FEATURE: The August Playlist: Vol. 5: Rarities and Round-Up

FEATURE:

 

The August Playlist: 

 

 

Vol. 5: Rarities and Round-Up

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I sort of guessed there might be another installment…

in this series, and if has proved to be the case. It is always great hearing new songs and unexpected singles: so many of the best albums from this month have not made their way to mainstream papers and websites. Having a dig through Metacritic and their list of albums has shown me what is hiding away from the spotlight of the music big-players. Some charming tracks and wonderful artists: musicians that deserve a lot more attention. I compile them here and - because it is 22-years-old today - a track from Oasis’ seminal debut, Definitely Maybe.

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Bon Iver – 33 “GOD”

[youtube https://www.youtube.com/watch?v=6C5sB6AqJkM&w=560&h=315]

Cold Pumas – Open Mouth at Dusk

[bandcamp width=350 height=470 album=1173078228 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=2503530674]

Dead Ringers – Lion Killer

[bandcamp width=350 height=470 album=2607214935 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=797322162]

The Pineapple Thief – No Man’s Land

[youtube https://www.youtube.com/watch?v=qxYFXw5I45A&w=560&h=315]

Thee Oh Sees – Ticklish Warrior

[youtube https://www.youtube.com/watch?v=k_HsWX23Flo&w=560&h=315]

Palmistry – Lifted

[youtube https://www.youtube.com/watch?v=udLiwGJvd5A&w=560&h=315]

Black Dylan – Hey Stranger

[youtube https://www.youtube.com/watch?v=0yD6EGeUzBg&w=560&h=315]

Bayside – Not Fair

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

Dolly Parton – Pure and Simple

[youtube https://www.youtube.com/watch?v=VVc07KydYSI&w=560&h=315]

Lisa Hannigan - Ora

[youtube https://www.youtube.com/watch?v=iK0iTE-kwpc&w=560&h=315]

Sam Coomes – Stride On

[youtube https://www.youtube.com/watch?v=N8XkoSz-XG8&w=560&h=315]

Banks & Steelz – Anything But Words

[youtube https://www.youtube.com/watch?v=V3zTRDisnUY&w=560&h=315]

The Album Leaf – New Soul

[youtube https://www.youtube.com/watch?v=e90d_dr-FwI&w=560&h=315]

The Parrots – Let’s Do It Again

[youtube https://www.youtube.com/watch?v=9BUG_h8auXY&w=560&h=315]

The Hunna – Sycamore Tree

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

Blue Pills – I Feel a Change

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

Against Me! – Haunting, Haunted, Haunts

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

Grouplove – Do You Love Someone

[youtube https://www.youtube.com/watch?v=i4jYyUCqUOk&w=560&h=315]

The Wytches – C-Side

[soundcloud url="https://api.soundcloud.com/playlists/248573988" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Grimes – Medieval Warfare

[youtube https://www.youtube.com/watch?v=OXor30_XZMY&w=560&h=315]

Kate Nash – Good Summer

[youtube https://www.youtube.com/watch?v=DO8-2kU6Yms&w=560&h=315]

Tove Lo – Cool Girl

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

Oasis – Cigarettes & Alcohol

[youtube https://www.youtube.com/watch?v=UJDK8X5K9mw&w=420&h=315]

That is it for August: September is a few days away. Unless something great appears in the next few days: it is on with September and the songs/albums being teased and speculated. It is impossible representing all the great tracks from August’s albums and artists but I hope the 5-part feature has brought most of them to you guys. Enjoy the music and see you (for this feature) in a few days.

TRACK REVIEW: Tamu Massif - OK

TRACK REVIEW:

 

Tamu Massif

 

 

Ok

 

9.4/10

OK is available via:

https://www.youtube.com/watch?v=FYD0LxE4MxA

GENRE:

Alternative

ORIGINS:

Weston-super-Mare, U.K.

RELEASE DATE:

July 2016

__________________________

SCANNING about the wave of solo artists emerging right now…

and there is, it goes without saying, enough variation for everyone. I feel today’s music is a confusion battleground where we are only really exposed to a small percentage of artists out there. In order to establish who the very finest out there are: radio and the Internet are the best two options; it can be tough getting on top of it all and keeping track. I am an ardent fan of 6 Music and find their proffered artists are among the best in the world – I do wonder how many artists they miss out on, though. It is impossible playing every fantastic artist out there but I guess that is the good side of doing a blog: you get to see another side of the music world that escapes a lot of radio stations and press outlets. Before I come to investigating my featured artist: I wanted to talk about emotion through music; artists from less-known counties of the U.K. and inspirations for song subjects. We all love a musician that digs deep and presents something emotional and introspective. So long as the music is not too heavy and draining: getting a glimpse into an artist’s soul is one of the finest aspects of music. Too many artists write about love dislocation and inner-searching but hide it behind heavy beats and electronics – it can distill the true emotions of the song and come off somewhat cheap and insincere. One of the problems about being truly open and tender is losing people’s attention. It is a hard balance to assess something raw and harrowing whilst keeping the focus of the public. As such, a lot of new artists coming through are changing their pens away from deeply personal (and harrowing) subject matter and concentrating on other concerns. It is a shame but I guess having lyrical diversity is only a good thing. If we go back to the theme and seeing what the solution is: new artists like James Blake (although he’s been around for a few years) is a good example of how it should be done. Take his current album, The Colour in Anything, and it is rife with deep and textured songs that are among the finest this year. Previous Blake albums have been more maudlin and romance-based – assessing damaged love and trying to piece it together. Never one for direct lyrics and obvious storylines: metaphors and oblique touches are sat aside tremulous, atmospheric vocals. The Colour in Anything yearns for happiness and self-improvement; spaciousness and drama run throughout but above all is sheer beauty and majestic shimmer. He is one of those musicians that not only takes control of his songs, and does not let scores of producers tamper with them, but is able to pour his heart onto the page and keep the listener entranced. For those musicians that want to balk against acoustic guitar-led sounds and a one-dimensional approach: Blake has shown what can be achieved with compositional variation and intelligence. I bring up this (rather lofty) aspect up because of my featured artist, Tamu Massif. That name is actually a moniker of Weston-super-Mare artist Dave Dixon and he has got me thinking more about music and standing out from the crowd. His latest track, OK, recalls a rather upsetting time – more on that later – but the way he puts that on the page goes beyond the routine and predictable. Not quite putting as many elements into the mix as James Blake: he manages to elicit a range of ideas and possibilities through the composition; mixing sound effects and harder sides with elliptical, light-seeking moments.

OK casts its inspiration to a dwindling friendship and fractious time for our hero. Relationship break-ups are common concerns for musicians but usually centre around love – friendship erosion is not as widely covered as you’d imagine. We all experience times when treasured acquaintances and mates drift away or there is an argument. I feel too few songwriters do not cover these kinds of topics because they fear it is too personal – damaging a friendship beyond repair perhaps. If a relationship ends, you are not looking to get back with that person – so it is okay to put it down in a song. Maybe trying the same with a friendship drama is risky business? I am not sure but Massif has shown bravery and insight but capturing a stressful and fraught time, and in the process, bringing something new to the realms of break-up and split. What stuns me about a lot of modern artists is how rigid they are lyrically: often going for lowest-common-denominators and easy answers. We all have busy and complicated lives so one would imagine there is enough food for thought? Of course, love is important and we all can relate but that is not to say the consumer wants to hear about it all the time. You do not need to look too far away or reinvent the wheel: just take the time to concentrate on something less expected; something nobody else is covering. Those musicians that stick in my mind are the ones who introduce you to fresh horizons and rebel against formulaic topics. Massif has looked at love in the past, but as his latest single proves, he is an artist that captures of-the-moment events and places them on the page. The only way music will push forward and inspire future generations if we become less rigid and defined. It is an area I want to go into more depth about but it might have to wait for another time.

It is good finding a musician that comes from outside of London. I love London but have focused quite heavily on the city the last few months. Massif will be playing a lot of London shows in the future but his base and home is Weston-super-Mare in Somerset. I have reviewed acts from around the U.K. but is has been a while since I have stepped outside of London and its environs. When we think of upcoming artists, perhaps Somerset is not top of our considerations. I feel we often get too obsessed with the big cities and forget there is a whole world of towns and villages with fantastic musicians in. Historically, there are not a lot of legendary musicians that hail from Somerset – I might be wrong but I am struggling to think. The likes of Tamu Massif will not only help put Somerset in the mind but raises a good point. Music is not exclusive to the cities and London and we all need to realise the full scope of British music. I said early on how difficult it is to discover all brilliant new musicians coming through but one imagines a little dexterity and flexibility will go a long way. I had never really thought about Weston-super-Mare for music but am compelled to look more and see what other musicians come from there. Further than that: I will look at other less-represented musical counties and discover what is out there. It is vital we support artists from all over the country and ensure we do not overlook areas outside of the city. I feel one of the reasons we get obsessed with cities like London and Manchester is that is where so many musicians end up. Personally, I know a lot of musicians who flee to London due to the lack of opportunities where they live. Maybe there are not enough platforms or too few people: how realistic is it remaining in villages and towns if you are an artist? Naturally, the more people that pack into cities the harder it is to find opportunities: the cities become compacted and it leads to musicians being squeezed out and suffocated. It is difficult making it in the industry so can appreciate the lure and attraction of the city. Tamu Massif records at his Weston-super-Mare studio but gigs in London too: seemingly striking a wonderful blend and not too overwhelmed by the rush of the city; finding inspiration and creative outlet at home. I am digressing but it is another point that we need to address: providing more money to towns so musicians do not have to move out; easing the burden in the big cities to ensure musicians there have chances.

Looking back on Massif’s work and you can see how far he has come in the last couple of years. Azora was released just over two years ago but showed a promising young talent and someone who differentiated themselves from the mass of artists out there. The composition is quite sparse but the racing beats and delicate piano notes create a lot of emotion and story on their vocal. When listening to the vocal, you are hard pressed to compare it with another singer, and instead, are introduced to a soulful and emotion croon. A singer that is capable of delicacy and power in the same breath: Azora is a song that gets into the head and has so many different layers and sides to it. Perfect for contemplative times or a solitary drive during sunset: it has that self-assessing mood and tranquility to it but enough energy and spirit to stand up to repeated plays. An impressive song no doubt. More recent work like Holding Back has shown how adaptable Tamu Massif is. A more traditional, acoustic-based number: its emotional resonance and gorgeous vocal get the hairs standing up. Despite a certain pastoral mood: Massif injects fizzling electronics and colours into the song to ensure it never becomes sonorous, boring or unengaging. The song draws processed, hypnotic female vocals in and warped sounds: juxtaposing against the reverent beauty of the opening; Holding Back grows into something complex, busy and spectacular. Listening to the opening minute and you assume you have the song figured out. Each line and verse find Holding Back grow and expand; taking in new sounds and ideas and demonstrates what a talent he is. OK takes that a step further and is, in my viewpoint, the best song Massif has created so far. It has strands of Holding Back’s D.N.A. and is a new phase for the artist. Alba was wonderfully received last year but I feel the 2016 output from Tamu Massif is stronger, bolder and more arresting. I am not sure if certain influences and experiences have led to this evolution – you can definitely hear a slight improvement and new inspiration. I am sure the upcoming E.P. will contain similar songs to Holding Back and OK and be up to that level. Early on, I mentioned James Blake and you can detect that as an influence in Holding Back and OK. The Electronic/Alternative/Post-Dubstep musician is compelling a lot of new artists and that is to be commended. Tamu Massif does not replicate Blake’s themes and sounds: using him as a bit of a guide; he creates his own version of that foregrounded Post-Dubstep sound and put his own stamp on it.

OK is the latest song from Tamu Massif and recalls the closing phases of a fading friendship. While visiting friends in Naples (last New Year’s Eve); that is when inspiration struck. Hearing and watching the fireworks burst from his balcony: he got thinking and ensured he captured the sounds and explosions of the night. Rather than dwell on the pain and loss; it has gone into a song that is mature and intelligent. Massif (or Dave Dixon, I should say) knows relationships and friendships can be temporary and unpredictable at the best of times. OK begins with oddly child-like, processed vocals that make you think straight away. Perhaps the sound or sample of the friend in question (it is a female voice) is a weird and machine-processed opening that gives you an insight into OK’s mindset. Distorted, hazy and confused: such an instancy and urgency can be discovered straight off. There is little time to reflect and predict as the song comes straight to life. Subtle but powerful electronics create a brewing storm whilst the beats crackle without becoming too heavy and insistent. That vocal opening seems like the other side of a conversation of a voicemail being played – not quite real but very relevant to Massif. When approaching the microphone, the voice is typically emotive and powerful – power and strength seem to define the work of Tamu Massif. Although some of the early vocals suffer some intelligibility issues – slightly drawled which means it can be hard to pick up on the lyrics – it is the fervency and passion of the vocals that matters most. A stunning voice that has ample beauty and grace to it: our hero does not want to settle down and rush in life. You get thinking about the dynamic of that friendship and what has caused this drifting apart. I am not sure whether our hero’s friend is male or female but one senses it is a female. The two used to be close but have not been in touch for a while now. It is not necessarily anyone’s fault and perhaps they are different stages of life. I sense the bond was quite important and perhaps has romantic possibility. It seems like the two were serious at one point, but now, they are reduced to scant conversations and the odd communication. Our man might not have been that smart and a bit lackluster; maybe remiss and ignoring the importance of the friendship. “Is it okay?” our hero asks if he doesn’t settle down: it gives you impressions of romantic domesticity or a shared agreement. Perhaps the two had plans or she was getting a bit too firm – perhaps wanting him to commit to a way of life or spend a lot of time together. Massif is a free and creative young man that is dedicated to music and this might have been a breaking point. Unable to commit to a time and place and predict the future: it seems like differing interest has found them separated and on barely-speaking-terms.

OK has two distinct halves to it. The first is reflecting on what has happened and asking pertinent questions (whether they can start over again); trying to piece things together and wondering what went wrong. The lyrics, those that are clear and come through, sort of offers apologies and explanation but seems confused and lost – it was a pure friendship but has just drifted away out of control.  The vocal and lyrics are placed in focus and our hero wonders if he is becoming sentimental and over-thinking perhaps. The second phase of the song places more emphasis on the composition: perhaps our hero is spent and too emotional to carry on; steps away from the microphone. After the first couple of minutes, we learn a little about how the friendship broke down. There is a regret but no real answer as to what happened. It just seemed like the two were on different pages but there is that desire to rekindle things and regain that closeness and connection. Knowing it is beyond repair or slipping away: the second half of OK lets the music speak. Electronics trip and persists; they trip and swoon and shimmer – occasional beats add a little spark but keep in the shadows for the most part. A song that has sensuality and loneliness to it: you imagine the time that inspired the song and what Tamu Massif was thinking about. After the pitch-shifted vocals and melancholy of the opening: it all develops and changes. There is chaos and celebration in the street, but on the balcony, a sense of twilight eeriness and thoughtfulness. You transpose yourself into the song and are stood alongside the hero – looking down from the balcony and lost in his own thoughts. Towards the closing stages; that New Year’s Eve celebration and rapture comes more into the song. Before that, there are twinkling and odd electronic notes: they ping and twinge; quite a strange but inviting sound that makes you wonder what influenced them. Oddly, you get a flavor of Japan and Asia in some of the composition: as though you were walking through a Tokyo night and the local sounds, strangeness and beauty of the city. Against that, some more defined and sturdy beats come in and OK gains new light and traction. It is difficult creating a song that is composition-heavy and pulling it off. So many modern musicians lack necessary inventiveness and intellect to captivate the listener. Tamu Massif presents a composition that has so many different stages and elements together but retains a singularity and focus. Into the final minute, the hero comes back to the microphone and seems like he needs answers still. Maybe his friend was kinder and purer; their paths never meant to continue together but it seems painful none-the-less. Despite the fact there are decipherability issues to some of the vocals, that is part of the appeal. The sheer emotion and weariness are more potent and memorable than anything: our man aghast and tired in the night; weighed down by the heartache and emotion on his shoulders. OK ends things with firework samples and crackling: those Italian firecrackers provide a suitably authority and appropriate finale. You have to sit back and take it all in when the song ends and might take a while to listen to it again. It is a personal and important song for Tamu Massif and one that will surely strike a chord with listeners who have gone through the same sort of experience. The finest and most compelling song in the Tamu Massif catalogue: let’s hope it features prominently on the new E.P. It is commendable pulling away from relationship dilemmas and concerning something else. OK is a fascinating number and one that will see Tamu Massif exposed to a wider audience and gain lots of new supporters and radio attention. Already, the song has picked up some great reviews and that will give it creator heart and inspiration. Mixed by Youth Lagoon & Perfume Genius associate Ali Chant (produced by Tamu Massif): OK is a stunning song that announced a very fine talent.

Tamu Massif has already achieved quite a lot in his career to date. Having been tipped by NME and enjoyed airtime on 6Music and Radio 1: not many new musicians can claim that. It is hard to get recognition and exposure on the nationwide stations so when it happens that honorific should not be underestimated. Massif will be doing no such thing and capatilsing on that momentum and patronage. There is an E.P. out soon and plenty of excitement and expectation surrounds it. Following his well-received E.P. Alba, I am sure his upcoming E.P. will build on that early promise and show new inspiration and influences. OK shows Massif is not a musician that stands still and is always developing his work. Supporting the likes of C. Duncan and The Japanese House live; there will be headline dates and key gigs in his calendar. All exciting times for the young artist. Dave Dixon’s alias is an intelligent, emotional character whose music has registered with a lot of people already. I feel Massif is deserving of more attention and followers. His social media numbers are solid and building but, when compared with some artists, one wonders whether his forthcoming E.P. will redress this. I see a lot of lesser artists with thousands of supporters and they do not deserve it. Perhaps they are image-heavy or get more focus on radio: Massif is a more honest and hard-working musician and I am sure his talent and graft will be richly rewarded. He will not quibble over social media numbers and such concerns: the demand and appreciation he is receiving prove how much love and support there is. OK is a fascinating glimpse into a wonderful musician who has taken a harrowing deterioration and turned it into something strangely gorgeous and inspiring. OK is not just a simple, acoustic-based song where the hero pours emotion out and is tear-stained and wracked. Massif understands this approach is likely to appeal to a certain listener, and because of this, consideration, intelligence and innovation have gone into his latest single – ensuring it registers and appeals to a wide range of music fans. It is a brilliant window into the as-yet-untitled E.P. and is certain to put Massif firmly in the musical forefront. He has already had his music played on our most influential stations but I have the sense he will grow even bigger and be afforded more chances further afield.

One feels Tamu Massif has an audience waiting internationally and is capable of breaking into new countries and continents. I am sure he will want to focus his attention in the U.K. for now: finance might be an issue and it is not practical jaunting abroad and performing around the globe. That said, one gets the impression it will not take too long before fortunes change and international gigs are going to be a reality. I say this with a lot of British musicians but there are U.S. opportunities and audiences who are latching onto our best acts. Looking about social media; I have seen a lot of British artists put their songs out and get heady praise from U.S. listeners. Perhaps there are quite a few British musicians playing across the U.S. but I am wary not as many as there should be. Again, perhaps another discussion for another day. It is hard to sum up Tamu Massif as there is a lot of mystery and intrigue about his music. That nom de plume is the name of a dormant subaquatic volcano: it gives you an insight into the emotional blend and dichotomy of his music. You have that beauty and safety but always feel like there could be an explosion at any moment. Thinking about the volcano, and where it is situated, it seems like a very apt name for OK’s author. He splits his time between Weston-super-Mare and London and is one of those artists you know is going to be playing for years to come. It is hard to stand out in the industry as there are so many like-minded musicians aiming for the same goals. Tamu Massif seems stress-less and relaxed against the pressures of the modern age. Although OK looks at a friendship on the rocks: you feel, away from the studio, Davie Dixon has a plan and knows where he wants to head. I urge people to go see Tamu Massif live and be brought into a very magical and entrancing world. The reviews he has already accrued speak for themselves. I have talked about cliché and predictable subjects in music and I feel it is a problem that will blight a lot of new music. We have all heard the Pop star talking about bad love and these tropes are putting people off – many of us want something new and less obvious. Tamu Massif has gone through relationship quandaries and knows it is important to assess that. OK stands out because it moves away from that and addresses a unique and idiosyncratic event. Not only does the originality stand out but the way it is delivered. Not just confining himself to vocal-and-guitar easiness: sound effects, bass, and electronics are weaved together to create a tangible and evocative number. If you have grown weary of the unsophisticated and simple musician that is incapable of connecting with the heart and soul then you should definitely spend some time with Tamu Massif. The dormant-volcano-under-the-water-cum-Somerset-innovator is a curious blend and incredible young talent. OK will lead to an E.P. and that E.P. is going to mutate to future releases. It is a good time for Tamu Massif: his latest single is…

THE start of some very big things.

[youtube https://www.youtube.com/watch?v=FYD0LxE4MxA&w=560&h=315]

_______________________________

Follow Tamu Massif

 

Official:

http://www.tamumassif.co.uk/

Facebook:

https://www.facebook.com/tamumassif/#_=_

Twitter:

https://twitter.com/tmassif

Instagram:

https://www.instagram.com/tamumassif/

SoundCloud:

https://soundcloud.com/tamumassif

FEATURE: When Music Ruled the World: 14 Essential Albums from 1994

FEATURE:

 

 When Music Ruled the World:

 

 

 

14 Essential Albums from 1994

______________________________

DEPENDING on when you were born will often determine…

which albums and artists mean most to you. I was born in 1980-something (let’s just say Duran Duran were big back then) and grew up on a combination of ‘60s master like The Beatles and The Rolling Stones with plenty of Steely Dan, T-Rex and sounds of the day – running through New Romantic darlings and pop kings such as Michael Jackson. I feel I was born in the absolute pinnacle time: when the ‘90s hit I was 6-years-old. When 1994 started to throw up some truly wondrous albums I was 10, and just the right age to let music seduce and conquer my soul. The 1980s, by and large, was a little variable but there were some stunning albums from the time. The ‘90s, unlike any other decade, seemed unstoppable and completely beyond reproach. Sure, there were bad albums and songs like any other time but in terms of sheer quality: can you think of any other decade that gave us so many classic albums? I am not sure what was in the water and how influential the 1980s was: musicians were producing new genres and pushing boundaries; helping to create movements (Britpop among them) and change the face of music.

I have covered the topic before - https://musicmusingsandsuch.wordpress.com/2014/02/09/feature-a-love-song-to-1994-the-year-that-changed-everything/ - but felt compelled to revisit – plus, I included The Bends on the list despite the fact it was released in 1995 (close enough, eh?!). That being said; Radiohead were working on The Bends and just about to release their (in my view) finest album ever. They were the outsiders of the Britpop move but an essential band who contributed so much. It is hard to distill a phenomenal year into 14 L.P.s, and it might be an arbitrary number, but a way of showcasing just what variation and quality came along that year. If you prefer today’s music or the bands of the’60s: few can deny just how astonishing and peerless 1994 was. No single year has produced so many world-class albums and game-changing creations. Sit back and let the 22-year-old time of wonder flood back: a collection of the albums and songs that shaped 1994.

Jeff Buckley – Grace

 

Jeff Buckley did not arrive out of nowhere by the time of his debut, Grace. A celebrated fixture of New York’s café/bar scene: he had a loyal and awe-struck following fully aware of what he could create. Released on August 23^rd, 1994: Grace remains (sadly) Buckley’s only completed studio album – he died three years later. Only reaching 149 in the U.S. charts and suffering poor sales figures – a record that gained huge popularity after Buckley’s death. Critics were not aware at the time but Grace remains one of the most impressive albums by any singer-songwriter and the introduction of a truly peerless talent and golden voice.

Download: Grace, Last Goodbye, Lover, You Should’ve Come Over, Dream Brother

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

Manic Street Preachers  – The Holy Bible

 

Manic Street Preachers were well under the critical radar by the time The Holy Bible arrived. The group’s third album was the last to feature lyricist and rhythm guitarist Richey Edwards. Fighting severe depression and self-harm: the enigmatic figure would disappear soon after the album’s release – Everything Must Go was the first album after that not to feature Edwards. Perhaps the album’s subjects of anorexia nervosa, depression and anger were a cry for help from a young man suffering the weights of the world. In musical terms, it is a stunning album whose lyrics and stories draw you into a strange and dark world – compelling and utterly engrossing some 22 years after its release.

Download: She Is Suffering, 4st 7lbs, Mausoleum, P.C.P.

[youtube https://www.youtube.com/watch?v=rl2Jv4dzFqg&w=560&h=315] 

Hole – Live Through This

 

The sophomore album from American Alt.-Rock band Hole: the record was released a week after the death of Courtney Love’s boyfriend, Kurt Cobain. With Grunge’s godfather departed (Hole’s bassist Kristen Pfaff died two months after the album’s release), it was a difficult time for Hole’s lead. Live Through This is not hardcore, hard-hitting and unrefined – the band’s debut album played very much in this aesthetic. Instead, there is polish, refinement, and thoughtful song structures. Love, infatuated by notions and ideals of beauty, turns her pen to subjects of motherhood, anti-elitism, and domestic violence. Despite the tragedy that would befall her after Live Through This was released: the album itself remains a beautiful, beguiling and one-of-a-kind offering from a tremendous songwriter.

Download:  Violet, Asking for It, Doll Part, Softer, Softest

[youtube https://www.youtube.com/watch?v=mS1Ckczz0LQ&w=420&h=315]

 

Green Day – Dookie

 

Still going strong and about to release their album Revolution Radio: it hardly seems like the boys have changed at all. Dookie, although some might agree, remains their finest creation and a Punk-Rock classic. This was the album that put Green Day into the public forum and truly elevated them to superstardom. It would reach number 2 on the U.S. Billboard 200 and helped put Punk-Rock firmly in the mainstream. Dookie has since exceeded 10 million copies and, even in a year like 1994, topped many critics’ end-of-year polls. Listen to songs like Welcome to Paradise, Longview and album-highlight Basket Case and it is not hard to see why. Electric, intense performances, and complete conviction from a band with plenty of attitude and anger – all brought together a truly remarkable album.

Download: Longview, Welcome to Paradise, When I Come Around

[youtube https://www.youtube.com/watch?v=NUTGr5t3MoY&w=420&h=315]

Suede – Dog Man Star

 

Another one of those bands that perhaps were slightly outside the Britpop movement happening in 1994. Whilst contemporaries Blur and Oasis were releasing their career-defining albums – and embroiled in spats and rivalry – Suede sat outside of that and got on with their own thing. The sophomore album from the Alternative-Rock legends: this was the last album to feature guitarist Bernard Butler. Tensions between him and frontman Brett Anderson reached untenable levels – you can hear on the album – and Dog Man Star’s themes, not a shock, were dark and juxtaposed the optimism of Britpop – bringing influences like David Bowie and The Smiths together. Suede would make more harmonious albums but none better than this.

Download: We Are the Pigs, New Generation, This Hollywood Life, The Asphalt World

[youtube https://www.youtube.com/watch?v=zJYbovI6abc&w=420&h=315]

Pavement – Crooked Rain, Crooked Rain

 

What is striking about this compilation (unintentionally I might add) is how many sophomore albums appear on the list. New York’s Pavement followed from their equally-brilliant debut Slanted and Enchanted with Crooked Rain, Crooked Rain. This, unlike their debut, was a more accessible fare and less lo-fi – their debut was more ragged, raw and undisciplined. Going on to sell more than 500,000 copies: it was a critical success but did not achieve high chart placings and sales. Showing how irrelevant show considerations can be: Crooked Rain, Crooked Rain is one of the ‘90s’ greatest albums and a bold statement from a band who helped redefine the scene at the time, and with it, influenced scores of upcoming bands. A priceless and treasured album from a band whose relevance and genius should not be undervalued.

Download: Cut Your Hair, Haunt Me Down, Gold Soundz, Filmore Drive

[youtube https://www.youtube.com/watch?v=1VVj1zqbWpU&w=420&h=315]

Weezer – Weezer

 

Not a sophomore album this time but a (defiant) debut from Rock band Weezer. Released in May 1994 it entered music at a busy and competitive time yet remains one of the year’s best albums. Produced by Ric Ocasek (front-man of Cars) and recorded at the legendary Electric Lady Studios, N.Y.C.: the album saw Undone – The Sweater Song, Buddy Holly and Say It Ain’t So as singles. Buddy Holly’s innovative, groundbreaking video helped put the album into the history books but the band’s slice-of-life tales and witty suburban conversations – the fine pen of Rivers Cuomo – helped it to be a chart success and set the band aside from their peers. Their similar-minded, ‘70s-Rock-aping contemporaries went for obvious influences whereas Weezer favoured Bubblegum Power-Pop acts like Cheap Trick. Geekdom has never sounded so divine and universal.

Download: My Name Is Jonas, Undone – The Sweater Song, Only In Dreams

[youtube https://www.youtube.com/watch?v=kemivUKb4f4&w=420&h=315]

 

Portishead – Dummy

 

Portishead came into music with an emphatic album in Dummy. Released in August and released by Go! Beat: the album went on to win the 1995 Mercury Music Prize. Not only did it single-handedly help to popularise and promulgate British Trip-Hop but it stands as one of the landmark albums of the 1990s. Although Dummy was certified gold in 1997 and sold millions of copies: when it was released, it enjoyed modest chart success. What we can discover from this list is how slow the public of 1994 was to embrace stunning albums. Perhaps too forward-thinking or unusual: thankfully, subsequent years and generations have been far fairer. Of course, we all know where Portishead would go and the effect they have had on music. Massive Attack – another Trip-Hop band that helped shape music – would bring their brand of dark and dramatic elements to the genre – Dummy is an album that helped launch Portishead’s career and is often seen as one of the essential albums of any genres and year.

Download: Sour Times, Numb, Roads

[youtube https://www.youtube.com/watch?v=4qQyUi4zfDs&w=560&h=315]

Nirvana – Unplugged in New York

 

Unplugged in New York was released following Kurt Cobain’s death and one of the final recordings he ever undertook. Acoustic versions of classic Nirvana cuts were interspersed alongside band favourites and legendary Blues songs. Unlike other Unplugged shows; Nirvana went for a lesser-known set-list that put mood, emotion, and variation ahead of hits and radio-friendly gems. Going on to win the Grammy Award for Best Alternative Music Album in 1996: it is regarded as one of the greatest live albums in history. You are mesmerised by the band’s performances (Cobain especially) and the reaction from the audience – alternately delirious or awe-struck by what they were seeing. Cobain’s death might have put a tragic dimension on the album but nothing can distill or dampen its legacy and brilliance.

Download: About a Girl, Jesus Don’t Want Me for a Sunbeam, The Man Who Sold the World, All Apologies

[youtube https://www.youtube.com/watch?v=gOZKz_sPM6U&w=420&h=315]

Blur – Parklife

 

Blur’s third and most exceptional album: Parklife was released the same year as the equally-amazing Definitely Maybe. With Blur and Oasis entrenched in competition and civil war: you were even in Camp Blur or Camp Oasis. Oasis’ northern influences and songs of youthful optimism and Rock ‘n’ Roll excess were contrasted by Blur’s southern suburbia and more emotional insights into love and domesticity. In truth, both bands help define Britpop for very different reasons. After Modern Life Is Rubbish’s disappointing sales the previous year: Parklife was the rebuttal that showed just what Blur were capable of. Over five million copies have been sold and, alongside Definitely Maybe, it places Britpop/Cool Britannia on the map.

Download: Girls & Boys, End of a Century, Parklife, To the End

[youtube https://www.youtube.com/watch?v=SD8gO8TAr4s&w=560&h=315]

Soundgarden – Superunknown

 

Superuknown was Soundgarden’s fourth album and their greatest achievements. Few bands hit their stride that late in their career but hardly surprising given its background – especially the death of Kurt Cobain. Grunge’s leader was gone and Nirvana contemporaries Soundgarden reflected the mood of pessimism and fear in the music industry. Employing a greater range of influences and sounds than before. Although Cobain died a month after Superunknown was released there was something in the musical air: a sense that the troubled genius was not long for the world. Songs about suicide, depression and turmoil are not often easily digestible. Soundgarden’s incredible performances and exceptional songwriter – Chris Cornell’s planet-straddling voice at its most raw and unshaven – turned the album into a strangely uplifting and hopeful experience.

Download: Fell on Black Days, Spoonman, Limo Wreck, The Day I Tried to Live

[youtube https://www.youtube.com/watch?v=3mbBbFH9fAg&w=420&h=315]

The Prodigy – Music for the Jilted Generation

 

By 1994, the rave scene in Britain was becoming corrupted and ruined: Music for the Jilted Generation was a vivid and angry reaction that. The Criminal Justice and Public Order Act 1994 criminalised raves and put the kibosh on a lot of clubs at the time. Fueled and incensed by this insanity: The Prodigy reacted with a blitzkrieg record that rebelled against the stupidity and ignorance of the establishment. Lead songwriter/producer Liam Howlett has gone on to disassociate himself with the idea (Music for the Jilted Generation) was political – he hated the title and felt it petulant and misleading. Raw, dark and carnivorous from start to end: Music for the Jilted Generation is seen as a Big Beat/Rave masterpiece.

Download: Poison, No Good (Start the Dance), One Love

[youtube https://www.youtube.com/watch?v=YV78vobCyIo&w=420&h=315]

Beastie Boys - Ill Communication

Following the genius of Paul’s Boutique (1989) and Check Your Head (1992): pressure was on to repeat the trick on Beastie Boys’ fourth album. Ill Communication responded with a typically assured, mesmeric and cross-pollinating set of songs from New York’s finest. Perhaps not up to the lofty heights of Paul’s Boutique and License to Ill: there is plenty to recommend about the album. The rhymes – one of the elements pushed back in previous albums – was hard and firm in the mix. Renewed with a confidence boost and fresh intention: Ill Communication’s sharp lyrics were all present and correct. If the album as a whole doesn’t quite match their best work; you cannot argue or call the album a failure. In fact, it is one of the best albums from 1994 and boasts plenty of standout moments – not less the sensational Sabotage.

Download: Sure Shot, Root Down, Get It Together, Shambala

[youtube https://www.youtube.com/watch?v=z5rRZdiu1UE&w=420&h=315]

Oasis – Definitely Maybe

 

Few band’s since Oasis have created a debut album as confident and world-class as this. Definitely Maybe took everyone by surprise and helped to revive British guitar music – making it super-cool in the process. Alongside Blur’s Parklife: Definitely Maybe scored 1994 and proved British music was some of the finest in the world. More optimistic, celebratory and excess-reveling than some of more dour, hopeless and moody U.S. albums – Grunge and Alternative-Rock bands culpable – it was just what the public needed. Live Forever has been listed as one of the best songs ever for good reason. That optimism and hope; the simple message to live while you can and make anything possible – few bands or artists have penned a song like it since. Oasis would go onto split not long after 2008’s Dig Out Your Soul but they never sounded as fresh, inspiration and together than on Definitely Maybe. No doubt about it: one of those albums that should be in every record collection.

Download: Rock ‘n’ Roll Star, Shakemaker, Cigarettes & Alcohol, Slide Away

[youtube https://www.youtube.com/watch?v=i_2mWhfOhGU&w=420&h=315]

It is clear just how truly spine-tingling albums arrived out of 1994 and I cannot fathom why. Perhaps one of those inexplicable years or just a general feeling running through music - when its best artists really stepped up and shone. I would love to hear of suggestions and albums people think should be on this list. What a joy re-discovering some of the best albums of my formative years. It may be 22 years ago, but the finest albums of 1994...

ARE still inspiring to this very day.

TRACK REVIEW: Gold Phoenix - Oh So Hard

TRACK REVIEW:

 

Gold Phoenix

 

 

Oh So Hard

9.5/10

Oh So Hard is available via:

https://soundcloud.com/gold-phoenix-1/oh-so-hard-single/s-obcsl

GENRES:

Garage-Rock

ORIGINS:

Surrey, U.K.

RELEASE DATE:

8^th August 2016

Recorded at Rockfield Studios

Lyrics and Music by Gold Phoenix

Produced by Nick Brine

Engineered by Jon Constantine

Mastered by Pete Maher

________________

I have been meaning to review Gold Phoenix...

for a while now and for good reason. I shall introduce the boys soon, but at the moment, they bring up topic around real Rock; characters and personality in music and the difficulty in squeezing life from certain other bands. Many have been debating whether Rock and all its sub-genres, really has any life left and is as good as it was. I feel there are a lot of bands coming through but you have to wonder how many actually have the guts and glory needed to give Rock a good name? Many play Alterative-cum-Indie sound which is an excuse for crowd-pleasing choruses and songs about love and heartbreak. That is all very well, and we all need that, but you yearn for a bit more grit and power in the music. I admire bands that can whip up some meaty riffs and 10,000 volt charges but ensuring there is melody, emotion, and discipline in the music. There may be a lot of those bands around, but for my two-cents-worth, they are few and far between. I suppose there have been so many Rock bands through the ages; it is challenging doing something new and differentiating from what has come before. Bands think too literally when they approach Rock and decide what their music will sound like. They get it into their heads that audiences want it loud and sweaty without much nuance and intelligence. The modern consumer is more intelligent and discerning and demands something a little more layered and structured. That, as a band, gives you more breathing room and chance for maneuver. Indie and Blues-Rock are ways of taking a solid template and adding new shades and sounds into the mix. One of the reasons some say Rock is dead is due to the one-dimensional nature of some groups. They are too rigid and defined and do not understand what can be achieved by pushing the genre slightly and mixing other elements together. With so many new artists entering the fray: we are seeing a turn away from Rock and Alternative bands (as the majority) and welcoming a lot more solo musicians in.

Perhaps there is more to be found in other genres or (bands in general) are less stable and long-lasting than they used to be. I have seen so many groups call time due to the demands of the modern industry – the strain on the relationships becomes too much and they have to break up. It would be foolhardy to assume Rock and bands are a dying commodity as that is not the truth. The fact of the matter is, and why critics raise that heated question, is a watered-down, safe approach to Rock music. So many artists lack that necessary spark and fire which is sad to see. My featured act understands this and is responding by bringing Rock back to its roots. They are not just an un-distilled, straight-ahead Rock band, but instead, lace Blues into their work and come up with something popular but unique – packed with vitriolic riffs and exceptional performances.

I will continue – and raise a new point – soon, but for now, it is worth getting an insight into the awesome Gold Phoenix:

Jamie - Guitar – Vocals

Fred – Bass

Ed – Drums

“Surrey’s Gold Phoenix expresses large doses of raw, riff heavy Garage-Rock. The trio release their upcoming single, Oh So Hard, on August 8th with a video to accompany it, filmed by Joe Parker, at Full Tang Visual. The band were contacted by Producer Nick Brine (The Darkness,Oasis, Ash,Thunder) which followed in the recording of the single at the legendary Rockfield Studios in Wales, and mastered by Pete Maher (Jack White, U2, The Rolling Stones). Musically, Oh So Hard pays a powerful homage to the bands that have influenced their sound, with flicker of Queens Of The Stone Age, Placebo and She Wants Revenge, the seemingly dark lyrics pray amongst a heavy fuzz fuelled bassline that drives the song through its powerful mapped out arrangement. Oh So Hard is the follow up to the bands debut self titled EP which gained great reviews, airplay and recognition. The single Back To You was played on shows including BBC Introducing South’s saturday show, and Belgium’s Equinoxe FM.

Following the successful response of Gold Phoenix’s debut self titled EP in late 2014, the band spent the year playing shows around the UK. This included shows with international touring bands such as The Weeks and Thomas Truax, a London show supporting WWE Legend X-Pac and they supported UK upcoming bands Dolomite Minor, Eva Plays Dead and Armchair Committee. The band also toured the UK in August 2015 playing prestigious venues including The Jacaranda Club in Liverpool, Bannermans in Edinburgh and The Boileroom in Guildford”.

One of the reasons some of mooting Rock’s future is the bands/artists that are representing the genre. In a social media age you have to wonder: how easy it for personality to shine through? We hide behind screens and communicate electronically; it makes it hard to forge any sort of human identity and that can affect the music. One of the best things about a truly great band is the characters and personalities of the members. It is not sufficient to make your music connect: the people making it are expected to stand in the mind and connect with their audiences. Social media is a mixed blessing and double-edged sword with regards that side of things. Many musicians assume they can get away with a lack of character because they are speaking behind an electronic platform. So many bands put minimal information and biography on Facebook and Twitter; they do not give you a glimpse into their influences and, when it comes to the live setting, have a weak connection with the crowds. I am not suggesting all bands should be happy-go-lucky, in-your-face types that proactively throw themselves into the spotlight. There used to be a time, perhaps towards the Britpop/’90s era, when you got some truly exceptional bands – those whose members were as interesting as the music. In the last couple of decades, there are fewer and fewer band that get into the mind and can charm you with their personnel – perhaps the Internet is to blame or maybe it is sheer numbers. Music is becoming packed and crowded so it can be hard truly defining yourself and getting into the memory. Gold Phoenix have shown you do not need an army-sized P.R. campaign to register in the imagination. The three musketeers or Blues-Rock are hirsute, down-to-earth and funny: their personalities shine and they are as real and genuine as one would expect. Not hiding behind egos or letting other people speak for them: the boys captivate with their humour and true Rock spirit. They have a, as their Facebook page attests, a fondness for goats and cowbells – who doesn’t, I say! The boys are almost a trio you can see coming out the Deep South of the U.S. They have that façade and demeanor: good ‘ol boys who live the simple life; drink merrily and raise havoc – ensuring their music is a ball-kicking, groove-laden and in the impure side of things. You see what I mean about personality coming through - they have created these personas, to an extent, that makes them a fascinating prospect. When playing live, they connect with the audience and do not just bluster through the songs: keeping things light and upbeat; a good rapport with the audience. It goes a long way when putting your music and brand out there. If you can make the prospective fan smile and spike their curiosity then you have already won half the battle.

The other half of the fight concerns influences and the overall sound. Few bands/artist come into music and are completely original. There are a few, but for the most part, you can always hear a little bit of someone in their work. Everyone, whether you are a musician or fan, is inspired by other artists and takes them to heart. When embarking on a music career, you are always going to have them in your back pocket. So long as you do not replicate them or water them down enough – and are essentially ripping them off – then it can make the music cross-generational and wonderful. Everyone yearns to discover music that is fresh but has some familiar, legendary elements to it. Gold Phoenix are a trio that prefers their music hard-hitting and Blues-inspired. As such, they have a gamut of bands and artists that they could bring to mind. Unsurprisingly, it is the American heavyweights Queens of the Stone Age and The White Stripes that leave the lasting impression. I have discovered so many bands, local colleagues Gelato among them, who use Q.O.T.S.A. as a guiding point. To my mind, Gelato are a little too close to Queens’ and that sort of begs the question: if you duplicate another band then how original and distinct are you going to be? Gold Phoenix, like me, are fascinated by the band. One of my favourite albums is Rated R (an underrated Queens of the Stone Age gem) and I have plenty of time for Songs for the Deaf – I even love the much-unappreciated Era Vulgaris. Josh Homme’s crew always bring the goods and are among the most innovative, macho and talented bands of our generation. The White Stripes, sadly defunct, are another of my all-time favourite bands. I cannot imagine my record collection with Elephant and White Blood Cells nestling in there. Gold Phoenix must have been drooling in tandem: listening to these titans and being in awe of their majesty and musicianship. As such, it would be understandable to copy the bands to the letter. Given how many other bands are influenced by Queens of the Stone Age and The White Stripes: Gold Phoenix know there is not a lot of mileage left in that particular tank and are not a band who want to toss off some sub-Queens’ sounds. They use the boys as a starting block and then take it out: putting themselves into the music and ensuring they are not a covers band.

Starting off with a military step and sense of authority: Oh So Hard begins life quite light and rhythmic. The percussion patters and rolls and provides instant gratification and appeal; the listener hooked by the catchy drumroll and kick. Not going for a simple riff and adding too much energy straight on - instead, you get restraint but enough intrigue and fascination too. Just then, a buzzing, hacksaw fuzz emerges to add lightning to the thunder. Juxtaposed against the dignified and imperious percussion: the guitar and bass swing in without much seduction and restraint – they aim straight for the throat but ensures the song does not get too heavy-handed and loud. Oh So Hard has drawn comparisons with Smashing Pumpkins and you can hear a little bit of Bullet with Butterfly Wings/Mellon Collie and the Infinite Sadness in there. That is not meant to contradict my early points or do a disservice to the band. It is great hearing something that emotional, dark and grand. It brings together ‘70s Heavy Metal with Blues into a rictus of avalanche and harsh weather. Without a word being sung, you are in the kung fu grip and helpless to shake it off. The first minute-or-so is designed for the live crowds and seems like a set closer. You can play the E.P. tracks and they know what to expect – stunners that are familiar and they can sing along to. As Oh So Hard is new, it takes time to bed-in and register. For that reason, open with an appealing and head-banging riff that does not require sing-along and chorusing. For a glorious minute, you are caught in a riptide of strings and percussion. The drum smacks and keeps firm whilst the guitar spirals, snakes and stings its way through the undergrowth – bass keeping the song moving, together and fluid. You never get bored or think you have heard it before: a stone-cold sizzler that packs punch and groove in equal measures. Once you have surrendered to the balkanised attack of the introduction: you prepare yourself for what is to come in the first verse. Our hero steps up to the microphone and ensures his vocal hits the mark without delay. The song’s subject, whether a friend or foe, is strung-out and abandoned – perhaps overwhelmed by a situation and unable to keep their head together. I often jump to themes of love and romantic untangling when I approach any new song. Here, it seems like a friendship is being attested: the fall-out and struggle one person is facing at the moment.

Photo: Joe Parker

Given the song’s artwork – the black lipstick dripping down against a pink-and-yellow background – a femme fatale seems a likely explanation. Her “black heart” and red lips are firmly in the mind. If the crimson-coated lips have been telling lies and deceiving: her coal-dark, murky heart has been causing pain and upset. Not your average, idealised heroine: here is someone undesirable but strangely alluring at the same time. The anti-heroine is not a fairytale queen but a bit of a double-crossing vixen. Oddly, our man seems to find common ground or some sympathy with his subject. Maybe the two have a backstory that is hard to ignore. You wonder, given the song’s lyrics, whether an old romance is being described or a friendship. There is never too much negativity or bile; strangely, you get a sense of relaxation and seductiveness in the vocal performance. With the other two players stepping back slightly – to allow the voice to be high in the mix – it is a dramatic and confident without losing intensity and focus. Most songs of this kind would sharpen the vocal and polish it: putting it right in the centre and putting it on level terms with the instruments. Here, the voice (whilst high in the mix) does have a bit of a somnambulist quality and slight weariness. It is like our lead is fighting against the composition and battling to be understood. Maybe a conscious move by the band or a note from the producer: by putting the vocal where it is and delivering a certain way; it gives Oh So Hard a wonderfully delirious tone and wins you with its unique delivery. Our man is struggling against his thoughts and instincts. It is hard to walk away and move from this woman. She is clearly quite toxic but perhaps not intentionally so. If you look back (or up) to the song’s artwork; it gives a little glimpse into her looks and fashion. She is a sexy and eye-catching woman but someone who has some poison on her lips and acid on her tongue. Whether a shake-up against conventionality and boredom or a rather addictive love: it is not easy getting (the muse) out of the head and making a clean break. I may be overreaching and looking too hard but that’s what I get from the song.

Oh So Hard is the new single and one that did not appear on their eponymous E.P. Perhaps (the new track) is the signal another E.P. is coming: perhaps just a one-off track to keep fans happy and show how the trio has evolved. Look at the Gold Phoenix E.P. and you witness some stunning riffs and lightning-strike performances. Anyone thinking they are the sum of their influences needs to listen carefully and realise how original the boys are. You get nods to U.S. Blues-Rock and Desert-Rock bands but it is never too obvious or strong in scent. Gold Phoenix’s songs sound like live jams and have that loose and ragged appeal. Complete with solid and professional production sound and it is quite an intoxicating and heady blend. Oh So Hard, as opposed to tracks like Mortal Man and Where Did You Go, say, is the change of sound. The trio has moved slightly away from the Queens of the Stone Age-cum-intense blend and moved towards (a song) that brings more depth and darkness into the agenda – perhaps artists like Placebo and Smashing Pumpkins are more evident. As I say with regards influence: they are just spices and flavouring rather than the majority; the trio knows the importance of originality. Oh So Hard has the same straight-ahead attack of their E.P. work but goes through stages and seems more developed. The song shows how much their live experience has fed into their recording. Completely engrossing and packed with details, lovely little asides and nuance: the sound of three musicians hitting their peak and stepping up. Their E.P. was a terrific five-song work that has a variety of lyrical inspirations and colourful riffs: plenty of fantastic performances and wonder. Oh So Hard could easily sit on the E.P. but sounds like it is Gold Phoenix 2.0. It could be the sign of a new stage for them and fresh influences in their sound. Whatever the trio has planned, it is great to hear them productive and not standing still. Not content to just continue what they did on their E.P.: Oh So Hard proves how amenable and malleable Gold Phoenix are. Throwing another biblical riff into the mix: the band manages to emphasis the harsh emotions and stress with one of their most compelling instrumentals yet. It is though the strings represent the tangled and painful feelings inside; the stress headaches and racing heartbeats. Guitars yowl and strain; they stretch and race – so many different sides that bring life to the song and keeps the listener hooked and imagining. Not your simple, knuckle-dragging riff: Gold Phoenix have expended time and thought and come up with something quite special and multi-layered. Oh So Hard is just shy of six minutes, and as such, some might see it as over-ambitious and long. That would be the case were the band not up to the tasks and the lyrics were too vague and stereotyped. In fact, the track is instrumental-heavy and spends a lot of time telling story with strings and percussion. After the intriguing and curious first verse: the boys open up the taps and go on the charge. You are dragged into the performance and the impressive kinship of the trio. Guitars are fierce but agile; bass leading and tying each element together; percussion sturdy and meaty.

PHOTO CREDIT: Brennan Woollands

It may be a bar-set song or a date: our lead comes back in and reveals more pieces of the puzzle. The girl is drinking red wine (or both) and caught in each other’s web. Furtive glances and sly smiles are coming out. “Your place or mine?” is the question posed and you can feel the heat rising. Maybe it is an ill-advised ‘liaison’ about to occur but one that our hero is not refuting. It is hard resisting such a woman and something we can all relate to. It seems like mistakes have occurred in the past and the two have gone through the doldrums. Maybe that bond and connection between them is so strong they fall back into bed. It seems we “burn gasoline” as it’s said. That can be taken one of two ways. The combustibility and unstable nature creates possibilities of fire and explosion- harming others and ravaging everything around them. That suggests a rather flammable and harsh relationship that does not seem to benefit anyone – just scold and affect those outside of the lovers. On the other hand, gasoline propels the internal combustion engine and creates well-timed sparks in an engine – me being a motoring bore. Because of that, it seems like this love is productive, necessary and life-enhancing. You cannot listen to Oh So Hard without thinking of sex and a hungry desire. The title itself suggests engorged double-entendre and raw passion. Lyrics are kept quite simple and honest but get the listener wondering and guessing. Each line seemingly has double-meaning and does not reveal itself too easily. The hero is the ghost in a machine and almost like he’s having an outer-body experience. I mentioned how the vocal seems quite faded down in the chorus but that adds to the effect of the song. Were the song title to be delivered too sharp and angrily then it would not be as effective. By leaving it quite drugged and tired it emphasises the pure confusion and pain our man feels. Like the conclusion of verse 1: the next verse is followed by another gritty riff that keeps the story going. The verses suggest sex and imminent togetherness but never fully revealed and exploited. The composition goes for the gut (or bone) and is the sonic representation of the passion and flirtations. By the end, you wonder how things worked out between the two and if they got into things too deep. It is clear there is past and history that has caused scars and torment. Unable to resist and listen to his mind: our man is following his gut and embarking on something quite dangerous and compelling. Gold Phoenix keep things simple and intriguing in the lyrics whilst creating a composition that has complexities and multiple shades. The trio has crafted another stunning song and one that is sure to get the live crowds jumping and together. Oh So Hard would suit a larger venue and one imagines thousands moving and singing along to the chorus.

It has been long-overdue coming to Gold Phoenix, so I am glad I finally got there. Being a local band, there is no real excuse to overlook them and there are many reasons why they will become a mainstream proposition. In a sea of Rock-inspired bands: you are always looking for that act that shines above and distinguishes themselves. The trio has been travelling the nation and bringing their music to a variety of audiences. The future is looking assured by they know the graft they have to put in. Every modern band, unless you are in the mainstream, tirelessly works and gets themselves out there. It is impossible to arrive in music, release a few songs and has a record deal fall in your lap – unless you are biblically good. As such, the promotional side of things can take over from the creative one. Touring and the demands of the road have swallowed so many bands. It is a harsh and severe industry that demands its players be resolute, thick-skinned and fit. If you arrive and assume the odd gig will get you into the public consciousness then you are in for a shock. Gold Phoenix know the demands in front of them and are responding with plenty of spirit and ammunition. Gigging across the U.K.; there is no stopping their juggernaut right now. The fans and crowds are responding and there is a great buzz surrounding the trio. Of course, it is a tiring and draining process and the guys need their downtime and relaxation. Oh So Hard is going down well and getting a lot of love right now. Hardly shocking when you hear the song: that gives them another live gem in their treasure chest. Where do the lads go from here, then? Well, there is going to be more touring throughout 2016 and they want to capitalise on their recent form and reception – getting as many gigs as they can. As the year ticks to a close, they will be looking at what 2017 has in store. I have not heard any rumours of an album but you feel the boys have an L.P. in them. Knowing the work that has come before – including their eponymous E.P. – one feels the lads might look at another E.P. next year. Perhaps a full-length record might be too costly and there are not enough new songs to put on there. Oh So Hard would be a great lead-off track to any E.P., so it has to get you thinking. That will be down to them but exciting to see what next year holds for them. In their career so far they have played some great gigs and conquered quite a lot of ground.

PHOTO CREDIT: Brennan Woollands

There is a lot of brotherly love and bond in the Gold Phoenix camp so you know they will go the distance and last many more years (often a curse but I can feel it). That desire and hunger has already seen them accrue a solid fan-base and talked-about in fond tones. Although they are inspired by the likes of Queens of the Stone Age, Placebo and The White Stripes: it is their individual, gold brand that stands in the mind. They work hard on their music and have exceptional musicians in their ranks. It would be encouraging to think they can go onto to get international dates and carve some influence across the U.S. and Australia. Maybe it is money that is the issue as I feel there’s definite demand and audiences that would eat their music up. For now, their touring is a bit more modest and they are making sure they put their songs out in the ether and pick up invaluable live experience. I opened the piece by looking at Rock and whether it is on life support. There are a good many bands that try to write hooks and riffs and, finding they have nothing, copy someone else’s. Those bands that are adding fuel to the debate – and those who think Rock is dead – are muddying the water and doing a disservice to the genuinely great bands that are keeping the spirit alive. Of course, Rock is not dead and has plenty of life left in it. I feel the real issue is the lack of originality and the easy temptation to copy a band in order for vicarious success and fandom. We often underestimate how difficult it is writing a hook or coming up with a compelling three-minute jam. Bands that have true talent and guts have patience and know the moment will come: they do not rush their music and have a resilience and faith in what they do. Too much fear and impatience rules modern music. Perhaps the consumer is too impatient and fickle and will abandon an act if they do not keep cranking out great songs. It is a hard debate to settle and one for another day. I just know the drama and swagger of Rock is not dead but definitely needs to proffer its finest examples. Gold Phoenix are one of those bona fide bands that have started promisingly and have many years ahead of them. Battling and slogging it out to get their music heard: their sheer work-rate and passion for what they do will find them rewards and mass appreciation. Oh So Hard is a typically impressive cut from the boys of the Deep South (of Surrey). Aside from their cowbell-appreciating, cider-swigging, pig-tipping (maybe me going to the hillbilly cliché well) antics: plenty of music will arrive from the trio. What form that takes is up to them but many eyes are on them right now. Given the fact bands like Royal Blood are working on new material: there is a hunger and zeal to hear like-minded, similarly hard acts fill the (temporary) void. If you have not discovered the beardy brilliance of Gold Phoenix then you owe yourself to get involved and latch on. Building a solid local reputation: they are not going to be confined for long; their legacy and abilities will resonate across the country and abroad. Oh So Hard is a song-title with many meaning, but at its heart, the raw energy and powerful aftershocks stand out – just how intense and commanding the trio is. If you think Rock is under palliative care…

I know a three-piece that can bring the genre empathically back to health.

[soundcloud url="https://api.soundcloud.com/tracks/274532205" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Follow Gold Phoenix

 

Official:

http://www.goldphoenixband.com/

Facebook:

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

Twitter:

https://twitter.com/goldphoenixband

Instagram:

https://www.instagram.com/goldphoenixband/

SoundCloud:

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

FEATURE: Inside Lark Recordings

FEATURE:

 

 

Inside Lark Recordings

________________________________

 MANY people assume, when thinking about new music, that the best...

and most worthy artists are exclusive to the city. We forget how many great artists and studios are available locally - supporting some wonderful music and stars of the future. One such studio is Lark Recordings. Based in Surrey: I was afforded the opportunity to visit them and gain an insight into the work they do - meeting the people that produce the music and support the artists (that record there). I was fortunate to chat to Producer/Owner Andy and  Marketing Assistant Elena - and the fantastic Jacqui Brown.

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ABOUT LARK RECORDINGS

“Lark is a digital content company that produces audio and video products for global distribution via all major digital music and video outlets including iTunes, Amazon, Spotify and YouTube.

We own a portfolio of digital labels that specialise in curating albums and playlists by combining new recordings with strong catalogue material across Pop, Rock, Classical, Jazz and New Age genres. We also operate Lark Studios, a high quality audio and video recording facility in Surrey.

Founded in 2007, our team has over thirty years experience in the recording, production, music and entertainment business. Our team are experienced in all aspects of sound engineering and music production from recording intimate acoustic sets with bands such as The Stereophonics, Nick Heyward, Everything But The Girl, The Manic Street Preachers and Squeeze to classical recordings and staging and recording ‘Party in the Park’ over a period of many years.

We feel very lucky to have an experienced team of engineers and producers who have worked with renowned artists across a wide spectrum of musical tastes but are equally passionate about working with the fantastic array of local talented community and youth groups”.

 

Landa at Lark

A HISTORY AND LOOK INSIDE LARK RECORDINGS

I got the opportunity to chat to studio Producer/Owner Andy about how Lark Recordings got started. He explained how the studio has been running for eight years; three years in its current location in Artington.

Helping to builds careers up; Lark Recordings help artists “gain a following” as Andy explained; a way for talent young stars to gain a foothold and get valuable experience. With regards the range of recordings/genres that have been laid down in the studio - everything from Classical recordings to Pop has been recorded at Lark.

Andy explained how much great local talent there is throughout Guildford and Surrey - Lark Recordings is a way of promoting them and ensuring they have recording facilities and expertise available at their disposal. It is not just a case of artists coming into the studio, recording their music and going off into the world. The guys at Lark Recordings help musicians get their songs just right, but it doesn’t stop there. It is expensive to rent in Guilford, as Andy explained, which can put artists and people off - the reality of living and performing can be a daunting balancing act. Lark Recordings is an affordable and supportive space: Andy, Jacqui and Elena (who I will introduce later).

EQUIPMENT

“Our studio is based around a 24 channel analogue Allen and Heath (GS-R24M) desk with a selection of analogue outboard equipment including:

Microphones: Nuemann U87, SE Z5600 Valve, ElectroVoice RE20, Avantone CV-12, SM57s, SM58s, Sontronics Halo, Shure Beta 52, SE GM10, Shure PG48s, matched pair Oktava MK012, SE X1.

Pre-amps: Trident Series 80B, dbx286, Focusrite Liquid Saffire, Allen & Heath.

Analogue Outboard: Urei LA4 Compressors, Thermionic Culture Phoenix Valve Dual Channel Compressor, TC Electronic Finaliser, DBX channel strip, TL Audio 5013 Ivory Dual Channel Valve EQ, FMR RNC1773, Joe Meek MC2.

We run both Logic X and Pro Tools 10 and our plugins include: Melodyne, Waves Gold Bundle, PSP Vintage Warmer and Old Timer, Slate Digital Virtual Channel, Isotope Ozone 5 & 6, RX 3, Nectar 2 and Stutter Edit.

In addition to our studio, we have a 24-track digital mobile rig for recording in any venue”.

Chelsea Hart

ARTISTS RECORDING AT LARK

When at the studio; Andy gave me an insight into the musicians that come through the doors. I was curious to know whether it was unfair areas like Guildford get overlooked when it comes to great musicians - as opposed to the larger cities.

Andy stated how the A.C.M. (The Academy of Contemporary Music) and the University of Surrey are producing so many great young musicians - those that can more than rival the best the cities provide. In conjunction with high rent prices (and cost of living) is the comparative lack of local venues - there are a few, Andy pointed out, but not a hugely thriving scene.

Bars like The Star Inn and the legendary Boileroom provide a platform but there not a huge amount. I got a chance to listen to one local artist, Meg Birch, and a couple of songs she had performed at the studio. The single Feel Alive has Country vibes and a real flair of Nashville: one of the slickest, catchiest and most impassioned Country track I have heard all year. If you have not heard her music: she is an artist that is well worth a look. Her E.P. is out in October but will be proceeded by a single release next month. A huge, soulful voice - that recalls Adele and Amy Winehouse - she is one of the most exciting musicians playing locally.

Meg Birch has recorded at Lark as a solo artist and as part of Megana

Karizma Duo is another top act that has recorded at Lark. They have a terrific repertoire of songs and turn tracks inside out. Andy explained how songs can be saturated and how hard it can be to successful cover a song. Karizma Duo reinvents songs and gives such a new spin on them- making them sound fresh and original.

Karizma Duo

Chelsea Hart, Chris Snelling and Alice Lamb are a trio of names Andy tipped to me: to be honest; there is a long list of fantastic young musicians that have recorded at Lark; all demonstrating what a variation of talent is performing across Surrey. Other stunning upcoming acts like Elena Ramona, Max Tanner and Chess Galea have recorded at the studio and created some of the finest moments there.

 Alice Lamb is a young artist to watch very closely

ALWAYS THE SUN

Lark Recordings are involved with the inaugural Always the Sun festival in Stoke Park, Guildford.

“Lark Recordings is thrilled to sponsor a buskers’ stage for up and coming local acoustic artists at the Always The Sun, Guildford’s first Community Music and Arts Festival to take place on Stoke Park on 10th -11th September”.

Andy explained how (the benefit of the festival) is that it is “what musical festivals for the communities should be about”.

Always the Sun will bring together established acts like Mystery Jets and Tusks but provide exposure for local talent. The Buskers’ Stage is a way for Lark to become directly involved; promulgate and showcase artists they have worked with; some of the best musicians performing in the county. It is an affordable festival set up for the community and those who live in the area.

COSTS AND SERVICES

Studio Hire with Engineer

Studio and Live Room with mirrored wall suitable for up to 8 musicians

From £50 per hour.  Daily rate from £250.

Dry Hire

From £25 per hour.

Rehearsal Space

During non-peak times – £35 per session of up to 4 hours.

Peak times – £25 per hour.

Mixing/ Mastering

Have your track mixed through our outboard analogue EQs and compressors

From £50 but please get in touch for a more detailed quote.

Custom produced backing tracks

We can tailor a package to meet your needs and budget.

Chris Snelling is a regular face at Lark Recordings

YouTube video studio

Our live room is set up for video production including green screen, lighting, cameras and director from £25 per hour.

All prices plus VAT at 20%

Discounts available to students and non-profit organisations

Music Production

We’re able to offer access to a range of music producers who can work with you to produce recordings ready for distribution and sale. Our aim is to get an understanding of your music, direction and ambitions and then introduce you to a suitable producer who can help you capture your sound.

Musicians and Backing Tracks

We have a team of musicians we can call upon if you don’t have your own band and would like professional accompaniment or a backing track, from a single guitarist to a full band in any style.

CD/Digital Packages

We can provide a full 360-degree recording/distribution/publishing package. We are able to take care of recording, mixing, mastering, album artwork, assigning ISRC and barcodes, digital distribution to all major download and streaming services, registering your works with collection societies and publishing.

Soundtracks and Music for YouTube Videos

"We have an extensive catalogue of fully cleared production music including specially composed repertoire. Our albums of material include Dance, Chill out, Documentary, Classical and many more.

We can also produce bespoke compositions for all your needs: whether its background/mood music for a television programme, youtube video or film, advertising, social media activity or location music such as specially curated and composed playlists for your workplace or business".

In this photo: Elena Ramona

BEYOND THE MICROPHONE: MARKETING AND PROMOTION

After speaking with Andy and getting a rare chance to listen to recordings; an insight into the daily life at Lark - I got the opportunity to speak with Marketing Assistant, Elena Ramona. She has not only recorded at Lark but she works at the studio and helps market artists - she has been there for almost two years now. In addition to working at Lark; Elena works in retail and brings those customer skills to the role. She has a lot of passion for her work and talks keenly about some of the acts that have come through Lark. Elena told me how Josh Franklin (one of the artists to record at the studio) has had a couple of tracks appear on Love Island. Name-checking Meg Birch and Karizma Duo: Elena has edited videos for the acts and talked fondly about the artists.

Elena became involved via A.C.M. - she found Lark via the A.C.M. Industry Link (when she was a recording artist in the studio at A.C.M.). Elena was able to come to Lark and tie together her experience in music and retail. She is very much a people person and finds the job a “good challenge”. In the future, Elena is keen to expand and work more in marketing - working at Lark is a great experience and has, in her words, “helped me with my own promotion; seeing from different perspectives how you can promote your own stuff”.

Always the Sun will see Elena promote the competition and work closely with the artists (appearing on The Buskers’ Stage).

 Chess Galea has recorded several times at Lark

THE LARK PLAYLIST: ARTISTS WHO HAVE PERFORMED AT THE STUDIO

[youtube https://www.youtube.com/watch?v=c0g6tXfgsvw&w=560&h=315]

[youtube https://www.youtube.com/watch?v=OdXZ2V_otAQ&w=560&h=315]

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

[youtube https://www.youtube.com/watch?v=y8QJqlurQj8&w=560&h=315]

[youtube https://www.youtube.com/watch?v=c_jZLjkGi8Q&w=560&h=315]

[youtube https://www.youtube.com/watch?v=-XsuW7x9s4o&w=560&h=315]

[youtube https://www.youtube.com/watch?v=xatwvK0Q-U4&w=560&h=315]

THE FUTURE: GOING FORWARD

Andy, Elena and Jacqui are excited about the future for Lark Recordings and the musicians coming through. It is a studio space filled with charm and distinction - a comfortable, affordable and hospitable space. There is a warm, supportive vibe at Lark and a real passion for discovering new talent.

I got to speak with Managing Director Jacqui, who has great enthusiasm and passion for the studio and the musicians that have recorded there. We get too obsessed with the big cities and the musicians there and forget what a chest of local talent is available.

Visiting Lark Recordings has not only given me an insight into the range and depth of musicians around Surrey - it has provided the opportunity to discover how a studio works and what is involved with recording/promoting an artist. It is well worth keeping your eyes on the artists that come through here - some big names to watch for the future. The team who work there are filled with enthusiasm and dedication for what they do - this is evident the moment you walk in. My time there was invaluable and gave greater insight into the workings and energy that goes into a recording studio. Against the backdrop of expensive, city-set recording facilities; it is wonderful discovering somewhere charming...

 NESTLED in the heart of Surrey.

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FURTHER LINKS

Official:

http://larkrecordings.com/

Facebook:

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

Twitter:

https://twitter.com/larkrecordings

YouTube:

https://www.youtube.com/channel/UC3lGArTLjp25ytI3teRu55A

Spotify:

https://play.spotify.com/user/larkrecordings?play=true&utm_source=open.spotify.com&utm_medium=open

TRACK REVIEW: The Trend - Going Under

TRACK REVIEW:

 

The Trend

 

 

Going Under

9.2/10

Going Under is available via:

https://www.youtube.com/watch?v=9dB1Nz4rge8&app=desktop

ORIGINS:

Glasgow, U.K.

GENRES:

Rock; Indie; Alternative

RELEASE DATE:

17^th January 2016

The E.P. Something to Shout About is available at:

https://soundcloud.com/somethingtoshoutaboutep

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ONCE more, and without resorting to a mock Scottish accent, I…

am looking at a much-rated Glasgow band. I will come to the band themselves anon but it is prudent to reflect on the great music that has emanated from Glasgow; the difficulty of creating Indie/Alternative songs with originality; a bit about expansion with regards music tastes and areas that are burgeoning. As I am back into Glasgow; it is prudent reflecting on all the fantastic music that has come from the Scottish city.  I guess, when we look at Scottish music, we often think of Glasgow and Edinburgh: forget that there are a lot of other wonderful towns/cities with terrific musicians. It is not down to laziness that we herald Glasgow and its music – just taking a gaze back to history makes you realise how many of the best British bands of the last few decades came from here. Franz Ferdinand – if they are still making music? – call Glasgow home and perhaps are one of the best examples of a great Post-punk/Indie band with an arty, slightly pretentious twist. There is something both common and elitist about the group. One of those ‘00s bands that swept you away with anthemic songs but got you thinking – a lot deeper and more compelling than most of their peers. Orange Juice, a bit older but same sort of aesthetic, are another terrific Glasgow band. Many, particularly of my generation, pass them by but you cannot underestimate how vital and influential albums like You Can’t Hide Your Love Forever (their debut) were. Leader Edwyn Collins remains one of the most consistent, unique and intelligent songwriters of his generation. Primal Scream, one of the titans of the ‘80s and ‘90s. Their sophomore album, Screamadelica is a classic creation that has influenced so many bands and remains one of the greatest albums from any period. You can add Deacon Blue to the list of great Glasgow bands. Not quite as bracing and experimental as other Glaswegian groups: they had a knack for crafting accessible Pop with huge choruses and heart – songs Real Gone Kid and Chocolate Girl are familiar to all. Other Glasgow legends like Simple Minds, Marmalade and Belle and Sebastian are definite stalwarts – among the finest bands from the past twenty years.

It is not just established bands that have made Glasgow such a wonderful city for music. The Yawns, been playing for years but still relevant, are a group that created bedroom-made, D.I.Y. albums and showed you did not need industry cash to make music happen. 1990s are led by John McKeown, have plenty of hooks, wit and native narrative at their disposal – a group that are distinctly Glaswegian yet have a universality and everyman quality to them. Like the aforementioned, and not brand-new-new, The Delgados  were/are an intellectual band with a bookish edge. A band who put huge imagination and intellect into their music – they went on to establish their own record label. The Deathcats put Glasgow in the consciousness with their head-spinning, electric saw riffs and reverb-heavy gems. Instant, urgent and laced with plenty of attitude: another band that shows the variation and multiple sides to Glasgow. Perhaps the likes of Happy Meals and Catholic Action are more relevant. The former fuse minimalistic Disco vibes with French vocals of Suzzane Rodden – alluring and sexy but instilled with groove, dance and beauty. Catholic Action, aside from their awesome name, are masters of the hook: capable of dragging the listener in and seducing them without breaking into a sweat. That is just the tip of things really.  Neon Waltz are an upcoming six-piece who have ties to Glasgow but have toured throughout Scotland. Honeyblood, Paws, and Strange are a Glasgow trio worth money, time and focus – all capable of being mainstream propositions for years to come.

The Trend fit into Glasgow pretty easily and have a distinctly local, read: anthemic, sound to them. I have listed quite a few bands: one wonders how many of them featured in the band members’ thoughts as youngsters. We often see a band/artist and what genres they play in and think we have them pegged. If they are an all-male Indie band they are all going to sound the same, for instance. It is narrow-minded to think every group will be predictable and lack necessary originality. I agree, there are so many groups that replicate one another or come across uninspired and predictable – sticking too closely to their idols or incapable of crafting songs with hooks, kick or any electricity. The Trend have a lot of similar bands playing near them so have had to work hard to forge their own path and stand out from the crowd. The boys have ample energy and passion which means their songs have anthem status and come swinging with instant hooks and sizzling guitar work. Our Glasgow band call for other bands to do something useful and meaningful with their platform: get up and say something new and purposeful. The boys can knock simple songs together but go deep when the mood calls for it – not your average one-dimensional band. Whether you are a fan of Indie, Alternative and Rock in general: you will be impressed and affected by the band’s musicianship and compelling connection. The music comes across as fresh and enlivening but has enough emotion and vulnerability at times – even the most crowd-pleasing and anthemic numbers do not merely reproduce what has gone before. It would be naïve to suggest the band have redesigned the wheel and are completely unexpected. Part of their appeal and popularity hinges on some familiar edges and embers of other bands. Comparisons have been made (among others) to Oasis at times. The same way the Manchester band could get crowds together and singing loud: The Trends are a group that pen universal songs that demand you get together and sing along. Memorability and catchiness are important commodities but can be cheapened by copy-catting your idols. The Trend take a sprinkling of some heavyweight artists but ensure their most prominent trait is a new and original sound – something that is distinctly theirs. In genres that have been accused or stagnation and homogenisation: it is pleasing finding a band that understand the need for originality and respond accordingly.

I will get to the Glasgow band’s work in a minute but wanted to look suggest people get out of preconceived comfort zones. I feel most of us, I am culpable, get used to certain artists and cities; do not stray beyond those walls and get into our own little rut. It is definitely worth getting behind home-based artists and supporting the local music community. Naturally, London gets a lot of exposure and is, as I see things, the British epicenter for music – the finest acts and biggest hitters reside here. Manchester and Liverpool get attention (not as much as they deserve) but our adventurousness and energy levels stop there – we often do not spend too much time digging any deeper. It is impossible to cover every town and city in Britain let alone the world – we have to be rational and sensible about this. I just mean there are some very obvious areas that are being ignored by large sections. I would argue Edinburgh should be on the list; Oxford and Bristol are productive and interesting; Glasgow certainly should be there. Often, our tastes and recommendations come from radio: following the tips and teasers they put our way. It might be like pulling Excalibur from a stone: one day we’ll get a website together that compartmentalises music by town/county but encourages users to spend time and find some genuinely unexpected music – from parts of the country/world we had not thought about before. Until that time comes (if ever it does) it is worth being a bit bolder and accepting the likes of The Trend are worth your time – imploring you to seek out more of Glasgow’s musicians.

Something to Shout About is their new E.P., and you get a full impression of where they came from, it is worth looking back at their earlier stuff. The E.P., as I will look at in more detail later, has great hooks and plenty of arena-primed songs designed for maximum impact and getting the crowds roused and lifted. Going Under has bristling, stabbing riffs and a swaggering mood. Reminding you of Artic Monkeys to an extent: something modern and Alternative-based; bringing together influenced from the north and Scotland – whilst keeping a distinct character and sense of self. You can hear those sorts of mixes in songs like Act of God. A warping, spacey opening leads to a racing arpeggio. The song tumbles and spoils out the gate and unleashes something fiery and determined. The kind of people that don’t know they’re born, as the lead attests, there is trouble brewing and something happening. The band ensures the song is provided maximum energy and electricity with a tight and commanding performance. Departing from your average Indie/Alternative fare: the lyrics go deep and you wonder what influenced them. Our hero looks at cynicism and problems around and wonders how things got that way. Whether directed to a government or ruling class; an individual that is blind to what is going on around them – a track that hits on multiple plains and gets you fascinated and addicted.

Falling Apart, recorded about 3 years ago, has that gritty and gravel slam to it. A fast-paced, Punk-influenced song: it was cut around the time of Act of God but does not stick too closely to it. Proving they have variation and different sides to their game: The Trend creates something fiercer that aims to hit the gut. Perhaps attesting domestic drama and a relationship falling apart: a song that swings and throws around but is controlled and nuanced. Every song The Trend plays is defined by their chemistry and incredible bond. The vocals are gutsy and intense – some of the lyrics get lost under the composition – but you get carried away by the sheer energy and catchiness of the song. Falling Apart is a song designed and aimed, once more, at festival crowds and for live audiences. It is hard to ignore them as a band because each track carries so such conviction, weight, and invigoration. Here, they have bits of Oasis to their sound but never come across too similar to them – merely employing them as an influence. Other songs like Free and Beauty Queen, recorded during the same time period, once more push their boundaries whilst retaining that core sound. Elements of ‘60s Power-Pop and Punk; Alternative and Indie: you get so many different shades and sides to the band. What stands out then, as it does now, is how different they are and gripping. I have mentioned that word but it seems very apt. So many modern bands are slight and weak when it comes to sound. The Trend burst from the speakers and grip you by the collar – bringing you into their world and taking you off their feet. Songs move the bones and get the voice singing proud. Having started so strongly, it would be foolish to suggest the band step it up and improve their game. Tactically, the guys have created (with Going Under) have improved on their foundations and sound at their very peak. In terms of sound, there has not been a huge leap nor did there need to be. What you notice is the production is slightly crisper and cleaner whilst the performances are sharper and more engaging. Perhaps extensive touring or new inspiration but the boys are intoxicating and expert; sounding like a group that has been gigging for decades now. Going Under is the centerpiece to their E.P. – and why I wanted to focus on it – as it assesses where they are now and what they are about. I wonder, given the material was recorded a little while ago now; if there will be anything new by the end of the year. You can hear the passion and energy in the ranks and just know they will keep building, crafting and producing exceptional songs.

I want to concentrate on Going Under as it seems like the truest and concentrated example of the E.P.’s themes, sounds, and shades. It has been released as a single, and has a video, so the boys have a lot of faith in the song. That faith is not blind and it is a song that signifies its dominance without much hesitation or foreplay. The bass and percussion unite once more and show what natural partners they are. Few bands lead like this and certainly never put the bass out front in their music – it is often left to work in the background and rarely gets the exposure it deserves. A tense and nervy start: The Trend keep it light but there is a definite element of danger and caution in the opening moments. Teasing, testing percussion gives anxiety and nerviness to the song; the bass adds to that environment and, without overloading the song and being too heavy, you feel the emotion build. Before long, the riffs break out and The Trend crack out their scintillating jams. It is hard to describe and define the riff but it has that definite classic quality and recalls the likes of Artic Monkeys and Paul Weller. Vibing from the spirit and essence of those stalwarts: The Trend create something instant and captivating. Before a single word has been sung: the music has said so much and the feet are moving; the brain is ready and the body is already invested in the music. Just after the percussion crackles and smacks again: you are primed for the first vocal offerings and just what direction the song will take. Our man is heading into the night (away from the light) and slipping away. You wonder what is being sung about as the lyrics have quite an oblique quality early on. Perhaps emotions have got the better or a romance has fallen away – maybe just a general feeling of losing control and not being who he thought he was. Ensuring the voice has plenty of meaning and conviction: it never runs away but remains focused and direct; ensuring each word can be heard and understood. Early songs from the band have suffered a little from clarity but here it is very clear and concise: the production values mean every note is understandable and not lost in the mix.

With any great band/song, there is that mystique and indirect charm to the song. You are left to come to your own conclusions early and draw your own impressions. The band joins their voices in the chorus and you are curious (once more) just what the song is looking at. Of course, there is a lot of fear and uncertainty from our hero – not sure if he is going to be okay and what the future holds. I was imagining a general malaise and struggle against the pressures of life. Not necessarily defined by creative or romantic abnormalities: it is a song that brings home the obstacles and realities of the modern-day existence. He is feeling the pinch and needs some relief and space; get away from the hurly-burly and find some comfort and quiet. I may be off the mark but that is what Going Under does: registers different interpretations in the listener and has a broad lyrical basis. At the point “of no return” and aware of his situation: the fascination builds and you cannot help empathise with the lead. Despite the vocal never being sad or affected – you just know that need for answers and salvation is burning. Before you get too invested; the band step in with that opening riff and give the song a break and chance for the band to come together. Whereas other tracks on Something to Shout About (title track for instance) are specific and make their intentions very clear: Going Under is always an enigma and casts its net pretty wide.

The hero is moving on and looking at thought racing away; at the back of the mind and niggling him. Nobody is “safe anymore” and you feel the song is looking at general society and a building danger. With the way things are going – the general state of affairs – few of us are truly safe and secure in our lives. Perhaps Going Under reflects that dread; the lead is staying in the hole and is struggling to come out. Despite the negativity and repressed lyrics and sense of dread: the song is never bogged down or a hard listen. The sheer spirit and resilience of the band keep it light, defiant and engaging throughout. Like classic Punk and Rock bands: they are in a crap situation but are damned if it going to define them. The Trend’s determined spirit and combustible performance puts the song in your head and compels you to sing along – or move your feet at the very least! Working around the central riff and all its alcohol-fueled, swaggering assuredness – the band lace in some lovely touches and riffs. With the percussion and bass continue to drive the song and give it an accelerated heartbeat: guitars allow some colour, vibrancy, and sexiness to strut through. Towards the end, the song has an optimism and sense of hope to it. The hero is finding his way home and seems to be in a better place. Perhaps disconnected from home and somewhere he is unsafe: that desire and endless spirit is in the mind and you are with him all the way. Going Under has a simplicity to it which will make it easy for fans to sing along and makes it accessible and direct. The words, despite their oblique touches, get you thinking and everyone will have their different views. The Trend are a band who always bring exceptional compositions to the fore and here is no exception. So many details come out and the central riffs are exceptional. If you want to be cheered and find a song that will put the smile on your face: Going Under does that and introduces one of Glasgow’s finest young bands in the process.

It has been good discovering another great Glasgow band. I am sure the city has plenty of incredible solo artists but it seems like the bands rule the roost. Few cities are synonymous when it comes to band concentration. That is not to say Glasgow is narrow and limited: if you look closely; there are plenty of solo musicians (duos etc.) that are making their presence known. It just seems Glasgow are well-stocked for bands and there is a lot of variability and choice. If you prefer your music band-made then you need to spend more time investigating what the city has to offer. The Trend are certainly one of the most exciting and hard-working; grabbing the attention of critics and fans – signaling themselves as potential mainstream stars of the future. It will be interesting seeing how they develop and what their plans are for the coming years. I have looked, at the top of the review, at the great artists that have come out of Glasgow. It is easy to be fixated with the likes of London (and what it has given us) but Glasgow’s legends cannot be understated. I am not sure what it is that differentiates Glasgow from the rest of the U.K. Perhaps a sense of community or a different way of life: greater performance opportunities for its musicians or a feeling of freedom and support. Whatever it is; many new artists are adding to a very solid and impressive foundation. Indie and Alternative are words thrown around a lot when describing a fresh band. I mentioned how those genres gained a reputation for rigidity and a sense of weariness – musicians perhaps not as original and impressive as they should be. There is some truth in that, but we shouldn’t assume every new Indie/Alternative band suffers that fate. It is a hard style to truly redesign and shine in - one of the most popular and defined by a particular sound and lyrical style. Luckily, The Trend manage to make something (potentially forgettable) stand in the mind and brim with personality and addictiveness. Critics and fans have pointed out what a proposition they are live: their studio prowess can be found throughout their E.P., Something to Shout About.

Something to Shout About has gained some great reviews and clearly strikes a public chord. The title track is a spiraling mesh of riffs and strings; it howls and burst with intention and spares no time in making an impact. It “don’t flow through our veins no more” and you know the band are talking about their contemporaries - bands that are not saying anything new and making an effort. They are afraid to say what’s on their mind and are playing things safe. Carried under the wave of anger and passion: the band is at their most together and meaningful. They are looking for something to shout about and a band they can rely on.  Drug-free and lacking Rock spirit: there is tepidness and fear among groups; nobody is going out their way to create something special and brave – not saying what is on their mind. The Trend attack with venom and show, ironically in the song, they are something to shout about. The composition is detailed and emotive. Bass shines and provides melody, grumble, and emotion; the riffs sparkle and bristle; psychedelic and explosive. Percussion notes pummel and make sure the song beats hard. Not your predictable or average track: it dies down and comes back up; there are diversions and asides; change of course and subversions of expectations. A classic call-for-action and rallying cry from the group. By the final notes, you are left with a smile but also compelled to think. Complete with wordless chants and a classic feel-good vibe: a perfect insight into the band’s mindset and artistry. Take Me Away is bellicose and avalanche right from the off. That percussion comes through and gets straight into the brain. Building with the guitar and bass: Take Me Away has a sense of smile and sunshine early on. Bright-hued and vibrant; little elements of ‘60s Pop, The Libertines, and other bands – whilst keeping The Trend’s definite sound solid and sharp. “I’ll never understand a word that you say” leads you to believe there is another look at society or other bands. Our lead wants to be taken where the skies are clear and wants to get away. If it is looking at a relationship or romance, then you can hear the boredom and dissatisfaction. The same conversations and routines unfolding; that desire to go somewhere better and different – escape the dull days and not return. It is an intriguing song that reigns clear and gets into the heart. The band, once more, shows their malleability and is less foreboding and intense than the title track. “Don’t want to see it anymore” declares our man: you speculate what is being referenced but just know he is not going to stick around.

Tonight begins, as one might hope, with an intriguing compositional build. The percussion spatters and patters, while a growing, groaning riff starts to stomp and make its impressions felt. An odd combination that works well for the song. In terms of sounds, you get the sense of early-career Oasis and their anthemic tracks. Guitars and vocals have an element of the Manchester band but the lyrics very much play into The Trend’s camp. Unlike other tracks, there is a sense of romance and hope and you get affected by the purity and desire in the performance. The soul is being nourished and the blood is rushing: the hero is embracing Rock and music; feeling alright and pushing on. Others say he is out of his depth and battling the waves – curious to find out why that is – but that sense of defiance and rebellion comes out. Music is the focal muse and perhaps the salvation against a backdrop of uncertainty and struggle. His life is falling apart but he has music and surrendering to Rock and all its beauty. It is a subject matter that has been covered but not quite the same way as here. A perfect way to complete Something to Shout About. It is a song that will definitely resonate with audiences and you can see people chanting it and joining together in celebration. Tonight is not a dead-ahead and one-dimensional song. Going through stages and having a sense of evolution running through it: you are kept on your toes and always surprised; the band is masterful when it comes to throwing curveballs. Something to Shout About lives up to the title track’s desires and necessities. That song looks at bands who say nothing new and do not get the mind engaged – too timid and cautious when it comes to subject matter. By addressing that subject head-on, the Glasgow band show they are not like them. Never sticking with romance themes and everyday tropes: the E.P. covers more important subjects and hits you much deeper. The title track makes you think and makes a point. It could be arrogant to write a song like that and would be a disaster if The Trend do not live up to their lyrics and differ from their peers – luckily they do and make their point know. The entire E.P. is packed with gems and potential future anthems. I know the songs have been played live and imagine the crowds are lapping them up. One of those bands that tie together some familiar bands – Oasis for one – but never copies them; merely lace in some of their magic; they are one of the freshest and most distinct groups of the moment. Exceptional musicianship and comradery break through and every song has its own voice and will stick in the head for a long time. I know the boys have been touring hard and getting out there. Those dates, with a terrific E.P. under their belt, is just…

THE start of many great gigs.

[youtube https://www.youtube.com/watch?v=9dB1Nz4rge8&w=560&h=315]

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Follow The Trend

Facebook:

www.facebook.com/thetrendglasgow

Twitter:

www.twitter.com/thetrendglasgow

SoundCloud:

www.soundcloud.com/thetrend-1

FEATURE: The August Playlist: Vol. 4

FEATURE:

  

The August Playlist: Vol. 4

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PERHAPS it is a testament to unexpected single drops....

and great albums out this month: August has turned into one of 2016’s best months for music. I thought I’d be wrapped up with three volumes of The August Playlist – I wouldn’t be surprised if I got juice out of a fifth. There have been a few great singles out; some terrific albums, and to celebrate the anniversaries of Jeff Buckley’s Grace (22-years-old) and Blur’s Leisure (25-years-old) – a couple of classic tracks in there.

Enjoy...

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Frank Ocean (ft. Beyoncé) – Pink + White

[youtube https://www.youtube.com/watch?v=erCVuYYfbf8&w=560&h=315]

Empire of the Sun – Two Vines

[youtube https://www.youtube.com/watch?v=T48WTcC243o&w=560&h=315]

Chromatics – Dear Tommy

[youtube https://www.youtube.com/watch?v=nRTLABXixD0&w=560&h=315]

Grouplove – Traumatized

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

Dua Lipa – Blow Your Mind (Mwah)

[youtube https://www.youtube.com/watch?v=WXPjF7vMYsE&w=560&h=315]

Kate Tempest – Don’t Fall In

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

Jimmy Eat World – Get Right

[youtube https://www.youtube.com/watch?v=vMj7baqFV3M&w=560&h=315]

Glass Animals – Season 2 Episode 3

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

Jack Garratt – BYSKB V2M2

[soundcloud url="https://api.soundcloud.com/tracks/276874138" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Ezra Furman – The Refugee

[soundcloud url="https://api.soundcloud.com/tracks/263214217" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Bastille – Good Grief

[youtube https://www.youtube.com/watch?v=ZWCB3hpJDXM&w=560&h=315]

Thom Sonny Green – Beach

[youtube https://www.youtube.com/watch?v=hc-4E0sY09g&w=560&h=315]

Cassius (ft. Ryan Tedder & Jaw) – The Missing

[youtube https://www.youtube.com/watch?v=DreeCbl8s9E&w=560&h=315]

Crystal Castles – Sadist

 [youtube https://www.youtube.com/watch?v=4UXMhJKc-dk&w=560&h=315]

Jeff Buckley – Grace

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

Blur – There’s No Other Way

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

September is upon us next week and I can just smell the paint drying on some fantastic albums and musical revelations. Frank Ocean has dropped Blonde and took everyone by surprise. Next month, Jamie T. looks set to make another huge statement – Trick is already gathering some rather heated praise and bold proclamations. Of course, there will be singles released at a moment’s notice and who knows what: another exciting month beckons us.

FEATURE: Electric Vinyl

FEATURE:

 

  

Electric Vinyl

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SO what is the concept behind the idea?

I have been inspired by some developments in music recently. Hearing about Laura Marling’s new series, Reversal of the Muse, has got me thinking. That interview/discussion concept brings women together (musicians mainly) to discuss the lack of women behind-the-scenes in the industry – how few engineers, producers there are, for instance. It is a much-needed spotlight on an issue that, has until recently, been cloistered and hidden in the shadows. If you really think about it: how many women are employed in studios and away from the microphone? Perhaps many assume (these jobs) are male-dominated and there’s never been a problem with that. It may not be the case there has been deliberate discrimination but not enough is happening to encourage women more – reduce stigma and barriers and make changes.

We often focus on musicians and what they do without giving kudos to those who work away in the background; making sure the songs get to us. Whether D.J.s, promoters or journalists: these people are often overlooked and do not get the recognition they deserve.

There are not too many (if any) web series that brings together these people. It would be great to see a fantastic promoter celebrated or hear the insight of a London D.J. – sitting alongside a musician and trading experiences, insight and revelations. Maybe this sort of things happens in daily life but often takes the form of short interviews or online interviews. I cannot recall ever seeing an interview series like this: one where musicians and the unsung face one another and give us a glimpse into their day-to-day life. It got me thinking about a concept: Electric Vinyl was what came from it.

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TITLE/EPISODES

Electric Vinyl: When (    ) Met (   ).

EPISODES PER SERIES

10 per series; 1 hour per episode.

LOCATION

For a sense of centrality and ease-of-access, it would be set in London. In terms of locations and accessibility, it would make sense. I hope to recruit guests from areas like Brighton and Manchester but London seems like an idea centre. Most of the innovators and upcoming musicians (in Britain) are based in London so it makes sense to come from the capital. I have not decided what part of London it would be based and that is open for discussion. It seems like east and central would be best: perhaps somewhere like Shoreditch or Hackney, but once again, it depends on available sites and costs.

SET

My feeling is to give it a bar setting but not having it crowded and busy. The aim is to have an intimacy but a general feeling of conviviality and comfort. Inspired by music-themed bars – hope to set one up myself – the décor and furniture is going to be important. The guests would sit on a chair each but they would get to select the furniture. They could have a bar stool or beanbag; a sofa whatever they choose – a chance to create a bespoke environment and give the set a sense of character and individuality. It would be a basic concept and have the interview subjects sat opposite one another. The name Electric Vinyl would be a bar name, in essence. We would see a sign – perhaps neon or painted – that is near the bar and there might be a few people in the background – a bar person or patrons (only a few) to ensure there was a bit of motion. While the bar is in the background, in the foreground we would have an electronic jukebox to the right – one that would play guest selections and give the ‘Electric’ side flesh. On the other side would be a turntable/record player (‘Vinyl’) where the guests’ vinyl choices will be spun – more on that later. Because there will be solo artists/bands coming together; a small stage would be there – opening and closing the episode with live performances. The filming dynamic would change to become more active and mobile – the stage would be located opposite the bar.

LENGTH AND FILMING STYLE

Each ‘show’ or interview would last for 60 minutes (the Happy Hour) – that might increase if the demand is high. It would be a filmed series that keeps things simple but has a sense of style to it. We would have a few cameras: one that shoots proscenium; another one that is mobile and films guests’ faces/reactions and another that would be mounted near the ceiling – an overhead view of the location and people coming and going. There would be a mix of colour and black-and-white to give it a modern and vintage mix – as befits the title. Varying between static shots and close-ups: it would aim to give some fluidity and motion to things but never compromise or distill the interview; always emphasising mood and emotion over flair and needless flash. In essence, the aim is to give it a professional feel and differentiate it from other examples on the market.

START OF EPISODE (0-5/10 MINUTES)

I am hoping there is a small animated opening sequence as a title page. It would see a series of well-known and new musicians interact in a comical sequence and would head towards Electric Vinyl. There would be a theme but this would most likely be instrumental and have a funky/upbeat vibe – perhaps meshing Blues, Rock and Hip-Hop. From the sequence, it would then open on the set/bar and the empty chairs. The two guests (either two people or band and another guest) would come from the bar and shake hands – set their drinks down and sit. Almost like Made In Chelsea (not in a bad way) there would be light music playing – a series of songs would play each edition – and the guests' names would appear and their title.  Before they get down to talking they would introduce their drinks. Each guest can have any drink they like but there is a full cocktail menu – ingredients and name would appear on the screen. It gives the episode a sense of pub chat but, again, is quite stylish and modern – cosmopolitan and homely at the same time. Nothing will be scripted and the only thing interviews plan is their song choices and music. From the off, it is encouraged they be relaxed and chat. The opening couple of minutes would see them introduce themselves and what they do (pieces to camera) before they open things up with casual chat. As they are getting into things, their food arrives: usually a small dish/starter but delivered to them. Of course, they are discouraged from eating whilst talking but it gives it a more social feel.

MAIN BODY OF EPISODE (5/10-40 MINUTES)

The interview series will mix musical choices/inspirations and deep topics together with insights into the music industry and casual chat. Every edition will have a set format and give the guests an opportunity not only to discuss what they do and highlight important issues but introduce new songs (they are loving) and the music that inspired them.

The opening ten minutes or so would see each guest talking about what their job entails and how they got into it – links and information would appear on screen like websites – and their day-to-day life.

From 10-20 minutes the guests would choose a new song/artists that they are listening to. It would either be an unsigned artist or mainstream but essentially be their Brand New Headies. Every segment would have a music slant/pun and this would be the first one. We would then either cut to a music video or hear it on the electronic jukebox. After each song, there would be a link (social media) to that artist and any necessary information.

After the 20-minute mark, there would be a section about their favourite music. Throughout there would be a chalkboard menu behind each guest (at bottom of shot in front of the furniture) and each person(s) would get to talk about their favourite albums/songs from their childhood; their favourite song of all time . It is, in essence, an insight into that person’s musical upbringing and the music that matters most. The songs would be played on the jukebox and each guest would take turns. As each song plays the title/image would come up. If there is a music video then we would cut to that, but if not, the cameras would move around the bar/set or capture the guests’ reactions. After each song ends, and before the next, they would say why it is relevant to them.

From 40-50 minutes there would be discussion about a topic that is relevant to each. Whether it is women in music or mental health; the urban scene or lack of finding for new artists – a chance for the guest to discuss with one another.

Throughout each discussion, there would be relevant links to appropriate websites (mental health charities etc.) and tweets (followers letting their voice contribute; more later).

The final 10 minutes would be a blend of social media questions and vinyl choices. Of course, and like all segments, this would appear on the chalkboard. The questions come first and would be collated from Twitter and Facebook. Before each edition is filmed, a week’s notice, you can pitch questions to each guest – they can be serious or silly. For bands and artists, it might be aimed at touring and new records; for D.J.s and promoters it would be geared towards their influences or questions about their jobs. The questions would appear on screen (there would be one to the side of the set but it would appear on the screen large) and a way to get others involved. The last segment would be a vinyl choice for the guest. It can be a vinyl that means the most to them or sounds great on that format. It would be loaded onto the record player and maybe there would be information about that song and facts.

To end, the guests would finish their drink and food; they would embrace/shake hands and conclude however they like. Either heading out of the bar into the night or back to the bar for another drink. The credits would role as their social media links would come up – the lights might come down and that would end things.

MENU CHOICES/SEGMENTS

Rhythm and Booze - the drinks the guests have chosen

9-5 - job discussions

Brand New Headies - a selection of new tracks to enjoy

Consensual Grooves - music that means most to the guests

What’s Going On – the guests shine a light on an issue/discussion topic that needs addressing

Stage Dive - Q&A from social media

Drop the Needle! - the vinyl selection to end the show

Closing Time – the guests say goodbye and depart

GUEST IDEAS/DYNAMIC

I do not want it just to feature musicians: the idea of the series is to have non-musicians featured heavily. Of course, we would have bands, solo artists and other acts but it would not be a promotional tool – it is a chance to learn how they got into music and guidance for those following suit.

It is aimed at a younger audience, so most of the guests would be between 17/18 and 40, say. That rule can be extended but Electric Vinyl aims to be a cool, breezy series aimed at a younger audience but one that would engage older viewers. Having just interviewed RKZ, a London-based mental health advocate and musician, he is an ideal choice. I want to bring it to be a diverse and varied platform that brings together different music genres and professions. In terms of music guests, it would not concentrate on Rock/Alternative: Hip-Hop/Grime acts; Soul solo singers and bands are all encouraged but the emphasis is on highlighting variation and those artists that do not usually get focus.

With respect of non-musicians, this is an opportunity for real scope. I know people who are event organisers and book acts; those who work in P.R. and are journalists. They would be encouraged, and Electric Vinyl emphasises fascinating characters, colour and energy. For example, one episode could pit a Grime artist/Rap musician with a D.J. The people would not have met before so it is like a first date – a chance for two unique personalities to converse and shine. Again, there is a focus on ethnic diversity and gender diversity – not just young men.

OTHER IDEAS

In addition to the bar setting: maybe having a resident D.J. there. I like the idea of the guests’ songs being played on an electric jukebox but it might be cost effective/better to have a D.J. there who would interact (only when songs are mentioned) and play it. It is a possibility but would perhaps clutter things – wondering what the general feeling is regarding that.

Songs would play in the background – like a bar and it would not be intrusive – but perhaps could lend to the conversation. If a guest notices a song that they like it could be discussed, but again, it might detract from the focal points and be surplus.

GOING FORWARD

It would be easy to get guests, I am hoping. I know enough people from all musical walks that would be fascinating to see on the screen – bringing together great personalities and seeing how they interact. When things become difficult (costly) is the filming equipment, personnel and location. The setting need not be an actual bar but made to look like one. It might be unfeasible to clear a bar out an hour a week for filming so it could be a studio space/abandoned warehouse that could easily be furnished and utilised. I have mentioned the electronic jukebox which is a prop rather than a working thing. The song might be typed in and would come out a speaker but the actual song would be fed from a laptop – an MP3/YouTube clip so cost-wise, that would not be huge. There would be additional players/’staff’ that would work the bar, serve food and be extras.

For bands, and with regards live performances, the stage would be quite simple and small and the backline/equipment would be hired. Ideally, it would be great to film in an existing music venue that is set up to cater for the specifications and demands. I am going to enquire nearer the time but if it is too costly then alternatives will have to be arranged.

Electric Vinyl would be uploaded to YouTube and have its own channel. The only other real costs are the cameras/equipment and clearance rights. Quite a few songs will be featured throughout the episode so will have to ensure we do not infringe copyright and have clearance/permission before featuring every track. I have mentioned how the show would use three cameras, so purchasing/hiring them would be a consideration. It is not going to be an overly-expensive series but would have definite costs to consider.

KICKSTARTER

This would be the way to raise money to get the series funded and realised. It would (success) rely on the campaign being shared as widely as possible. I am not sure the exact budget but for a single series (excluding music rights) it would possibly be a couple of thousand pounds – covering equipment/location and small guest fees.

It might not sound like a huge amount but if everyone (who pledges) puts in a couple of quid – we would only need 1,000 people to be involved.

Again, that sounds like a lot but consider the potential audience – you’d imagine many would want to see a series like this come to life. Should the campaign be unsuccessful and fall shy then I will either source a less-expensive option – hire equipment or fewer episodes in a series – or self-fund it.

Rewards will no doubt be the incentive for pledging. When it comes to an album or film finance: you can offer rewards, merchandise or credits (on an album linear notes for instance). With a web series, bearing in mind there is no audience or outside physical interaction, it makes it a little harder. Interview subjects would receive a small fee for appearing so it is hoped, as a quid pro quo, they would be able to offer reward. Either a signed album or merchandise, perhaps. I guess the easiest way to attract people is a combination of musician reward-based incentives and appearance in the episode. Live performances will happen so there’s a chance to see that artist/band play; opportunities to be in the background (near the bar) as it is being filmed.

FINAL WORD

Projects like this only become a reality is people get involved and show their support. I hear from a lot of people – musicians and non – who want to see artists on the screen and gain more insight into music and various sides. We see printed interviews and YouTube/radio interviews: each gives us a window into a performer. Rarely do interviews stray beyond simple promotion; most are quite concise and short. By bringing musicians and music professionals together: it is a new incentive but allows (the viewer) to learn what happens away from the microphone; the realities of music and also hear some great music – inspired by the guests’ choices and selections. I am hoping to get a ‘pilot’ filmed as a demonstration for the Kickstarter campaign – something that is barer than what it will become but gives a semblance of what will follow. Ideas/feedback/opinions are always welcome and let’s hope…

ELECTRIC vinyl becomes a reality.

INTERVIEW: Mike Liorti of Rosedale

INTERVIEW:

  

Mike Liorti of Rosedale 

_______________________

KNOWING how hard it can be running a music career is going to seem…

like an insult to Mike Liorti. The man is a one-man wrecking ball who seems to have boundless energy, optimism, and passion for music. Based out of Ontario, Canada: not only is Rosedale a fascinating act in its own right: you are compelled to listen to local contemporaries and investigate Ontario in more depth. I have been intrigued by Liorti and his work ethic; how he keeps going and what new music is afoot.

________________________________

Hi Mike. How are you? How has your week been? 

Hey pretty good, thanks. It's been a long week out here on tour. It's about at that part of the tour where things just start breaking. Even just little things like pedals and gear housings. It’s been a fix-it kind of week for sure. But that’s how it goes when you have a lot of stuff; eventually, some of it is gonna break. I still can't think of a better way to spend my summer, though. It’s all worth it.

You started Rosedale in 2004. What was the spark or moment you decided you wanted to get into music?

We were a Pop-Punk band called Uneven Number for a couple years before we changed our name/sound in 2004 to Rosedale. The big spark that made me realize what I needed to do with my life, and also had an influence in our decision to switch to a darker/deeper sound, came from a show at The Kool Haus in Toronto with Boxcar Racer and The Used.

Rosedale is your band but you travel with a lot of musicians and support. What is that experience like? Are you ever tempted to surround yourself with a proper band or does a flexible approach suit you better?

I'd love to have a full-time band. Unfortunately, with how much I tour it’s a lot harder to maintain full-time members. But I gotta tour because, especially these days, I know having fans and creating fans is more important than having a band or members. Fans don't fall into place and you can't train them to.

You need to actually go out and give all of yourself to them and the best way for me to do that is to give them a captivating live performance they will never forget. I don't make music only to get fans, but I definitely need fans if I want to make music everyday as my source of living.

Full-time members that can't leave their home day-jobs only make me have to go back to needing a home day-job. So, until I find the right musicians who totally understand and support what I am trying to achieve as an artist (or at least enough to work with it on a consistent level of ethics/contribution), I just have to train and take anyone who can learn the parts and take vacation time to tour temporarily. Obviously, nobody’s perfect. But if they're not willing to try and sacrifice as much as myself then they are only holding me back. Yet I totally understand why any musician wouldn't devote their lives to my art full-time for all-time. I'll still always give anyone the chance to, though. Maybe one day I'll have a band again.

I see you have played a lot of gigs around Texas recently. What was the experience like? There is such a huge music scene there I can imagine it was quite intense? 

From my experiences, East Texas is terrible. There's a lot of cool people that get it but good luck getting them your music. It's a tough place for new touring bands.

 Every time I work on booking Texas dates the response rate is, at best, around 1%

The venues I do end up successfully booking usually end up getting double booked "accidentally", and have tiny corner-stages (which is the biggest "music is the least important thing here" sign a venue can have). The local bands are usually extremely late, or don't wanna play first or last, or break-up around a week before the show. And getting 'fans' to come out to the shows is near-impossible. I love my friends/band-fam in Austin & Houston. But the Punk-Rock/Alternative scenes have really gotta step it up. Fans, venues, bands, and promoters, I challenge you! It seems the more West you go the better. El Paso is cool. Again, only speaking bluntly based on experience.

You hail from Brampton in Ontario. What was life like growing up there as a music lover? Are there a lot of bands and artists or is it quite a quiet scene? 

There has definitely been an insanely high amount if talent that has come from Brampton in the last couple decades. We had such an awesome little scene in the early-2000s. Like many suburban cities; every kid in Brampton and their cousin had a MySpace. So, everyone was checking out new local and touring D.I.Y. bands/shows every day. Consequently, everyone was so into music and influencing each other to grow their talents- whether it was promoting, producing, performing, etc. Music stores and venues were beyond comfortable! It was a really inspiring time for kids and it created some amazing adults and, some now; parents and even celebrities. There was also those local scene Wordpress-type websites where people would promote/gossip/heckle every band- big or small. So, the internet really inflated Brampton's already-blossoming and talented music scene.

[youtube https://www.youtube.com/watch?v=Gv1SdZkmopI&w=560&h=315]

But (also like many suburban cities everywhere) that all slowly diminished to basically nothing as smart-phones/apps./Netflix/Facebook/YouTube/Spotify/E.D.M./Covers0nly -...contemporary entertainment took over. Depressing, but It's really amazing to look back on and relate our generation to history. The industry is always changing and scenes come and go for reasons unknown until they arrive. I'm glad I was around the Brampton music scene and in that generation. It would be really cool to see an Authentic Original Bands scene start brewing up again in Brampton and cities alike. I definitely wouldn't take it for granted.

Growing up and starting to get into music, it must have been all analogue and tapes. Now it is largely digital and faceless (to an extent). Is it quite hard transitioning to a more ‘modern’ ethos or are you an artist that still does things in a ‘traditional’ way? 

It's interesting because C.D.s replaced tapes, but nothing really replaced C.D.s. Even though there's online digital sales and now streaming, C.D.s are still the go-to physical product to play music. Vinyl and cassette is also making a comeback. It’s weird to say that

I'm behind on the vinyl and cassette trend but it’s true. I'd like to get Rosedale tapes and vinyl. But I probably sell more C.D.s than digital copies because they're at my merch. table and I'm always on tour. So I guess I am an artist who still does things the traditional way, or at least how I discovered new bands when I was really starting to get addicted to music

I'm not against the digital download world. It's a great movement. But the artist is getting wayyy too small (piece) of the pie in the streaming world. As much as we need to be on Spotify to be heard, someone has to take a stand and make things right for artists on there.

Canada often gets overlooked when it comes to new music in favour of America and the U.K. Do you think this is unfair? What makes Canadian music stand out to you? 

I don't really understand the Canadian music scene. It's very clique-y and political because there's government grants and things like that for music. So everyone's very competitive behind the scenes in a really weird dog-eat-dog way. There's not as much teamwork as the American music scenes. I've only toured U.K. once so I can't say I know much about their scenes yet. But I do know they love a lot of North American bands. I think there's a fair amount of Canadian bands and artists that become iconic, though. What I find interesting is that lot of listeners don't realize these iconic Canadian bands are Canadian. Maybe because Canadians don't even really take pride in their artists until they've had success elsewhere. Or because Canada is often just considered another state to a lot of people. We should just get rid of the borders! No more passports/work permits!

What does the rest of this year hold in terms of gigs? Any plans to come over to the U.K. and play? 

I would love to tour the U.K. again. If an opportunity came up that held some promising shows I would definitely take it in a heartbeat.

I love traveling and playing music in new places. And I have a drummer in Germany learning the parts and a guitarist in the U.K. so I'm already building my roster for whenever that opportunity does come.

[soundcloud url="https://api.soundcloud.com/tracks/251124389" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Being without a band must give you a lot of freedom. It must be pretty cool going around the world and seeing lots of people. Any cities and countries you dream of playing? 

Yes, there is definitely a lot of freedom to do what I want. And it's great touring around seeing friends every few months like we just hung out last week. I'd love to play Japan. I feel like they would love Rosedale over there. All of my favourite artists do so well in Japan and they love extravagant productions so I feel like my show would be very appreciated. Spain and Australia would be cool too. I've heard a lot of good things.

Can we expect a new Rosedale E.P. or album during 2016? 

The Delux will be coming out in November with the Rosedale documentary. It’s going to be great.

When it comes to writing a new song, what is the process like for you? Do you usually have an idea of the lyrics or does it all begin with a tune?

Every song is completely different. Sometimes, I'll have just a melody or riff and finish the song with that. Sometimes, I'll build off just a hook or a chorus. Sometimes, it’s just a song on

Sometimes, I'll have just a melody or riff and finish the song with that. Sometimes, I'll build off just a hook or a chorus. Sometimes, it’s just a song on piano or a full-band demo. and I'll write lyrics. Sometimes, I'll just write an entire song as just vocals in my head while driving.

Either locally or internationally: are there any bands you would recommend to the readers? 

Briar McKay from Springfield, MO. Time and Distance from Charleston, WV. What Great Fangs from Wheeling, WV. Between California and Summer out of Orange County, CA. The Home Team out of Seattle. Plans out of Indianapolis. Third Place from Montreal. The Bus Tapes from Santa Fe, NM. Birote The Musical from Chino, CA. The Paralytics from Olympia are the nicest kids I've ever met and super-talented. I'm forgetting so many; I feel bad now. Just check my tour calendar because I always list the local bands and they're usually great.

Which bands or musicians did you grow up listening to? 

Blink-182, Radiohead, Boxcar Racer; The Ataris, Newfoundglory, Boys Like Girls; Michael Jackson, Weird Al, Deathcab For Cutie; The Postal Service, The Starting Line and many, many more.

I know sports are a bit love of yours. Do you get time to indulge or does music take up a lot of time? Which sportsmen/women would you regard as your heroes? 

I still play hockey every week or so whenever I'm home. I think I'm gonna start bringing my hockey gear on the road with me. I play some golf when I have time - and snowboard maybe once a year if I'm lucky. I'll play some basketball every now and the. Michael Jordan has always been a hero because he can't

I play some golf when I have time - and snowboard maybe once a year if I'm lucky. I'll play some basketball every now and the. Michael Jordan has always been a hero because he can't not be everyone's hero, really.

For being such a great sport you can select any song- not your own; I’ll pick one of those - and I’ll play it here. 

If you could play the theme song to Jurassic Park I'd be stoked.

[youtube https://www.youtube.com/watch?v=D8zlUUrFK-M&w=420&h=315]

________________________

Follow Rosedale

 

Facebook:

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

Official:

http://www.rosedalemusic.net/

Twitter:

https://twitter.com/RosedaleMusic

YouTube:

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

SoundCloud:

https://soundcloud.com/rosedale

FEATURE: The Drop Zone - The Art of the Surprise Album Release

FEATURE:

  

The Drop Zone

 

  

The Art of the Surprise Album Release

 ______________________

IN this day and age, there is a split occurring right down the middle…

of music. Over the last few years, there has been a trend among mainstream artists: releasing albums with little or no warning. It is a way of shaking up convention and keeping fans on their toes; the question that remains is this: is it a sign of things to come? Of course, there are plenty of conventional released but the surprise release is proving to be hugely effective and popular. Frank Ocean’s hotly-anticipated album, Blond, has been dropped and took people by surprise. There has been long talk about when/what/how the album would come out; what it was going to be called (Boys Don’t Cry was the expected title) and whether it would be a natural progression to his debut, Channel Orange. Although Blond has been talked-about for a long time, nobody really knew when it was going to come – Ocean has been delaying it and creating a wave of hype and expectation. To preface the album: Ocean released the ‘visual album’ Endless: a solid and compelling work that left some amazed and others a little perplexed. Now Blond is out, it does make you wonder: is this going to be the norm for all forthcoming albums?

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

Frank Ocean’s Channel Orange, in itself, was a surprise drop and sort of blind-sided everyone. It is debatable whether the album would have created such an impact were it released through pre-planned, conventional methods. Beyoncé is another artist who has shunned tradition lately and embraced a more hush-hush method of marketing. In 2013, her self-titled fifth album was dropped with no build-up or knowledge – her own record company did not even know it was going to come out when it did. Not only was Beyoncé a return to form and bold declaration: it has inspired other artists to take the same sort of tact when it comes to bringing out their new albums. This year saw Lemonade released and led some to believe it was her pre-divorce, break-up album. Like Frank Ocean and Endless: Beyoncé released Lemonade as a visual album to start: there was no huge fanfare and its exact release date was subject to mystery and speculation. By ‘surprise’ release I mean one with no real announcement or E.T.A. date. I was taken aback when Lemonade came out and there was not the traditional P.R. assault and pre-release singles. Lemonade not only shows huge confidence, anger and authority from Beyoncé: the way it was brought about and promoted is almost as memorable and notable as the material within. You have to wonder whether mainstream artists will prefer this stratagem with regards their records. You cannot say Ocean’s enigmatic and cryptic what-if way of promotion has done him any harm. By tantilsing the public and unleashing an album without given due notice: you are going to get the sales figures high and people rushing out of sheer intrigue and shock factor. Is it a cynical marketing ploy or a way of shaking the industry up?

[youtube https://www.youtube.com/watch?v=5j206gcUlrw&w=560&h=315]

It is fair to say the surprise album release is not a fad of 2016. It has been happening for quite a few years but has become more prevalent and widespread the last year or so. Radiohead are no strangers to this way of working and started that ball rolling in 2007. One of the first bands to employ this tactic: In Rainbows arrived into the world with scant expectation and announcements. Their pay-as-you-like decision was applauded by many and was seen as groundbreaking and revolutionary. The King of Limbs, their 2011 L.P., was brought out without an official release date and the Oxford band showed, once more, they are the masters of catching you by surprise. Perhaps their most relieved and wonderful sneak-round-the-back album drops was this year’s masterpiece, A Moon Shaped Pool. There was Twitter talk and rumours the band was working on a new release. Between interviews, Instagram posts and oblique online messages: it was never certain whether something would come and if so, when that would occur. What Radiohead did this year, as opposed to their last two albums, was take the lights down and blank-out their online portfolio. Wiping everything clean, like the spotlights going out before a play starts, the band built tensions and got people scratching their heads. When first single Burn the Witch was introduced; we knew an album was coming: once more, they had created an inspirational and unexpected way of launching their album. It gets you speculating whether the band will ever release a new album in a traditional way again. It has certainly got people talking and the band seems bored at conventionality and a humdrum, P.R.-driven way of working. By getting people guessing and keeping them on their toes; it means mainstream music is never going to stagnate and be boring.

U2’s Songs of Innocence, Kaiser Chief’s The Future Is Medieval and David Bowie’s The Next Day were all shock and unpublished releases. The former was perhaps an unwelcomed thing (U2 putting their album onto iTunes users’ account against their will; forcing them to delete it or listen to the album) whereas Bowie’s The Next Day was his first record in a decade. In February 2015, Drake released If Youre Reading This Its Too Late, and ensured fans and music lovers clambered to the Internet to hear his music. Nobody knew it was due and the sheer surprise value saw the album accrue huge sales and recognition. It brings me back to the idea of cynicism and financial ploys. By bringing an album to public attention with little warning is a risky move but one that leads to huge aftershocks and attention. If Beyoncé or Radiohead went down the normal routes – release dates and single releases – we’d know when the album was out and it would seem rather normal and anticipated. Even if the music is fantastic, one wonders whether there would be such a media circus and spotlight put on them. Lemonade and A Moon Shaped Pool were introduced with a sense of theatre, showmanship and misdirection. Psychologically, people were hooked and waited with baited breath. When the albums came out, it can be argued that this mix of instant release and eye-catching pre-release added to the downloads and reviews – thus affording the artists more kudos and sales. There is the debate whether it is a way to attract bigger sales or whether it is musicians showing innovation and pushing the boundaries of modern music.

My final points look at the other side of the debate: what of the unsigned/new artists that have no choice but to go down the familiar, traditional route? Guerilla releases can be the start of things for artists. As Beyoncé (and many others have shown) it is just the start of a multi-part offensive. The digital/visual album comes out; it is then available to stream on iTunes and Google and paid subscription platforms. It is not a case of just dropping an album and letting people take it all in and make their own minds up. There is so much follow-up and compartmentalisation that gets that finished product out in the rather across all sites, sources and services. David Bowie, once more, released a surprise album very recently: his final creation, Blackstar, was unexpected as his untimely death. If he has announced the album release date and subjects it might have tipped people off about his death – something he wanted to keep a secret. I digress, but there is a rich and fascinating sub-culture happening that is deserving of discussion and debate. It gets me thinking about non-mainstream musicians who do not have these options. Imagine if a new Rock band from Liverpool released their debut E.P. with no announcements or singles? Just put it there and let people do all the legwork. The sort of backfire they would experience would probably ruin their careers. The modern-day musician is entrenched in a daily routine of interviews, promotion and touring. There is not the option to spend thousand on visual albums – most do not have the sort of money Frank Ocean does.

No modern, unsigned act could try anything as audacious, costly and brash. I review and follow bands as part of my journalism and know the tireless work they have to put in. So many have to call time because the rigours and lack of focus is killing their careers. There are so many acts out there and it seems space is a premium – reserved for the luckiest and hardest-working. In a digital age it brings a new problem to mind: how much revenue can a new musician realistically expect to mate? Gigs are the only effective and dependable way to earn a crust in the current scene. Sites like BandCamp, YouTube and SoundCloud make music accessible but, to the detriment of many, free of charge. If an artist does put their record on iTunes (for a small fee) they run the risk of being overlooked and criticised – why would people pay for something when they can get it for free elsewhere? Competitiveness and marketing is such a risky venture. If you make your album/songs available on free platforms so anyone can hear it: will you ever make money from it and last in the long-term? If you do the opposite and risk the paid option: will people go for it and is it liable to explode in your face?

[youtube https://www.youtube.com/watch?v=yI2oS2hoL0k&w=560&h=315]

These considerations alone are enough to make the head explode so it must be galling, for new artists looking to the charts, seeing bands and acts surprise the world with a new album – and getting paid handsomely. It is not the duty of the well-established artists to consider their successors and how their actions affect them. It may sound callous but everyone has to look out for themselves and we cannot expect the wealthier, popular artists to take lesser musicians into consideration. To be fair, surprise album releases like Blond, Beyoncé and A Moon Shaped Pool are not hurting new musician directly – it is just a bit deflating seeing those artists breeze through confidently and gets enveloped and drowned by the drools of music critics. Does this circus of celebration propel them to succeed and follow suit or is it putting them off releasing music at all? Could there be a way for a new band/artist to do a surprise release and it actually work? It is hard to say but this debate is getting hotter and more relevant. Who knows which artists will release albums without warning the next few months?  One thing is for sure: the surprise album leak/release is very exciting and does give music a kick and breath of fresh air. The reaction to Frank Ocean’s visual/traditional release Endless/Blond has been met with a lot of coverage but few explosive reviews – many, including myself, thinking it a muted, toned-down version of his best work. I guess the material shouts loudest and the release date/promotion is just a tool: if your songs are not good then it does not make a difference how you release it. I feel the surprise album release is keeping music unpredictable, surprising and genuinely evolving. If you consider this a good or bad thing it is something that is not going to slow down. Musicians like Beyoncé and Radiohead are getting into a roll; Frank Ocean has shown the sort of publicity that can be acquired – other artists find freedom bringing out an album in a new and exciting way. Now Blond is in the ether and gaining (somewhat mixed) feedback, it makes you wonder this…

WHO will be the next artist to tantilise us with the surprise release?

TRACK REVIEW: Victory Kicks - Skyscrapers

TRACK REVIEW:

 

Victory Kicks

 

Skyscrapers

9.4/10

Skyscrapers can be heard via:

http://victorykicks.bandcamp.com/track/skyscrapers

The album, Emily’s Hours, is available at:

http://victorykicks.bandcamp.com/

TRACK LISTING:

Skyscrapers

Emily’s Hours

Wino Lino (Part II)

Battleships

Take It Out

Night Train

Daylight Saving Time

Get Blurred

The Losing Side

We’re Still Running

RELEASE DATE:

August 5^th, 2016

_______________________

Emily’s Hours is the seventh record to be released by Victory Kicks since its formation in 2013. The band’s fourth LP and its second this year, it consists of ten short, sharp pop songs about work, based around overheard conversations on rush hour trains.

Released August 5, 2016

All songs written by John Sibley except:

Wino Lino (Part II) which includes lyrics and melody by Martyn Piggott. For Wino Lino (Part I) see Sweeney. New album Men of Funk out now at ohsweeney.bandcamp.com.

Night Train is written by Martyn Piggott and originally recorded by Space Team 4: soundcloud.com/spaceteam4

Performed and recorded by Victory Kicks

Produced by John Sibley

Unmanned Aerial Vinyl 2016. UAV-VKLP004

_____________________

FOR the second day straight...

I am looking at a solo artist who is a lot more intriguing than you would imagine. It seems like a strange sentence but we get impressions with solo artists and what to expect. By and large, the lone artist is perceived as quite slight and lacking – when compared to a band sound. Not as invigorating, full and layered as the group dynamic – our minds think of something calmer, more stripped-back and restrained. As my review showed yesterday: This Modern Hope, the moniker of Rob Payne, is capable of producing songs of majestic propositions; portraying the sound of a full group and subverting expectations of the solo artist. The same can be applied to my subject today: John Sibley’s Victory Kicks is a fully-fledged band projection. It is weird we assume certain things with a one-piece artist: that they will play a certain way and not have the authority of an average band.  It is something that has irked me and got my wondering. Before I look at D.I.Y., bedroom-made music and unusual influences; I will look a little more at that point. One listen of the aforementioned This Modern Hope brings you into an evocative and beautiful world: all full of graceful, wave-crashing strings and vivid lyrics. Bracing, atmospheric and beautiful: the listener is brought into a new world and moves alongside the music. When a solo artist can do that it is deeply impressive but not rare these days. We all the idea that solo musicians are acoustic guitar-carrying and are Folk/Pop-based. That may account for a certain percentage of musicians but the modern evolution is producing musicians that incorporate more instruments and themes into their songs. Perhaps dictated by influences or fulfilling the changing demands of the marketplace: today’s musician is a lot more varied and accomplished than in previous years. It is not sufficient to merely rock up with a guitar or hollow sound and expect to stand aside from the crowd. Among those type of artists, there are very few that genuinely stick in the mind and compel you to investigate them more. Today, Victory Kicks is a more established band dynamic but it all started with Sibley making music with a few friends kicking in. Victory Kicks wouldn’t have come as far were it not for its leader’s determination and clear vision. Even now, it is Sibley’s characteristics and input that defines the music and distinguishes it from his peers.

I have noticed a sea-change in music that is seeing musicians become more multi-tasking and self-sufficient. As the likes of This Modern Hope has shown: you cannot expect a record deal straight away and must take initiative; get on with music and not hope someone will snap you up. Because of this, the new young musician has no choice than to carry on without record label approval and try and make an impression on their own terms. The music they are providing (by and large) is deeper, richer and more textured sound. John Sibley’s Victory Kicks is the epitome of this and someone who has had to craft music, unsigned. One day that deal will come but Sibley knows it might be a little while down the track. Undeterred and determined: his latest work is among the very best yet; destined to see him scooped up and exposed to a wider audience. Before I come to that, I shall introduce Victory Kicks to you:

“Victory Kicks started life in early 2013 as a home recording project for songwriter and guitarist John Sibley. After writing a large number of songs and realizing that waiting around for a record deal would mean that most would inevitably be forgotten, John decided to start piecing a recording studio together at home. Old songs were finished off and new songs were written and often recorded the same day with John handling vocals, guitar, bass and drums as well as production duties and working out how to do the latter as he went. Early EP's and singles containing short, lo-fi pop songs were recorded and shared amongst friends and family.

Victory Kicks then went from solo project to band with the addition of friends from other London based acts and established its own record label with the release of its first official EP, Rockets for Ghosts in July 2013. Comprising seven home recorded tracks of short, catchy indie rock, Rockets for Ghosts was a success for the band garnering favourable reviews and receiving airplay for the first time on stations in both the UK and the US. Ghosts was followed by the release of three singles, including the song Radio Saves which saw the band make its debut appearance on BBC radio playlists.

Taking the decision to record music at home would allow the band the flexibility to record new songs as and when they were written and since the release of its debut EP in 2013 Victory Kicks has built something of a reputation for prolificacy - 2014 has already seen a full length album called The Decibel Age as well as a seven track EP called Emergency Noise. A third record called The Young Flood will be released on November 17th. Today, Victory Kicks is a four piece band consisting of old friends making home recorded music whenever possible”.

I mentioned artists (solo) that have to up their game and become more band-sounding in order to resonate. Music is changing and becoming more challenging and less predictable. It has always been the case artists have had a tough time but the more people that come into the world; the existing musician has to struggle harder for recognition and acclaim. Record deals are near-impossible to come about and financial rewards are reserved for the most established and successful. What is happening more and more, is new musicians turning to D.I.Y. approach. Victory Kicks’ John Sibley started on his own and realised studio costs would be extortionate and unrealistic. Knowing the only way to produce music would be to do it at home: he set up his own studio at his flat and laid down music there. It is becoming more common in today’s climate. I am not sure how much an ‘average’ E.P. would cost to record but I imagine it would be hundreds of pounds. Many of us do not have that sort of money lying around reserved for music. So much of today’s music is free of charge and can be accessed by anyone, anywhere. The profitability of being a musician is scares and unpredictable. I hear so many artists having to quit and change their goals because of this. Sibley started on modest footings but has grown into a more established artist – more musicians and a bit more luxury at his disposal. That said, he is still someone who is not surrounded by lavish studios and expensive producers-for-hire. There is a sense of D.I.Y. rawness and something quite sparse – harking back to the early days of Victory Kicks. Technology and online software is being utilised more and providing an affordable space and option for today’s musicians. If we had to rely on studios for out output: modern music would  be far poorer and more restrained. I feel we have to do more to make music, not cheaper, but less daunting for those coming in. If you have to busk relentlessly and work several jobs in order to make a few songs then something is wrong. It is baffling so many great, ambitious musicians are being priced out; so the question remains large: is the bedroom-made sound the way forward? Perhaps so, but it is not always conducive to original and memorable songs. You have certain limitations in technology – artificial samples and under-produced sounds – and don’t have the same options as studio-set music. Sibley’s London crew have started from sapling roots and grown into a respected and popular group. In spite of the prolific output and exceptional music; the future is still not as certain and solid as it should be. One assumes someone like Sibley would be able to command long studio stays and get gigs wherever he pleases. I shall not go into too much detail only to say there needs to be a two-level approach to music. Not only ensuring studios are more affordable and less pricey; there are greater financial rewards for musicians and a way to finance them without having to rely on crowdfunding, for instance. It is a perplexing quandary but I am sure there is an answer in there.

Before I get down to looking at Victory Kicks’ latest album/songs, I wanted to pay tribute to those who do not employ oblivious and stayed influences. Every musician has their idols and to an extent will integrate these into their music. The same is certainly true of Victory Kicks whose music has definite hints of certain artists. Looking at their biography and seeing who makes them tick, it made me smile a bit. Guided by Voices, Wilco and Yo La Tengo are key. So too is British Sea Power, R.E.M. and Grandaddy. I have never seen all these names together and few of them actually sourced by a musician (as an influence). Perhaps it is an issue among bands but I find so many are inspired by the same type of act. You hear the same bands being name-checked and mentioned; it is understandable in some cases but can be very predictable and shoulder-sagging. Victory Kicks, and their listed influences, breaks away from convention and is a rarity. I know all the bands individually but have never known an artist to put them together. Listening to Victory Kicks’ music and it sort of all makes sense. You get the accessibility of R.E.M.’s mid-later-career accessibility with touches of Murmur (their debut album). Wilco and British Sea Power can be detected in Victory Kicks’ early work and definite nods to Yo Le Tengo. None of those musicians leap from the page – Victory Kicks are unique and original when you think of it – but it is refreshing seeing lesser-mentioned acts sit alongside one another. Not only does it suggest a musician/band that are a bit different and less predictable: you are compelled to listen to those acts and see where Victory Kicks came from. If music is to evolve freely and inspire the future generations then artists need to be less rigid and more flexible with their influences. So many new artists are overlooked older music and taking their inspiration from modern artists. It is going to lead to music being more homogenised, narrow and ‘new’. I hate to think one day musicians and the young will forget about the legendary artists and what they gave to us. Again, this is a theme for another day but something worth considering.

Victory Kicks have had a long and varied career and you need to go back to 2013’s Dead Language Evening Class to discover their earliest sounds. That E.P. was a four-track release that sounded more like a John Sibley solo project. He has help with the record but the abiding takeaway is Sibley and his talent. It was home-recorded and has that lo-fi charm to it. More electric-based and harder-edged than current work: it owes a little nod to ‘90s Rock and Indie bands; an insistent and fast-flowing E.P. that announced a singular talent with a lot of focus. A series of singles were released by the E.P. Emergency Noise was the next full release. Released in 2014, and with seven tracks on board, more acoustic elements were brought into the fray and it remains a more rounded and diverse listen. Again, there was a D.I.Y. aesthetic but the E.P. seems crisper and more defined than the debut. Sibley pushed himself as a songwriter and brought more sonic elements and instruments into the pot. Recorded in Sibley’s flat and benefiting from the creature comforts of his abode: it has an intimacy and deeply personal relevance; a wonderful live sound that makes every song shines and stand out. If it has a polished studio sound it would lose its edge and appear too theatric and insincere. Sibley’s heartfelt and tender voice comes through and he progressed as a singer too – bringing more cadence and sides into his performance.  High Wires was released last year and an album that pushes Victory Kicks up another notch and improves on previous efforts.

With every release, Sibley becomes more intriguing and boundary-pushing as a songwriter and that is evident here. Recorded and produced by Sibley and sounding more band-mate and full; the L.P. owes more in common with the latest album, Emily’s Hours. Every song seems fuller and more polished – not quite as bare and raw as earlier work. It gives the music a more commercial sound but not at the expense of conviction and emotion. Get Blurred takes this theory further and is another step up. Now a more band-themed concept: more elements and voices are brought in; the record is more compelling than one would imagine. Those thinking other components and vocal would take away from Sibley’s established sound but in fact it elevates the music. From the earliest days until here; Victory Kicks have evolved and grown into something extraordinary. The first few efforts were simpler and brought in certain influences; the newer records are more variegated and mix genres and new inspirations into the records. Every new release sees to top the last and that is true with Emily’s Hours. Victory Kicks seem like a full band now but one that have very few equals when it comes to what they are producing. Sounding completely in the zone and assured: it is wonderful hearing the guys bond and combines across truly incredible songs. There is still a rugged and modest production sound but the music is cleaner and has more polish than the earlier material. This rate of progression is impressive and hints at a band that is ready for mainstream recognition. How long before that happens? Surely not that long, one would imagine.

I was keen to review the entire album but wanted to focus on one track especially. Skyscrapers opens Emily’s Hours and does so with a definite sense of purpose. No time for fade-up or building the mood: it goes straight in and gets away with intention and determination. Scratchy, accelerated guitar scuffs open Sibley’s vocals up perfectly. The front-man is keen to lay down his lyrics and get his messages across. As Emily’s Hours documents commuter conversation and the stories we hear unfold on trains: Skyscrapers’ titrle might bring obvious ideas to the mind. The sight of pulling into Waterloo, perhaps, and seeing the tall buildings and London panorama beckon into view. Our hero implores against the workaday life and the humdrum, depressing daily existence. Whether speaking from experience or recalling the tale of someone he encountered: you get a real sense of mundanity of the working day and the stresses we face. The employers will not appreciate you and you will be undervalued and wasted. We all have that job where we feel invisible and anonymous and that comes through here. Those rushing and spiraling strings give ideas of locomotion and trains pulling into the station; the heavy foot traffic at train stations and the general busy nature of the streets. Many musicians have tried to assess the miasma and soul squalor of a Monday morning but few as effectively and vividly as this. You hop into the song and embody yourself the central figure – getting pushed along by London citizens and harried into the workplace; slum into your workstation and prepare for a crushing day ahead. Like Victory Kicks’ modern songs (and a lot of their older ones) we start from subtle, softer beginnings before the song expands and gets hotter. Starting inside a tense and energised delivery about arriving at work and feeling squashed underfoot; Skyscrapers changes tone into the chorus.

The song’s title is never really utilised as a mantra (like previous Victory Kicks songs) but instead it is the composition and vocal that is left to seduce and impress. Other Victory Kicks tracks have repeated chorus lines and song titles to get into the head and register a reaction. On Skyscrapers; the emphasis is put on the overall performance and the shift from acoustic-led drive to a fuller, bolder sound in the chorus. The lead implores us/the subject to open their eyes and see the sense of decay and depression. It is a number that will have different visions in each listener’s mind. I was picturing a lone, solemn commuter moving from train to underground to office; walking the streets and feeling lost among the huge crowds. Never feeling needed or like a human being: you sense that the man is just a cog or ghost lost in society. Perhaps Sibley is looking at consumerism, the modern workplace or the city in general. Always comfortable being a musician in London; one wonders whether the band experience is being documented. Maybe they feel undervalued and aghast at what is unfolding and the state of the music industry in general. It is an interesting point and shows Skyscrapers has many levels and possibilities at heart. One notices an obliqueness to some lines and it can be open to the individual to decide what is being said. Some of the lyrics do get a little buried in the composition and can be hard to decipher but that adds to the overall effect and emotion of the song. The band keeps the score edgy, rushing and moving without outpacing the vocal and making things suffocating. Sibley’s voice sneers at times and has a distinct tone of anger and upset to it. I was imagining the acidic tongue of the working life being twisted and tied but I also thought more generally about modern society. I was looking at R.E.M.’s debut album Murmur yesterday as part of a feature on the 1980s’ best albums. That L.P. was distinguished due to its enigma and austerity; the richness and intelligence that came through. Stipes vocals have a lack of intelligibility at times but that all sort of adds to the song. Michael Stipe’s vocals murmur and mumble but it elevates the song and adds mystery to them. Sibley has a similar quality and while his voice is clearer and faster; there is a loss of clarity at times which, rather than detracting and hurting thw song, seems appropriate and elevate it. The lyrics can be applied to the malaise we face approaching the working week but work deeper than that.

It is a great opener for Emily’s Hours and a bold statement from the band; they get stronger and more fascinating with every album/E.P. Skyscrapers is a perfect opening statement and song that provides rouse and energy but has a deeper message and motivates us to consider what is being said and its wider implications. It is not just Sibley’s vocals and lyrics that get under the skin and hits the listener but the composition provides plenty of splendor and quality. You get caught up in the spirited guitar and sturdy percussion and surrender yourself to its youthfulness and engagement. It is a composition to dance to and sing along to; another track that will get the crowds involved and unified. At the end of things, those lyrics leave you curious and you’ll be listening back to try and dig down to its roots. Emily’s Hours was inspired by train travel and conversations therein so one assumes the opening tracks looks at the morning commute and the experiences of getting into the office. Take it wider, and there are other implications and possibilities to the words. A song that mixes complex and simple without ever confusing or misleading. Such a wonderfully rich and terrific song that opens Emily’s Hours up with a real sense of impact and meaning. I have followed the London band for a while now and know how good they are. Skyscrapers ranks among the finest work to date and shows how much talent and creativity is still on offer: it means the future will be very interesting and I will wait with baited breath.

I am a little late to Emily’s Hours and joining the party. It is amazing to think Victory Kicks have released two albums in the space of a few months. It shows there is huge productivity, creativity and hope in camp. From the early days, the project has started from modest and homemade origins to grow into something more established, assured and full. Sibley is still at the heart of things but Victory Kicks have the sound and nature of a full band – not just a solo artist getting a few mates to contribute to their music. Victory Kicks are keeping their social media pages updated and ensuring fans are kept abreast of the latest happenings. The accounts are very professional, informative and easy for people to discover and follow. If you are not already a fan of the group then make sure you get involved and catch them live. So many great London artists are emerging and there is a lot of hustling and competitiveness. Standing aside from the crowd is incredibly hard and gaining the ear of studio bosses and record labels harder still. I looked at This Modern Hope and how it is, in essence, a one-man band and project of Rob Payne. He is based in London and stands aside from so many of his contemporaries. In the same manner, John Sibley’s Victory Kicks is not your average band/endeavor and goes a lot deeper than many out there. One of the most productive and accomplished acts I have come across: their albums are an exploration into music, emotion and dynamics. All anchored and galvanised by Sibley’s assured voice: the music creates something dream-like and wondrous. To be honest, there are so many shades and sides to Victory Kicks it is hard to narrow it down to one word or sentence.

Previous L.P.s have shown a development and progression: more confidence and sounds coming together; the songwriting stronger and possessed of more nuance. Where they are now is where they need to go: surely not long until international recognition and big-money deals one would imagine? It is always risky tipping a band for success – I have done that and a few have split up; not my fault, to be fair – so I am always hesitant making big statements like that. Victory Kicks deserve a lot greater acclaim and opportunity than they have. I know Sibley will take them across London and promote the latest album but one knows there are huge crowds who would love to see Victory Kicks in their town. The U.S. seems like a likely home and plenty of L.A. opportunities you’d think. Their sound is not cliché or predictable: it has clear personality and brings together wonderful artists like R.E.M. and British Sea Power. Varied, emotive and wonderfully fascinating: every album brings so much to the plate and leaves the listener stunned and deeply impressed. Get Blurred was released in June and has been followed up by this month’s Emily’s Hours. Not a mere copy or continuation of the previous album: the ten-track record is a different beast but still has that distinct Victory Kicks sound. I have been following the group since the debut album and am staggered by how they have grown and come along. Sibley is one of the most assured and talented songwriter in the country and his cohorts give the songs flesh and blood.

The title track drives off the blocks and races away. “Emily’s Hours trying to turn it around” is repeated as a chorus line and one wonders what that relates to. Oblique on the one hand but quite direct on the other: you will have your own ideas and conclusions. Sibley’s vocal is firm and determined and gives the lyrics a sense of urgency and passion. The composition pairs percussion and strings and has simplicity to it. Not needlessly crowding the song out or putting too much into the mix; it is a catchy and compelling song that has instant appeal and is sure to be a live favourite. There are flavours of R.E.M. in the composition but it is very much Victory Kicks in charge: they provide the merest hint and suggestion and employ the U.S. band as a springboard. Missteps, distortion and feedback give the impression the song ends but it comes right back to life: a wonderfully unexpected touch that gives it fresh momentum and a cheeky demeanor. Battleships is a less springy and more tense track whose vocal and composition has plenty of life but more seriousness to it. Perhaps not a crowd singalong: it is a song that makes you reflect and looks the inner-workings of a relationship. The words make you think of two lovers who are on different pages; trying to reach a compromise but perhaps not – again, Sibley’s lyrics are not obvious and give you the chance to interpret yourself. Take It Out is acoustic-led but soon gets harder and heavier without coming on too strong. A typically tight and memorable song from the band: it revolves around trains and new days; the commuter lifestyle and a certain sense of routine. The entire album is built around overheard conversations on trains and the sort of odd and everyday mixes you hear from commuters’ chat. Take It Out looks at the mundane, workaday life – getting the magazine out and head straight; wanting a slow day and no stress – but characterises it with heart and definite romance. You transport yourself into the skin of the song’s subject and feel the emotions, scenes and people that aree being projected.

Night Train takes us into another side of the commuter saga and twilight experiences. Daylight Saving Time has elements of British Sea Power with the composition. The strings have that definite The Decline of British Sea Power vibe while the vocal (a two-hander) is a beautiful fusion of tones and expressions; constantly engaging and brilliant. The Losing Side is another propulsive number that catches you unaware. The percussion is especially impressive and gives the song kick and drive; propels all other components forward. Sibley’s talents as a songwriter are brought to the fore as he turns the everyday ruts and experiences into something transcendent and fresh. He elevates these random conversations into little art pieces and galleries of human oddity. The Losing Side has some memorable lines (a mantra asking why they had to be “stupid fuc****” among them) and it is another concise and addictive jam that is sure to register a big response in the live setting. We’re Still Running is one of the shortest tracks on the album but closes things with a definite bang. Built, like many songs, around the song’s title: one of the finest cuts from the album. Bringing the entire band in more directly: it is a glimpse into another side of modern day life and gets you thinking hard. One is seduced by the gorgeous duel vocals and breezy, heartfelt codas that come forward. Never too anxious or foreboding; never needlessly offensive or vague: another quality cut from Victory Kicks that shows why they are one of the country’s finest unsigned acts. It is hard to define Emily’s Hours and drill it down to a few words.

Across the ten tracks, whilst levied to the theme of commuter discussions, you have so much story and different interactions. From stress-laden morning rushes to the nighttime unpredictability of the city; the sort of lifeforms that we take the train with to more everyday considerations – you need to study the album repeatedly for it all to sink in and get the full benefit. Victory Kicks have created a wonderfully unique album that shows how consistent and tight they are. Every song is defined by wonderful chemistry in the group and Sibley’s songwriting is at its very strongest. Previous albums have been wonderfully engaging and solid but here you get the finest work from the band. There is a lot of excitement and hope in the group and they will have a busy next few months ahead. Following Get Blurred and its release; many would not assume another album would come out so soon. It just proves what a love for music they have and how much the creative juices are flowing. I am not sure we will see another Victory Kicks album in 2016 – you would not put it past them, mind – but they will be getting out to crowds and performing their new music. Take some serious time to discover a band that is likely to be one of our future mainstays. They have already set down an extraordinary benchmark and you know more is coming from them. I, for one…

CANNOT wait to see what they produce next.

[bandcamp width=350 height=470 album=382185148 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=1410279733]

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FEATURE: 10 Essential Albums from the 1980s

FEATURE:

 

 

10 Essential Albums from the 1980s

 

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ONE of the things that angers me most about musical debate…

is how overlooked and ridiculed the 1980s are. Seen as a ‘joke decade’ with nothing more than hair bands, New Romantic tosh and power ballads – it is only a minor player in a huge, wonderful time for music. You just have to look at the albums and artists that came out of the ‘80s to realise how special it was. Few of the 1990s’ best would have existed were it not for what came before. In fact, modern music as we know it owes so much to the 1980s. It will never get the credit it truly deserved but music lovers who truly know their stuff know better – just how crucial and sensational the ‘80s was. In honour of that spirit and defiance: I have been looking at the albums that emerged from the decade; trying to decide the most important records from the time. There are some omissions but, to me, the 10 albums here are the very best from a truly astonishing decade.

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Beastie Boys - Paul’s Boutique

Many do not realise what state of affairs Beastie Boys were in during Paul’s Boutique and its creative inception. The group was away from their native New York and embarking on a rather challenging sophomore album – one that would keep them fresh and relevant but differs from their debut album. When Paul’s Boutique was released, it was received with a sense of tepidness and confusion among critics. Essentially a samples album; there is none of the teenage-themed rebellion, filth-riffs and Punk attitude of their debut. The boys were at a loss how to present and launch themselves. Step up legendary producers Dust Brothers who not only gave Beastie Boys a new direction and inspiration – they are the uncredited heroes of Paul’s Boutique. Critics in 1989 didn’t know how to handle the album but that is their folly. Filled with stunning samples, imagination and astonishing ambitious songs: it stands as one of the most colossus albums of the ‘80s and reinvented and pushed forward Hip-Hop. Sampling, being tricky, costly and reserved for the brave, was not a huge fixture of the late-‘80s. Beastie Boys inspired the likes of Beck (whose album, Odelay seems like a ‘90s Paul’s Boutique) and set a president for every other Hip-Hop act out there. Paul’s Boutique is full of contradictions and variation. Some songs, such as 5-Piece Chicken Dinner and Ask for Janice, last mere seconds: B-Boy Bouillabaisse is the 12-and-a-bit-minute finale and one of the most awe-inspiring, head-melting pieces from Beastie Boys. Packed with humour, bravado, and fiery raps: a marvellously compelling and astonishing recording that could take on any album from any decade – the critics of the ‘80s weren’t the smartest!

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

Pixies - Doolittle

It is fair to say Pixies are, if not the most, then second-most influential Indie band that have ever lived. Without them there would be Nirvana: without them, there would be no Grunge and, well… music as we know it would be a very different place. 1988’s Surfer Rosa was fed to frenzied critics who found their sleazy, lugubrious riffs inventive and savage; the band interplay exhilarating and defiant – the songs anthemic and wondrous. They weren’t wrong: Doolittle would build on Surfer Rosa’s incredible foundations and be instantly celebrated as one of the ‘80s’ finest records. The 15-track album was not hotly regarded by all critics. Some found the production a little theatric and not fitting of the album’s intentions. Those who were willing to truly listen were blown out their skins and overwhelmed by the explosions they discovered. Short, sharp attacks like Tame – one of the most berserk Black Francis vocals so far - set the tone. Tensions between Francis and bassist Kim Deal were palpable during recordings – placing strains on the rest of the band and delaying the process. This tension and hostility filter into the album which is fraught with tussle, fight, and venom. If the band’s leader and most influential musician were at loggerheads: the same could not be said of the music of Doolittle. Consistent, focused and accessible: it is a far-reaching and ambitious album in terms of lyrics. Black Francis explores environmentalism and crazy ex-roommates; eyeball-slicing and driving cars into the ocean – balking against the tried-and-tested-and-boring clichés of broken hearts and doe-eyed romantics. Musically, the band reacted to Francis’ lyrical dexterity and gave each song its own style and sub-genre. From Western-influenced sounds to dead-eyed psychosis: Doolittle laid the groundwork for ‘90s bands and (Doolittle) stands as one of the most important Alternative-Rock albums in musical history. It is a testament to the importance of Pixies that they are still recording today – about to release their latest album, Head Carrier.

[youtube https://www.youtube.com/watch?v=XycBLF6kWuY&w=420&h=315]

The Smiths - The Queen Is Dead

You can tussle and argue all you like when it comes to deciding The Smiths’ second-finest album: there can be little debate about the top spot. The Queen Is Dead was the moment the band cemented their legacy and proved they were worth the hype. To be fair; they didn’t need to prove anything to anyone but The Queen Is Dead was a quantum leap from their earlier work. No filler or weak tracks: Johnny Marr’s compositions and Morrissey’s lyrics were at their very apex. Morrissey especially was lauded because of his witty, intelligent and astonishing lyrics. Seemingly a romantic anti-hero who seemed happier being killed by a double-decker than sandwiched in a threesome: the doom-laden fatalism of his songs was a world away from his peers. His performances and vocals swooned and swayed; that voice managing to register so much emotion and effectiveness whatever he was singing. Marr’s always-mesmeric compositions created mini-worlds and straddled genres – marking himself as one of the greatest guitarists of his time. The Boy with the Thorn in His Side and There Is a Light That Never Goes Out stands the test of time and are considered among the greatest songs of all time. Morrissey’s lyrics subvert expectations that he was a depressive, misery guts with no alter ego. The Queen Is Dead’s songs provide tenderness, social commentary and gorgeous poetry – coupled with humour, devastation, and heart. There are not many modern guitar bands that can, if they were honest with themselves, omit The Smiths from their list of influences. Johnny Marr and Morrissey both state Strangeways, Here We Come was their favourite album (not true with the critics): they never made a more celebrated and solid album as this.

[youtube https://www.youtube.com/watch?v=n-cD4oLk_D0&w=420&h=315]

Public Enemy - It Takes a Nation of Millions to Hold Us Back

In the same way Paul’s Boutique threw away the Hip-Hop rulebook: Public Enemy’s career-defining sophomore release threw down the gauntlet and was revered as a genius work of social commentary and force. Against the backdrop of Ronald Reagan’s America: Public Enemy had plenty of fuel to stoke the fire. The noble army of The Bomb Squad, Professor Griff; B-Boy and Flavor Flav were joined by renegade mouthpiece Chuck D. His super-smart, pistol-whipping rhymes were given impetus, haulage, and artillery by The Bomb Squad heavy and intense soundscapes. With Flavor Flav adding huge clocks and humour: Public Enemy were a unique force that was much-needed in an America that was falling apart. Black voices felt ignored and subjugated: not represented by politicians and very much a silent minority. Public Enemy saw the chaos around them and funneled this anger and disgust inside an album that brought the nation’s forgotten armies right into the spotlight. The quintessential general and mercurial commentator: Chuck D.’s astonishing lyrics not only documented the reality and truth of life for the urban underclasses – he would inspire a generation of Hip-Hop and Rap acolytes that needed that common hero and guidance. Unlike some of their lesser-minded peers: Public Enemy’s primal and hard-striking lyrics were not sound-tracked by knuckle-dragging, one-dimensional sounds. Jazz, Rock, and Musique Concrète were fused together to bring about something truly astonishing and original. It is hard to think of a Hip-Hop album that has surpassed It Takes a Nation of Millions to Hold Us Back. It was a staggering revelation and creation back in 1988: its influence, timeliness, and power have not waned in the proceedings 28 years.

[youtube https://www.youtube.com/watch?v=n5AYMiAdqhQ&w=560&h=315]

Paul Simon – Graceland

Leading up to Graceland’s creation: Paul Simon’s life went through a lot of change and turmoil. Briefly reuniting with Art Garfunkel: the two performed a couple of reunion concerts but nothing past it materialized. Solo album Hearts and Bones arrived in 1983 but was not well-received by critics. That failure led to a period of depression for Simon who retreated to an extent. Finding pleasure in South African township music: that sparked the fuse for Graceland’s conception and recording. The landmark album brought together Zydeco Isicathamiya, Pop, and Rock together with themes of social discontent, apartheid, and political upheaval. The album proved controversial due to the South African musicians that appeared on it – there was a cultural boycott at the time which prohibited such things. Against the impositions, rules and hatred arrived one the 1980s’ best albums. Graceland not only bridged cultures and pushed African music to the public consciousness: it stands, in its own right, as a masterpiece. Zydeco and Conjunto elements fused with traditional western music to give the songs a distinctly unique sensation. Simon moved away from a more straight-ahead narrative to focus on more poetic, character-filled songs. Satiric, cutting and abstract at varying points: it provided Simon a new lease of life and put him back in the critics’ good books. A stark and bold departure from Hearts and Bones: Graceland was a phenomenal leap forward and became one of the most successful albums of the decade. Over 16 million copies of the album have been sold and it continues to beguile and influence modern musicians. At a time when cultures and races (in South Africa especially) were balkanised, divided and fearful: Graceland were a unifying, glorious work that was all-inclusive and celebratory. Graceland is an album you can get lost in and transcends time, origin and location.

[youtube https://www.youtube.com/watch?v=zRPfyH72Eeo&w=420&h=315]

R.E.M. – Murmur

I guess it is easy to overlook R.E.M. when compiling a list of the 1980s’ best albums. In 1983, when it was released, R.E.M. were a new commodity and some did not know what to make of them. A record that did sort of go unnoticed among many: it registered with critics and scooped enormous acclaim. Deep, moving and enigmatic. Luscious, black-and-white; completely beguiling. Sometimes front-man Michael Stipe hardly sounded like he was singing: slurring his words and lost in the power and potency of the music around him. Talk About the Passion was a hunger song that addressed famine and poverty. Not as successful and celebrated as it should have been: its lyrics suffered from a lack of decipherability and it only gained full acclaim many years after its release. Radio Free Europe is the standout and most memorable song. Other bands, peers of R.E.M., may have played harder and faster than guitarist Peter Buck but few bands could ever hope to achieve what Murmur did. Stipe’s lyrics, often cryptic and unintelligible, defined the album and sparred muscular and feminine sides; plenty of anger and social awareness – the band arrived from nowhere and instantly made a mark. Future R.E.M. albums would have more jangle, joy and energy (especially Out of Time) but Murmur remains a strange and singular album. Some would argue R.E.M. topped their creative efforts with Automatic for the People but nothing ever quite matched Murmur’s sense of entrance and stripped-down genius.

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

Michael Jackson - Thriller

If you dislike Michael Jackson as an artist (why would you do that?!) then you cannot argue against Thriller and how important it is. Still the best-selling album of all time: it finally broke Jackson to the world and truly established him as The King of Pop. Up until that time, black artists were not often (if at all) seen on MTV. Thriller’s promotional videos, with Jackson annoyed at the lack of representation, turned into huge events and ensured his face was seen by millions. Released at the end of 1982: Thriller, in its peak period, sold over one million copies per week. It seems baffling and intangible in a time where digital downloads seem to have replaced physical purchasing. Jackson, irritated and angered at Off the Wall’s lack of Grammy wins and acknowledgment, dispensed the boy-like falsetto to bring a tougher and meaner persona to Thriller. This was a young man primed and hungry for success and adulation. As such, Thriller’s songs smash, slam and groove. True enough, there are fillers and weaker moments that could have been left on the cutting room floor – Baby Be Mine is often singled as an especially poor choice. Opener Wanna Be Startin’ Something is sizzling, raw and frenzied. Thriller, Beat It and Billie Jean are the three we all associate with Thriller. Iconic, timeless and utterly irrepressible: the sound of Michael Jackson without equal or peers; creating songs that have endured for decades – and will continue to do so for many more. So much can be traced back to Thriller and its influence. Changing modern music and resonating with artists like R. Kelly and Justin Timberlake; ensuring there was greater equality on music T.V. – the list goes on. For an album that does contain a bit of filler: it is amazing that it remains as popular and addictive as it does. That is the power of Michael Jackson and the sheer confidence and songwriting talent that shone through. He would create more consistent albums but none as unstoppable and important as this.

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

Prince and the Revolution - Purple Rain

The Purple One may (sadly) no longer be with us but his legacy burns bright. By 1984, Prince was one of the hottest and most exposed musicians on the planet. Purple Rain was his masterpiece (others followed) and his music was everywhere. It is understandable why the album registered as such and struck a nerve. The most emotional and dramatic album of his career: every song possesses huge passion and wonderful delivery. Whether seduced by the catchiness and heartbreak of When Doves Cry; the dance, joy and Rock grit of Let’s Go Crazy – there was a song for everyone. Prince went on to win two Grammys in 1985 for the album (Best Rock Vocal by a Duo or Group; Best Album of Original Score Written for a Motion Picture of TV Special) and elevated Prince to new heights. His songwriting talent, guitar brilliance, and vocal dexterity were never in doubt: everything came together and was at his peak here. Selling 13 million copies in the U.S. alone: Purple Rain has sold over 20 million copies worldwide. Prince aimed at superstardom with Purple Rain: he designed and executed the album with that outcome very much in mind. Superbly crafted and brilliantly executed: the nine-track album did just that; made him a peerless, household icon. So many genres, ideas and colours are thrown together with authority and discipline. If you are not hooked by the majestic, sweeping title track that you probably need your pulse taking. Given the ambition and cross-pollination involved: it would be a risky venture in lesser hands. Prince’s sheer talent and drive turned Purple Rain into an almost religious experience – one whose potency helped turn it into one of the finest albums ever laid down.

[youtube https://www.youtube.com/watch?v=gD4F2n9pKiw&w=420&h=315]

Talking Heads - Remain in Light

After the astonishing Fear of Music in 1979: Talking Heads entered the ‘80s with expectation on their shoulders. That album was hugely celebrated and the apex of their career, to that point. Having to not only top themselves but more with the changing demands in music – the band found themselves looking around. Punk was starting to die and change: it was an awkward time for the genre and it was feeling a little tired and predictable. Pop was perhaps too broad for the band so they ensconced themselves in Compass Point Studios, Nassau with a certain Brian Eno in tow. What the band created was an album that integrated African influences and music with heavy percussion leaning and tonnes of rhythm, quirkiness, and idiosyncrasies. Less conventional than their peers: Remain in Light was awash with sparkling, effect-driven strings and bellicose, tribal percussions – all delivered by David Byrne who was in peak creative form. His lyrics were at their weird and wonderful best. Never a literal, predictable songwriter: depth and emotion sit alongside eye-catching characters and surrealism. Once in a Lifetime highlights life’s crossroads and contemplation and hard realisations we all must face; Crosseyed and Painless about a paranoid, urban figure stressed by his surroundings. Byrne wrote a lot of the lyrics in a stream-of-consciousness way; employing free-association. Although the album is the most lyric-heavy and wordy the band has ever created: it is the music and exceptional compositions that stay in the mind the longest. Talking Heads would take three years to follow up Remain in Light: 1983’s Speaking In Tongues would see them embark on a new route and enter a new phase. Remain in Light is not an album reserved for intelligentsia and die-hard Talking Heads fans. It is a ubiquitous, accessible record that has so many nuances it is impossible to ignore or forget it. Decades after its release, the lyrics and themes sound as pertinent and vital as the day they were recorded. Songs that alternately put a smile on your face and see you entrenched in deep thought and reflection: an extraordinary achievement from a truly unique band.

[youtube https://www.youtube.com/watch?v=I1wg1DNHbNU&w=420&h=315]

Madonna – True Blue

You cannot do any feature on the 1980s without recognising the Queen of Pop, Madonna. In 1984, Madonna released Like a Virgin and it was an album that turned her into a global mega-brand. After the assured but shaky-in-places debut: her sophomore record was a genuine hit and its two most notable songs, Like a Virgin and Material Girl, were on the airwaves for months. Madonna not only inspired girls and young women everywhere but came with a certain air of controversy – the title track was seen as especially risqué and impressionable. True Blue came along in 1984 and contained familiarity and evolution. Topics of fidelity and love were there but True Blue seemed a more mature and conscientious record. Looking at real-world concerns and deeper issues: the girl Madonna was turning into a woman. Plenty of fun remained as did red-bloodied sexuality and a definite playfulness. Madonna herself was hitting her peak as a songwriter, performer, and icon. True Blue showed she was more than a one-hit wonder and that spoke to young women coming through society. Rivaling Michael Jackson and Prince as one of the biggest stars of the ‘80s. Of course, the album was not without its share of condemnation and disapproval. Papa Don’t Preach addressed a girl keeping a baby to spite her father’s brow-beating. What shone through brightest was the cohesiveness and variation throughout. Not confined to pure Pop and one-note songs: Madonna laced Latin rhythms (La Isla Bonita) and Dance (Open Your Heart) with stunning balladry (Live to Tell). Maybe a little committee-designed and aimed for the masses: that cannot dampen or disquiet the sheer audacity, brilliance, and achievements throughout True Blue. Madonna would never hit the dizzying heights of True Blue: the moment she became the biggest and most influential female Pop star in the land.

[youtube https://www.youtube.com/watch?v=G333Is7VPOg&w=420&h=315]

___________________________

It is hard thinking about the ‘80s and not smile. It was the decade I was born and remains pivotal for me. I can see some of the downsides and criticisms: there was a lot of terrible music and the appalling fashions hardly did much to give credibility to the decade. If you dispense with that and go further, you do not have to dig much to discover just how much wonder and brilliance was created during the 1980s. Make sure you remind yourself (listening to the albums above) at what quality there was – go further and properly investigate a wonderful time for music. So much of today’s music and the best sounds from the ‘80s-present owes a debt to the 1980s. We should give thanks and be truly appreciative.

FEATURE: The August Playlist: Vol. 3

FEATURE:

  

The August Playlist: Vol. 3

__________________________________

THE talk this weekend will naturally revolve…

around Frank Ocean and his as-yet-untitled-no-idea-when-it-will-drop album. His visual release, Endless, came out yesterday and was met with generally favourable reviews. Muddled and long in places, yet filled with great moments: it provided a real glimmer of light and tantilisation for his new, traditional album. That will be with us shortly, but in the third part of this August feature, let’s have a look at other songs and acts out there. All these tracks are either out or will be out in the form of albums in the coming weeks – a few sneaky peaks into early-September and the musicians who will be unveiling new work then. With a rainy and traditional British day upon us: what better excuse than discovers some great new music…

_______________________

BANKS - Mind Games

[youtube https://www.youtube.com/watch?v=5CkqZ5I-xa0&w=560&h=315]

Mouses – Green

[soundcloud url="https://api.soundcloud.com/tracks/277324202" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Fat White Family - Breaking Into Aldi

[youtube https://www.youtube.com/watch?v=2gwEGPqZx2o&w=560&h=315]

Pixies – Talent

[youtube https://www.youtube.com/watch?v=-BREFFQi8U0&w=560&h=315]

Crystal Castles – Fleece

[youtube https://www.youtube.com/watch?v=GfB4BQQcoKM&w=560&h=315]

Stormzy - Birthday Girl

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

John Paul White- What’s So

[youtube https://www.youtube.com/watch?v=CPdDwsKH7kc&w=560&h=315]

Ed Harcourt-Dionysus

[youtube https://www.youtube.com/watch?v=T3b48tADb1E&w=560&h=315]

The Veils - Low Lays the Devil

[youtube https://www.youtube.com/watch?v=-THaAP322TU&w=560&h=315]

Cass McCombs – Opposite House

[youtube https://www.youtube.com/watch?v=AT8RItt5Rd0&w=560&h=315]

Lydia Loveless - Longer

[youtube https://www.youtube.com/watch?v=LmnBTd3qcKg&w=420&h=315]

Scientists - Bet Ya Lyin’

[youtube https://www.youtube.com/watch?v=hPOXFSzx3B8&w=560&h=315]

Lisa Hannigan - Fall

[youtube https://www.youtube.com/watch?v=bYubEn15eH4&w=560&h=315]

Ages and Ages - They Want More

[youtube https://www.youtube.com/watch?v=O0bKmQyuUVc&w=560&h=315]

Bayside - Pretty Vacant

[youtube https://www.youtube.com/watch?v=EANe4AGZhfU&w=560&h=315]

Glass Animals - Youth

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

Beach Baby – U R

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

The Divine Comedy - Catherine the Great

[youtube https://www.youtube.com/watch?v=S4V7WBq72Gg&w=560&h=315]

Zomby - Her

[youtube https://www.youtube.com/watch?v=miqu9V_HZvE&w=420&h=315]

Helms Alee - Untoxicated

[youtube https://www.youtube.com/watch?v=OkkIQPfPyT8&w=560&h=315]

The Album Leaf - Between Waves

[youtube https://www.youtube.com/watch?v=6WOciOo59m0&w=560&h=315]

Cassius (ft. Cat Power) - Feel Like Me

[youtube https://www.youtube.com/watch?v=07XPDqZc1ss&w=560&h=315]

September promises some bumper releases and who knows what singles will be revealed prior to that? It has been a productive and exceptional last month for music and so many terrific songs have made their way to us. Frank Ocean is creating waves and whatever comes, it is sure to be met with a flurry of fevered praise and excitable proffering. The weather is pretty unpredictable and harsh so it is a great time to close the window and surrender to some of August’s finest new tracks.

TRACK REVIEW: This Modern Hope - The Storm

TRACK REVIEW:

 

This Modern Hope

  

The Storm

 

9.5/10

The Storm is available via:

https://soundcloud.com/thismodernhope/the-storm

ORIGINS:

London, U.K.

GENRES:

Alternative-Rock; Indie; Art-Rock;

RELEASED

August 2016

__________________________

THERE are not many musicians that can…

come from a well-respected, established band; see it dissipate and then re-launch themselves as an impressive solo artist. I shall come to my featured artist This Modern Hope but is worth addressing that first point; looking at the art of blending moods/genres; a bit about the understated value of intricacy and beauty in music – and how hard it can be with regards originality and effectiveness. I have mentioned before, but I’ve seen too many great bands consigned to the musical scrapheap. Whether affected by inter-band tensions or a natural end: it is always heartbreaking seeing it happen. In the mainstream, The Maccabees recently called time: one of the most promising and interesting bands Britain has produced the last few years. I guess music is challenging and unpredictable, and hopefully, This Modern Hope’s Rob Payne won’t mind the discussion, but one is curious what causes bands/acts to crumble – maybe finding ways to avoid it perhaps. In the modern climate, there are more and more musicians coming through by the week. The accessibility and easy, D.I.Y. approach to music have made it easier and more cost-effective to produce your own songs. To this extent, the existing artists about are having to work harder and getting less attention. The music industry should be open-doored and impose no borderers and checks: if we discourage artists and people coming in then we are likely to lose a lot of talent and wonderful music. I just fear some bands, who have high hopes and look set to go the distance, are needlessly struggling and having to think of a Plan B. If you expand this theory out; you see a lot of venues and clubs closing too. Even in London, with the money and opportunities available, there is little security and assurances. Maybe it is the way of the world but I’d like to think we see fewer great acts (and music venues) going under for very little reason. If your members are fighting beyond the point of repair or you lose that passion, then that is fair enough. I know, from speaking with former bands, it is issues like finance, gig availability and lack of promotion that is causing them to split. In this time, there seems little excuse for not promoting bands: social media is easy to use and designed for that sort of thing. Perhaps the smaller towns provide few platforms for new musicians but the larger cities should be well-stocked and set-up to accommodate the rising demand. It is, as with many rants/issues I provoke, perhaps best discussed in future. I mention this opening topic because This Modern Hope’s Rob Payne was former member of the band The Bedroom Hour.

That band was hugely praised and respected because of their widescreen songs and wonderfully rich tapestries. A cross of Elbow-cum-Doves Art-Rock and dreamy, cinematic swathes: their break-up sent shock-waves among their fans and some media avenues. Out of the dust of The Bedroom Hour came Rob Payne’s This Modern Hope. Before I carry on; it is time we are introduced to the aforementioned venture:

“This Modern Hope, the new solo project from West London musician and producer Rob Payne, is ready for take-off and poised for success. Drawing on influences such as Death Cab For Cutie, Doves and his brother's record collection, This Modern Hope's sound is classic yet fresh, switching seamlessly from up-tempo, driving rock to stirring ballads, Rob's soulful voice floating effortlessly over the melodies as the beats flow. Lyrically deep and with a heady vocal intricacy, the songs come straight from the heart and leave a lasting impression that words can't describe. With a strong musical pedigree, masses of talent and a little help from some friends, This Modern Hope's tunes are ready to be heard”.

I will not theorise why The Bedroom Hour are no more (we will just mourn their passing) but instead celebrate the success and rise of This Modern Hope. I know, from following the social media feed of Payne, there was some doubts whether new music would be made and whether he’d be able to rekindle that passion. What strikes me about This Modern Hope, and some of the best artists out there is the seamless ability to blend genres (often disparate) and make it sound natural and entrancing. It is quite a risky venture with regards cross-pollinating and it can often be a failed venture. So many artists, in a bid to sound original and fresh, put wide-ranging moods/genres together in a hope it will just hang together. It takes a very special artist to be able to do that so caution should be exercised. One of the most commendable facets of music is when someone can take dreamy, sea-swimming gracefulness and unify that to a harder, more driving element – and create something new and hugely atmospheric. This Modern Hope, while retaining a touch of Elbow and Doves in the mix, conjure something enticing and vivid; symphonic and rousing. Payne’s experience with The Bedroom Hour has prepared him for This Modern Hope: if anything, his new project is even more impressive and commendable. With the help of friends and that determined, singular vision: he can lace reflection inside joy and a light under an ocean of shadows. I hear a lot of promising and hungry Rock acts but feel they do not possess relevant variation and malleability. This Modern Hope shows how things should be done. You get bristling, electric strings but within, there are subtle shades and emotional elements – a much richer and broad palette at work.

Those who see the words ‘beauty’ and ‘passion’ in music will have a few reactions. They may see those words as tropes and overused terminology. Others might have clear views of what they can expect; others will bridle and assume something saccharine, treacly and unappetising. There are musicians that aim for something emotive, spine-tingling and blood-rushing and come up hopelessly short. What This Modern Hope does, and other like-minded colleagues do, is parabond accessibility with rarified. You get appealing, stays-in-the-brain lines but with it, something delicate and balletic – hard to define and very special. Beauty and romance in music is portrayed in all manner of ways and can, depending on the artist, be a success of failure. I am a huge fan of instant, raw songs but always love being washed away by something evocative and poised. This Modern Hope’s urbane, opulent and captivating songs take you to far-off lands are across oceans; they deal with everyday emotions and inner-reflection. Payne is showing how consistent and variegated he is as a writer and musician: let’s hope this productivity and creativity continues for many years. After adapting to a life sans bandmates: the solo endeavor creates its own struggles and obstacles. A lonelier, more autonomous way of existence: This Modern Hope has ridden the waves and shown immense fortitude and ambition. The Storm, having been out for a little while now, proves what a true and unique musician Payne is.

This Modern Hope’s music has always been built on a foundation of beauty and building emotion. If one looks back at The Abyss. Released late last year: the song was one of the very first offerings from This Modern Hope. Squalling, rain-lashed guitars opened it and the driving percussion gave it a definite urgency. The vocal has pain and anxiety but there is a luscious, romantic quality to it. It (the abyss) is here for our hero and there seems to be that air of expectation and acceptance. One hopes, throughout all the song, that there will be redemption and hope – maybe a romance or chink of light that will pull him back. Friends and allies are gone and it is n uncertain and dramatic mood being painted: you get moved by the power of the song and everything going on. Guitar flecks, sparkles and elicits diamonds of fire and a raw, Blues-like quality. Percussion keeps steady and ensures the song has a solid backbone and sense of consistency; different lines, elements, and interactions work around the two – such an evocative and vivid creation. I pictured an empty city and our man walking the streets in search of comfort and answers; ravaged and hit by the conditions and weather – such a bracing and head-spinning song. Few artists come in that confidently and compelling but, with the previous experience under his belt, it is maybe not too unexpected to hear such authority from This Modern Hope.

Ship on the Ocean, like its sister tracks, has that trademark echo and low-fade intrigue from the early stages. Graceful, soulful pianos and subtle electronics fuse to give the song an early gravitas and quality. You instantly go to the ocean and picture a lone vessel traversing the waves. The guitars whip up and skip along with a definite jauntiness – never too racing or aimless; always keeping perspective and balance. More positive and open than The Abyss: it shows a new side to This Modern Hope and takes the listener in a different direction. Embroiled with so many emotions and possibilities: it is hard not to be engaged with the composition and start to envisage various outcomes and scenarios. Away from the ship-based storyline; our hero’s professions of youthful indiscretion change perception. Opening his mouth and saying words with little consideration for recourse and consequence – perhaps a rebel or someone who was not as caring as one would hope. Payne’s has an element of Guy Garvey and you detect Elbow’s frontman in his dramatic and burr; a little bit of Noel Gallagher too. Our hero is a ship on the ocean and seeking stability and reliability. It seems, the song’s subject/heroine, is the only one he can rely on. Perhaps speaking to a sweetheart or a good friend: it appears many have abandoned our man and left him feeling jaded and scarred. Elongated his words and putting so much potency and power into the delivery – one of the most affecting and emotive songs from This Modern Hope. It is a different direction from The Abyss but still has some pain and loneliness at its core. Ship on the Ocean, like other songs in This Modern Hope’s cannon, possesses an exceptional composition and so much going on. With strings, electronics, and percussion; it is almost a film-like presentation: sweeping, haunting and lustful in equal measures.

The Storm progresses from previous songs and is the most confident and stunning creation from This Modern Hope. All the usual components and dynamics are in place – the sweeping composition and assured, soulful vocals – but there is that tiny lift in quality; all the elements are more focused and glistening – the overall effect more profound and nuanced. Like previous numbers: there is that weather-beaten, emotion-drained centre with semi-symphonic composition – ensuring existing fans find familiarity and consistency. For any new followers: so much to discover and a wonderful song in its own right. Let’s hope The Storm leads to more creativity from Payne’s This Modern Hope and an E.P. or album. I could easily see an L.P. emerge and a 10/11-track collection of songs from the London musician. It seems like This Modern Hope has plenty of ideas and motivation and it will be exciting to see what the next few months hold in store. With inspiration bands like Elbow, Doves and Death Cab for Cutie either inactive or on hiatus: there is a definite gap in the market for the kind of music This Modern Hope is putting out there. I notice a vacuum and need for something that provides chills and shivers but gives the soul and heart nourishment and tenderness.

A sentiment of breeze and storm opens the song and is subtle and building. Almost too slight to hear: the song begins to grow and expand as the guitars raise and campaign. Almost like the rain starting to pour down: the strings are never too heavy or fast but have a definite strength and impact to them. Like early songs from This Modern Hope: the vocal never comes in too quickly; apt for the composition to work and create imagery – always compelling but never giving too much away too soon. You become involved and fascinated by the song right from the start and wonder where it is going to lead us. The guitar has subtleness and melody but there is an aching, yearning quality to them. Many songs go in hard and feel the need to throw weight and heaviness in; the hope the listener will be braced and strong-armed into liking a song. This Modern Hope shows more consideration and allow songs to speak for themselves and gentle make their way into the consciousness. The storm has “already begun” and they have to move. Whether talking about a lover or friends trapped by the incoming threat: there is a definite tension and urgency right away. One listens and wonders whether it is as simple and clear-cut as first imagined. Maybe there is a literal storm or maybe it is a metaphor for something else. Perhaps an argument or change of culture; a desire or harsh situation: your mind will think of various possibilities and what is being attested. Payne’s vocal is backed by a sturdy and thumping beat that presents footsteps, rush, and wind; the guitars fade slightly but still keep keen, sharp and imperious. Our hero is a pastor and leader who is giving advice to the people and preparing them for the imminent storm. Hide behind the tables and brace yourself for what is to come. Again, I was thinking about something other than a literal storm and took my imagination elsewhere. That is the beauty and power of any great song: it gets you thinking beyond the literal and conspiring. Payne’s tremulous, firm voice brings the words to life and gives them so much decorum and sobriety. Never rushing or needlessly overpowering; always restrained and mature – it ensures the lyrics are clear to understand and are giving the maximum amount of respect and consideration.

Knowing “we can’t go back” and the situation is too fraught and dangerous: you cast yourself in the song and are affected by its physicality, grandeur, and evocativeness. Almost accepting that life will change and there is no real way to remain, Payne’s vocal is solid but there is weariness to it. Nobody can deny the atmosphere and conviction of The Storm. It is not a song that sits back and lets the listener do all the leg work when it comes to imagining and connecting the dots. Despite the level and typical Payne vocal prowess; here, there is plenty of fresh determination, power, and depth. One of the staples of This Modern Hope is the intricacies, vocal nuance, and layers to that instrument. Payne does not simply replicate what he has done across previous singles, but instead, provides one of his most compelling and affecting performances yet. Just as you become too invested in the lyrics, the composition steps in and provides movement and development in the story. From the desperation and warnings that have been provided; you know have a break where the strings and percussion step in. The sound of the building mood and what is to come: it is a blend of nerviness and strange calm; an underlying uncertainty for sure. It is a short parable but one that bridges the verses perfectly. Never outstaying its welcome or being too concise: you are afforded the chance to direct the story and dictate where the song is headed. When Payne comes back in, there are more cautionary tales and sage advice for those fleeing. The fires are raging and it is best take what you can – leave any other possessions where they are. The Storm is a song that has those stark and apocalyptic lyrics but the compositions remains, by comparison at least, strangely calm and controlled. Other bands, if they were to write a song like this, would throw intense solos and pummeling percussion in and maybe dampen and distill the effect. The Storm is something that always intrigues the senses. Following the lyrics and jumping into the song: it is impossible not to feel a bit of fear as the lyrics grow heavier and more agitated. Repeating that message to leave and flee: Payne’s voice starts to rise and becomes more dramatic; perhaps realising the situation he is in. Again, I was not thinking about literal situations and cast my focus outside the circle. Yes, there is the possibility of a real-life storm and something as simple as that. It is hard not to dig deeper and think about other avenues and digressions. Perhaps there is a nod to a relationship breakdown or a general shift in music culture- subconsciously or not; the song is not as straightforward as you’d imagine. Maybe I am over-thinking and looking down rabbit holes, but This Modern Hope does that to you. Great songwriters are those that can keep their songs relatable and accessible but have more than one direction/explanation.

After the repeated warning and increasing desperation, there is another compositional passage that ensures things do not get too heavy and intense for the listener. Similar to its predecessor, there is lightness and grace but enough unsettle to ensure the story keeps its intensity and anxiety firm. Percussion slams, pitter-patters, and rolls to give the impression of thunder and wind. Those strings keep lashing and giving ideas of rain and gust. Around it, there is a general aura of downpour and gales that is hard to escape. One speculates at this stage what compelled the song and whether there was a particular inspiration. Like I said with regards emotional and romantic possibilities: was there an event from Payne’s life that caused him to put pen to paper and create The Storm? It is another terrific and compelling track from This Modern Hope and a perfect album closer. I hear whispers there might be an album and if that is forthcoming, I could see The Storm being its finale. I say that because the song’s final minute finds the compositions accelerating and becoming more detailed and busy. Everything starts to race and there is a distinct move through the gears. You can feel the storm coming in and there is nowhere to run. Maybe the song’s characters evaded the worst and managed to find a shelter. It is a curious and gripping track that will leave you guessing and get you repeating it in search of conclusion and answers. As The Storm ends, the guitar notes repeat in a mantra-like quality and enforce their sound. Perhaps indicative of the rain or trying to punctuate a particularly stern expression: it a huge effective closing and one that will leave question marks and possibilities. Whatever the true origins of the song and the truth in Payne’s mind; every listener will get something different from it and have their own interpretations. The Storm has a similar feel to tracks like The Abyss but I feel This Modern Hope have created the finest song yet. Perhaps it is the story or the details in the composition but I found myself revisiting the song and trying to get to the heart of the matter. At its face, it is a simple song about outrunning a storm but there is that lingering doubt and potential something else is being assessed.

I dedicate this section of a review not only rounding things up but predicting the artist’s future. Starting with the latter: it is an exciting time for This Modern Hope. An impressive collection of singles under his belt and a (seamlessly) unlimited supply of avenues and stories. Following This Modern Hope’s social media pages; it is clear more music will come but what form will that take? The Storm is a typically assured and impressive piece from This Modern Hope that will surely get people talking and speculating. Perhaps there will be an album coming this year (there are photos to suggest there are), but for now, it is great hearing This Modern Hope in top form. With Payne, as one experienced during The Bedroom Hour’s regency, was his multi-discipline prowess. Every aspect of his musicianship and performance struck you and evoked some sort of emotion. So many musicians are sterile and faceless that it leaves you a little weary and disappointed. Every track Payne puts his name to seem to drip with emotion and has that atmospheric and cinematic blend. London is filling up with so many tremendous musicians and This Modern Hope can rub shoulders with the best of them. I am sure there will be gig opportunities afoot but, knowing Payne’s current schedule, he will want to get his music (and The Storm) to crowds and keep as busy as possible. The capital is a demanding mistress and does not guarantee platform and finance to all musicians who play here. I have witnessed too many undeserving and cliché musicians gain success and huge fondness – those that are worthy of success have toiled and had to fight very hard. This Modern Hope has a loyal and dedicated fanbase that is deserving of augmentation and multiplication. There are not many artists that do things the same way and paint pictures (like This Modern Hope). The Storm might provoke scenarios of violence, disorder and disturbance (which you get to an extent) but so much more is brought to the mix. One struggles to properly define the musical and components incorporated. This Modern Hope has that knack of pairing simplicity and accessibility with complexities and fine details. As such, it is important that This Modern Hope’s music is given wider regard and brought into the public consciousness with greater determination. Payne is doing his very best but it is down to social media followers and new fans to become proactive and engaged.

No matter what plans are afoot, it is clear – from The Storm’s huge force and nuances – that This Modern Hope is poised for future success. Payne has a good network of friends and musicians but it is his sustained vision and singular talent that keeps pushing through. It is, as I suggested up-top, a blend of moods and a nod to beauty that sets him aside from a lot of his peers. In a time where too many go straight for force and momentum (opposed to reflection and restraint) it is commendable This Bedroom Hour subvert the need to explode and whip out needless guitar solos. Those thinking reflection, evocation, and grandeur are uncool and ineffective would do good to spend some time listening to artists like This Modern Hope. To conclude, then. The Storm is a definite beauty that has a very instant and obvious impact but the more you play it, the more you get from it. Various passages, compositional elements and moments stand out (where they were quiet before) and the song gains new light and splendor. Call it nuance or talent: This Modern Hope should be part of your regular playlist; songs that nullify the petty dramas in life and engulf around you – bringing you into song and easing the mind. Keep updated on all the social media goings-on (links below) and ensure artists like Rob Payne’s This Modern Hope…

IS provided plenty of support and love.

[soundcloud url="https://api.soundcloud.com/tracks/276360452" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Follow This Modern Hope

 

Official:

http://www.thismodernhope.com/

Facebook:

https://www.facebook.com/ThisModernHopeMusic

Twitter:

https://twitter.com/thismodernhope

Instagram:

http://instagram.com/thismodernhope

SoundCloud:

https://soundcloud.com/thismodernhope

YouTube:

https://www.youtube.com/channel/UCoezfwi011FeoW9kzzAqDaA

FEATURE: “If Music Be the Food of Love…”

FEATURE:

 

“If Music Be the Food of Love…”

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IT seems prescient to preface this feature with...

plenty of caveats and disclaimers. Any ambitions and declarations surrounding following dreams (creative ones, especially) should be taken with caution and a pinch of salt. I admire those who strike against domesticity and ‘normal life’ in order to consecrate themselves to something more fulfilling, impressive and original. The point of this feature is not, as you might think, to simply vent and boast but to raise an interesting point. Too many of us are content to sit in our everyday lives and complain about things: not taking necessary measures to resolve issues and unhappiness. It is hard making real changes and creating a better life – not as simple as many make it out to be. I have seen a lot of people trudge through their daily lives; yearning for something better and more soul-nourishing. From my perspective, things have reached a bit of a plateau: an intractable impasse that has really struck a chord and hit very hard. In past years, I have been dissatisfied with work/life but always comforted myself with the same mantra: you are working towards your ambitions; the dedication will pay off. People say that to me a lot on social media: your loyalty to music and prolificacy will see you get where you need to be. Some say it as a bromide while others genuinely mean it: either way; I feel I am letting myself (and them) down by not being proactive and brave enough. I think many, including myself, have to live with reality to a certain extent.

Many have to work live an undesirable life and do jobs that are a ‘means to an end’. That perfectly articulates where I am at this very moment: eyes are on the horizon but my heart and soul are really not in it. When you are obsessed with music and trying to change the world (through this medium) it can be frustrating and depressing working your way up to it – the need to have everything put into place, right away, can be suffocating and horrible.

My current job (shall not name-check) is, at the end of it, a pay cheque: the chance to facilitate a living; a stepping stone to where I need to get. To be fair, I hate every single second of it - but would never tell my employer that. Without getting into specifics: every component of it is utterly gut-wrenching: I have never been as miserable and bored by any job/workplace than this. I went in with semi-optimistic hopes but that (very quickly indeed) dissipated and has been replaced with resentment and upset. Where I am living, and the town I find myself in, creates the same feelings in me: a pit of hatred and disappointment; people who (not all, but most) make my heart slump and my brain boil – again, we can dispense with details and petty criticisms. It seems baffling why one human would entrench themselves in such a miasma: I have been wondering the same thing. In actual fact, it is a sacrifice I have to make at this very moment: a way to transition from a horrifically undesirable predicament to the ideal precipice. No matter where you want to get in life; it is never as simple as people make out: that brilliant, happy existence only results from grit, determination and a lot of hard work – an element of serendipity goes into the process. So where does music come into this?

I admire, as I stated up top, those who live the non-9-5, home-for-the-kids, talk-to-colleagues-about-your-mundane-life apoplexy. Really, it is the definition of modern life and, quite frankly, it bores me rigid. Those who choose that lifestyle and entitled and in the majority but when you’re following the ‘norm’: where do those innovators and leaders come from? Firefighters, nurses and scientists (among others) are deeply impressive and commendable people but the lure of music is so much stronger – I don’t know what it is but it has that inexplicable, sphinx-like allure. Listening to radio and doing my daily journalism tasks (apart from family too) is the only pleasure and satisfactions I get from life – it seems insane not to chase that as a job. Many assume, if you want to get into music as a career, that you’re a musician. I often get asked if I play any instruments and I always have to say, with a slightly embarrassed look, I have no dexterity or instrumental abilities. I am a lyricist and have a decent voice but my real passion and spark come from writing and promoting artists – making the public aware of wonderful acts and terrific sounds. Nothing gives me more pleasure that helping a musician get their songs out there or discovering a genuinely stunning artist. I cannot describe the inner feeling I get when watching a musician succeed and continue to shine: one of the simplest and most understated pleasures one could ever expect. My fascination and obsession is not just resigned to writing and reviewing- the business side of thing really compels me.

A little while ago, as social media followers might be aware, I interviewed London-based D.J./polymath/businesswoman Carly Wilford. I implore you follow her across Facebook and Twitter, but it was an interview that really opened my eyes. Her career arc seems to be transposition of expectation. She began, or spent her early-formative years, ensconced in a cottage and marriage (hope she will not mind me saying) - living out a career that vastly differs from what she does now. Seemingly contented and secure in her life: a spark of epiphany came about and was a definite game-changer. What she was living was not who she wanted to be: it was then she decided to take positive steps and change everything.

[youtube https://www.youtube.com/watch?v=PGjydkmAv8k&w=560&h=315]

Watch the video above, where she explains with greater eloquence and succinctness, but my point is this: she took the leap and followed her musical desires.

It is, as she will profess herself, not something that happens overnight: baby-sized, positive steps is all you need. The hardest thing, like someone with an addiction or illness, is admitting you are unhappy and need to make changes – so many of us go through the motions without every confessing we are unsatisfied and want a different life. Carly’s story arc and reinvention is one of the reasons I got into journalism and love music. Her daily experiences and career transverse is hugely inspirational and the envy of many.

If she is not interviewing a hot, up-and-coming artist or taking her D.J. talents to Barcelona or Glastonbury: she is travelling the world in search of hungry crowds and eager faces – chances to take her energy and skills to international realms. She has not got where she has by luck or by virtue of her youthfulness and beauty: she has slogged and got out there; created platforms and pounded tirelessly to do what she want to do with life. She is someone I am following closely and hope to emulate very soon. I am sure she is tired of me name-checking her but few humans like her exist; those that get up and say “You know what; I am in a life that sucks and need to change that!” It takes a courageous human to walk away from a comfortable, albeit unhappy, rut and aim for something riskier and harder – how many of us have the fortitude and energy to do that? I shall leave Carly alone only to say you should, even if you’re not an aspiring musician/creative, to follow her. SISTER  and I Am Music – again, check those out on social media – are the results of her hard work and dedication.

I feel one of the reasons I, and many others I know, want to dispense with a mundane, workaday life is because of the long-term potentiation and fulfillment. Those who are creative by nature often feel subjugated and dispirited by normality and perfunctory living. Instilled with a burning desire and unique brain: we need a way to channel that intensity and individuality. I hear ‘6 Music every day and want to be in that situation: working at a station that is that varied, quality-assured and fascinating. I have mooted other projects and desires; from a London-based music café/bar - https://musicmusingsandsuch.wordpress.com/2013/10/27/psychoacoustics-barcafe/- to a bespoke radio station – https://musicmusingsandsuch.wordpress.com/2016/05/22/feature-radio-adage-from-the-basement-up/ – and will never quit those goals. It is isn’t easy to achieve – God knows, it may never happen – but there are so few people out there doing that kind of thing. London is my Mecca and Medina; my lover and constant Muse: the natural first stop for musicians and creative souls. I live, rather inconveniently, close to London but not there quite yet: I feel it is the key to unlocking so much; where I should be for things to fall into place. Manchester and Melbourne (are cities) I want to live in for a while: set up to flatter and please people like me; stuffed with vibrant social scenes and hugely inspiring musicians. Aside from my business/station ambitions, I have always tossed around the idea of a music website-cum-collective – https://musicmusingsandsuch.wordpress.com/2015/11/28/psychoacoustics-a-new-music-venture/ – that is, not only a way to bring thousands of musicians, businesses and creatives under one roof: a more accessible way to hear all music and discover the best new sounds – programs and software incumbent for people to make and share music. These aspirations and projects are an iron lung to me: something that keeps me hopeful and provides definite career objectives. It is great having the opportunity write and contribute to The Metropolist, this blog and Impakter – a new venture that I am getting settled into at the minute. I hope to parlay this into other opportunities and write for other sources – building the C.V. and a varied portfolio of work. I am happy so many people I know are taking risks and following their music ambitions. Some are heading to auditions whilst others are starting bands or releasing new albums – all to be applauded and supported. Passivity and procrastination is the death of the creative soul: for things to happen; you need to get out there and make it a reality. People like Carly – last mention, promise – succeed because they network and articulate themselves through a hands-on approach. It is not easy simply stepping into a music career and certainly not for me. I am of a ‘certain age’ (*clears throat*) and have, perhaps, missed the boat when it comes to intern. work and entry-level opportunities – normally reserved for college and university leavers. In addition to prolific contributions (to the aforementioned websites) I am trying to get wheels in motion – not only the long-overdue London switch but creating websites and building my own mini-empire.

The reason behind this post was not to moan and whine about my predicament – less I turn into the very people I long to better – but inject a very clear message:

It is possible to make dreams happen. Nobody understands the numerous attractions and simmering seduction of music more than me.

It is more than a hobby or casual thing: it the point of everything and the life I should be leading. It can be hazardous embarking on a career in music: fraught with challenges, lacking opportunities and many frustrating days/weeks. As people around me are proving: taking positive steps is crucial in order to fulfil your goals and aims. It is unclear how the next year will pan out, but one thing is clear: it will be a much more musical, creative, London-centric existence. Where I am currently (and the people I am surrounded by) is as far from where I want to be as is possible – having that sort of clarity is what’s motivating me forward. Music constantly inspires and surprises me. It is not good enough, if you are like me, standing on the sidelines and merely listening to it. I have that delirious desire to embrace it in all its potential and possibility. There are buildings to be occupied and websites to be designed: musicians to be interviewed and cities to see. So much is out there and that feeling of missing out is a crushing anxiety. Anyone, anywhere can achieve what they want to: being deeply unhappy and wasting time is no way to live at all. A career in music might seem an insurmountable obstacle to straddle but it requires discipline, patience, and persistence. I have been going at it for years and feel I am not all the way there – still a lot to learn and things I need to get in place.

If the passion and desire is there then that is all you need. Being like everyone else and ordinary is okay for some, but for those whose hearts beat differently, it not a possibility they are ever willing to entertain.

Many people will not understand your passion or being able to relate, but that is okay: there are people out there that understand implicitly and know just where you are coming from. Music is a huge and exciting market and one that needs performers and creatives; the ideas-people and business-minded. Do not fear and be discouraged by what others are doing or saying – you do not need their recognition or approval. To paraphrase a legendary Bard: “If music be the food of love…

PLAY on, and never stop.

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TRACK REVIEW: ADI (ft. Curtis Williams) - Higher

TRACK REVIEW:

ADI (ft. Curtis Williams)

  

Higher

9.6/10

Higher is available via:

https://www.youtube.com/watch?v=w8UbKb9Aj54

ORIGINS:

Tel-Aviv, Israel

GENRES:

Future Beats; R&B; Hip-Hop

RELEASE DATE:

12^th August 2016

_____________________

The new single from ADI's upcoming Higher E.P. Pre-order link - bit.ly/ADI-HIGHER-iTunes

Composed by Adi Ulmansky Written by Adi Ulmansky & Curtis Williams Produced by Johnny Goldstein Co-Produced by Adi Ulmansky Programmed, mixed & keyboard by Johnny Goldstein Mastered by Stuart Hawkes (Metropolis Mastering)

Artwork pic by Shir Rosenthal Artwork design by Yonil

__________________________

ONE of the best things about reviewing is coming back to music…

and an artist that keeps on surprising and defying the odds. I shall come to her soon, but at the moment, it is pertinent looking at honesty and addressing deep issues in music; mingling Future Beats, Hip-Hop and R&B together; Israeli musicians that are coming through right now. I find, even in 2016, there are too few artists that are really addressing hard subjects and bringing something relevant in to music. We, as a music community, are a bit tired with cliché subjects of love and romantic struggle. It is s staple that is required but that is not to say everything else should be ignored. I know it can be tough going against the grain and tackling some pretty weighty topics. Whether it is the state of the planet or political injustices: how many musicians are actually doing this? There are quite a few mainstream artists whose albums actually go into those areas but by and large it is a rarity. Thinking about ADI, and the way she opens up about her demons, is not only brave and impressive but an inspiration to other artists. Music is a platform that should be used to discuss problems, ills, and darker avenues. Pink Pillz, ADI’s previous track, looked at depression and struggle; casting against expectations and being very open with the listeners. That is to be applauded as it not only provides originality but will give courage to others to create a dialogue and discuss such things. I am not suggesting every musician should abandon their lyrics and start from scratch. It would be nice to see a few more rebelling against the love-songs-only club rules and actually subvert expectations. As the Mercury Prize run-down has shown – a topic I have brought up a couple of times – there are a lot of current artists being recognised for their social and political awareness. Anonhi’s Hopelessness looks at everything from drone attacks to the problems with climate control. Radiohead’s A Moon Shaped Pool addressed immigration, scapegoating and corrupt politicians; Skepta and Kano look at street-level concerns and the issues our youth face. It is hardly coincidental that these artists have been given a Mercury nod. I feel we are growing tired, as a planet, of the same old tropes. I admire a love song like everyone but when every artist is doing that: how are you going to separate yourself from the pack? By de-stigmatising subjects like depression, psychological illnesses and politics then we are doing something genuinely worthy and different. ADI is a musician and composer whose lyrics have hardly ever skirted the shores of predictability and basic instincts.

PHOTO: Or Rosenber

She digs deep and is willing to share herself with the public. Higher, her latest single, was written with Curtis Williams (lyrics) and approaches love, deceit, and aspirations – so much is brought to the plate throughout the song. It would be naïve to say ADI is always going to write songs that look away from love but she is one of the most surprising and original artists I have come across. Before I continue on my point, it is worth introducing you to ADI:

“Tel-Aviv   singer and   producer, ADI (otherwise known   as Adi Ulmansky) returns   with new   track, and   first single taken from her new of the same name EP HIGHER, featuring Atlanta based rapper Curts Williams. The Higher EP is released in October, whilst the single is released 19 August.

Taking her music in a new direction and remaining true to her own unique production style, this is the first project that ADI has enlisted external producers whilst still co-producing the entire EP - a mix of rnb, future beats and hip-hop. Higher EP features production from Eric Dingus (Drake – If You're Reading This It's Too Late),  and rappers  including  the  aforementioned Curtis  Williams  of Two-9  (signed to  Mike Will- Made-It's label) and KDC. ADI herself self-produced the EP track Pink Pillz. The new release is her most honest yet. Following on from similar themes to recent single Pink Pillz, which addressed the use o anti-depressants, ADI explains that the HIGHER EP is very open on issues that she considers   aren't   discussed   enough. “My   lyrics   are   kinda   manic-depressive   -   they   go   from being   super exposed and hurt (talking about depression, the struggle of self doubt and more) into talking about how i'm gonna conquer the world, all with a touch of sarcasm of course.”

Mixing  feminine  r&b vocals  with  hard and  heavy,  new  skool  hip-hop and  trap beats, ADI's  describes her persona as a blend of two extremes; a fragile artist, exposing her fears and dreams, and a narcissist with an ego and a love of dirty beats and lyrics. Her current musical inspirations include Travis Scott, Tory Lanez, The Weeknd, PartyNextDoor, and also producers such as MR Carmack and Mura Masa.

Known  for  her   electric  live  performances  ADI  has  performed  at Melt  festival   in Germany,  Culture  Collide Festival in LA and CMJ Music Marathon in NYC as well as spots supporting Kelis in Israel and Kate Tempest in Berlin. She has secured coveted slots at Canadian Music Week, at the legendary Glastonbury festival in the   UK,   and   four   Electronic   Beats   Festivals   playing   alongside   acts   like   Gilles Peterson,   Metronomy   and Róisín Murphy.

ADI released her debut mixtape 'Shit Just Got Real' in 2013. A second EP Hurricane Girl closely followed in 2014,   which   included   the   well   received   single ‘Was   It  You?' featuring   Borgore. ADI   has   received widespread press support since her first release from titles including The Guardian, Independent, Noisey, Mixmag,  Clash, The  405,The  Fader,  and  Balcony TV,  amongst   others,   and  nods  of  approval   from   peers including Kitty Pryde, Darq E Freaker, My Panda Shall Fly and Asa”.

ADI has been sharing Higher across social media and the reception thus far has been very positive and congratulatory. You could never say ADI is a Pop star or easily label her. Alternatively judged a Hip-Hop and R&B musician: it is Future Beats that is the best label for what she does. A genre that is of her own creation: it pretty ably distills and defines everything she is about. If you hear an ADI composition and you get a compendium of colours, instrumentations, and emotions. Hard percussions and whooshing electronics; distorted vocals and myriad layers – all goes into the Future Beats sound. Artists that fuse and mould their own genres/sub-genres are those that do not want to be easily defined and labelled. Of course, there are R&B-cum-Hip-Hop blends in ADI’s music. Higher entertains Rap and Hip-Hop but, by and large, the Israeli musician create something new, personal and highly exciting. I shall come to ADI’s music soon: there are a lot of great Israeli bands/acts that we should be aware of. When looking at international musicians: few of us will cast our attentions away from countries like the U.S. Quite a few Asian nations are producing some terrific music but Israel is in its own league. Vaadat Charigim is a bit of a mouthful but they have already played SXSW and completed a tour of the U.S. The Shoegaze trio sing their tracks in Hebrew but that has not alienated audiences. Comparisons have been made to Slowdive and Ride so it is only a matter of time before Vaadat Charigim is a focus across Europe. A steady and loyal U.S. fan-base has provided greater exposure and recognition of Israeli music. Garden City Movement is another Tel Aviv trio and one that sings in English. They blend despair and dreaminess superbly; tangle British Trip-Hop and Electronica into a spellbinding cauldron. Another Tel Aviv band Skyroads are self-described Future Disco artists and have already gained attention in the U.K. Playing SXSW and Liverpool Sound City Festival: an exhilarating and uplifting quintet that is a big tip for the future. Lola Marsh and their Indie-Folk blends have gained comparisons to Lana Del Rey (because of Yael Shoshana Cohen’s sultry voice) but the incredible musicianship and incredible chemistry have found them celebrated in Europe and a band that have international standing.

Guy Haiv

Tel Aviv is leading the Israeli music wave and is somewhere we should be paying close attention to. Other Israeli artists worth following are Electric Zoo and The Angelcy. The former is an intriguing trio that pairs Psychedelic with Rock; bits of Funk, Blues and Jazz come into the mix – the results are immense. The band employs‘70s instruments to get a great retro. sound and can be heard across the most ‘in’ bars across Israel. Not only recognised across Europe: it seems they have the potential to cross to the U.S. and gain a foothold there. The Angelcy is six musicians are hard to define but all the better for it. Writing songs about love and the Israeli military (a band that understands my earlier point) they have been captivating and entrancing audiences since their formation in 2011. Asaf Avidan is the final Israeli act I would recommend you check out. He has been on the scene since the early-‘00s and provides spectral sounds that unify American Folk and Blues; a little bit of Funk all stirred together. The above is not a random list that highlights what is happening in Israeli music: it shows what variation and talent is found away from the U.K. and U.S. Not everyone overlooks the wider world (in terms of music) but we often become too rigid and defined. Knowing ADI, and seeing her posts extolling the virtues of Tel Aviv, it is a city that is blossoming and resonating with Europe and the U.S. ADI surely stands as one of the finest and premier artists in Tel Aviv. If you need a break away from media-favourite musician and British/American artists then look into Israel (and Tel Aviv) and discover music of the highest order.

PHOTO: Omer Bitas Photography

If we want to get a sense of how ADI’s current work ranks and stacks up: it is worth looking back a bit and assessing her last few songs; an insight into her past and where she has come from. Higher is an exhilarating and wondrous cut that not only evokes her older, collaborative work but showcases new themes, sounds, and motivation. Being a fan of all of her work; I was keen to cast my gaze back and witness the development and growth of ADI. Pink Pillz is the previous single and one of the most memorable from the Israeli artist. Not only a brave and soul-baring song: it is the most confident, determined and meaningful track she has produced in years. Her previous songs and mixtapes have been packed with exceptional songs and innovations. Pink Pillz addresses depression, medication and psychological concerns with maturity and meaning. In the song, ADI has her eyes shut and is determined to make changes. Elongating her words and putting so much emotion into the song: a matter-of-fact, sensual-sounding vocal is leant to Pink Pillz. The beats tee the vocal up and score a fascinating glimpse into our heroine’s mindset. Seemingly defeated and fatigued by life; ADI feels compelled to run against pressures and suffocation. Hurt, lost and confused: there is an element of denial but a desire to escape her miasma and distress. The pink pills are swallowed to stabilise ADI but you are unsure whether they are beneficial or simply numbing her. A repetitious delivery of the song’s title creates a hypnotic and strange mood. You are drawn in and hooked by ADI’s electronic parable warps and racing, swelling composition. The beats race while an eeriness creeps in - unnerving at times but always arresting and enticing. Mixing a certain sweetness with space-age oddness: a head-trip that gets into the brain and elicits deep thought, emotion, and reactions. ADI keeps the lyrics accessible and direct; the composition complex and detailed – the effect is very special indeed.

PHOTO: Anna Drizo

HEAVEN is another song that showcases what talents and sides ADI has. A juddering and distorted opening: it is all hazy and hungover; awakening to the world and a curious opening. Blurry and flickering: the unsure mood opens to something yowling, animal-like and cute. There is something exotic and strange about the song but never off-putting. You envision animals and figures; beguiling women and myriad emotions. Whether entranced in the metaphysical powers of love or in the primal throes of passion; the inexplicable instance of good mood and perfection – another racing and busy song that hangs together exceptionally. Carried by the multicoloured waves and sun-kissed undergrowth; sweet-leaf sensuality (little Reggae touches manage to infuse) whilst ADI’s Future Beats-cum-Hip-Hop centre engulfs and stuns the senses. CHINATOWN, like HEAVEN, houses glitchy electronics and a mix of hollow, far-off sounds tied to instant beats. Hand-clap percussions and metallic sounds; more effusive, playful sparring with clattering snaps. CHINATOWN gives impressions of cartoon figures tripping through a strange world; the heart of the city beating - opening into a neon rush and delirious head-spin. A collage of sounds unfolds as the song unearths emotions and reaction. You imagine yourself in Chinatown (London) during the day. Bustling, busy and replete with exotic, familiar smells: the conversation and chatter of the streets comes to mind. CHINATOWN is physical and emotive track that draws you in and compels you to move, imagine and wander. A wanderlust quality to the composition keeps things restless, imaginative and nervy. Electronics drive and stutter, whilst the beats are bold and arresting.

What we can tell, even from three songs, is how much variation and colour ADI can put into her songs. Tracks like Pink Pillz have looked at darker psychological issues and put depression into the forefront: making a ‘taboo’ subject more visible, proud and tangible. Something so hard and fraught, in lesser hands, might be too ambitious or scare people off. ADI not only makes Pink Pillz a swirling, gripping event but injects so much warmth, personality, and passion into the song. Composition-only CHINATOWN and HEAVEN are shorter numbers but no less wondrous. The former brings you into the city (whether London, L.A. or New York) and a beguiling community and neighbourhood. Being familiar with London’s Chinatown (by day and night) you get a split of both in the song. ADI manages to present the smells, traffic and community of the day against the lights, beauty, and uncertainty of the night. Showing expertise, authority and huge imagination throughout - it is a superb and mind-melting song. HEAVEN is not quite as edgy and city-set; more emotive, love-filled and uplifting. Few artists would be able to retain a core sound but offer two very different and poles-apart songs. HEAVEN (like CHINATOWN) gets every listener conspiring and picturing: everyone will have their own view and cast their own mini-film. The beats and electronics are so powerful they hit the brain and get straight into the heart. ADI is a multi-talented producer, writer, D.J., and performer who makes every song completely intoxicating. Higher reminds me of her earlier days where she would collaborate with artists. It has the sound of a mix-tape cut in its experimentation and multiple moves but retains a singularity and distinct vision. ADI has not only kept her creative high and imagination but here, on Higher, she has proved new nuance, subject matter and potential. The Higher E.P. will cast many curious seeds and get her fans intrigued and arrested. If the title track is anything to go by - breath will be held and the hearts primed for something wonderful. Riding the waves and facing her demons: ADI has turned it into creative gold and is one of the most reliable, peerless and heart-stopping talents in the world right now.

Our heroine kicks things off with a raw and processed utterance of “I just wanna go higher”. It is put through the machine so has that slightly distorted, unembellished flavor to it. Instantly, we are into the song and brought into her world. ADI has that innate ability, whatever song or subject she is tackling, but ensures she gets listeners hooked straight off. That refrain keeps coming back and is accompanied by lurking and bold electronics beats. Almost like a bad dream or voice swirling around her head: there is that determination to achieve something greater; escape from the life and box she is in and break through. Many will be able to relate to the song’s early message of emancipation, determination and capturing the moment. Whether influenced by a stressful time in her life or a creative frustration: that weary and angered fatigue comes out; you can picture ADI writing the worlds and underlining those syllables – emoticons and upside down smiles next to the lines. Keeping the composition relatively controlled and dignified to start: it is the vocal that is given priority and spotlight to campaign. Again, like CHINATOWN and HEAVEN, the composition manages to give so much detail and scenery with very few notes. Higher is more in the mould of Pink Pillz one notices. Other songs in ADI’s cannon have documented love and high plateau; a sense of nirvana and ease: others have been more reflective and inward; looking at the self and the harsh realities of life. Pink Pillz was a brave and noble song that turned the lens on depression and anxiety: how it should not be a stigma and how serious and human it is; how we all have to face such things. Higher is not quite as heavy in terms of subjects but you feel like it is a natural sequel to Pink Pillz. ADI, having taken the pills and needing to feel better, has discovered a moment of clarity and epiphany.

A two-part suite and unfolding story: ADI is channeling and challenging her strains through music and letting the listeners into her mindset. I know, from seeing interviews and posts by ADI, how she is affected by depressions and stress – something so many musicians go through. In the same manner, there is constant demand, pressures, and doubts. Is she in the right place and doing the right thing? Is this as good as things can be? Higher finds ADI wanting to take the next plane out and embrace something unstructured, rebellious and fun. It is fascinating theorising just what got the creative spark ignited. I know, from social media posts, ADI has had some tough days and been thinking about her future. Maybe not as happy, fulfilled and challenged as she should be: all of this comes through in those early exchanges. By squeezing her voice through the machine: Higher has a more frightening, salutary and disconnected sound to it. If the vocal were clean and untreated then it would not convey the same manner of fear, necessity, and power. ADI lets it be known how people want to get a piece of your mind and body: whether referring to record big-wigs or the public; certain people or those who do not care for her. It is hard to evade the building weight and gravity. Before long, the composition explodes and sprints away into the darkness. Electronics fizz, vibrate, and snake whilst the beats vibrate, multiply and bounce to create something inexplicable. As you try and collect your thoughts and wrap your head around the sounds: ADI’s repeated confession (wanting to go higher) still proves intriguing and troubling. On the one hand, you know she wants to escape and go somewhere else; be in a different state and be happy. On the other, there is that sound of a girl trapped in the machine: a record that is stuck; almost defining a human who is in a hole and shouting up to the people; looking for salvation and support.

Curtis Williams introduces himself with an elongated, cool-as-ice sigh that is a wonderful counterbalance from ADI’s anxious, feline vocal delivery. Chocolate-smooth and instilled with certain stylishness: everything shifts in a new direction and brings another chapter into view. Teeing up the beat and jostling around the microphone: the hero is ready to speak; almost acting like a representative for ADI or another side of her consciousness. Perhaps a more confident, freer version of her inner thoughts: it is said the “revolution will be televised”. At that moment, images of warfare, upheaval, and protest come into the imagination (for me anyway) and it changes your perception and theory of Higher. ADI starts off with a Future Beats sound and gives it one level: Williams’ Hip-Hop swagger brings in a new level and takes your heart somewhere else. Smacks to the face and violence reigns: “Plotting while I’m trying to roll my weed” and the sense of a young man being hustled, hassled and kept down. Whereas ADI wanted to flee and achieve betterment: there is a similar degree of suffocation and strain in Williams’ mind; another tale of suppression and struggle. Sick, slick and bursting with attitude: our man is in no mood to slow down and be dictated to. Those who force their views and try to temporise things are being provided swift rebuke – our boy is putting “the gas on them” and doing the exact opposite of what they want. At this stage, you get the sense (Williams’ vocal) is a rejoinder to ADI’s opener. Our hero is furious at a general callousness and lack of support. When he had nothing, she (whoever is being documented) was nowhere to be seen and keen to be aloof. Now things are better; she wants a piece of him and things to go back to normal. One imagines two sides of relationship: one person who wants to be independent and see the world; pursue a dream and break out of the shackles of the life she is in. The other party is facing a realisation that things are not as he imagined; love has gone cold and the girl he fell for is not who he thought she was. Williams is drinking slow and trying to eradicate the bad taste. As a reminder and taunt: ADI’s single-minded chorus swings in and, once again, changes the impression and tone of the song. Every stage of Higher recasts interpretation and get the mind put somewhere else. By the closing stages, my thoughts changed once again. Perhaps this is Williams’ story and struggle and ADI’s vocal is his inner-voice and brain shouting out – maybe I am way off the mark. The beauty of the song is how complex and interesting it is. It is not your average love song or mindless number: so deep and nuanced is it that it takes a long time to come to conclusions and actually take it all in.

PHOTO: Shit Rosenthal

ADI comes back in and provides another retort and side of the story. Her voice, unlike Williams, remains echoed and fragmented. It is like she has slipped away and is coming from another plain or dimension. Ghostly, disturbed but endlessly emotive: she is being made to feel down and meagre; put under the foot by her man and turned into someone he wants her to be. Maybe dominated and fed up of being led around: ADI’s machine-dominated vocal is like a captor phoning the victim’s family and making threats; it has that edginess that is hard to shake off. The last utterances see ADI ensuring the title and chorus stays in the mind and is not easily ignored. When the dust has settled and the song is over; it is not easy to move on quickly and shrug it away. Such is the force, beauty and force of the song, it not only motivates you to look again and dive back in – you will reflect on your own life and take something away from the song. Higher perfectly balances accusation, recrimination, and struggle with a sense of relief, hopefulness and possibility. ADI always surprises with her music and has created one of her (if not the) best track so far. Curtis Williams adds Hip-Hop aggression and swagger but never sounds out-of-place or shoed-in. He adds attack and smoothness; contrasts and nuance. The two together make Higher a stunning song that is likely to find an audience across radio, clubs and internationally. The Higher E.P. is liable to be similarly immense and assured. If ADI has struggled to find herself or make sense of things: Higher is a revelation and deceleration that lets it be known she is a force to be reckoned with.

PHOTO: Noa Flecker Photography

ADI and Curtis Williams seem like a dream partnership so let’s hope they work together in the future. ADI’s Higher E.P. will be exciting to see and likely to gather huge praise. Its title track is a typically compelling and confident song from one of music’s most fascinating characters. ADI is very much a musician for the modern age. Against the barrage of media-picked, plain-clothed bands that all say the same things and are cut-and-paste replicas: ADI is a splash of colour and someone we should all spend some time investigating. Her style alone is enough to get the lips smiling and the mind racing. She has faced problems (and has anxieties) but is open to her followers on social media and a very honest artist. Not just allowing these problems to drag her down: they go into her music; that creative outlet allows her freedom and the chance to connect with people. I have talked about how important music is when addressing big issues and less-common subjects. Too many weary, formulaic love songs are floating around not enough musicians are doing anything new with lyrics. The minority who go beyond the obvious are to be respected and proffered. ADI, through tracks like Pink Pillz, brings something much-needed to music: songs that deal with raw emotions and subjects that have (to an extent) been overlooked and stigamtised. Higher is another bold move that moves her in another direction and shows how accomplished and consistent she is. Curtis Williams’ contributions and performance are astonishing but ADI’s composition and input give the song some very special and enchanting qualities. The Future Beats star keeps going from strength to strength and 2016 has been a very productive one for her. Touring, writing, and recording have filled her calendar and there is still more to come. I have looked at some Israeli artists worth seeking out and especially those coming from Tel Aviv. We often look at L.A., London, and larger cities and assume they are the only places worth focusing on. You can never predict music or assume there is nobody decent outside of those places. London, for instance, is a huge creative centre and one of the hottest musical locations on Earth. Tel Aviv is coming through the ranks and producing so many exceptional acts right now. The city boasts gorgeous views and wonderful scenery. A mix of urban development and historical traditions: somewhere we should all visit and spend some time in. Tel Aviv has a thriving gay scene – labelled one of the best gay cities in the world – and an extraordinary hub for music.

PHOTO: Noam Maoz

I digress, but my points are relevant: expand the horizon and discover a wonderful city that is among the most productive and varied in terms of its music. It is wonderful seeing ADI come in hard and strong with Higher. Her work has always been of the highest order and different to what is out there. A friendly, charming and accessible musician that connects with her fans and wins you over with ease. The Higher E.P. is likely to expand upon its title track and prove what a force she in modern music.  I know she will be busy with her music and promotion but let’s hope she has time to come to London. I would love to see her perform: the city is always willing to embrace artists like her. So many venues and spaces would see their floors packed with hungry punters. Across the U.K. and Europe, there is a definite market and lots of fans waiting. In Asia, she has her fans; there are ardent supporters right across the world. Whether she has time to see them all and tour extensively, I am not too sure. Higher has already garnered effusive feedback and reviews and is a stunning achievement from the Tel Aviv resident. The future is very much hers and it will be thrilling to see just how far she can go. Over the years, she has managed to grow and evolve as an artist: keep her music fresh and constantly surprising. Higher is yet another memorable footstep and evocative song from ADI. We have some similar artists in the U.K. (FiFi Rong is someone with a similar compositional reach) but to be honest, there is nobody quite like her. Music needs more individuals and characters: those that stand in the mind and distinguish themselves from everybody else. Absorb Higher and its myriad threads and prepare for the forthcoming E.P. ADI is a woman on a mission: an artist that…  

PHOTO: @noammmaoz

WILL be a household name in years to come.

[youtube https://www.youtube.com/watch?v=w8UbKb9Aj54&w=560&h=315]

__________________________

Follow ADI

 

Official:

http://adiulmansky.com/

Facebook:

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

Twitter:

https://twitter.com/adiulmansky

Instagram:

https://www.instagram.com/adiulmansky/

SoundCloud:

https://soundcloud.com/adiulmansky

FEATURE: Now That's What I Call Memories: The Childhood Mix-Tape

FEATURE:

  

Now That's What I Call Memories:

 

The Childhood Mix-Tape

_________________________

IT may seem like a self-indulgent trip down memory lane or a…

... bit of a fluff piece; but really this is very important: remembering the music and moments that inspired us as children. We are exposed to music at a young age and it can, for better or worse, mould our tastes and who we become in later life. It seems appalling that, in years to come, certain legendary artists may be overlooked and forgotten about: parents will negate them and our future generations will miss out on something hugely precious. I have been thinking about the songs that defined the key points of my early life: for good or bad stuck in my mind and began my fascination with music. Be warned: there are some cheesy, cringey moments. Among them, however, are some genuine gems that still feature in my regular playlist: exemplifying the mystical power that music holds. In true Now That’s What I Call Music style: I have compiled my own version; one song for every year of my life (33 for a 33-year-old)...

______________________

C.D./Record/Tape 1

The Moment I Discovered My (What Would Become) Favourite Band…

[youtube https://www.youtube.com/watch?v=1uYWYWPc9HU&w=420&h=315]

The Song That Makes Me Think of My Aunt/The Happiest Days of My Early-Childhood…

[youtube https://www.youtube.com/watch?v=eAHQ-9Fniac&w=420&h=315]

That Track That Made Hard School Days Easier…

[youtube https://www.youtube.com/watch?v=tr-yQaMbQ3o&w=420&h=315]

The Song That Opened My Eyes to the (Musical) World Beyond England…

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

The Song That I Remember From the Saddest Time of My Life…

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

When Lyrics REALLY Spoke to Me…

[youtube https://www.youtube.com/watch?v=mYajHZ4QUVM&w=420&h=315]

My First (and Truest) Music Crush…

[youtube https://www.youtube.com/watch?v=qfNtPbHkp0U&w=420&h=315]

The Music Video That Scared the Crap Out of Me…

[youtube https://www.youtube.com/watch?v=3mbBbFH9fAg&w=420&h=315]

From a Very Forgettable High School Prom: The Song That Sticks Out Most…

[youtube https://www.youtube.com/watch?v=SJyhZ-3Z8A8&w=420&h=315]

The One That Always Makes Me Think of ‘Her’…

[youtube https://www.youtube.com/watch?v=8N-qO3sPMjc&w=420&h=315]

When I Knew Music Would Dominate My Life…

[youtube https://www.youtube.com/watch?v=m8KlYc0xG80&w=420&h=315]

The First Song I Remember…

[youtube https://www.youtube.com/watch?v=aGCdLKXNF3w&w=560&h=315]

My First Real ‘Guilty Pleasure’ In Music…

[youtube https://www.youtube.com/watch?v=Fc6v7OWq5Bk&w=420&h=315]

That Band That Made Me Feel ‘Cool’...

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

The Song That, To Me, Defined the ‘80s…

[youtube https://www.youtube.com/watch?v=eBShN8qT4lk&w=420&h=315]

The Post-School, Pre-Football Warm-Up Jam…

[youtube https://www.youtube.com/watch?v=3MNqkc7E3w0&w=560&h=315]

The Song (Now and Back Then) That Always Put a Smile On My Face…

[youtube https://www.youtube.com/watch?v=etviGf1uWlg&w=420&h=315]

C.D./Record/Tape 2

When I Understood the Power of Rap and Hip-Hop…

[youtube https://www.youtube.com/watch?v=n5AYMiAdqhQ&w=560&h=315]

My Favourite Song From Childhood…

[youtube https://www.youtube.com/watch?v=WMPM1q_Uyxc&w=420&h=315]

The Moment I Understood the 1980s Were Rather Special, After All…

[youtube https://www.youtube.com/watch?v=TB54dZkzZOY&w=420&h=315]

 

The First Song That Baffled Me (But I Always Hold Dear)…

[youtube https://www.youtube.com/watch?v=4T6e3GJCjow&w=420&h=315]

The First Music Video I Remember…

[youtube https://www.youtube.com/watch?v=PSoOFn3wQV4&w=420&h=315]

This Album Was Number 1 The Day I Was Born…

[youtube https://www.youtube.com/watch?v=N4d7Wp9kKjA&w=420&h=315]

My Favourite Song From My First Now… Compilation…

[youtube https://www.youtube.com/watch?v=oXqPjx94YMg&w=420&h=315]

The Song That Spiked My Love of Electronic Music…

[youtube https://www.youtube.com/watch?v=syOK6zmpOe0&w=420&h=315]

The First Single I Ever Bought…

[youtube https://www.youtube.com/watch?v=Tn-qE-h7s84&w=420&h=315]

That One That Always Makes Me Think of the ‘Good Days’…

[youtube https://www.youtube.com/watch?v=dDLiVwpv89s&w=420&h=315]

My Mother’s Favourite Song: The Person Who Started My Obsession With Music…

[youtube https://www.youtube.com/watch?v=falI0baGhBQ&w=420&h=315]

Why I Truly Fell For My Music Icon, Jeff Buckley…

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

The Song That Makes Me Think of My First Crush…

[youtube https://www.youtube.com/watch?v=fwC-GUHL2gU&w=420&h=315]

When Britpop Ruled the World…

[youtube https://www.youtube.com/watch?v=gpuh1WE-RVw&w=420&h=315]

When My Parents’ Music Collection Started to Have a Profound Effect…

[youtube https://www.youtube.com/watch?v=mRJ9_yHiNmg&w=420&h=315]

The Song That Was Number One The Day I Was Born…

[youtube https://www.youtube.com/watch?v=AR8D2yqgQ1U&w=420&h=315]

... it is good to look back and think about the songs that defined my childhood; fostered my hunger for music and all it holds. So many different genres and sounds: each special for their own reason. That is the thing about music: certain songs can hit us for very different reasons – all deeply personal and unimpeachable. It would be good to hear others’ choices and what, in their minds, defined their childhood music collection. When you get started; it is really quite good fun...

FEATURE: The August Playlist: Vol. 2

FEATURE:

  

The August Playlist: Vol. 2

_________________________

 THE past couple of weeks has seen many great albums…

arrive- many more are coming up; it is an exciting time for music. After the nominations for the Mercury Prize was announced: many have been speculating who will win and which artists are in the running. Not to distract ourselves from the other wonderful albums around: it is worth having a look at the musicians that have, and will be defining, the month of August. In the second playlist: I have been collating cuts from August’s albums; those we can look forward to in the coming days – ending with a little sneak ahead to September…

 ______________

SIDE-A: The Best From August

Green Day- Bang Bang

[youtube https://www.youtube.com/watch?v=mg5Bp_Gzs0s&w=560&h=315]

Slaves – Spit It Out

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

The White Stripes- City Lights

[youtube https://www.youtube.com/watch?v=F2ftZ8qVrcA&w=560&h=315]

Ed Harcourt- Last of Your Kind

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

Daniel Wilson- Wedding Daze

[youtube https://www.youtube.com/watch?v=1hz7aGDOtx4&w=560&h=315]

Liv Dawson- Still

[youtube https://www.youtube.com/watch?v=SUae53jt6Wc&w=560&h=315]

Luna Bay- Colours

[youtube https://www.youtube.com/watch?v=rnyN37XwIBg&w=560&h=315]

Johnny Sands- A Friend

[youtube https://www.youtube.com/watch?v=gh2y5249LMQ&w=560&h=315]

Blind Pilot- Umpqua Rushing

[youtube https://www.youtube.com/watch?v=OxgQDXMN1Fw&w=560&h=315]

De La Soul (ft. Little Dragon)- Drawn

[youtube https://www.youtube.com/watch?v=umdFFR9XVpE&w=560&h=315]

Savior Adore- Lovers Wake

[youtube https://www.youtube.com/watch?v=FADP_E5obis&w=560&h=315]

The Pack A.D.- Fair Enough

[youtube https://www.youtube.com/watch?v=XFs2RW1Oack&w=560&h=315]

Slow Club- Ancient Rolling Sea

[youtube https://www.youtube.com/watch?v=PjpSqM7Q5ig&w=560&h=315]

of Montreal- Let’s Relate

[youtube https://www.youtube.com/watch?v=dq1Y7uDUKwA&w=560&h=315]

Giggs- Of Course

[youtube https://www.youtube.com/watch?v=En9bCrVfIzs&w=560&h=315]

Moose Blood- Honey

[youtube https://www.youtube.com/watch?v=0P1WIpgKqcA&w=560&h=315]

Thee Oh Sees- Plastic Plant

[youtube https://www.youtube.com/watch?v=agZqIr37rmE&w=560&h=315]

NAO- Get To Know Ya

[youtube https://www.youtube.com/watch?v=R85TzRK1fro&w=560&h=315]

Gucci Mane- First Day Out Tha Feds

[youtube https://www.youtube.com/watch?v=i9kJJ9yhXNc&w=560&h=315]

Lakuta- Bata Boy

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

PartyNextDoor- Come and See Me

[youtube https://www.youtube.com/watch?v=Ockhq8E2FrA&w=560&h=315]

Sia- Bird Set Free

[youtube https://www.youtube.com/watch?v=KrT_0J6m6y8&w=560&h=315]

Crystal Castles- Char

[youtube https://www.youtube.com/watch?v=vmfg97UCzso&w=560&h=315]

Blood Orange- Augustine

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

Britney Spears (ft. G-Eazy)- Make Me...

[youtube https://www.youtube.com/watch?v=etfJCm0nfr4&w=560&h=315]

Factory Floor- Ya

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

The Veils (ft. Eli-P)- Axolotl

[youtube https://www.youtube.com/watch?v=v0IBpUgbTTA&w=560&h=315]

Justice- Safe and Sound

[youtube https://www.youtube.com/watch?v=uXj8FM7lTrw&w=560&h=315]

Regina Spektor- Small Bill$

[youtube https://www.youtube.com/watch?v=B8Zmv2LJe88&w=560&h=315]

SIDE-B: A Sneak of September…

Glass Animals- Life Itself

[youtube https://www.youtube.com/watch?v=yd9p4n5hLEg&w=560&h=315]

M.I.A.- Bird Song

[youtube https://www.youtube.com/watch?v=ss1KfP7dcQA&w=560&h=315]

Such a banquet and feast of great music: September promises even more treasures and wonder. I shall keep you informed of any updates but have a look at the playlist and any I have missed; let me know and I will add them on. It is great to watch some incredible music drop and delight: 2016 has been a magnificent year for mainstream music and there is no slowing in sight.

TRACK REVIEW: Hunter & the Bear - Renegade

TRACK REVIEW:

 

Hunter & the Bear

  

Renegade

9.5/10

Renegade is available at:

https://www.youtube.com/watch?v=P6XaayBVHpg

RELEASED: August 2016

GENRES: Rock ‘n’ Roll; Rock

ORIGIN:

London, U.K.

____________________________________

FOLLOWING a brief flirtation with international acts…

this last week: it is back to London and one of the finest bands pounding the capital. I will come to them soon, but for the moment; I wanted to take a look at bands coming through London at the moment; the genre of Rock and the changing face of new music. If we think about terrific new music; many of us will instantly put our minds to London. There is a lot of wonderful talent playing around London and it is impossible to take it all in. If you prefer your music solo-made and tender: Yorkshire-born Billie Marten is someone you need to get involved with. Her rising notoriety and demand will see her decamp to London full-time, one suspects. The buzz from the city (about her music) is creating something fantastic. Her latest single, Lionhearted, is one of the purest and most beautiful performances I have heard in year. Only 17-years-old: she is going to be one of the stars of the future. In a similar vein: the arresting, jaw-dropping Izzy Bizu is primed to unveil her debut album, A Moment of Madness. Blessed with a graveled, smoky voice – capable of pure sweetness and honey-dripped sexiness – she is another star that is ensconced in London; very much one of our city’s finest. To be fair; there are so many tremendous solo artists in the capital. If you prefer band-led music then INHEAVEN are well worth some time and attention. A lot of bands are hyped to the hills because they look a certain way or have a bit of attitude to them – over-sold and blindly cast as musical saviours. INHEAVEN are a south London group that make D.I.Y. music that pollinates Grunge and Shoegaze into something wonderful and anthemic. It is early days for the guys but all the initial signs look very promising. Nimmo have been playing for a few years now but 2016 is going to be a good year for them (the rest of it). The Bohicas are dandy lads with plenty of swagger and authority to their live performances. Gaining comparisons to The Strokes and The Kinks – due to their mesh of Post-Punk and Rock ‘n’ Roll – the band have been gigging across London and Essex (where they split their time) and are another electrifying act you need to check out.

The Bulletproof Bomb are still teens but their guitar-led tracks display maturity and plenty of confidence. Like they have been performing for many years: they already have the feel and sensation of a well-established band. The guys have already played the Reading & Leeds Festival and have no plans to slow down anytime soon. Flyte formed in Hackney in 2013 and tie together embers of Orange Juice and Talking Heads. Another group that has been on the blocks for a couple of years: critics and radio stations have been keen to pay tribute and promote their wonderful music. That is just the tip of a very large iceberg of London music. One of the most creative and prolific cities in the world: it must be hard, for any new musicians emerging, to put their head above the parapet. With so much competition and rivalry around London: how does a band distinguish themselves and make a mark? The thing about London is there is so much support and mutual respect among acts. Hunter & the Bear are not a band that has shunned their peers: they, in turn, have gained a lot of praise and proffering from their musical brethren. Before I come to a new subject – and one that is thorny and much-debated – it is worth gaining a window into the quartet, Hunter & the Bear:

Will - Lead Vocals, Rhythm Guitar/Jimmy - Lead Guitar, Backing Vocals

Chris - Bass, Backing Vocals/Gareth - Drums, Backing Vocals

‘Renegade’ is the brand new single from Hunter & The Bear, one of the UK’s most exciting new bands and pioneers of a long anticipated resurgence of rock & roll. Hunter & The Bear are a four-piece whose combination of melodic sensibility with riff-laden tunes represents the very best of guitar-driven music today. While the biting tones and driving rhythms of ‘Renegade’ stay true to hard-edged origins, for Hunter & The Bear the song is king. Intelligently overlaying well-crafted melodies over thunderous soundscapes, Hunter & The Bear have reengineered and revitalised guitar-based music for the modern age. On top of their polished studio offerings, the band have a fierce reputation as a live act. Hunter & The Bear’s live show is truly a spectacle to behold, each player captivating their audience with individual personality and total command of their instruments. The group reveal a range of surprises throughout each set, showcasing a wide spectrum of styles from driving rock to acoustic ballads. Over the past few years they have set crowds alight at the UK’s major summer festivals (packing out tents at Reading & Leeds amongst many others), embarked upon critically acclaimed headline tours of Spain and the UK, and supported one of their most eminent forebears, Eric Clapton, on his most recent arena tour.

In a move that is typical of the band’s hard working ethos, summer 2016 will see Hunter & The Bear set out on an exciting and highly ambitious project. Anticipating their first full length record in early 2017, Hunter & TheBear will release one single a month, to give audiences a teasing insight into the band at work as they develop their increasingly mature and compelling sound

‘Renegade’ - the first single from the project - is a fast-paced, fist-pumping track that shows all the hallmarks of a modern rock classic. An anthem fit for wild nights or blasting on the road, the bold power of ‘Renegade’ announces Hunter & The Bear as one of the best new bands on the UK scene and promises much for the releases of the months ahead.

‘Renegade’ is a standout single from a band who know the value of song craft. With unquestionable talent and a subtle musical intelligence, Hunter & The Bear’s ‘Renegade’ is a track that reinstates the guitar to its rightful place at the heart of the UK music scene.

The chaps have already accomplished a lot in their short life. They supported Eric Clapton on his most-recent U.K. arena tour and secured Gibson Guitar artist endorsement. In addition to a successful U.K. headline tour: an equally successful Spanish tour was completed. Playing Reading and Leeds, T in the Park and New Sounds (in Austria): Hunter & the Bear have performed in the U.S. and across T.V. Extensive radio-play includes tips by B.B.C. Radio 2, B.B.C. 6 Music and B.B.C. London. All of this suggests the band is not to be sniffed at. Quite right. I mentioned a ‘thorny’ issue and that relates to Rock and Rock ‘n’ Roll. Rock, in general, is on a see-saw debate that has two distinct viewpoints. On the one hand, many feel it peaked years ago and has, since its apex, been declining and promising diminished returns. Others exclaim how many terrific riff-laden bands are around and breathing new life into the genre – even taking it to new heights and evolving it. Rock ‘n’ Roll, distinct from Rock itself, is a difficult sound to not only get right but to make it sound new and exciting. When we think of Rock ‘n’ Roll, our minds flash to the ‘50s and the likes of Elvis Presley. That is part of its charm and creation but now that sort of sound will not wash: who wants to hear a 1950s-inspired sound with no contemporary edges? It is a very niche and specialised so playing in this way can be quite challenging. Hunter & the Bear bond Rock and Rock ‘n’ Roll into a colourful and smoky boiling pot. You get nods to the ‘50s and ‘90s; elements of U.S. bands like The Strokes and British legends of music. The most important and obvious part of music of Hunter & the Bear is the focus on the guitar. They are putting the guitar right in the core of music: in the heart of the mix where it rightfully belongs. I know what many would be thinking when you mention guitar music: shoulders will be shrugged and we assume some Indie kids who think they’re the next big thing. There are a lot of underwhelming, insincere bands but that is not the case with Hunter & the Bear: they are the real deal and the exposure they are gaining is all warranted and richly deserved. Not only an engaging, sensational proposition in the live arena; the boys have a wonderful dynamic and huge chemistry – each member knows their role and gels together with ease and conviction.

Music is changing a lot and, as the Mercury Prize nominations show us, there is learning towards more conscientious, political music. Even Grime acts Skepta and Kano are laying down the politics and social-economic realities of the country. Through the transom of Grime; street poets are the perfect arbiters and exponents of The Truth: able to deliver their messages and mandates with full force, exhilaration and conviction. Look at Anonhi and Radiohead and yet more addressing of the modern-day world. U.S. drone bombing and the ineptitude of British politics: the press, public and music lovers want something deeper, relevant and more thought-provoking. Looking at the complete shortlist for the awards and there isn’t an album on there that is anything but forceful, mesmeric and accomplished. It is not good enough to rock up to music and be like everyone else: do the bare minimum and run through clichés and stereotypes. We have all seen so many bands stick strictly to areas of love and relationships; perform the same tired tunes and say the same thing (as their contemporaries). Even today; how many new bands make you tired and angry before you ever hear them? I feel this fear and sea change is being understood by musicians as this year, as opposed to previous years, has seen a rise in quality and originality. The reaction to the new demands and decreased tolerance (to predictability) has been a good thing for music. Some bands/acts are flouting the rules and still trying to blag it but, for the most part, the fresh crop of artists emerging have that air of quality and freshness. Hunter & the Bear are not only adding fresh paint and vigour into Rock ‘n’ Roll but their tracks are not the cloying, aimless fall-in-love-fall-out-of-love-moan-about-it-through-music merchants. The music video for Renegade was out three days ago and the band is primed, pumped and excited. No wonder when you think of where they have come from and where they are headed.

Despite Hunter & the Bear hitting their peak form right now: it is interesting to see where the boys have come from and how far they have travelled, musically. The Wildfire E.P. was their last full work (their new album is out soon) is a great place to start. Burn It Up begins with gentle, yet propulsive strings, and gets the track off the ground quick. “Another night I spent alone” our lead explains in his husky tones. Spending times on the road and riverbank: he has been looking for room to breathe and a chance for contemplation. It is a song that puts you in mind of Bruce Springsteen in his early career: it has that same gravitas and vocal sound. The band combines beautifully to keep the composition light but powerful. The vocal stands out and ride high in the mix but never too overpowering. Shadow Man provides emotional depth and one of the gentler songs (across Wildfire). Losing sense of hope and perspective: it is another track that casts a shadow but has an uplifting, redemptive spirit. Once more, the band is at the water-edge and presents an itinerant, travelogue song. Vivid, captivating and intense: you can picture the scenes unfolding and the emotions being laid out. Hunter & the Bear show how authoritative they are with a chorus. Making it emphatic and crowd-pleasing: it is impossible not to be won over by its spirit, power, and catchiness.  Blood Red Skies completes the E.P. and, like its predecessors, it does not stick to the same sound and themes. Lighter and tenderer than anything that has come before: it is almost Country-esque in its sound; something that is quite unexpected. Again, there is a leaning towards U.S. sound and it would not sound out of place on a contemporary Country/Rock album from an American artist. The band unify for what is their tightest and finest performance on the E.P. Guitars come up front and stun; the percussion is constantly steady whilst bass provides Blood Red Skies its melody, rhythm, and discipline.

Renegade is a bit of a step forward from Hunter & the Bear and their most explosive song yet. Previous songs, and those across their E.P. were solid and instantly memorable. Renegade ups their game and brings everything into sharper contrast. The production is sharper and more polished (not too much) whilst the vocal has more passion, spark, and rawness – bringing every line fully to life. Thematically; it sounds more positive and less fraught while there is more nuance, dance, and catchiness to the song. Hunter & the Bear create catchy and great live tracks and this is no exception. Something that can instantly whip audiences into a frenzy: a great building block that shows what their album will contain. Few bands really look back on their previous material and make steps to improve or change it. Hunter & the Bear started wonderfully but figured there were little aspects and elements that could be tweaked and polished. What we have now is a stunning song that not only works alone but makes a perfect companion piece for other songs.

Already gathering so much acclaim and celebration: that will give the band a lot of confidence and pride with regards going forward. Befitting of its title: Renegade is a fast-moving, dangerous thing that gets off and sprinting from the first second. The guitars, drum and bass race out of the blocks and the band ensure they provide as much edge, panache, and weight as they can early on. You always know you’re onto a winner when you go back and repeat a chorus; that is the case with Renegade. Chugging, determined and keen: the listener is primed and prepared for what is to come. Our lead steps up to the microphone and ensures his voice is as direct and chocolate-smooth as it can be. Delivering opening words “I am an icicle/hanging in the breeze” is not something you can sing if your heart is not in it. Those sentiments provide some mystery and you are curious what is being referenced; whether there is violence afoot or a fall-out has occurred. In spite of our man having a “cold cold heart” and needing to breathe again: there is never a sense that things are suffocated, negative and harsh. Hopefulness, need to change and spirit are all in the mix. Our hero’s vocal keeps strong and always provides interest and depth. I have mentioned other singers but it is impossible not to bring legends like Springsteen and Eddie Vedder (Pearl Jam) to the fore. That said, there is a lot of individuality and personal insight that makes the vocal familiar but unique. One of the charms of Renegade is the contrast between vocal and composition. The vocal has a silkiness and power but does not accelerate and get too heated. Composed, steel-eyed and smooth; imbued with commitment and electricity. Composition-wise; there is a definite difference and contrast. It is scintillating, rushing and exciting: the two, rather wonderfully, work well together and sounds completely natural.

It seems like romance and separation are in the mind: further lyrical confession gives you some insight. While our hero is on a cold trail and holding out for the morning; it seems like a girl might be in his mind. Ostracised and castigated perhaps? You are not sure the circumstances behind the song but one assumes there is a bit of a drama and split that is being assessed. Maybe two lovers are in different lands but there is a yearning to be reconciled and unified. Windows are calling and the morning is coming into view. Like previous Hunter & the Bear songs: we have scenes and stories that could have come from American history. A lot of bands are predictable with their lyrics but the London band seems seduced by wild mountains, rivers and the craggier side of nature. It not only brings a real epic-ness and sense of homeliness to their words: it ensures the song has a grandeur, drama, and filmic quality. Each new revelation provides curiosity and intrigue. My initial thoughts looked at lovers divided, but my mind slightly questioned given new information. Sinking ships are collecting water and beasts are prowling. All of this might seem like collected metaphor for hopelessness and a defeatism. If you look closer, there is more positivity than you might think. Our lead’s vocal never drags things down and seems determined to be wallowing and mordant. If anything, there is a real defiance and desire for betterment with each line. Holding out for the morning and hunkering down: the spirit and strength-against-the-tide is amazing. Perhaps life is throwing too much (our lead’s) way and the situation perhaps attornment is being sought? So layered and open are the words you will speculate and wonder the origins of the species. Renegade clearly boasts ideals of a lone figure fighting forces and battling the elements. You get a sense of that raw and savage side but you always sense relief, hope, and romance. Vocally, it is the strongest from the band and the composition continues to chug and propel; always building emotion and never relenting. When the entire album is revealed and every song is in the ether: Renegade is unlikely to be bettered easily. One reason for this is the band; who manage to keep the song engaging and essential from start to finish. Provided the background and intensity of the subject matter: if the composition is not up to it then the song will suffer.

Past the half-way mark; the band step forward and ensure, once again, guitars come into the light. Bristling, aching and mollifying in equal doses: a terrifically composed and thought-out line. Each player adds to the mix and showcases incredible talent. The composition and vocal work in unison and ensure Renegade has a strong beating heart. Perhaps the band does not truly reveal what is at the core of the song. Is it separated lovers and the need to be with one another or one man fighting oppressive forces and seeking salvation? Maybe both are in mind and that possibility is very exciting. As the song progresses, it becomes clearer. “I wanna feel again” sings the hero; one assumes, that concerns passion and emotion. “You can take my breath” might have another meaning, but again, one will look towards romantic possibilities seem most likely. Wordless vocals from the band are likely to be reflected by live crowds and it gives Renegade some pepperiness and anthemic unison. Our lead is a renegade and outcast; on a burning horizon, he is seeking a new life. There are not many songs that possess such potent and dramatic lyrics but Hunter & the Bear manage to pull it off and make it work superbly. Our lone wolf and survivor will keep pressing until the morning and it leads to one question: does he ever find what he needs? Sure; there is a desire to keep going and pressing but it leaves me with a couple of interpretations. Maybe two lovers split and that desire to be together against all hope. Perhaps just as likely is someone that is feeling the pressures of life but is surviving and keeps on moving. You can take the lyrics at face values and cast your mind in the scene or take it as metaphors for deeper emotions. Whatever your takeaway from Renegade: it confirms Hunter & the Bear are one of the most alive and engaging bands in London and will keep on making fantastic music for many more years – make sure you grab their album and see what all the fuss is about.

Renegade is as fire-brand and racing as the title indicates. One of the hottest properties on the London musical map right now: make sure you throw your full support behind Hunter & the Bear. Over the next few months; the guys have a pretty hectic touring diary. On 27^th, they hit the Camping Be Cider Festival in Dorset. In September, they will be rocking Devon and Salisbury; across to Yorkshire before heading up to Wales and Brighton in October. You can get a run-down of their dates on their official website but ensure you catch the guys live. They are a wonderful live band and a marvelous young talent. It is not just their live performances that mark them aside from the crowd. Investigate their music and you not only get a vintage nod to ‘50s Rock ‘n’ Roll but a combination of 1990s Indie and modern-moment Rock. Every note and song races from the speakers and you get hooked inside the marvelous riffs and crackling interplay. Renegade is a fine cut and colourful moment from a band that is definitely on the rise. Just look at their social media feeds and you get a tangible sense of excitement, hope, and passion. The boys are not resting on their laurels and pounding the circuit hard. In addition to Renegade promotional duties: they have touring commitments and will doubtless be looking ahead. The boys have just paid a gig at Paradise, London (an uber-trendy venue in Kensall Green) and are very much living the dream. There is demand across the U.K. and clearly, the music is registering with the public and really speaking loudly. You only need to take one sip of Renegade and you know Hunter & the Bear are going to go pretty far.

I am not sure what the future promises but one assumes there will be new material afoot. Right now, Renegade gives a taste of their new album. The boys have spent a long time sequestered in Gorbals Sound laying down the tracks.  That will be out very soon and, if Renegade is anything to go by, the record will be a sizzler. After that, one assumes there will be a mixture or touring and relaxation. You feel like Hunter & the Bear have many more albums ahead and they are always evolving and developing their craft. Compared with everyone from Kings of Leon to Bruce Springsteen: there is a U.S. sound to their guitar-driven music but the abiding sensibility and flair is of a young London band that is distinctly British and proud. Uniting U.S. and U.K. characteristics into their music will ensure they will have transatlantic demand. Maybe the boys already have some American recognition but one imagines they will have U.S. gigs lined up in the next few months? Having spent time in Scotland and come down to London fairly recently: opportunities, fans, and gigs are lining up. I opened by mentioning London bands and how much is changing today. Hunter & the Bear are not only enjoying the (comparative) prosperity the capital is provided but are not your average band. Their new material, as they say themselves, is the best they have written and they’re excited to get new songs to the crowds. It is a good time to be a part of the Hunter & the Bear juggernaut and who knows how far it will go. Renegade is a wonderful tease and nuanced beauty that not only stands as a live anthem of the future but a beautiful glimpse into their current creative process. Yes, it can be a migraine-inducing experience trying to find which bands are worth following and who is deserving of attention – such a bamboozling and baffling endeavor. It is still early days for the band – in terms of how far they can go – but there are few artists that burn as bright and have such a genuine enthusiasm for what they are doing. In the mire and wave (smaller by the year) of tired bands: Hunter & the Bear are a sharp, flavoursome cocktail that adds vigour, life, and magic. Music relies on inspiration and evolution: with regards the rise and rise of London’s Hunter & the bear, it is safe to say…

WE need a  lot more of them.

[youtube https://www.youtube.com/watch?v=P6XaayBVHpg&w=560&h=315]

________________________________

Follow Hunter & the Bear

 

Official:

http://www.hunterandthebear.co.uk/

Facebook:

https://www.facebook.com/HunterAndTheBear/

Twitter:

https://twitter.com/HunterTheBear

Instagram:

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

YouTube:

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

SoundCloud:

https://soundcloud.com/hunter-and-the-bear

TRACK REVIEW: The SoapGirls - Bad Bitch

TRACK REVIEW:

 

The SoapGirls

  

Bad Bitch

9.6/10

 

Bad Bitch is available at:

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

ORIGINS:

Cape Town, South Africa

GENRES:

Rock, Alternative, Grunge; Pop, Alternative

RELEASE DATE:

21^st July 2016

__________________________

IN all my years writing this blog and collating the best bands/acts from around the world…

this is, to the best of my knowledge, only the second time I have assessed an African artist. I have looked at artists who have African roots – Lanre is one of them – but only one other that actually lives in Africa – that would be Israel’s ADI; one of those musicians that I have kept my eyes peeled out for. It is great to be back there and, for the very first time, focus on a prosperous country for music: South Africa. Before I come to my featured act - and look more deeply at what they are about - it is worth looking at the acts coming out of South Africa. When we think about nations like South Africa: there is a group of people that jump to conclusions and go to stereotypes. I raised this when reviewing Mexican duo The Peppersplum. We think about a nation in rigid terms and think we have it all figured out – that is especially true with regards the musical sound/output. Britain and the U.S. have a varied and huge musical scene so there is never any preconceptions as to what to expect – it is put in our faces on a daily basis. If you think about it; how often do we really get to discover musicians that emanate outside of these nations? Africa is not just about traditional, local sounds: countries such as South Africa have a burgeoning, wonderful collections of musicians worth investigating. In terms of the historical, established artists there: Springbok Nude Girls, Freshlyground, and Juluka are deserving of time and affection. Seether and Ladysmith Black Mambazo may be known to many but that is only the tip of the iceberg. Doing my research and checking out the best bands/artists around South Africa at the moment: you would not believe how many variation and quality is coming through. Die Antwoord is perhaps one of the most vivid and controversial acts in South Africa. Translating as ‘The Answer’: the question posed by Rap-Rave group Ninja, Yolandi Visser and D.J. Hi-Tek is a very interesting one. There are few equivalents (if any) in the U.K. to really explain them. Francois van Coke came into music about 13 years ago but since has made a real impact. The band addresses social alienation of Afrikaners in South Africa; the general apathy of Afrikaner youth and how they are displaced and separate from Calvinist Protestantism. The group may have since disbanded but remain one of the most important and influential artists from the country.

One of the newer, shinier bands around are Sol Gems. A lot of magazines and press sources are tipping them for great things. A blend of sun-worshiping bliss and Psychedelic influences. It is no surprise the band have captured the nation’s attention and supported Californian Psych-Rock group, Allah-Las. Compared with a lot of other nations: South Africa has a lot more diversity in their music; never sticking with a few genres; expansive and variegated. Tidal Waves epitomise this cross-pollinating, vast empire. Their Reggae-tinged bliss (with soulful overtones) has been impressing the public for the past 12 years. Endlessly hard-working and internationally recognised: the guys have performed in the U.S., Europe, and China.

Finally, and most curiously, Beckmann are being heralded in South Africa. A collective that are seen as Avant-Garde and experimental: they describe themselves, on their SoundCloud page, as “glitch operas, soaring vocals and dirty electronic beats”. I shall raise a couple of new points but before I do; it is worth introducing The SoapGirls to you:

“Just when you thought it was safe to go out from having to lock up your daughters, it’s now time to lock up your Sons, as this very brazen duo hit the music scene.  And as if still hot from the press, they are set to melt many a heart and yet stir many emotions as they set fire to not only the stage, but the very device used to air their music. So, with tongue set firmly in cheek, get ready and brace yourself for what will unfold.

Their wild unadulterated performance certainly gets the male population chomping at the bit Live, with pulses racing, as the air is punched profusely, tempting the girls to step it up a gear, which they do every time with the raw brazen style that is, “The Soap Girls”.

Every picture or video I have sourced regarding this duo have all featured a host of male fans with their shirts clearly discarded, either blown clean off their bodies by the sheer volume and attitude on stage or teased off by these temptresses as they flirt your mind into submission. With some very outrageous stage wear, the girls certainly turn heads, and those heads stay turned as soon as they start to perform, leaving mouths gapping at what unfolds right before their eyes.

You need to be prepared at what you will experience at a “Soap Girls” gig as audience participation seems to be the order of the night, and things can get very messy, but all done in the best possible taste as the visuals they create are bespoke to the song of the moment.

The girls have been performing since the tender ages of nine and ten with music being a big part of their lives in their homeland of South Africa. Here you could easily find them entertaining the masses as they walked past. But the girls weren’t just singing and dancing at that age, they were selling handmade soap for various charities, and almost singing for their supper.  Then a chance meeting with a producer, who had been listening to them sing, landed them the chance to record some tracks in a studio. This resulted in one song to be used on a Japanese compilation album.

They continued to perform on the street for a further eight years, and because of this they very quickly gained the hearts of the masses throughout Cape Town. Soon after, and then only aged twelve and thirteen, they had their first real experience in a recording studio, and from there they were hooked. But they weren’t the only ones hooked, so was the music industry, and soon after they were signed to a major label in South Africa, who saw the potential we see and hear today.  And so, with a host of songs neatly tucked under their arms the girls threw themselves into their work and gave it everything they had, and to date, they haven’t looked back since.

French born Mie and Millie started their music career professionally in 2007 and by 2011 released a debut album that topped the South African charts. This quickly launched their career and they soon found themselves on stages across America and currently touring the UK.

Mie on guitar and vocals sets the pace beautifully as she powers through every song with a certain style and grace that captivates every audience. Her biggest musical influences are Fleetwood Mac, Joan Jett and the Blackhearts,Hearts, Nirvana,The Butthole Surfers, Local H and R.E.M and prefers more chilled out melancholy music.

Millie on bass and vocals is influenced by Alice in Chains, Marilyn Manson , The Smashing Pumpkins,Korn , Alanis Morrissette ,Hole, Aretha Franklin, Nirvana,Napalm Death and L7 and tends to prefer heavy angry music. This is evident in her performance as she connects with the crowd like a true professional. Their common ground is grunge, with Nirvana, Alice in Chains and L7 being their biggest influences and with both girls sharing the singing role, this dynamic duo set the standard in their genre”.

Looking at the girls and you really are in the presence of a unique and special duo. I often talk of duos and how undervalued they are in the mainstream. We see a lot of bands proffered but, by comparison, how many duos make it under the spotlight? If you dig deep, you will discover so many fantastic duos playing – The SoapGirls are among the most exciting in the world right now. Having featured The Peppersplum last week – an all-girl duo based in Mexico but born in England – The SoapGirls are another exceptional offering. In Britain, there are a lot of terrific, distinctive duos. Mainly, we see either male-female or all-male duos: the all-female dynamic is one that fascinates me. Whether a closer kinship or a different approach to music: I always find their sounds more engaging; their stories more intriguing; the results more explosive and fresh. Rews, a London-based favourite of mine, are great friends who provide Rock/Alternative jams that have seen them collect festival slots and huge recognition. Ca(Millie) and Noe(MIE) Debray have that sisterly love but provide so much more than mere music. They have faced sexism and attacks from crowds; battled discrimination and hostility in society and are battling back strong. Provocative, edgy and raw: the girls have faced oppressive criticism and vitriol from some; those who do a disgrace to music. If you had a similar male act on the stage there would be no worries. Because they are women, many seeing them as bad role models, they have come under scrutiny and offence. The girls provide hardcore Rock authority and gritty tunes; they have provocative attire and plenty of attitude: does that make them a target for hate and violence? Of course not. The SoapGirls, like a lot of their native peers, are addressing (forced to) wider issues and the vagaries in our society.

It is, when all is said and done, down to the music and what they produce that matters. Damned be the hecklers and clowns that degrade humans with their petty and insouciant behavior. The girls are thick-skinned and will not let troglodytes degrade their stunning music. It is hard (which is a good thing) comparing the girls with other acts: The SoapGirls produce bruising, leather-clad Punk with Alternative-cum-Rock anthemics; all laced with Grunge rumblings and something dirty. The duo is very beautiful and alluring women but never exploit their sexuality or allow it to become a focal point. Their attire and image is not a way of canvassingng over weak music: it emphasises it and goes hand-in-hand with their exhilarating, firework-strewn performances. Bad Bitch has been amassing a lot of love across the Internet and social media. Reviewers have swooned whilst music fans have been captivated by the song’s intensity and empowered lyrics. After facing a lot of harshness and some appalling people; The SoapGirls are on top and fighting back. Proving what a force of nature they are: Bad Bitch is inescapable and bracing: a powerhouse song that is surely going to spark more creativity and future recordings.

The SoapGirls have not just come onto the scene with Bad Bitch: their past work has led to this. Snakes and Ladders, Cigarettes and Medicine and Ugly Underneath have all been released this year. Snakes and Ladders combine the chug and drive of The Ramones and Sex Pistols. Our heroine has “nothing left to lose” and is on the edge. God never answers and tings look hopeless: things are eating away and it is a very tense state of affairs. Whatever the inspiration behind the song – we come to a hold up where the heroine implores everyone to put their hands up – it seems like desperation and anger have finally reached their peak. At every stage, there is a wonderfully raw and lo-fi sound to proceedings. The lyrics are delivered at different speeds and the song has a mobile, emotive development – not just staying with one static speed/sound. Gritty, Punk-laden and reminiscent of Blondie in places; another treasure from the girls. The central riff is a foreboding and spiking riff that is supported by a riffled percussive beat. Sirens are screaming and bodies are hitting the floor: our assassin has left her mark and evading the law. By the time the chorus comes back around; you are invested and arrested by its hypnotic charm and passionate delivery.

Cigarettes and Medicine begins with calmer, more reflective strings. Calling up her sweetheart/friend: every time our lead calls; she is being put down and pushed to the edge. Caught in a swell of nerves and loneliness: she is holding her peace and keeping her tongue locked away. Trying to get out of this situation: the tension rises and the song shifts through the gears. “I need to feel you know/I want you to stay” bring receptiveness and love to the fore: with it, a beautiful sense of melody comes to play. Cigarettes and Medicine has Pop touches to provide something more calming and hopeful. Underneath it all is a determined percussion and Grunge-esque guitars. The hero walks away which causes pain and anguish in our heroine: you can feel that hurt and loss come through in the voice. One of the catchiest and most compelling choruses of The SoapGirls’ career: Cigarettes and Medicine is a definite highpoint from them.

Ugly Underneath is more direct and punchy. The vocal starts off pointed and poking before racing and accelerating in time with the composition. Moving from cool and considered to charging and raging: another song that changes signatures and catches the listener by surprise. The girls combine superbly on vocals and have a real connection throughout the song. “Keep your distance” and “I’m not pretty” are cautionary words provided to a hero; advice to stay away and be aware. Whatever is happening and whatever the feelings being expressed are: it doesn’t seem to reflect who our heroine is; perhaps an unusual time that calls for solace and alone time. Maybe the guy has come on too strong or got false impressions. He is being told, in no uncertain terms, to back off and save himself. It is an honest and open song that has plenty of memorable lines and another stunning performance. Throughout these three songs, all recorded roughly around the same period, there is a lot of consistency and differences to be found. Ugly Underneath is another song destined to be a live favourite and comes with plenty of hooks and singalong phases. The SoapGirls look at something anxious, negative and suffocating without making it seem too intense and off-putting. A lot of light comes through in the trio of songs and everything comes through clearly and precisely. That said; the production is quite sparse and untreated which makes the song sound like they are coming straight from the stage. You can hear the development and confidence; the assuredness and flair the girls possess. Bad Bitch is another song that sticks in the mind and is, if anything, the best thing they have created. Songs such as Snakes and Ladders, Cigarettes and Medicine and Ugly Underneath lay the foundations superbly but Bad Bitch is the one that tops them all. It would be great to see all four songs alongside one another on an E.P. as there are consistencies and a general theme that ties together: that determination and fight against struggle and heartache.

Scratchy, locomotive riffs open Bad Bitch and get it underway. Things do not start out too heated, but instead, provide a kick and momentum that sets up the vocal. When our heroine comes to the microphone; she is locked in a deep, dark night and ready for a fight. It is an image that transports you to somewhere primal and urgent. Even in the early phases, when the voice is quite level-headed and settled, there is so much emotion and meaning resonating from the words. You know how important the song’s lyrics are and how relevant the song is to The SoapGirls. Switching between sexual and sweet: the voice has plenty of beauty and honey but comes with a definite tongue-licking sharpness and acid. Her boy (whoever that may be) is casting gazes and wants to get her on the ground - down on her knees. You are not sure, given the previous violent incarnation, whether it is a physical threat or sexual come-on. With her gun ready to explode and the heroine very much in control: there is no doubt she is not taking any crap; wanting to watch the man burn – it becomes clear the true nature of the lyrics. Even when delivering lines about control and threats; there is sexuality about it and definite allure. The vocal, which reminds me of Amy Winehouse at times, has smokiness, Blues luster, and cigarette-ravaged smoke. One of the most compelling things about Bad Bitch is the composition. That scratchy riff puts one in mind of Nirvana and ‘90s Grunge; a little bit of Punk is thrown in – the perfect accompaniment to the foreground. Full marks to the girls who are always tight and hugely listenable. Here, supported by a wonderful production sound they really come into their own and are endlessly confident and sassy.

The chorus is an explosion of defiant swagger and rebellion. Our girls do not “give a sh**” and in no mood to be messed around. Guitars spark and clatter whilst the percussion slams with determination. Slinky, grooving basslines guide the song forward and you are caught in the blizzard of notes, spit, and punch. It is an eye-opening and savage but retains its sense of dignity and curiosity. Not rushing back into the chorus: there are wordless vocals and a change of tempo; a chance to take it all in and bask in the sense of moodiness and tease. Knowing where the song came from – and that horrible gig where the girls were attacked – it is not a surprise to be sucked into the song and feel a real immediacy and breathlessness. When they get started, it is hard to stop: certain lines and thoughts build intrigue in the mind and you wonder just what is being ascribed. Early proclamations of violence and control have passed and now, there is a more oblique touch. It is impossible not to be seduced by the vocal which always seems to have that slightly sensual side to it. If you watch the video that accompanies the song; The SoapGirls are daubed in red lipstick and look properly bad-ass. They slink and move across the screen and mix playfulness with attitude. Bad Bitch always wins you with its addictiveness and sway. The guitars relentless push and press; the percussion remains light for the choruses but always essential; the bass continues to give the song liquidity and rhythm. The second time around; the chorus seems even more combustible and riotous. Still apathetic and in no mind to suffer fools: The SoapGirls notch up the offensive and shoot down the song’s anti-hero. Following such an unpleasant experience and hard gig; many artists might retreat and not dare assess it in a song. Bad Bitch concerns more than that one night but is a direct response to the event. Instead of running away or letting it affect them for life: Bad Bitch is a defiant response and huge declaration.

The video is arresting and one that will stay in the memory for a while. The girls themselves ensure every note and line sparks visually and verbally; the combination of video and song is wonderfully done. By the final stages, it is said (the hero) has nowhere to run or hide. The SoapGirls are coming and you better watch out. Never insincere or slight: Bad Bitch is a song that helps fight demons and bad memories but stands in its own right as a huge smash. It is a track I can see being a live staple and really speaking to the crowds. Other people, who have gone through the same things, will be able to find solace and guidance in the song. It is good to see the girls not letting people get to them and coming out fighting. Similar to their previous songs: Bad Bitch sparkles with emotion, attitude, and attack. The composition has similarities with their older songs but seems hotter and harder than anything they have done before. Scintillating and mesmeric from first to last: yet another wonderful song from The SoapGirls. It would be wonderful to think an album will follow. There is huge demand and the fans are responding to Bad Bitch. Hopefully, the song, and the reception it is getting will motivate them to get back into the studio.

I opened by looking at some great South African musicians worth checking out. From Reggae-inspired artists to legends of the scene: plenty of wonderful music to get involved with. The SoapGirls can be added to that illustrious list for good reason. Given their moniker by the public in 2004: they sold hand-made soap on the streets and performed for various causes – that lasted for 9 years. Their life and rise is almost filmic and Hollywood-worthy. Moving from street performing to the big stage: it has not always been a smooth and happy ride. Affected and afflicted by a sexist attack; the girls face anxieties and fears when they hit the stage. Mie’s scorching guitar work and Mille’s pulsating bass lines are a wonderful chemical combination. Bad Bitch was born out of a bad situation but turns into something cathartic and inspiring. The song is the girls’ not taking any more crap from anyone and being in that situation again. Against-the-odds and endlessly defiant: Bad Bitch is a declaration of intent and  warning shot to anyone that dare attempt anything like that again. The SoapGirls are humble and encourage others to follow their dreams and do what they should be doing in life. In South Africa, they are gathering a lot of praise and are scene-makers for the new generation. Bands and musicians that lack personality, commitment and any sort of ethos are unlikely to succeed and remain. Musicians, in the position they are in, should engage more with society and address vital issues. Music has a way of connecting people and highlighting vital concerns. Employing music for your own ends – romantic woes and personal agendas – seems foolhardy and a wasted opportunity. It is not egotistical or pretentious using music as a platform to inspire others and recognise important causes. The SoapGirls stand for freedom and speak out for animal rights and society’s most vulnerable.

Songs come from the heart and contain pure emotion and passion. We all need to, as consumers and fans of music, broaden our horizons and acknowledge the extent of music across the world. Everybody, myself included, get too hooked on our particular tastes and home-grown acts. It is challenging knowing where to start but I feel a casual look here and there would not hurt. Countries like South Africa have been producing amazing musicians for decades but often get overlooked. That seems unfair because, as The SoapGirls have shown, there is plenty to get hooked on. Not only is their music as atmospheric and exciting as you can imagine: they dig deep and sing about themes that are relevant and lesser-heard. Away from the clan of love-based songs and pedestrian bands; the duo go further and aim to change people – inspire their generation and the next coming through. As such, the demand is high and many new fans are coming their way. The girls are currently in the U.K. and playing to fans here. They play Alphabetti Theatre in Newcastle tonight; they head to Joiners in Southampton for Sunday. After that, up to Manchester (Eagle Inn) and Bradford’s The Underground. Finishing off in Kettering on the 28^th – make sure you see them before they head back home. It has been an up-and-down last few years but The SoapGirls have ridden the waves and fast-established themselves as one of music’s finest exports. In their native South Africa, people are recognising how extraordinary and special they are. I wonder whether there will be an E.P. or album coming this year. Bad Bitch is a song that could amply lift-off a record and make the subsequent songs really shine and fizz. I am sure they have plans in mind but are busy touring right now. Once they have chance to settle and come back to earth: surely, they will be looking ahead to the studio and what they can accomplish. Motivated by animal rights and highlighting segments of society often reserved for political diatribe.

The endeavouring duo subverts gender ideals and expectations to give real gravitas and depth to their music. The fact they were on the receiving end of a sexist attack speaks volumes about how some perceive female artists. It is a shame society hasn’t progressed sufficiently so this kind of thing no longer occurs. It is artists like The SoapGirls that will make a difference and prevent such stupidity reoccurring. A hot potato that (maybe) should be reserved for another day. For now, appreciate the music they are providing; a terrific duo growing in strength and becoming more assured and confident. If they can fully reclaim their nerves – still anxious after the attack – then headlining slots are sure to come their way. The U.K. is showing them lots of love so it is only right they come play here in the future. Against a backdrop of rather safe and overly-cautious bands: it is a breath of fresh air discovering The SoapGirls. I love, as much as anyone, artists that have composure and melody; dreamy and beautiful. Musicians that push harder and strike with more intensity are seen, by some, as rather balking and aggressive. The SoapGirls are not an esoteric duo that will only speak to a selected few: they are a utilitarian act that speaks for all of us; raise issues that we all want exposed and talked-about. On its surface; Bad Bitch might seem like a shock intended to shock and get easy attention. It actually stems from a harrowing base but has a fu**-you defiance and sees the girls reborn. If Ca(Millie) and Noe(MIE) Debray are new names to you then it is worth going through their catalogue and how they started. A cocktail of head-spinning components that results in something body-moving, soul-shaking and hugely primitive. That is just a taster of what music emanates from outside of the U.K. Do yourself a huge favour and discover just what…

SOUTH Africa has to offer.

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

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