TRACK REVIEW: Effie- Pressure

TRACK REVIEW:

 

Effie

 

 

Pressure

 

9.6/10

 

Pressure  is available at:

https://soundcloud.com/effie-records/pressure/s-575NN

RELEASED: May 2016

GENRES: R&B; Soul; Dance; Electro.

ORIGIN:

Salisbury/London, U.K.

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IT is quite obvious this year is starting to…

get better and more positive. The first few months of 2016 were ones to forget. With the deaths of Prince and David Bowie hovering in the mind- and other notable music legends- it seemed like all was lost. Never has a single year produced so much tragedy; over such a short amount of time. As a result, there seems to be a defiance occurring: artists are coming through with some of the most stunning and immediate music you can imagine. Mainstream legends like De La Soul and The Avalanches are back. The former’s new single (Pain) suggests a future album: it is classic, old-skool De La Soul: you are taken back to their ‘80s heyday. The Avalanches- where have they been for 16 years?!- have just unveiled Frankie Sinatra. Whilst not as ‘pure’ and unfretted as their eponymous debut album- where it was a samples-only, cut-and-paste treasure trove- there is a more collaborative, less-rigid sense of discipline- a looser and less fastidious approach to their music. That said, all the weird, kooky and bananas elements are there: that inimitable and distinguished sound that could only come from Australia’s finest head-spinners. Paul Simon has just released a fantastic album in the shape of Stranger to Stranger. The 75-year-old legend has released one of his finest albums in decades.

Embracing modern production and urgency- embracing electronic and conspiring with Italian producer Clap! Clap! - it is a colourful, witty and magical L.P. A five-star, brimming-with-genius work from Simon: few would have predicted such a nuanced and splendid set (even from the Graceland maestro). In new music, this charge and quality can be found. Solo artists like Dua Lipa and Billie Marten are showing how age is no hindrance: each has produced exceptional, world-class sounds- Hotter Than Hell from Lipa; Milk & Honey is Marten’s latest. If the boys of the mainstream are stealing some of the focus: it is the girls (for my money) who are providing the most impressive and original music of the underground. My featured artist is someone who has exploded onto the scene. A beautiful, bright and immense talent: Pressure is the sound of a young woman with a long career ahead. Before I raise a new point, let me introduce Effie to you:

Effie knew from a young age what career she wanted. Age just 11 she asked her parents if she could ‘go pro’ and signed up with the E Minor Choir. Within just a few years she was being mentored by Lemar, garnering praise from the MOBOs and Radio1 Xtra.

Now in her early twenties, Effie feels fully ready to make that leap she has always known was possible. Having spent the past 18 months developing her own material while working as a featured artist on releases for FOOR (Gravity / Everything You Need / So Good /Running Away / Connection), Dots Per Inch (Sparks and Flashes), Effie has been been enjoying finding her voice alongside some of the industry’s leading lights. 

Having worked heavily with Ghetts, who invited Effie to join him for his 2014 tour, she featured as the vocalist on These Words, which is featured on his live album. Currently working with Ghetts and Rude Kid, writing and recording material for his forthcoming release. Her, a collaboration with O’D, was released earlier this year and saw Effie praised by TheFourOhFive for her ‘smooth and sultry vocals’. 

Boasting the soul of Kwabs, the innovation of FKA Twigs and the vocal dexterity of Jessie Ware, Pressure is an honest representation of Effie’s intentions as an artist. A fusion of r’n’b, soul and electro, Pressure manages to be simultaneously polished and raw. Written at a point of emotional catharsis, it is elegantly constructed and powerfully delivered.

 

Effie is someone who seems born to perform and make a career in music happen. Given her biography- her parents’ support from a tender age- she has consecrated her life to pursuing that dream- making sure her songs make their way to our brains. Surrounding herself with some of music’s most influential and best: it cannot be too long before (Effie) is a household name. Pressure has been picked up by the 1Extra Breakfast Show: Effie has already played the Isle of Wight Festival and Common People- how long before she is one of Glastonbury’s headliners? There is something completely natural and assured about her: the music just explodes and crackles; Effie is a natural-born artist that is completely comfortable and astonishing. With her four-track E.P. soon for release: her previous E.P., Conquer, was a bold and striking statement from one of music’s brightest young hopes. Her latest offerings have a maturity and quality that surpasses her early efforts: another musician that is growing in stature and intuition with each record. Effie is not one of those artists that let producers and teams mould her; waits for material to come in and bashes it out. There are a lot of Pop artists that have zero talent and ability: they exist to sing other people’s songs; be controlled and dictated as marketing tools.

Although Effie has a strong and loyal team behind her: she is a woman who takes charge and has astonishing control and determination. The authority and strength come through in Pressure: a sign that things are about to hot up for the London-based singer. When her E.P. is released; there will be touring demands and she will find herself the toast of the airwaves. I know she has a busy summer calendar: that is likely to become fuller and packed with every passing week. It is hard deciphering the truly great from the pretty-darned-average: there are so many new musicians coming through; it is such a challenge. There are many that have that initial burst and potential: only to succeed and whimper as time elapses. Given Effie’s ineffable drive and talent: she is someone who will go as far as she pleases; has that cache and originality to keep her music burning for years to come. I will be fascinated to see how she develops and matures as a young woman. Still in her early-20s: her music has an astonishing level-headiness and grounding: there are no juvenile moments or catty asides; just an intelligent and noble work rate that will see rewards and appreciation flood in.

Of course, there is a lot of talk about Effie’s forthcoming E.P. Fans and critics have seen how she has grown- knowing the brilliance she has already displayed- and are justifiably excited. Pressure is the finest song Effie has come up with in my view. Conquer was released a couple of years ago and proved what an artist Effie was. Addicted was the shining jewel that had that incredible, sensual voice all over it. With little compositional input- in the early stages- the song explodes into life and burst through the ceiling. Turning into a fast-moving club hit: the song documents an addictive love that is unshakable and huge. It’s Hard has a purity and romance to it. Addicted had that hooked-and-baited nature: Effie was in the middle of a whirlwind relationship; something she could not get out of- its effects were clear and evident. It’s Hard is a catchy and singalong track that reminds me of Destiny’s Child and ‘90s Soul/R&B. Groovy, sexual and confident: it is a slinky and stunning track that has some heartbreak and struggle. Her man- whether the same hero from Addicted- is making life hard and creating an internal struggle.

Biggest Regret and Oceans look at mistakes and love’s struggle; there is that same blend of immediate and textured: Effie’s powerful and stirring voice makes each song an instant classic. You cannot help but be swept up inside the song; they ensure people flock to the dance floor and get lost inside the music. Exceptional, polished production brings to life the vocal and introduces jagged electronics and huge rush. Each song has a very modern sound yet Effie reminds us of musicians past. Her love of ‘90s R&B and Soul legends is evident. Few young singers have such a layered and compelling voice. One of the things about Addicted is the lack of softer moments, perhaps. You get a quartet of heard-hitting and bracing songs: perhaps some polarity and tenderness could have come in. Being her debut E.P.: there was that need to announce her presence and define her sound. Getting into people’s mind often calls for an urgent and immediate set of songs. I know Effie has a gorgeous voice and tender soul: it would be great to see that explored on (one or two songs) that take the mood down and are a little more restrained. Perhaps that is not where her music is right now- she is in her 20s still- but perhaps her new E.P. will explore that side of things. It is a minor quibble from an E.P. that has no weak tracks: each song stands out and proves what an exceptional artist Effie is. Pressure is- in a way at least- a continuation and leap forward. We get the same production values and compositional elements found in Addicted. Also, you get those inimitable and assured vocals: exhilarating and incredible evocative. Pressure shows Effie at her most confident and compelling. Every second sees her (at the peak of) her powers: such vision and quality from a very young artist. The ensuring performances- between Addicted and Pressure- go into the song. The lyrics are sharper and deeper: they have more standout lines and maturity; the music is more rounded and scintillating- Effie has crafted one of the songs of the summer.

Pressure has already gathered a heap of praise and respect- blogs and reviewers have been keen to add their words and opinions. A strange and beautiful cocktail opens the song. A mouth-popping sound melts with a pulsing electronics and stamping beats: the resultant infusion ensures the track has a very unique and instantaneous quality. The introduction makes it mark straight away and elicits emotions, atmosphere, and drama- that builds and builds as the vocal approaches. The heroine has been experiencing sleepless night and turbulent dreams: something is on her mind and causing her a lot of weariness and disturbance. The nature of her sleeplessness seems to be a particular boy: somebody who will not evade her mind. The initial lyrics and themes have a commonness and relatability to them. A staple of music- a relationship or bond that is drug-like and troubling- you wonder whether Effie is trying to forget the boy- or caught in the magic of his spell (and happy about it). There is that early mystery and distance to begin with. You can tell how anxious and fevered (the heroine is); she is trying to make sense of things and remain focused. After the first few lines, I was wondering whether the song concerned a bygone relationship- one that keeps cropping up and causing its scars- or one that is current- and keeps Effie up at night. Embers of FKA twigs and Jessie Ware can be heard in the initial phases. Effie’s vocal has a little bit FKA-and-Ware: that soulfulness and directness; something mainstream and tangible- yet imbued with enough difference and distinction. The composition pumps and drives the vocal forward: everything is too hard to handle; you can feel the pressure mount and reach its precipice. When the chorus arrives, Effie lets her voice rise and strike: one of the most impassioned and powerful performances of her career.

New pieces of the puzzle come in and reveal new light. It seems like the bond has broken: Effie wonders whether they should get back together; if that is foolhardy. Maybe she will be pulled under (were she to take the boy back) or would it be a success? The couple was happy in the past but broke up for a reason: rekindling that relationship might not be the sagest decision. Most relationships that break up- and one party thinks about getting things going again- regrets it. Effie is too deep to step back and be objective: know things have been extinguished and broken beyond repair. Her hero has clearly made an impression- it would be interesting to know exactly who inspired the song. “Why do I always get myself in trouble?” is a question that shows honesty and bravery. Effie knows she has made some bad decisions and been naïve: perhaps going for the bad-boys and less pure types. That preference and instinct might lead her up the wrong road: her latest romance is causing intense confusion, doubt, and pain. You can feel that uncertainty and stress come right through- the production ensures each note and layer gets inside the brain. The lyrics have simplicity to them which means they can be sung by festival crowds: a song that you blare from the car and lose yourself in. Inside the easy-to-understand elements is a deeply personal song that looks for reconciliation, clarity, and answers.

Effie is not only assessing a complicated and unforgettable love: she is looking inside herself and wondering why she repeats patterns of behaviour. Maybe instinct has let her down in the past. Effie (in the past) has been reluctant to say what’s on her mind- maybe a hesitancy or demur- and that has cost her parts of the soul. Maybe the break-up is not as one-sided as you would imagine- I always assume the guy has caused it- and you get a feeling of self-assessment and maturity. Effie is not casting blame and pointing fingers: she recognises her culpability and transgressions; how timidity and silence have cost her something pure. On the other hand- the fact she is so conflicted and tormented- means things are not clear-cut and obvious- the decisions (to get things started again) is far from simple and obvious. The song gets hotter and heavier by the two-minute mark. The composition combusts and grows: the vocals layer and add to the anxiety; the percussion slams and growls; the electronics jittery and intense. In the swirl of panic, contradictions and explosion: Effie remains controlled and settled; ensuring the song does not get too heated. Her voice- whilst it possesses pain- is a calming and beautiful thing. She is not going to pressure the boy and make him stay.

Few Soul/Dance tracks have such a complexity and nuance to them. Often too simple, direct and unsophisticated: Pressure is a song that evolves and surprises at every turn. The composition is always changing and moving: making sure the emotion and lyrics come fully to life; they stop-start and calm; race and scuttle with no warning. Effie’s vocals get layered and intertwine- scoring and underlining the desperation and confusion. Your heart goes out to the heroine and what she is facing. By the song’s end, the vocal fades and the song start to dissipate. With the electronics draining away; there is that emotion and cliffhanger element. Does Effie know what she’s going to do? You wonder if the relationship issues were resolved; if they got back together and how things ended. Effie has a lot of affection in her heart: making the right decision is proving a challenge; you have such empathy and support for her plight. Supported by incredible songwriting and production: Pressure is one of the most immediate, stunning and compelling tracks of the spring. I have mentioned the likes of Jessie Ware and FKA twigs as a positive: you can hear embers of both; Effie is in no way inferior. Pressure is a track that seems destined for mainstream radio and has such mobility- able to enthrall ‘Radio 1 and 2 listeners; make its way onto ‘6 Music. Such a stunning and impressive song bodes well for the new E.P.: fans will be desperate to get her hands on it!

It has been great discovering a young talent that gets inside the head and fills you with fascination. Effie has had an interesting and varied upbringing: from such a musical family; it is only natural she would take to music so keenly. If you have not heard of Effie: be prepared to learn a lot more about the young star. Already- aside from festival dates and her own material- she has provided vocals for Ghetts’ track, These Words: laid her vocals down to (U.K. Garage act) Foor for their album, Yoshi. She is a busy lady and this is unlikely to abate. With every new track, she reveals a part of herself. Maybe heartache and love’s foibles defined her early work: she has varied her lyrics book and is embracing more concerns and issues; showing versatility and range. I heard about Pressure from its co-writer: the wonderful Olivia Stania. Mystic Sons’ music scout and P.R. genius: I can see her personality and talent come through; let’s hope there will be more work from her (as a writer) in the future. As for Effie herself, what can you say? I have been pleased with the number of solid and original young acts coming through right now. I mentioned the likes of Dua Lipa and Billie Marten: Effie is another you can add to that list; someone who could give the mainstream a real shot of energy. Aside from the legends and stalwarts of the scene: there are few that are exciting me right now; it is quite a mixed affair. Yes; there have been some great singles and albums from the last couple of months- James Blake, Radiohead; De La Soul, The Avalanches; Paul Simon and Beck- but these are from acts that have established themselves and are well-known.

What of those coming through and making their first moves? The media is quick to proclaim bands/artists as their next-big-thing, and that always troubles me: maybe the pressure and expectation get to them; perhaps the initial praise is unwarranted and impromptu? Whatever it is, there needs to be more stability and consistency in the top league. News musicians coming through- bubbling under the surface; perhaps unsigned and tender- are creating the best sounds. Effie is someone who has the promise and consistency to last a long time and inspire other artists. Pressure is perhaps an ironic title: the song flows and has an ease to it; a brilliant and accomplished performance from someone who is has a huge backing behind her. The social media numbers continue to rise and the reviews are tumbling in.

I cannot wait to hear Effie’s new E.P. and what it offers: there are likely to be a string of summer-ready, stick-in-your-head songs that burst with personality and electricity. Effie is a musician who has grown up around some vintage music: her tender ears were subjected to the finest the scene has offered. Fast-forward and artists like Jessie Ware, Beyoncé and Kwabs have made their mark: you get a little bit of each of them in her soulful and gorgeous tones. Artists like Dua Lipa and Alessia Cara are showing (new music at least) is very much the girls’ to own: they are the boldest and most scintillating musicians coming through. Maybe that is a controversial and narrow view: I humbly believe the female dollar is more precious and better value compared to the boys; there are a greater number (of great and profound) female artists emerging. In the past, we have seen the media focus on bands, boys, and their music: the girls have often had to fight to get their voice recognised; lingered in the shadows for a long time. Although Effie shows strength, determination, and a superb attitude: she is still a young woman who feels the same strains and stresses (than her peers).

Love and relationships play on her mind; the expectations of life can weigh her down: music is the way Effie expresses her pain and exorcises demons. Such an honest and open musician is to be applauded and respected. Past endeavours have worn influences on sleeve and mixed older-day legends and new gems. Her new material shows unique edge and original personality. Pressure has summer-like vibe and expressive sound: a song that is busy and rousing; there is still some concern and anxiety beneath the surface. After the shaky and sorrow-ridden start to 2016: I am delighted to see there is a change in the wind; something redemptive and hopeful coming through. Returning legends are coming up with new material; some of the finest albums of the year have just been dropped- all the signs look very good indeed. Effie is coming in- with her best material yet- at the right time. She has released Pressure at the perfect time: her E.P. will arrive and build her reputation; get more fans supporting her work. If you have not fallen in love with the young Londoner, you soon will: Effie is one of those artists that you know will succeed and become a big star; be a fixture of the mainstream before you know it. Songs like Pressure prove what a huge talent we have before us. On a cloudy day- unless it is sunny where you are- spin her latest track and…

HAVE a huge smile put on your face.

 

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Follow Effie

 

Facebook:

https://www.facebook.com/effieofficial

Twitter:

https://twitter.com/EffieRecords

Instagram:

https://www.instagram.com/effierecords/

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Music

https://soundcloud.com/effie-records

 

________________________________________

Videos:

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

FEATURE: The Ones to Watch (Part Two of Two...Maybe?)

FEATURE:

 

 

 

The Ones to Watch

 

(Part Two of Two…Maybe?)

____________________________________

 

IT seems like I might need to do a third part for…

this series. Having ignored- in this part and last- some great bands, solo artists and international talent: there are still more to include. For now- and embracing some wonderful musicians and influential people- it is on with proceedings. The music market is packed full of eligible options: of all different shapes, sizes and smells. For those struggling to take it all in: I bring to you some of the artists who will define (and already are) this year.

Have a look at these beauties

________________________________________

Little Sparrow

 

 

I have known Katie Ware (Little Sparrow) for a long time and struggle to get her out of my mind. Having chatted with her manager, Shay Rowan: I know how busy her calendar is for this year. A series of 360-degree were shot at dock10: part of MediaCity U.K. in Salford. Those videos captivated fans and demonstrated the widescreen beauty and entrance of Little Sparrow’s music. If you have not heard Wishing Tree (Little Sparrow’s 2014 album) I suggest you do: it shows what an incredible vocalists and songwriter Ware is. Everything about her music brims with beauty, transcendence and tenderness. You get transported into the songs and helpless to resists their sweet-kiss allure and honesty. You feel- listening to the music- more open and vulnerable; safer and warm- so many different emotions and contradictions. Ware is the warm and bright smile behind Little Sparrow: a musician that has a burning passion; she will be one of our stars to watch. Recording demos. at the moment- and performing gigs around the country- it is exciting to see what’s coming next. A musician that mixes bit of Kate Bush, Eva Cassidy and Folk greats: an extraordinary talent with no limits. If you want to discover a pure musician that takes the senses away: check out the incredible sensuousness of Little Sparrow- and prepare to be taen away.

 

 

[youtube https://www.youtube.com/watch?v=0ySlNAO4XKA&w=560&h=315]

 

 

Follow Little Sparrow

 

Official:

http://www.littlesparrow.org/

Facebook:

https://www.facebook.com/uklittlesparrow/

 

Dylan Cartlidge

 

 

After Bi:Lingual split, I was shocked indeed: they were one of my favourite bands from the last few years. Happily, front-man Dylan Cartlidge has stepped from the fire and has risen- his Phoenix-like flight will culminate in a new record. He is putting down tracks at the moment: Strawberry Blonde’s Snip is a lo-fi gem that boasts swaggering rhymes, industrial beats and solid bass. Bi:Lingual mixes Metal and Rap; Hip-Hop and Alternative: a modern-day, British version of Rage Against the Machine and Beastie Boys. Who knows what Cartlidge’s solo material will contain? On the evidence of his initial recordings- head to SoundCloud- the signs all look good. He is a restless songwriter who puts his struggles and heartache onto the page. Making sense of the world and battling against forces- unforgiving people and anxieties- his songs contain wit, edginess and warmth. Throw into the mix a commanding vocal and innovative compositions: few modern artists are as confident, unique and promising. The man can mix overt anger and somnambulistic introspection; braggadocio rhythms and teasing bass notes- a special artist with a very strong voice. Few are more excited about Cartlidge’s progression than I: the Manchester man is on a quest; a primal musical assault- be prepared for what is to come.

 

 

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Follow Dylan Cartlidge

 

 

SoundCloud:

https://soundcloud.com/dylan-cartlidge

 

Elena Ramona

 

When Gravity arrived recently: it saw Elena Ramona return with a bang. She is a musician with such a versatility and desire: like nothing in the world matter more than music. Whether assessing love or the struggles of life: she never stands still or compromises: always pushing herself and making the songs as gripping and stunning as possible. Gravity’s Dub-Step teeth-snarl is the latest step from a fine young artist. Previous tracks have mixed soulful subterfuge and family-dedicated Pop: sassy R&B. with piano-led balladry. Her simple, easy-to-adore lyrics sit with rich and accomplished compositions: all augmented by a gorgeous, limitless voice. Another artist who will be releasing new material in the future: Gravity is a promising glimpse into Elena Ramona’s current ethos. She has been busy conducting radio interviews and performing: there is a huge demand for her music right now. Having been raised on the Greek island of Skiathos- she lives in Surrey- there is an exoticness and sunshine warmth to the music: a string of impressive gigs have seen Elena Ramona cut her teeth; get her name out there and wow crowds across the U.K. If she carries on producing stunning music- and all the signs say she will- her ambitions and dedication will be rewarded by international performances and mainstream radio play. Still in her 20s: an incredible young musician that puts her heart and soul into everything she does..

 

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Follow Elena Ramona

 

Twitter:

https://twitter.com/elenaramona90

Facebook:

https://www.facebook.com/Elena-Ramona-323928237668916/?fref=ts

 

 

Ellene Masri

 

I have a lot of love and affection for French-born Ellene Masrii: she is one of those musicians that gets inside the head and elicits something rather incredible. Her debut album, Music, was lauded by Jazz stations and gained incredible reviews. The songs not only highlighted Masri’s spine-tingling, velvet-smooth voice: the lyrics reflected personal struggles and universal themes; the music connected with the public with ease. New material is being written and will be some of the most hotly-anticipated around. Based in Las Vegas: it seems the U.S. is providing a creative and inspiring climate. Where Masri is concerned; you can hear some musical legends in her own D.N.A. I know she loves the likes of Stevie Wonder and Prince (the former is a hero of hers). Soul-baring power and seductive entice nestles inside Acoustic-Jazz tracks of the highest order. With the likes of Sir. Gant supporting her- as a musician and producer- Masri’s compositions burst with life and love; they compel you to close the eyes and let your imagination run wild. There are few musicians that hold the power to buckle the knees and drop the jaw- Masri is a staggering proposition. Performing across Las Vegas and the U.S. right now: it would be great to see her come to Europe in the coming months. I know she has a lot of fans in the U.K.: her incredible, breath-taking tracks would be the perfect soundtracks for clubs across London.

 

[youtube https://www.youtube.com/watch?v=h54JiCo0Jl4&w=560&h=315]

Follow Ellene Masri

Official:

http://www.ellenemasri.com/

Facebook:

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

 

Ellie Rose

 

There are certain musicians that are personified by their smile, personality and infectiousness: this is certainly the case with Ellie Rose. She is one of those musicians that connects with fans and wins you over with her undeniable warmth, beauty and intrigue. Over the last few weeks, Ellie Rose has been in L.A. - a chance to perform at The Hotel Café (a dream for the young star). Back in the U.K., the pineapple-loving youngster- a common theme of her social media posts- let’s hope the inspiration and climate has rubbed up on her. When it comes to her music: I cannot wait to see what she comes up with. Hold Me On High has just been released and is a wonderful blend of dancing strings and resounding vocals. Ellie Rose layers her vocals inside a song that looks at deceiving lovers and lies: uncertainty and tension linger beneath the cracks. A catchy and effusive sway drives the song and makes it a radio-ready smash. She is another artist- like Elena Ramona- who can own and conquer multiple genres whilst retaining her focus and core sound. Previous tracks like Finding My Feet are raw and naked songs: Ellie Rose pouring her heart out in a very personal and immersive track. Let’s hope L.A.’s sunshine and communities do not lure the London-based musician- we need her here! One of our best and more prodigious young musicians: perhaps an E.P. will be coming in the next year? See that smile and quirkiness- where does that love of pineapples come from?!- the strength and vision- Ellie Rose want to remain in music for years to come. She has definite mainstream appeal but is a lot cooler and more credible than that: she has the ability to unite undecided voters and get lots of people singing her tunes. That kind of prowess, power and potential is rare these days: let’s embrace a fine and beautiful young star-in-the-making.

 

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Follow Ellie Rose

Official:

http://www.ellierose.co.uk/

Facebook:

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

 

 

Chess Galea

 

This year has very-much been all about 1869: the debut album from Maltese star Chess Galea. I have been following her career and previous E.P.s- Babygirl and Tuxedo- and can see the growth and evolution. Across the L.P., Galea sounds in-control and completely entrancing. Whether laying down the law and riding a heavy beat; taking the lights down and whispering alluringly: every song sticks in the memory and highlights a consistent and incredible songwriter. As a singer, there are very few that have the same breadth, power and ability: able to tackle any theme or genre thrown in front of her. Chess Galea is a musician that can not only pen a memorable original: she is also a fine interpreter; capable of reinventing classic songs in her own style. Influenced by the likes of Michael Jackson, Prince and Christina Aguilera: you can hear aspects of her idols across her own music. She will be heading to Malta soon- to launch her album there- and has been non-stop in the U.K. Whether enjoying radio-play or performing gigs: Galea has barely let her feet touch the ground. I know how much sweat, passion and work has gone into her album: that comes through with ease and panache. A musician that is ready-made for the big leagues: you will want to keep your eyes on her very closely.

 

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Follow Chess Galea

 

Official:

http://www.chessgalea.com/

Facebook:

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

 

 

Richard Hubbard

 

Richard Hubbard is a man very familiar with Chess Galea: he goes to great lengths to promote the best Maltese artist around. In these features, it has mainly been about the girls; the musicians and artists- Hubbard is a D.J. and music-lover that deserves wider appreciation and scope. His dedication to unearthing the best new music out there is to be applauded- he has led me to some wonderful artists. Part of the wonderful Channel Radio- one of the best Internet stations around- that bold and loveable personality cannot be beaten. Hubbard’s show mixes contemporary artists with well-researched brand-new acts- a show that draws in a wide demographic and range of listeners. That endless wit and natural knowledge (makes Hubbard’s shows) a must-listen weekly event. If you want to discover the hot acts and best out there- go to Hubbard’s page (link below) and hear one of Channel Radio’s flagship D.J.s do his thing. It is important to promote those that work behind the scenes to champion musicians- there are few that work as hard as Richard Hubbard. He is inspiring me to go into radio and take risks: broaden my passion and follow in his lead. There are few bigger legacies than that. Let’s hope we hear a lot more from Hubbard: many more years bringing us a range of wonderful music and witty banter. Radio is not for everyone- it is a generational, divisive thing- but few will be able to resist Hubbard’s intoxicating tones and humour. A man whose life-long desire is to put great music in the spotlight: we need more like him in the music industry.

 

[youtube https://www.youtube.com/watch?v=tW-tvVC1i1k&w=420&h=315]

 

Follow Richard Hubbard

 

Facebook:

https://www.facebook.com/groups/236641266356706/

Channel Radio (Link to His Show):

http://www.channelradio.co.uk/shows-richard-hubbard-show/

 

David Durrant

 

Another D.J. and hero of local music: Durrant is head of Live and Unsigned at Brooklands Radio. He is another man that goes out his way to give the great young musicians their due- making sure their incredible music is heard and supported. Tune into Brooklands Radio Tuesday at 10pm to hear Durrant’s show: his ‘Under the Radar Live Sessions brings us the finest new talent on a weekly basis. Not only does Durrant strive to help musicians and promote their cause- whether it is a new video or crowd-funding campaign- he has a huge social conscience: highlighting causes and issues we need to be aware of. A human whose heart and focus is put to improving things and making us all more aware: this reflects in his never-ending loyalty to great new music. Like Hubbard; Durrant is a D.J. who takes pride in putting his patronage to exceptional young talent- covering a wide array of genres and tastes. Hearing his show, you know how much music means and how important it is to all of us. His interviews and conversations show his full focus (towards and artist): another taste-maker that has pointed me in the direction of some wonderful, life-affirming musicians. Let’s hope he has no plans for slowing down: his show is one of the reasons I keep reviewing; I tune-in in the hope of hearing the most compelling music of the moment- I am not often disappointed. Durrant’s official site- see link below- puts artists in the spotlight and helps them reach their potential. An altruistic and endeavouring; multidiscipline talent that lives and breathes music.

Follow David Durrant

Official:

https://daviddurantmusic.com/

Brooklands Radio:

http://www.brooklandsradio.co.uk/

 

 

Boileroom

 

The fate of the small music venue is a rather uncertain one. By the week; legendary, established places are closing down: leaving the music fan infuriated and anxious. Given the state of the economy- with pubs closing too- where does one go for great live music? Whilst the larger cities are seeing some of this tragedy: the bigger venues are continuing to grow and flourish. Whether it is the proliferation of free music; the larger venues stealing focus- it is good to see bedrock like Boileroom continuing to thrive. Whilst its future has not always been secured: the way the Surrey venues caters to the community is commendable; creating arts and crafts events; social discussions and a range of special-themed nights- making sure nobody is overlooked. Modern day heroes like Wolf Alice have played Boileroom: in fact; some of the music world’s most influential and promising acts have taken to the Boileroom stage. With an inaugural summer festival forthcoming- Always the Sun Festival- it gives a chance for the venue to launch a bespoke festival: one that brings together terrific acts and family-friendly ethos. There is not a lot for young, exciting people in Guildford- where Boileroom is based; it is a town readymade for families and the slightly less ‘exciting’ brand of person- so Boileroom acts as an unusual (but vastly necessary) aberration- one that makes the town fashionable and huge appealing. Throughout this year, many great musicians will pass through the doors: make sure you get down and experience this charming venue in all its glory.

 

[youtube https://www.youtube.com/watch?v=ZQ8QyxV8NQw&w=560&h=315]

 

Follow Boileroom

Official:

http://www.theboileroom.net/

Facebook:

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

 

Hoxton Radio

 

The likes of B.B.C. 6 Music have stoked a passion for radio: one that has been missing for many years. With so few decent, local stations out there- particularly where I live- London is seeing a lot of cutting-edge, relevant options spring up. If you want to get away from the stuffy and ‘safe’ sounds of mainstream stations: Hoxton Radio is a great place to go. The presenters have a genuine passion for music and warm, engaging personalities- making sure they reach every listener without fail. The music draws together classics and older sounds: to the best and boldest songs from the underground. Based in the ubercool, swinging east of London: it is a station that sets to influence Londoners across “habitual pop culture pursuits”. Hoxton Radio has a huge online follows and actively engagers with followers: few radio stations offer such a close relationship. We need more young people going into radio: keeping the medium alive and bringing wonderful music to the masses. Hoxton Radio’s presenters will go onto bigger things: their current family has a loyalty and bond to the station; that love and devotion comes through in every show. If you are bored of the current crop of radio stations- the inane presenters and string of nauseating adverts- I can recommend a rather fine alternative.

 

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Follow Hoxton Radio

 

Facebook:

https://www.facebook.com/HoxtonRadio/

Official:

http://hoxtonradio.com/

 

 

Them & Us

 

Ami Carmine and Lee Michael are the duo behind Them & Us. With such a huge connection and understanding: the music of thw London Electronic/Synth-Pop is some of the most dramatic and layered out there. Them & Us is like a musical equivalent of Game of Thrones. You get huge, biblical scenes: adventure, drama and fire; beauty, mysticism and sexuality. The band are playing Leicester tonight: they will be performing across London, Shropshire and Luton throughout June- a chance for new faces to experiments the strange, wonderful magic. Carmine’s vocals match beauty and sweetness with something empathic, powerful and operatic- bringing light and electricity to every song. Michel’s exceptional production and musical contribution gives richness, texture and fascination to the music- few acts are as urgent and memorable as Them & Us. There is- thankfully for everyone- no end in sight for the duo: their current music is among the best of their career. Across social media, there have been studio-based photos surfacing: it suggests there might new music coming; thousands of fans will rejoice is salivation and anticipation. Their live performances are noted for epic production and wonderful visuals: if you want a wonderful treat; go catch these guys in the flesh. Critics have been quick to add their plaudits and opinions. Comparisons to Lana Del Rey and Nero; the duo’s ability to fuse the rough and smooth; the combination of rave and tragedy- everyone has their own opinion.

 

[youtube https://www.youtube.com/watch?v=x8sgREMHcbQ&w=560&h=315]

 

Follow Them & Us

Official:

http://www.themandusofficial.com/

Facebook:

https://www.facebook.com/themandusofficial/

 

 

 

Issimo

 

Regularly readers of this blog will understand my fascination/obsession with Yorkshire-based duo, Issimo. Hailing from Bradford- but playing all around the county- the charming twosome consists of Abi Uttley and Marc Otway. Not only is there is a wonderful, brother-sister bond between the two: their combined talents make Issimo one of the most promising acts in Britain. Uttley’s gorgeous voice has such range and ability: able to be soulful and sky-scraping; perfectly authoritative when tender, heartfelt and seductive. Otway is an exceptional musician and writer that can pen a witty two-hander or broken-hearted ballad: few songwriters have that capability and talent. Hearing them together and you can feel that relationship and understanding. Whether rousing and upbeat; introspective and romantic: Issimo put their own stamp on proceedings; they have few equals and no sound-alikes. Individuality and talent are two commodities lacking from a lot of acts- not the case from the Yorkshire duo. The guys deserve mainstream consideration and national airplay. Their music has a universal quality that could see them entrance and own Europe and North America. If you love music honest, original and surprising: get involved with Issimo and investigate their back catalogue. So many gems and revelations are waiting to be discovered: songs that put a smile on the face and get the body moving. Walking on the Sky is the forthcoming E.P. from Otway and Uttley: that will be one of the hottest releases of the year. Given the reception The Coldest Queen- their latest E.P. - received; there is no stopping this juggernaut of song.

 

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Follow Issimo

 

Official:

http://www.issimomusic.net/

Facebook:

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

 

 

Gypsyfingers

 

 

Like Issimo: Gypsyfingers is another duo that has been in my mind for years now. Luke Oldfield and Victoria Coghlan are an extraordinary act that have toured around the world. Cinematic-Folk-cum-Rock is a combination hard to pull off: this London duo manages to take the breath and silence the most stonehearted of crowds. Coghlan’s gorgeous voice can go from bird-like and temptress to Rap-delivery and cutting. Oldfield’s warm tones and exceptional guitar work is the perfect drive Gypsyfingers’ songs demands. The band have been playing London recently- having spent a time playing around Europe- but the truth is, the guys will have to abandon the idea of home soon- they will get requests around the globe very soon. Circus Life- their debut album- demonstrated what strong and variegated songwriters Coghlan and Oldfield are. The duo’s past is a fascinating one: Oldfield has a famous father (one guess who it is) whilst Coghlan spent time in Paris as a youngster- living there, she embraced the underground sounds of Dance, Rap and Gipsy. Together, they are one of the tightest and most intoxicating acts you can imagine. The mark of a great band/musician is one that gets you thinking about the world and compelled to pick up a pen. When listening to Circus Life- and later songs from the duo- I have found my imagination running wild; thoughts spiraling- their music brings emotions and imagination to the surface; so many ideas and scenes. For that very reason: I will wait with baited breath to see what the duo come up with next. If Circus Life is anything to go by: their next moves will be truly spectacular.

 

[youtube https://www.youtube.com/watch?v=JsSGFIGZt7U&w=560&h=315]

 

Follow Gypsyfingers

 

Facebook:

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

Official:

http://www.gypsyfingers.com/

 

 

Gemma Louise Doyle

 

There are not many artists that have the intelligence and abilities of Gemma Louise Doyle. A musician that has covered a range of artists with supreme confidence and stunning intuition: her voice is something that will stick in the mind for a long time. Her 4-octave range means nothing is off limits. Whether tackling an Opera number or modern-day Pop track: she can make it sound completely new, essential and wondrous. Full of charm, comedy and wit- she speaks six languages, too- Doyle is a natural performer with so many strings to her bow. Not only does the London-based heroine blow you away with her music: her attitude to life and positive outlook has helped and comforted many out there. No matter what mood you are in; how low you are feeling: Gemma Louise Doyle can help; she can make you feel more positive- give you a fresh perspective on life. A humanitarian and philosophical leader: a stunning entertainer and beautiful soul- somebody that deserves happiness and success. That success should not be far away. The young musician’s feet do not get a chance to rest and relax. Currently in Las Vegas: she has been performing around the U.S. and U.K. As part of International Entertainment- a duo alongside vocalists/pianist/violinist Corey- there is the promise of new music, soon. I, for one, cannot wait to hear more. The musical talent alone- the two have a mastery of a range of instruments- is enough to get the mouth watering. Add some incredible, soul-shaking vocals: who knows what is in store for the coming weeks and months.

 

[youtube https://www.youtube.com/watch?v=YqEZ1OqQUAk&w=560&h=315]

 

Follow Gemma Louise Doyle

Facebook:

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

Official:

http://www.gemma-doyle.com/

 

Braver than Fiction

 

Braver than Fiction’s route has been one beset with hazards and obstacles. Factoring out- which would be mighty hard- frontwoman Mel Lampro’s battle with cancer: the guys have worked hard to make a name for themselves. The Sheffield five-piece are raising money for Macmillan Cancer Support - https://www.justgiving.com/fundraising/braverthancancer- and taking their music as far as they can. The band are rehearsing and keeping busy: making sure they take a rest here and there! I have reviewed their music before and can attest at how wonderful and unforgettable they are. The tight-knit performances and tremendous vocals are backed with intriguing songs and combination of old-and-new sounds. Braver than Fiction have a love for the finer, bygone days; they have a modern aesthete and discipline: combined, this yields some of the deepest, most fascinating music across the country. Their live performances have enthralled critics- blown roofs off and awed audiences- and that is set to continue. Whilst Lampro’s cancer fight has put creative processes on the back-burner: new material is mooted; the band are reconvening and preparing a fresh assault. I am fully behind the band and know how hard they work; what they have endured and what they want to achieve- anything is possible for them. I am not sure whether an E.P. or L.P. is in their minds: whatever they produce is sure to be filled their staple ingredients of passion, emotion and quality; songs that demonstrate a sharp pen and incredible chemistry. It is that rock-solid bond and inter-band love that makes the Yorkshire clan a fine-fettled and unbreakable army. If you have not enlisted into the Braver than Fiction ranks: get over to their pages and discover one of most treasured groups.

 

[youtube https://www.youtube.com/watch?v=a7n7Er4MUZI?list=PL8krvmCKDvXbf08XP7qwujK_iRmt9Bq2i&w=560&h=315]

Follow Braver than Fiction:

 

Facebook

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

Official

http://www.braverthanfiction.com/

 

 

Defeat the Band

 

A rare U.S. inclusion- I have been remiss embracing American acts, here- the Anthony Winkely-led band bring you a blend of Punk. Showtunes and Pop. It is the rage, anger and power that intrigues me most. Something Unheard Of- their recent album- showed how talented the boys are. Winkley’s electric and raw vocals are augmented by Michael Story’s slick and snake-like bass; James Ringstrom’s powerful and avalanching percussion. So much noise and music is created by the three-piece. The Arizona boys sure know how to rock! I would love to see them come to the U.K. and exhilarate the crowds here. Country-mates like The Vim Dicta- featured in the previous part- have already carved-out a foothold and fan-base here- the Defeat the Band fellas are on a surge right now. There are a tonne of bands playing right now: each jostling for position and leverage; the chance to get under the radar of music’s influencers and media. It can’t be too long until Tucson’s finest are clambering onto the main stages of the biggest festivals. Not only can they get small rooms and clubs bouncing- in a sweat-filled, hyperactive orgy- but they can get huge arenas incapacitated and awed. Their songwriting tackles love and heartaches; the realities of life and the negatives we all face- with some unique slants and takes thrown in.

 

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Follow Defeat the Band

 

Facebook:

https://www.facebook.com/defeattheband/?fref=ts&ref=br_tf&qsefr=1

SoundCloud:

https://soundcloud.com/defeattheband

 

 

FloodHounds

 

A&E was recently released and proved what a proposition FloodHounds are. Another terrific Sheffield band- Steel City has plenty of them- the three-piece have a glorious, guitar-heavy sound- one that has impressed critics around the country. Their D.N.A. encompasses American Blues-Rock bands like The White Stripes and The Black Keys; some Royal Blood and Drench- a drizzling of Band of Skulls. If you are inclined to any of these bands/this type of music; then why not dig the epic sounds of FloodHounds? Ther kinship and connection of the guys- Jack Flynn, Rhys Owen and Lauren Greaves- goes into their hook-driven and crowd-pleasing tracks. Competition will be fierce and endless- new bands wanting to get their market-share- but this trio are not going to surrender without a fight. I know they have their local crowds hooked and on-board- they have much more to them than home-town pride and ambition. In a city that has produced Pulp and Artic Monkeys: we could well see these chaps ascending the rigmarole of modern music to claim their sceptre and throne- making their way onto the festival circuit. A&E is still garnering views and reviews: that impetus and momentum must give the band food for thought. They can take time to plan their next moves and think about things- whether an album or single will come next. Whatever they choose, eyes will be upon them.

 

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Follow Floodhounds

Facebook:

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

Official:

http://www.floodhounds.com/

 

 

Gold Phoenix

 

The Heavy-Rock band are boys to be reckoned with. I have been following Jamie Tipson- their lead- under his solo moniker, Second Hand Poet. Where the music of S.H.P. is lush, reflective and bedroom-made: the hard and swaggering sounds infuse raw Blues and riotous Rock- songs that explode from the speaker and causes the listener to sway in a hypnotic groove. Songs like Mortal Man build from curious, lo-fi beginnings: growing in intensity, it becomes a huge and unadulterated beast. Whilst the boys are touring through June and July- taking in Bristol and Dorset- they have been a little quite on the music-making front. That will all be allayed and rectified. A new music video is being made and it will mark a fresh assault from the southern gentlemen: a band that has no intention of letting the dust settle; they want to stay in the public mindset and keep their fans happy. Gaining effusive praise- their live performances have been lauded and celebrated- there is a lot of excitement. Whether performing locally- they have played Boileroom and The Stoke’ in Guildford- or somewhere more exotic and busier- the boys are capable of turning every crowd into fans. Those claiming Rock is dead- or on its last leg- would do good to behold a band like Gold Phoenix and rethink their assessment. Inspired by the legends of U.S. Blues-Rock and ‘70s Progressive-Rock: you get a lethal concoction of guitar histrionics; pulsating drive and anthemic lustre.

 

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

 

 

Follow Gold Phoenix

 

Facebook:

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

Official:

http://www.goldphoenixband.com/

 

 

MissDefiant

 

You could never accuse the Miss Defiant girls of being boring or colourless. Their styles, music and output explodes with vibrancy and brightness. New single Ear Candy (released today) sees them (in the video) bedecked in neon- face paint and neon headbands- dancing with abandon. The song is a summer-ready smash that shows the duo at their peak. I have been impressed by how much MissDefiant have grown and developed: they have evolved from their earliest days and show a huge maturity, skill and confidence. A much-loved and respected act from London: they are pulling in big crowds and commanding love-filled reviews. Their three-track single 133T proves what consistent performers-songwriters they are. Backed by incredible producers and team: Jordan Cather and Emily Rose Adams are an eye-catching, thought-grabbing two-piece that bring joy, light and energy to your life. I long for the day the girls release an L.P. Their back catalogue has shown a lot of depth and diversity: stripped-back moments and explosive, thought-provoking moments. Songs (alternately) investigate the cheapness of party culture and its shallowness; the no-good guys that we are all familiar with- they go a lot deeper than other acts. The next year will see them continue to play and release new songs; gain fresh support and climb the ranks. Stations and venues have already recognised their insatiable appeal and staggering sounds: that patronage and backing will grow larger and more rapturous.

 

[youtube https://www.youtube.com/watch?v=JlDiX5FtDlM&w=560&h=315]

 

 

Follow MissDefiant

 

Official:

http://www.missdefiant.com/

Facebook:

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

 

 

Dana McKeon

 

Gorgeous Maltese musician Dana McKeon is a very rare talent indeed. An accomplished Beatbox performer: she combines Electronic and Pop sounds together to come up with (some of the most) wonderful music you will hear. On Thursday, McKeon will play O2 Academy, Islington- where she performed in her first U.K. Beatbox competition- and that will be a welcome return. Albums like Halycon have built McKeon’s stock and revealed a very special talent. She continues to experiment and push her music: find her limits and discover new layers and possibilities. A determined and dedicated artist who never stops trying to be better and more astonishing: a respectful attitude and impressive intensity that goes into her songs. Each number brings you closer to her soul: what drives a brave, peerless and fascinating young woman. McKeon has a lot of fans in Malta- she has recently been there to perform- and has a deep connection with the island. D.J.s like Richard Hubbard have taken time to spin her music: stations around London and the U.K. are keen to expound the virtues of McKeon.

 

[bandcamp width=350 height=470 album=204923027 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=3732555366]

 

Follow Dana McKeon

Facebook:

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

Official:

http://www.danamckeon.com/

 

Sir Gant and the Invisible Force

 

Sir Gant and his Invisible Force are a musical outfit that have performed with Ellene Masri- one of my favourite humans. Based out of Chicago: that smooth blend of Soul, R&B and Jazz is enough to send you somewhere very special, indeed. The Journey- the latest album from Sir Gant and the Invisible Force- shows what a huge talent and producer (Gant is). Having worked with some of music’s top names: that authority, experience and leadership gives the tracks huge nuance, immediacy and passion. The album looks at life and love’s struggles; the need for positive and discover of the self: all portrayed through a prism of liquid-cool groove; chocolate-silky vocals and luxurious instrumentation- layers of gorgeous production and an appetising balance of spice and sweet. Sir Gant is a musician I respect hugely. His legacy and influence cannot be ignored or overlooked. His arrangement and production of Anita Baker’s L.P. Rapture gathered 2 Grammys- the album sold over 8 million copies. If that is not enough to peak your interest, then listen to the music: the songs that get into the soul and swim around the brain.

 

[youtube https://www.youtube.com/watch?v=FA9q_CEc0UE&w=560&h=315]

 

 

Follow Sir Gant and the Invisible Force

 

Official:

http://www.sirgantmusic.com/

Facebook:

https://www.facebook.com/sirgantinvisibleforce/?ref=br_rs&qsefr=1

 

NYNA

 

Beautifully dark and orchestral: NYNA’s music is once heard; not easily forgotten. An accessible and beautiful voice is propelled by hard beats and scorpion-bite electronics; fantastic production and exceptional addictiveness. Catchy choruses and huge anthemics make her music some of the finest out there. The London-based star is busy touring and getting out to the public. The reception and appreciation leveled her way has been immense. Recent tracks like Bridges have gained huge kudos and provide an insight into her current ambitions. Whether will see more tracks this year remains to be seen- photos of studio-born production and home-made writing give us all something to hope for.  NYNA exudes such warmth and appeal: she is a natural star and somebody you hope goes all the way. She has a solid (and expanding) core of fans: with every release that number goes up; she is making huge strides. There is no stopping the young musician: she is one of those people that could easily become a household fixture in years to come. She has something about her and a great attitude to music: always putting the work in to achieving something remarkable. Those who love their music with depth, repeatability and all the necessary components- the emotion, force and soul; every facet absolutely striking- then you will not go far wrong with NYNA.

 

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Follow NYNA

Official:

http://itsjustnyna.com/

Facebook:

https://www.facebook.com/ITSJUSTNYNA

 

ADI

 

If you are hard-pressed to come up with musicians from Israel: ADI is a pretty good place to start. The stunning young musician is one of the finest (and most innovative) musicians around. It is hard to categorise and define her music- which is why she doesn’t- except to say it is a mixture of Electronic and Future Beats. In her latest track- the video for Pink Pillz has just been released- she tackles depression and its effects. Defining a new stage of her career- where the music is more open and honest- it is impossible not to be drawn into the track- one of the rawest and most relevant she has produced to date. ADI is tired of hiding and ignoring issues like mental health: she is an advocate that pushes it to the forefront and makes people take notice. Pink Pillz is a typically assured and layered track: one that packs a confident, memorable vocal and dizzying compositional strands- messages that we should all take heart and direction from. I have been following ADI since her earliest days: the E.P.s and mixtapes; the various evolutions and changes she has undergone. What remains is that passion for music and unimpeachable quality and originality. Every track (from ADI) has a bold stamp and lingers in the mind- once heard; it is impossible to forget. ADI’s fan numbers continue to grow: she is a musician that easily wins hearts and has a huge army behind her. Whether Pink Pillz (the track has been available for w while; its video is brand-new) marks a new phase- an E.P. or album is out- I am not sure- make sure you keep your eyes peeled.

 

[youtube https://www.youtube.com/watch?v=RXKfEZ0hKKE&w=560&h=315]

 

Follow ADI

 

Twitter:

https://twitter.com/adiulmansky

Facebook:

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

 

 

This Modern Hope

 

This London project derives from musician Rob Payne. Having known him in The Bedroom Hour days- a fantastic band who split, very sadly- I can attest at his songwriting and vocal skills. This Modern Hope offer cinematic compositions and fresh tracks: there is that effortless contrast of vintage and new; lush and intimate; widescreen and deeply personal. If you listen to a song from This Modern Hope- and are not affected and entranced- you might need your pulse taken. Payne’s pure and honest voice- it reminds me of Guy Garvey to an extent- has no cynicism or ego- it is one of the most bare-naked and wonderful sounds you can imagine. Ship on the Ocean is the latest track and has all the key traits you would hope for: drama and building momentum; music that gets into the soul and pricks the ears; oodles of grace and panache. I hope Payne gets back into the studio and has his mind set on a new record. I would love to see an album from This Modern Hope: a compendium that shows just how vital (Payne is). Previous tracks like The Abyss have been met with fevered respect: it is a song that brings emotions and truth from the listener; wonderfully immersive and intense. With the likes of James Blake and Radiohead ensuring Electronic music- with dreaminess and intelligence- remains in the public forefront- there is a great opportunity for This Modern Hope to gain foothold and residual fandom. It cannot be long before Payne’s new outfit go beyond the U.K.: take the music across the seas and reach an international audience.

 

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Follow This Modern Hope

 

Official:

http://www.thismodernhope.com/

Facebook:

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

 

The Condors

 

Jessica Greenfield and Gavin Condor are a soon-to-be-married musical duo that has an incredible bond and connection. Their music matches Greenfield and Condor’s stunning vocals- both different; they fit perfectly- and their down-to-Earth and everyday songs. Lyrics that look at common themes- issues and stories we all encounter- it is small wonder (the duo) have amassed a loyal and fascinated following. Fusing classic Pop and Soul; R&B-Gospel and Alternative: so many different colours, emotions and genres: few other acts offer so much range and versatility. Whatever they are tackling- thematically and sonically- you are always left awed and impressed. The likes of Dusty Springfield, Marvin Gaye and Sam Cooke are idols of The Condors. You get a little of each at various moments: the legends of music come through in this modern and amazing duo. The duo are celebrated and lauded in London- where they are based- but have the potential to expand and build their itinerary. Another act I can see traveling abroad and playing in various countries- musical that transcends boundaries and translates effortlessly. Given their music upbringing- the fantastic artists they embraced- and long-lasting relationship- quality, tightness and passion defines The Condors’ music. I would speculate the future for Gavin and Jessica: it seems like they are so busy; future songs might have to take a back seat. Knowing how dedicated and committed to music they are: it won’ be too long until a fresh record is out; we see more from the London-based twosome. Every year, they increase their talent and confident: they are coming into their own as performers and writers. If you have not heard of The Condors yet: it will not be too long before they are a common fixture.

 

[youtube https://www.youtube.com/watch?v=rBuOMjjo8Ms&w=560&h=315]

 

Follow The Condors

 

Official:

http://www.thecondorsmusic.com/

Facebook:

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

The Jackobins

 

You might have noticed the lack of bands in this feature- and the previous part. I have seen a lot of bands touted as heroes of the future- few of them actually register with me. With The Jackobins, you are assured quality, cool and originality. The Liverpool-based act has just played Sound City and are on a promising trajectory right now. Tracks like One More Chance drip with edgy, Punk-influenced vocals and a tight-knit band performance- once where each player gets a chance to shine. The band has a very modern dynamic. They could easily fit into the playlist of B.B.C. 6 Music- and have been played by Tom Robinson- and are perfectly suited to the current music scene. With embers of The 1975, The Libertines and Catfish and the Bottlemen- a band they recently performed alongside at Sound City- few will be able to ignore the juggernaut that is The Jackobins. Front-man Dominic Bassnett exudes film-hero good looks and a moody rebelliousness: a Rock star-cum-pin-up that backs his looks with charm, exceptional vocals and leadership. The boys of The Jackobins have been performing across the north and exhilarating crowds wherever they go. I would like to see the chaps come down to London- they seem readymade for the bars and clubs here- and get the audiences jumping down south. The guys have a busy diary the next few months- gigging in Ireland and the Tramlines Festival to name two- and will hardly have much time to relax. It is befitting of their music and ability- they should have such demand- and this is only likely to increase.

 

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Follow The Jackobins

 

Official:

http://www.thejackobins.co.uk/

Facebook:

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

 

Allusondrugs

 

Since their birth four years ago- all sweaty, screaming and hopeful- the Yorkshire band have gone from bedroom heroes to mainstream-kings-in-the-waiting. Their fan-base has blossomed due to a number of reasons. They are a stunning and exceptional live band: always offering theatrics, drama and exceptional performances. Having supported the likes of Enter Shikari: how long before these legends are making their way to the country’s most-prestigious festivals? They are not merely another Yorkshire band: they are primed for the big stages and top-of-the-league stadiums. Their Psych-Pop-Grunge concoctions are the envy of lesser bands: all their tracks possess a strange magic; something elemental and emotional- motivating the soul and body to get involved. The boys are going to be conquering the U.K. throughout the spring. They have important dates and towns to defile- honestly; they are all lovely, early-night-sleep kind of folk- and offer peace and love- not to mention bitchin’ songs that have few equals. If you like your basslines groovy, silky and commanding; charging, bouncing and kinetic- you will not be disappointed. Like your percussion heavy, intense and primal; kicking, detailed and nuanced? If you fancy intense and primeval vocals; ripping, snarling guitars; tunes that are anthemic and unforgettable- the Yorkshire clan are your guys! There is so much to recommend about Allusondrugs: the best thing you can do is check out their website and social media output; get involved with the music and become a life-long fan. The guys have infectious personalities and a Grunge-cum-Rock ‘n’ Roll spirit- genuine articles that sound like a ‘90s band. I could have seen them performing during the heyday of Grunge: sharing the stage with Pearl Jam, Alice in Chains and Nirvana- although Allusondrugs’ front-man- his resemblance to Kurt Cobain- would have been something from The Twilight Zone!

 

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Follow Allusondrugs

 

Official:

http://www.allusondrugs.com/

Facebook:

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

 

Sarah Collins

 

We stay in Yorkshire: to the music of Sarah Collins. Here is an artist who can take a song and make it her own- her cover versions are the stuff of legends. With a love of Soul, Funk and Blues; Pop, Rock and Reggae: nothing is off limits for the young singer. Subscribe to her YouTube page- https://www.youtube.com/channel/UCkVRpx7qz63mZR817lTt7vg- and fall for a young woman who takes the breath away. Collins has overcome a brain tumour- something that almost took her life- and managed to not only beat it- she is producing some of the best music of her life. Such a life-altering occurrence would shake most of us: Collins has shown immense bravery and is consecrating her life to music; bringing her gorgeous voice to the masses. Sarah Collins and Keep the Faith is her band: a chance for people to see her live; experience the wonder and stunning performances. Singing means everything to Collins: nothing else will do! That passion and meaning goes into every live performance and cover version. Whether this love will funnel into a record or E.P.: I am fascinated to see how Collins will develop as the year ticks on. So far, her fans and followers have given her strength and focus: the social media numbers are meteoric; they continue to climb. She is a star that has humility and bravery; she has overcome struggles and illness and is surely one of our future mainstream artists. With each passing week, we get a new Sarah Collins cover version: an amazing version of an old favourite; that soulful, sky-scarping voice taking flight. Just seeing her smile is all you need to know: how deep the music runs; how much this all means. So many artists seem vague and shallow; they do not grab you and win you over: Sarah Collins is someone who lets you into her heart and soul.

 

[youtube https://www.youtube.com/watch?v=8gLuEq2vXcs&w=420&h=315]

 

Follow Sarah Collins

 

YouTube:

https://www.youtube.com/user/diddy5848

Facebook:

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

 

The Dutch Guy

 

A bastion of new music promotion and champion of the best underground stars: The Dutch Guy has led me to some of my review subjects. I always look to him for some of the greatest new music around. He has his ear to the ground and his groove-o-meter constantly charged. An exceptional writer, D.J. and journalist: his work has such charm, personality and humour. He is always willing to go the extra mile for artists: push their songs out there and give his full support. In turn, they are motivated and provided extra strength- making bigger, better music; growing in confidence and ambition. If you visit his website (below) you will discover reviews, tips and features: his vlog and links; all the information you need for Holland’s finest music journalist. The musicians are the ones who get all the credit- when it comes to music itself- and the D.J.s/journalists often do not get the credit they deserve. If the mainstream doesn’t have the balls to promote an act: our man sure as sure will! The Dutch Guy dedicates his time to sniffing out the most unique and special musicians on the block. That kind of dedication and selflessness is to be applauded. What next for his music empire? Whilst continuing to promulgate and lend patronage to the great unsung: you feel there is a lot more coming for The Dutch Guy. The D.J./radio bug is always in him- maybe he will return one day? Whatever is in his mind, you can guarantee a steady stream of terrific music and effusive posts. The guy always has a smile and a laid-back attitude: a groovy dude that knows his stuff. The influence he has had on me- all the acts I have nicked from him! - cannot be understated. That effect and influence extends to musicians and bloggers around the world: few have his way for words and experience; the way he helps and assists musicians- a noble chap that is one of the under-the-radar influencers. Most of us get stuck in ruts and all pretty unambitious with musical selections. You will not go far wrong keeping your ears trained on The Dutch Guy: his recommendations are constantly fascinating and on-the-money!

 

[youtube https://www.youtube.com/watch?v=W6oGtBTCXc4&w=560&h=315]

 

Follow The Dutch Guy

 

Official:

http://www.dutchguy.tv/

Facebook:

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

 

FiFi Rong

 

Her hybrids of Electronica are as compelling and colourful as her fashion: one look at FiFi Rong and your mind and senses start to melt. She is eye-catching and vivid- someone who will not get out of your mind- and that extends to her music. Forbidden Desire is her recently-released E.P. and her most accomplished, complete work to date. The songs look at forbidden love and strange desires: lovers who have scarred and scorned her; hurt and pain are laid bare. In lesser hands, that might sound quite heavy and hard to digest. Rong’s delicate and beautiful vocal delivery mixes with multi-dimensional compositions that evoke so many emotions and textures. It may sound like pretention- me not choosing my words sagely- but you cannot underestimate the strength and evocations of the music. One listen and you are stunned and hooked; future investigations reveal new light and beauty. Across the last few weeks; Rong has been conducting interviews- including Hoxton Radio- and performing across the capital. She has built a solid reputation and has proved to be one of the U.K.’s most special and distinct musicians. Rong is a hugely prolific artist always making moves and creating new music: she gets better and more assured with each release. Forbidden Desire is the best thing she has produced: you feel there will be even better records down the lines. Whether inspired by love and its capriciousness; the struggles and mysteries of life; something more spiritual and indirect: it is always adapted into spellbinding, soul-enriching music.

 

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Follow FiFi Rong

 

Official:

http://fifirong.com/

Facebook:

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

 

Kirbanu

 

The Australian-based, German-based musician is not one to stand still and relax. Always traveling the world- recently having visited Pisa- Kirbanu takes her music, joy and positivity across the globe- sending travelogues and videos to her fans. Her ethos and look on life is wonderful: always full of inspiring quotes and uplifting messages. In turn, the love her fans give feeds into some of the most direct and emotional music about. Drifting (her album) is awash with beautiful, reflective songs. Not just confined to looking at relations and inner-visions: the songs provide positivity, hopefulness and wonderful scenes. As Kirbanu states: “Drifting is a journey through emotions, space and music. It is reflective in its nature, posing questions about uncertainty and purpose. The eight tracks on the album each carry their own personal identity and stand alone, beside each other. United in the genre of folk/pop some of the album songs are powerful & upbeat, with tribal drums, electric soundscapes and intense vocals”. Let’s hope Kirbanu comes to the U.K. soon and pays us a visit. In London, it would be wonderful to see her perform and bring smiles to the capital critters: hungry Londoners would eat-up her sensational tracks. Those in Scotland and the north would take her to heart: no area is immune to the charm and immaculate beauty. Right now, Kirbanu is travelling Europe and keeping her fans updated- her frequent videos and statuses give us a unique glimpse into the life of a modern musician. That angelic and heavenly voice wraps around songs that glisten, shine and enthrall. It is near-impossible condensing Kirbanu’s potency and personality into words- as you can see here- so it is best you get busy and take my word for it- let her music and smile buckle the knees.

 

 

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Follow Kirbanu

 

Official:

http://www.kirbanumusic.com/

Facebook:

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

 

Lanre

 

It only takes a few seconds of Lanre’s voice before you are a stone-cold devotee. Based out of London: her mixture of Acoustic-Soul and African-Folk unifies her heritage and background with something universal and utilitarian. Human was introduced a few days ago and highlights the beauty, bliss and depth of our heroine. The Human E.P. boasts incredible guitars work and stunning moments. A four-track record- Human, Dreams; My Soul, Fire- it is an economic and focused collection.  It is clear Lanre has a very bright future ahead. When Human is fully embraced and reviewed: masses of new fans will flock in and get behind one of our most promising new musicians. The mainstream has so many everyday Pop stars and musicians that all sound the same. There are very few idols that separate from te crowd and have any sense of distinction and longevity. We need more musicians like Lanre and what she has to offer. Radio stations are turning onto her music and keen to play her music: listeners are responding and the excitement levels are building. It is only a matter of time- like a few musicians I have mentioned here- before the rewards come and huge success follows. Right now, Lanre is on the promotional circuit: ensuring Human is given a good airing and embraced by as many people as possible. After that, she will be touring and bringing her incredible voice to new crowds. After the dust if this year settles, one wonders whether a new E.P. will be dropped. Such is the strength of her music: you always want more; look ahead to see just how many other (Lanre songs) there will be. I am reviewing her very soon- the track, Human- and cannot wait to add my appreciation and support. She is a very rare artist and one that deserves a lot of happiness and adulation.

 

 

[youtube https://www.youtube.com/watch?v=IH_AuFU073I&w=560&h=315]

 

Follow Lanre

 

Official:

https://lanreworld.wordpress.com/

Facebook:

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

 

Jasmine Rodgers

 

The daughter of Free legend Paul Rodgers: there is a lot of expectation on the shoulders of Jasmine Rodgers. Anyone expecting (her to sound like) her dad might be in for a shock. Splicing Electro., Folk and Rock together: her eponymous E.P. is one of the most arresting efforts I have heard for a long time. Starting out in the band Boa from the age of 16: the band released two albums in Japan and the U.S. Rodgers’ mother is a Japanese poet; her dad a music legend: that special and unbeatable D.N.A. feeds directly into her own music. Poetic and picturesque lyrics- that take you into wonderful realms- gets a solid and commanding musical backing- made perfect with a soul-infused, emotional voice. Idols like Ella Fitzgerald, Radiohead and Bjork- the kind of artists she listened to as a child- can be detected in various moments. In truth, there are few as original as Jasmine Rodgers. She is the antithesis of modern Pop music: somebody that owes a debt to nobody; a strong and stand-alone musician that wants to bring her songs to the entire world. I have listened to interviews with Rodgers and she comes across as someone filled with wit, warmth and intelligence. She certainly knows her music and you just melt listening to her: one of those voices that can silence people; you just concentrate on her words and how she talks. The music is no-less knee-buckling and sublime. Rodgers has enjoyed a prosperous and busy year to date: that level of demand is going to increase. Icicles remains one of the best new tracks of the year: a gorgeous musical example from one of Britain’s most fascinating and special talents.

 

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Follow Jasmine Rodgers

 

Official:

http://jasminerodgers.com/

Facebook:

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

 

Nina Schofield

 

This feature is quite girl-heavy: not really a shock when you consider the amount of wonderful female artists around. There have been accusations of imbalance and sexism in the industry: there can be a tendency to promote men over women; focusing heavily on all-male bands (as opposed to solo artists). Maybe there is some truth in this assessment: when it comes to the underground artists; it is the girls that are making the biggest impressions. Nina Schofield has been performing for a number of years. Her gigs have taken her from festivals to schools; local events and huge-capacity events- someone who is comfortable and effortless wherever she goes. After securing a record deal recently- finally getting backing and acclaim she deserves- there is new confidence and direction in Schofield’s mind. Her latest song, Imaginary Love, has pummeling beats and a sense of catchiness. Schofield’s voice is bold, in-control and on fire: she rides the percussion and lays down the law. The song was inspired by the (unwanted) affections of a sociopath: someone who hassled her and caused scars. This traumatic and unwelcomed part of her life has inspired a song that has Pop accessibility and Dance/Electro. cutting-edge- topped with Schofield’s passionate vocal. The single Restart has caught the ear with reviewers and fans: another assured and stunning cut from our heroine. Shapes (album) is out this summer and will see Schofield embrace an edgier and more mature sound: she has grown in confidence; her music has evolves and flourished. I adore her early releases: her current material is perhaps her best work yet. A bright, beautiful and incredibly talent young star: someone I am sure will be a mainstream fixture; a radio-ready artist that easily wins the heart. Recently she’s performed at The Great Escape and has also been touring with The Sons of Pitches, the winners of B.B.C. T.V.’s Naked Choir contest, playing in session at many B.B.C. local and commercial stations along the way. She’s written and worked with several acclaimed dance production teams as featured vocalist on tracks from Aurosonic and Frainbreeze plus Vintage & Morelli amongst others.

 

 

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Follow Nina Schofield

 

Official:

http://ninaschofield.com/

Facebook:

https://www.facebook.com/nina.schofield?fref=ts

 

Laura Saggers

 

Laura Saggers might have begun life in England- having lived in Buckinghamshire for a while- but is based in L.A. The sunshine, varied cultures; cosmopolitanism and vibrancy has pushed Saggers as a musician. Her infectious zeal and personality will win you over; the music will drop the jaw- a rare artist that is effortless when covering songs; spellbinding when performing her own tracks. From Fleetwood Mac to Hall and Oates: Saggers has a wide range of favourite songs; the tracks she tackles are provided with new life and revelation. The U.S.-based musician is not merely a covers artist: she is one of the most impressive and consistent songwriters I have encountered in a long time. Summer Fling- released last year- recounts a rather hazy and wild romance- a whirlwind bond that certain put a hop in her step. Those longing for more material from Saggers will not have to wait too long: her album is recorded and will be released very shortly. Having played to 20,000 people- when part of an ‘80s cover band- Saggers is used to big crowds and adulation- that is something she will have to get used to it. After years of discovery and hard work: she is finally making it and commanding the love and respect she dreamt of. A classically-trained pianist- I have seen videos of her playing that have left me dumb and speechless- Saggers is a real musician that can pretty much do anything. It is exciting to think what she can do and how far she can go: her fans are fully behind her and excited to see what comes next. When her album is released it will give the world a chance to discover a truly wonderful human in her element. Will there be a mix of covers and originals? Will her piano-playing genius be prominent? Will there be a leaning to summer-ready Pop numbers? Whatever form (the album takes) will be one of 2016’s biggest releases- guaranteed to get the U.S. and U.K. talking- the rest of the world for that matter.

 

 

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Follow Laura Saggers

 

Official:

http://www.laurasaggers.com/

Facebook:

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

 

INTERVIEW: Elena Ramona

INTERVIEW:

 

 

Elena Ramona

 

 

WITH Gravity just released: I have been lucky to grab a word with Elena Ramona.

Aside from a new track; she has been busy performing and writing this year: giving her heart and dedication to music; putting her passion into the art. Gravity is a compelling and huge track that demonstrates Elena Ramona’s incredible voice and multiples talents. Never a musician to sit still and be predictable: with every new song, you get a fresh side; a creative leap and new revelation. I have been talking (to Elena) about the track: highlights from this year and who are her biggest influences…

________________________________

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Can you tell us what compelled you to write Gravity?

I was missing home in Greece, and I wanted to write a song that is inspired by the feeling of summer and being somewhere (or with someone that makes you feel complete).

You have had quite a varied and exciting year. What have been your personal highlights?

I was asked by my old school in Wiltshire to come back and chat to pupils about careers and my journey as a musician. It was a great experience and I grew from it a lot. Shortly afterwards, I was invited to perform on B.B.C. Wiltshire, after they found me on Twitter.

Looking ahead: can we expect any further songs; an E.P. perhaps?

You will have to wait and see.

Which people have been particularly important to you over the course of your career?

My mum is and always will be my rock. Before I release any track or video I show her first as I value her opinion greatly.

Your music is so varied and diverse. Which artists were particularly influential to you growing up?

Growing up I had many different influences including The Beatles, Led Zeppelin and the Spice Girls. I have always enjoyed listening to a wide range of genres which is why my own music is quite diverse.

Would you give any advice to new musicians coming through right now?

Believe in yourself; stay true to yourself and don’t get distracted by comparing your music to other people’s.

________________________

Follow Elena Ramona

 

Facebook:

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

Twitter:

https://twitter.com/elenaramona90

SoundCloud:

https://soundcloud.com/elenaramona90

YouTube:

https://www.youtube.com/user/TheStathaki1?feature=watch

FEATURE: The Ones to Watch (Part One of Two)

FEATURE:

  

The Ones to Watch

 

 

(Part One of Two)

 

____________________________________

THIS year is not even at its half-way mark and...

there are some many great, new musicians coming through. Whether you prefer your sounds reflective and calm; rambunctious and chaotic- or somewhere in the middle- you are well catered-for. I have been luckily enough to review and support some of the most unique musicians around the world. In coming additions- two more arriving soon- I will be looking at artists like Elena Ramona, Kirbanu and Duke of Wolves; Grime and Jazz artists; Pop and Folk stars- taking in acts from all around the globe.

In the first installment, I highlight wonderful solo artists and bands; D.J.s and Electro. artists-in-the-making: wonderful voices and unique talent. Sit back, relax and discover some musicians who will be making big moves through 2016/’17.

Here are the first bunch

________________________________________

The State of Georgia

 

 

After reviewing No Man’s Land (in February) I was compelled to check-out The State of Georgia’s album, Roses & Swallows- https://thestateofgeorgia.bandcamp.com/. The title track features flowing piano notes and lyrics that intrigue the mind (“The Roses and Swallows will know where I’ve been/They’ll know where I’m going and what I have seen/They’ll make time stand still and the world shy away”). The Wolf packs bellicose percussion and features a heroine/central figure that howls at the moon. Maybe documenting a former friend- someone who has changed for the worse- it is one of the finest vocal performances on the album. Tracks Father, Brother and Mother deals with a trilogy of familial insight. Father is filled with fatherly advice and caution; Brother is a darker and more disturbed beast; Mother a redemptive and beautiful piece that sees a motherly bond transcend trouble and pain- “when you light up all the bad is gone and I am fine”. An incredible album that mixes Tori Amos-esque flavours with Regina Spektor grandeur: Roses & Swallows (is one of 2016’s) most captivating records. The self-funded L.P. not only shows what faith fans have in Georgina Jakubiak: it demonstrates an incredible talent at the peak of her abilities. The Leeds-based musician is someone you will want to keep a very close eye on.

 

[youtube https://www.youtube.com/watch?v=M3SxETBv_-g&w=560&h=315]

 

 

Follow The State of Georgia

 

Official:

http://www.thestateofgeorgia.co.uk/

Facebook:

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

 

Steve Heron

 

I have long-adored Edinburgh’s Steve Heron and his stunning blend of ‘80s-isnpired Punk and beautiful, heartfelt songs. It has been a while since Heron has posted new material: Three of Swords is a demo. That has just been released. A bouncing, rousing guitar supports lyrics that look at mortality, love and introspection. Our hero dreams- despite having no tradable looks to fall back on- of a particular girl: recalling a time when her lips were on his; the two were in each other’s arms. Having hesitated and come this far: you feel that desire to rekindle love and gain something precious. Heron’s soulful and commanding vocal brings the song fully to life- it would be wonderful to see it given a full studio treatment. Let’s hope there is more material (and E.P., perhaps) from the Scot. in the coming months. Three of Swords is classic Steve Heron: earnest, honest lyrics that blends romantic longing and humour; a sense of defeat and a need to succeed. Edinburgh is the home to some wonderful and multi-talented musicians: few are as memorable and impressive as Heron.

 

 

[youtube https://www.youtube.com/watch?v=S4m_5YKTuek&w=560&h=315]

 

 

Follow Steve Heron

 

Twitter:

https://twitter.com/stevejheron?lang=en

Facebook:

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

 

Rews

 

Rews consist of Belfast songstress Shauna Tohill and beat-making London-dweller, Collette Williams. The extraordinary chemistry and understand the girls share feeds into their electrifying, Pop-Rock stunners. Songs that look at real-life issues and unusual characters: radio stations, fans and causal listeners have been entranced by their incredible, bold songs. Rews remind me of a female Royal Blood: they have epic tunes and an undeniable bond; they have the potential to be one of the U.K.’s biggest duos. Shake Shake- their most recent single- is notching up the YouTube views: there is no denying what a following they have. Tohill is one of the most consistent songwriters and unique singer-guitarists around: Williams has been signed to the Tama U.K. brand; one of the most passionate and talented drummers around. The girls are playing a host of festivals this year- including a prestigious spot at Glastonbury- and are busy on the promotional circuit. The girls’ kinetic energy and incredible live performances have created huge buzz around London. Few would bet against them conquering Europe and the U.S. in years to come- a string of high-profile gigs will go a long way to achieving that goal.

 

[youtube https://www.youtube.com/watch?v=QTAx0uUpJz0&w=560&h=315]

Follow Rews

 

Official:

https://rewsmusic1.wordpress.com/

Facebook:

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

 

Universal Thee

 

The Scottish Alternative-Rock band their sophomore album, Watched Over by Machines of Loving Grace in February. The ten-track album followers from their debut, Back to Earth. There have been changes and challenges within the band’s ranks- creative doubts and personal alterations- but this has not dampened and distilled their quality. The Pavement/Pixies-inspired songs see twin-leads James and Lisa Russell deliver an incredible set of songs- each with one eye for the live crowds. Their singalong choruses and incredible band performances have got critics talking and fans enthralled. I have followed the guys for several years and see how much they have evolved and strengthened. A determined and intrepid quintet: they have achieved a lot over their five-year careers. Each track (across Watched Over by Machines’) has a sense of uplift and positivity. Even if the central messages look at something fraught- anxieties and doubts- you get warmth and comfort in the vocals; an electric riff that enthralls the bones- a rousing kick that invigorates the senses. After a busy last few months, the guys are showing no signs of slowing. So many bands and musicians have stumbled at hurdles and called time: the fact Universal Thee have steely resolve- and continue to roll on- shows just how much desire they have. Of course, it helps if you have exceptional, ready-for-the-eager-crowds tune: the Edinburgh have this is shed-loads.

 

[youtube https://www.youtube.com/watch?v=BymYLys4Ptk&w=560&h=315]

 

Follow Universal Thee

Twitter:

https://twitter.com/universalthee?lang=en

Facebook:

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

 

Jen Armstrong

 

Yorkshire’s Jen Armstrong is one of the most distinct musicians I have ever encountered. Her songs mix witticism and humour: an upbeat and quirky take on modern life; a rarified and exceptional songwriting talent. Sound-tracking these songs is that incredible, versatile voice: something capable of heart-breaking purity and sky-scraping intensity. An exceptional pianist and musician- she works at London’s The Piano Works- her commitment to music is non-stop. When she is not performing live- which she does as part of her job- she is formulating new tunes and working on fresh cover versions. Having relocated to London: it marks a new stage in Armstrong’s career. Having performed in the U.S. - she has spent a lot of time in L.A. and Nashville; wowing the crowds there- and New Zealand: that experience and travelogue blends into her characterful and beautiful songs. Whether an album/E.P. is due this/next year; that will not matter a jot: Armstrong is always creating music and keeping herself busy. A few seconds after she starts singing; she can silence a crowd: get the jaws dropped and attention grabbed. London is a lonely and large city: with Armstrong in it; it seems a lot happier, friendly and magical.

 

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Follow Jen Armstrong

Official:

http://www.jenarmstrong.tv/official/Home.html

Facebook:

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

 

 

Eden Jones

 

Between radio appearances- having just appeared on Sussex’s B.B.C. Introducing- and releasing new music- the track, Nikki, was unveiled a month ago- Eden Jones has had scant time to put her feet on the ground. Jones is one of the boldest and most confident musicians I have encountered in years. Previous tracks Our Time Is Now and Wild Hearts are complete with bubbling electronics and gorgeous vocals: exceptional production and stirring emotions. Wild Hearts is particular affecting: a stunning, symphonic song that boasts one of Jones’ most captivating vocals. Previously based in L.A. - in love with the city and its vibrant atmosphere- Jones has gained a lot from her U.S. residency. Now in the U.K., we are lucky to have in our midst. This is another musician I am watching closely and excited about. Every performance- whether live or on record- leaves me emotional, thought-provoked and affected. There are many excited and fascinated to see where Jones heads next. Such a complete and fascinating talent: she has a warmth, down-to-Earth demenaour and sweetness- a readymade, girl-next-door musician that can easily win hearts.

 

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Follow Eden Jones

Official:

http://www.edenjonesmusic.com/

Facebook:

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

 

Lydia Baylis

 

Baylis is another musician I have been following for several years. An Oxford graduate with a fascinating past- her family and background is the stuff of novels- her incredible beauty and strength goes into music that gets into the soul and registers some serious emotions. Baylis has just released You Don’t Love Me: the second demo. from her forthcoming E.P. That E.P. will be a relief and welcomed addition to the back catalogue of a singular musician. Previous tracks such as Into the Water have been replete with cinematic drama and vivid lyrics: her new material sees new inspiration and motivation come to the fore. Her voice seems more lustful and full- a raw passion has replaced the sweetness- and fragmented relations arrive in her songbook. With Ross O’Reilly in the producer’s seat: Baylis’ new material ranks among her very best. Despite a gap between original material: Baylis has been touring and performing relentlessly- taking her incredible tracks to crowds across the U.K. If you want to back a musician that can go all the way- and continue to produce amazing, deep songs- then you will not go wrong with Lydia Baylis. The Wiltshire-born heroine is an arresting and tantilising proposition: one of those musicians you hope will achieve everything she sets her mind to.

 

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Follow Lydia Baylis

 

Official:

https://lydiabaylis.com/

Facebook:

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

 

Robb Powell

 

My first non-musician inclusion: Robb Powell is a taste-maker-cum-D.J.-cum-blogger. Retiring his Band of Badgers blog- that brings together the best, genre-spanning Indie music into one place- Powell continues to be a part of #RKC: where he presents a weekly podcast/show. Keen to support new musicians and bring us the freshest, finest sounds around: make sure you check out Powell’s work and guidance. An altruistic, intensely passionate music-lover: we could all learn a lesson from this guy. If you do not have time to investigate his podcasts: make sure you read the blog and discover artists of extraordinary calibre; the commitment and focus (Powell puts into) his work.

 

[mixcloud https://www.mixcloud.com/bandofbadgerspresents/band-of-badgers-presents-71/ width=100% height=400 light=1]

 

 

Follow Robb Powell

Official (Band of Badgers):

https://bandofbadgerspresents.com/

Mixcloud:

https://www.mixcloud.com/bandofbadgerspresents/

 

 

Echo Arcadia

 

It has only been a couple of days since I reviewed Echo Arcadia’s latest album, Visions of Symmetry. Another great Scottish band- bit of a theme occurring here! -the group’s blend of atmospheric introspection and gorgeous melodies makes the album one of the most-essential of this year. Leigh Moyes and Jenna White’s vocal combination- White is no longer part of the band- create some of the biggest reactions imaginable- sending the songs into hyper-drive. The entire band has grown in scope and ability: they have grown stronger and galvanised since their debut album, Beauty in an Average Life. Ensure you pick the L.P. up and discover a band like no other. Although the lyrics can err towards s certain weariness and defeatism: there is always hope, light and inspiration waiting; plenty of beauty, passion and determination. The music industry is filling up with promising bands and artists that could succeed to the mainstream. Echo Arcadia seem ready for the task at hand. They have the musicianship, bonds and tunes all in place- all they need is that break. That will surely come soon enough: there is a determination and work ethic in the group that deserves rich rewards and long-term success.

 

[youtube https://www.youtube.com/watch?v=Qbc9mL7SoTk&w=560&h=315]

Follow Echo Arcadia

Official:

http://www.echoarcadia.co.uk/

Facebook:

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

 

 

Jo Kelsey Music

 

 

Performing with Niels Bakx: Jo Kelsey is one of the most arresting and alluring singers I have heard. She has recently been traveling the globe but is back in the U.K.  New music will arrive soon enough, but for the time being, there are plenty of tracks available online- underlining what a duo (Bakx and Kelsey) are. The chemistry and combination works just right. Bakx’s assured and confident guitars- he is part of London band, Los and the Deadlines- gives Kesley the drive and support for her voice to flourish and fly. Whether speaking of love’s imbalance or the struggles we all face: every performance is delivered with a tremendous amount of soul, heart and expression. The Folk-cum-Blues bases are instilled with Rock and Acoustic contrasts- a duo that does not like to stick to one (rigid) sound. Based out of the capital, I am sure their music will take them all across the country. It is always hard finding artists that will survive and continue to exist in music. Given how far they have come- and how long they have been playing together- there is no danger of imminent split. In fact, I know the guys will be looking to the future and fresh ideas- hopefully just in time for the summer. Leading Us Home is the latest track available online: check it out if you get a chance to.

 

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

 

Follow Jo Kelsey Music

Facebook:

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

Official:

http://www.jokelseymusic.com/

 

 

James Edge and the Mindstep

 

After reviewing On a Red Horse recently- check it out on my blog- I was left somewhat crestfallen and stunned- not in a bad way. The experimentation and psychotropic elements- not to mention the dark, unforgettable music video- certainly made its mark. There are few acts that can mix in Jazz and Rock; put Prog.-Rock in there and make something, not only credible, but extraordinary. The clamour and franticness of On a Red Horse is only the start of things. Look back; and you have a compelling and varied back catalogue. Edge’s wistful and commanding tones make every song (within the On a Red Horse E.P.) sound essential and special. His band- Avvon Chambers on percussion; Andrew Waterworth on double bass- add colour, energy and mysticism. Many have made Radiohead comparisons- the band have a bit of The Bends/OK Computer-era Radiohead to them- so if you are a fan of the Oxford legends- you will want to check out James Edge and the Mindstep. An incredible musical force with plenty more music to come- watch this space…

 

[youtube https://www.youtube.com/watch?v=VXK1Tg9Ga3Y&w=560&h=315]

 

Follow James Edge and the Mindstep

 

Official:

http://www.jamesedgeandthemindstep.com/

Facebook:

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

 

NINA

 

 

Beyond Memory is the latest offering from German-born NINA. Based out of London: she is one of the most exciting and beautiful talents in the city. The Synth.-Pop artist is just as stunning covering material as she is writing her own- NINA’s version of Blondie’s Heart of Glass is a stunning thing. At the moment, NINA is getting settled in Greenwich- moving into a new studio there- and preparing more material. Taking influence from the likes of David Bowie, Depeche Mode and Cindy Lauper: a wonderful artist who can mix genres and sounds; without compromising her own identity. Towards the end of this year, NINA will be touring around Germany- ensuring her home nation get to see her in the flesh. That brings us to the subject of new music: when can we expect some? Head over to iTunes- https://itunes.apple.com/gb/album/beyond-memory-ep/id1101787845- and you can get her Beyond Memory E.P. Perhaps there will be a new album (towards the year’s end) or another E.P.- NINA is one busy girl! Whatever comes, you can be guaranteed this: you will definitely want to get your hands on it!

 

[youtube https://www.youtube.com/watch?v=9pItCF_JjJw&w=560&h=315]

 

Follow NINA:

 

Facebook:

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

Official:

http://www.ninasounduk.com/

 

 

Carly Wilford

 

I have a lot of admiration and respect for Carly Wilford. She has achieved more in the past few years than I have my entire life. An influential D.J. and presenter: she is one of the most influential movers-and-shakers in the country. As the creator of I Am Music- http://iammusic.tv/- she has created a platform where upcoming artists can link with producers and record labels. Driven by a clear passion for music: Wilford wants to leave a legacy; create something that will inspire musicians to come onto the scene and dream big. Outside of I Am Music, there is Sister- https://soundcloud.com/itssister- presented with Shan McGinley. Global. Rave. Material. for the masses: make sure you head over and see a true talent at work. Whether doing D.J. work or reviewing; presenting or voiceover stuff: there seems to be no slowing-down for Carly Wilford. Someone who puts her heart and soul into music and its possibilities.

 

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Follow Carly Wilford

Facebook:

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

Twitter:

https://twitter.com/CarlyWilford

 

Liam Aitken and Jack Butler

 

Very soon, Liam and Jack will be presenting (a weekly show) on Kane F.M.- http://www.kanefm.com/. I have always been a critic of local radio- not having the quality and showmanship to rival the best of the mainstream- but that could well change. Bringing their dedication for music- not to mention plenty of banter, fun and energy- their show (Wednesdays, 9-11am) will be worth tuning into. Individually, both are respected and incredible musicians. Jack’s Mania Productions Ltd. Will soon be the home of his new music and output- a Surrey-based D.J. and musician who has a big future. Liam’s alma mater, Next State, are on the verge of releasing new music. Having sequestered himself in the studio: we will soon see some Electronic bliss. Having heard previous Next State material- and knowing what kind of songwriter/producer Liam is- it is sure to be a summer-ready smash for the masses. Be sure to check out Liam and Jack- on the links below- and catch their Kane F.M. show- the result of their hard work and passion for music; I am excited to see how far they can go.

 

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Follow Jack and Liam:

 

Jack Butler (Mania Productions Ltd.)

https://www.facebook.com/maniaproductionsltd/?fref=ts&__mref=message

Liam Aitken (Next State)

https://www.facebook.com/nextstate1/?fref=ts

 

Siggy Smalls

 

I ‘discovered’ Siggie Smalls the same time as Carly Wilford. Here is another (incredible) D.J. and talent that easily put a smile on the face. As D.J./Host for MEATtrasMISSION- her Sunday shows are a definite highlight- Smalls delves into the annals of Disco and beyond. With every show you can hear that passion and spirit come through- there are few people that become so involved in the music itself. I would love to see Smalls take on a bigger role- it seems like she can have a great career in radio- and make her way to the mainstream. Whether that is in her mind- or she prefers to be where she is- you can just see her commanding the decks of a popular station like 6 Music. There are a lot of great D.J.s in London- I am a fan of Hoxton Radio especially- but few can rival Smalls’ captivation, charm and personality. I am not sure what the rest of 2016 holds for her- whether she is making plans for new music or has any plans- but I know she get bigger and more popular- she already has a loyal band of social media followers behind her. What we have is a multi-talented young woman with a lot more to offer.

 

[mixcloud https://www.mixcloud.com/MEATtransMISSION/full-swing-with-siggy-smalls-220516/ width=100% height=400 light=1]

 

 

Follow Siggy Smalls

 

Facebook:

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

Meattransmission:

http://www.meattransmission.com/

 

 

Duke of Wolves

 

The London band have only been playing for a matter of months but are already shaping up to be one of the most exhilarating and snarling bands in the U.K. Their love of Queens of the Stone Age, Led Zeppelin and Rage Against the Machine comes out in their explosive, fists-in-the-air tracks. Songs It’s Real and Hollow are to-the-throat smashes: songs that make you want to take to the floor and lose yourself in their potency. Hard-hitting percussion and solid bass link with ferocious, swaggering guitars- all topped-off by Jim Lawton’s impassioned and gripping vocals. The quartet is making their first steps but already have confidence and ambition. With the gigs mounting and praise coming through: that patronage and experience will make the material even sharper and more incredible. It will be fascinating to see an E.P. from them- a four/five-track record that shows just what they are made of- and more gigs. The gang will be performing on the Hard Rock Stage at the Isle of Wight Festival. That is quite an honour for such a new band- not really a shock when you hear their material; let it blow you away. Once all the dust has settled- it will be a crazy, exciting summer for them- they will be looking to new material and audiences: expanding their horizons and thinking big. With the talent and ability they have in the camp- they are an act you can see hitting the big-time.

 

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Follow Duke of Wolves

Facebook:

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

Twitter:

https://twitter.com/dofwmusic

 

 

Lola Coca

 

 

Music has few characters as bold and memorable as Lola Coca. The Portsmouth-born artists is a colourful, cheeky and intoxicating human- guaranteed to make you smile inanely. Previous tracks Bad Girlfriend and Love Songs showed what an innovative and compelling proposition Lola Coca is. GQ- perhaps her finest song yet- looks at suit-wearing businessman and a smarminess that pervades. Walking down the street- eyed by these well-oiled types- you can hear her disdain and disrespect. She has just played- and throughout loved- the Chill-Out Festival in Istanbul: people around the world have fallen for her music, hard. Blending ‘90s Rap/Hip-Hop- Missy Elliot is someone you can detect in the music- and around Pop-cum-Ska avenues: you get a balance of laid-back groove and tight beats; swirling, jagged electronics- commanding vocals and stand-in-the-mind lyrics. Sassy, witty and in-control: Lola Coca is a class of her own. As is common- as I have done with other artists in this feature- I am curious to see whether an E.P. is coming out. Songs like GQ and Bad Girlfriend have captured the imagination and have connected with her fans and followers. Clearly on one hell of a roll: this year very much belongs to Lola Coca.

 

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Follow Lola Coca

 

Facebook:

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

Twitter:

https://twitter.com/lolacoca

 

 

Meat Loving Vegans

 

With bits of The Clash; little elements of Jazz and Experimental: Meat Loving Vegans is an act that does things very different. On paper, they could have rubbed shoulders with the likes of The Clash and The Buzzcocks. Front-man Dexter Krenal formed the band from his South London bedsit in 2015. Having had a tough upbringing- raised on a council estate; he turned to a life of crime and misbehavior- he started again and built from scratch. Reaching out on Facebook: the band started to take shape. It has not been the easiest ride, but things are starting to blossom. Performing in a number of venues in the capital: the quartet are working on their second album. Their first L.P. - Lost in Fiction- is one of the most extraordinary albums I have heard in years. You get short, sharp Punk jams; longer more introspective numbers: songs that look at weird characters and gritty neighbourhoods- there is romance and hope among the dirt and grime. Coming away from the band- after hearing their music- you, somehow, feel better. There is an odd medicinal quality to the sound- few artists can provide that.

 

[bandcamp width=350 height=470 album=1798334013 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=1304917266]

 

Follow Meat Loving Vegans

 

Official:

http://www.meatlovingvegans.com/

Facebook:

https://www.facebook.com/MeatLovingVegans/?fref=ts&ref=br_tf&qsefr=1

 

 

Ina Reni

 

Reni has just released her new single, I Thought You Were Gay. I was fortunate enough to review the song. What amazed me was the detail, story and quality of the lyrics. So much humour and comedy in a track that emanates from a rather embarrassing scenario- misreading romantic signals from her gym instructor; thinking he was gay. As Reni admits it: her sexual compass is perhaps not the most accurate of things. This awkward encounter has gone into a brilliant song that has gained a lot of praise and effusiveness from the online community. Putting her everything into music and the pursuit of her dreams: you get that feeling Ina Reni will be a mainstream star of the future. If you want to support Reni and her music career: there is an online crowd-funding campaign- https://vimeo.com/162746942. By donating, it will afford her the chance to make videos and launch her music: afford her more opportunity and development. There are few singers and musicians that have her determination and talent. A varied and extraordinary songwriter: it has been quite an eventful and productive year for her.

 

[youtube https://www.youtube.com/watch?v=JICnowcuYP8&w=560&h=315]

 

Follow Ina Reni

 

 

Facebook:

https://www.facebook.com/ina.reni/?fref=ts

Official:

http://inareninow.com/

 

 

Natalie Gray

 

This stunning redhead has had a varied and busy career so far. Not only is she a songwriter and dancer: she appeared in a production of Last Night a D.J. Saved My Life- appearing alongside David Hasselhoff. Just yesterday, a cryptic picture of Welcome to the Show (her album) appeared by a B.B.C. Radio 1 microphone. It seems that some pretty impressive airplay is about to arrive for the young musician. Little Secrets is an insight into a very special and assured songwriter: someone who can put so many emotions and dramatics into a song. Given her theatrical background: Gray already has an advantage over many of her peers. A natural and consummate performer: this all translate into her songs; they are some of the most direct and beautiful around. A few days ago, Gray performed at Pride in London: there will be more great gigs and new coming very soon. Now is the time to familiarise yourself with a British talent who is getting a lot of attention and focus. You can sense her career is about to take-off and explode.

 

[bandcamp width=350 height=442 track=1000145436 size=large bgcol=ffffff linkcol=0687f5 tracklist=false]

 

 

Follow Natalie Grey

 

Official:

http://nataliegray.co.uk/

Facebook:

https://www.facebook.com/NatalieMusic24/?fref=ts

 

The Vim Dicta

 

This American trio is touring the U.K. at the moment and seducing the crowds here. Having arrived from the U.S.: there was the expectation they would only be here a few weeks. Their live performances and incredible music has enthralled audiences- leading to increased demands and new tour dates. Their ‘Psychogroove’ music brings together multiple genres- from Grunge and Punk to Alternative- in a fiery, wonderful combustion. An extremely tight and memorable live act: if you are in the area (they are due to appear) I suggest you get down and see them. Cori Eliot, Matt Tunney and Chris Infusino are on a noble charge right now. Alongside their U.K. dates; the guys are looking to release new material in the future. If they can find time to get into the studio- they might be here for the rest of time!- they will also want to take a breather- it has been a hectic and busy last few months. There are few bands that can arrive here- without much of a foundation and support here- and go down a storm. The Vim Dicta will give impetus to other (American or international) bands that have trepidation about coming here. The audiences are out there, and as The Vim Dicta have shown: you get the music right and the people will clasp you to their bosoms.

 

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Follow The Vim Dicta

Official:

http://www.thevimdicta.com/

Facebook:

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

 

The Updraft Imperative

 

My favourite Australian band is another who has had a very busy year. Pieces of My Past was released a little while back and showed how consistent they are. Since Chair (their debut released a few years back) I have been longing for new material from the Christian-Rock band. They are tight-lipped about a future album- only that one will come down the line- but there is likely to be plenty of demand. The fact Chair is being talked-about so long after its release: it goes to show their messages and music transcends the borders of faith and religion. They are not your archetypical Christian-Rock band. In addition to rocking as hard as any out there: their lyrics apply to a larger world; they tap on universal themes and pains; imploring uplift and spirit in the face of adversity. Away from the music, the chaps are fun-loving and funny- perhaps fitting into an Australian stereotype- but this only heightens their appeal and effect. Let’s hope the band come back to the U.K. - they were here a while ago- and play a few gigs around the country. I know there are audiences waiting for them- perhaps the sheer expense is restricting their itinerary. Few bands- Christian-Rock or not- promote ideals of togetherness, bonding and brotherhood- they seem a juxtaposition to the state of the world. For that very reason; we need to embrace The Updraft Imperative: a rare group that are hugely inspiring and influential.

 

[youtube https://www.youtube.com/watch?v=O1Mp_5Bg_qo&w=560&h=315]

 

Follow The Updraft Imperative

 

Official:

http://www.theupdraftimperative.com/

Facebook:

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

 

Alexandra Amor

 

The gorgeous American pretty much exudes allure and fascination. Mama is her latest track and is already notching up the YouTube views. With a combination of Amy Winehouse’s soulful, whiskey-soaked voice; Alicia Keys’ soothing beauty- we have an artist that is causing ripples and excitement. Over 40,000 Twitter followers! It is clear the Florida-born star is made for bigger things. Consistently impressive, stunning and accomplished: her blend of raw and passionate is a big-ticket draw. Having emigrated from Florida to L.A. - the lure and opportunity of the city beckoned- things are going from strength-to-strength. Once more- I will say this a lot- I would love to see her come to the U.K. as often as possible. There is no doubting she would have a residency in London: there are plenty of clubs and bars that would house her. Alexandra Amor oozes star quality and sensuality; a confident and determination to succeed- the confidence in every song she releases. Her songs reflect on personal struggle and stories- moving to L.A. and overcoming hurdles- in addition to misjudged love. If that insatiable and staggering voice does not sweep you up: the lyrics and composition surely will. I am hoping to get to the U.S. sometime this year: I will be sure to come to L.A. and see Amor play live.

 

[youtube https://www.youtube.com/watch?v=sRXnLfOb3TU&w=560&h=315]

 

Follow Alexandra Amor

 

Official:

http://www.alexandraamormusic.com/

Facebook:

https://www.facebook.com/alexandraamor

Vanessa Forero

 

My final inclusion- for this part- is the half-Colombian, Vanessa Forero. Her mother was abandoned in the Colombian jungle as a child- where she was raised by monkeys- and that is only part of Forero’s extraordinary background. The Brighton-based musician- until recently she lived in Yorkshire- released the album From the Uproar: a stunning album that unites her heritage (Colombian percussion and pipes) with a more tradition Folk/Indie core. Forero is a one-woman-band that wants to encourage girls to pick up percussion: becoming more involved with instruments that are commonly seen as boys’ toys. An inspiring human who can melt hearts with her incredible voice- take a listen to her music- the next year-or-so will see her rise and conquer. With comparatively modest social media numbers- someone who deserves a lot more people her way- she is a very rare artist. Deep, busy compositions- instruments from around the world- score gorgeous vocals and thought-provoking songs. There are few musicians as individual and special as Forero. After such an amazing and unbelievable background: it is amazing how grounded and level-headed Forero is. She has come a long way in a short time: for her, acclaim and stardom awaits…

 

[youtube https://www.youtube.com/watch?v=YN9oBVceDU0&w=560&h=315]

 

Follow Vanessa Forero

 

Official:

http://www.vanessaforero.com/

Facebook:

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

 

TRACK REVIEW: Colornoise- She Was Machine

TRACK REVIEW:

 

Colornoise

 

 

She Was Machine

 

9.4/10

 

She Was Machine is available at:

http://colornoise.bandcamp.com/

RELEASED: 23rd May 2016

GENRES: Experimental; Noise-Rock

ORIGIN:

Heredia, Costa Rica

Produced by Jorge Noguera & Colornoise Recorded and mixed by Jorge Noguera @ Conquista Records, Costa Rica Mastered by Alberto Ortiz. San José, Costa Rica

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IT is unusual I get to check out a band from North America...

based outside of L.A. and New York. My featured artists hail from Costa Rica: a first for me. Before I come to them, it is worth looking at musicians from unexpected countries- places you would not look to normally- the importance of embracing distinct artists- how the best acts evolve in order to bring the best from their music. If you are thinking about great music and the most forward-thinking acts: perhaps Costa Rica is not at the top of the mind. Too many of us get caught up at ‘obvious’ nations for our music- the likes of the U.S.A., U.K., for example. Over the course of the years- reviewing music far and wide- I have not had many opportunities to ‘travel the world’ as it were. Costa Rica is a nation that has become a centerfold for international Rock and Metal bands. Everyone from Aerosmith and Pearl Jam have played here: throw in Deep Purple and Night Wish. Costa Rica is not as prominent on the world stage as it deserves. Its native Calypso and Mexican music are very popular: the nation has a thriving Disco scene (notably in the capital, San Jose). Aside from that, Folk and Rock- British and American- are popular among the youth population. Bands like Gandhi, Malpais and Evolución have national regard. Whilst Costa Rica has been keen to embrace the Rock and Alternative sounds of Britain and America: those sounds have had an influence on the upcoming movement of bands and musicians. Colornoise take inspiration from those foundations but go much further.

Inside their intrepid and multi-layered sound you get native elements- flavours and notes of Costa Rica- in addition to broader, widescreen Rock; tight and intense Punk oeuvres- experimental jams and multifarious songs. Before I raise a new point (or two) it is worth introducing Colornoise to you:

Sonya Carmona (Guitar, vocals)

Alison Alvarado (Drums, vocals)

Mari Navarro (Guitar, Synth)

Colornoise are an experimental Noise Rock band from Costa Rica.

Sonya Carmona (Lead vocal, guitar) and Alison Alvarado (Drums, vocals) released their first eight-track LP Fake Apocalypse in 2011. Later in 2012 they released the single Time. Their second album Polychronic was released in September of 2013.

In May 2015 they released the single Amalie after third member Mari Navarro (Synth, guitar) joined the band. One year later, She Was Machine is released as a second single for their forthcoming third album, out in September of 2016.

I have raised this argument before- and shall do again- about the rigidity of our musical tastes. We often get caught in a rather predictable bubble: not daring enough to push beyond boundaries and look further afield. Colornoise’s transference of British Rock and U.S. Alternative is not the only reason we should investigate the band- it provides an opportunity to get to know the Costa Rican musical culture more widely. At the moment, the stunning trio has a solid following across social media. It is no surprise they have such a loyal core of Costa Rican followers- they are starting to gain a reputation farther afield. The girls started off with a solid and incredible sound. Having taken it is as far as possible; they have grown and developed their music. She Was Machine is the result of hard work and days of experimentation. The trio hs been away from the scene for a little while: the latest single is a brave and triumphant return. Going for a more direct and raw sound: they fuse P.J. Harvey-esque vocals and a ‘90s Post-Punk style. The resultant concoction is (perhaps) the best thing they have ever created. A third album is mooted for the second-half of this year. It will be fascinating to see how the girls have adapted and developed. Their new music favours a more direct approach in general. Previous work has built in texture and been more experimental. Perhaps changing with the current scene- where Indie and Post-Punk is becoming more prominent- you still get their unique D.N.A. and personalities coming through. Colornoise- on their latest release- mix single-minded, hypnotic lyrics- essentially, they repeat lines to create a mantra-like sensation- with insatiable, primeval attack. Over the last few months, I have been looking for a great act outside of the U.K. - I have been spending a lot of time with homegrown artists. I know Costa Rica has not produced legendary, well-known musicians: that could well change with Colornoise. There are very few female trios on the scene: they fill a gap and provide something fresh to the market. Those familiar strands- bits of U.K. and U.S. music- and local influence makes them one of the hottest upcoming acts around. Following Navarro’s inclusion: the trio has grown in confidence and become more daring in their songwriting. A lot of female-produced music tends to be from solo artists. Maybe it is not the case outside the U.K.: we do not see many female trios/bands emerge. The boys pretty much cover the spread in terms of formations and styles. How many female trios and quartets do you see on the current scene? Acts like Colornoise are not only a much-needed breath of fresh air: they will inspire other musicians to come through; those that feel there is no place for them. She Was Machine has the potential to make it onto the British airwaves. There is that ready and spoiling sound: a primal and foot-stomping swagger that is impossible to ignore.

In order to get a full assessment of Colornoise’ currtent offering: one should have a look back and see where they began. Fake Apocalypse was their debut album and a rude awakening for the local scene. Few acts had come in as hard and confident. Costa Rica is not used to the likes of Colornoise. That album provided plenty of fast shocks and head-pounding jams. The tracks contained few lyrics- a selection of words that reinforced their ideas- and put the emphasis on vocals and compositions. Indoors is an insatiable and sweaty beast that brags drunken percussion and razor-wire guitar. Complaint is a more composed- by the standard of Indoors- that has a twirling guitar riff that sees our heroine in pensive mood. Having been “lying to myself” there is plenty of self-investigation and recrimination: oblique words and some fascinating diversions. Mind Hunters ended the album with composed beginnings and gradual build. A true Post-Punk gem: the addled and ghostly vocal highlights images of soul-return and floating in time. It is a song that acts as a perfect swansong and showed what range (the girls) had. Whereas their debut took more from the likes of Bad Brains, Nirvana, and Grunge: their sophomore album, Polychronic, has more of a P.J. Harvey-Hole vibe. In the interim, the girls changed their sound- from the more direct attacks to something dreamy and lugubrious- and altered their lyrics. Gone were the cryptic and anxious words: replaced by something more fantastical, character-based; less personal, perhaps. The girls- despite the longer, more experimental numbers- were just as direct and raw on Polychornic. In Trance has that fuzzy and guttural sound: the track bounces and springs from the speakers; it grabs you and takes you into a strange world. Being Colornoise, the lyrics are no-less straightforward and clear.

The heroine is living in a trance “Living in the clouds”- and can see the future- you never get a full sense of what is being said and uttered. That is the beauty with Colornoise: they inject mystery into all of their songs. Pieces is a strange, psychotropic song that is among the trio’s most distinct offerings. Weblocks takes us into cyber insecurities and the digital age. The danger and vulnerability we all face- details and personal data is not secure- is explored and laid-bare here. Since then, the girls have gone back to their debut-days sound. Polychronic’s variegation and experimentation is replaced with something to-the-bone and Punk. The Progressive edges have been smoothed to be replaced with jagged and sharp corners. Amalie- the last single; released in April- mixed sweet tea, beer and wine- a drunken (misguided) cocktail. Given the trio’s new ideal- to return to something raw and base- Amalie has a developed and soft approach to it. Not as rampant and violent as you’d expect: it suggests (their new album) might contain layers and range. That track was received with acclaim and celebration in Costa Rica. With She Was Machine following in its wake: the girls are determined to get as much music out there as possible. They want to make a mark this year: She Was Machine will ensure they are in the memory for a long time to come.

It only takes a few seconds before She Was Machine gets inside the brain. Punchy and heartbeat percussions give the song and instant energy and unleash. There is no slow-build and layered introduction: the track goes on the attack and spares no time with casual introductions. The girls have ensures low riffs and layered textures: ensuring they hit a balance and formulate something new and forward-thinking. Whilst you get whiffs ad suggestions of Post-Punk and ‘00s Indie- Arctic Monkey’s sophomore album comes to mind- you will struggle to bring any other bands directly to mind. Sure, there are embers here and there: the girls are determined to stand out in their own right. The introduction consistent of gradual build and layers. The drum remains pulsating and imperative: the guitars layer and that springing centrifuge grows hotter and harder. Before you delve too much into the introduction- which has nods to the likes of Teleman, P.J. Harvey and The Ramones- the heroine approaches the microphone. The opening lines repeat the song’s title: the words have that coda and brainwash quality. The projection and phrasing changes across time: it builds an oddly unsettled mood and sense of unease. Carmona turns her vocal into something overwrought, haunted and imprisoned. Combining with Navarro: the twanging strings and Punk-y vibes create something wonderful and strange. Rampantly riding Alvarado’s tribal drums: you immerse yourself in the lyrics and speculate as to the origins. The trio has ascribed the song- with a bit of vague interpretation- as the struggles one faces with their mind; that constant push-and-pull. To me, I get ideas of modern-day consumerism and culture. The way we can be addicted to machines and a digital form of sociability. I type this review knowing I will be on my laptop most of the day. The way we communicate and connect with the world has changed- not necessarily for the better. While we have greater access to music, information, and other people: are we negating the importance of getting out there and seeing the real world? The Internet and technology is an odd religion that is growing in dominance and influence. Think of it what you will: She Was Machine’s early offerings take your mind in all sorts of directions. The girls are instantly bonded and on the same page. Given the experimentation and time expended- getting the sound right and hitting gold- their latest single sound like nothing they have done before.

There are suggestions of their debut work but they are more confident and together here. When Carmona and Alvarado unite their vocal: we enter a new phase with fresh possibilities. “She took my money/she took my honey” are words that will leave you scratching the head. Again, I was thinking about social media and something less tangible. Maybe you can attribute the words to the complexity of the mind- the way our thoughts and decisions affect the way we live. The brain can take the money- we make rash decisions for no reason- and tie us up in fear and sadness. Even by the half-way mark, you are picking the song open and coming up with your own storylines. The performances are universally close-knit and stunning. There are no needless decorations and solo-ing: everything is compact, regimented and disciplined. Even in the structured and raw vibes: the girls are playful and loose when they need to be. The drums have a great contrast of stiff and curious that keeps the song intense and edgy throughout. The girls- between verses- create wordless chants that add a sense of delirium and hopelessness to the song. When returning to the microphone, we hear (Machine) “She was all the way in” and “in-between”: those contrasts and contradictions resurfacing. This force and spirit is always in the mind; interchangeable and unpredictable. When thinking about consciousness-related avenues: our thoughts and internal struggle are a daily battle. I am not sure where the song originated from- whether the trio had a shared experience that made them write this- but they are thoughts that will be common to us. The way Colornoise match oblique lyrics with direct compositions elicits such a huge response. She Was Machine is a little over two minutes: in that time it covers a lot of ground and will get you thinking. Carmona’s voice is at its most intense and determined- never has she sounded quite as confused, fearful and impressive. Whilst She Was Machine might put you in mind of some Post-Punk record and modern-day Alternative: the trio’s distinct personalities and exceptional musicianship separates them from the crowds. If you are searching for a band outside the U.K. that can deliver the goods and leave the music rattling around your mind- you will not go far wrong with Colornoise. She Was Machine sets the tone for their upcoming album- let’s hope there are more jewels like this.

When their third album is released- I am not sure it has been titled yet- it will provide an opportunity for British and American media sources to familiarise themselves with an amazing new act. The chemistry between the girls is tight and solid: this reflects in their music and live performances. I began looking at Costa Rica and its undervalued status on the musical stage. The titans of Rock and Alternative have played the country. It is clear there is a desire and market for music in Costa Rica. Perhaps the more ‘traditional’ sounds- Mexica music, Folk and Calypso- are more favoured. I feel there will be a transition and shift in the country. With acts like Colornoise capturing the media’s focus: how long before there is a revitalisation and development of the music industry? Having fallen for British and American Rock/Punk- the acts that have played Costa Rica show that- homegrown artists are incorporating these elements into their music. Outside the Spanish-speaking country: there is a lot of love for their universal, relatable music. They tale bits of Post-Punk and Rock and sprinkle in something distinctly them. Their lyric books highlight familiar concerns- struggles in love and struggles with one’s own mind- and cast it outwards- bringing so many emotions and strands to their songs. Their first two albums captured the nation’s attention and established them as one of the hottest bands in Costa Rica. Their forthcoming L.P. will see them transition and flourish beyond Costa Rica. I can see them getting requests from around the world. With (U.S.) bands like The Vim Dicta (another tremendous trio) doing sterling business in the U.K.- how long before the Colornoise girls enjoy a string of gigs here? Given their proximity to the U.S.: you would imagine they’d go down a storm there. With that in mind: they are close to South America; a huge market for upcoming bands. Nations like Brazil and Argentina are welcoming in the best and brightest from Britain and America. I have high hopes Colornoise will be taking their music all around the globe: the juggernaut is sure to roll up and onwards. She Was Machine is not a complete departure for the girls.

Those who loved Fake Apocalypse and Time will be able to bond with She Was Machine. The latest single is a more immediate and unshackled thing: embracing a raw and animalistic urge. The girls are as tight and together as ever- few acts have that bond and connection. A lot of acts break-up because they are not brave enough to change their music and grow with their times. Maybe they get too used to a way of working and are reluctant to change. As a result- running concurrently with prevailing market shifts- they can become stagnated and out-of-touch. Colornoise know what music fans look for and adapt their music accordingly. Over the past few days, I have been in a slightly mournful mood. My music idol, Jeff Buckley, died 19 years ago (yesterday). I have been remembering those musicians we have lost this year- including Lemmy, David Bowie and Prince. It seems the music world is becoming larger and smaller- a point I have raised before. The new generation is expanding and filling gaps: the impression left by legends passing should not be forgotten. The best thing we can do as musicians and music-lovers is keep that flame alive. As a result, I am looking about for musicians that put me in mind of those lost. Perhaps Buckley and Bowie are names Colornoise know in principle- without necessarily incorporating them into their music. You cannot say the same about Lemmy. His- and Motohead, by extension- spirit is very much alive and well in the Costa Ricans. Colornoise’s  Sonya Carmona has highlighted how the trio is evolving and embracing fresh direction. Having surrounded themselves in P.J. Harvey and Post-Punk; the new acts enflaming the music world- all of that will come together in their forthcoming album. Not only (will that record) go down a storm in the homeland: it is going to get under-the-radar of U.S. and U.K. critics.

I would love to see the girls come to London and play. We have some great Rock/Experimental acts here- you can never have too many! Who knows what is in the air right now?! Britain- and London especially- is starting to heat up: the music scene here is really exploding and producing some sensational acts. It is not just British-born artists, either. They are welcoming in international musicians and giving them a platform. I shall keep an ear out for Colornoise and make sure they get some exposure over here. There are radio stations and festivals that could include them: hungry and eager crowds that would pack into venues (in order to see them up-close). She Was Machine is an assured and granite-hard stomper from Costa Rica’s premiere band. Having been championed by 89decibles- a hugely influence blog there- it looks like 2016 will be a bonanza year. If you are missing the likes of Royal Blood- a duo that should be dropping new music this year- the likes of Colornoise provide restitution and solace. Congratulations to the trio on a fantastic and accomplished single. Given the upset and upheaval 2016 has provided: it is rewarding and wonderful discovering musicians…

WHO can put the positives back into music.

 

[bandcamp width=350 height=442 track=3271094919 size=large bgcol=ffffff linkcol=0687f5 tracklist=false]

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Follow Colornoise

 

Official:

http://thecolornoise.com/

Facebook:

https://www.facebook.com/thecolornoise

Twitter:

https://twitter.com/thecolornoise

Instagram:

https://www.instagram.com/thecolornoise/

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Music

http://colornoise.bandcamp.com/

 

TRACK REVIEW: Joshua Luke Smith- Carry Me

TRACK REVIEW:

 

Joshua Luke Smith

 

 

Carry Me

 

9.7/10

 

Carry Me is available at:

https://www.youtube.com/watch?v=AiZX3qpfL7Q&feature=youtu.be

RELEASED: 30th April 2016

GENRES: Hip-Hop

ORIGIN:

Bath, U.K.

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HAVING just completed a review of 17-year-old Folk artist…

Billie Marten: it is to a 25-year-old Bath-based Hip-Hop artist. Anyone who says music is predictable, samey and unadventurous should be in my shoes- over the course of a day, I am looking at two remarkable, if very different, artists. In fact, I could see the two coming together in collaboration. Marten’s silky, tender voice- and her tales of greed and love- could fit well with my featured artist’s inimitable brand of music- the two would make a great, if unlikely, partnership. I will stop putting ideas into heads, but that is my point: great musicians are exciting; they get you thinking and imagining- just what can be achieved by bringing two souls together. I shall not labour that: I wanted to look at motivation and inspiration in music; Hip-Hop and Bath/Bristol; finishing with a bit about talents with strings to their bow. It is rare you get to see a musician that promotes self-love, motivation, and improvement. Modern music is mired in insularity, accusations, and heartache: rarely do too many positive messages make their way into songs. Away from love-based tropes- she/he-broke-my-heart-how-will-I-live types of songs- there are an awful lot of negative and downhearted tracks. I understand the instinct to do this. A lot of musicians pursue their dreams because they see themselves as outsiders and alone. Emanating from depression, uncertainty and anxiety: musicians are often affected by mental illness, fears, and scars. Whether hurt or affected by relationship breakdown- or haunted by their own, inner-turmoil- they write about what they know (that is the thing they say, right?). Personal reality and relatable themes are not to be discouraged: we all need to hear about everyday things; subjects we can understand and connect with. That said, we need to embrace artists and musicians that are more positive and outward-thinking. Behind-the-scenes, how many musicians concern themselves with connecting with the world: giving something back and being a positive role model?

Sub-consciously, there is a wave of artists who are sending out great messages: I am not seeing enough acts engaging in extra-curriculum work; engaging with society and being a spokesperson. Music is a powerful format that allows a rarified platform: one where artists can use their influences and make changes in this world. Joshua Luke Smith is a musician who is making changes and inspiring many people- connecting with thousands out there. Before I carry on- and raise some new topics- let me introduce Smith to you:

The 25-year-old wordsmith's self-produced debut E.P. landed in the top 10 of the U.K. and international iTunes charts and has led the young poet and record label founder to receive BBC 6 Music radio-play as well as features with B.B.C. 1xtra and the London Roundhouse.

With his sophomore E.P. “Your Beauty” recently released, accompanied by a string of live shows Joshua Luke Smith is fast becoming an inspired and important voice for his generation.

From such common names- ‘Joshua’ ‘Luke’ and ‘Smith’- you get a man who is anything but ordinary. The hirsute Hip-Hop star is one of the most talked-about new names on the block. Here is a young man that goes beyond predictability and expectations- in terms of the music he makes and sound- and delivers punch and drama; tenderness and reflection- so many different ideas and elements at work. When thinking of Hip-Hop- Smith hails from Bath- it gets me thinking about the legends of the genre. Bath and Bristol are areas of the U.K. that have produced some of music’s greatest. Portishead and Massive Attack are two Trip-Hop-Experimental-Rock acts that put the South-West on the map. In the ‘90s, there was an explosion of wonderful Trip-Hop artists: this has resonated with the current generation; those who are carrying on that legacy. Although Smith was born in Bath- a short drive from Bristol- he has been influenced by the Hip/Trip-Hop acts of the ‘90s: his sounds put you in mind of the past masters. What you get (with Smith) is a combination of bygone sounds and current-day immediacy. Little embers of U.S. Hip-Hop moulds with a distinct Britishness. Smith suffers dyslexia and dyspraxia (a condition that affects movement and balance) which has made life very difficult. Far from hiding away and letting the illnesses affect him: Smith has funneled this struggle into the music; encouraging others to break from their limitations and be whoever they want to. One of the sharpest and finest wordsmiths in music: the young artist is ensuring we do not have to suffer; music can provide an outlet for those affected- if he can make a career in music (given the problems he faces) then anyone can. It is this kind of strength and resilience that should be encouraged more.

Smith is more than Hip-Hop songwriter. Blending Soul and Hip-Hop together- reminding me a bit of James Blake- we have one of the most startling artists around. His self-produced, debut E.P. (Your Beauty) is a six-track collection that made its way into the top-10 of iTunes' Hip-Hop/Rap charts- mere hours after it was dropped to the world. You get substance, motivation, and philosophy (Smith is a philosophy graduate); wonderful stories and one-size-fits-all codas- much more depth and wisdom than most musicians are capable of. Founding Orphan No More- a record label that encourages the finest young talent to embrace who they are- their ethos is simple: Everybody Has a Message. That is the tagline and mission statement that drives their artists and leads to some wonderful music. Joshua Luke Smith is a name that will continue to grow and develop in years to come. Carry Me is the latest cut from one of the bravest and boldest musicians around Britain. There are few negatives you can attribute to Smith (he, in addition to thousands of musicians, call their careers a ‘journey’: I would make that an arrest-able offence): you get an honest, open and defiant young man that wants to change things and support musicians- anyone suffering and ‘different’ can be whoever they want to be. Smith’s sophomore E.P. has just been released and will kick-start a string of dates and appearances. Already appearing at the B.B.C. 6 Fringe Festival- gaining support from J.P. Cooper- and there is no telling where he can go. 2016 has been a productive and golden year: I feel the best days are still ahead. Having been out there for a few weeks: Carry Me is setting hearts alight; showing just what a force of nature Joshua Luke Smith is.

I am a fairly new convert to Joshua Luke Smith. Carry Me is taken from the E.P., Your Beauty. Younger and Dead Man have just been released. The former contains rapid spits and fast flow: young-days philosophies and reflections on life; days that mix “flames with fuel”. You get an assessment of life’s uncertainties and someone who believes in “hard times”- not star signs and everything fake and meaningless. It is a raw and relevant song that contains truths and meaning. Everyone who listens to the song can extrapolate guidance and direction. Dead Man is another short and sharp track (both never outstay their welcome) and boasts another assured, confident vocal. With sparse backing- electronic strings and a steady beat- the emphasis is on that vocal. Our hero has been reading philosophy pages and learning a lesson: since the dawn of time, man has been suffering the same pains; facing the same tests and trials. These tracks are new cuts that show just how far Smith has come. He has grown as a songwriter and sound utterly confident and comfortable in his skin. Every song is delivered with conviction and authority: meaning the words explode from the page into your brain. Carry Me’s companion songs are recommendable and stunning. Jack of Spades is a busy track that has a heavy beat and a real sense of menace. Our hero introduces himself (he is a jack of spades) and is struggling with his identity.

Having struggled- and struggling still- Smith is bursting and exploding from the seams- laying down a declaration of intent. A song that is instilled with Grime edges and Rap centres; Hip-Hop and Trip-Hop contrasts: an edgy, rapid song that gets the head nodding and the imagination working. After All is a softer and more contemplative song. Smith looks out at the proclivities of the world- nothing “natural about a natural disaster”- and struggles in a relationship. Unlike his contemporaries- who would tackle such common themes with predictability and cliché- you get hard beats and multi-tracked vocals (I am not sure who his female collaborator is). After all the struggles and problems: he still loves the girl; will fight for her. The Garden takes biblical ideas- Adam and Eve aren’t far away- and declare how were all born naked- we need to let go of our stones “and walk away”. Self-doubt and guilt see us looking into the mirror- doubting who were are- and is something we need to overcome. Your Beauty- as the title suggests- is about embracing who were are and not judging others; being assured of what we can accomplish and reaching for dreams- embracing the positive and redemptive aspects of life. Elements of The Streets and Massive Attack come through in the E.P.: a combination of ‘90s-Trip-Hop and ‘00s-Grime.

The jewel- in my opinion- of the Your Beauty E.P.: Carry Me has been gaining a lot of buzz and attention so far. It is hardly surprising given the stature and reputation Smith has. Rumbling percussion and distorted electronics welcome the track is. Fading in and out: you get sudden sparks and electronic drive; something teasing and dangerous lurks in the shadows. It is the compositional equivalent of being followed home on a dark night. You are not certain who is following you: every siren blare shocks you; ever noise unsettles you- there is a constant threat and menace (in the video version: the SoundCloud version is shorter). When our hero comes to the microphone, his heart is on his sleeves. Hating hearing his mother crying- he is more sensitive and restrained than on other tracks- there is that sense of vulnerability and loss. Maybe his mum was the one who supported (Smith) and helped him in life: understood what he was going through and gave him strength. Now the hero has left home- or is away right now- he can always go back. Maybe his absence has caused heartache a sense of loneliness (in his mum); his struggles and problems carry weight- she was the one “who used to carry me”. Your Beauty is an E.P. that contains a lot of hard-hitting and Hip-Hop tracks: those with fast rhymes and a constant pace. Carry Me is a more tender and reflective moment- the equivalent of The Streets’ Dry Your Eyes or Weak Become Heroes- that grows hotter and heavier. Never needlessly exploding or getting too quick: Smith quickens the pace and takes the song up a notch. Looking at his life- like he was walking through a cemetery- and how he has struggled. “I’m just a boy with some poems” underlines the simplicity and honesty of his life. A young man that wants to create songs and makes changes in the world: the streets were/are filled with fear and uncertainties. Walking past cars with steamed-up windows- whether masking late-night sex or joint-smoking crews- you get vivid images, smells and sounds.

In his Fred Perry polo and temporised fashion: Smith is out-of-place in the grime and edginess of the street. Intimidated by “renegades and imitators”- I get lyrical embers of The Streets’ Let’s Push Things Forward and Turn the Page- our man was hunched-over and fearful. Even in these early phases, you involve yourself in the song and close your eyes- watching the scenes unfold; the urban theater and the smoke-filled air. Someone who was afraid to fight- turning “right and left like indicators”- you get that sense of anxiety and building fear. Backed by static, driving beats and piano flourishes- they push the lyrics forward and provide a subtle, neo-romantic backdrop- the song never loses its energy and swagger. Having been (as a child) expelled from the classroom- maybe unruly or bored by the simplicity of education- Smith found himself staring down stairwells: on the estates; facing an uncertain time. That need for home and comfort- a million miles from the savage haze and danger-at-every-turn streets- is paramount, here. You picture the young man struggling to find meaning in the world. Maybe influenced (negatively) by modern artists and beat makers: the hero becomes a Breaking Bad-esque anti-hero: someone who contradicted his mother’s messages of grace and humanity.

Mrs. Smith would be disappointed to find her boy so far from the tracks: a stranger to the boy she raised; someone who has taken some wrong turns. Having dyslexia and dyspraxia: school life would have been a struggle and hard place. The world- those who do not know the realities of the conditions- shows no mercy and what options would one have? Smith is not rebelling or trying to fit in with the cool crowds: just struggling to cope in a world that does not understand him. Smith hates to hear his mum cry- the reason he is on Earth- and his sins must feel “like murder”. I admire the honesty and bravery that comes through in the song. Revealing some very personal and hard times: few artists have the courage to commit that to tape. Smith seems genuinely mournful and sorry about his actions: perhaps he was just misguided and misjudged his actions. Knowing the daily struggles he faced: who could blame the way things turned out? In the past- those wild, teenage years- lies were told. A mutual indemnification (between friends) and conspiracy: they would tell their mums they were sleeping around the other’s place. This deception was a front for drinking and hitting the town: chasing girls and getting into scrapes. Seemingly part of natural development- most teenagers go through that phase- the more mature man regrets his deceit. Maybe (thinking) this would balm his pain- drinking and fun was the way to ‘fit into’ society- our hero is apologetic and tearful. When confessing full disclosure to his mum- expulsion from school and drunken flights- you can feel the tension in the air.

The truth’s totality is causing distance between mother and son. At the time, Smith was subject to peer pressure: he wanted to belong and be accepted by his peers. What is important- and realised too late, perhaps- is making his mum proud; doing right and carrying the virtues she installed in him. Maybe Carry Me is a confessional that demonstrates family disorder: blackening the name and causing disappointment in his mother. Truthfully, Smith has not committed a huge transgression or crime- he has gone through a common course and regretted his foolhardiness. The fact he is willing to confess his shortcomings and naivety is to be applauded. The song will give other writers a much-needed spiritual reawakening. Too many get caught up in promoting their own ego or engaging in accusations with their (former) lovers. There are few that look at their past- and family connections- and address that. Smoking and drinking- being in a jungle and warzone- the young Smith never felt natural in that environment. A sad ritual that claims many innocent souls: Smith has taken a long time to discover his best days; man-up and follow a purer path. When “Diablo is your best mate” it is near-impossible to remain virginal, spiritual and kind: you get drawn to into a black culture and troubled path. The people that follow this road often get lost and claimed- turn to crime and become recidivists.  Smith has wised-up and realised his shallowness.

Having made his way in the music world- and turned a corner- this song is a guide to the teenager out there. On the surface, a life of smoking, sex, and drinking may seem cool: it is a temporary release and is a drug; that way of life is not conducive to being productive and functional- it is the antithesis of kindness, humanity and respectability. As Smith points out: “I used to be knee-deep in a sea of different faces”; he is not here to preach. What started as a Hip-Hop track, transcends to something Gospel and divine. The mantra “I’m free” is delivered with a choral uplift: it is a soulful release that will affect every listener; the summation of years of guilt, frustration and lacking direction. The older Smith (still a young man) has broken the shackles and has become a man: something his mother would be proud of. The final moments layer the vocals and provide lovely little touches. Liquid strings and testing percussion backs Smith’s final confessions. Having walked in the wrong direction, the future is now: that is all in the past and things are different. Driven by a grooving bassline: when sh** gets real; you can go home and realise where you should be- and who is there when you need them. Exhausted by the rawness of his song: our hero finishes his confessions and lets the dust settle. What we are left with is an extraordinary moment from a young man who regrets the past- a human that does not want others to fall into the same trap.

I often get depressed at the hyperbole and false affection the media level at certain acts- a point I raised in the Billie Marten review. You get reviewers and stations- naming no names- that go bat-sh**-crazy for certain musicians: you wonder whether their ears are blocked; maybe they have suffered a blow to the head. I guess we get all look for that superstar: the act/band that is going to change the music world. Too much of the time, you see musicians that seem promising at first: over the years they start to lose that spark and seem very ordinary. Some would see Joshua Luke Smith and be unsure of his future: is he going the same way as every other musician out there? Perhaps that energy and talent will wane; the gold with start to tarnish- he will be off the scene in a few years. That is not going to be the case. Anyone who comes in that sharp and committed- his debut E.P. is a symphony of quality, depth, and assurance- is not going to slow anytime soon. I believe Smith’s finest work is still ahead. He has such a nimble and varied talent: able to go in any direction and achieve anything. Carry Me is the latest slice from a wonderful, rich artist. Intricate, detailed beats and layered compositions: vocals that get straight to the heart; lyrics that open the mind and urge you to think about the wider world. Orphan No More has a few artists on its book.

From Esther Moore’s Israeli-rooted, multicultural upbringing and Christocentric background: music that highlights social issues and personal experiences. Timothy is a 20-year-old poet that follows the Smith ideal: wonderful, wise words wrapped around gorgeous and soul-touching music. Let’s hope O.N.M. continues to grow and flourish: we need to embrace labels that emphasise rare and real talent. There are so many fake and over-privileged artists around: those that never struggle and provide very little to the listener. Smith is at the vanguard of a new wave of musicians: those that look at societal issues and promote positivity and fight. If you are afflicted with illness or disability; that does not mean you have to hide away and accept limitations. Music is a sanctuary that allows creative types to reflect their struggle and pain: turn their experiences into something positive and inspirational. Carry Me carries important messages and guidance for those similarly affected. The song sees the hero realises home is turning into the person you are supposed to be- not what convention and society dictates.  Away from the love-only songs and negativity in today’s music: it is wonderful finding a musician that rebels against such things. I know we all need to hear about love and splits: when you’ve heard one song (about these things) you’ve heard them all. Step forward a young man that is writing music with more importance, originality and depth- this will give credence and kick to new musicians coming through.

From the mean (or quite pleasant, in fact) streets of Bath arrives a musician that has a glistening future ahead. I started by looking at the Hip/Trip-Hop legends that arrived from Bristol in the ‘90s- the artists that have inspired so many modern-day musicians. Smith is one of those people who was growing up in the 1990s: witnessing bands like Portishead and Massive Attack come through- a few miles down the road- and how they changed the face of music. Fast-forward to this decade and U.S. Hip-Hop acts and U.K. Grime artists have made their mark: all of this goes into music that fuses danger and grit with immense beauty and nuance. For me- being a bit poetic and that- I am hooked and enthralled by Smith’s way with words. A true wordsmith that can make the mundane very special: not somebody you’ll forget anytime soon. Make sure you get Carry Me- buy it is possible- and experience the wonder and worldliness of Joshua Luke Smith. A homegrown megastar-in-waiting that…

EVERYONE should make part of their lives.

 

[youtube https://www.youtube.com/watch?v=AiZX3qpfL7Q&w=560&h=315]

_____________________________________

Follow Joshua Luke Smith

 

Official:

http://www.joshualukesmith.com/

Facebook:

https://www.facebook.com/joshualukesmithmusic

Twitter:

https://twitter.com/JoshuaLukeSmith

_________________________________

Music

https://soundcloud.com/joshualukesmithmusic

TRACK REVIEW: Billie Marten- Milk & Honey

TRACK REVIEW:

 

Billie Marten

 

 

Milk & Honey

 

9.7/10

 

Milk & Honey is available at:

https://www.youtube.com/watch?v=xNAmwWBy0nw

RELEASED: 20th May 2016 (Video)

GENRES: Acoustic-Folk

ORIGIN:

Ripon, Yorkshire

____________________________________

THE last time I reviewed Billie Marten…

she was preparing the release of the single, Bird. That song seduced critics and got tongues chatting wildly. I shall continue on- and give more details on the young heroine- but before I do, it is worth looking at the ‘best’ music has to offer; the importance of fostering young talent- how personality and charm can take you a long way. Every year, I view (with skepticism, let’s face it) the so-called ‘best of’ lists- the likes B.B.C. and other media bodies submit. Based on nothing but subjective guesses and intuition: the artists promulgated are a rather mixed bag. Maybe it hard to really get a true sense of which artists to watch: there are so many acts out there; it can be a mind-boggling proposition. Everyone from N.M.E. to Gigwise have released their (2016) lists for the year- extolling the virtues of their hand-selected finest. B.B.C. proclaimed Jack Garratt their pick from this year: Blossoms were fifth; Alessio Cara was in the mix, too. Although Garratt has been hyped- yet to deliver anything special and extraordinary- the likes of Blossoms and Cara are worth more time. I find B.B.C. is keen to promote those that are Pop-based and radio-friendly. Take a scan of their Sound of 2016 list and the fresh-faced, smiling artists are all mainstream-potential stars. Cast your net to other sources and you will find more bands and something grittier. I am not rubbishing people that release lists like this- they are doing their best to find great acts worth watching. I feel the true best and brightest are not giving recognition. Billie Marten is someone who made the ‘longlist’ of B.B.C.’s tips: sadly, she did not make it to the shortlist. Perhaps it is her tender years- she is still in her teens- or perhaps they had to make the cut somewhere. To my mind, their short-sighted omission was a very bad one: Marten supersedes and outshines everyone on B.B.C.’s list- the reviews and love paid proves that.

Few artists have started as brightly and determinedly as Billie Marten. Beginning her musical career as a young child- she started playing guitar and singing at 7; her own YouTube channel was cemented by age 9- and the momentum has hardly stopped since. Being a super-young and tender talent: Marten has not had much time to be a ‘normal’ girl. Whilst she makes time for studies and socialising: the majority of her time is dedicated to her music career and artistry. Having just turned 17 (a couple of days back) Marten is going to have a busy few months ahead. Having toured with the likes of Lucy Rose- over the last year- who needs B.B.C. patronage, eh? Marten (real name Billie Tweedie) has taken charge of career and is making waves with ease. Little is known about Marten- she has an obsession with alpacas- but she has done plenty of interviews. What you gleam from these is a young woman who has a very determined and positive outlook. There is modesty to her- Marten makes sure she completes coursework and puts home life top of her list- and is a shy and girl-next-door musician. There is no pretense, ego or social media slanging. You will not catch her embroiled in feuds or shedding her clothing for YouTube views: she is a true musician that lets the songs do all the talking.

We need to promote and safeguard young talent on the music scene. Given the ease and accessibility of music- cheaper and simpler to record songs from your home- there are a lot of artists coming through. By the year (these artists) are getting younger: it can be a scary and daunting proposition for them. D.I.Y. acts like Jack Garratt are showing how easy music-making can be: just a laptop and talent are required; you do not need to fork out thousands for studio sessions. Whilst it is paramount we promote young artists: I am fearful a lot of pressure is being placed on their shoulders. The media loves a young musician: keen to label them prodigies and ‘the-next-best-thing’. When said musician is launched: there begins a vortex of promotion, gigs and recordings. The modern music reality is somewhat scary. The amount of gigs a musician needs to undertake- in order to make money and gain a foothold- is staggering. Having to juggle domesticity- studies and growing up- with the harshness and exhaustion of music can burn-out the brightest of souls. I worry we are pushing musicians too much. Marten is someone who started making music as a hobby- she recorded videos to YouTube so her French-based grandparents could see her- and it has all sort of taken off. Someone who is daunted by the lights and rush of the city- much safer and contended among the countryside- the heroines in-demand and sought-after. I know Marten has her feet on the ground: she is not somebody that will take too much on and become exhausted. As she gets more popular- by the release of each new song- her diary is going to be full pretty soon. What I love about Marten is her down-to-Earth, loveable personality. She is a girl that seems at-odds with expectations and 21st-century ethos. You see (female artists) like Rhianna, Adele; Beyoncé and Ariana Grande and you would expect someone similar. Those stars have expensive, under-the-spotlight existences: they command multi-million-pound deals and have party lifestyles. Billie Marten is someone who adores vinyl- her record table is among the most prized possessions- and lionises musicians like Joni Mitchell, Nick Drake and Radiohead. If you did not know her age- and did not see her photo- you would picture someone in their 20s: perhaps a city-goer; not a teen who prefers the safety and quiet of the country. It is rewarding and wonderful discovering a young musician that has vast maturity and quality control. Being a fan of such great musicians- so many young artists have little knowledge of historic acts; they consider modern-day Pop the best of all-time- that quality feeds into her own music. Vibing the acoustic brilliance of Drake and Mitchell: we have a 2016 mixture of the two; a Folk artist that is as arresting and entrancing as her idols.

Those just discovering Billie Marten might be starting with Milk & Honey- unsure of where she started. I urge people to check-out (if they are available) Marten’s early YouTube videos- to see where she came from and how she has progressed. Heavy Weather- released a year ago- has a gorgeous lo-fi sound to it. It is as though you are in the room with Marten- sat with her as she plays guitar. Marten’s voice is crystalline and silky. You are enticed and overwhelmed by the beauty and purity of the voice: it is whisper-soft and absolutely delicious. Caught-up in her lover- “Together we walk the English winter”- we hear a literary version of young love. There is no cheap sex or seediness: the song has a purity and innocence to it. While the lyrics paint some dark images- “We might be frightened but we won’t run”- you get sucked into a scene of wind-swept sweethearts battling the rain. Whether a metaphor for stresses and obstacles- employing the weather to hide hard truths- you will put yourself in the song and imagine everything unfold. Marten shows what a songwriter she is. The lyrics are simple yet have an intelligence to them. Many artists have used meteorological terms and weather to describe love and longing- few as effectively as uniquely as Marten. Simple finger-picked acoustic guitar marries with a sensuous and caramel-smooth voice. By the end of the song you are blown away and compelled to listen again (and again).

Before that- in 2014- Marten unveiled Ribbon. Here first single, it perfectly outlines all the key components: the aching acoustic sounds; that staggering voice and well-honed pen. Her lyrics look at being a city stranger- caught in a rush and being stared at- and feeling dislocated. Images of train tracks and countryside see the heroine calm, pure-at-heart and relaxed. “Home ties me up”, it is said: yearning to be back there again; the city creates an “aching in my heart”- Marten longs to belong but never feels she fits in. The Ribbon E.P. - where the song appeared- is a track that looks at the conflicts of city and home: a girl making her way in the world and finding where she belongs; feeling uprooted and affected by the busyness of the city. You get a sense of strain and loss in the song- a girl looking aghast; shoved by commuters whilst trying to be happy and feel connected- which comes out in the strings. The voice remains buoyant and beautiful throughout: a safe harbor that keeps the song from being too harrowed and strained.

Bird- a song I reviewed when it was released last October- was her finest work to date. Appearing on As Long As (an E.P. that will surely see one or two more single releases?); it is a fantastic song that shows a leap from Marten. The voice is at its very peak: sounding more staggering and beautiful than ever before. The composition is more developed and full. Marten employs piano- songs before have been largely acoustic guitar-based- to mesmerising effect. Previous songs have seen the likes of Nick Drake make their mark. The acoustic guitar and feather-light finger-picking- that puts you in mind of the ‘70s master- is replaced by something more modern and feminine. Whilst Drake utilised piano in some of his recordings- Pink Moon’s title track for instance- you get embers of Joni Mitchell and Kate Bush. Bird is a song that looks at someone “Drowning in words so sweet”; “Somebody’s daughter, a friend”- you speculate who is being represented. Earlier numbers- like Ribbon and Heavy Weather- assessed different sides of Marten- the city-wandering hopeful and teenager in love. Here, you wonder whether the words document our heroine’s struggles and views- or whether it is a third-person song that looks at (a tragic and ill-fated) figure. Marten assessed the song thus: “A song about how words can truly affect people, not always for the right reasons”. Maybe she has experienced so intolerance and hurtfulness- in love or growing up- or has seen friends hurt and scared. Whatever the true source: you cannot deny the majesty and beauty of the song.

Milk & Honey is a song that shows another development and step forward. Marten returns to acoustic-led territory- the percussion is more evident and prominent here- and the vocal seems more free and open. Previous numbers have showed such a sweet and precise vocal. Songs that detail loss and heartache; cruel words and intensity- backed by performances suitably suffocated and intense. Milk & Honey sounds freer and less pressured: showing a new side to Marten; a young woman that sounds more relaxed and happy. The new track is a more positive and enlightened thing: perhaps new romance has sparked inspiration and contentment; that is not to say the effectiveness and beauty is lacking. Marten shows how varied and consistent she is (as a songwriter). Let’s hope this quality and desire continues over the coming years- every Billie Marten song shows new sides and stories; fresh impetus and tenderness.

I am reviewing Milk & Honey- a little late to the party- because its video has just been released. “Honey, here we are/dreaming in the dark” are the perfect words to open the song. You get the impression of two sweethearts- whether Marten is documenting her current romance or something fictional- sleeping and dreaming; perhaps not in the same room, the duo are letting their imaginations run away. After the initial positivity and romance: the lyrics take a slight turn; towards less contented and satisfied ways. “Their thoughts were ours/but now we dream apart” have oblique edges but lead you to think about separation and split. Maybe the themes are not confined to love and bonds: more, a wider assessment of society and its ills. Marten sees the song as a rally against greed and the shallowness of the consumer climate. We live in a time where advertising is thrown at us and there is a zeal for status and possessions. The human touch and honesty of life is being replaced by something cheaper and nasty. Our heroine is content with “time well spent” and happy with just sugar (you get images of Marten sat with a cup of tea; watching the world pass by) whilst her sweetheart (or a friend) wants “milk”- something more. We get a nod to Marten’s earlier work- looking at the safety of home and satisfaction with modesty- and it is fully explored here. Her friends and suitors always want more- slaves to the consumer society and shallowness of life- and this is causing annoyance and frustration. As the boy wants (“More than you can drink”) the sting will be felt. Marten is masterful when it comes to mixing direct words with the oblique. Knowing the origins of the song- what compelled her to write it- there are mysterious lines and open-for-interpretation thoughts.

Delivering her lines with bird-song call- the words flow and dip- the percussion rifles and patters- creating a constant movement and sense of anxiety. One-half of you get caught in the serenity and beauty of the vocal- like a rainbow waterfall in the sun- whilst you are struck by the urgency and desperation that lingers beneath. The video for the song is a bit of light-hearted fun. Wandering in gardens of flowers- Marten speaks the language of flowers (花言葉) - there is a Japanese theme to the video (not sure which flowers are in the video: showing my lack of knowledge). Approached by a samurai- who kicks and gestates into thin air; there is a comical silliness to things- our heroine is in a more serious frame of mind. Her thoughts and mind are troubled and harrowed: a young woman that wants things to change; she loathes the shallowness that is being displayed. I am always thinking what motivated the song. Whether she is affected by a lover- that wants more than he can handle; cannot appreciate what is in front of him- or the world at large- how we all become consumed in goods and products; not satisfied with what we have. Poetry, beauty and wisdom runs through Milk & Honey. The song’s subject- again; whether a boy or a larger sect- live for overkill. “All you want is honey”- something sweeter and less healthy- “well, honey I tried” sings Marten- her voice at its most raw and affected. Whilst the percussion tumbles and rolls; Marten lets her voice hover and float in the air. Such a gorgeous and startling vocal makes every word sound compelling and urgent. It is clear- at this point, anyway- a particular fella is in mind. Someone that is “so kind”- the virtues are being extolled- but it seems “all the roses have died”. What was once rooted, beautiful and pure: it has been replaced with something sour, distant and dying. Maybe her sweetheart was tempted by another- a girl that was cheaper and more shallow- or he has been lured by the shininess and neon-lit buzz of the city- casting-off and pursuing challenges afar. With every Billie Marten song, you are left to make you own mind up. The heroine wrote the song based around greed and selfishness: you hope Marten never becomes one of those people. Everything we know about her- the maturity and how she spends her time; the zeal for home and her love of the simple life- suggests a young woman that is not going to sell-out and change at all.

Maybe wealth and attention will change her- maybe relocate to the U.S. or London; embrace a certain excess- but one hopes she remains grounded and humble for years to come. In a music world where the best of them succumb to something fake and shallow- grabbing all the money they can get; excess and gaudiness. Marten is looking out on the world and baffled to an extent. She has her home pleasures and is happy in her life: the way others lust with greed is causing a lot of upset. The way she used milk, honey, and sugar as metaphors for levels of greed- the fat of milk and sickliness of honey; she wants something simple and basic- is beautiful. You get a very homely base that has biblical and literary links. The land of milk and honey is a term applied to Israel: when God spoke to Moses at the burning bush; he informed him he’d redeem the Israelites and bring them to a spacious land (one flowing with milk and honey). The Book of Exodus-referencing title gives the song multiple levels and possibilities: such is the quality and artifice of the song. Showing depth and wisdom belying her years: Marten is a stunning writer who can make simple language deep and complicated- songs that compel the listener to unpick the words and interpret their own way. If you follow the video- which every listener should- Marten is dressed in a kimono. Karate and samurai fighters spar and tussle behind her- earlier, she is eating rice from a bowl and watching things go by- as she has a very serious look on her face. A charming and humour juxtaposition of the song’s cores: it provides lightness and comedic touches. Marten’s boyfriend/friend yearns for more- “You make it worse”- and is never going to be satisfied with a normal and happy life. It seems self-destructive and foolhardy- chasing a carrot at the end of a mile-long stick- but such is the way of the world. Milk & Honey sees Marten embrace instrumentation and elements more. Previous songs have been more sparse and uncluttered.

Whilst the vocal is mixed high and the star attraction: we get rolling percussion and horn blast; something contoured, rich and luscious. Marten’s voice is that weapon that will always be sharp, dangerous and fascinating. Maybe suitable of the video’s themes- the samurai warriors and playfulness- there is that blend of attack and beauty. Bedecked in fine robes and sat in beautiful gardens: almost metaphors for Marten as a woman. She is an eye-catching and stunning beauty: someone whose voice has sweet scents and floral beauty; there is gracefulness and serenity- an edge of huskiness and world-weary fatigue. Whilst the chorus is addictive and memorable- the way Marten pronounces words “All you want is honey” is charming and gorgeous- you are motivated and captivated on a deeper plain. Our heroine brings the most from the lyrics. Whether elongating a word- “rumours” is a two-syllable, well-held note that has such gravity- or girlishly twirling lines- few artists have such economy, depth and talent. By the time the song ends: one wonders how things worked out for Marten; whether she will ever be the same again.

It’s “all gone” as Marten attests in Milk & Honey. A song that looks at general greed and consumerism- although, one imagines, a certain boy has left his mark- it is another wonderful song from a rare musician. Few artists- so young, at least- are so effective and consistent. As Long As was an E.P. that got people talking and boasted wonderful moments- Roots and Cursive are underrated gems- and now she has come up with Milk & Honey. Whether this signals a new E.P. - or part of an album- you know Billie Marten has more to come before this year is through. I would love to see an L.P. from her: bringing together past songs; some new material thrown in there. Such an imperious and peerless talent will have weight put on her shoulders. As much as anything, it is vital Marten remains grounded and gives herself time to be a woman. She is studying and has enough on her hands: one hopes the demands and rigours of music do not affect her negatively. I know how mature and level-headed she is: able to balance commitments and know where her priorities lie. Milk & Honey is something that would sound perfect on vinyl- appropriate given Marten’s love for old records. You get shaded of Joni Mitchell and Nick Drake- two artists that are very important to her- but you are hard-pressed to think of any other singers. Such a pure and un-distilled voice has few equals: her glorious tones are unfurled and explored in her latest track. A song that is already garnering airplay and attention- Radio 1 and 2 have spun it, I believe- it will be exciting to see where the 17-year-old goes from here. The U.S. will come calling- she would have plenty of fans out there- and she could pretty much conquer any part of the world. Few musicians leave such an impression in the mind: Billie Marten is a young talent we should encourage, support and look after.

A lot of attention has been put to Billie Marten’s voice. I have- over the course of my reviewing life- heard some splendid, luxurious and knee-buckling singers before. To my ear, there are few that rival the Marten. The pin-sharp beauty and etherealness is something you will not forget for a while. When you hear Marten sing: you are transported to ‘70s Folk and some of the greatest artists who have lived. While the likes of Mitchell are divisive- a hard voice to truly bond with- there is a warmth and addictive quality to Marten. It is not just the voice that entrances and seduces. Her songwriting- especially for someone so young- is mature, intelligent and poetic. Having studied English and Art at school: those subjects bleed into her songwriting. The lyrics and phrasing is beautiful and thought-provoking: Marten paints pictures and scenes with her voice; someone who takes the listener somewhere special and magical. Milk & Honey is a non-E.P. track that makes you wonder what is coming next. As Long As- her four-track E.P.- housed Bird: a song that amazed critics and raised Marten’s stocks. Before then, we had the likes of Ribbon and Out of the Black (a B-side recording of Royal Blood’s stomper). The Rippon lass has come a long way since her YouTube beginnings- she confesses, with modesty, they were not her best performances- and is shaping-up to be a future legend. Having played festivals and important gigs- gaining the paen and ear of Radio 1 into the bargain- who knows what the coming years holds in store? Songs like Heavy Weather and Bird- put Milk & Honey into that list- show a wondrous talent with a spellbinding voice. A mercurial human that lives, loves and drinks music: Marten is going to go a very long way. I can see (in 2017) an album coming- she has enough material- and inspiring hosts of young wannabe musicians. Marten has stated- in interviews- that the city can make her feel hopeless, scared and lost- among the Tube and rush of people- and day-to-day bustle. Milk & Honey is a song that will ensure Marten is not lost to us. She is a musician that is growing and spreading her wings; a rare songwriter that is relatable and loveable. If that smile, warmth, and personality (the love of alpacas too) does not grab you; the stunning, beautiful music surely will. Milk & Honey is a song that marks the arrival…

OF a stunning young talent.

 

[youtube https://www.youtube.com/watch?v=xNAmwWBy0nw&w=560&h=315]

__________________________________________

Follow Billie Marten

 

Official:

http://www.billiemarten.com/

Facebook:

https://www.facebook.com/billiemarten/

Twitter:

https://twitter.com/BillieMarten

Instagram:

https://www.instagram.com/billiemarten/

___________________________________

Music

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

 

 

ALBUM REVIEW: Echo Arcadia- Visions of Symmetry

ALBUM REVIEW:

 

Echo Arcadia

 

 

Visions of Symmetry

 

9.5/10

 

 

RELEASE DATE: Late-June 2016

GENRES: Indie-Pop

ORIGIN:

Edinburgh, Scotland

TRACK LISTING:

Into the Shadows- 9.5

Cinderella- 9.5

Setting Sun and Sinking Sand- 9.4

Beautiful Imperfections- 9.5

Rising Sun (Interlude) - 9.4

Ghosts- 9.5

Get Out of Here- 9.6

All Things Must Fall (Interlude) - 9.4

Occasional Bruises- 9.5

Voices- 9.6

The Last Time- 9.4

Hurricanes- 9.5

Broken Knuckles- 9.6

DOWNLOAD:

Into the Shadows; Cinderella; Get Out of Here; Voices; Hurricanes; Broken Knuckles

STANDOUT TRACK:

Voices

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THIS is going to be a busy one so I better…

get things kicking off. Not before I have had a look at a few things: the Edinburgh music scene; music endeavor (and ambition) - looking at the bands that have the fortitude to survive in the industry. Stating Edinburgh is a bustling climate for great music might be reduction ad absurdum- although it is something I feel myself coming back to. I find it startling that more people- critics and music lovers- do not come to Scotland’s capital for musical inspiration. London, L.A. and New York- the three biggest musical hotspots- are always going to gain favour and preference- at the expense of other, wonderful areas for musicians. The U.K. is a nation (or collection of countries) that has so much variation and diversity. Like our geography and climate: there are so many different layers and aspects; a rich, unpredictable thing. London is an evergreen, dependable place for music- my favourite city on Earth- but we should not negate other areas. I often seek-out Mancunian and Yorkshire acts: I know these areas are among the most fervent and stunning in Britain. Many people forget Scotland hosts so much tantilisng music. Even if you limited yourself to Glasgow and Edinburgh- forgetting all the other towns and cities that hold awesome artists- you can find so much wonder and gold. Edinburgh is proving to be a huge contender. If we look at the musicians who hail from here, to begin. Boards of Canada, The Incredible String Band, and Young Fathers- acts I have mentioned before when making this argument- are a trio of geniuses. Between them, we have a Mercury prize (Young Fathers) and downtempo bliss (Board of Canada’s album, Tomorrow’s Harvest, was among 2013’s greatest albums). Broken Records, Beta Band, and Josef K call Edinburgh home. You can see what diversity and mixture the city boasts: a cavalcade of brilliant, inspiring musicians. Echo Arcadia sits in the scene like the bearded, smiling chaps they are. One of the most distinguished and affable collection I have known: they are certainly (one of Edinburgh’s) finest bands. Reminding me a little of The Gothenburg Address and Board of Canada: they have a lo-fi, Shoegaze sound that blends into something rousing, symphonic and emotional. That is what I love about the guys: they do not pigeon-hole themselves; their music has such dexterity, range and heart- you would be hard-pressed to pin them down to a single sound or genre. Before I continue my point, let me tell you a bit about the band.

I have been following the guys since their earliest day. Having recently released the E.P., Into the Shadows, there is a lot of productivity and desire in the camp. Their 2014-debut, Beauty in an Average Life was among my favourite reviews from that year. The album possessed that- rare and inimitable- combination of gracefulness and potency. Songs build from sapling roots: growing and nurtured by a band simpatico; they blossomed into something wing-spreading, mature and staggering. Few artists come up with debuts as assured and complete. No loose edges and indecisions: an album that brooded and swooned; so many colours and threads went into its creation. There have been some changes in the Echo Arcadia ranks. Jenna White- who has featured prominently in their back catalogue- is no longer in the band- she is making her own material right now. This alteration has not affected the workflow and consistency. The band has retained their sound and composure: their latest L.P. is among their best and boldest work. White’s input has been valuable and hugely effective: her absence has challenged the band; they have come out fighting and inspired. Since Beauty in an Average Life, I have noted how the confidence levels have increased. The material has grown in stature and the group’s connection- the bond and understanding between them- has tightened and solidified. What we have now- with Visions of Symmetry is their finest work yet. They have managed to take the essence of their debut- and interim E.P.- and take that sound to new heights. Their survival instinct- in the face of change, upheaval, and financial strain- has been to focus on music and knuckle-down hard.

I have witnessed some serious fine bands crumble and dissipate without much warning. Maybe inter-band squabbles and egos have caused cracks- maybe something else. It is sad to see great musicians feel the pressure and call time. Quality and determination- in this modern time- is no guarantee of longevity and safety. There are so many other factors and considerations one must negate. Luckily, Echo Arcadia has weathered storms and prevailed: strong, steely and determined the boys are: who can stop them?! Most bands tend to go for the direct and unadulterated. With scant subtly and beauty: the instinct is to go for the jugular; present something attacking, fists-in-the-air, trousers-around-the-waist. The seedy, what-if-we-get-caught rush of music is one of the world’s great pleasures. I love nothing more than hearing a band really go for it: give us music that brings out the caveman- compels us all to unify in a throng of abandonment and unruliness. The trouble is this: with so many having that same idea; how can you distinguish what is good or not? In the end, you have a lot of Indie-cum-Alternative-cum again- Rock bands that all sound much-of-a-muchness. Those that challenge the zeitgeist- and dig deep into their hearts and souls- are those that win my affection. Subtlety and intelligence are not synonyms for boredom and beigness- quite the opposite, in fact. Artists that take time with their sounds- concentrating on atmosphere, emotion and depth- are a rarity, indeed. Echo Arcadia are perfectly capable of delivery a two-tonne missile to the guts: they are practically peerless when it comes to providing everyday soundtracks with that extra drop of beauty. Visions of Symmetry is an album that does what it sets out to do: grabs the listener and draws them into something personal, immersive and universal: a mass of contradictions that will not confuse- only inspire and amaze.

Into the Shadows ensures proceedings are undertaken with kick and urgency. Rampant, galloping guitar fuses with kinetic strings and burnishing electricity: the introduction gets you ready, primed and curious. Our hero is caught among “gentle declines”- that “hurt so much”- and is somewhat rattled. Risking an eternity in the shadows- as opposed to a “moment in the light”- one wonders the song’s origins. Maybe this is a reflection on musical success and exposure: the stresses and strains that can come with ambition- feeling the effects and pains of tortured days. Perhaps it is a wider assessment of love and relations: that need to keep your heart at bay; putting it on the line can lead to pain and loneliness. Whatever the origins, there is expression and soul in the vocal- Jenna White provides backing vocals here- that gets into the mind. The under-the-surface-seeking lead is hiding behind noises and keen to elude attention- the curiosity grows more and more. Echo Arcadia ensure their lead-off track is filled with tightness and mystery: they create a song that has a catchiness and depth; something revelatory and mysterious- a song you keep coming back to. Leigh Moyes’ tender burr gives every word a gravitas and conviction. Tony Dalton and Euan Mushet are a sublime guitar-and-bass combination. Between them, they create so much rhythm, discipline, and drive: giving Into the Shadows a grooviness and sense of flair. Dan Cieselski keeps the percussion rumbling and tense: Andrew Gray’s violin adds yearning romance and spine-tingling tenderness. The band is at their strongest when everything comes together: the vocals layer and the composition is at its most heated. Around a refrain of “Tell me tomorrow”; the listener will have their own interpretation and conclusion- as to what the song is about.

Cinderella begins with a more Country-sounding beginning. Aching strings and southern-fried electric guitars have certain tenderness and waltz to them. In a castle “made of marble”, the song’s fairytale heroine has an inner solitude and destruction. Her castle is crumbling and the ‘perfection’ of the tale is at odds with the reality of life. The band takes a well-trodden and familiar story and apply it to a real-life scenario. A beautiful piece of storytelling- telling the heroine not to “wait until midnight”- once more, I was thinking about love and relations. Perhaps documenting a band friend- or close associate- who should take a risk and go for it. “Cinderella moments never last”, as they attest. Moyes is at his most affected and focused here. Looking at a dishonest man- the girl is a trophy to him- there is a hopelessness and sadness throughout the track. Juxtaposing the idealism and false-reality of Cinderella: Echo Arcadia take it to street-level: a 21st-century equivalency that is imbued with relatable conflict and harshness; an updated, abridged version that is more relevant and honest. The Edinburgh band is masters when it comes to the hook-laden, singalong chorus. Cinderella has depth and wisdom to it: it boasts a heartfelt and swooning chorus; one that will get the crowds united and singing. Among the debris and deceitfulness: there is dreaminess and purity that makes the song so nuanced and stunning.

Setting Sun and Sinking Sand is among the album’s most reflective moments. Our man is searching for words and answers. Caught in the rain- and the rush of an incoming train- you get that danger and anxiety. The band are expert when it comes to metaphors and imagery: the ability to translate their inner-pain into something filmic and tangible. Inside a gorgeous, melodious vocal- one of the purest on the record- the band show what a focused, tight unit they are. No player steals the limelight: Echo Arcadia are at their peak when everyone is level and together; showing what a group they are. Caught between the setting sun and sinking sand- their equivalent of being halfway between the gutter and the stars- it is nice to hear White on the song- adding her beautiful and sweet-hued tones to the fold. A track that- hope the band don’t mind- Deacon Blue: you get touches of ‘80s Glasgow and modern-day U.S.- a wonderful blend of Pop and Country. Elements of Raintown (Deacon Blue’s debut masterwork) can be heard here. The group keeps cards close to chest, to an extent. You get images and unfolding drama: the hero is sinking and caught in a miasma; a strange purgatory that he cannot extricate himself from- the speculation and theories come thick and fast. Maybe assessing some turmoil and break-up- problems in life and obstacles faced- there is that blend of contentment and uncertainty: at every stage, one eye is focused on strength and progression; the other at lingering danger and something painful. Usually- and in lesser bands’ hands- you would get a series of muddled metaphors and lacking focus. Echo Arcadia turns Setting Sun and Sinking Sand into a well-crafted, memorable track.

Beautiful Imperfections starts with a haunted, affected piano. Solemn and punctuated: this is one of the few tracks that feature White on lead. Allowing her voice to shiver and rise- it is a heavenly, delicious sound- she is struggling with her consciousness. Unable to see the “darkness from the light”; reality is slapping her around the face. Among the beauty and etherealness of the vocal: the percussion gallops through; electronics swoon and vibrate; the bass keeps everything teasing, tight and controlled. The heroine (directed to her man) implores release and caution- to take his hands away from her. Maybe reflecting on uneven love and relationship qualms: there is a definite heartbreak and upset beneath the surface. Those entranced by White’s vocals might overlook the tumultuousness and pain in the lyrics. A tableau of tug-of-war and contrasts: it is another track that will mean different things to different listeners. The title (Beautiful Imperfections) suggests love/life that is flawed but satisfying: there are dark days but, at the end of things, there is plenty of comfort and safety. Beautiful Imperfections shows what range Echo Arcadia has. After the opening Shoegaze-via-Indie sounds; we now have something that blends U.S. Pop with classic Soul- the group never stay in a mould; they have such diversity and range in their arsenal.

Rising Sun (Interlude) is a well-timed, appropriate punctuation. After the heaviness and emotion of the previous number: we get a lovely instrumental that provides plenty of reflection and progression. As the title suggests, you get images of the sun rising: a new dawn breaking; the album reaches the end of one day- into the haziness and uncertainty of the new one. Squalling, fiery guitars have rapture and howl: a perfect representation of the breaking light; full of heat, promise, and rebirth. Whilst the guitars steal focus early on: towards the latter stages, the drums pulsate through; possessed of such energy and leadership. Being such a prominent component of the album (the percussion) comes through with strength and attack. Combined- that tense percussion and psychedelic guitar- you get contrasts, and weather; temperature and temperance- few bands are as brave (and assured) when going into instrumental territory. A needed and stunning palette cleanser: Rising Sun (Interlude) carries plenty of weight and repeatability.

Ghosts arrives next and is, by no means, transparent (ghost puns, hey!). With a little bit of Prefab Sprout at work- I can see comparisons between Paddy McAloon (Prefab Sprout’s lead) and Leigh Moyes- Ghosts has poetry and impressionistic touches: the word-picture sentiments are among the most vivid on the album; arresting and relatable to all. The band- like a young(ish) McAloon/Prefab Sprout- are full of invention and previous- delicate, beautiful songs that provide elegance and humanity. Take a gander of Steve McQueen (Prefab Sprout’s sophomore album) and Ghosts: you can hear comparisons and common threads. Aching guitars and consistent percussion- keeping the backbone tight- is augmented by multi-part vocals- White and Moyes unified and harmonious. Desolation and empty rooms pervade: deep emotions and scars are revealed; a troubled soul and sense of loss come out. When the song gets shadowy and foreboding: the vocals rise and the composition takes charge- spiked notes and spacey diversions; ensuring the track has evolution and relief. Demons are coming (for our man) among “debts that cannot be sold”. Echoes of ‘80s Post-Punk/New-Wave can be heard: to be honest, Echo Arcadia do not sound like they belong to any genre or time- they have that freedom and individuality that distinguishes them from their peers.

Get Out of Here ensures (Visions of Symmetry’s) second-half begins with bang, kick and rouse. After the emotive and spiritual predecessors: Get Out of Here deftly joins shimmering strings with rabbling percussion; a mix of romantic and street-level concrete. With the hero “crashing downwards” and crying- nobody had heard him- the time has come to fall away and disappear. Echo Arcadia is a band that trade in heavy emotions and a sense of depression. Most bands that do this- especially in the modern era- do not provide much musicianship, beauty, and hopefulness- even the darkest moments from Visions of Symmetry have hope and light. Maybe an assessment on musical or personal struggles- caught in a heartbreak haze and grip of anxiety- there is that desire to break free and flee. Inside the tales of woe and pain, there is plenty going on. Spacey electronics and elongated strings provide something curious and tantalising: the percussion and bass are consistently engaging and busy. Another song with that White-Moyes dynamic: you get one of the most personal and haunted songs on the album. Whether the duo is assessing their own relationship and love- and the way it has progressed- I am not sure. Moyes needs a place to rest- exhausted and exasperated by unfolding events- whilst White has a Siren-like grasp to her voice- something that pulls you in and does not relinquish. The band’s equivalent of When Love Breaks Down- more kids should taste Prefab Sprout (I’ll stop now!)- you have something bare-naked, honest and raw- a soul (two, including White) that have experienced upheaval and transition- they need clarity, grounding and happiness. Cavalier, adaptable songwriters- the band switch from Country vibes to stately grandeur- the songs never get too trenchant and mordant. The lush production and incredible band dynamics keep the songs from becoming too bogged and sad- Get Out of Here is one of the standouts from Visions of Symmetry.

   All Things Must Fall is an obvious-origin, and needed, interlude from the band. Ensuring the listener gets relief and rest between dramas- keeping fascination high and attention primed- it is another wonderful instrumentation. A more spiked and Progressive-Rock-sounding jewel- compared to the comparative restraint of Rising Sun (Interlude) - it is a short (55 seconds) song that is an emotional parable- a transitory assessment of the album thus far.

Occasional Bruises begins with a very tender and slight opening. Building from elliptical, sparse notes- that hover in the sky light an orbiting satellite- it is a nod to Beauty in an Average Life- the band’s debut album. White takes the lead and feels “stretched so thin”- someone remembered only for their sins. Feeling angry, obscene and stressed: again, you get impressions of love and relationship cessation. In the past- whether documenting a past or current relationship- there is that need to move on and re-evaluate. A missing puzzle piece- the whole album seems like a puzzle you piece together- one empathises with the heroine. You can hear a degree of strain and tiredness come out in the vocal: someone who has been through the ringer and wants things to change. Having White as a feature- she is not part of the band anymore- you get contrast and a different perspective. Moyes’ voice has its charm and exceptionalness: White brings in new colours and possibilities in Occasional Bruises. A pin-sharp and honey-rich voice: it sounds extra-wonderful when assessing something so biting, tortured and unsure. Amidst the confessional verses, the band ramp up the energy and tension. The guitars wail and rain with power; switching to something more sparse and pure- it is a song that has a constant flow and sense of unpredictability. At the song’s end- another fine mantra from the band- you get a unification of “Take me home”. Echo Arcadia are adept at the multi-suite, blossoming song. Occasional Bruises starts with sparse notes and room; it builds its emotion and weight- ending with something choir-like and epic.

Voices is a striking, lumbering beast that takes you by surprise. The heaviest track on the album- nothing has exploded out the gates as hard- it is another turn from the Edinburgh band. Voices inside are eating the flesh- the song is full of stark and demonic images- and there is a battle inside the mind. Our hero is wrestling with a lot of pain and confusion: perhaps appropriate the composition has that unfettered, to-the-bone sound.  The demons have been let in and are unruly tenants: the sort that call the name (of our man) are take up residence in his soul. Among the torment and devilment of what is happening: you get a sense of hope and fighting-against-the-tide. The band keeps the song sharp and fascinating: one of the most complete and intriguing compositions across the album. Twirling, barbed wire guitars sit with pizzicato strings; the percussion fires and lurches forward- the bass keeps everything in order and solid. Voices boasts one of the most impressive vocal turns: from both Moyes and White. Filled with emotion and personality- you discover new sides and avenues from both- it is another song that demands more time and attention- sure to be a live favourite. One of the longer songs from Visions of Symmetry: you feel it could be longer, still. Progressive-Rock guitars and spacey elements make you think of Pink Floyd: the lyrics and vocals might put you in mind of Prefab Sprout- uniting some of music’s finest from the last few decades. By the time the song ends, the listener is left exhausted and affected- it is a song that is both personal and universal. Everyone can relate (to an extent) to what is being laid down and sung.

The Last Time is, rather sadly, the “last time I’m going to depend on you”. Once more, there is regrets and anger: our hero has had enough; having to rely on someone that has not been true and loyal. Delivering the words with a definite, rhythmic wave: that line- about depending on you- has that chant-able quality. Allowing Celtic-flavoured strings to come into the mix: the song has a blend of accusation and reflection. The twin vocals- from Moyes and White- are natural bedfellows. Having worked together for years: that combination of tones finds new ways of exploiting beauty, light and brilliance. Whereas previous numbers have been in-depth, intimidated and harassed: there is a sense of looseness and breeziness to the track. Although its messages- the lack of mistrust and moving on- are hard-hitting and serious subjects- you cannot resist the vocal delivery and its warmth. The Last Time sees the band embrace the Country-cum-Celtic side more prominently. Throughout the album- and up to this point- there have been explorations into various genres. The strength of a great band is one that can experiment and still remain focus and true to themselves. Rather than stick with a stolid and inflexible sound: Echo Arcadia stretch their wings and investigate all music has to offer. The Last Time builds in intensity and is one of the album’s biggest attractions. Those electrifying and affected vocals: the huge composition: the sticks-in-your-head-for-ages melody. Everything is present and correct.

Hurricane has been released to the world. A song the band is very proud of: you can see why it has been released as a single. The tender and compelling beginning kick-starts one of the most full-bodied tracks across the album. Our hero’s voice is at its purest and most focused. Impure spirits are flying overhead: his skin is being grabbed and his heart is being tugged. Inside “Deep regrets and tidal waves”- there is no end to the hurt in Camp Arcadia- there is always the chance of improvement and redemption. Whilst the hero looks for answers and fights against dark omens: you feel the best days are still ahead. Hurricane manages to be evocative and powerful with words and control- rather than needless explosion and histrionics. The band keeps things bubbling under the surface. They are never too full-on or undercooked: just the right amount of power and emotion. The need for pain to disappear- waves eradicating the struggle- you can empathise with our lead (White features in the song, too). Assessing a Devil-like figure- who has pulled him into quicksand- images and storylines come to the fore. Inside such a meaningful and personal song- Moyes provides one of his most emotive vocals- the band treats it with dignity and respect. Percussion, once more, is a domineering force: always looking for space; crackling and keeping the backbone strong. One of those songs that defines modern-day Echo Arcadia: it brings all their strengths into one song. By the closing notes, you know how much attention and ‘self’ has gone into the song. The writing/creation process must have been a hard thing- it is a very personal and dark song. Such is the nature of the album: you can tell how much the band has sweated and worked on every number.

Broken Knuckles builds ever-upwards. Growing from faded and sapling roots: it becomes more intense and intense as the seconds elapse. The listener is given time to reflect and breathe- the song is an instrumental. It is a number where the instruments and composition take charge: create a huge amount of story and emotion without any vocal interjection. Once more, there are nods to the Beauty in an Average Life-days recordings. The floating-around-space vibe comes in hard. Nobody will be immune to the gracefulness and epic-natured strings; the scenes and ideas that are painted. In a few notes, the band is able to conjure so many scenes and thoughts. Similar to the ‘Interlude’ numbers: it gives you a chance to fill the gaps and come up with your own ideas. Having explored so many sides to love and life- the struggles faced- it is nice to kick back and embrace something ornate, orchestral and filmic. Those expecting Broken Knuckles to be the end; they need to keep listening. Like Nirvana- and the hidden track that appears at the end of Nevermind- the band is not done. Fast-forward six-or-so-minutes and you get a final utterance. An angry and Spoken Word presentation- where our hero concludes the album’s themes and angers- it has a spooky and unease sound. The listener is made to listen and pay attention to the song. Although the hero is “At one with the darkness” you feel like a lot has been learned. Having gone through such an eventful past- an epic self-discovery- we get an unexpected closing sermon. A suitably impressive and memorable way to end the album- cliffhangers are left and questions hang. One wonders whether the band- and the lead, especially- have found happiness and answers- or whether that voyage continues on.

Every member of the band should be applauded for such sterling and dedicated work. Each player adds huge weight and importance to the album. From the dilligent and powerful percussion work to the leadership bass parts; the varied, colourful guitars- along to those rich and stunning vocals. Backed with incredible production values and consistently engaging songwriting: Visions of Symmetry sees Echo Arcadia hit new form and reach their peak. Across the 13 tracks, the band explores new territory but keep their core sound intact. Existing fans will find continuation from Beauty in an Average Life: new listeners will be provided with new treats and explorations. The Edinburgh clan sequestered themselves away when recording the album. Toiling over subject matter and deadlines; looking for fresh inspiration: the time and torment have paid dividends. What we have is a solid and fantastic album from one of the U.K.’s most underrated acts. Maybe the single-minded themes- that tend to err on the self-reflective and negative- might seem challenging to some listeners. The hardship and darkness is shrouded in beauty, hopefulness, and light. Although each song shows struggle and pain: you never feel bummed-out and off-put at any point. What you do get- and the biggest takeaway from the record- is a group with a very bright (and long) future ahead.

Echo Arcadia ensure their sophomore album is packed with memorable songs and stunning moments. Having faced transitions and challenges: the Edinburgh elite have produced a focused and deep album: one that provides immediate beauty, relief and urgency- revealing layers, nuance, and revelation across time. I have heard Adele has secured a- gaudy and monumental- recording deal: the biggest-ever in musical history. Whilst music’s battling struggle to get gigs and focus: it seems flabbergasting that one of music’s, let us say it, mediocre stars is commanding such prestige. Where most consider self-preservation and survival a goal: Adele is commanding riches and multi-million-pound deals. Her best days are past- since 21, she has been treading water and becoming rather dull- and it is a sad reflection of music- there is such an imbalance and inequality. I wish some of that money- God knows how many millions it was- was invested to the great new acts emerging. The likes of Echo Arcadia promise much more depth, quality, and potential: they have to struggle in the trenches with the rest. That said, the hirsute boys have been busy interviewing and performing. They have built a name and reputation in their beloved Edinburgh. The video for Hurricanes has been released: the fans and media are keen to extol the virtues of the track. It shows how far the band has come. Beauty in an Average Life contained plenty of gems and highlights: Visions of Symmetry promises to best their debut work.

In late-June- when the album is released- ensure you grab a copy and discover something fantastic. It is great to be back with a terrific group that has many more years left. They will not suffer the ill fates of the industry: where Rock gods call it quits and promising Pop stars pack their bags. There is such a warm bond and connection in the band: they love what they’re doing and that comes through in the music. Having put their heads down to record Visions of Symmetry: that hard graft and dedication has paid off. The L.P. overflows with immaculate beauty and raw passion. In spite of the 13-track (plus hidden song) length: there is never a sense (the album) is bloated or unfocused. Each song buys its way into the mix. Where next for Echo Arcadia? They will be releasing the album in a matter of days: a chance for the world to hear some of 2016’s finest songs. After that, there will be tour dates and promotional duties- the obligatory interviews and press trail. I hope their touring sphere extends down south. It would be great to see the guys seduce London: they could get a series of gigs lined down here. In fact, they have the potential to amaze far and wide- both nationally and internationally. Given their progression and reputation: I can see the boys enjoying success in the U.S. Maybe money and personal plans will limit that- or put it on hold for a few years- but it is something to think about. Visions of Symmetry is a welcomed return from a terrific group. In a year that has seen the mainstream steal focus- the Radioheads and James Blakes take top honours- it is good to see an under-the-radar band…

PRODUCE something that is could rival any of them.

 

[youtube https://www.youtube.com/watch?v=Z8MojorRC9c&w=560&h=315]

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Follow Echo Arcadia

 

Official:

http://www.echoarcadia.co.uk/

Facebook:

https://www.facebook.com/echoarcadia

Twitter:

https://twitter.com/EchoArcadia

Instagram:

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Music

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FEATURE: Radio Adage- From the Basement, Up

FEATURE:

Radio Adage

From the Basement, Up

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IN the coming weeks, I want to feature more on…

interviews, features (The Classics Series especially) and the like. Having completed my latest review- Ina Reni’s doggerel gem, I Thought You Were Gay- I am looking at a new concept- much more than a vanity project- that fills a real-world gap. I have got more into radio- until recently I was a devotee of C.D./digital music: no radio exposure- but I understand how vital its existence is. I have always balked against local radio- semantically null chatter and repetitious, middle-of-the-road music- and some of the national alternatives. Without radio, today’s new starters (in music) will struggle to get exposure. It is all well relying on social media and the Internet- you will only get to see a certain amount of bands and acts. Due to the compartmentalised and in-the-right-place-at-the-right-time nature: radio is a more successful, disciplined and dependable form of music streaming.

One of the reasons I have fallen for radio is B.B.C. 6 Music: the station that provides music the people. There is no political affiliation and leaning: they do not have to promote the mainstream; focus on brand-new talent. What (‘6 Music does) is sets aside from the crowd. The over-played and lame artists take a back seat: in its place you get an eclectic range of old and new songs- quality is the paramount consideration. It is not just the music that compels me: the D.J.s are among the most knowledgeable, witty and interesting you will hear. No inane chatter and half-arsed jokes: you get unadulterated quality and consistency.

There are a number of Internet stations cropping up. For those that state radio is dwindling in popularity: that assertion could not be further from the truth. Perhaps certain demographics are spending less time listening to mainstream stations. The proliferation of music-sharing websites means a lot- the younger audience- get their music from the Internet. With that said: there is a wave of new stations that are attracting younger listeners. Not dependant on ticking boxes and playing chart tunes: they are unencumbered and free from restraint. From Radio Hoxton and its uber-cool hosts: there are options for any type of music-lover. B.B.C. 6 Music will always be king for me: the inspiration behind my own ambitions…

Radio Adage is a way to distill the station’s ethos and charms into a once-a-week, four-hour (could be trimmed) show. Essentially, it would be a podcast that went out the same time each week- pre-recorded but something that engaged the listeners. At this moment (the station/show) is in its ideas stage. It is newly-born and not ready to walk. Aside from the logistics of costs, equipment and co-hosts- I will be doing more a producer’s role- I am excited anyway. In terms of features: I have got a few lined up:

NEW TRACK OF THE WEEK: A song from the mainstream- a single released that week- that is the week’s best.

NEW ALBUM OF THE WEEK: The best commercial album of the week- 2 tracks will be played from the album.

CLASSIC ALBUM: An influential or memorable album that deserves more exposure- 2 tracks will be featured from the record.

In the first show, I will be going with The Cardigans’album, Life. Future weeks will see the likes of Fleetwood Mac and Stevie Wonder in-focus. The first show will see the Swedish band’s sophomore album. A Pop gem from the ‘90s: it is one of the most underrated albums from that period.

CONTINENTAL DRIFT: Each week (Radio Adage) will feature a new act from a different continent. Whether Australia, Asia or North America: we will bring you an astonishing artist.

LISTENER POLL: In the week leading up to the show: a head-to-head poll will be launched via Twitter. Putting two artists against one another: the winning act/song will be featured on the show.

The first broadcast will put The Smiths’ Girlfriend in a Coma against The Ramones’ Swallow My Pride.

UNSIGNED HEROES: A chance to play a new track from an unsigned band/artist.

INTERVIEW/PERFORMANCE: This will involve a musician/band coming in and performing a couple of tracks; a small interview- they get to choose a song to end the feature.

ELECTRIC ROULETTE: Each week will see a new subject being addressed. It may be Soul or 1980s music: a certain artists or album. A small discussion will take place before a song plays.

The first week will go to the 1990s: its influence and how it has shaped modern music.

DROP THE NEEDLE! A chance to feature a terrific L.P.: something that benefits from the immersive experience of a record player.

The first album in the spotlight will be Miles Davis’ epic, Kind of Blue- and a track from that record.

CONSENTUAL GROOVE: A way to get collaborations occurring. This section will see a new collaboration: artists coming together to create a new song.

THE ORIGINAL: A mixtape from a selected listener. They can select three tracks and why it is special to them.

FEATURED ARTIST: Playing a song from a featured act- and talking a bit about them.

The first show will see Fleetwood Mac under the microscope.

COCKTAIL CLUB: We select a cocktail and find a song that matches its ingredients.

Show one will see a boulevardier selected: Louis Armstrong’s Mack the Knife fits the description well.

THE LONG SONG: A chance to play a six-and-a-half-minute-plus track in full.

The first song on the board will be Black Sabbath’s War Pigs

There are quite a lot of features there: I want to include more. Bringing listeners in more- the way B.B.C. 6 Music does- it would be good to have some like-minded features (a Biorhythms-cum-Desert Island Disco thing; The Chain-meets-Small Claims Court perhaps?). The best and more potential-laden features will feature- I will be asking people which sound most appealing. The idea- behind the show and station- is to have something that fills a market gap- an Internet station that does things unlike anyone else.

The show would try to mix the humour and fun of ‘6 Music- especially Sean Keaveny and Radcliffe and Maconie; The Frank Skinner Show on Absolute Radio- whilst playing exceptional music and the best sounds around. The breakdown of music played will be: 60% mainstream/older; 20% brand-new, unsigned acts; 20% new, under-the-radar sounds- artists like Beach House, Yak and Rozzy Plains.

My first song- that will open the show- will be Lauryn Hill’s Superstar: we will end with The K.L.F.’s Last Train to Transcentral. In terms of playlists and songs; I have a few acts in mind: Leftfield, Steely Dan, The Streets; Chemical Brothers Michael Jackson, Queens of the Stone Age; Everything Everything, Lana Del Rey, Tears for Fears; Funkadelic, Prince, Beck; Neneh Cherry, Beastie Boys, Pearl Jam; Stevie Wonder, Black Box, Paul Simon; D.J. Shadow, Janis Joplin- and that’s just the ‘older’ artists. There will be a great range of fresh songs and unexpected gems.

What about going forward? I need to look at costs and studios: a place around London I can set things up. I have mentioned the music features (above). There will be other aspects, too. The London Underground will see go to a Tube station destination and focus on the community there. A spotlight topic will put various issues in focus- like mental health and animal welfare- and talk about them. There will be film reviews and a comedy segment. I am not sure which are the best features- from the ideas above- but I am determined to get the thing started- find a mixture of presenters (a two/three-person team) and get it all started.  I will be up in London in a couple of days: formulating ideas and putting more work into it. Any feedback/opinions/ideas would be much appreciated. I will come after bands and people- to help and feature- and start the ball rolling. I am one of those who feels radio needs more attention and focus. If the wave (radio pun) of Internet stations has proven anything:

THEREis a huge demand out there.

TRACK REVIEW: Ina Reni- I Thought You Were Gay

TRACK REVIEW:

 

Ina Reni

 

 

I Thought You Were Gay

 

9.7/10

 

I Thought You Were Gay is available (to pre-order) via:

https://itunes.apple.com/fi/album/i-thought-you-were-gay-single/id1107169738

RELEASE DATE: 25th May 2016

GENRES: Pop; Soul; Jazz

ORIGIN:

Berlin, Germany/London, U.K.

____________________________________

EVERY time I look for a musician- in order to review them- I seek something…

different, unique and special. These may seem like words that can be applied to a whole host of musicians: you’d be surprised how few actually fit under that banner. I am not suggesting the majority of new musicians sound like others- little distinction or personality- but it is getting harder and harder to sound truly fresh and without comparison. Today, it is easier to record music than ever before. The cost involved- to create something quite basic, at least- is fairly inexpensive. You do not need to go to a studio and fork out thousands of pounds: the bedroom-trained, D.I.Y. musician is becoming more prevalent and in vogue. Because of this: we are subjected to so many different kinds of artists. Those that remain in the memory- for whatever reason that is- should be promoted and applauded. I hear so many artists that can be compared with others- they do not stand from the crowd and give anything we haven’t heard before. My featured artist is someone who has her influences: she is one of the most idiosyncratic musicians I have heard- you’d be hard-pressed to think of anyone else. Before I come to her, I wanted to have a quick look at international artists- those hailing from Europe, especially- and why London is providing a second home. When we think of brand-new music: often, our minds go to the U.K. or U.S.- maybe Australia- but do not really concentrate on mainland Europe. German bands- Ina Reni was born in Germany- like Dagobert and Karies are two laudable German bands: the latter is fresh out of Stuggart. Der Ringer, Cro and Susanne Blech are providing what a diverse and strong musical economy Germany has. The likes of Granville, La Femme and My Friend Is are putting France on the map- from a nation that has provided M83, Phoneix and Nouvelle Vogue. Europe should not be overlooked- with regards great, innovative sounds- and ignored. What I am finding- besides the proliferation of great, European acts- is a pull towards London. The capital is an alluring and tantalising pull for so many musicians: a city that provides opportunities, fascination, and cosmopolitanism. If you are one of the London detractors- I hate those people- who whine about pollution (I don’t often walk down the streets choking on exhaust fumes) and overcrowding (what do you expect?!); the ‘rudeness’ (I live in a small place where the people are far ruder) and high costs (the wages are higher: there are affordable parts) really get on my nerves.

Those who bemoan and criticise London have not given it time and really spent time there- musicians are realising what a city (London) is. Ina Reni has a fascinating, rich D.N.A.- half-German, half-Bulgarian- who is based in London. Finding inspiration and spark in the capital: it looks like she is here for a little while at least- let’s hope she stays a lot longer. Before I raise a new point: let me introduce Reni to you:

London based German/Bulgarian singer-songwriter Ina Reni breezes in with her own brand of cool, sassy humour.  Having performed widely across London’s important music venues and festivals, Ina made herself known for her distinct vintage inspired pop sound. Her debut single “I thought you were gay”, in which she describes the awkward situation that results from misjudging your best friend’s sexual orientation, will be released on 25th May.

Having been involved in the Berlin Jazz scene- as a 14-year-old she was bitten by the Jazz bug- Reni relocated to London last year. Since then, she has been immersed in live performances- taking in some of the most charming, hospitable parts of the city- and making big strides. I Thought You Were Gay is her debut cut- her E.P., Plan A, will be unveiled later this year- and marks the arrival of one of music’s most exciting talents. On paper, Reni is pretty much your ideal musician. Her music has originality and memorability: humour, stand-out lines and a true Pop core- plenty of power, soulfulness and upbeat. She has those girl-next-door looks: a gorgeous young woman who captures the heart pretty readily. It is when you dig deep- looking at her past and what she is capable of- does your heart start to skip a bit. I have encountered so many artists that are rather pedestrian and one-layered: when you dig deep, there is not much to wet the appetite. In Hungary, artists like Compact Disco and Amber Smith have come through- it is a nation that has produced a lot of fine and stunning music. Reni has a fond love for Eastern Europe and the music there- you get shades of that in her single. Throw in an admiration for Jazz; a love for 1950s and ‘60s Pop- mix that with modern-day Hip-Hop and Reggae. Reni is making strides and working hard to achieve her dreams. Realising music is a battlefield- you need a huge budget and team behind you most of the time- she is not willing to compromise creativity for quick success. Her goals are to remain in music for a long time: forge a successful career and get her music into the charts. Nobody would bet against the young star getting there. She is one of the most determined and passionate artists I have seen. Constantly working and crafting material: I am confident Ina Reni will be a big star in years to come. Anyone that is expecting your run-of-the-mill, committee-directed Pop starlet should think again: Reni is her own boss and calls the shots- she is not someone that does things like everyone else.

The opening seconds of I Thought You Were Gay have a certain charm and playfulness to them. The piano notes dance and skip with merriment and infantile abandon. It is hard to listen to the sound without having a smile on the face. Such a care-free sense of alacrity comes out. After the introduction- that has Jazz shades and elements of Ella Fitzgerald to it- our heroine comes to the microphone. The song looks at a particularly personal moment. Recounting her gym trainer- who will remain anonymous- there is that recollection of the initial meeting. Ensuring her voice is determined and clean: “You were so funny/and I loved your sexy elephant tie” compel myriad images and something quirky. Knowing some history behind the song- Reni disclosed the origin in an interview with FM- the listener will be picturing scenes and seeing the story unfold. Reni has admitted how her sexual orientating compass sucks- trying to guess whether someone is straight or not. In this case, she is somewhat off the mark. Finding the guy cute and funny: he is good for an afternoon’s fun/training- not someone that would be interested in her, necessarily. Having become “best friends” and having a lot of fun: the assumption is everything is fine and dandy. It seems- as far as Reni is concerned- there will be no sexual tension and misunderstanding. The guy started getting “all weird” which caused confusion and head spin. Initial impressions- the guy being gay perhaps- is contrasted by a very clear come-on and flirtation. It seems (the guy) has romantic intentions and is interested. Praying it is not true: our heroine delivers the realisation with a sense of shock and weariness. The penny is dropping and the truth has come out: a rather ironic choice of words, perhaps? I can imagine that moment- when the guy reveals he’s straight- would have caused embarrassment and blushes.

It is not clear what would have caused the initial impression- about him being gay- but perhaps it was the fashion sense and a playful manner- maybe a muscularity (TOO much time in the gym) or just a general aura. Whatever led to this assessment has come back to bite. Reni hums and purrs: she puts so much expression and conversation into the song. Not just delivering her lines with a formulaic approach: there are tender little utterances and accentuation. The chorus mixes ‘50s Jazz with ‘60s Pop: horn blasts that recall the glory-days of Bacharach and David. Composition-wise, you could imagine the likes of Dusty Springfield or Dionne Warwick tackling such a sound. The warm, brassy blasts sit beautifully against punctuated piano and scuffling percussion. The band is tight and in-step throughout- ensuring the chorus is as big and urgent as possible. Reni brings in syncopation to give the story a sense of rush (perhaps blood rushing to her head) and nerviness. Finding out her trainer is straight- it would be interesting to see how that conversation went- there is a sense of backing out and stuttering. Few would be able to reverse the chat with much dignity and good excuses. Being in a sticky situation- “I didn’t mean to turn you on”- there is a distinct Englishness to the track. Idioms and phrasing would lead you to think Ina Reni was a British artist- she reminds me a lot of Yorkshire musician, Jen Armstrong. As I Thought You Were Gay progresses and caresses: you fall in love with a very pure and silky voice. Sexy and velvet-smooth on the one hand; sharp and cutting on the other- such a striking and gorgeous sound. There are no histrionics and needless baubles: Reni keeps her voice level-headed and straight (again, poor choice of word) throughout. Having entrenched herself in a mess of confusion: she now has to explain herself without sounding cruel and callous. “This really goes beyond my area of expertise” shows a truth and humorous side. Not used to these situations- although her sexual-compass-clumsiness suggests there might have been occasions like this- it is a very embarrassing and fraught scenario. Whether recalling a German man- or whether this happened in London- there is no going back. Once again- something few artists do- there are idiosyncratic tics. Certain words are repeated: the pace changes and the song is constantly fresh, nuanced and unique. So many Pop artists deliver verses and choruses with a very basic and unsophisticated approach.

Ina Reni is a musician that brings the most from her lyrics. Ensuring her words hit the mark- and the song compels endless replays and repeats- she provides a wonderful vocal. For a man that wore “purple skinny jeans” and weird fashion- that is from a “different galaxy”- you could understand the assumption. If I saw a man wearing clothes like that, I might (falsely) assume he were gay. Being straight- but having a certain flamboyance to him- others are likely to make that mistake- Reni should not be too hard on herself. Not your average love song: I Thought You Were Gay is one of the most individual and original songs I have heard in a very long while. Nobody who hears the song could have it on in the background- it is something that demands full attention and imagination. I could see our heroine and instructor conversing and training. Sending her topless images- he seems like a bit of a sleaze to me- the ‘replay’ button was always hit- thinking the guy was gay and had no sexual intentions. Knowing the full truth- the guy was hitting on her- it is all-the-more embarrassing and awkward. There is a charming naivety to Ina Reni’s plight. If the tables were turned- and I, or someone like me, gained such attention from a woman- you would not (I wouldn’t, at least) assume she were gay.

If the truth were different- and she was sending pictures and flirty texts are harmless fun- it would be quite a shock. There is something about the dynamic here that keeps the song from being too tense or controversial. Every line will produce a smile; a stand-in-the-mind line and a modern-day Wildean witticism. For those laboring national stereotypes- that those of Germanic origin lacked a sense of humour- will have that myth dispelled. Ina Reni is not someone who goes for cliché and easy tracks: those that point the finger at guys and go for the woe-is-me-like songs. Turning a rather red-faced scenario into something productive and cathartic: few musicians have the skill and nous to do this. Whether Reni has heard of Jen Armstrong- one of those singers that go for the humorous side of life- the two should share a stage. Clearly, London has had an effect on our heroine. Vibing from the British sense of humour; the playfulness and oddity of the streets- I Thought You Were Gay is blends ice-cold cut with warm, sunny vibes. The guy has misunderstood all the signals and words. The two parties are on different plains with different agendas: she wanted a professional bond; he wanted something more romantic and sexual. In a way, you feel a sense of sympathy for the heroine. She has done nothing wrong and has been rather honest throughout- unknowing a guy was into her. In retrospect, the signs were all there: the topless snaps and forthrightness; the unfiltered flirtations- the misguided fashion was a red herring. “My hottest friend”- the guy will take this as a compliment one, day- you cannot deny one thing: many would have assumed he was gay. Among these heated and retrospective words: the composition continues its plight and offensive. Those parped horns still recall Bacharach/David gems; the percussion has a Jazz sensibility; there is deliriousness and infantile smile- an infectious and joyous soundtrack. Such a rich and colourful musical cornucopia: so many different genres, themes and ideas are presented in the song. Knowing what a strong and memorable composition is at hand: it is repeated with passion and delight; I can see the song being a live favouirite. The closing seconds see Reni layering her voice- “I didn’t mean to turn you on”- and harmonising. A very soulful and spine-tingling vocal choir: it is the perfect way to end the track.

I have always loved Ina Reni’s voice but it really hits its peak here. Constantly beautiful and smoky; honeyed and sensuous- so many different emotions can be found. The production values ensure the words are clear; the voice is high in the mix- so many artists distill their vocal; making it hard to decipher the lyrics. The composition does not get second billing at all. All those gorgeous strands are given proper representation and attention. Each element is blended together expertly to ensure I Thought You Were Gay is a stone-cold hit. It is a track that could easily make its way into the charts- embers of Meghan Trainor and U.S. contemporaries come to mind. Reni blends Americanisms and British witticisms together. The Pop sounds recalls California and L.A.; the lyrics have a British sensibility whilst the composition bring ‘50s and ‘60s Pop together with Jazz and Hip-Hop strands. You know how much attention and dedication have been put into the song. It is not a track that has been lazily slung together to get YouTube views and airplay. So much heart and work has been put in: for that reason, I Thought You Were Gay deserves acclaim and applause. Reni’s voice is one of the most stirring and striking in current music: someone who could make any subject sound intoxicating and essential. Few musicians bring humour into their music- and get away from straight love songs- so that’s another reason we need to hold Ina Reni close. Make sure you grab your copy on iTunes (on Wednesday) as it will put a smile on your face- you will be quoting the lyrics for weeks to come!

I have known Ina Reni for a while and am excited to see just what she can achieve. Right now, she has a crowdfunding campaign- at https://vimeo.com/162746942- that will help ensure her career can continue and grow. Reni arrived in the country with ambition and determination. She has had to busk and perform on the streets: gaining experience and ensuring her voice is heard. Now- and for the coming months- she has gigs booked and a chance to seduce new crowds. She is someone that can easily seduce and get people hooked. There is an honesty and openness to her: a woman that wants to succeed and bares her soul through her music. A brilliant voice and rare talent: few people will be immune to her charm, strength, and drive. I can understand the lure of London: it is somewhere I have always yearned to live; will figure a way to work there very soon. Reni has many stories to tell- that will come to light in Plan A- and I feel we all owe her time, attention and consideration. Her backstory and upbringing has seen her travel from Europe to the U.K. She has tirelessly worked to get her music heard: the story is only just begun. The rest of 2016 will see I Thought You Were Gay being released, performed and (let’s hope) widely celebrated. After that, what is in store? An E.P. will be out and more gigs, for sure. So many new musicians are being dented and demotivated by the sheer cost of making music: the day-to-day reality of getting your ideas onto record. A hierarchical and money-intense industry: a lot are being scared off and limited. I guess there is no quick fix or easy resolution. Those who want it most- success and attention- have to keep going and battle. Reni is someone that will not give in and knows what she wants. Support her crowdfunding campaign as it will allow her to make music and get videos/songs made- without having to worry and stress.

That is the goal for any musician, I guess: being able to make music, unconstrained- free from the shackles of financial woes and struggle. I Thought You Were Gay highlights a unique artist with a sly humour at work: someone who works beyond the boundaries of been-in-love-got-my-heart-broken-the-guy-is-a-jerk songs. Plan A- when it is released- could see some heartbreak among the humour: Reni is not someone easy to pin-down and predict. For a debut single: I Thought You Were Gay is one of the most vivid, stand-out and original I have heard. I opened by looking at the appeal of London; the European music scene and artists that distinguish themselves from the flock. Ina Reni is not going to give up on her dream: she will find a way to do it and remain determined. London is the city to make music in- it is quite an expensive place to live/exist in. I can understand the coax and seduction of London: it is one of the world’s finest places; where young, ambitious people go to- to escape the boring and pointless towns/cities.

This year is going to be an exciting one for the German-born artist. She has already achieved a lot- her social media numbers are climbing; a few great gigs under her belt- and there is a lot of love, online. Fans are lining up to pay tribute to a very special musician. She is not someone who hides behind production teams and is told what to say. She is a very real and relatable person that opens her heart and speaks directly to the people. There is no fakery and ego: no pretense and controversy. What we have is a determined and strong woman who has left her birth nation to forge a new home. It is a scary and daunting prospect but have no fear: we will hear a lot more from Reni very soon. I cannot wait to hear new music and have loved investigating I Thought You Were Gay. You get- with the song- a gorgeous blend of modern-Pop and ‘60s sounds: ice-cool sassiness and something quite delicate. It is hard to distill and define her song- I have tried my best- because there is so much depth and layers in there. At its heart- I Thought You Were Gay- is a singalong, fun song that has plenty of memorable lines. For all the talent show-bred Pop stars out there: we need to start backing those doing things honestly- those with talent and longevity. I Thought You Were Gay is available to buy on Wednesday- it is available on SoundCloud- and worth every penny. The best and brightest musicians need funding and ongoing support. Such a competitive and expensive industry: we need to be more vigilant and aware of musicians’ plights. Ina Reni knows what she wants and is striving to achieve it. Having released such a bold and standout single…

WHO would bet against her?

___________________________________________

Follow Ina Reni

 

Official:

http://inareninow.com/

Facebook:

https://www.facebook.com/ina.reni/?fref=ts

Twitter:

https://twitter.com/inareni

___________________________________

Music

https://soundcloud.com/inareni

TRACK REVIEW: The fin.- Through the Deep

TRACK REVIEW:

 

The fin.

 

 

Through the Deep

 

9.5/10

 

 

Through the Deep is available at:

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

RELEASED: April 29th 2016

GENRES: Dream-Pop

ORIGIN:

Kobe, Japan

The E.P., Through the Deep, is available from June 3rd:

https://itunes.apple.com/jp/album/through-the-deep-ep/id1089821169

RECORD LABEL:

Lost in the Manor

MASTERED BY:

Joe Lambert

TRACK LISTING:

White Breath

Divers

Through the Deep

Heat

Anchorless Ship

Night Time (Petite Noir Remix)

DOWNLOAD:

Divers; Through the Deep; Anchorless Ship

STANDOUT TRACK:

Through the Deep 

____________________________________

THIS review marks a bit of a milestone for me…

as this is my first Japan-based review. Such a large and populous nation: I am shocked this is my first Japanese band. I know the country has such a rich and busy music culture: rarely, do we get to see too many Japanese acts make their way to our shores. Before getting to my featured act: it is worth looking at the music coming out of Japan; the genre, Dream-Pop- focusing on what the rest of this year holds. Whether you have heard of Dir En Grey and The 5.6.7.8.’s: Maximum the Hormone or The Pillows- Japan has created some seriously great acts. Arashi and An Café can be added to this- rather long- list. Many of- when thinking about Japanese music- get two ideas in our head. We think of Heavy-Metal and Rock: heavy and hard bands that leave little to the imagination. A lot of people- rightly, to a degree- think of Japan as quirky, strange and bizarre- there are many Japanese musicians whose music reflects that stereotype. While Japan does things differently- and has a unique way of life- that is not to say we should assume stereotypes and clichés. In the same way Britain is not a stiff-upper-lipped, repressed nation of red phone boxes, posh-speaking toffs and chimney-sweeping East Londoners: Japan is not a country filled with neon-lit signs and head-melting oddness- there is subtlety, beauty and grace to be discovered. If we label a nation- thinking we have their number- then it closes the imagination and limits our expectations. In the same way, U.S. perceptions of Britain is way off the mark- very few Americans bother to visit us- we are just as naïve about Japan. While I have listed some awesome acts- that play things with grit and anger- the likes of Jinn, Luna Sea and Nightmare (a trio of Rock acts) are not the ‘norm.’ Japanese Pop music- or ‘J-Pop’ as it’s known- is its own culture. Country Girls and Buono!; Juice=Juice and Dream- just a few names (among dozens) that have made Japanese Pop music synonymous with invention, quality, and originality. I am a big fan of Perfume’s blend of Bubblegum-Pop and Synthpop: I love their bright fashions and instantaneous songs. In that spirit: Morning Museume are one of the freshest- and most distinct- girl groups in Japan.

It is great discovering The fin. They are a band you know will transcend to the big leagues and travel the globe. Before I carry on, let me introduce them to you:

Hailing from the vibrant Japanese port city of Kobe, The fin. are a reputed and singular attraction in their homeland due to their stylish Europhile blend of synth-pop, chillwave and dream-pop, complete with English lyrics addressing universal themes of everyday uncertainties. Often referenced alongside the likes of Beach House, Phoenix, Metronomy and M83, the quartet have, since forming in 2012, performed before thousands of rapturous fans at major Japanese festivals including Fuji Rock, Rising Sun and Viva La Rock. Not content with such acclaim in one country alone, Yuto Uchino (vocals and synths), Ryosuke Odagaki (guitar), Takayasu Taguchi (bass) and Kaoru Nakazawa (drums) set their sights worldwide and in 2015 embarked on a major tour of the US, which included a performance at SXSW, before making their first forays into Britain with a handful of dazzling shows in support of their debut UK EP, ‘Night Time’. Their much-anticipated return to these shores this spring comes in the wake of a second British release and a growing recognition that there’s an act of rare, sophisticated beauty creating a big noise in the East. It’s time to turn your gaze to The fin.

There’s a theme running through the beauteous new EP by The fin. that permeates more than just the song titles. Oceanic imagery features heavily in Yuto Uchino’s lyrics, as references to ship, shore and submersion loom large. The singer articulates these tales of impermanence and transition to a shimmering, sophisticated indie art-pop backing that will be familiar to fin. fans, even though there’s a greater electronic influence to this EP, as synths carry more of the weight, melodically and rhythmically.

Opener ‘White Breath’ builds on its vehement piano/vocal intro to envelop a cropped hypnotic groove with springy keyboard stabs, dubby fx and, of course, Uchino’s soaring harmonies. “I saw you jumped into the sea/What could you see from there?” the singer then questions to the symphonic arpeggios of ‘Divers’, set to a characteristically minimalist beat and crunchy bassline that segues into a second act of controlled yet quietly euphoric trance-pop.

The title track, ‘Through The Deep’ opens with a swell of surf guitar and thump of percussive kick drum that evolves into a stylish, deceptively complex composition that hums with sonic exploration and an ambient energy that will only tease the listener with its brevity. Even shorter is the 67 seconds of ‘Heat’, which finds The fin. at their most stripped down, just a wash of sine-waves, a sparkling melodic refrain and Yuto’s distinctive tones proclaiming the sudden onset of intensity. Finally, ‘Anchorless Ship’ is a modest masterwork of smooth, uncluttered funk built on a sustained pulse resembling the sonar ping of a submarine’s radar. A wash of synth then announces a change of course towards the tune’s expansive, ecstatic coda, as Yuto sings about deeper immersion in dreams.

The compelling video to ‘Through The Deep’ depicts a colourful traveller in a post-apocalyptic landscape, who happens upon a decrepit fairground and its ageing inhabitant. It’s a video full of grace, space and mystique, and as such is the perfect accompaniment to the ethereal wonder of The fin.’s new EP.

The band is in the U.K. at the moment. Tonight, they are in Brighton: taking part in The Great Escape 2016. They take on Tooting Tram and Social on 26th- visiting Hull in the meantime. After that, the band visits Portsmouth: they head back to Japan in June. The Kobe-born band mixes English lyrics with a Japanese sensibility: ensuringng they translate across the globe and have a wide fan-base. There are Japanese acts that sing in Japanese: there is that danger they will not be fully appreciated by the English-speaking world. The fin. have no such issues: their fan numbers are rising and their stock is rising. Going against expectations and predictions: Yuto Uchino, Ryosuke Odagaki; Takayasu Taguchi and Kaoru Nakazawa mix J-Pop with something more European (U.S. flavours in there). We in the U.K. have our share of Dream-Pop artists: it is a delight to see a Japanese act come through with similar sensibilities and ideas. That is not to say The fin. are westernised and betray their roots- Japan has a growing number of Dream-Pop acts. Sugarplant and Lemon’s Chair are a couple of acts that you should seek: showing just what Japanese musicians can do. The fin. are able to unveil Through the Deep (released on June 3rd) and its title track is seducing a lot of people. I have been lucky to receive the E.P. - one of the first to hear it in full- and can pay testament to the stun and beauty throughout.

Through the Deep’s title track is available on YouTube- complete with a gorgeous and unique video- and has gained a lot of praise. Whether you see The fin. as dreamy and surreal; hazy and pretty- few people will come to the same conclusion. Such is the strength of their music: so many different emotions and adjectives reveal themselves. Through the Deep opens with a shimmering and endeavouring sound. The guitar shivers and vibrates- oceanic and land-straddling- whilst a heartbeat-like percussion drips with emotion. After seeing the song’s title- and hearing the initial notes- I get impressions of self-actualisation and discovery: a band that is looking for answers and looking to brighter skies. The song’s composition does nothing to dispel that assumption. Yuto Uchino wanted The fin. to be seen as borderless and without boundaries- not rigidly defined and clear-cut. Through the Deep sees a haphazard wandered stumble upon a (abandoned and desolate) fairground (the video).

That light-and-shade contrast can be found in the first phases. Whilst the song’s video sees a wide-eyed girl run to the fair: the song’s lyrics look at “emptiness” and sentimentality. The fin. are masterful when it comes to emotional outpouring and meaning. They are revelatory and open yet always keep the full truth inside. Through the Deep could be seen in a number of different ways. Perhaps it is a tale of finding love and direction in life. You can see it as a general assessment of solitude and pain- each listener will have their own views. One thing that cannot be disputed is the unadulterated beauty and emotion that explodes from the speakers. Even when insular and self-examining: The fin. are a stunning and constantly engaging and mesmeric. You get vibes of The xx- whatever happened to them?!- and something cinematic and twilight. We hear of ships “with no destination” that are “drifting on the waves”- themes that run through the E.P. as a whole. I was thinking about a break-up and distance in a relationship. Maybe the duo- if it is taken from personal memories- are going through the motions and seem rather fragmented. There is that desire to rekindle an old spark or find common ground- knowing that things will never be as they were. Such evocative music calls for deep analysis and speculation- well, from my standpoint it does- and you cannot help but imagine and conspire. Before the half-way mark; the vocals become more unified- colour and layers come together- as the beat (that heartbeat pound) become more defined and clear. Elongated, stridulated electronics fuse with ocean-side waves- the resultant cocktail is one that cannot be beaten. Few bands are as astonishing and talented as The fin. There are a lot of Dream-Pop examples on the market: few have the originality and authority of Kobe’s masters.

When The fin. released their debut E.P. Glowing On the Red Shore- around the same time as their L.P.- they were fighting against being on the outside. Unconventional and brave: the Japanese band have never had the full backing of the media and movers-and-shakers. Through the Deep’s self-titled anthem sees them in uncompromising and dazzling mood. You will be hard-pressed to discover a song as gorgeous and fascinating. The band has grown in popularity in Japan- although they weren’t a couple of years back- but write music that has international appeal. They do not stick to J-Pop moulds and limitations: their music breaks beyond Japan and is intended for the wider world. Having traveled the globe- across the U.S. and Europe- The fin. have picked up a lot of inspiration and influence on the road. Through the Deep is an intense and fleshed-out diamond that shines with determination. Uchino demonstrates what an extraordinary visionary he is- the rest of the band take a back seat when it comes to songwriter- and what a talent he possesses. Awash with reverb and soulful vocals: they evoke so much emotion with so few instruments. The keyboard and percussion are matched with subtle guitar strings- a veritable painting unfolds before your ears. Through the Deep is a song that could mean everything and nothing: a look at love, life and death; each person will take something new and special (from the song). By the end notes, you sit back and struggle to capture everything- you need to come back to get a full reign on the song. Although the quartet have not fully captured the Japanese mindset- there is a need (in Japan) to quickly release songs; lest you leave things too long- they are a huge hit overseas. When they return home- and finish touring- they hit the studio for album number two. It will be exciting to see how far the guys can go. They have such a bond and talent on-board: few other acts are as consistent and limitless than them. Through the Deep shows just what a force of nature The fin. is. They have few equals and no limitations: by freeing constraints; they allow their imaginations and thoughts to run free, unhindered.

The fin. released Days With Uncertainty in 2014 and showed how formed and united they were. The 11-track album sported no weak moments and possessed a huge amount of diversity and urgency. Even at their dreamiest and most seductive points: the band was fully capable of stealing the breath; taking you somewhere (almost) spiritual. Forward two years- with a bit of music in the interim- and there is a blend of evolution and consistency. The band has not changed their sound too much- they didn’t need to- but sound more confident and adventurous than before. Sonically, they employ more risks and have expanded their palette- the same goes for the subject matter and themes. The performances are tighter and the vocals contain more emotion, layers and nuance. What we have- with Through the Deep- is an E.P. that will please existing fans- able to recruit plenty of new followers. White Breath is awash with swooning vocals and layers of sound: the track is an instant energy-burst and takes you by surprise. The beauty-assault grabs you by the scruff and demands your attention. One of the band’s only- forgivable and understandable- weaknesses is the accessibility of the vocals. Being Japanese: their English vocals can suffer some indecipherability and clarity loss. That is a minor quibble inside music that is more about mood and feel- the concision and lyrics are almost second-nature. You get embers and waves of ‘60s sunshine: Psychedelia and melancholy entwine in a rapturous and cohabitate bond that sparks with life and lust. The casual listener will be enthralled by the goosebumps-inducing vocals and dreaminess: those more serious will appreciate the subtle composition: one that adds extra emotion and grandeur to the track. The guitars flick with subtlety: the electronics buzz and burble- the percussion drives things; the bass packs plenty of groove and kick. That blend of expression, rhythm and purity combines in a stunning opening track.

  Divers begins with a more gradual and subtle pace. The electronics start to rise: leading to a very ‘Japanese’ sound. When hearing the cascading electronics: your mind is transported across the oceans to the city of Kobe (Japan’s sixth-largest). That contrast of mountains and the metropolis come together: the rush and crowds; the space and fresh air of the open. Listening to the- entrancing and elliptical- electronics and you swim in a very pleasing and warm sea. The percussion claps and slaps: the waterfall-sounding ‘tronics flow and smile. The band pulls all their key strengths together. The harmonious vocals- the blend of male and female tones is a pleasing contrast; a consistent high- and twanging bass ensure Divers drives and swoons- a verbal embodiment of the song’s ideals and values. Whilst lyrics look at ocean depths and discovery: the band take your mind with the song; allow the listener to become ensconced in its tenderness. The fin. display their incredible musicianship throughout the song. The bass features prominently- a pounding and bouncing centrifuge- while those electronics continue to evoke chills and sunshine. Mixing ‘60s-Pop with something modern and city-bound: one of the highlights from Through the Deep.

   Heat sweeps into life with an intent and direct vocal. The band layer the voices to create something heavenly and brief- the song is the shortest on the E.P. (1:07). Showing how economical the band is- they do not allow any track to outstay its welcome- you get a song that is by-no-means a filler- it is one of the most beautiful pieces on the E.P. Mysterious and wise- the lyrics could be taken literally; perhaps attest a romance- the listener will have their own take on the song. Sometimes the band’s vocals get buried underneath the compositions- that clarity issue- but, once more, there is more emphasis on the complete sound. Judging it on pure motives and merits: Heat showcases how effective the four-piece is. Few groups are able to write a 77-second song that puts so much emotion and evocation together.

  Anchorless Ship is (perhaps the E.P.’s) most direct and hard-hitting song. The light-baring and sunny vibes are there: everything is tighter, louder and firmer. The electronics plink and flash- rather than stretching and flowing- and there is an underlying fear and uncertainty. The song’s title suggests a rudderless and lost soul: someone floating in the ocean without gravity and destination. For that reason: the vocals are more one-dimensional and distilled. It would be disappointing to discover an E.P. where every song sounded the same: each track has its own soul and way of working. Anchorless Ship is the most unique and distinguished song from Through the Deep. The band’s most ‘serious’ revelation:  there is still playfulness and comfort to be found. That combination of electronics-and-percussion (with some mean and cool bass) sticks in the head. A regimental march that builds momentum as time elapses: a powerful swan-song that will want you desiring more (such is the definition of a truly great E.P.). Anchorless Ship moves through different stages and movements. After the tense and introspective opening: a building- delirious and cinematic- middle unfurls its wings. At first, the electronics hop and jump- an innocence and sense of playfulness- before it fizzes and bursts into life. The band raise the stakes and inject everything they have into the song. The bass swaggers and dances: the vocals become more defined and deep- a beautiful blend of ‘80s Synth.-Pop and modern—day J-Pop.

A few weeks ago: I did not know who The fin. were. It has been wonderful unravelling and inspecting a stunning and dream-like band. The fact they hail from Japan makes it much richer and interesting. I love getting stuck into London music and the sounds of the U.K. We should all support our home-grown artists and what is happening on our doorsteps- not forgetting to promulgate the best international sounds. It has been so long since I have been in Asian waters: the last review (in this continent) was when I assessed Indian artist, Antriksh Bali. It is not often I get to go beyond Europe and North America- Australia is a rare treat- and witness a great act that is producing stunning music. The world of music has become poorer over this year. With the loss of so many great artists- from David Bowie and Prince- we look to the new generation for inspiration and guidance. Whilst we might never witness those kind of titans emerge: that is not to say music, in general, cannot inspire and amaze.

As listeners/purveyors: we are too defined and restrained with regards musical experimentation (besides those who really have a burning passion). I would never have thought to check-out a Japanese Dream-Pop band- luckily I am in a position where these kind of musicians come to my attention. From this serendipitous discovery: I have been compelled to investigate Japanese music and the acts coming through. The fin. have set tongues wagging with the track, Through the Deep. The same-named E.P. will get the senses tingling and buzzing. A five-track (plus a remix) shows what consistency and talent is in The fin. camp. The bond- between the players and instruments- results in some of the most scenic and soul-baring music you can imagine. I will keep an eye on the Kobe-based band and what we can expect. I have not been able to see them this time- they head back to Japan in the coming weeks- but I will check them out when they return to these isles. The future is looking very bright for them. They could have a residency in the U.Ss or Australia- two nations that embrace the kind of music they play- and the U.K. has been gobbling them up like sweets. If you are unfamiliar with the quartet- and I’m guessing you will be- then check out their single, Through the Deep. When their E.P. arrives (in a few days) grab it and let its magic entrance you. That is one of the beauties of the music industry: there is so many variation and unexpectedness out there. With Japan’s The fin…

THEY epitomise that statement… and some!

 

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

_____________________________________

Follow The fin.

 

Official:

http://www.thefin.jp/

Facebook:

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

Twitter:

https://twitter.com/_thefin

Instagram:

https://www.instagram.com/the_fin/

___________________________________

Music

https://soundcloud.com/user745587

 

 

TRACK REVIEW: Kindest of Thieves- Wanda

TRACK REVIEW:

 

Kindest of Thieves

 

 

Wanda

 

9.3/10

 

 

Wanda is available at:

http://kindestofthieves.bandcamp.com/track/wanda

GENRES: Americana-Blues; Ragtime; Roots Music

ORIGIN:

Leeds, U.K.

The E.P., Cul-De-Sac, is available via:

http://kindestofthieves.bandcamp.com/

TRACK LISTING:

Wanda

White Feather

Bones to the Gurney

Baudelaire Black

Want You Something Rotten

DOWNLOAD:

Wanda; Baudelaire Black; Want You Something Rotten

STANDOUT TRACK:

Wanda

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OVER the next couple of days, I am reviewing everyone from a…

Japanese band to a Germanic solo artist- with some Trance/Electro. music thrown into the mix. You cannot say music lacks variety and range. My featured act- before I formally introduce him- embodies charm and originality. In modern music, there is that need and desire to be ‘ultra-modern’: sound of-the-moment and urgent. Consumers are not as predictable (as many artists) assume. The charts and mainstream are filled with artists that are like-minded, staid and overly-familiar: modern-sounding but without much distinction and colour. I would like to see more artists look back at the past and incorporate that into their music. There are musicians that blend decades and genres into their sounds: to my mind, even that can be limited and tame. Maybe it is seen as ‘uncool’ to revert to past days: it is 2016, so why would we want to hear something based out of the ‘50s, for instance? Well: consider this. Music (as we hear it today) did not just come out of nowhere: it has evolved over time and owes a debt to the early Blues masters of the ‘20s and ‘30s. The only reason music stands the test of time- and has mutated through the years- is from that initial basis. Who knows whether we would have a music industry at all were it not for those bygone performers? The best and most innovative albums/songs have drawn from a variety of sources and sounds. We cannot just look at music and assume it should all sound chart-ready and instantly digestible. The greatest albums of 2016- James Blake’s The Colour in Anything and Radiohead’s A Moon Shaped Pool- were/are packed with sonic innovation, changeable moods and stunning invention. The Pop charts are far too flaccid, rigid and distilled. I yearn for artists that put something interesting and unique into music. Christopher J. Fox- not the most eloquent way of introducing someone- deftly manages to be ultra-modern and vintage at the same time. He is a one-man-band of force and beauty. Taking his inspiration from an array of genres- Blues, Ragtime; Folk, Gypsy-Swing- we have an artist that certainly stands out from the crowds.

It is with pleasure- perhaps invariably- that my attentions return to Leeds- can never seem to escape the darned place! Having moved to Leeds- born in Manchester- Kindest of Thieves (Fox’s mysterious alter ego) has found a natural home. The Yorkshire hotspot is synonymous with embracing retro. music. Over the years, everyone from Electro.-Swing revivalist Little Violet- A.K.A., Cherie Gears- and The Holcombe Family String Band (sadly defunct) have come under my radar. I am not sure what it is about the city that breeds such a wave of rare musicians. While the likes of London and L.A. have a variation of acts: Leeds seems to surpass them all. With a lot of bands calling time- lack of popularity or the pressures of the game- we need to start paying attention to artists that are worthy and have the potential to last. I was sad to see The Holcombe Family String Band- a similarly-quirky and brilliant Leeds bands- disband recently. Their Hokum-cum-Ragtime sounds possessed swing, flair and something innocent. Looking back at simpler days: the group combined the romance of the past with modern production values and ideas. Kindest of Thieves does things in a similar manner. He (Fox) dips into the music’s past and shines up some (long-forgotten) sounds: stylising them and adding shine. Keeping faithful to the original text- making sure the genres still have their soul and heart- we get something eclectic, electric and new. It is like going into a fashion boutique. Kindest of Thieves scours the racks for various colours, fabrics and styles: experiments- with age and design- to come up with something dazzling and unexpected. Perhaps that was a little pretentious of me, but you know what I mean? He is a mixology and cocktail-making machine; he’s an innovator and risk-taking musician: however you see Kindest of Thieves you cannot deny this: there are few other acts that do things the same way! Before progressing- drilling down to the music and Cul-De-Sac- I am always impressed by a musician that can take things into their own hands. The musicians that impress me most are those that can transgress the biggest problem of (in my opinion) today’s music: the lack of ownership and personality.

So many artists are committee-written and have packs of writers on their albums. Even Beyoncé- an artist whose album Lemonade documented her rage at Jay Z (her ill-advised and disloyal husband)- had so many cooks in the kitchen. That vexed me somewhat. Why would you put something so personal onto record and have other people write it? Beyoncé is a woman who is capable of writing a song: does she need a dozen other people to make her (personal and distinct) messages come to life? If you are not able to write music yourself- or need a glut of producers to help you out- then you should not be in the game to start with. Those who have the talent and capacity to create music- from the initial germ to the finished product- gain my respect and adulation- regardless of the resultant quality. Kindest of Thieves is an artist I have been watching closely for a number of months now. Fox impresses me with his passion and authority of older-days music. Cul-De-Sac is a five-track E.P. that takes us to the ‘40s and ‘50s: a slight detour to the U.S.; a saunter to the northern coasts of the U.K. That is why Kindest of Thieves resonates and affects: you get so many places, decades, and genres in a single song. We need to start appreciating the musicians that want to keep history alive. Those ignored and overlooked types of music- Ragtime, for instance- deserve respect. At Cul-De-Sac’s heart is something contemporary and ‘today’. The songs combine a D.I.Y. charm with something slick and professional. If you have not followed Christopher Fox’s imaginative machinations: you owe yourself the opportunity to discover something rare and brilliant.

The Taxidermist (the E.P. released in September 2015 showed what a talent we had in our midst. The three-track record laid-out Fox’s stunning imagination, workmanship and wordplay- the way he could entwine personalities and portray love in a new and unexpected way. A fine and astonishing work: Cul-De-Sac expands that (early) promise and turns it up a notch. Right from the very first song: you are captivated and hooked. Whilst other songs (across the E.P.) have some oblique edges and mystery- not directly aimed at a particular person- Wanda is one of the most heartfelt and clear songs on the E.P. Our man wakes up to the morning and begins Wanda with bleary-eyed charm and rouse. If you thought Wanda was a pure and dedicated love song: there is teeth and humour to be found. The hero does not wake to “your leather hands”. Right there, you might imagine an ‘older’ female in the song- perhaps a misguided tryst- or someone that is not a typical heroine. The morning has come and there seem to be regrets and mistakes made. With any Kindest of Thieves songs: right from the off you start to get imagining and conspiring. My mind went to a sunlit bedroom- a small room in a quiet town- where our man is tip-toeing and collecting his clothes. Maybe my mind is starting shallow: there might be something more innocent and chaste at heart. The composition instantly evokes the glory-days of Ragtime and early Blues. Christopher Fox is a musician that has surrounded himself with old vinyls: you can imagine him spending evenings sat, embroiled in scratchy 45s- needle-jumping records from U.S. Blues champions and British Ragtime bands. With each passing second, the smile broadens on the face. The rather ‘uncontoured’ breasts and supple wrists are matched by a questionable girth: our boy’s bed has been ground to the floor- the mattress is getting a severe workout. In a year where love songs either sound sworded and seedy- drizzled in sweat and tongue- or distant: here, we have something charming (a word that will be used frequently in this review) and funny. Whatever caused this comical mismatch: you cannot help but jump into the song and imagine the parties in the morning. Fox is a man that has regrets and pain- having been struck in the eyes with various (loose-fitting) body parts- and is documenting his ill-fated congress. Compelled and energised by the spirited composition- it keeps cherry and heel-clicking right the way through- every listener will come away (listening to the song) with images and words bouncing around the brain. Wanda seems like a girl blighted by age, weight and gravity-defying size- someone that could appear in the pages of Viz. While our man stands back and assesses the wreckage- both metaphorical and literal, it seems- there is never any malice or cruelty.

Wanda has that old-skool Ealing comedy vibe to it: there is tongue-in-cheek and wit brimming to the surface. The cruel mistress- bedecked in furs and strange fashions- cause shivers for our hero. It would be great to know what motivated the song to come to life. With every Kindest of Thieves song: you know there must be some back-story to it. Wanda seems like a song that could only exist in the ‘30s and ‘40s- few modern-day writers have such a storytelling talent. Maybe Fox shared a bed with someone unglamorous and cruel: translating and modifying that experience into something vintage and humorous. Whatever the inspiration for Wanda: it is the perfect way to kick-start Cul-De-Sac. Nobody will be able to resist the spirited performance and stunningly pure vocal from Fox. I had to listen to Wanda a few times to let those words and scenes seep into the mind. The first listen was dedicated to embracing the oddity and quirkiness of things. Repeated spins saw me get into the lyrics and really dig deep. Even now- upon the fifth time- there is some mystery beneath the surface. The hero can “barely stand no more”- of the romance or life in general? - and he wonders how Wanda manages to carry on. By the two-minute mark, the song reaches its peak: the vocal is at its most inflamed; the strings sharpen and spin. Wanda consists of few original lines- codas and ideas are repeated for maximum effect- but that shows the economy and skill of Fox’s writing. He manages to make such a compelling and busy song with very few lyrics. The commitment of the performance and wide-eyed sense of surprise makes Wanda a real winner. It is a wonderful introduction to Cul-De-Sac and its finest moment.

After immersing myself in the likes of Radiohead, James Blake and Yak (there artists that are filling my head with all sorts of pleasure) I needed to step away from them and embrace something different- give my mind a chance to discover something new and lesser-heard. Kindest of Thieves- aside from the clever name- is a name you should familiarise yourself with. Other, similar-natured artists have (sadly) split: I feel Christopher Fox will not have the same problem. His social media numbers are solid: he is gaining new supporters by the week. There is a loyal band of fans that follow and cherish everything (Kindest of Thieves) does. The next gig- for those interested- will be the Warrington Music Festival. Fox is staying local at the moment: keeping himself in the north, at the very least. I would love to see him come down to London and play some gigs around here. I know there will be venues and pubs that would love to host him- clubs and spots that would go crazy for his music. That said, areas like Brighton would readily embrace the quixotic and heart-melting music- potential and possibilities around the U.K. Right now, Fox will be concentrating on the E.P. and ensuring people hear it. If you head over to his BandCamp page- the link is at the bottom of this review- you can hear the E.P. in full. Cul-De-Sac packs so much story and substance across its five songs. White Feather- one of the barest and most ‘live-sounding’ tracks on the record- begins with finger-picking and a delightful rush.

Compelling you to tap feet and get moving: the song spares no time in being aloof and wallflower-like. I am unsure whether white feather- the subject of the song- is a current sweetheart or a dream. “I want to take it out on you” and “perversion disrobes you” paint something dark and disturbed- other lyrics look at something more heartfelt and passionate. With every line of the song, the listener starts to imagine scenes and possibilities. Fox delivers the words with such passion and strength- marking himself as one of the most underrated singers in British music- ensuring White Feather sticks in the mind.  I was thinking about love and romance: maybe a particular girl is in mind; someone that is quixotic and strange; you never quite know the absolute truth. Kindest of Thieves is an act that combines mystery and direct: every song has layers and room for interpretation. White Feather has such an effusive kick and swagger to it: no listener will be immune to the rush and energy of the song. Fox grumbles, growls and rises (with operatic splendor): encompassed in gentle notes and a seaside-adjacent scene- embittered and affected by the “cold and rainy weather”. His heroine has a war within her- she seems quite restrained and bottled-up- whilst the hero wants something more explosive and expressionist. Maybe I have got my theory wrong: perhaps the ‘white feather’ is more a concept or emotion- perhaps something intangible and more theoretic. It takes a number of plays for the song to reveal its truths: when it does, you will be hooked on its unique blend flavor.

Bones to the Gurney swims, swallows and lurches into view. A drunken merriment brings the song to life. Again, you wonder whether love is in the midst: perhaps our man is looking at an object or chattel. Bones’ possess one of the most complete and busy compositions across Cul-De-Sac. There is rambling, train-hoping brass sounds; punchy and tight percussion- heartfelt acoustic strumming. This one-man-band puts such originality, invention and beauty into the music. An accomplished and intuitive musician: Fox displays an affection and understanding of everything he performs. A musician that has one foot in the past- the ‘40s and ‘50s especially- and one in 2016- there are few musicians quite like him. Bones to the Gurney puts thoughts and ideas into the imagination, no doubt. Our hero wants to be looked over one last time: perhaps a romantic supplication or something different? With every line, you wonder whether romance is being documented- Fox keeps his cards close to chest. Listening to Bones to the Gurney and it is like you are in the room with Kindest of Thieves. Listeners are brought directly into the listening experience- without periphery and baubles- and you are fully immersed in the song.

Baudelaire Black starts with a racing kick: getting off to the races with no thoughts of walking or calm. Strings twirl and nod- almost Grecian or Hispanic in their sound- whilst our hero wipes blood from his body (again, you wonder just what he gets up to in his spare time) his heroine wears a startling dress- the colour, Baudelaire black. Charles Boudelaire was a French poet (1821-1867) who remains one of the most influential essayists and art critics ever. Given that context: you start to imagine various scenarios and ideas. Baudelaire Black is (actually) one of the most straightforward and direct songs on the E.P. It is about a heroine- someone that is quite exotic yet relatable- wearing a dangerous smile. Fox makes sure his voice is compelling and impassioned to the very last note. Representing a heartfelt- if somewhat odd- love note: you picture the heroine and the exchanges that take place. My mind- and yours will be- was taken back to the 1940s- the juke-joints of the U.S.: where cigarette smoke fills the air and the hat-wearing suave lean against the bar- maybe I need to stop watching so many old films! One of the most stunning tracks on Cul-De-Sac- second, only to Wanda- and you have to tip your cap to Kindest of Thieves. Over the course of three minutes (and two seconds) you are taking into a dazzling mini-epic with anti-heroines and blood-shed: double-cross and deceit; head-spinning strings and something spider web-alluring beauty.

Want You Something Rotten brims with northern charm and accent. Even pronouncing the song: you will do so with a distinct accent and angle. Even before the song starts, I get images of ‘40s music hall stars with ukuleles: ditties about special girls and lampposts (got to stop listening to George Formby so much!). The track begins with our man at his most helpful: he has been “teaching slaves to kneel” and sets his sights on the girl. The hero has been lonely and lost for a little while: he needs something fulfilling and exciting- he is setting his mind on getting the girl. With a busy and special mind: the boy is not going to relent or demure. Once more, Fox combines a bedroom-made sound- again; you are in the room with him- with exceptional musicianship and dedication. The vocal brims with spark and urgency: the composition combines contrasting emotions and sounds; a compendium of dance, fever and exhilaration. By the closing moments, the listener has taken in so much. The words tumble and you envisage the conversations taking place. The music gets the body motivated and the senses primed: one of those songs that's destined for the live crowds. Want You Something Rotten has a singalong quality that would translate brilliantly to larger audiences. Whether Kindest of Thieves sticks to intimate, home-based crowds- or expands the horizons to something more intimidating- few can overlook what a treat Cul-De-Sac is. The five tracks whizz by and leave a deep impression- you are seduced into repeated investigation. Whether you are a fan of U.S. Blues and Gypsy-Swing- and the other sounds invested- you cannot refute the charm and memorability of the music. There are so few musicians doing what Christopher J. Fox is doing. If you want a smile put on the face- who of us doesn’t?!- then you need to do this: listen to Cul-De-Sac and…

HAVE your day brightened, thoroughly.

 

[bandcamp width=350 height=470 album=4082897301 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=2379527140]

______________________________________

Follow Kindest of Thieves

 

Official:

http://kindestofthieves.wix.com/kothieves

Facebook:

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

Twitter:

https://twitter.com/kothieves

_________________________________

Music

http://kindestofthieves.bandcamp.com/

 

INTERVIEW: Laura Saggers

INTERVIEW:

 

 

Laura Saggers

 

______________________________

SHE may have been born in the home counties- and lived in one of my favourite places, Chesham- but Laura Saggers is ensconced in California. After leaving the U.K. to pursue her dreams: Saggers has been building up a solid reputation- marking herself as an immense talent. A classically-trained pianist- one of the most stunning and jaw-dropping pianists I have heard- she boasts a tremendous Pop voice a rare accessibility. Add an infectious personality and huge passion for music: she seems ready-made and primed for the big leagues.

In a state- and part of the U.S.- where competition is fierce: the British-born musician stands above her peers. Having performed a range of stunning cover versions- and original singles including Summer Fling- there are few musicians quite like Laura Saggers. I was keen to chat and find out what the future holds: whether we will see new (original) music; how the U.S. compares (to the U.K.)- and whether talent shows are good for the music industry…

______________________________

For those new to your music: can you tell us a bit about yourself? You were born in England but live in California. What compelled the move to the U.S.?

I fronted an Emo/Heavy-Rock band back in the day (Sennah) and as the scene started to fizzle I decided it was time for a change. I packed my bags; bought a flight and literally never looked back. Honestly, can't believe it has been nearly 7 years since I did that. It has been such an amazing ride.

I spent a lot of time in Chesham- where you lived: my aunt owned a business there- and can imagine it has a warm and alluring pull. Do you miss places like this or prefer the excitement and expansiveness of California?

I love this question: it is like asking someone could they live without cheese or ice-cream- if that person were obsessed with both (I can't live with either F.Y.I.). I adore England and will always consider it home. I love the sarcastic wit of the English people and the countryside is stunning. London is a vibrant, eclectic hub of awesomeness but California had a scene for music that, for some reason, I wasn't being able to locate as easily in the U.K. I would say L.A. is the toughest town (socially) to move to and can really bring the most-optimistic person down at times. The opportunities it offers are absolutely endless: you have to be a ridiculously determined person and prepared to work your butt off in order to benefit from what it has to offer. I guess I am lucky that I was born with two stainless steel testicles- metaphorically speaking of course ;) Are there any local artists you could recommend at all?

YES! Of course. L.A. is a hub for aspiring artists. I have played and met with some great ones. My top-3- at the moment- are:

Ari - amazing girl from Canada. Heart of gold, a hustler: a hard worker; her Power-Pop voice is crisp and ripples with woman power. https://www.facebook.com/iamARImusic/?fref=ts

Brian Davis - an amazing songwriter. Every time I go to a show I get absorbed by his lyrics- such a great storyteller. http://playingforpennies.com

Everett Coast - just heard these guys last week and the harmonies are ON-POINT. Sounds something like a '90s Acoustic-Rock band (and oh-sooo-good). http://www.everettcoast.com/

Dreams is your latest cover song. What compelled you to tackle that number? Is Rumours- where the song features- one of those albums that's particularly special to you?

I have always loved Fleetwood Mac. My voice suits their songs and she (Stevie Nicks) was just- and still is- so incredibly bad-ass- who wouldn't want to cover her? I also chose Dreams (as) when playing around with it in the studio it really suited the patch sound on my keytar.

[soundcloud url="https://api.soundcloud.com/tracks/188432268" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Each of your recordings is defined by a very sultry and stunning vocal. Which singers/musicians were key to you growing up?

I love voices. I am always attracted to the voice before anything else. Ella Fitzgerald has always been a huge top contender for me. I also love Norah Jones, Meiko, Lenka, Jasmine Thompson; Tracy Chapman, Hayley Williams. Anyone who can sell a song to me when it is stripped-down and in its rawest form shows true talent to me. It is easy to play loud but give me a piano or an acoustic guitar- and one beautiful vocal- and I’m happy.

Summer Fling- released via Snapchat last year- showcases a unique style and vocal. Was there a particular time/person that inspired that number?

Ha, yes. I had just come back from a trip to England where I met the most dashing of young men and got whisked away into a summer frenzy. I felt like I was 16 on some super-random summer vacation. The trip ended; I came back: wrote a song about everything we did as a kind of diary entry and that was that. It was very unexpected: very unlike me; the experience was awesome.

[youtube https://www.youtube.com/watch?v=NdY6zUj9zhg&w=560&h=315]

On the subject of your own music: can we expect a Laura Saggers E.P./album anytime soon?

The album is done: ready to release. It has taken me two years to perfect but I am soooo excited about it and can’t wait to share it with everyone.

Having been performing/recording for a few years now: which memories stand out in your mind?

I played with an ‘80s cover band for a while and we played some massive stage. Some were in front of 20,000 people and I remember looking out to the crowd and dancing with keytar and thinking: damn I made it! This is what I came for and then instantly feeling proud and grateful all at the same time.

You are a classically-trained musician. You have had a very rich and impressive musical background- making your name honestly. Do you think the decline of (music) talent shows is a good thing? Are they- the contestants that appear on them- good or bad for music?

Hmm. I have been begged by family members to go on these shows and I actually did a few auditions for a couple of the massive shows and got through- but after reading the contracts I politely declined. The reality is this: those shows have a purpose. They are good, live entertainment. Nothing more. If you are 15-year-old and have nothing to lose then absolutely go for it- but you may notice that you will never find an actual professional musician on those shows. The contracts involved are so dangerously one-sided that it hinders the growth and ability for musicians to have an actual career. Don't believe me? Name 5 artists in past two years that came from those shows that are now huge stars.... nope? Thought so!

I came here to live the dream as a real musician. If I don't make it- in the commercial sense of the word- then so be- at least I will be happy with myself. But I'll be damned if I sell-out and crumble to a huge corporation that cannot guarantee me a future but profit from my talent.

Are there any plans to play in the U.K. this year at all?

I hope so! Working on it!

What advice would you give any aspiring singer-songwriters looking to follow in your footsteps?

Go take a business course in music. Go understand the industry you are trying to succeed in. The industry has changed so much over the years and it is so (so) crucial to understand what you are getting yourself into. You say you want to earn money by making music? Then understand where that money comes from and work your way backwards.

__________________________________

Follow Laura Saggers

 

Official:

http://www.laurasaggers.com/

Facebook:

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

Twitter:

https://twitter.com/laurasaggers

Instagram:

https://www.instagram.com/laurasaggersmusic/

________________________________

Music

YouTube:

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

SoundCloud:

https://soundcloud.com/laura-saggers

INTERVIEW: Alice Avery

INTERVIEW:

 

 

Alice Avery

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THERE are a lot of great artists coming out of New York: few as stunning, committed and passionate as Alice Avery. Expired Love- her previous single- was a mouth-watering release from Kicking the Habit: Avery’s E.P. that is released later this week. Obsessed (the latest single to be released from the E.P.) was released today. I was keen to catch-up with the Belgian-born star. With so many fans behind her- her music talked about in fevered tones- I was curious.  We chat about her influences and upbringing; how New York feeds into her music- what she has planned for (the rest of) 2016…

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For those new to you- and your music- could you introduce yourself? 

I’m Alice: singer-songwriter-actress, independent artist, runner; yoga-lover, vegetarian, optimist, serial dater; sister... (I feel like this is a dating app. bio.). I make Pop music with a bunch of different influences like Soul and Indie.

You hail from Belgium. How does the music scene there compare with other parts of the world? 

Musically, Belgium is mainly known for its Dance music. Besides that, there’s not a large amount of wildly-known Belgian artists. Stromae is probably our top musical export right now. It’s a small scene since it’s a tiny country and nearly everyone knows each other. There are a bunch of great artists and musicians.

I feel that it’s not always the greatest ones that get recognition- however that’s a problem everywhere; not only in Belgium. We have some great Flemish music, sung in our native language- which I appreciate so much more now living abroad.

Based in New York: what is the metropolis like for an aspiring musician? 

It’s overwhelming, exciting, inspiring: there’s opportunity in every corner! If you wanted to, you could perform in this city every day. You meet interesting artists everywhere you go and you never know who you might sit next to on the Subway. The other day, I took an Uber pool and ended up in the car with a girl that works for Kanye and Drake.

 

[youtube https://www.youtube.com/watch?v=u-69Fd1PYhA&w=560&h=315]

 

Expired Love- your new single- boasts a romantic and bold vocal; lyrics of fighting-against-the-odds. Which musicians and artists have been important to you? 

So many. I feel like I never have a great answer to this question because I listen and love so many artists. But then someone told me that as an artist it’s your job to listen to all kinds of music and it would be small-minded to not appreciate and listen to everything with an open mind. In life, I love Beyoncé and Alicia Keys (as does every other 20-something-yea-old female) – other artists I love and listen to- so therefore also seep into my musical subconscious- include Banks, Jhene Aiko, Norah Jones; Duffy, Amy Winehouse, Katy Perry; Sara Bareilles … mainly strong woman.

 

[soundcloud url="https://api.soundcloud.com/tracks/235945975" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

 

Kicking the Habit (E.P.) is out on May 20th. Can you tell us about the songs/inspirations that go into that? 

Kicking the Habit is mainly about love. I know (gross right?!) But don’t get too excited because it’s mostly about love that isn’t really love-love- but more like crushes on steroids; falling for the wrong people and being afraid of commitment. There are seven songs on the E.P.: some more ‘Pop-py’ than others but there’s something on there for everyone. My main inspirations were New York; entering ‘adulthood’ (is that a thing?), being far away from home; and then f***boy. Not texting them when you’re drunk: A.K.A. Kicking The Habit. Just kidding… kinda. No, but really: I’ve been an asshole with ‘commitmentphobia’ very often too.

A lot of your songs- that feature on the E.P.- explore love (its positives and negatives). How vital have relationships been to you as a songwriter? Do you find pain and heartbreak can lead to great creative moments? 

I do think pain, heartbreak and vulnerability all lead to great creative moments. I haven’t been in a serious relationship in forever (cat-lady alert!) but I have been dating- and have met many great and not-so-great people along the way. It’s really through your interactions with people and discovering how you yourself react to moments, tough and emotional situations that you realise who you are, what you want and learn about yourself as a person. As a person, I always try to step back and ask myself if I’m reacting to the situation or reacting to my emotions. As a songwriter, I’m like: okay emotions pour out of me on this paper right now! That being said, I think in super-happy and calm moments you can still write a great, happy Pop song. It doesn’t all have to Emo. and dark.

Which other acts around New York- may be a daunting question- could you recommend to us? 

Hmm, that is a tough question because there are so many talented people in New York! About a year ago the girl that performed after me- at The Bitter End- was called Raye Zaragoza: she is this amazing blend of Norah Jones-meets-Sara Bareilles. I’d say she’s definitely one to watch! And the guy who plays my cheating “love interest”- in the Expired Love music video- Adam Vinson, is a rapper who’s dropping his E.P. soon- under his artist name AV (which I’m really excited about). I went in to sing some vocals for him the other week and his record is going to sound awesome!

Looking back on your career so far: which memories stand proudest in the mind? 

This E.P. coming out and the music video that I just released this week are two major moments for me because there went a lot of time, hard work, sweat, grind and hustle into it. It’s major for me because I did most of it on my own: luckily, with a great group of people I found along the way. Even though this is (honestly) just the start- it’s been a long road already.

But looking further back: in Belgium, some of the biggest shows I did were VlaanderenMuziekland en Suikerrock- which were both really cool. I loved writing a weekly column for Flemish teen magazine JOEPI- about my adventures in New York.

I think one of my proudest moments- and biggest decisions- was deciding to move to New York in 2012- even though I was just at the start of my career in Belgium. It was one of those moments knowing that, if I stay, I’d probably have a good life- a career that’s starting to unfold and great people around me. But I always knew I wanted to live abroad and chase my big dreams- not just settle for the most convenient route.

Once Kicking the Habit is out; you will be promoting it. Any plans to take in the U.K.? Which countries will you be visiting? 

I’ll be visiting Belgium and The Netherlands this July. And yes, I am actually (also) visiting the U.K. this summer- but I can’t give away any details yet; I can tell you it’ll be in London. As soon as I’m allowed to say more, you’ll be the first to know!

Music is a demanding mistress; New York a crowded city. How do find time to relax? What do you do when not concentrating on music? 

Honestly, there hasn’t been a lot of time to relax. New York is demanding and expensive so I work part-time (or should I keep up the glamour and pretend it’s already with just music that I can pay this ridiculous New York rent?). I sing in a wedding band and then there’s my own music that I’m working hard on. I haven’t been on a relaxing vacation in three years (besides my trips home to Belgium to visit family) so down-time is really precious and rare. My biggest way to unwind is working out (I know- I’m weird), I just love running along the Hudson River and letting go of everything. I also love a good yoga class or a walk on the beach. Oh, and they have really good and cheap pedicures up in Harlem where I live- which I like to treat myself to on a rare occasion (And Netflix and Chill, obviously).

What does music mean to you, personally? 

Music to me means being able to express myself. In our world where everyone has an opinion about everything- and everyone judges everyone and you’re not supposed to do this but you are supposed to do that. For me, that just all doesn’t matter when it comes to music. It’s this raw thing where you feel an emotion and you produce sound and words (and you can sing your problems away). So that’s actually a very selfish part of it: that I do it because I love it and it makes me feel better. But then there’s also the fact that you can connect to people and talk to people; tell them stories through songs- let them know that they’re not the only ones experiencing a certain thing, or let them laugh, cry or feel things.

What can Alice Avery fans expect in the future (after the E.P. is released)? 

The first full album of course!

For being a good sport: choose any song and I’ll play it here. 

Any song?! Well, Expired Love, duh! And then Someone New by Banks!

 

[youtube https://www.youtube.com/watch?v=_emsub2lDWg&w=560&h=315]

________________________

Follow Alice Avery

 

Official:

http://www.thealiceavery.com/

Facebook:

https://www.facebook.com/thealiceavery

Twitter:

https://twitter.com/aliceavery

YouTube:

https://www.youtube.com/channel/UC6SO_65gQUiJvxtzxsQD8uA

 

TRACK REVIEWS: Jasmine Rodgers- Icicles/Sense

TRACK REVIEWS:

 

Jasmine Rodgers

 

 

Icicles/Sense

 

Icicles/Sense are available at:

https://soundcloud.com/jasminerodgersmusic

RELEASE DATE: June 17th 2016

GENRES: Alternative; Folk; Electro.; Rock

ORIGIN:

London, U.K.

The album, Blood Red Sun, will be released later this year.

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AFTER a (kind of brief) exploitation to Australian and American music...

it is back in my favourite place: London. I try and extricate myself from the city now and then: invariably; I am drawn back to the wonderful music. There is so much wonder, joy, and quality to be found in London. The music is not just confined to certain genres and ‘types’: there's a smorgasbord and vast array of sounds and styles. Before I come to my featured artist, I wanted to look at the children of musical legends; the importance of traveling (conducive to adventurous music) and reinventing the Folk genre. Entering the music profession is a risky and unsure thing. If doesn’t matter what start you had in life; how wealthy you are: talent and determination are the most important, and underrated assets, you require. What fascinates me about new musicians is their background: especially those that herald from an artistic/musical background. You do not often encounter artists that hail from such creative and arty beginnings. With Jasmine Rodgers being a second-generation musician: I have been compelled to investigate other (children of musicians) examples. From Eliot Sumner- Sting’s daughter; formerly I Am Coco- there is inherent pressure to succeed and ‘prove yourself’. A lot of today’s artists go through music school or find their own path: something quite ‘traditional’ and ordinary. They will work hard and raise money to produce songs. It is always pleasing seeing genuinely great musicians make their way- regardless of their background. Those that have had that distinct musical education- well-known parents or a very musical family- have that edge and additional education. That is not to say- by proxy of their D.N.A.- they have an edge and will be naturally talented- they will have the experience and know a lot about the industry. Too many musicians get blind-sided by the harshness of the industry: what it takes to succeed and how challenging it can all be. Jasmine Rodgers is someone who knows what it takes to make it. Before I continue my point, let me introduce her to you:

Too many musicians get blind-sided by the harshness of the industry: what it takes to succeed and how challenging it can all be. Jasmine Rodgers is someone who knows what it takes to make it. Before I continue my point, let me introduce her to you:

Born into an artistic family – her mother a Japanese poet, her father the legendary vocalist Paul Rodgers (Free, Bad Company, Queen) – Jasmine Rodgers knew her way around both keyboard and fretboard before she even enrolled at secondary school. But given her love for art and zoology (in which she has a degree), music was initially a passionate pastime rather than a full-time pursuit. This changed when her older brother Steve, on hearing the ethereal beauty of Jasmine’s voice, asked her to sing with him and they formed the group Boa. Boa went on to record two albums, achieving renown in the Americas, France and Japan, after their single ‘Duvet’ featured in the anime series Serial Experiments Lain. The group disbanded in 2005, but Jasmine continued her association with the anime/manga genre, writing songs for the soundtrack of Armitage: Dual Matrix, which starred Juliette Lewis.

Jasmine continued rehearsing, writing and recording, releasing an EP of self-penned alt-folk nuggets and collaborating with artists including Indian classical musicians Mendi Mohinder Singh and Waqas Choudhary. She found inspiration for new material in the exploits of her travels (live performances led her from the Royal Albert Hall to the Venice Biennale and the Edinburgh Fringe). It was one such journey to the Joshua Tree desert in California that inspired Jasmine to capture the best of her material on a full-length album. She enlisted producer Sean Genockey (Tom McRae, Futureheads), whose experience working at Joshua Tree’s Rancho de la Luna studio made him ideal for bringing forth the material’s widescreen yet rootsy vibe. Blood Red Sun, to be released later in 2016, was recorded at Black Dog Studios in London and is the sound of an exceptional artist drawing deep from global musical experiences to craft a set of inventive, euphonious 21st-century folk.

Rodgers has had that filmic and made-for-the-big-screen upbringing. Given the fact her father is one of the most respected vocalists of all-time: it is, perhaps, not a shock his daughter has such incredible pipes. Raised in that musical and astonishing household- where her mother’s art and father’s music would have spiked her young mind- it was only natural (Jasmine) would chase music. Given Paul Rodgers’ connection with Free and Bad Company- later, Queen- Jasmine seems to have been fated to music since her first day. After singing around the house- her brother noticing her fine talent- she was encouraged to pursue music and take it by the horns. Just because you have a musician parent- father in this case- does not mean that will translate naturally. I have seen a lot of examples where the child does not hit the peak of their parents: this is not the case with Jasmine Rodgers. Possessing the power, passion and rawness of her father; a sweetness and beauty that is all her own- an amazing and unforgettable tone.

I can tell how influential her father has been: her mother’s art and itinerant background has compelled Rodgers to travel the globe in search of inspiration and subject matter. Too many of us are rigid and tied to home- I am culpable of this- and do not explore what is out there. With such a big, compelling and astonishing planet out there: more of us need to get out there and see it. Rodgers’ wanderlust and lust for inspiration has seen her travel widely and absorb cultures. If you are stuck in a city/town- London, for instance- you are likely to be limited when it comes to imaginative songwriting. Even if you have a wide and varied musical taste: that is not to say your own music will be suitably eclectic and multifarious. Rodgers has taken it upon herself to engage with the wider world and see what other countries are producing (in terms of music). When you hear Jasmine Rodgers perform- and when you listen to her interviews- you get cross-continental blends and something truly exotic. Using Folk as a basis- but stretching it and breaking ground- many people might assume (Rodgers’ music) would be predictable and narrow. Folk is one of those areas of music that can be very mixed and average. That image of the acoustic guitar-holding singer- who performs songs about the natural world with little energy- pervades. Jasmine Rodgers is a lot more than your run-of-the-mill Folk act. She brings Rock and Electric shades into the mix: something harder and grittier; cosmopolitan and ethereal. Every song (she produces) covers new ground and brings together something fresh- guaranteed to enthrall and impress the listener.

Icicles and Sense are some of the earliest works from Jasmine Rodgers. Music has been pivotal for year: she is still so young and making her initial steps. If it were not for her family- and brother’s persistent she get into music- would our heroine be where she is now? I’d like to think so as you know art and music coarse through her veins. She is taking her time to craft music of the highest order: you can hear the detail, work-rate and attention in her songs. Given the reaction to Icicles- it has been lauded and promoted by D.J.s and bloggers- there is a demand for more music. Sense and Icicles are two tracks that have a familial connection: they are natural album-mates and it will be great to see them alongside one another. It is at this point of a review that I look at an artist’s progress and development- see how far they have come; compare their new stuff to the older. Jasmine Rodgers is making her first moves- making it difficult to make comparisons- but her new songs are incredible. Intimate and open- like being in the wide expanse of nature- there is etherealness and passion in every note. Blood Red Sun is unveiled soon- Icicles is going to feature- and it will be a chance to see the musician in her element: stretching her talent and showing the world just what she has at her disposal.

Icicles begins with a very gentle and springtime feel. You hear the natural world breathe: the wind blows and you can feel the sun on your face. When our heroine comes to the microphone: you are instantly hit by the power and immediacy of her voice. It is so clear and crisp in the mix- right up-top and with stunning clarity. Backed by tender strings- a balletic, gently-picked guitar sound- there is sparseness and bare-naked purity from the first notes. Looking across the land and water: Rodgers lets her soul fly; she is sending it to a particular person. Whether a current love- or someone that is an important piece of her past- there is that desire and love in the vocal. So calm and reflective: you can get lost in the voice and its serenity; the tranquility smoothness and delicious, chocolate-like sweetness. Whomever is being sung about: clearly someone that means a great deal to our heroine. Having been lost “for such a long time”: with the intensity of the mood; the composition becomes darker and more tense. Mystical and dark-hued bass notes conspire: Celtic, Anglo and Middle-East sounds melt into something delicate and pure. Our girl will be flying “ever-so-high”; she will be making her way across the land- in order to hold her man. Part of me tried to pick the lyrics apart and see what inspired them. I instantly jumped onto themes of love and departed sweethearts- there seems to be more to it. Whilst deeply personal and heart-aching: I feel Rodgers has lost a lot more; is chasing more than a particular person; longing for something deeper and more profound. When combining her vocals- layering them and adding an urgency to proceedings- the emotions stake up and the fascination rises. “

I instantly jumped onto themes of love and departed sweethearts- there seems to be more to it. Whilst deeply personal and heart-aching: I feel Rodgers has lost a lot more; is chasing more than a particular person; longing for something deeper and more profound. When combining her vocals- layering them and adding an urgency to proceedings- the emotions stake up and the fascination rises. “How sweet to find”, it is said, “the meeting of minds”. You start to wonder what that refers to- taking me away from realms of love- and your imagination starts to spark. Chasing dreams and climbing mountains: if she is after a man; he must be someone rather special and wonderful. That obliqueness and mystery means Icicles is a song that needs repeated plays. You are affected the debut spin: new light and dimensions feed in when you give it more time and dedication. Our heroine’s heart is haunted and in need of satisfaction. When she finds her subject- whether lover or friend- icicles will melt. Such is the magnitude and importance of that connection: the climate will change and the world will move. You never get the feeling of hyperbole and over-exaggeration. Rodgers is not someone who employs ululation and needless over-emotion: everything she sings is performed with honesty. By the closing seconds, you are entranced by the images and lyrics. Waters are swelling and rising; snow is melting and everything is changing. Without a kiss being delivered; before a word is spoken: such a heavenly and biblical transformation will occur. It is this passion and intensity that makes Icicles such a bracing and spectacular thing. Imbued with beauty and tenderness- an arpeggio and little other accompaniment- the focus is on the lyrics and vocals. Few musicians could carry a song- with so few layers- and make it such a beautiful thing. Credit to Jasmine Rodgers who not only makes Icicles worthy: she makes it sound utterly essential and unforgettable.

Sense is the second-half of the double A-side. Whilst its sister was concerned with capturing love and a sought-after beau: we see a dynamic shift and a switch in emotions. Icicles was dedicated to chasing and fulfillment: positive and lustful; world-straddling and fast-moving. Sense begins with a similar arpeggio flair: it rushes away and ensures the listener is stood to attention. Clearly affected and determined: Rodgers asks the question: “Can you hear me?”. That sentiment is repeated and enforced. You sense- from the first words- these words are directed towards a lover. Perhaps someone who has been inattentive and remiss: a human that has not been as loyal and understanding as they should. Again, we get layered vocals and that build-up. The song has that live-sounding feel to it: you can imagine it going down particularly well with audiences; Sense is a shivering, atmospheric and mind-grabbing track. “Everybody needs to be believed”, our heroine attests: “So, why then, don’t you put your faith in me?

Again, one-half of the brain will look at lovers and the imbalance they have- the fights and distance; the broken hearts- but you can take that interpretation to friendships and family- maybe something unexpected and different. In these early exchanges, little insight is given. Rodgers elongates the words and performs them with an underlying anger. You imagine a boyfriend or sweetheart is being assessed: someone that is not as supportive as they should be; dropping the ball. Such is the fascination you get from Rodgers: every line has a little mystique; room for interpretation. When delivering the lines- “Can you feel me?/Do you know how I feel?”- she spins the words and tees-up a funky beat. There is a definite kick and soulfulness that makes its presence known. Differing from Icicles- which was more straightforward and gentle- here, we get something harder and more Funk-influenced. Showing another side to the musician: you start to tap the toes and get the head nodding. Everybody needs to be believed and shown faith: something we all can relate to and understand. I would love to know what the circumstances are behind the song- and who has compelled the words. Such is the commitment and determination of the performance- embers of Laura Marling and Natalie Merchant come through. The composition boasts some wonderful percussion and busy nature: the strings spike and fizz; the drums roll and crack- it is an intense and complete song. While the seconds tick down, you hear reflections of Folk’s past masters- Nick Drake and Neil Young.; Joni Mitchell in there- given a modern and updated shine. Rodgers rides her mantra- not being believed and supported when needed- against a crackling and emotive composition. By the end, you hope satisfaction was achieved and she obtained that faith- knowing she might have to fight for it still.

Dan Carey (who produces here) has worked with the likes of Kate Tempest and Nick Mulvey. He brings the best out of Jasmine Rodgers and gives each track a shine- without making it too glossy and unnatural. The voice is out high in the mix ensuring every word can be heard and understood. Icicles and Sense are two different sides to an intriguing talent. The former allows something pure, tender and divine to come through- gentle acoustics and something that unites Celtic and Middle-East sounds. The latter is a more brash and angry song. Rodgers is in pensive mood and seems lost in confusions and anxieties. This allows for a more multi-dimensional and Funk/Rock-inspired sound to emerge. Carey ensures Rodgers’ sound is as clear, crisp and defined as it can be. Joined by Dan Kavanagh (he plays drums on Sense) it is remarkable to hear an artist- new and eager- sound confident, complete and astonishing. I know Blood Red Sun is coming out later in the year. There is cover art and album credits available- on SoundCloud- but only Icicles and Sense are available to hear. Icicles/Sense will be released across digital platforms (as a double A-side) from June 17th.

Jasmine Rodgers is one of those modern-day artists that will succeed naturally and without obstacle. A very beautiful and confident woman: just listen to her being interviewed and you can hear that passion and determination come through. She is not someone that is here for the short-term: you would not bet against her being a mainstream star in a few years to come. The double A-side Icicles/Sense demonstrates how spectacular and wonderful Rodgers. She creates lush and vivid soundtracks: moments that takes you someone beautiful and arrest the senses. Bringing together multiple genres and sounds; emotions and dimensions: few artists are as bold, confident and accomplished. I love coming back to London music and embracing the best home-grown musicians. This city has such a vibrancy and community. So many amazing musicians are being born and making London one of the world’s musical hotspots. Maybe L.A. and New York have more musicians- by virtue of its size and population- but London (not bias or anything) has more magic and mystery. It is something inexplicable and hard-to-pin-down. Rodgers is one of those musicians who will keep playing and plugging for a very long time. She loves performing and bringing her music to the crowds. With every interview and gig; you learn a little more about the young star. Revitalising and updating Folk for the 21st-century: one of the most vital and impressive artists we have in our midst. You cannot have Paul Rodgers as your father and resist the lure of music- refute the bite and itch to get up there and play. I mused about the subject of musicians’ children and following in footsteps: whether a musical heritage instantly results in inherited ability and knowledge. It is clear

Jasmine Rodgers has an advantage right from the off. Her mother’s art and father’s music filled her senses from birth: got inside the mind and (if subconsciously) drove her musical desire. Those expecting a Free/Bad Company-esque sound will be a little disappointed. Sure, Rodgers has a spectacular voice and incredible power: the music she plays differs (from her dad’s). Icicles/Sense have already been premièred: the reception garnered has been incredible. Not just focusing on getting the sound right- collaborating with some wonderful international musicians- the visuals are amazing. Icicles’ video is filled with unforgettable images and gorgeous views- perhaps natural; given her mother’s poetry and art. We have a complete and astonishing musician that surpasses her peers: one of those people you hope will go all the way and be a huge success. Listening to her speak- her recent interview with Jammerzine- you get lost in her voice and what she says. Music means everything to her and something that is in her blood.

So what of the future? In June, Rodgers will be playing across London- Dalston Eastern Curve Garden on the 7th; The Finsbury on the 14th (the single launch)- playing the Cambridge Rock Festival on August 6th. I will have to come and see her play as- on the back of her double A-side- I have completely fallen. Nobody will be immune from the beauty, passion and power of Jasmine Rodgers. I feel there are not enough musicians coming out that are themselves. People try and imitate others and get caught up fitting into a mould. Very few have the bravery, patience and guts to be different, unique and special. Jasmine Rodgers has not traded off her father’s cache and legacy: she is her own woman and makes her own music. Blood Red Sun will be arriving soon and is sure to receive a rapturous reaction. In the meantime: ensure you get to grips with Icicles and Sense. Two different sides to a wonderful and multi-talented musician: world domination will surely follow? I could see Rodgers having a huge fan-base in Japan and Asia: Australia and the U.S. are all likely to follow. The U.K. is on board and embracing one of its most extraordinary talents. If you need any more proof, check out her music; one thing is certain:

IT is among the best you will hear this year.

 

[youtube https://www.youtube.com/watch?v=S5pjj2qPc5c&w=560&h=315]

 

[soundcloud url="https://api.soundcloud.com/tracks/230712530" 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 Jasmine Rodgers

 

Official:

http://jasminerodgers.com/

Facebook:

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

Twitter:

https://twitter.com/jrodgersmusic

___________________________________

Music

https://soundcloud.com/jasminerodgersmusic

TRACK REVIEW: Jude Perl- Hungry & Horny

TRACK REVIEW:

 

Jude Perl

 

 

Hungry & Horny

 

9.6/10

 

 

Hungry & Horny is available at:

https://www.youtube.com/watch?v=BtyGU1HUloA&feature=youtu.be

RELEASED: 19th April 2016

GENRES: Pop; Comedy; Soul; Funk

ORIGIN:

Melbourne, Australia

The album, Modern Times, is available at:

https://soundcloud.com/judeperl/sets/modern-times

____________________________________

FROM a sizzling-hot musician from Florida to a unique and stuns-a-minute...

artist from Melbourne- you cannot fault the diversity music mixes in. I have not long put the pen down from assessing Alexandra Amor: now to Australian Jill-of-all-trade, Jude Perl. Before I come to my featured artist, I wanted to look at Melbourne acts; musicians that mix genres and comedy together- those acts that are quirky and stand in the mind. Recently- and perhaps behind the curve- I have been listening to Courtney Barnett’s album, Sometimes I Sit and Think, and Sometimes I Just Sit. Throughout the 11-track album you get humour, honesty and passion: all from an artist that is relatively unknown. Given the fact we do not have international award shows in the U.K.- recognising music from around the world- we often miss out on other artists. Sure, there is the Brit Awards- a lame attempt at representing music at its best- but there is nothing else really. Apart from N.M.E. and Kerrang!- who, to be fair, have their award shows- where do the best of the rest get their just rewards? There are so many great musicians arriving from the U.S. and Australia; Canada and Spain: they seem to be limited to their home nations; nodded-to by their press and supporters. Radio stations do their best to bring diversity into the music- 'Radio 6 Music among them- but there needs to be more (done). Melbourne is a city I have always longed to visit. In fact- behind London- it is my dream city. Maybe my exposure and affection for Neighbours- an untrue-to-life if escapable fantasy- has rather romanticised Australia, but I doubt it. Melbourne is voted as the most sought-after and best-quality-of-life cities around the globe. The communities and people are nice- in the most part- whilst there is culture, art and history. Bustling streets and a burgeoning music scene are only a few reasons why Melbourne is so revered- throw in the great weather and, well, beautiful women (sorry). It is the music- honest!- that attracts me most. Barnett’s album enforced just how terrific music is, there. The slice-of-life songs tackle environmental decline and suicidality: anti-heroes and strange trysts; keen observations and sly humour. Topped with great hooks and addictive melodies: Barnett is one of those musicians you need to keep an eye on. Apply that logic to a wider scene and you should definitely dig Melbourne. The Temper Trap, Nick Cave and The Avalanches (are just a trio) that call Melbourne home. Husky and The Cat Empire can be thrown in there. Lowlakes’ intense, of gloomy, brand of Dream-Pop has invigorated critics. Baro and Good Morning are two acts that were tipped last year: primed for success in 2016 (and making waves thus far). Catlips (A.K.A. Katie Campbell) permeates accessible Pop with hard beats: an artist who can switch to bass-heavy Dance and insatiable rapture. Fait and Ecca Vandal are another two (female) artists that are setting the Melbourne scene alight. Whilst- on paper- Jude Perl might not hang at the same parties as Fait and Catlips: that is not to say they are that different at all. If anything, Perl has an advantage and edge over her local contemporaries.

Given the buzz of her album (Modern Times) is receiving rapturous reviews and some rather red-hot praise. Before I continue my points; let me introduce Jude Perl to you:

Jude Perl has been performing professionally for the past 7 years as a singer and pianist and in the last year has branched out into stand up and music comedy. In 2013, her debut single 'Girls & Boys' received regular commercial radio airplay all over Australia (including Fox FM and 2Day FM). The following year, Jude starred in the critically acclaimed narrative concert 'Let's Get It On - The Life & Music of Marvin Gaye' in Melbourne.

Often described as 'funk-a-licious music', Jude offers a collection of feel good funk/pop/soul tunes that will make you want to sing along. Named purposely after Charlie Chaplin's famous film, her debut album provides a satirical window on the advertising world that we are living in : « Music and advertising are so intertwined, which to me seems so ludicrous, as they have such different goals. Music is supposed to elevate people and challenge people and advertising kind of does the opposite »

With that approach in mind, Jude promotes her new album with fake advertisements set in the 50s, 80s and present day, pretending to have sold her intellectual property and identity to a sugar company. In her fun new music video 'Hungry and Horny', Jude Perl impersonates an anonymous actress who tries to look good on camera to please the producer and sell whatever she's told to sell. Her debut album 'Modern Times’ is now available on Bandcamp and on iTunes Australia”.

I have arrived at Perl’s feet a little late, it seems. Seeing her social media pages: they are packed with glowing reviews and wonderful feedback. Critics are climbing over themselves to exclaim and promulgate the virtues of this Melbourne treasure. What strikes me-about the album, Modern Times- is how relevant and relatable the music is. Most artists tend to focus on love and their own lives: Perl looks outwards and assesses the modern world; issues and themes that affect more than her own concerns. There are sweet and quirky love songs- that infectious voice and turn-of-phrase is pure and delightful- but so much depth and maturity. Genres and sounds switch from Bubblegum-Pop to Dance smashes: driving Folk to something multi-layered and impossible-to-pin down. I shall delve into Modern Times later, but it seems, Perl is a previous and glimmering jewel. I love the U.K.’s best but find so much more variety and range in foreign sounds. Our scene is consistent and growing but we need to embrace other artists from abroad. Perl is someone I will be following closely. Knowing how fantastic Melbourne’s music scene is: I was not surprised to discover someone who produces music packed with memorability and standout lines. Perl mixes comedy and wit into her song; charming and cheeky lines: she is someone who has a songbook of unbeatable lines and thoughts. On the sunnier, sassier numbers; we have an artist that rides the music and has undeniable confidence. When more low-down and reflective: that intelligence and emotional revelation hits the soul, hard. Throughout Hungry & Horny I had a smile on my face. It is a song that is hard to ignore and a perfect introduction to one of music’s true originals.

Jude Perl has had a long and busy career- producing a series of singles and E.P.s. Modern Times is her most accomplished and impressive work to date. I can see her evolve and develop as the years progress. Songs 3am and Somewhere to Call Home packed plenty of quality, memorability and emotion. Somewhere to Call Home showed what a tender and beautiful voice (Perl had). 3am is more Jazz-based and laid-back. It has a coolness to it whilst still ensconced in avenues of love and romance. A lot of her earlier work worked within traditional frameworks- talking about relations and love- but were distinguished by stunning vocals and a real flair for lyrical importance. Her wordplay and story-telling raised her songs to rarified heights. Songs like Sorry and Pop Singer- released last year- showed that humour and wit. Not dispensing with love altogether- Our Love: A Power Ballad documents, if ironically, relationships- comedy and humour has come more to the fore. Perl has realised she is compelling when deep and soulful: equally spellbinding when light, less-than-serious and comedic. Sorry sees the heroine with stretch marks and worrying about her face- pieces of food stuck to it. A song within a song about a song: one that critiques itself and expectations in the modern scene. Apologising for the one-note chords; the lack of variation: Perl asks (with a slight caterwaul) whether a key change is in order. Is It Just Me? compares love to a watermelon- too many seeds- and shows a humorous side to serious themes. Modern Times brings together the debut work- the more-sensitive and traditional love songs- with the comedy and wit of last year’s efforts. In 2016, Perl has brought her multiple sides and talents together: she is at her peak of form. Having grown and developed as an artist- she is more complex, rich and assured than before- you can hear the confidence come through.

Hungry & Horny is Modern Times’ latest offering: a song that is setting social media ablaze. One of the finest moments (from the record) it demonstrates why Perl is so special. In the song; Perl acts as the spokesperson for Sugar Oh’s: a 1950s-style cereal brand that has been providing “great taste…great memories” for over 65 years. Committed to the bit- the sort of nauseating (usually American) voice you’d hear inanely ringing throughout the T.V.- you (almost) buy into the advert. Perl dresses the part: a lollipop-themes top and teeth white; that grin never fades. When we reach the segment about world peace- the cereal can make the world a better place- Perl snaps and loses her cool. Offering an expletive to the director- dropping the f-bomb- the mask has been ripped off; the façade exploded. Stax-themed, rousing beats ebb-and-flow with an imperious and straight-laced guitar lick. When combined, you get pizazz, stealth and funkiness: altogether in an intoxicating cocktail that takes Hungry & Horny into more ‘conventional’ territory. After the Spoken Word introduction: the introduction-after-the-introduction gets things racing and pulsating. Our heroine is being sucked in- “I’m hooked on you”- and one wonders what the “you” refers to. Maybe a boy or sweetheart: perhaps a sugar-filled treat or forbidden object- one assumes it is the former. Given the song’s themes and opening: one might be lead to ideas of corporate control and selling your soul for money. Unable to escape the grips of the song’s core- whether manmade or foodstuff- you start to transpose yourself in the song- picturing possibilities and stray avenues. The words resonate and hit, mind you. Perl is at her most direct and unfettered: her voice is sharp and gets down to business. Rebuking this “snake”- clearly, an unwanted attraction- traps are being set “all over the place”. In the music video- which follows the shoot of a cereal commercial- one-half of the mind might think of professional engagements and the lure for easy money. The song exists on two different plains: ideals of love and satisfaction; trying to refute someone who has a clear allure. Whilst, on paper, Hungry & Horny might sound like a very male dilemma: it is one that is causing stress for our heroine. Maybe (her man) teases and keeps her hungry: craving a touch and always at arm’s-length. Perhaps- the song’s messages- addresses advertising and lies being told.

How we are promised things and presented with false images: a certain craving that can never be satisfied and slaked. Maybe that is me looking into things too deeply. Whilst your mind tries to unpick the lyrics: your body is helpless to the sway and swagger of the composition. Perl’s voice is consistently fresh and unique: brash and bold yet underpinned by sweetness and  girlishness. She is reaching for that spoon- assessing love’s lust in food terms- and desperate to dig in and satisfy her appetites. Whomever is being ascribed- a current flame or someone from her past- you get caught in the sweat, steam and longing. The boy may want her “stupid and lonely” but- as our girl makes it clear- they have both had enough. An impasse has been reached and these day-to-day rituals need to end. As little slithers of Alanis Morissette come through- when rapturous; you get flecks of the Canadian- our Melbourne girl has reached the end. The guy has been playing her and she is through being exploited and teased. Caught in a miasma of confusion: Perl asks if we all feel this way; have to go through the turmoil of split and tug-of-war. The composition remains light- ensuring the entire song is not too dark and fatigued- which gives proceedings contradictions and dichotomy. Crafting an uplifted and sunshine chorus- one that will be chanted from the crowds- means Hungry & Horny is readymade for summer months. By the closing moments, you are fully brought into the song and siding with the heroine. Having been made to feel stupid and infantilised: she is striking back and not taking any more crap. Caught in the merriment and dizziness of the song: the vocal gets firmer and more spirited; displaying a tremendous amount of bravado and spirit. Perl is tired of feeling bad and begging for love: both parties need to call it off and go their separate ways. There is maturity and wisdom within the song’s humour and memorable lines- suggesting our heroine is ready to spend time by herself; maybe find someone new. Whatever your interpretation- and however you experience the song- you are left with a dopey smile and a shot of serotonin.  If the sunshine is out- or the clouds are not shaking- Hungry & Horny brings heat, warmth and feel-good sensations. An immaculate song from a musician that is unlikely to stay a local treasure for too much longer- she will belong to everyone.

Modern Times is a 16-track album that does not feel bloated and pretentious. Every track earns its place and shows a different side. From straight-ahead Punk to sugary-sounding Pop: there are so many different colours and styles experimented with. It all hangs together, due to the commitment, talent and charm of Jude Perl. Can’t Wait to See You packs a punchy beat and vocals that drip with raw emotion and passion. Looking at a fond sweetheart- someone she cannot wait to see time again- you buy into that dedication, commitment and lust. Sugar-Oh’s starts with mock commercials- something that could be taken from the ‘50s and ‘80s- that rots the teeth. Built around Sugar Oh’s- a fictitious company that have been providing sugar treats since 1951- they have now branched into music. A cross between a cartoon theme and a radio jingle: it is something you’d use to torture people into confessions. Yetta is one of the most urgent and hard-hitting tracks on the record. Addressing consumerism and profit-seeking: it is a song that has a social conscience and sense of nobility. Yetta is the name of a figure: a talisman or chattel that acts as an inspiration and spirit animal. Someone that could take you- in a fight- you start to picture a very vivid and heartbreaking woman. Hard-as-nail but gorgeous-as-sin: someone you wouldn’t mess with (as much as you’d like to). Poison Diet has plenty of Funk and kick, right from the off. Caught in confusion, toxicity and a harsh daily regime: this unwelcomed diet is creating stress, anxiety and anger. The rushing vocals give the song a nervous energy and dance-ability. Just Don’t Know contains a similarly groovy and smooth nature. One of the most Soul/Jazz-influenced tracks on record: it is also one of the most tender and romantic. Perl sheds any humour and cynicism: this is a pure love song that goes for the heart. Her man has left (his “empty kisses”  are being craved) and she is looking for answers.

Slaves has a Steely Dan-esque jive and drive to it. One of those songs that remind me of Courtney Barnett. The track casts its gaze to the streets and looks at society as a whole. A world that is mad and ever-moving: we do not often stand and appreciate all the things that live and breathe. Maybe uncaring or crowded in human stampede: how often do you stand still and reflect? There is no preachiness and electioneering: just an honest woman who wishes more people would love the world- rather than slowly destroy it. Baby ends Modern Times with reflectiveness and admiration. A tune that could fit into the ‘90s Dance scene: there are banging beats and a real look at music’s past. I was transported to a bygone (and finer) era for music: one where things were simpler and less complicated. Perl looks at a hero- a boy that she cannot get from her mind- and creates a song filled with purity, desire (of the tremulous kind) and love. It is a perfect swansong to a magnificent album. Blending so many genres and ideas into one L.P.: lesser artists would not be able to pull it off. Given Perl’s stunning abilities, musicianship and writing: she ensures it all hangs together; each song sticks in the memory. There is piano balladry and Disco-flecked stormers: to-the-bone Punk jams and elliptical Pop numbers. Jude Perl mixes pathos, humour and passion with unnerving ease and authority.

I have been absorbed in some rather dreamy and wonderful music, lately. The Cardigans’ Life is in my car- one of the finest from the legendary Swedish band. Their stunning, imaginative compositions are framed by the sweet and hypnotic voice of Nina Persson. Courtney Barnett is in my mind: it seems Jude Perl evokes the spirits of both artists. You get acerbic and direct songs; there are sweet and gorgeous Pop numbers: minor symphonies and polemics. When you drill down, there is no real end to Perl’s talents and nuance. Modern Times perfectly reflects the concerns and contradictions of today’s world. Among the political and observational are those universal love stories: songs that put their heart on sleeve; leave you lunging for the tissues. I implore every music lover to spend more time and attention in Melbourne. When I get to the city- hopefully not too long- I will spend so much time touring the clubs, bars and venues- investigating all the treasure and gems the city can provide. In a modern music world where the likes of Beyoncé are ruling the column inches: we need more acts like Jude Perl. Beyoncé’s new album (Lemonade)- although impressive and career-defining- was committee-written and possessed too many cooks. For a record that was, supposedly, about infidelity and personal heartache- why do so many writers need to be involved? The American is an accomplished songwriter and has her own vision- not sure why THAT many people needed to put their names to her songs?! Jude Perl is a woman who does not need an army of writers to make her sound good: she is a pure and proper songwriter, primed and armed. Hungry & Horny is a track that made me light up and smile; something that perfectly defines Perl’s sound and vision. Sponsored by Sugar-Oh’s: this Australian is happy to be ab advertising stooge. Whilst the cereal rots the teeth- and comes with cloying advertising and noxious jingles- the songs of Jude Perl provide nourishment, feast and banquet. If you have not pulled up a table- to nibble on the cornucopia and sweet meal- then you need to redress that. Jude Perl has worked in the local scene to make a name: the last decade has seen her established her reputation and gain a foothold. With Modern Times, one of music’s most assured and original musicians is about to go global. I hope she comes to the U.K.: we would love to see her over here! Haul your arses to Jude Perl’s pages and emboss yourself in a musician that make sounds for everyone. If you really think about it:

HOW many musicians do that?

 

[youtube https://www.youtube.com/watch?v=BtyGU1HUloA&w=560&h=315]

________________________________________

Follow Jude Perl

 

Official:

http://www.judeperl.com/

Facebook:

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

Twitter:

https://twitter.com/jude_perl

Instagram:

https://www.instagram.com/judeperl/

_______________________________

Music

https://soundcloud.com/judeperl

TRACK REVIEW: Alexandra Amor- Not Easy to Love

TRACK REVIEW:

 

Alexandra Amor

 

 

Not Easy to Love

 

9.6/10

 

 

Not Easy to Love is available at:

https://soundcloud.com/alexandraamor/not-easy-to-love

RELEASED: April 2016

GENRES: Pop; Soul

ORIGIN:

New York/Florida, U.S.A.

____________________________________

RARELY do musicians hit you right around the face…

without warning (unless you’re Azealia Banks: that’s another story entirely!). In the current scene: there is a lot of build-up and hype; slow-forming momentum and a gradual easing in. Sure, a few bands/acts make an instant impression: it is a rarity, by-and-large. I am always hunting for musicians that have that appeal and allure: those that dig deep into the soul and elicit something rather special and primal. My featured artist achieves that- with ease and aplomb. Before reaching her, I wanted to look at musicians around the U.S. - especially Florida and New York- in addition to ‘legends’ of music that are starting to fade- looking at the what makes an artist truly special. The last few weeks- as seems to be the way- I have been focusing a lot of attention towards London- checking out the musicians of the capital. It is great to be back in the U.S.: a nation that is providing some of the most exciting music in all the world. Ordinarily- when I look at American music- I am based in California: rarely do I get the chance to go elsewhere. In terms of Florida-based music- Alexandra Amor hails from here- it is not an area of the U.S. many of us would think of (with regards great music). Gram Parsons hailed from Winter Haven: Ariana Grande is from Boca Raton. I guess it is like the U.K.: the big opportunities are to be found in the cities. Florida is a part of America that always fascinates me, musically- and the only part of the U.S. I have visited- and feel that there are a lot of great musicians playing here. Based in London: it is tricky keeping an eye on all the terrific musicians of The Sunshine State. Outlaws and Lynyrd Skynyrd; Tom Petty and the Heartbreakers: some decent artists call Florida home. Black Kids and We the Kings are a couple of bands putting the state on the map: I would like to see the U.S. media focus more on this area. Perhaps it is hard highlighting states- away from New York and California- as there is so much music being made across America. Whilst Florida houses a lot of talented artists: New York seems like the natural place for the ambitious and passionate. Alexandra Amor is one of the most urgent and stunning artists playing around the city.

Having amassed a host of followers across social media- one of the most-popular musicians I have seen- her career is certainly building steam. Before I continue my point, like me introduce Alexandra Amor to you:

Born and raised in St. Petersburg, Florida singer/songwriter Alexandra Amor was first blessed with the opportunity to showcase her musical talents in the mid 2000’s.  Making the brave decision to trade in her golf clubs and dreams of LPGA to embark on a career in music at the youthful age of 16 years old, Alexandra Amor signed her first recording contract with indie label Rich Music LTD.  Having gained fame as a teenager touring the country promoting her previous pop hit “Radio”, Amor soon realized she was not passionate about the music she was making and asked to be released from her contract.

Free from her contract Alexandra took a chance moving across the country to Los Angeles with her longtime friend and manager, where she has had the opportunity to work with hitmakers, such Micah Powell (Omarion, Sevyn Streeter, Etc), The Stereotypes (The Far East Movement, Justin Bieber, Drake, etc), and famed Dj’s Red Cup Nation to name a few for her upcoming EP “Amor Unplugged.”  For the last few years, 21 year old Alexandra Amor has been honing in on her new sound and building her fan base, by sharing covers as well as original music with her fans through her youtube channel where she has collectively generated over 3,000,000 views and 23,000 subscribers. Combining the vocal capability of a Christina Aguilera and Amy Winehouse, along with the raw edginess of Alanis Morissette, Amor is definitely recreating the look and sound of Pop/Soul.

Alexandra Amor opened up for Earth Wind & Fire at the legendary venue House of Blues on Sunset after being chosen out of  3,000 indie artists through a Reverb Nation contest. Shortly after she was asked to perform at the prestigious World Trade Center in New York for the Riviera Catering WTC860 grand opening, in front of a renowned crowd including Marc Jacobs, Christian Siriano and the co-founder of Avenue Capital Group/ co-owner of the NBA's Milwaukee Bucks, Billionaire Marc Lasry. Alexandra Amor appeared on BET's new hit series "About the Business" along side featured 6x grammy nominated artist Neyo and the man in charge of the Ncredible Entertainment Empire, Nick Cannon. Making her cameos Amor appeared on over half the season with this largely talented cast. They caught Amor in the studio recording her most personal EP in her career thus far as well as her mind blowing intimate performance at the world famous VIPER ROOM in Los Angeles, CA”.

Travelling from St. Petersburg to L.A.- where she has spent a lot of time performing; still does to this day- it appears New York is her natural home. To be fair: our heroine has very little time to stand still and unpack her suitcase. With her music gathering applause and love: she is in-demand across the U.S.; one of the most in-demand musicians you can imagine. Since childhood, there was no doubt music was readymade for Alexandra Amor. Every song and performance brim with energy, love and passion. It is hard coming across musicians that are distinguished and have that potential to shine and last. I see so many that are brief and vague. Amor is one of those people you just know will never give up on her dreams: keep producing music for years to come. Her heroines- Alicia Keys and Amy Winehouse- go into her electric, lustful voice. Comparisons have been made with Alicia Keys and you can see why. There is that blend of intimacy and tenderness: the ability to reach to the sky and evoke something scintillating and raw. Maybe it is the rush and bustle of L.A. and New York; the cosmopolitanism and variation the cities provide- it all goes into making Alexandra Amor what she is. Not only (has Amor) worked hard on making herself stand out from the crowd- there are no other musicians like her- but her social media pages are filled with personal insight and revelation. Here is a woman that does not want to shut the listener off: she invites you into her world and embraces everyone.

That is a rarity, no doubt. How many musicians evoke that persona touch? A combination of staggering talent and down-to-Earth likeability has seen the Florida-born singer talked about in enfevered tones. There is something inaccessible about Amor, too. Not only one of the most striking, beautiful women in music: there is mystery, layers and hurt in her music. Like many out there: heartache and longing enforce a lot of the songs. Transitioning between relationships- and embracing the comforts of Bourbon- songs like Not Easy to Love make their voice heard. Mama is a track coming soon- the video has just been shot- and will be revealed to the world in a week. Unplugged is the sound of Alexandra Amor discovering herself and making her way in the world. Every song from the young American is filled with so much personality and layers. You never get songs that sound routine and ordinary: everything explodes with heart and soul. Not Easy to Love has been picking up effusive praise and a lot of praise- no wonder when you investigate it carefully. I find a lot of music’s legends have been fading, lately. In addition to some of our best-loved artists passing on- Prince and Bowie- bands like The Stone Roses and The Libertines have had shaky ‘comebacks’- Radiohead’s latest album is receiving mixed reviews. Even Alicia Keys- whose new single, In Common is out- is not up to her epic standards. Being a fan of Keys: I am disappointed to find she is following in the footsteps of Lady Gaga and Rhianna: producing music that sounds processed, seedy and anodyne. Lacking personality, depth and anything distinguished: one would hope Alicia Keys reverts to her previous self. The new musicians of the world are showing the most promise and potential. I am excited to see how far Alexandra Amor can go and just what the year holds.

Never Apologize is a song released a few months ago. Overflowing with gorgeous vocals and intensity: it seems to document a hard break-up and a fraught relationship. Never apologising for “the moments we had”: you sense the sweethearts have parted ways and it has not been a mutual decision. Our heroine is struggling to make a clean break; perhaps part of her heart belongs to her man. While the song has a mainstream Pop core: there is Soul and Country mingling to create an exceptional track. There is polish to the production- but not too much- that augments Amor’s stirring voice and confessional lyrics. It is a song that not only will grip fans of Pop and Soul: it is strong enough to unite various clans of music-lovers. Rearview has similar dynamics and themes at its heart (like Never Apologize). The composition and vocal are tender: it recalls the debut album-era sounds of Alicia Keys. Strands of Amy Winehouse make their way through. That raw and ragged Blues voice; the nimbleness and beauty of Keys: both combine in a song that sends shivers across the spine. Whether looking at the same relationship- and the fall-out from it- there seems to be a consistency at work. The heroine is looking back but she cannot forget the memories. Recalling standing on the front porch (“Smoking your last cigarette”) there is something tear-jerking and harrowing about a young woman that has invested herself into a bond- one that is broken and cracked. Amor has shown how diverse and consistent she is. Rearview owes more to the greats of Blues and Soul: Never Apologize a more contemporary, chart-honed song- Not Easy to Love sits in another avenue. A musician that has so many sides and contours: it makes her music surprising, original and nuanced. You never get the same song twice- not in terms of composition and vocal, at least- and are always provided something fresh and engaging. Not Easy to Love- in my opinion- is the finest song Amor has produced. From the vocal through to the production: it is a song that shows her at a peak. I know Mama is not far away: I will be fascinated to see how that measures; whether it goes in a new direction. The title begs images of family and the comforts of a mother: maybe something more introverted and family-based? It is hard to tell- social media photos show a snake has shown up on the set of the music video- so something sultry, dangerous and edgy might make its way to us. With Alexandra Amor you can never guess. One thing I can say is Unplugged contains so many gems and beautiful moments. Whether an album is coming this/next year- or there will be another E.P. - I cannot wait to find out.

I discovered Not Easy to Love through The Dutch Guy. Tipping it as one of his Sunday Smooth Groove choices: you can see why it has been singled-out. The Dutchman follows and supports the hottest and best artists around. Not someone that exaggerates and produces hyperbole: I was compelled to dig deep and give myself to the song. The opening notes ensure your attention does not wander and stray. A thudded and precise drumbeat mixes with stirring and rousing piano. Not mentioning Alicia Keys too much- comparisons have been levied- but you can hear embers of her Songs in A Minor work. There is a maturity- recollection of the Soul greats- and something direct and to-the-point. Horns blast and swagger: the beat tightens and the introduction explodes with colour, light and vivacity. The song looks at another side (to a rather uneasy) love. Written over Christmas last year: it saw the heroine transition into a relationship (with a bottle of bourbon, as she attests). Clearly there has been a fall-out and some fragmentation. Perhaps based on a former love: Amor confesses she is not easy to love. The boy- if current love or past obsession- may have had ideas and desires. Perhaps a perfect wife- Amor would have been- our girl is in-control and is not someone you can dictate to. I am not sure what has caused the ruction and imbalance- maybe they have different goals in life- but there is tenseness and stressfulness. You would not know from the lush and delicious vocals of Alexandra Amor. I have compared her with other singers- so you can draw a line to her heroines- but she comes into her own here. There's grittiness and edge; the swooning soul and gorgeous, pin-sharp highs. The heroine is filled with emotion and pain. Few singers are that self-reflective and honest: admitting they are not perfect and have their flaws. In other numbers, Amor has looked at the man as the point of blame: someone who has caused hurt and has left her scarred. Now, we see the mirror turned and something revealing. The composition remains powerful yet sparse.

The beats keep the heartbeat taut and pulsating: there are few other notes and input. The spotlight is put into the vocal and an extraordinary performance. Amor elongates her words to ensure the emotion and potency hit the mark. That idea- not being easy to love- is reinterpreted and repeated. Whether bird-call and sweet; rushed and harrowed: each time, there is a new way of delivering those words. Amor looks at a “life once missed”- lies and dark forces into her mind- and you start to imagine scenes unfolding. “Catch me if you can” is a line that sees the heroine falling and looking for safety (if you dare, that is). Like her previous numbers: there is an obliqueness that can be found in the words. It is clear (Amor) can be challenging and have her demons: the circumstances behind the break-up/struggle is not fully revealed. Clearly there have been disputes between the lovers. Maybe they have had a good ride but are too very different people. You always empathise with the heroine and want things to be better. Despite dealing with hard subjects- a lover that has her faults- the sentiments never become too exhausting and strained. Every revocation of the thought brings new insight and depth. The chorus has a sing-along quality; you cannot help but join in towards the song’s end. Every stage of Not Easy to Love showcases what a beautiful voice Amor has. The voice rises and hiccups; it swells and sways: there are so many different dimensions and sides to it. You can tell how important music is to Alexandra Amor.

She is not someone who cemented her voice years ago and is resting on her laurels. Every song sees her grow stronger and more assured; confident and more exhilarating. While you can detect little bits Alicia Keys and Amy Winehouse: the abiding take-away is a very strong and impressive original performance. You will be captivated by the voice as it is bare-naked and pure. There is no rushing electronic cover-up or heavy percussion: she is exposed and there for all to hear. Were the song weak and stereotyped, you would not come back to it. As it is, Not Easy to Love hits you upon first listen. Compelled to come back and keep hearing it: a song that grows and stays inside the mind. The song is chorus-heavy, which is no shock. The truth and background are quite heavy- how the lovers arrived at this point- and Not Easy to Love is an explanation and simple missive. The boy might be hopeful and expect something fairytale and unrealistic. At the heart of things is a brave young woman admitting her flaws and imperfections. The way that is presented leaves the listener sighing and seduced, fully. By the time you reach the final notes, your heart belongs fully to Amor. Never vile and accusatory- so many of her peers take that side- it is a heartfelt and emotional song that deserves respect and attention. Change is a scary process- as Alexandra Amor has admitted- but worth the risk. I hope she is happier and more contented- it seems that way- because you would hate to think demons and regrets linger in the heart. Old relations and past loves have gone into music of the highest order. Not Easy to Love is another nugget of gold from her Unplugged record. Mama will be premiered very soon: I cannot wait to hear what that sounds like. Improving, evolving and changing with every song: there is no one like Alexandra Amor. A sensational musician I know will make it big: do not ignore the U.S. treasure.

Mama has been gathering excitement and predictions: just what the song will sound like. Amor is releasing songs at quite a rate: ensuring her fans are kept informed and pleased; not letting anyone forget her in a hurry. That would be impossible: few can ignore just what an exceptional proposition we have. There are so many female solo artists out there; it makes it hard choosing which posses that spark and originality. Taking influence from Alicia Keys, Amy Winehouse, and Christina Aguilera- the raw fire and soulfulness; the stunning voice and punch- there is something very personal and relatable about Amor. She writes songs that we can all understand and connect with. Whether you have been heartbroken or find yourself in an uneven relationship- you will be able to extrapolate something from what she sings. The voice, passion, and beauty all come together in something packed with sweetness, spice and flavor. A honeyed voice that has some whiskey-soaked undertones: a musician that we should all start following more closely. Not Easy to Love has just dropped and has resonated with the fans and listeners. A song that could fit into any radio station’s playlists: it has been getting a lot of attention across the U.S. Having conquered Florida, L.A. and New York: there is no telling what Alexandra Amor can achieve. My music reviewing comrade The Dutch Guy has just featured her- stole the idea from him, to be honest- and he knows proper talent when he hears it. British publications and listeners are discovering Amor: she is a musician that has a worldwide appeal and reputation. Let’s hope she can make her way over here and treat us to some gigs. She would go down a storm in London: in fact, the U.K. would fall for her pretty hard. Europe would wait; so too would Australia: she could go anywhere she wanted and have huge crowds waiting. The reason for this lies in the music which has a simplicity and honesty to it. There are not layers of production and clichés building up. You have a woman that is putting her life onto the page with no pretense and fakery. Every word comes from the heart and is delivered with the maximum amount of drive, commitment, and beauty.

Mama is unleashed on the 20th- part of Amor’s record, Unplugged- and will get a lot of heat and patronage. Not Easy to Love has soulfulness and intensity: there is something heartbreaking and tense under the surface. Let’s hope our heroine is in a good place- and finds herself with a good, honest man- because here is someone who has been through an incredibly tough time. This pain and heartbreak results in some of the best music coming out of the U.S. I recommend everyone spins Not Easy to Love and waits for Mama’s release. Having grown-up and played in Florida- the state is producing some fine musicians- the lure of L.A. and New York proved too strong. These cities have provided Alexandra Amor the chance to exploit her talent and find inspiration. She seems at home among the rushing traffic and busy streets. Within the diverse neighbourhoods and wonderful music community: Amor is going to be one of the big names to watch. I am not sure what her touring schedule looks like but I am confident she will be traveling across the country. She may be Unplugged but there is something very electrifying and switched-on about Amor. Few singers have the ability to seduce you the one moment: kick through the ceiling the next. This year is going to be a hot and exciting one (for Amor). If you are unfamiliar with her brand of music: ensure you check her out and see a wonderful artist on the rise. If we ask hard enough, who knows…

SHE may come and play in the U.K.

 

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Follow Alexandra Amor

 

Official:

http://www.alexandraamormusic.com/

Facebook:

https://www.facebook.com/alexandraamor

Twitter:

https://twitter.com/AlexandraAmor

____________________________________

Music

https://soundcloud.com/alexandraamor

_________________________________

Videos:

http://youtube.com/alexistoothick

TRACK REVIEW: J.C. Villafan- The Moment

TRACK REVIEW:

 

J.C. Villafan

 

 

The Moment

 

9.2/10

 

 

The Moment is available at:

https://www.youtube.com/watch?v=_Wamsbbz3qs#t=45

RELEASED: 17th April 2016

GENRES: Acoustic-Soul; Folk

ORIGIN:

Los Angeles, U.S.A.

The album, America’s for Dreamers, is available to pre-order at:

https://itunes.apple.com/fr/album/americas-for-dreamers/id1108721489

RELEASE DATE:

17th May 2016

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ASIDE from the fact Radiohead release their new album...

in a matter of hours (7pm G.M.T.): I am excited by today in general: the sun threatens to rear its head and spring blossom; another interesting artist is in view. As psyched and pumped as I am for Radiohead’s new album- whatever it is called and whatever is contains- my featured artist provides plenty of food for thought. Before I come to him, it seems I am, once more, in California. I keep telling myself I’ll get away from London and California: find some new avenues and towns; fresh corners for music. The quality and consistency (of these areas) lure me back: I am happy to be back here. There are few solo artists that not only promote altruism and hopefulness: they get in the memory and stick in the brain. I find so many solo artists- mainly the guys- that are either slight and reedy- or else they are generic and tired. There are few musicians that have a wise head on a young body: manage to portray something deep and thought-provoking- without coming across preachy or boring.

With a proliferation of bands and ‘heavier’ artists- those that employ heavy percussion and electronics- it is nice finding a musician that can do subtlety and compassion: ensuring the music packs plenty of kick and memorability. Before I continue on, let me introduce J.C. Villafan to you:

Hailing from Los Angeles, the singer-songwriter JC Villafan has been honing his craft since 16 years old, performing in front of an American audience, as well as touring in Europe where he built a new loyal fanbase. His delightful blend of pop, rock and folk especially won hearts in France, where his music has been highlighted on national television and radio, as well as in major media outlets. Whether at home or abroad, he has always made time to give to the community and ensured to working towards his ultimate goal: to inspire and encourage others to pursue the greatest fulfillment of their wildest dreams.

These beautiful values of altruism and hard work have been instilled in him by his parents whom he wants to give pride of place to for the next step of his career. After releasing the Sweet Time EP — nominated in 2012 for Best EP at the L.A. Music Critic Awards — and its follow-up I Still Believe in 2014, JC Villafan is reflecting on his journey and his heritage in his debut album America’s for Dreamers. Back in 1991, his then 5-month-pregnant mother climbed the fence separating Mexico from the United States with her husband, wholeheartedly hoping to offer him a brighter future. « The story of the album continues with my ceaseless pursuit of a dream. A selfless dream that oversights fame and fortune for making a difference and uplifting those who stop to listen. The album ends at exactly right where I find myself today », he explains.

America’s for Dreamers is set to be released on May 17 (the iTunes pre-order starts on April 28)and will be followed by a European tour kicking off in Belgium on June 2nd, before making its way to Germany, France and the UK and eventually heading back home for a few more dates in California.

On paper, J.C. Villafan seems like a very rare specimen: a musician that has a unique past and a very different way of working. Being buried in a mass of artists- across social media and the Internet- you do not often get time to connect with the person behind the music. A lot of time; you listen to a song/songs and that is it: occasionally, you bond with that act and follow their careers. It can be quite hard with bands: there are several personalities so it is difficult to make that all-important connection. J.C. Villafan has a back-story that seems made-for-Hollywood in its extraordinariness and danger. Villafan’s debut album is the story of his exceptional past: his mother climbing fences and finding a new home; maturing as a musician and supporting the community. America’s for Dreamers is very much that idea of The American Dream: finding somewhere with opportunity and safety; a new life and home. Based in Torrance: the 24-year-old is inspiring his fellow musicians and helping people around him; instilling family values that were given to him. It is rare to find someone who has that much consideration and love for those around them. There are too many musicians that focus solely on their own careers: they do not give enough back and struggle to reach out to their fellow man. When it comes to the music itself: J.C. Villafan has captivated a huge amount of people. A celebrated name in California: he has toured Europe and shows no signs of slowing down. Artists that play similar sounds- Acoustic-Folk- can often struggle to resonate with everyone: they very much have their audience and do not break through barriers and boundaries. J.C. Villafan has a talent that means he is impossible not to love. The music is exceptional and filled with story, wisdom and depth. The performances have plenty of heart and emotion: topped by vocals that get under the skin and cause you to smile and reflect. After successful E.P.s and critical acclaim: the Torrance-based artist is preparing for that all-important debut album release. All the initial signs are positive: here is a musician that can go as far as he wants; you would not bet against him being a big name in years to come. California (and L.A.) has a vibrant and supportive musical scene: many people are realising what a fantastic proposition J.C. Villafan is.

Back in 2012: Villafan released his E.P., Sweet Time. It was one of the first things he put out there and showed what confidence he had. The title track is s soulful and swinging track that boosts kick, groove and expression. Imploring a lover- who has perhaps left him- there is that desire to recapture the flame. Whilst exploring well-trodden ground- lost love and longing- the way J.C. Villafan represents it marks it aside from the pack. The Other Me is a confessional and mature offering. The hero made mistakes and is a changed man. Maybe in the past, he has been culpable of errors and weaknesses: this is a song that declares a new person has been born. Once more, the vocal performance is filled with soul and power; plenty of intensity and promise. The entire E.P. has a very defined sound and style. Each track covers issues of love and relations to an extent. Our hero looks at the past (who he used to be) and wants to change his ways. Perhaps a find love has been lost: determined to get it back; there is that desire and supplication that shines through. The consistency and talent is impressive and laudable: few artists begin with such conviction and promise. Every song has that contemporary/mainstream vibe to it: like they could easily slot into radio-play rotations. America’s for Dreamers- and The Moment, for that matter- shows a step forward and change for Villafan. The current offerings are more Folk/Acoustic-based and are less intense and powerful than Sweet Time. Given the subject matter and inspiration- crossing the border to make a life in America- perhaps bombast and celebration are commodities ill-fitting and unnatural. Villafan is more reflective and emotional on his debut L.P. In that respect: the lyrics have changed from stories of love to look at something more original and personal.

Most artists have experiences of heartache and love: most are incapable of bringing anything new to the table. Sweet Time packed plenty of wonder into the mix: you got the impression the young American had more at his disposal; his best work was still ahead. Whilst the performances are convincing and passionate: our hero’s talents were not fully exploited and explored. The Moment- and the album as a whole- sees Villafan grow and mature as a songwriter. Breaking away from worn subjects: we have a musician that stands out from his peers; much richer and fascinating. Perhaps the vocals lack necessary distinction: that will come with time and experience. J.C. Villafan is getting stronger and bolder as time elapses. Still in his 20s: you wonder just how far the Californian can go.  I would like to see him explore more family-based issues and the community at large- stray away from love and relations for a bit. That is where his niche lies: his altruistic attitude and vivid beginnings. Few musicians have had such a hard beginning: America’s for Dreamers is the kind of work you want from him. It will please existing fans and ensure that more are brought into the fold. If he can find his true potential- vary the vocals and put more variation into the composition- he will be an artist that will be hard to ignore.

Skip, rush and blood-flow begins The Moment. Villafan is an exceptional guitar player and shows plenty of drive and intensity in the opening moments. The guitar has such a vibrancy and charm to it: I was reminded of the Folk greats- both U.S. and U.K.-born- and you get a real sense of authority and control. Hooked and fascinating by the spirited opening coda: The Moment is a song that begins with bags of heart. “Wait for the perfect time” are the first words: right away, you begin to speculate just what that could mean. Truth and meaning are explored. I am not sure who Villafan is directing towards- perhaps a lover or sweetheart. Given the album’s arc- his parents coming to the U.S. and making a new life- there is ample mystery and open-for-interpretation (appeal) to the song. Our man is opening up his eyes and realising truths. In these early phases, there is some obliqueness and cards-close-the-chest. There is a dream “still alive”: something Villafan is opening his eyes to; something pure and much-needed. You wonder whether love or opportunity is being assessed. Whether casting himself in the role of his parents- or discovering something very personal to him- The Moment gives the listener opportunity to conspire and guess. Our man is making his plans and not looking back: you can feel that determination and ambition. Riding a rushing and effusive guitar line- the performance is tight and compelling throughout- the vocal is suitably soul-laden and rich. On his debut-era work; Villafan was still discovering himself and working on his sound. The Moment- and the album as a whole- might have some weakness: as an artist; you cannot fault the development and growth. Lyrically, the American is a lot stronger than he has ever been. The vocals contain more nuance and depth; the composition strike a little harder- all encouraging signs.

Been called-out by this moment: the hero has his eyes closed and is dreaming of something fantastic and desired. Villafan puts in one of his most lustrous and hypnotic vocals to date. Filled with beauty and heart: few singers have such a stunning voice at their disposal. You would need a heart of stone not to be affected and won by the spirit of The Moment. Our hero looks for a sign and signal. He casts his eyes around but the truth is this: nothing will stop him achieving his dreams and reaching his goals. It seems like (our hero) has crossed the border and is seeing America for the first time. In a wider sense: The Moment could be about achieving musical success; perhaps it is from the perspective of his parents- reaching a promised land and escaping a harder life. Containing so much depth and layers: each listener will have their own theory when it comes to the song. In the past, perhaps Villafan was hesitant and watching moments pass him by. That is the case no more: Talismans are being grabbed and opportunities clasped: this is the time for J.C. Villafan to shine. Captivated and seduced by the vocal and performance- that seems to grow more intense and delicious- my mind gets into the song and pictures the scenes unfolding. I envisage something musical and career-minded. Whilst America’s for Dreamers documents his parents’ travel from Mexico- here, there seems to be something personal and romantic. Maybe I am over-interpreting or overlooking the point: I can vision a particular person; a lover or close connection of Villafan. The final seconds (to The Moment) drive the key messages home. That need for grasping dreams comes through clear: the determination to succeed and gain something pure. Whatever your interpretation of the song- and whatever angle you approach it from- you cannot help but be charmed and amazed by Villafan’s performance. Committed and filled with passion: one of (America’s for Dreamers’) key tracks.

I have had the pleasure of hearing America’s for Dreamers- one of the little perks of being a reviewer. The ten-track L.P. starts with plenty of passion and pride. The title track is a that sees the hero among the mountains and rivers; finding himself in a new land. It seems dreams are useless: unless his love can chase dreams with him. There is some irony and incompleteness early on. Although the U.S. is made for those that dreams: it is only worthy and whole when there is somewhere with you. An indelible and passionate chorus means the song will affect upon the first listen. It is a big and bold song that shows what a vocalist Villafan is. His performance is empathic and filled with tremulousness and strength. Your Love provides more reflective and desirous. Whilst there are some well-worn tropes and clichés- love being deeper than oceans; hotter than the sun etc. - the conviction and purity of the words makes up for it. Villafan shows he is adept and nimble when it comes to compositions. Every song has different skin and sound: he is not a musician that puts the bare-minimum into anything. Little Boy is one of the album’s highlights. Filled with entrancing and heavenly vocal layers- our hero harmonises with himself- it is one of the most tender songs on record. Wanting to stand up to “whatever holds me down”: Be Free is that desire for success and progress; the need to throw off shackles and achieve dreams and happiness. These are moments in an album that show plenty of promise and talent.

Whilst (perhaps) not varied enough to appeal to everyone: there is enough depth and fine moments within America’s for Dreamers. The album looks at two lovers as they cross the Mexican/American border- namely; J.C.’s parents. It is a tale of escaping a rather limited and hard life: traveling to America in search of sanctuary and new opportunities. In film terms, it is a rather well-worn subject: less-so when it comes to music. You often hear about musicians that focus solely on themselves: their love lives and the heartache they face. It is rare to find someone who documents their parents’ struggles and background- essentially, how he became to be. Throughout the story arc- from crossing the border to the young man finding himself in the U.S. - you get immersed in J.C. Villafan’s itinerant and against-the-odds upbringing. Perhaps the vocals and sound might- at times- put you in mind of Ed Sheeran his contemporaries- somebody I have decried often enough- it is a minor slight in an otherwise excellent album. J.C. Villafan will continue to grow and find his own voice. As a lyricist, he puts plenty of personal revelation and uniqueness in. Not only do you get the family lineage and travels to America: there are wonderful little moments and exchanges between lovers (his parents) - few artists are as distinct and deep. The compositions are varied enough but could do with a bit more edge and power at times. Relying on Acoustic-Folk sounds too much: a harder, Rock edge could benefit a few of the tracks. I know Villafan wants to cement a reputation and style: some more compositional flexibility would make the music more engaging and varied. Small quibbles aside and you have a young man that could well be making big splashes very soon. America’s for Dreamers is an album that shows a huge amount of work and intensity. The songs are not lazily slung-together and effete: each number sounds well-rehearsed and authoritative. With some clear and polished production: every song is crisp, clear and refined. I started by looking at new music coming out- Radiohead’s album later today- and how good that will be.

To be fair: 2016 has been a very dark and sad year for music. Aside from some notable deaths- Prince, Bowie and Lemmy among them- there have been few (mainstream) acts to get excited about. It seems the tide is turning and some real quality is coming through. British acts like James Blake and Radiohead are causing excitement: Beyoncé has released a career-defining album; there are promising albums in the pipeline. The underground/primed-for-the-big-time musicians have always fascinated me. This year has been very prosperous and exciting for new musicians. J.C. Villafan is another artist I know will have a golden career ahead. Having been raised in L.A.: he finds himself in California, still; clearly at home among the fascinating neighbourhoods and people; the sunshine and scenery- the magic and inspiration. Let’s hope there are plenty more albums in the 24-year-old. America’s for Dreamers is a solid and confident effort from a bright proposition. The Moment is available on YouTube and- the version available- is a stripped-down and raw offering (the album version is a little more polished and layered). It is a song that perfectly represents J.C. Villafan: a striking vocal and incredibly story; wonderfully rich composition and huge commitment throughout. If you tire of the same old musicians their stories of broken love and break-ups: you should check out an artist that has a very different story indeed. Much more fascinating and unique that most of the new artists out there: a rarity that should be embraced and celebrated. America’s for Dreamers is out on May 17th and I recommend you go and get it. Until then- to tide you over- check out The Moment and a fantastic young musician whose…

STORY has only just begun.

 

[youtube https://www.youtube.com/watch?v=_Wamsbbz3qs&w=560&h=315]

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Follow J.C. Villafan

 

Facebook:

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

Twitter:

https://twitter.com/jcvillafan

___________________________________

Music

https://soundcloud.com/jcvillafan

INTERVIEW: The Updraft Imperative

INTERVIEW:

 

 

The Updraft Imperative

 

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I hardly need an excuse to catch up with my favourite Australian band…

The Updraft Imperative. I know the guys have experienced changes and upheaval this last year- finding a new drummer; fighting to get music made- but are starting to settle and look to the future. Chair (the band’s debut album) marked the group as a serious proposition to watch. With rumours of a new album- the single, Pieces of My Past being a tantilising appetiser- I was eager to chat with the guys. With Danny in their ranks- the new man behind the drum kit- the boys are galvanised and ready for the coming months. They talk about the passing of David Bowie and Prince; the music scene around Brisbane (where they are based)- what it was like meeting their manager (Di Sherwood) for the first time…

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Hey, guys. How has the week been? Get up to much?

Danny - Yeah not too bad: busy with life and such. Happy days.

Murray - mate, when your workplace relies heavily on computers to work, and they go offline for 2 full days: that incrementally adds stress you don't need.....aside from that, great!

This year is almost at the half-way mark. What have been the highlights?

Murray - our epic road trip, as our autumn tour took us all around "Straya", with our very own manager, Di- all the way from Scotland…

Josh - Well, the highlight would have to be our little autumn tour and getting the chance to meet our manager, Di, in person, for the first time.

Danny - The tour in March for sure.

Iain - Yeah, same. The tour in March

 

 

How has the passing of legends David Bowie and Prince affected you as musicians? How influential were they to you?

Murray- Honestly not sure who I was most shocked and upset about. They are cosmic giants in the  musical solar system and will forever be referenced and sometimes plain copied (Maroon 5 come to mind).

Iain- Well I was quite shocked at the passing of both Bowie and Prince. I wasn't an overly huge fan of prince, so he hasn't been a major influence on me. But, with Bowie, I quite like a lot of his music including his last album- so he's had some influence on me.

Josh - Talented people come and go. You can just enjoy them while they're here.  I don't think either of them were of any significant influence to me, though.

Danny- Both massive losses to add to an already ridiculously high musician death toll.

Your manager Di. (Sherwood) recently visited Australia. What was it like meeting her for the first time?

Murray- it was like Skype without the delay! Di's done a huge amount for The Updraft Imperative's ministry both here and abroad: it was great to be able to spend some time with her and show her some of Australia.

Josh- It was great!  I think we all got on smashingly. Had a good time and shared lots of laughs.

Danny - Great to finally put a face to the name. Great hangs

Iain- It was great meeting her. Having Di here made the March tour a lot of fun. There was a lot of laughter going on in the car.

 

[youtube https://www.youtube.com/watch?v=O1Mp_5Bg_qo&w=560&h=315]

 

Pieces of My Past (the band’s new single) has been gathering a lot of attention- it has spent 11 weeks on Australia’s Hot 25 Countdown. What has that been like?

  Josh - It's been great to have it in the chart for the last number of weeks.  It's good knowing people are connecting with it and happy that the song is reaching people.

Murray - I think it shows that independent bands can show they don't just need to be 'one trick ponies'. But it still takes a whole lot of sweat and tears to get it heard and received well.

Danny - Pretty sweet. Good to see people enjoying it.

Iain - It's been rather smashing

What inspired you to write that song?

Josh - At the time I wrote the lyrics, I was thinking about how life can often be messy.  At times, we can all be a bit judgmental towards others- without taking the time to walk in their shoes.  It's a song about showing a bit of grace to others: just as we have been shown grace.

On the subject of new material: can we expect a new album this year?

Danny - We have been talking about the next album a bit lately, not sure when it'll happen yet. We have been playing a couple newies (sic.) live, though.

Murray - we've been given 'in principle' finance to bring another album to the table, so now all that's left is for all of us to get our heads into 'album' mode; pen a few more songs and book studio time.

You guys are based out of Brisbane. Which locals acts would you recommend people check out?

Murray - Drafts are cool, and Noralyn- who's played with us a few times- also: epic voice, and she monsters all over the piano!

Danny - Far out, so many decent acts. I've done a bit of sound at a venue in Brissie (sic.) over the last year and one band I did that stood out was a group called Toisoc, solid funk/rock sound. Other solid bands include Hobo Magic, Cordeaux, Vaguely Human; The Disgruntled Taxpayers, Drafts, The Barefoot Experience; Homeless Yellow... That's off the top of my head. I could go on for hours, honestly...

Josh - I don't get out much, to be honest...!

Danny is your newest member. How has he fitted into The Updraft Imperative fold?

Danny - Like a square peg in a round hole hahaha

Murray - can't wait to get him and Iain locking in their grooves and beats in the studio-they bring a real solid combo into our sound, so expect certainly a more Rock-infused sound out of us into the future.

Iain - I think he's done marvelously well fitting into the fold

Josh - Danny's a great guy. Love his kicking beats.

Spending so much time on the road: have there been some particularly memorable gigs? Any especially bad ones?

Murray - Forest Edge Music Festival. We were a last-minute lineup squeeze, but made many new friends and together sweated an Olympic swimming pool! All the gigs were different but we were really well received at each one.

Josh - I think the Forest Edge Music Festival gig was the most memorable gig for me: lots of noise, sweat and good feedback.

Danny - Forest Edge Music Festival is my favourite so far. Hasn't really been any shoddy gigs as of yet...

Iain - Definitely the Forest Edge gig back in March was a memorable gig. Can't really remember any bad gigs.

Any chance you fellas will be coming to the U.K. soon?

Josh - No serious plans at this stage...

Danny - ...but never say never

Iain - I think there's chance. It would be good to gig in another country and to experience what their music scene has to offer.

Murray - always a chance. My wife and I are making plans to visit Di around September, so if we can get some other members there also, does that count as a tour?!

 

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Follow The Updraft Imperative

 

Official:

http://www.theupdraftimperative.com/

Facebook:

https://www.facebook.com/theupdraftimperative

Twitter:

https://twitter.com/TUI_Official

YouTube:

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

SoundCloud:

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TRACK REVIEW: ALA.NI- Darkness at Noon

TRACK REVIEW:

 

ALA.NI

 

 

Darkness at Noon

 

9.7/10

 

 

Darkness at Noon is available at:

https://www.youtube.com/watch?v=DEoOg-WHKxw&feature=youtu.be

RELEASED: 12th April, 2016

GENRES: Alternative/Pop

ORIGIN:

London, U.K.

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IT has been a shaky ‘personal’ week for me that has been mitigated…

by some musical comfort. After the mystique and hullaballoo that shrouded Radiohead’s latest release: people were wondering just what the Oxford band were up to. Having taken themselves offline- a new musician does that and they get forgotten about- they unleashed their new single, Burn the Witch. Sounding like a cut that could fit on Amnesiac or Hail to the Thief (lyrics to Burn the Witch were scrawled in Hail to the Thief’s album booklet): it shows the boys are back in force; signs and signals to suggest Thom Yokre is embracing his voice- rather than burying it in the machine. If that wasn’t enough for us: there is word Radiohead’s ninth album will be released tomorrow. No idea what it is called: The King of Limb’s follow-up is the most hotly-anticipated release of the year. Running concurrently: James Blake has unveiled his third album, The Colour in Everything. Threatening to be one of this year’s most astonishing releases: picking off where Overgrown left off; a symphony of emotions, vocal layers and perfect wall-to-wall gems. I have doubted the credentials of mainstream music, lately. With the likes of Radiohead and James Blake creating wonderful music: my considerations have to be redrafted and reframed; my cynicism recalculated and repositioned- or does it? Whilst this year is seeing some of music’s finest ensure they stay firmly in the critical mindset: how many other artists are making such an impression? The most fascinating, diverse and impactful artists- in my mind, anyway- are emanating from underground: those who may not have a record deal; musicians that are looking for that recognition. Big-time releases like The Colour in Everything and Burn the Witch are driving under-the-surface musicians to push hard and keep their sights set high. ALA.NI is one of those singers- before she has even opened her mouth- you just KNOW is going to go a long way.

Together with striking looks- ALA.NI has Grenada-born parents- the stunning, London-based musician is one of the most talented and busy we have in our midst. Before I go on: let me introduce ALA.NI to you:

West London artist ALA.NI has confirmed release details for her debut album You & I, due on June 3 through No Format. With all songs written & produced byALA.NI, the album was recorded between Damon Albarn’s Studio 13 & Andrew Hale’s (Sade) Owl Studios in London. The announcement follows ALA.NI’s startling emergence last year on Later……With Jools Holland, which came amidst the arrival of her 4-strong EP cycle Spring, Summer, Autumn and Winter, charting the seasons & weathers of a failed relationship (accruing over 2.5 million streams since). The release of You & I will come ahead of an intimate album release tour - having previously played alongside Ibeyi - including a London headline at The Forge on June 15.

ALA.NI stopped many people dead in their tracks when she appeared on Jools late last year, performing ‘Cherry Blossom’ – lifted from her ParadYse-released EP, Spring - with a MGM-gone-noir vocal, as compulsively anachronistic as the Classic sensibility of the track itself. ALA.NI arrived with a voice that seems to take in the cadences of musical history, and an idiosyncratic creative approach to conveying her music, including spooky, self-directed & self-produced Super 8 videos (one of which has recently been nominated for this year’s London Independent Film Festival), and alternative release formats that include wax cylinder recordings and even a miniature music box.

Raised in Shepherds Bush by Grenada-born parents – a reggae-calypso bassist father, and a couture seamstress mother – ALA.NI followed an older cousin into attendance at the Sylvia Young School, though as she clarifies with a laugh, ‘not a conventional, sing-for-mummy-darling sort-of tale’. After leaving school,ALA.NI sang behind or alongside people with huge talent on tours, like Mary J Blige and Blur. She was successful, but didn't carve out a space for her own art until four years ago, when something happened creatively that had never occurred before: a song, I'll Remember, arrived out of her mouth, all in one piece, one morning at 3am.

Then it happened again, whilst on holiday with her grandparents in Grenada, when Cherry Blossom subsequently emerged, fully formed, in the middle of the night. This music sounded like a series of woozy yet crepuscular David Lynch-ian miniatures, rushing between the glow of innocence and the pang of experience. The resulting 4 strong EP cycle – entitled Spring, Summer, Autumn and Winter – and the album which now draws that material together for the first time, trace an arc through the duration of a particularly tumultuous relationship- one ALA.NI hoped would win out, but quickly became one she couldn't have. As such, ALA.NI’s outlook is now tempered by wisdom and an acceptance of change, felt keenly as You & I plays, with ALA.NI’s hushed, grainy vocals (sung into her faithful 1930s ribbon mic) gauzily fleshed out with steel pan, Hohner guitaret & a ’66 Gibson 345.

Few artists- that are unsigned, anyway- have been able to cover so much ground. Recording at Damon Albarn’s Studio 13: the youngster has provided back-up vocals for Blur and Mary J. Blige; performed on Jools Holland’s show; You & I (her new album) is out next month. It is a busy and prosperous time for ALA.NI. I know how hard and challenging it is for new musicians to make their names heard. Many of them- quite a few I have reviewed- have started passionately before finding the rigours and realities too tough. Social media can hinder musical evolution: there is so much choice; it is difficult rising above the pack.

ALA.NI has produced a four-strong E.P. cycle and will delight the public with You & I. Seemingly growing stronger and more astonishing as time elapses: that intimate and Heaven-sent voice is attracting serious acclaim and admiration. There is a lot of emphasis put into the voice, in the current climate. So many singers are heralded as ‘The Next…’, but in truth: few of them actually linger in the imagination. I feel like some of our once-prodigious names have slightly lost their edge. Adele seems intent on producing the same sort of song: without changing her dynamic and themes; she is starting to create weariness; that initial stun is less pronounced and unique. Alicia Keys- whose latest single, In Common, I reviewed for The Metropolist- is way past her best- that soulful voice is buried underneath cheap and nasty electronics; in a song that sounds like a Rhianna offcut. With so many mainstream goddesses losing their panache, perhaps: where do we find the next generation of idols and leaders? ALA.NI is someone who has the potential to be a mainstream star; influence plenty along the way. She is not a committee-assembled, producer-led artist who stands behind a microphone and puts in little emotion and personality. With every song, you sense a young woman that puts her soul, heart and inner-self into every note. Her delicious, confessional voice sounds like it could have emanated from the Jazz greats of the ‘40s and ‘50s: there is something vintage and classical about her. The songs have a universality and familiarity to them. Laying bad love and heartbroken words onto the page: in old topics; we find new light and nuance. Darkness at Noon is a typically bold and mesmeric effort from one of our most assured and original musicians. If you have not discovered ALA.NI and all she has to offer: rectify this and keep her close to your heart.

You & I is ALA.NI’s new album: those who are unfamiliar with her work will want to travel back and see where she came from. Her four-E.P. cycle- Spring, Summer, Autumn and Winter- was released last year and proved what a work-rate ALA.NI had. Spring was released in March and came equipt with a striking, floral cover. Cherry Blossom is a song that has already captured quite a large amount of attention. Having been performed across T.V. - and released in Japan- and is one of the songs (alongside the other E.P. tracks that will make their way onto You & I). Woo Woo and Ol Fashion Kiss are a trio of songs that blend meadow-side serenity and tender passions: some positive and sunshine among the introspection and longing. Come to Me, Suddenly and One Heart formed the Summer E.P. All of the seasonal E.P.s were prefixed with You & I: followed by the season and ‘E.P.’. That gave you an insight into future direction: all these songs will meet and mingle on the new album. The summer unveiling (released in June) showed more desire and lust: something sweatier and more impulsive; a deep longing that manifested itself in an unforgettable trio of songs. By the time ‘Autumn’ arrived: some more haunted and darker shades started to come in.

The leaves have fallen and the nights shortened: ALA.NI created something more reflective and saddens; whilst retaining that redemptiveness and hope. Darkness at Noon completed the three-song E.P. and finished it with a huge statement. Winter had I’ll Remember, To the River and Circle: a collection of songs that fused heartbroken laments with some profound and emotional stories. What I love about the four E.P.s- which I have incorrectly and lazily titled throughout- were the shifts of moods and beautiful cover art. The artistic and visual thinker will love the colours and designs of the E.P.s: collector items that are beautiful and eye-catching. The music is tight and focused: every song has a unique beauty and fits into the season represented. If anything; the E.P.s act as Classical suites: modern updates of the symphonies and Classical music cycles that we are all familiar with. You & I brings all these E.P.s together and adds something extra. Not only do we have a chance to find each season together- providing a fluid and transitional album- but there are extra tracks and remixes. In each quarter you get different shades and moods: you see a young woman develop and change; it is a concept album that explores a relationship that could have lasted- sadly, it did not survive the test of time. Such intimacy and personal hurt might seem like a gamble: the way it is executed and tied-together means You & I will be a huge crowd-pleaser and critical favourite. I will get the album and it will be in rotation for a long time. Few artists showcase so much originality and depth when exploring something as perfunctory and everyday as love. For that reason- and many others too- we should all pay attention to a rising star with a lot more to say.

Having premiered on the You & I/Autumn E.P. back in September: many might be familiar with the song. Darkness at Noon’s video was released last month and is the perfect backing to a haunting and beautiful song. Words like ‘crepuscular’ and ‘Lynch-esque’ (pertaining to director David Lynch) have been applied to the lexicon of ALA.NI. They are appropriate terms to describe music that has cinematic shiver and drama to it. A dark and twilight arpeggio opens Darkness at Noon. Mixing Nancy Sinatra’s Bang Bang (My Baby Shot Me Down) with shades of Lana Del Rey: at once, you are transported to a time and place. In my mind, I was picturing L.A. hills in the 1950s- each listener will have their own interpretation and visions. Bringing a ’66 Gibson 345 together with a 1930s ribbon microphone: the vocals sound raw and naked; everything has a bareness and vintage quality to it. In an age where studio gloss and polish can make a song seem overly-medicated and fake: here, we have purity, stripped-back production values and something direct and intense. The opening words see our heroine regret past decisions. Finding herself in the midst of an affair: the feeling is it should have ended; ties should have been cut and parties should go their own way. Maybe in too deep: you sense there are arguments and discombobulations bubbling beneath the surface. Our heroine needs to be set free: erase words from her lover and wipe clean the slate. Keeping truth and full confession suppressed- the truth and nature behind this realisation- you are sucked into a wonderfully rich and sensuous vocal.

Regrets are swirling in the mind- ALA.NI was cold-hearted, it seems- the duo wanted to part in harmony. Although there seems to be a sense of détente and mutual indemnification: maybe there are regrets and feelings that cannot be eradicated so swiftly. It is not clear who has compelled the break-up: the scars are deep and the die cast. Every line is delivered with a very considered and elongated manner: it ensures every word gets inside the head and maximum emotion is uncovered. You cannot hear the song without picturing the likes of Billie Holiday. The older-day microphone- which gives the song a ‘30s sound- and stillness of Darkness at Noon could have been cut from Lady Sings the Blues (Holiday’s 1956 release). Finding inspiration and spirit from the departed heroines of Soul, Jazz and Blues: ALA.NI channels the ghosts of these idols and blends it with her own, distinct tones. The effect is spellbinding and spine-tingling. As our heroine employs a maieutic way of investigation- a series of questions and answers to obtain deeper understanding- you know there will be no happy outcomes. Our heroine is scarred by wants to discover why the bond has ended. Professing a desire and longing- declaring her heart shines brightly for the boy- you get the most beautiful and touching section of the song. Rising into a shivering and unearthly high: you close your eyes and immerse yourself in the song. Every second of Darkness at Noon gets the listener invested and involved. You cannot casually listen to the song or have it in the background somewhere. You need to dedicate your full self to ALA.NI’s gorgeous sermon: allow every note to seep into your soul. With slight and dimmed-down percussion- a slight crack in the background- the emphasis is on the voice-and-guitar combination. The lovers agreed never to meet again: loving me (our heroine) would be a mistake; they need to part ways. Although they have arrived at a solution; it is not one that is beneficial to ALA.NI. She rises like the sun yet feels empty and alone: without that love in her heart; life seems harder and more callous. Maybe I am misreading but it seems ALA.NI is wrestling with her consciousness and decisions: hopeful that she can rekindle that flame and regain better days.

However you approach the song- pragmatically or romantically- you will be touched and affected by it. One of the most arresting and memorable vocals I have heard this year: Darkness at Noon mixes simple honesty with an astonishing, hairs-up-on-their-end performance. Rob Updegraff provides the shivering, Sinatra-esque guitar coda. Ensuring the words have a perfect backdrop: it is a wonderfully assured and emotive performance. He never encroaches on the song: instead, you get swathes of darkness and moonlight; emotions conspire and tear-drop coldness. Able to resonate and ring so much emotion from a few notes: commendation must be directed his way. Joao Caetano’s tender percussion adds heartbeat and punch to the song. Perfectly blending with ALA.NI and Updegraff: a wonderful trio that has created one of this year’s most immediate and stunning songs. Darkness at Noon will be featured in You & I’s second half- track nine, I believe- and end the autumnal section. From there, the album will be in the home stretch and winter will be upon us. On its own basis- or in the context of the album- few listeners can deny how seductive and timeless Darkness at Noon is. Although it is harrowed and personal: every listener can relate to the song; empathise with the heroine and give their heart to her. That Billie Holiday-inspired voice is only part of the song. ALA.NI manages to evoke the sensation of Jazz greats whilst putting plenty of herself into the mix. Granada heritage and a rich musical upbringing feed into a vocal that has so much depth, flavor and sides. You get grainy and raw nudity: lustful and sonorous velvet: dark and unsettled undercurrents. At the heart, we have one of the U.K.’s most stunning artists. I know ALA.NI is in Paris right now: when she performs in London (on June 15th) that will be a gig you will not want to miss.

You & I is released on June 3rd and will be accompanied by a live performance at The Forge on the 15th. A chance to get back to London- ALA.NI is sojourned in Paris- home fans will get a chance to see the album explored and exposed in the live arena. The Shepherds Bush-raised artist will come back to the U.K. and ensure her latest L.P. is not forgotten and overlooked. That would be impossible: ALA.NI is one of the most unique and special artists we have right now. Whilst mainstream heroes James Blake and Radiohead are igniting and exciting critics this week: we should not ignore the mass of tremendous musicians we have working to get a deal; gain exposure and build a foundation. ALA.NI is at ease in front of the camera: she oozes charm, beauty and photogenic allure. Behind the microphone is when you get the biggest shivers and reactions. Alternatively described as golden-voiced (The Quietus) and spectre-like (The Guardian): some of Britain’s most-influential publications are turned-onto the magic and wonder of ALA.NI. Those reviews are hardly filled with hyperbole and unwarranted praise. Having investigated every ounce of Darkness at Noon. The spooky (self-directed) video will be hard to forget: the stunning vocal turn WILL be impossible to forget. After a successful E.P. run- Spring, Summer, Autumn and Winter- it seems like influence and motivation have not alluded ALA.NI. I cannot wait to see her perform- I shall try and get to London next month- and this only marks the beginning of things. Previous E.P.s have looked at relationships and their effect. Employing seasons as backdrops and metaphors: a unique and effective way to document the various climates and scenes of heartache and transition. You & I looks at relations and their break-up: it goes further and digs more into our heroine’s soul. I urge everyone to pick up You & I in a few weeks: it is an album that is sure to seduce and allure; rank among the finest of 2016.

There are so few genuinely stand-out solo artists you just know will go the whole way. Many seem promising at first: they start to falter before dissipating in time. It is hard- in a world where disposability and quick turnaround are commonplace- to stand by someone who can overcome all the obstacles. Working with the likes of Blur and Mary J. Blige not only shows how talented ALA.NI is: it has given her the confidence to keep making music of the highest order; push her passions and achieve something wonderful. If you are like me- and did not know her until recently- you will want to go back and study her previous E.P.s and songs. The progression and development is clear to see. She was always impressive but has hit a rich vein of form this year: a true artist whose best days are still ahead. With the sun out and spring finally here- for a few days at least- Darkness at Noon might seem like a peculiar seasonal juxtaposition. You might be yearning for something uplifted, buzzing and sun-seeking. For those who want to discover music that gets inside the body and elicits something truly wonderful- here is the musician for you. You & I is a 12-track album that mixes old-fashioned romance with raw and modern-day themes. At every turn, there is something wonderfully and charmingly classical about ALA.NI. Whilst her body is in the year 2016: it seems like her imagination, musicality and soul belong to another time- every song takes you to a different time period. You & I will contain some bonus tracks- 7 tracks that will include some remixes- and give the listener a chance to fully explore a staggering talent. If Radiohead and James Blake are stealing focus in current music: I have been more fascinated and attracted to the work of ALA.NI. A future star if ever there was one! Do yourself a favour and discover someone…

WHO will be a face we will all be familiar with soon enough.

 

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

_______________________________________

Follow ALA.NI

 

Official:

http://www.ala.ni/

Facebook:

https://www.facebook.com/alaniofficial/

Twitter:

https://twitter.com/alaniofficial

Instagram:

https://www.instagram.com/hialani/

___________________________________

Music

https://soundcloud.com/alaniofficial