ideas.  As 2016 is here, the Leeds five-piece will look to keep consistent but ensure their third E.P. has new endeavours and sounds.  Too many music listeners get caught in a ‘comfort zone’ and do not often seek anything that does not conform.  I am sometimes guilty of ensconcing myself within the sounds of ‘90s music and Rock.  I love most genres but do spend an inordinate amount of time coming back to the same artists and sounds.  With bands like Hunting Bears emerging, I have been compelled to broaden my horizons and find like-minded acts.  The recollections Pop past- The Beach Boys’ harmonic, Baroque music for one- sits with of-the-moment Pop and Rock to create something involving and romantic.  The five-piece are not one of these niche bands that will be playing specific festivals.  The guys have a sound that can transcend boundaries and has a universal appeal to it.  All the ingredients we look for are there:  The immediacy and nuance; songs that look at love and relatable figures.  Importantly, the passionate performance and exceptional musicians cannot fail to impress anyone who listens.  I love the E.P.s they have produced already- having gone back and seen what they are about- so am looking forward to finding where they head next.  The Leeds collective has a very popular and marketable sound- the likes of Joanna Newsom showing what can be done (she is more avant-garde but mixes Classic elements together with Folk and Pop) there is no telling just how popular Hunting Bears can become.  Many listeners and music fans are looking for something deeper- that makes them think but ensures it speaks to the heart- and you get that in spades from Hunting Bears.  Let us hope a new E.P. does arrive and the band come and play down south- it would be great to see them arrive in London.

A lot of bands I review tend to have a very small back catalogue- or the song I am reviewing is their first- and that virginal timidity makes it hard to discover how they will mature and develop.  Luckily, Hunting Bears have a couple of wonderful E.P.s under their belt:  I can see how they started out and whether their music has changed at all.  So Long is nearly five years old and is a four-track release that shows immediate conviction and originality.  Mother City is a gentle and immersive song that is awash with gorgeous strings and passion.  The vocal interplay looks at chasing streams to the hills:  An idyllic and riparian scenery unfolds as the percussion adds race and clear movement.  Compiled of live and early-career cuts; So Long is an insight into a tender and young band making their first step.  You get so much atmosphere and live-sounding tangibility in every recording.  Despite the fact, these are early recordings’ it does equate to a lack of development and authority.  The band sound completely formed and tight in every track.  Mother City boasts a range of wonderful vocals and evocative lyrics:  The band create a song that lifts your spirits and makes you imagine what is being sung and unfolding.  Holes In Your New Shoes ends the E.P. is one of the most emotive and reflective tracks across the E.P.  The lyrics see the leads ask the question:  “Who says I’m to blame” for a static surrender?  Creaking stairs and confessions- “I’m the oldest man I know” show a unique lyrical bent and a charming sense of storytelling.  Colours are being turned black and blue- the old man has holes in his new shoes- and the song seems like a fable or nursery rhyme.  Differing across the E.P.- in terms of the production sound and quality- you have an E.P. with plenty to recommend so many different ideas.  The E.P. has a little bit of a two-sided sound- live tracks and early recordings but this does not affect the consistency and overall tone.  If anything, it provides precious insights and revelations from a band that sound stunning from the offset.

   Brother Sister was recorded after a three-year ‘hiatus’- the band working on new songs and performing across the country- and does not lose anything at all.  You might think that gap would see a slight dip in quality- the band unsure of what direction they are taking- but the performances between E.P.s leads to a stronger and more confident E.P.  Julia opens things and is a crisper and more affecting song.  Right from the off, you become entranced by those haunting and ethereal vocals.  Choir-like and beautiful:  The heroine has a knife in her back and is feeling the strains of the world.  Looking at characters and figures- rather than making their songs first-person and love-based- makes the music more interesting and original.  It is here we get more musical ideas and tighter performances.  The band bring more strings and elements together- violin, harp and piano- to fuse Folk, West Coast harmonies and Pop into a rapturous blend of sounds.  The production is sharper and more polished allowing all the elements and notes to radiate through.  Her Velvet Dress is one of the most arresting and stunning songs the band created (to this point).  Pin-sharp vocals present redemptive vocals and the need to defeat the odds and remember a wonderful velvet dress- when things were perhaps a little better.  Tears are being fought and the hero is struggling to look at life’s positives.  Maybe the sweetheart has broken up or moved:  That longing and remembrance is truly affecting and memorable.  You can picture the scenes and there is something classical and old-time about the song.  It seems like a literary chapter and has its heart in a classic text.

The band have developed and improved between E.P.s.  Their debut was confident and showed what they were capable of.  If anything, Brother Sister is a sharper; more layered and nuanced E.P. that fully exploits their shared talents and genre ambitions.  You get more ideas and a crisper sound (compared with So Long) and that shows a natural evolution and step.  This means a third E.P. could take another step forward and bring in yet more sounds and ideas.  Whether we will get a Brother Sister-sounding E.P.- that continues where their last record left off- or a reinvention, I am not sure.  Sweet Anthony suggests there will not be a big departure.  You have a band that has fresh influence but keen to keep their well-formed and unique sound intact.

Sweet Anthony has been claimed to be bolder and more experimental than before- the assessment from the band after a recent interview.  The band stated- in that same interview- with each song/E.P. they bring in new ideas and show a natural shift.  With Sim on keys- a new dynamic change- their latest offering shows fresh insights and moves from a band constantly changing and improving.  I can feel the new-found hero/heroine influences from Joanna Newsome and Sufjan Stevens- artists Hunting Bears have been digging recently.  Bringing the U.S. giant into a British palette- the storytelling and sensibility of the lyrics- shows a fresh story with a new central figure.  Whereas previous characters like Julia- from their E.P., Brother Sister- we have new perspective and incentive.  The opening moments launch straight into a wordless vocal.  Instantaneous and unexpected- the band’s past songs would suggest a building composition- you are taking aback by the vocal force and urgency.  That tone continues and is backed by soulful and atmospheric keys.  Right from the opening notes, you sense new direction from a band that are probably revisiting past Soul masters and U.S. idols.  I know the likes of D’Angelo have been name-checked by the band- one of their new songs has that vibe to it- and I get the impression they have shifted away from The Beach Boys/Bob Dylan avenues- for a few songs anyway- to embrace artists that are perhaps bolder and bracing.  The band has not betrayed their roots for one moment:  Sweet Anthony is an updated version of Hunting Bear’s established sound and is a song that (probably was) cemented after some experimenting and science in the studio.  It seems “Hell this peace we’re chasing” and seems to look at a distant relationship that is causing strain and anxiety.  I know the band’s member find themselves in a long-distant relationship- their new material is more personal and intimate- so Sweet Anthony seems to be the reflection of a very personal and current malaise.  Whether the lyrics were penned by one particular member- or it is a collaborative effort from the group- you know each musician finds relevance and truth in the words.  The song is almost a call-across-the-oceans:  A desperate cry to try and bond too-far-apart hearts.  In past releases- especially Brother Sister- the band have relayed stories from people close to them.

The songs came from heartaches of friends and close ones:  Now, we have something more particular to the band and ‘traditional’ perhaps.  As the song continues, the fight seems to be “our own creation”.  The schoolyard tricks and infantile games have caused a separation and the distance between them.  The lush and harmonic vocals- that sway and intertwine like the rapturous flight of birds in the summer sky- you get confessions and honesty from the heroine.  It seems like her man has been pushed apart but it may not be so one-sided.  Too in love to play politics and be dishonest:  Maybe things- the way they sit right now- are for the best and the only way they can be.  Whatever the reality and circumstance- where the hero may be right now- it is causing a lot of strife and upset.  The band’s stunning and soulful harmonies- the staggering vocals perhaps reveal the best any band has to offer- provide candour, tranquility and strange beauty.  The tetchy and heartbeat drums add Soul edges to the track:  The instrumentation sees traditional Folk ideas mix with something more experimental and mind-altering.  Unlike any previous song- or quite with the same effect- the lyrics and notes are bent and elongated to create something heavenly and transcendent.  With musicians like Joanna Newsom and Dirty Projectors counting as influences:  You get Newsome-esque harmonies (with those wonderful love songs) and something innovative and genre-splicing.  ‘60s Folk and ‘70s New Wave combine in a marriage bed that gives Sweet Anthony huge nuance and repeatability.  Upon the first spin, it is those immense and captivating vocals that hit me.  Later on- when I replayed the song- composition touches and lines of the song find influence in my brain.  The heroine has demons and the Holy Ghost breathes down her neck.  The hero has given a lot and means a lot to our lead.  That need for “mutually-assured forgiveness” comes out and mistakes have been made.  It is rare to see a singer cast blame on themselves and perhaps confess to transgressions and immaturity.  Whether there has been a communications breakdown or some petty argument- the hero may have run away to try and find space- you wonder what provoked the current situation.  My mind being romantic and purist:  I see a love that exists with few arguments but obstacles to overcome.  Perhaps the duo is in communication but find them separated by seas and land rather than ideals and party lines.  The emotions are raw and revelation-spilling:  Whether that openness can lead to reconciliation and togetherness is uncertain.  Before the 3:00 mark- and after the vocals bid to sweet Anthony- you get glitch and quirky guitar sounds that fuse elements of Vampire Weekend and their ilk- to my mind at the very least.  The bond of twiddling and racing strings- going to stick with Vampire Weekend- produce a call-and-response with the violin, that mixes Classic with Indie into something contemporary and traditional.  The band produce one of their most interesting and developed composition that shows them embrace new influence and show fresh confidence.  While the group has mentioned Sufjan Stevens, Talking Heads and The Punch Brothers- when chatting to The State of the Arts- Hunting Bears are no less experimental and impressive.  You got little hints of other acts/genres but all presented in a unique way.  Caught in the breeze and wave of the strings- joined by aching violin towards the latter stages- it is impossible not to fall for the song.   Darker and haunted strings fuse with hissing percussion and starlight guitars:  The resulting excelsior is a potent one indeed!  Not only does the compositional conclusion please the senses:  You get narrative and fill in pieces of the jigsaw.  Whereas most of the lyrics are portrayed within the opening half- and set out the realities and circumstances of the situation- now you get fresh revelation and possibilities.  With final harmonies- that sound graceful and heaven-reaching- the band leaves the listener wondering how things worked out.

Whether Sweet Anthony sees a satisfactory conclusion- the lovers make it to one another or open the lines of communication- it is an engrossing song that shows the band at the peak of form.  They have stated how they are keen to experiment and progress as a band- not stand still and trot out the same songs.  Sweet Anthony is a wonderful glimpse into their upcoming E.P.  A song that is insistent and memorable straight away- they go in harder and more assured than ever- it marks a progression and confidence they have not shown before (not to this extent, anyway).  The composition seems to have brought in new elements- the keys stand out as do the string sections- whilst the entire band interplay shows a terrific bond and affection for one another.  The performances are tight and the intuitiveness borders on telekinetic.  How the song truly began- and whether rehearsal saw it bloom and form- it is clear a lot of work and passion has gone into its creation.  The melodies, vocals and harmonies have surpassed anything Hunting Bears have attempted before- in terms of range and beauty- and the five-piece sound as essential and mesmeric as ever.  Sweet Anthony marks a shift from impersonal narratives- bringing in friends’ experiences to their songs- towards a more personal and self-reflective tone.  While a lot of bands would look at these themes- distant love and the need for a happier bond- with cliché and rather lipid presentation; our band demonstrates a rare talent that shows immense power and beauty.  Congratulations must go the Leeds outfit shows they are one of the most promising and consistent bands working in the U.K. right now.

So Long and Brother Sister showed how confident and unique Hunting Bears are.  The development and consistency between the E.P.s highlighted a band with a lot more years ahead of them.  I am excited to discover a quintet with beautiful and nuanced sound.  Sweet Anthony is their latest offering a tantilising glimpse into what 2016-music could reveal from Hunting Bears.  If you are a fan of the ‘60s masters like The Beach Boys and The Beatles- who took Classic and Folk elements and sprinkled them inside Pop- you will find a lot to love about Hunting Bears.  Whether they go to create their own Pet Sounds or Sgt. Pepper’s in years to come remains to be seen.  What we have right now is a young band with plenty of ambition and ammunition.  They have a great following across social media and are being touted and promoted across a range of media sources.  Interviews and reviews are getting their music out there:  The band’s profile is building and that can only be a good thing!  Of course, it is the music they play that is speaking to those who like their music with depth and emotion.  Ensuring listeners are not divided or exclude:  What you have with the band is an all-encompassing and warm sound that has so much passion and tenderness to be found.  Leeds has once more- hardly surprising to me! - pushed a band forward that puts the city right back in the focus of the music press.  London’s dominance and ruler-ship seem to exist out of convenience and sheer numbers- close to the majority of the nation’s press and with a larger population- but Leeds is not exactly inferior when it comes to quality and diversity.  The mark of a great city is one whose musicians do not trot the same sounds:  They show innovation and the desire to separate themselves aside from the masses.  L.A. and New York boast an enormous amount of possibilities and artists:  Each doing something different; here are cities that are restless and hugely impressive.  London too has that sense of character and work ethic:  Leeds can be mentioned alongside those much-heralded hubs for musical excellence.  Baroque-Pop is a genre (sub-genre) I was only familiar with via my association with bygone acts- The Beatles and those that popularised the genre throughout the ‘60s.  Whilst we saw a slight dip in the 1970s- musicians influenced by this type of music- the 1990s and 2000s saw that slump conquered.  Of course, it would be narrow and foolhardy to mention Hunting Bears alongside The Beatles and The Beach Boys.

Not in terms of quality- the Leeds bands are exceptional- but our five-piece have so much more to them.  Influenced by West Coast melody and Gospel-tinged harmonies:  They fuse ideas and genres into a sound that is very much theirs.  Reminding you of the legends- whilst having a very contemporary relevance- there are so many ideas and layers inside their stunning music.  You find yourself coming back to the songs and finding things you missed the first time around.  This nuance and authority stand them in very good stead.  Too many modern acts are so thread-bare and unexceptional, you crave something with more substance and meaning.  With so many of their peers falling at early fences- the strains and demands of music are too much- this Leeds quintet is here to stay.  Whilst they have had a slight change- they started as a six-piece- that has not compromised their music and integrity.  This year, we will see another E.P. drop- Facebook suggests the guys are recording at the moment- and that can only mean tour dates and performing across the U.K.  I hope festivals and venues snap these guys up and ensure they make it onto their stages.  I feel too many of us- I include myself with this point- tend to get too safe when it comes to our music tastes.  When we see a unique and unusual act come along- that strays from what we are comfortable with- the noses turn up and the eyes turn away.  It is true, there are so much rubbish acts and waste in music- acts that deserve very little acclaim- but there are a huge amount of acts that deserve a lot of acclaim.  If we all broaden our horizons and embrace something new; that can lead to a broader and more educated musical palette.  Hunting Bears are accessible and by no means an acquired taste.  Sweet Anthony is where they are headed but have a look-back and see where they came from.  A restless and innovative band that could ensure for many years to come- add to their fan-base and discover something fantastic.  Consistency is a hard thing to obtain in modern music.  The level of competition- tied with the over-crowded population of musicians- means it is harder than ever making a lasting impression on the scene.  So many new artists find the realities too daunting:  They will make a few good songs before tiring under the lash of demand and day-to-day work life.  It is a hard graft ensuring fans and media appreciate your music.  Not only do you have to campaign and ensure people listen to what you have produced:  There is that demand to keep your music consistent yet evolving.  It is no good sticking with one formula and repeating things- people grow tired and will look for something new- and the challenge of originality and evolution is scaring a lot of people.  I am looking forward to seeing where the Leeds five-piece are headed next.  It is sure to be exciting and- if Sweet Anthony is any sort of guide- it will lead to a lot of new fans coming aboard.  If you are (currently) not one of them…

SORT yourself out, sharp!

 

[soundcloud url="https://api.soundcloud.com/tracks/235076166" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

___________________________________

Follow  Hunting Bears

 

Facebook:

https://www.facebook.com/huntingbearsofficial/

Twitter:

https://twitter.com/Hunting__Bears

Instagram:

https://www.instagram.com/huntingbearsband/

__________________________________

Music:

https://soundcloud.com/huntingbearsband

 

TRACK REVIEW: The Ronaynes- Panic Attack

TRACK REVIEW:

 

The Ronaynes

 

 

Panic Attack

 

 

9.5/10

 

 

Panic Attack is available at:

https://soundcloud.com/the-ronaynes/the-ronaynes-panic-attack-mp3

RELEASED:

2015

GENRES: Grunge; Rock ‘n’ Roll

ORIGIN:

Glasgow, U.K.

____________________________________

IT is challenging being in this line of work and coming up with anything...

new to say.  Not in a bad way:  I just encounter so many bands, it is near-impossible putting a different spin on things.  Whilst The Ronaynes play music with plenty of life, quality and originality:  I find myself (briefly) back in Scotland.  I am splitting reviews for the next week- a lot of them feature artists from Scotland and Yorkshire- so it is good to start things with a look into one of Glasgow’s best kept secrets.  Before I come to them, it is worth revisiting the music emerging from Glasgow; the importance of mixing genders into a band- looking at the genres of Grunge and Rock ‘n’ Roll to complete things.  So many music fans are looking around searching for those quality bands:  Those that can play heavy and hard but make sure there is nuance and repeatability to be found.  With so many brief and disposable bands coming through- that drop a great album only to disappear from view- the challenge is finding an act that can endure and improve.  With the sheer amount of competitors flooding the market, the question is this:  How do you make sure you are in the public’s attention years down the line?  The simple answer is ‘you can’t’.  Music today is such an overcrowded and unpredictable thing:  You never know which artists are going to go the distance.  That said, I can always detect an artist that has that potential:  Early sounds that have the potential to lead to long-term success and acclaim.  Away from the obvious avenues for new music- those big cities of England- it is great to see Glasgow producing so many terrific and unique artists.  Historically, the city has produced a wide range of artists who have made their impressions on the music world.  From Franz Ferdinand’s arty Rock to Primal Scream’s legendary music:  Glasgow is a city that has not exactly slouched when it comes to those legends and leaders.  Throw in Marmalade, Mogwai and Belle and Sebastian:  Softer ‘middle-of-the-road’ acts such as Deacon Blue and The Fratellis call Glasgow home.  I often speculate- when assessing a city or area- what causes the type of music and quality that emerges.   Glasgow prefers to play with that core of Rock:  Throwing in Electronic and Dance elements; that primal and exciting core seems to mandate a lot of the output.  Whilst areas like London have more Pop and Soul artists:  Glasgow has a tougher edge and more grit than elsewhere in the U.K.  This can lead to some homogenisation- you have to dig deep to find great Pop, Electro.-Pop and Folk singers- but the Rock bands they are producing rank among the best of the moment.  I have listed a few legends- some of them still playing today- and that is just the tip of the iceberg.  Rock (or Rock ‘n’ Roll) is one of the hardest genres to make new and original.  There is mobility, but due to the sheer number of bands doing the same thing, separating yourself from the pack is extremely difficult.  I encounter so many bands that are cut from the same cloth:  At the end of the song, you hardly come away overly impressed or surprised.  Luckily, The Ronaynes have taken the time to ensure their music leaves the listener wanting more.  Whilst they do wear a few influences on their sleeves, the music they are coming up with has enough verve, passion and invention to stand them in good stead.  Here is a band that is building slowly and ensuring their music has plenty of nuance and appeal.  I think so many acts are nervous they need to put out music:  You get rushed and hurried songs that possess no depth and intelligence.  The Ronaynes have grown up listening to Grunge, Rock and Indie artists- from the ‘70s/’80s legends to the upcoming acts via Nirvana and their Grunge peers.  With so many boy-only bands out there- I am stunned there are so few mixed-gender acts- it is always a nice surprise finding a band with a female lead.  It is 2016 but there is that depressing over-reliance on the 4/5-piece band with only men among the ranks.  I guess it is not their fault:  Diversity and difference always leads to stronger music, mind.  With male and female members (in the band) not only will the vocals have a greater range- the music and lyrical content will have different angles and possibilities.  The Ronaynes understand how important it is to distinguish themselves and not just be your run-of-the-mill band.  Before I continue my point, let me introduce them to you:

Debi Mason - Singer

Guitar - Steven Mcauley

Guitar - Jamie Reid

Bass - Mark Mcguinness

Drums - Jenny Tingle

A filthy breed of classic rock, glam and grunge with a controversial twist has the music world talking about the Ronaynes”.

The band’s description of themselves (above) is a pretty apt summation.  There is no room for relaxation and Pop cliché in the ranks.  With a powerful female lead- and an equally assured female percussion section- the boys’ strings nestle together in songs that have that familiarity to them.  Those who love the past masters of Grunge will find a lot to love inside The Ronaynes.  The Glasgow five-piece do not simply replicate the past:  Their fusions of Rock and Glam are the perfect blends that make the feet move and the hairs stand to attention.  Authoritative yet melodic; direct and developed:  A band that hits you first time but ensure their notes stay in the head for a very long time.  I am not sure what they are planning for the next few months- a new record or single- but it seems like they have enough material for an E.P.  Maybe the guys have already been in the studio- recording that E.P. - but it will be interesting to see what is coming next.  Having completed a series of great gigs, the band are looking forward and keeping their fans abreast.  Keen to connect with their followers- keep them in the loop with regards developments and plans- I am going to be following their progress and what they have in mind.  Panic Attack is a stunning insight into one of Glasgow’s best upcoming acts.  They are not an act that simply throws songs about love into the ether.  They investigate common and diverse concerns; they have a social coincidence and are a relevant band.  In a tumultuous and uncertain time, you need musicians that are speaking for you- not those that are obsessed with their own heartbreak and misery.  An honest and vintage-sounding band with modern attitude and impetus:  This year will surely see them make their way into the public forum.  With a loyal fan-base and solid sound:  Who would bet against them taking the festival circuit by storm?

Panic Attack was originally released a while ago:  It is one of the band’s newest cut and something that represents where they are at the moment.  Capturing their live energy and those wonderful performances- together with a sturdy and professional production- I was keen to look back at their earlier works to see any changes and alterations.  Johnny Jones mixes a Rock backbone with an emotive and impassioned vocal from our lead.  The band comes together in a performance that has soulful edges and something quite melodic.  When called for, the mood lifts and the harder edges come through.  What the band does is have Grunge and Rock working in the back but give it a controversial twist.  The emphasis is very much on distinguishing the sounds aside from expectations.  Those vibrant and full-bodied vocals have huge soulfulness- and could be straight out of Motown- whilst the composition brings some gravel and pummel into the mix.  The songs look at issues of love and relationships but give the areas new meaning and potential.  When It Comes Around is another song that shows the band are not your average and predictable players.  Every track has those captivating vocals and a rounded and multi-genre composition.  It would be good to see the group stretch their subjects out across a future E.P.  Whilst they tackle everyday love and relations with new angles:  There are other subjects and concerns that would benefit from their chemistry and shared talents.  Political unrest and modern-day social issue are not often tackled by a lot of bands.  That gritty and hard-rocking music could inspire young listeners to become more involved in social and political issues.  Whether The Ronaynes are settled on their current themes- tales from their lives and something more relatable- I feel they have that potential to broaden their horizons and address lesser-heard themes.

The band released the E.P., No Courage Without Fear- that brings all their previous songs together in one record- and showcases their full talents and abilities.  I hope the band have another E.P. in them and continue their sterling work throughout 2016.

I love that the band has already put out in terms of quality and sound.  That inimitable lead vocal and core sound has meant they are building their fan-base and growing in reputation.  It would be good to see the band exploit this on future recordings and perhaps expand their palette.  Having such wonderful musicians- and incredible singer- at their disposal could see them own anything they touch.  Perhaps something more pained and angst- like the classic Grunge anthems- could come in or maybe something overtly Glam-Rock and danceable.  It is not my job to suggest the band’s angle but I love the music they have already offered.  So much confidence and authority already exist:  I just know they can achieve some great things and really expand their influence.  With each new release, you get something a little different and unexpected.  Panic Attack takes love and day-to-day but gives it a new angle and attention.  It would be great to see the guys step aside completely from relations (for a few more songs) and fully exploit their abilities and hugely powerful music.

Panic Attack begins with a rampant and meaningful charge.  Reminding me a little of Elle King’s Ex’s & Oh’s- that same chugged momentum and sound- you have a track that has that Blues rooting together with a blend of Detroit Rock and Amy Winehouse-esque soul.  Everything comes together in those initial moments but remains restrained and controlled- the band does not explode out of the gates too soon.  The firepower and potential come out right from the start.  Our heroine starts with advised a man to “keep on running”.  That vocal is well-paced and ensures every word is delineated with care for emotion and setting the scene.  Whilst the composition has those Blues-cum-Rock blends, the vocal is a lot more soulful than you’d expect.  This is a good thing as it gives the lyrics of chase and anxiety a charm and beguiling allure.  Perhaps the song looks at two lovers with very different agenda or perhaps an overall warning against panic attacks.  Whilst so many of us get those feelings in our veins- a caution that is laid out on the song- maybe there is panic inside a bond that has hit the skids.  You cannot ignore the confidence and passion that comes through in the vocals:  It ensures each lyric has that quality and urgency desperately needed.  In previous numbers, the band has experimented more with Grunge and Rock edginess.  Here, that is done to a lesser degree:  What you have is a song that marries Rock ‘n’ Roll of the ‘50s and ‘60s with something modern and contemporary.  Tying these older and modern threads together- ensuring the track has its heart in the 21st century- will mean a multitude of listeners and music fans will appreciate the song.

Interpreting the song, we see a man that is not who he used to be.  I become curious as to what has happened and compelled the song.  You cannot shut this man “out of the door”.  There seems to be control and something dangerous coming out.  The man is hard to shift and there is that air of suffocation.  When the heart “skips a beat” it is not in a romantic thing:  That fear and attack has Grunge sensibility but is delivered with beehive swing and revives the swinging ‘60s Soul sound.  Few bands mine the territories of Rock, Soul and Blues inside songs that investigate unsavoury characters- it works wonderfully here.  Whether this song is written in the first-person- our heroine is recalling hard times from days past- or it is fictional, I am not sure.  The Devil stands over her and there seems to be no room to escape.  Inside the domestic unrest and entrapment, you get a song that plays a catchy and addictive beat.  The percussion keeps slamming whilst the strings have groove and dance to them.  From my “front to my back” that panic attack is making its feeling known.  With some backing vocals- that add to that intensity- you get a song that ensures the issues and lyrics have accessibility to them.  The Ronaynes are a band who has shown how hard-hitting and unique they are- the themes they explore and the sounds they unite- and here they have probably created their finest track.  At every stage, Panic Attack showcases what a tight unit they are.  The performances are consistently committed whilst that lead vocal ensures the right balance of light and grave danger.  It is rare to find a band that deal with well-worn cores- relations and love- but push it out and tackle different sides.  The desperation and need for escape keeps coming up for breath.  Our heroine asks whether we heard her scream:  That hopelessness and need for salvation is one of the most haunted and electrifying pleas you will hear.  If the delivery lacks that necessary scream and Grunge roar, perhaps the soulful and big-bodied alternative works even better.   Spooky and ill-fated, our lead seems to pray to the heavens and look for a savior to lead her away from her tormentor.  Themes of domestic abuse and stress might not seem like a goldmine for musical revelation:  Such is the rarity of its exposure The Ronaynes sound utterly fresh and new.  There is no other band that treads the same lines with that blend of sounds and elements.  The composition never relents its campaign and urgency:  The percussion slams with sweat whilst the guitars and bass keep the blood flowing fast.  The rough-and-tumble nature then explodes into something demonic as our heroine unleashes a single scream- the summation of her pains and harrow.  The chorus remains catchy and memorable- in spite of the subjects it broaches- whilst the band ensure the final notes are as compelling as the first.  At every stage, you wonder whether you have the song licked and have interpreted it right.  That central figure- who started out/in the past was so nice- has now turned and showing a different side.  I wondered whether the song was a personal revelation from the lead or something that distances itself from personal revelation.

The mix of ‘60s Soul and Rock/Grunge undertones makes the track such an instant thing.  In future cuts, I would love to see the band ramp things up and let their Grunge animal out a little more.  The lam-cum-Blues sounds unite inside Panic Attack.  The testifying Soul and Rock swagger bonds surprisingly effective and ensures there is fire and rumble throughout.  You cannot refute the emotion and conviction of that central performance.  Debbie Mason has a mature voice that stands her apart from her contemporaries.  Singers like Amy Winehouse are inspiring a wave of new artists of the moment.  The combination of grit and anxiety- together with Soul power and something utterly exposed- means artists like Ella King are getting a lot of attention.  Perhaps an unsurprisingly sound- given how much Winehouse meant to people- it is nice to see a female singer step away from that obvious idol.  You get a bit of Winehouse but the abiding sound is a singer with native accent and love of ‘60s Soul.  On Facebook, the band markets themselves as a blend of Rock ‘n’ Roll, Grunge and Glam.  Whilst there is some Grunge barbed-wire and undertones, you get more Glam and Rock ‘n’ Roll emerge.  Those ‘50s Rock swings- unusual for a modern band to be influenced by that genre- is given a retro. twist and lease of life.  The Ronaynes are a band that take existing genres/styles and give it vitality and fresh lease.  Steven Mcauley and Jamie Reid allow their guitars to give the song Rock nervousness and plenty of layers.  It is not just about raw emotions and directness.  With the guitars, you get danceable swing and something tender in places.  The duo combines well and propels the vocal- ensuring the pained lyrics are given appropriate support and drive.  Mark Mcguinness ensures his bass keeps things disciplined and ties all the threads together.  With Jenny Tingle providing sturdy percussion- that pummel and constant drive- you have a drummer that perfectly injects a tormented heartbeat and spades of urgency.  Together, the band ensures Panic Attack lingers in the mind and reveals its true potential over repeated assaults.  Given the subject matter and nature of the lyrics, everything is dealt with maturity and intelligence.

It is always a nervous experience- for me anyone- coming up with something new to say about a band.  Having reviewed hundreds of acts across the last few years- and having a very set style and way of writing- it is getting harder finding new angles and topics.  Whilst Glasgow- and the words written about them- have become familiar and a little worn- the acts emerging from here are anything but.  Having previously reviewed The Fables- a couple of great local bands coming shortly- it is the music and sounds that are the most important things.  With the next few reviews being a challenging thing- new ways to write about Glasgow, Rock and bands in general- for today I have been captivated enough with the music on offer.  The Ronaynes have only been playing for a short time but have made in-roads and created a name that has seen them amasses some loyal and dedicated fans.  It is no surprise (this has happened) given the mix of sounds and the way they perform.  Their songs are not predictable and the same as other acts- heartbreak tales and overly-familiar stories- whilst every performance bursts with energy and commitment.  The tight-knit connection of the members can be heard in every single note.  Having two female members (and three boys) in the band has resulted in a rare chemistry that allows their music to showcase depth, diversity and layers.  So many bands are filled with boys and you get limitations and predictability.  That strong and to-the-bone vocal is backed by incredible compositions that have instantaneous and epic status.  There are Grunge bones and gristle inside Glam stomps and Rock ‘n’ Roll swagger.  That blend of cool-and-spiked makes the Glasgow band a fascinating proposition.

Rebelling against the worst instincts a lot of bands show- stadium-sized songs with no depth and originality- you have a five-piece that is grittier and more real than a lot of their peers.  With 2016 shaping-up to be a rather unsettling and unpredictable one- in terms of the political turmoil and violence that rages- there is anger and fear in the minds of many.  The Ronaynes are a band that reflects a lot of this uncertainty inside songs that strike against the normal yet document universal feelings.  Away from that, there is plenty of personal insight and familiarity:  They are not a band that is too singular and restrictive.  I am curious to find where the quintet is headed and what their next move is.  They have unveiled a few tracks and it seems like there is definite scope for an E.P. or album.  Having has a run of gigs under their belt, they will be more confident and assured than ever.  Having gained that live experience- and made sure their songs have been rehearsed and well received- surely will compel them to not only record some new tracks but put the existing tracks together with them.  In 2016 it is important our bands and musicians separate themselves and try and make their music as long-lasting as they can.  I am worried there is that tendency to rush into making music through fear of missing out- as a result, songs seem half-baked and under-cooked.  While too many bands are sticklers for Indie and Alternative sounds- they are popular so why not? - there are so many other avenues worth exploring.  Dance and Electronic sounds can be thrown into Rock music- like Primal Scream did across Screamadelica- whilst Punk and Grunge are always there for the taking.  The Ronaynes have ensured they are not a divisive band:  By the same token, they do not want to be too familiar and predictable.  While a lot of their peers make music to get the feet moving; here we have music with a much more ambitious intention.  Those Glam-cum-Grunge minglings get the brain inspired and make the heart pump.  The feet and arms move; the voice shouts and supports- songs that get the entire body activated and united.  Glasgow has once more showed what it is capable of.  There is a thriving local scene which sees bands and artists support one another.  I was lead to The Ronaynes by a Scottish photographer- other Glasgow bands have pointed me to home-town favourites- so there is that desire to get the city on the map.  The truth is; Glasgow has never stopped impressing and producing great acts.  It is just the media and largest attention is trained to other parts of the U.K.  Being so far away from the capital does not mean the music deserves to be overlooked.  Maybe there is not the number of great solo artists you’d hope for- there is a tendency towards bands largely- but the groups on offer have that energy and originality the music world craves.  If Punk and Grunge is not your bag then there are more subtle and studied alternatives.  If you are a fan of something more artful and Pop-based then you have plenty of options available.  Our Glasgow quintet has a future ahead of them and need people to support their music and help it spread.  With Panic Attack currently on offer…

NOW is the time to get these guys the attention they deserve.

 

[soundcloud url="https://api.soundcloud.com/tracks/242811138" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

____________________________

Follow The Ronaynes

 

Facebook:

https://www.facebook.com/The-Ronaynes-257182377807275/

Twitter:

https://twitter.com/theronaynes

_______________________

Music:

https://soundcloud.com/the-ronaynes

TRACK REVIEW: Ursa Major- Dusk

TRACK REVIEW:

 

Ursa Major

 

Embedded image permalink

 

Dusk

 

9.4/10

 

 

Dusk is available at:

https://soundcloud.com/ursaspeaks/dusk-1

RELEASED: January, 2016

GENRES: Psychedelic R&B.

ORIGIN:

Toronto, Canada

PRODUCERS:

Noah Barer and Cavewerk

____________________________________

ONCE again I get to come back to Canada and view a new artist…

Embedded image permalink

who has crafted quite a special sound.  Before getting to Ursa Major, I wanted to have a look at Canadian music; the genre of R&B- talking a bit about the great young acts emerging right now.  Canada is a country that keeps producing some rather special talent and artists to watch.  Like Australia, it is one of those well-known countries that we don’t instantly turn to for new music.  The U.K. and U.S. press are desperate to make sure their home stars are proffered:  Canada is missing out on a lot of deserved attention.  Existing/established acts like Broken Social Scene, Drake and The Weeknd all call one place home:  Toronto.  To my mind, it is the most fervent and exceptional part of Canada (for new music).  Legends like Neil Young call the city home.  Such a prosperous, diverse and exceptional city:  So much great music is stemming from here at the moment.  Last year, artists like New Fries, Jazz Cartier, STACEY and Dilly Dally were highlighted- each representing different genres and areas of music.  I know the likes of London, New York and Los Angeles etc. have that reputation and well-known artists.  Most of us would probably not look to Toronto if we want to discover the best the music scene has to offer.  That is a shame, as the city is boasting some tremendous young artists.  Ursa Major hails from Toronto and ranks among one of the best artists to hail from here.  When looking at the 19-year-old, I was completed to look at the city and see if there were any like-minded performers.  Other parts of Canada- Ottawa and Montreal etc. - have some terrific bands, but to my ear, Canada’s best solo artists are playing in Toronto.  I am not sure what it is about the place- the communities and heritage the city has- but so many bright and ambitious musicians are making their names heard.  Take away the likes of Drake and The Weeknd and you have a wide range of genres and sounds being fused exceptionally.  Ursa Major describes his sounds as ‘Psychedelic R&B’:  Not something I have ever heard a musician say.  Ursa Major’s lead wants his sounds to recall the masters and mistresses of the past- the R&B/Soul greats- and bring it clearly into the future.  There is a stunning mix of older sounds and modern-day urgency across music that will very little social media details; it will be interesting to see how he develops.  Dusk is a track that was almost destined to spend time collecting dust and potential.  Recorded in dorms., basements and bedrooms:  The song’s D.I.Y. aesthetic was handed to producers Cavewerk and Noah Barer and brought to life.  Together, the trio has created something that is very much a song for 2016.  The dark and troubled lyrics talk of struggling to move on from love and heartache:  The troubles and obstacles faced when trying to move on and face uncertainties.

Embedded image permalink

Those pained utterances are supported by a composition that fuses the passion and sexuality of R&B whilst giving it a Psychedelic twist.  That coming-together creates music that stands among the most original out there right now.  The teenage has scribbled the lyrics- worked on the music and ideas- between classes; whilst ensconced in dormitories and facing the troubles of youth.  If you look inside Dusk you will find much you can relate to.  The track is not just confined to our author:  The themes and moments explored can be understood and speak to everyone listening.  There is a lot of pressure put onto artists, and with Ursa Major being so young, let’s hope he manages to overcome the hurdles and expectations and keep making exceptional music.  The media loves a fresh-faced and hopeful young artist.  Few terrific teenage acts are performing in the world of music:  Ursa is a rare commodity and someone we should all keep an eye for.  I know Ursa Major has performed a few songs before- hooking up with other artists- yet Dusk seems the most personal and individual track he has created.  I can see 2016 being filled with possibilities and more music-making from the Toronto native.  That sound he has perfected is such a beautiful thing you cannot escape its wonders and nuance.  It is great to hear a young musician that has such a sense of identity and purpose so early in their careers.  Too many artists struggle and take time to discover who they want to be.  You get no such qualms with Ursa Major:  A star that is already shining and seems sure to burn bright for a long time to come.  I hope a trip to the U.K. is planned- I always say this with every artist I love- but there is such a great sound laid out.  So many fans-in-waiting would welcome him in and be keen to pay tribute to one of the most original artists currently working.  If an E.P. or album is planned for this year, I am not sure but it seems like Ursa Major has plenty of inspiration and potential in him.  If Dusk is anything to go by, it will be a very exciting and deep record:  Something that will pick up a lot of fans and new support.

Embedded image permalink

If you want to know how Dusk’s author has progressed and matured, you will need to look back at his past efforts.  Being such a young and upcoming act, there are a couple of songs out there- a little window into what he is about.  Night Sounds was unveiled a month ago- performed by Jules Mercer- and features contribution from Ursa Major and Erez.  Those blended and diverse voices come together to create something harmonious and atmospheric.  The lyrics mix images of ashes being scattered by the ocean and the yearning of our heroine.  It sounds like lovers’ conversation and has such a relaxed and cool vocal that mixes with the edgy beats and wonderful atmosphere.  The composition sees darting thuds and vibrating electronics sit with sound effects and a great R&B.-cum-Electronica fuse.  A great input from Ursa Major- who provides a contrast to Mercer’s soulful voice- it is a wonderful collaboration.

  Indigo was recorded with False Mystics and is a softer and more contemplative affair.  Acoustic strings and echoed electronics being the track in- the energy starts soon enough.   Chilled and boasted some confident vocals:  It is a song that has catchiness and huge effectiveness.  The performances are brilliantly realised and bring life to the track.  Colours of indigo- and moments of years ago- "laugh like a child".  The Psychedelic elements- and some wonderful electronic guitar work- give bristle, emotion and spark to the song.  You can get lost in the words and allow the song to seep into the mind.  Showing different sides to Ursa Major- who can bond with any other artists seamlessly- you have a talent with huge mobility and diversity.

   Dusk is the first chance for Ursa Major to step out alone and create a track with his voice alone.  What you have is elements of other tracks- where he has collaborated- but a much more unique drive and a sense of personality.  Rather than joining forces and being a back member:  Here you have a song that is a testament from a young man affected by love’s heartaches- keen to burn the past and move on.  As a songwriter, there is a lot of depth and originality to be found.  This progression and mobility means Ursa Major is an artist that has a long career ahead.  Most solo artists either do well on their own or hooking with other artists.  Occasionally you get someone who seems effortless and natural in all arenas and dynamics.  If an E.P. is due- either this year or later- it will be interesting to see if there are any collaboration to be found- maybe just solo songs.

Embedded image permalink

Dark and vibrating electronics spar with clicked beats to begin Dusk with an appropriately unsettled and nervy opening.  Right from the off you are immersed in the force and black majesty of the introduction.  Putting me in mind of ‘90s Trip-Hop- acts like Massive Attack came to mind- you have a song that is so fascinating and meaningful within the initial seconds.  Atmosphere, drama and images are summoned as you surrender to the building momentum.  The production values allow those compositional elements to come through sharp and clear.  When our hero gets to the microphone, his words are unsettled and show some restrained anger.  “Dark haze right before my eyes/when I was numb, I succumbed to your lies” show a young man that was in love and got his heart broken.  Maybe too invested to see the truth- the real motives and calculations of his girl- you can feel that disappointment and unhappiness come out in the vocal.  Looking back at events and a hard time for him; you have these strained and harrowing recollections we all can relate to.  We all know the type of vixen that is being ascribed:  Maybe the heroine was cheating or making false promises to keep her man happy.  Maybe the past was better and filled with some more prosperous times.  Wrapped inside a lonesome existing- “Smooth winds make me reminisce”- you have a subject that cannot help think of love and scars that have been left.  Although there are recriminations and accusations emerging- looking at the dissolve of a once-pure bond- our man has some fond memories and a part of him still yearns for the girl.  That soft skin and beauty is in the mind- maybe a desire to rekindle the better days- and a new-found lust can be discovered in the performance.  At all stages, that composition keeps pervading and inspiring.  The mix of beats and electronics create something haunted and spirited; R&B-influenced and dangerous- the loud and soft contrast with fast and slow.  Our lead ensures his voice has those same characteristics and qualities in them.  In the first verse there is some pace and consideration:  Making sure the words resonated and are given true passion; an emotive and leveled projection.  As darker subjects start to come in; that voice races and accelerates the tempo.  Looking at drinking and drowning sorrows- given the realisation the bond is broken- Ursa Major wants to numb himself and forget his troubles.  I am not sure what caused the relationship to crumble.  Maybe there was no communication or the girl was feeding too many lies.  In spite of the demolition and mistrust; you can tell there were some great days and a true connection.  Without her soft skin and tenderness, our hero wonders what he will do.  Such desperation and anxiety comes out; it is impossible to ignore that suffocation and sorrow emerge.  Being a teenage musician- and others who tread this same ground- most would deal with such issues with a lacking maturity and clichéd lyrics.  What you get here is such wisdom, maturity and intelligence come through.  While the lyrics do look at bleak possibilities; you cannot deny there is a need to change things and expunge the past.  Ursa Major ensures the lyrics are universal- and do not disconnect listeners- but have enough personal history to make Dusk an authentic and authoritative track.  It appears the girl only calls when she is drunk and things are going bad.  When the tears run and the walls are closing in:  That is the time when our hero receives a phone call.  Once upon a time there was a natural love that seemed like it could endure any struggle.  Now, there are those late-night calls and something rather pathetic.  Maybe the heroine was a support for Ursa Major- when he was struggling she was there for him- hence the reason she is missed.  On the one hand, you get a young man that seems to want to get rid of her influence- and all the troubles and heartache caused.  On the other, there is that longing and need to reset things- capture those glory days and how things used to be.  The boy is inspired by soft keys and piano melodies.  Perhaps recalling the origins of the song- turning that pain into something productive- you get some recall and a story progression.  In his room or basement- wherever that music and lyrics came together- memories still tumble and make their way onto Dusk.  Remembering “beer-stained perfume” and broken glass:  All those elements and shards are put together in a musical collage that keeps pressing to the final moments.  Changing his voice up- the pace and way the words and presented- gives the lyrics such energy and unexpectedness.  The composition bubbles, burbles and vibrates to soundtrack a heart that is feeling the effects of a rather tumultuous past.  The hero is merely stated words and saying how things were in the past.  Now everything is over, he is making decisions and seeing how he will progress.  A chance to change life and make a new plan:  The influence of this break-up cannot be understated.  In the final seconds you are caught in the drama and wonder as to the song’s true nature.  Of course there is a lot of pain and unsettled recollections.  That obvious, you wonder whether everything is that clear-cut.  Maybe there were some great times that have made Ursa Major the artist and man he is now.  That girl- whoever she happens to be- has been important whatever way you look at it.

Embedded image permalink

A terrific and assured song from a Canadian artist that can speak and connect with any listener.  Noah Barer and Cavemen have ensured Dusk sees the light and is given the exposure it deserves.  Helping with the composition- and producing the song- you have a number that is among the most affecting you will hear.  Fans of Drake, The Weeknd- and other natives of Toronto- will find some familiar strands within the track.  The abiding impression is a song that is very much the work of a musicianship keen not to be compared with anyone else.  The subjects of love and regret are hardly groundbreaking:  The way you address them can determine how far you make it in music.  Ursa Major has not simply employed the same clichés and ideas as his peers:  You have an artist with a very distinct pen and a new way of covering the topics.  Among the shadows and hard realisations, you have a hopefulness that comes out.  Wanting to escape the bad days and focus on a better future:  Dusk is a song that has many layers and ideas working away.  A track that does lose its appeal over time- a song that gets better in fact- it is a hugely impressive effort from the 19-year-old Canadian.

Embedded image permalink

It is great being contacted by new artists and hearing what they have to say.  Usually- and the last few weeks especially- I have been reviewing U.K.-based acts.  In fact, they will make up the next couple of weeks of reviews.  It is always good investigating terrific acts from Britain:  It is nice to take a trip out once in a while and expand my horizons.  A lot of media sources are not really looking beyond home when it comes to promoting the best music around.  It is a shame artists like Ursa Major seem to be confined to Canadian attentions.  Of course, the 19-year-old has fans throughout the world- despite some social media anonymity- but it would be good for press sources here to recognise his ilk and what they are capable of.  It is not surprising to me to discover another treasure from Canada.  Throughout the country there is such a wealth of wonderful and varied music.  Every artist that comes through has such passion and potential:  I can think of few other nations that are so consistent and diverse.  Toronto is a city that a lot of us will only ever visit as tourists.  As much lovers, I think more people should turn their attentions here.  Away from the obvious likes of London and New York:  You can discover so much untapped gold across Toronto.  I have highlighted- in the top of this review- some of the bands and acts heralded last year.  They will continue to plug throughout 2016; there are a whole host of new upstarts that are just starting to come to critical attention.  Whatever your tastes in music- some sexy R&B or ‘60s-sounding Rock bands- you are pretty much covered.  Toronto is a part of the world that has been in my thoughts for a few years now.  The music that comes from here never fails to surprise and surpass expectations.

Embedded image permalink

Ursa Major is- I am going to avoid any star-based puns and jokes- a talent that deserves a lot more credit than he has.  To be fair, he is hard to locate across social media and the Internet- just a SoundCloud account- I hope the youngster gets an official website together and ensures many more people discover him.  The music is certainly affecting those who have heard it.  Looking at the SoundCloud comments- the feedback for the single, Dusk- there is plenty of love and admiration to be seen.  Dark and heavy; passionate and intelligent:  A musical insight into a man who wants to dissolve his past and move into the future.  As we surge further into 2016 there will be a lot of people wondering who they should follow and invest in.  With the band market getting attention and biggest focus- rather unfairly I think- I am looking at the great solo artists emerging.  In this country there are some stunners to be found for sure:  Each with their own ambitions and objectives.  Being a passionate music lover, I find myself looking at other countries for inspiration.  The U.S. has always been good and reliable:  So many cutting-edge and amazing acts play here.  Canada needs to get more people behind it; supporting the music they house.  Whilst their native media sources are doing this; why are more people not getting behind them?  You cannot accuse the country of lacking quality and consistency.  In terms of cities, few match the reach and splendor of Toronto.  Whilst Ursa Major- and the producers behind the track- have Montreal roots; it is Toronto that comes under the microscope.  I will be spending a lot of time this year keeping my eyes focused on the city to see what comes next.  I am not sure who the city’s media are highlighting (to watch as the year progresses) but Ursa Major must be among them.  Such tender artists- Ursa Major is not even 20- tend to start out rather uncertain or take the time to mould their sound.  The maturity, direction and confidence are already there with our young star.  There is no precociousness and predictability with regards the music.  A lot of younger artists focus on love and heartbreak but do so with little flair, depth and grit.  You want someone that take meaty and troublesome issues and delivers them with some punch, nuance and effectiveness.  You do not have to scream down the microphone or throw everything into the pot.  What Ursa Major does is take some dark issues- moving on from the past and making a better future- and creates something intense and hugely memorable.  I have been seeking solo acts that I can stick to and promise great future returns.  Ursa Major will be releasing new material very soon- let’s hope so anyway- and there is such a unique and special sound already cemented.  R&B and Psychedelia are not genres you would ever imagine could come together.  The sensuousness and sexiness of the former marrying with the latter’s edgy, druginess and hardness make a wonderful couple.  It is said opposites attract and this seems to be the case for sure.  Not only do they match but they better one another.  The R&B shades of Dusk are augmented and given fresh life:  The ‘60s/’70s-recalling Psychedelia is given modern vibe and sounds completely reborn.  At the centre is that voice that sounds unlike any I have heard.  Making sure those personal and harrowed lyrics are given hope and memorability:  You have a performance that is filled with life, heart and soul.  A long career for Ursa Major awaits so do not miss Dusk and…

Embedded image permalink

THE first steps from a brave and bright young hope.

 

[soundcloud url="https://api.soundcloud.com/tracks/241389730" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

________________________________

Follow Ursa Major

 Embedded image permalink

Twitter:

https://twitter.com/j_chusid

_______________________________

Music:

https://soundcloud.com/ursaspeaks

 Embedded image permalink

TRACK REVIEW: Scott Quinn- There For You

TRACK REVIEW:

 

Scott Quinn

 

 

 

There For You

 

9.4/10

 

 

There For You is available at:

https://www.youtube.com/watch?v=xKTOgZEHiO0

RELEASED: January 21st, 2016

GENRES: Electro.-Pop; Soul

ORIGIN:

Harrogate, U.K.

____________________________________

BEING in the middle of planning a new radio station...

I am looking about for some great solo artists that could (theoretically) be featured.  I find myself going back to band music and older sounds.  When it comes to modern artists, there are still far too few great acts emerging- those that do things differently.  Before reaching my featured artist, it is worth looking at the value of radio these days; the continuing output of great Yorkshire artists- finishing with a bit about male solo artists.  To begin, it has come to my attention how few people (my age at least) are invested in radio these days.  It seems the Internet- SoundCloud, YouTube etc. - is a more popular option when listening to new music.  Most people prefer to stick to their own song selections:  Few actually take the time to listen to the radio and investigate what they have on offer.  If you think about the mainstream radio stations playing from London- Capital F.M., X Radio etc. - do they really reflect the tastes of the general public?  I know stations have a target audience and have to conform to those guidelines- it seems there are few options for those who like their music more cutting-edge.  Away from the more Pop-friendly stations, there are few genuinely fascinating radio stations.  Absolute Radio is my favourite for a good reason:  They play a great range of music and have presenters passionate about the songs they play.  You have to look at the ‘lesser’ players- the up-and-coming stations that have fewer confines- to get a better spread of music.  One of the biggest drawbacks of modern radio is how little-unsigned music is featured.  Sure, some of the smaller stations dedicated time to the under-the-radar acts:  Commercial stations tend to stick to the mainstream and popular.  It is harder for a musician to get their songs heard across the airwaves- local radio is an option I guess.  There are some phenomenal new bands and solo artists coming through that struggle to get their songs championed.  Whilst there is a mass of acts coming through- how do you get to focus on the most worthy artists? - there needs to be more done to showcase some of the best out there.  Scott Quinn has management behind him and has established a dedicated fan-base.  To my mind, Quinn should get his music spread a little wider and further.  It is great to see an ambitious young artist come through that overturns my skepticism about the solo market.  I have heard too many artists that do not stay in the mind and do not simply install enough originality and passion into the songs.  Quinn (on paper at least) might strike you as your average solo artists:  When you dig deeper there is a much more to him that meets the eye.  From the unique and impassioned voice; the songs that tackle love in a new light- there is something fresh about our hero.  It is no surprise to see Yorkshire produce yet another wonderful musician.

Recently, I have been immersed in London and the musicians coming forth- I will be in Yorkshire and Scotland for the new week of reviewing by-and-large- so it is great to come back to a very prosperous county.  Although London is leading the current charge- when considering the most diverse and stunning acts around- Yorkshire by no means a slouch.  I have often speculated the reason behind Yorkshire’s consistency and quality.  Perhaps there is less stress and hustle (compared to London) or a lack of expectations.  When interviewing bands from the county, I asked that question.  When answering, you get a clear conclusion:  Less anxiety and a supportive network of musicians results in a prosperous scene.  What I love about Yorkshire- among many reasons- is the sheer range of music that you can find.  Other parts of the U.K. are diverse:  Yorkshire acts go a lot further and take more care to ensure their output is as original and surprising as possible.  The bands have that extra urgency and variegation; solo acts revoke the wonders of ‘30/’40s Swing- into a retro. blend of Pop and Electro.- whilst the Rock/Pop-led solo acts distinguish themselves from the pack.  I always take a deep breath when it comes to a new male solo act:  It is a patchy affair and often challenging finding one that differs from the James Bay/Ed Sheeran blandness of the mainstream.  If you are talking about love and heartache- themes musicians need to move on from and expand their horizons- it is here you get some rather samey and forgettable moments.  Luckily, and showing true promise, Scott Quinn has very in little with the maligned Pop stars of the charts.  Quinn’s subjects often look at love, heartache relationships:  He tackles these issues with enough personality, difference and urgency to ensure he does not fall into the traps of his lesser peers.  Having a look back at his previous work- his Lust Game E.P. for instance- you have a young man who wants to stay in music for years to come.  In each track, you cannot escape that commitment and soulfulness.  Being compared with some of the best, older solo acts- a talent to keep your eye on.  The main reason Quinn appeals to me is the way he backs up his lyrics and vocals:  Those highly-charged and atmospheric compositions are a scintillating mix of beats and electronics.  I think that is a way to elevate and improve songs about love and loss:  Add those crackling and edgy backdrops and ensure the vocal has enough heart and soul.  Quinn is a performer that sits alongside the most impressive and notable young talents emerging right now.  His lyrics reflect universality and a shared pain:  Issues that deal with break-ups; wondering where home is and assessing the world around him.  Not willing to stick to tried-and-tested subject; there's wide-ranging reach and something irrefutably special at work.

It wasn’t until I started getting into There For You- I thought this was the debut song from him- that I noticed Quinn had already released an E.P.  I had to go to his SoundCloud page- I would highlight this across Facebook more- that I got to check his previous offerings.  What struck me about the E.P.- his Lust Game E.P.- was the conviction and confidence right from the start.  The title track spares no time in getting to work and evoking some stunning compositional sounds.  Whirring and machine-like sounds boast a vocal that brims with heartache and passion.  Many will be reminded of Sam Smith- the soulful and Blues concoctions- but Quinn is very much distinct.  A catchy chorus- that looks at losing the heart of the girl- sees our man confused and lost.  That drive and wave- the vocal has a restless energy and wonderful projection- ensures the song gets into the mind and provokes sing-along.  Our hero wants his girl back and misses her touch.  Whatever has caused the break-down burns hard and has left its scars.  A wonderfully accomplished song that is endlessly memorable and impressive:  That ambitious and edgy composition is the perfect backing for a lush and heartfelt vocal.  Changing course and throwing surprises into the mix- you can never predict where it will head next- it is a wonderful track.

The City and Guess This Could Be boast more of the same qualities.  The former has that rushing and head-spinning introduction.  Pining for a girl once more- when she is all alone our man should be in her mind- we look at the cessation of a relationship.  Maybe there is blame and recrimination- some issues that have not been worked through- there is imbalance and mixed motives from the start.  Our hero is running through the city looking for answers.  A Gospel-cum-Soul backing vocal- putting me in mind of the best harmonies I have heard- enforces that urgency and attack.  The ghost of the girl lingers and is still in his soul.  Guess This Could Be begins more gently and has a charming introduction.  The vocal is more relaxed- backed by finger-clicked beats and a sparseness- it is one of the most soulful and honey-dripping vocals from Quinn.  Recalling Michael Jackson, Boyz II Men and Marvin Gaye:  A match for the best male voices over the last few decades.   The backing vocals- whether Quinn alone or joined by other singers- augments the lyrics and sends shivers to the back of the neck.  The song looks at the possibility of love- this feeling that is inside- and sees our man dancing with the girl.  He needs to catch his breath and slow things down.  Showing mature and control- needing to take time and not rush to the bedroom- it shows another side to Quinn.

There For You continues that mature lover-man bravery- a gentleman that wants a true and noble connection- you get more of that insatiable sweat and soulfulness come through.  There have been no big departures from Lust Game E.P.- no need when the material was that strong- but if anything, the quality has gone up.  The production and sound is as rich and polished as ever- allowing edge and rawness to come out too- but the vocals seem even more gripping and rounded.  Quinn is an original voice that has elements of past masters:  On his latest track, he mixes contemporary Pop with Soul of the ‘70s- topped off with some deliciously pure and sweet undertones.  Being a sapling artist, any major shift would alienate and confuse existing sounds.  What we have is a natural step and a reliably strong song and another gem from a young artist with a rare talent/.

Beginning with an atmospheric and night-time vibe- the darkness and sense of uncertainty pervade- lightness emerges to give lease a voice full of intention.  Our hero recalls a girl that came to him- whether a current love or a friend in need- and someone who means a great deal.  It seems like the girl was stuck and needed “space to breathe”.  Perhaps a love was burning bright and took a turn for the worse.  You get that feeling of disappointment and resentment in the early vocals- as confusion reigns and there is a sense of injustice- with that voice reflecting the disenfranchisement.  With a rain-cloud hanging over the girl- backed by a tribal beat and a backing eeriness- you start to picture the scenes and emotions at play.  The sweetheart might be exaggerating things and misinterpreting the situation:  Perhaps there has been a lack of communication in the relationship and the desire to find some solace.  I am not sure what the reasons behind the fracture is- whether the two have different aims or there’s been arguments- but you start to wonder whether they are together still.  In these early stages, that feeling of loss and haunt comes through very strongly.  Whilst the vocal has elements of the Pop mainstream- not quite as soulful and bold as previous endeavours- it is appropriate given the circumstances and subject matter.  The song remains subtle and emotive in these early stages:  Our hero ensures his voice is pure and does not needless explode right away.  It is the composition that provides the most curious initial impressions.  With the girl taking her smile away- the days turning to night- and memories starting to linger- you get a turn in fortunes and narrative.  The hero promised he’d be “there for you” and that is employed as a mantra and mission statement.  The beats get harder as the composition starts to swell.  Reflecting on times lost and the years that have passed:  It seems like the girl has not been in touch and they have drifted apart.  In love, they promised the world and they would be there for one another- that has not been kept by the girl.  Maybe the circumstances behind the break-up have meant communication and connection have not been a realistic option.  You can tell There For You has been inspired by past events:  That emotion and impact from the vocal comes from a soul that has seen too much pain and loss.  The teary-eyed subject is not given a saccharine or overly-emotive delivery:  Every note and idea is handled with dignity and a real composure.  I became captivated by the composition that keeps getting bigger and harder as time elapses.  More urgent and busy than previous numbers- showing a fresh direction from Quinn- you have a song that ensures every listener is roused and involved in the track.  It is impossible to disassociate yourself from the lyrics that deal with an over-used subject- loss, relationship break-up etc. etc. - but ensure it does not devolve into  a boring and predictable territory.  It is vital to have these songs played but they account for an alarmingly large percentage of current sounds.  What Quinn does is make universal issues sound fresh and personal.  You do not have the same worn clichés and predictable stories unfold.  Most songwriters show a lack of imagination when it comes to their lyrics and interpretations.  It is good to hear a song that highlights a common qualm with an uncommon ear.  That central idea- promising to be there for the girl- keeps coming back to bite and remind.  Our hero wanted to keep that promise and ensure she was okay:  For whatever reason, that promise has been broken and there seems to be little chance for repair and togetherness.  The song builds intensity and passion into the final stages.  That voice is multiplied to create a rapturous and heartbroken chorus.  That choir-like vocal adds elements and additional regret to a song that seems like an exorcism, of sorts.  Beats, heady electronics and dark undertones mix with something ethereal and uplifting.  That strange mix of beautiful and disturbed blend supremely in a track that showcases what an agile talent Scott Quinn is.  By the last notes, you reflect back and wonder where that song came from.  If it is a relationship long in the past- or a current one that has a slight chance of rekindling- I am not sure.  All I do know is we have a track impossible to ignore and forget.

Fans of Quinn’s previous work will find much to love in his latest single.  Carrying from where Lust Game E.P. left off:  There For You sounds like it could have been included on that record.  The production and sound remain central to ensuring each note and lyric are given huge support and naturalness platforms.  Quinn is impressively restrained in a song that deals with some harsh realisations and a lot of anger.  That voice employs some of the soulful touches in the E.P. - although not as many as perhaps you’d like- and will bring in new listeners and followers.  Whilst the subject matter does not stray from the familiar and every-day:  The way it is addressed and represented shows Quinn to be a rare talent intent on originality.  Fans of Electro.-Pop’s best will discover a new artist that ranks among the very best the genre has to offer.  There For You is not a disposable number that does not demand interpretation and multiple listens.  It will hit you on the first listen but you come back to try and assess what is being sung.  I was wondering if the girl ever came good and got in touch with our hero.  It is perhaps a mystery that will never be answered in a song that has an enormous amount of courage, nuance and positives.

There For You is another stunning cut from a British artist with an impeccable talent.  Electro.-Pop and Soul fusions are a popular and appealing blend- Jamie xx beautifully exploited them in his album In Colour- and if you get the dynamics right; it can result in something simply breathtaking.  I am not sure what is in mind for Quinn this year- if a new E.P. is going to be on the horizon- whether There For You is going to be a sign of future sounds.  Lust Game E.P. was a compelling and nuanced release that marked Quinn as a definite artist to watch.  I am staggered his social media numbers are not higher- there are lesser acts that have amassed more followers- so let’s hope this year that imbalance is rectified.  There are so few artists that have that originality and quality at work.  In a scene that is seeing an indeterminate amount of good musicians emerge- this is especially true of the mainstream- we should all take more time to celebrate those that go the extra distance.  Maybe it is relevant to bring back the subject of radio-play and the way radio stations operate.  I understand how commercial stations have a certain brand they need to conform too.  By the same token, local stations and newer stations also have to confine themselves to an extent.  With 24-hours in every day:  You would think more time could be dedicated to a wider selection of new music.  I am fearful the bright and restless best we have to offer are struggling to get their voices heard.  Musicians coming through- that are original and impressive- are needlessly struggling for the smallest crumbs of affection.

The amount of graft, grit and electioneering involved- getting the music heard and promoted- is damn near killing them.  I hope commercial radio- in years to come- dedicated more shows the underground stars that are showcasing so much more vibrancy and ability than a lot of the mainstream’s best.  Quinn seems contented to perform and record for now:  He will set his horizons on the festivals and big venues soon enough I am sure.  If he were a weak and unoriginal artist, I wouldn’t care too much how his future shaped up.  As it stands- being a performer that deserves acclaim and exposure- I am hopefully his following and music will get rewards and following.  He should be proud of the fact he has distinguished himself from the pack and is capturing the ears of the music press.  Another week and another fabulous Yorkshire-based artist under the microscope.  A county that continues to stun me- that variation and quality- it is perhaps not that surprising someone like Scott Quinn should be discovered.  That county sure loves Electro. blends- making sure honest and human emotions are elevated to the highest plateau- but Quinn surely ranks among the most impressive from God’s county.  As London seems to be taking a lot of the top honours- when it comes to critics’ tips for this year- I think eyes and minds should highlight what great music is emanating from Yorkshire.  Quinn is a new proposition and a musician that is just taking his first steps into the (shaky and hard) world of music.  He understands the realities, expectations and capriciousness that he faces:  The fact even the most intuitive and special have to fight needlessly hard.  As this year unfolds for me, I hope to get a radio station started:  Something that dedicates a lot of time to artists like Quinn (from all around the world) and gives more attention to those who would otherwise struggle.  I am hopefully Quinn will bring his sensational blend of sounds down to London and seduce the audiences down here.  There are plenty of places he can perform and contemporaries he could share the stage with.  London is producing lots of agile Electro.-cum-Pop acts:  It seems to be the in vogue sound that is rightfully getting acclaim and attention.  Make sure you hear There For You and a direct statement from a musician that deserves a future in music.  As I said, I am not sure whether an E.P. or album is mooted- shall have to speak with his management- but I will be all over it.  A fresh musician to my ears, I am compelled to follow him closely and see were 2016 takes him.  The men of the solo realm are not particularly standing tall in the imaginations of many.  I have spent too much time criticising the likes of Ed Sheeran and their ilk- that represent the lack of energy and originality in music- but it is perhaps unfair.  Those artists have their market and represent the desires of many listeners.  For those listeners seeking something more adventurous, new and edgy:  There are plenty of options coming through right now.  There is fatigue and need for these artists to overthrow the bulk of boring and idea-less Pop artists- hopefully, it will happen soon.  I shall sign off by commending Quinn on his authoritative and stunning track.  There have been few male solo acts this year that have appealed to me:  I am certain Quinn will be continuing his rise and endeavor years down the line.  Let’s just hope the savviest radio stations get their act together and acknowledge a musician with a rare ability- songs that the masses want (and need) to hear!  If you don’t believe me…

LISTEN for yourself.

 

[youtube https://www.youtube.com/watch?v=xKTOgZEHiO0&w=560&h=315]

_________________________

Follow Scott Quinn

 

Official:

http://www.scottpquinn.com/

Facebook:

https://www.facebook.com/scottpquinn

Twitter:

https://twitter.com/scottpquinn

_______________________________

Music:

https://soundcloud.com/scottpquinn

________________________________

Videos:

https://www.youtube.com/channel/UCSp1xGs6WnRZz5U07z8LqfA