Raw Ramp Music Mag STRUTS Edition by NEIL MACH

THE STRUTS

DJ AMP LIVE VUKOVI . MAMMÚT . BLUES PILLS . OCTAVE MINDS . WINTER IN EDEN Kirby Kaiser . Natalie McCool . Tankus the Henge . Clas Tuuth Whinnie Williams . Gallery 47. The Flies . Acre Tarn Ballet School . Black Whisky Union . Adult Jazz . Alice Brightsky

In This ISSUE

THE STRUTS

Vukovi

Mammút

WWW.RAWRAMP.COM All material copyright. All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of RAW RAMP. Whilst every effort has been made to ensure the accuracy of the information contained in all our web pages or on our printable magazine publication, the content is naturally subject to change and we cannot guarantee its accuracy or currency. We do not give any warranty as to the ownership of the copyright of any material forming part of this website and do not accept any liability for any direct, indirect, incidental or consequential losses arising from the infringement of any third party rights in relation to any material on our websites, or in our magazine. Our website has links to many third party information providers who are not affiliated with us. We do not endorse any of these sites, nor the information or merchandise contained or offered by these sites. We cannot make any warranties as to the accuracy, reliability or security of any information you might be requested to give any third party and, in no event shall we be liable for any damages whatsoever. The opinions of any contributors expressed herein do not necessarily state or reflect those of RAW RAMP MUSIC MAGAZINE, or its directors or employees. Prices are accurate at time of going to press. To contact editor email editor at: rawramp dot com

FIND US HERE: @rawrampmag

rawramp

rawrampmag

user5227470

RAW MERCHANDISE

THE MERCH TENT 7: Maximo Park Head Mug

1: The Glitch Mob Geometry Leggings

5: The Horrors Skying Scarf

$50.00 / £30.00

$11.60 / £7.00

http://www.shopbenchmark.com/ theglitchmob

http://thehorrors.firebrandstores.com/

8: Warpaint

2: St Vincent Chair T-shirt

6: Flaming Lips Live Custom Tote Bag Designed by Michelle Romo from Crowded Teeth

$24.95 / £15.04

$59.99 / £36.17

http://store.warpaintwarpaint.com/

http://store.bandmerch.com/stvincent/

http://store.flaminglips.com/

9: Glitch Mob Geometry Foil Girls Tank Top

3: KELIS Field Candy retro themed tent $490 / £295

$8.30 / £5.00 https://kontrabandstores.com/ maximopark/merchandise/headmug.html

Cream montage photo tee $33.00 / £20.00

$33.00 / £20.00

http://www.shopbenchmark.com/ theglitchmob

4: The Wytches Patch

10: Vintage Trouble Medallion ear rings nickel silver. VT logo medallion with ear wire

$5.00 / £3.00

$35.00

https://www.facebook.com/thewytches/

http://www.vintagetrouble.com/ store_jewelry.html

http://www.fieldcandy.com/tents/ adults/exclusives/kelis-tent.html

/ £21.00

RAW RAMP MUSIC MAG

Vukovi is an American football team from Serbia. But never mind all that... Vukovi are also a Scottish experimental Japanese-style pop rock quintet. They consist of singer Janine Shilstone, guitarist Hamish Reilly, bassist Jason Trotter and drummer Colin Irving. “Sweet Swears“ is EP available now from iTunes and we had a listen: ‘We Are Robots’ sashays lazily away to begin with. The voice of Janine combining with the elliptical effect of the crashing, effervescent guitars and the spiralling drums that start to boil. After the gathering of the forces, the instruments (and vocal) erupt into passion – with guitars and drums flustering excitedly – challenging each other for the domain.

RAW REVIEWS

The main result of all these interactions is a carbonated angular poem – a song that has extraordinarily powerful vocal detonations. And corresponding dominanation from huge guitar thrums. This song combines bold musicality and compositional eccentricity along its axial tilt – to create something truly remarkable. An off-kilter wonder.

The main voice begins sadly, but soon rises to a golden bright precipice. The song gradually builds up into a strong and magnificent composition. This is rivetted to perfection by pin-point accurate drum-work and projecting guitars that seem to fly away when they are not anchored down. Stunning.

Huge PYLONS OF GUITAR - TOWER OVER THE SONG Title track ‘Sweet Swears’ has huge pylons of sparkling guitar. These tower over this song. And a low gurgling bass-line that bubbles beneath the songline.

Link: https://www.facebook.com/vukoviband

RAW RAMP MUSIC MAG

RAW REVIEWS

Mammút - from Reykjavík - are wonderfully melodic and carefully catchy Their sounds are intricate and headily addictive. They are also darker and much heavier than they first seem ... In July the Icelandic band released the track Þau svæfa [The Anesthetic] from the album ‘Komdu Til Mín Svarta Systir.’ Þau svæfa has pointed cones of piercing beats that pulse like black-hearted beetles pattering against a silver drumskin. These bam regularly against a glass-edged guitar - it shatters out like a breaking ice sheet. Mysteriously, Kata’s lead vocal uncoils itself - and begins to escape from the insides of the cold-strands. The guitar gurgles like magma from a boiling lake. And this grows - fountain-like - as you cautiously perceive its imminent strength. The pace copulates - and it becomes almost militaristic and ever-more demanding.

It drives home the force of those bewitching vocals. And these will enchant and excite you with their increasingly urgent pleas. After listening to this - it is likely that you will feel a bit damaged, slightly dirty. Almost corrupted. That said ... you will certainly be intrigued enough to listen to it all over again...

Listening to this ... it is likely you will feel ... slightly dirty The Music video for ‘Þau svæfa’ by Mammút is from the album ‘Komdu Til Mín Svarta Systir’ Directed and created by Katrína Mogensen and Sunneva Ása Weisshappel Edited by Katrína Mogensen and Sunneva Ása Weisshappel Link: https://www.facebook.com/mammutmusic

RAW RAMP MUSIC MAG

RAW REVIEWS

Everybody Wants

The new STRUTS album starts with ‘Roll Up.’ “I wake up at one... “ sings Spiller. And - right away - we are taken back to the “Queen” of England - back to “A Day at the Races” (1976.) No. Actually, it’s further back than that. It’s right back to “Sunny Afternoon” by The Kinks (1966.) Luke Spiller (lead vocals) r-r-rrolls his Rrrr’s (like David Essex does on “All The Fun Of The Fair”) and the merry band play simple sounds. These have all the charm and cheap glitter of something spinning on your Dad’s home entertainment system. Played in the living room. On a Sunday morning. It makes you smile and feel all gooey inside. It is part street party and part women’s institute Sunday fête. And that’s the charm of The Struts. They have somehow managed to distil and bottle the quintessence of the English experience. It’s music for Pony Club girls and their comic bookponies. It’s music for the Village Green Preservation Society. ‘Could Have Been Me’ may well have the same melody as Green Day’s “American Idiot” (sung or unsung) but this track is not all about surrender and crying over ruined dreams.

This is an ode to those who go out and do it. Those folk who do not say “It could have been me...”

On the slower “You and I” we get a fairly reasonable rendition of Mick Jagger singing a suburban love song. And the Stones sound continues with the openThese people demand, “the ing notes of ‘Dirty Sexy Montaste of love and pain ...” They ey.’ Yes this swaggers like an want to get onto the Big Dipper old, saggy rocker. It’s a bluesy of life. They are not willing to be roots number too. But with some spectators. ridiculously fine harmonies provided a la Queen. “Kiss This” reminded us of listening to Fluff [Alan Freeman] Towards the end of the 1970’s on his ‘Pick Of The Pops’ radio ‘Slade’ - those wonderful hard show, whilst Mum fixed Sunday working glam rock stomplunch. It’s a glam rejection song ers went “All girlie” as Drop ... full of squeezed guitar aggro Dead Fred might have said. and tinselly percussion. And a They even issued a few slow, sing-along chorus that draws ballady tearjerkers. ‘Black Swan’ you in. by the Struts would fall neatly into this category. It is particuIt’s a subtle mix of pop and larly delicate. Moving and sweet. rhythm and blues. It reminded It would have been disgustingly us of the finest days of Aerossentimental were it not for the mith too. constant fuzz and the boxy beat of the glam rock backing. That ‘Put Your Money On Me’ recalled shines through. Thank goodthe smoothness of ‘The Style ness! Council’ - but with a slice of glitzy ‘Slade’ as well. If you can forgive the constant looting of various Brit backAnd ‘My Machine’ has got some catalogues ... and the total moody synth vibes. It is kinda absence of any original thought or like “I’m in Love with My Car” creative identity... you could by Roger Taylor (on Queen’s ‘A really love this album. Night at the Opera’) but a little less healthy (if such a thing Come now, join in.... were possible.) The basic thrust is that the girl is misogynistically compared with a racer. Link: “I’m gonna slip inside... she’s my machine...” www.facebook.com/thestruts

RAW RAMP MUSIC MAG

SOUNDCLOUD CHOICE WILD SMILES. Never Wanted This: A contagious, grubby beat bobs along like a waverider buoy on choppy water. It’s not quite grungy. Clearer and more thoughtful than that. But it comes from the same place. This is a neat little pop song. Cruel, sour. Toxic LITTLE EARTHQUAKE Brightside: The pronking beat overlaps with the swaying motion of succulent keys – these agitate and boil – during the barrel time of the song – then the finale rolls out in dandy fashion. HER BRIGHT SKIES Brightside: Complex pop-punk from a very talented team. What it lacks in caustic sentiment – it makes up for in generously crafted musicianship. So exciting – you will feel your pizzle fizzing as you listen to it... WATCHMAKERS Illumination: This single smears towards you like a blood red stain – then the driving rhythms kick in & the thumping drum entices you onwards. Other siren-like sounds snap and snarl … before a yellowing vocal looms out and heads straight for a buttery moon. The soundscape on this is substantial – like being entertained inside a large yawning canyon. But you can still make out the tiny icicles of small sound and the dinosaur bones of rhythm that sit between the echoing spaces. These salt and moan. THE GREASY SLICKS Into The Night: The title track has an amazing structural stability – as if the anxious guitars are cross-reinforced with strong vocals. Jack’s voice is husky and mature. And strides manfully between the nuts and bolts. The percussive framework binds the whole piece together to produce a fierce, yet attractive, amalgam of pain and pleasure. Words: @neilmach © 2014

RAW REVIEWS

Kathryn Rollins Cut & Paste It Singer Songwriter Kathryn Rollins makes music that mutters at you from the heart … and sparks with emotional rawness. Grown up in Fremantle, Western Australia, she was taught a lot about music from her father, a jazz guitarist, this included jazz harmony. We’ve been listening to ‘Cut & Paste It’ – written & produced by Kathryn Rollins & Steven Schram: On her previous tunes, Kathryn has sounded like Nancy Sinatra – and has performed to stripped down sounds … in this new song she is accompanied by a matrix of welldefined and expressive synths. These creak and bubble – to provide a series of low-burps that cradle that magnificently muggy voice. Her voice is lush and dreamy vinyl chloride. It is also sultry, deep-lined, and earthy… At times, it feels biotic and fibrous – like corn stalks mulched down into a nutrient medium. The verse is almost spoken, before plunging back into the misty deep. The chorus shines and folds in on itself. The song is about the accumulation of confident affection (cut and paste that kiss) – and it is slinky and unabashedly erotic. Link:

https://www.facebook.com/kathrynrollinsmusic

ST AGNES Tackle Roadhouse Blues Roadhouse Blues” from The Doors’ fifth album ‘Morrison Hotel’ with those marvellous slurred vocals, Manzarek on a sleazy jangle piano and Lonnie Mack whamming down the bass – has been a favourite cover song for all kinds of artists, over the years.

The indolent, shea-butter vocals (Kitty Austen) shimmer deliciously against the slack-handed guitar strumming of Jon Tufnell.

Now, the London-based cinematic psych duo Saint Agnes have alighted the wonky jalopy – to give it another spin.

This is all about losing a large chunk of time after a particularly heavy session.

Their version is much less cheerful. The harp is mournful (rather than than whooping it up) – and the tune (no doubt reminding you of Alabama 3’s “Woke Up This Morning”) comes through clearer on the Saint Agnes interpretation. It seems less grizzled and worn.

A steaming organ creates suitably smoggy vapours of bewilderment for the line: “… Got myself a beer.”

It works well here too. Sultry and languid. Full of lazy charm. Link:

tagnes

https://www.facebook.com/wearesain-

RAW RAMP MUSIC MAG

RAW REVIEWS

BLUES PILLS The Debut Album

Imagine a band that sounds like a cross between Fleetwood Mac, the Jimi Hendrix Experience, Jefferson Starship (sans keyboards) and Wishbone Ash – that is Blues Pills. And they have a singer who could reasonably be compared with Janis Joplin or Tina Turner, were it not for her ability to immerse herself down in the ice-cool contralto range. Akin to Cher. The best comparison is London’s St. Jude (with Lynne Jackaman up front) - but in Blues Pills there seems to be an evermore-urgent set of tasks to perform. It’s as if every musician here needs to put in as much effort as humanly possible. The energy is ridiculous! The debut album has just been released on Nuclear Blast. We had a listen: The record begins with ‘High Class Woman’ – this is quick and insolent. With guitars that stand up super smooth and vascular (and will remind you of Wishbone Ash.)

We’re suckers for fuzzy wahwah too – especially if there is a slice of “wacka-wacka” in it! So we loved ‘Jupiter’ especially that sizzling hot guitar from Dorian and the way that Elin spits out the ‘T’ in “Jupiter.” The guitar-work on this track reminded us of Martin Barre (guitarist for Jethro Tull) – slightly free in style – slightly psychedelic – so hot and spicy it burns the skin.

The slower, less furious songs, also seem to show-off the cleavage and lustre of Elin Larsson’s multi-faceted voice. We have only one – very slight – criticism … it is that the guitar constantly stirs and rummages. Like a whole pack of hungry prairie dogs – it is constantly nagging, biting, worrying and fussing. Hungry for more marrow. It seems that there is not a moment’s respite.

‘Black Smoke’ is And, at first, we were also going to be one of the going to comment that there favourite songs from the album. are not enough riffs packed into this collection. We thought we This song steps along as slowly needed a little ‘stability’ and as a cortège – but soon it some relief from all that f burns bright like a firecracker. uriously swinging guitar. ‘Astraplane’ is certainly gonna take you back to very early Fleetwood Mac. The rhythm comes in stern, manly steps. And the fiddleheaded vocals are scorched with corruption around the edges. The slower songs, like ‘Little Sun’ (with its incredibly hypnotic drum-work) create beautiful tiffany-mounts for the vocals.

But, after another listen of the album, we remembered that this is the blues. And it doesn’t need riffs to make it work. It needs blood and sadness. Pain and release. And there’s plenty of that here. Forget the riffs. This is magnificent. Words: @neilmach © 2014 Link: https://www.facebook.com/BluesPills/

RAW RAMP MUSIC MAG

RAW REVIEWS

Headphone Concerto

“Headphone Concerto” is Amp Live’s long-awaited solo UK début album and first via LAbased Plug Research. And he has recruited a bunch of the most talented musicians around – to help make a dream come alive – a hip-hop concerto. The intro “Amore” starts with spikes of ice and a warm cello – then we slide smoothly into “Last Wall” feat rapper ‘Eligh‘ and producer ‘Grouch‘. This starts with a splendid silver band that sound like they’re hooting their hearts out in the park.

Then we come to witch-crafty arch-handed cross-over skills of those para-cellists from Dirty Cello on the track “Flight In G Minor”. Led by Rebecca Roudman, this San Francisco Bay area string outfit can generate so much tense and pleasurable Gypsy buzz that they could re-ignite a hydro-cracker.

This is the single from this bounteous album. And it’s all about being consumed by greed.

The most dirty sounding eastern violin you will ever have heard... “Signs” is a bit snooty.

We are told that L.O.V.E. is the “key” (as if we would ever forget a thing like that.)

Coughing and cuffing. But it is sweet and robust. And it contains the most dirty sounding eastern violin you will ever have heard.

After a few squeegee-man synths, the bass gets going. And the rhythm trundles along like a brushwood shopping trolley.

Then “Run Back” presents the musical collective ‘San Tiimbre‘ (with vocalist Natasha Adorlee and producer Julia Lewis.)

The inhale – exhale parts on the “Last Wall” will really wake up your frontal bones! Talk about headphone dramatics…

This track incorporates lots of clucks and warmish plucks. Natasha’s voice scrambles along like dust particles – caught in the club-light atmosphere.

This track will make your eyeballs slip!

Imagine the theme from “On Her Majesty’s Secret Service” (Composed by John Barry) played on a ricketty ragtime piano. Because that’s how you approach “Penny Nickel Dime” (Featuring Anya and Prof.)

‘The Formula’ features Seattle based artist Sol. This is standard hip-hop fayre – but still retains a mystical element and an aristocratic vibe. So it deserves to be here – in such highfalutin company. And finally we come to the conclusion – “Hustle 360” (Featuring jazz vocalist Povi Tamu.) “Headphone Concerto” is monumental in its ambition and swagger. You can feel that each bit of this huge piece work is soaked in sweat. And rife with talent. Link: https://www.facebook.com/amplive

RAW RAMP MUSIC MAG

RAW REVIEWS

Octave Minds Chilly Gonzales and

Boys Noize aka Berlin DJ Alex Ridha and Grammy-winning pianist & composer Chilly Gonzales have teamed up to create OCTAVE MINDS - a collaborative project with an astonishing album. As you are probably aware – an Octave in musical terms – is the interval between one musical pitch and another. Thus – a musical scale is 8 notes -with the first and last note being one Octave ‘apart’. The human ear loves the simple truth of symmetrical patterns. We find that the notes of an octave “ring” together – and this adds to our overall pleasure. So, Octave Minds starts with ‘Symmetry Slice’. Here, a persistent ivory note is caught in a special spatial relationship within a breezy spheroidal shape. A low dark and chewy bass thickly oozes out. And a few notes of involuntary organ sneeze through the network of sounds. The entire presentation on this track is attractive and impressionistic. Then we move slowly to the ‘Anthem’ – this has a brassy feel.

But it is also milky – with a low surface brightness – which makes it perfect for background material. ‘Tap Dance feat. Chance The Rapper‘ [Chancelor Bennett] is also wonderful.

‘Together’ is opalescent – fluorescing and glimmering gently – like a splendid multi-coloured lizard-skin of scaly textures. This will be a favourite club number – it’s a real delight.

‘Done Deal’ gurgles like a dying drain. But there are also Tap dancing is all about rhythm. wonderful eye-lashes of sounds All about beatcount and precise here. heel and toe mathematics.

When the bass drops in it kicks you like an electric stock prod... This track is a celebration of all that arithmatic fun! This has a whiff of clockwork eccentricity about it – as if the dancing was performed by a laughing automaton – he has marble heels and cuckoo clock machinery (where his heart should be.) ‘Royalty’ is ratchetty and irascible. Full of curmudgeonly fits and starts. But when the bass drops in – it kicks you in the glutes - jerking you into action – like an electric stock prod.

These will tickle the skin. Although a disturbing presence threatens to upset the balance … by ‘calling in’ to make some threatening inquiries. This is the most statuesque piece on the album – full of black drama and striding elevation. The organic guitar – looming out of a darkening crack – is amazing. This is our favourite track. For lovers of extremely powerful new-age electronic ambience. And it’s all you’ll need. Link: http://www.octaveminds.com/

RAW RAMP MUSIC MAG

RAW REVIEWS

Court Of Conscience Winter In Eden

We always supposed that living in Eden was like living in the Big Brother house. Except worse. There is not much going on. There are a lot of small, annoying tasks. And an omnipresent authority figure watching over you. Criticizing everything you try to do. In Eden you would get up around midday. You would schlep over to the orchard. And choose an apple for lunch. You would try to avoid stepping on snakes. And that’s about it. Above all, you would wait in joyful hope for an early eviction. Adam and Eve were probably, secretly, very happy when their double eviction came up. It meant that they could finally get on with their lives. The five-piece symphonic rock outfit – Winter In Eden - from the North East of England – are about to release their third fulllength album ‘Court Of Conscience’ . After facing the Court Of Conscience – Adam and Eve were expelled from paradise. Probably with a guilty smile upon their relieved faces…

The album opens with a remark- ‘The Script’ has a deliciously ably sorrowful piano. harmonic opening. And a sleeting of keyboards. This teeters on the ‘Knife Edge.’ Vocals from Vicky Johnson are Gentle rhythm guitar fluctuexpressive and grandly bodiced. ates under the skin. And that wonderful lead vocal rises like a The accompaniments seem to communion croque-en-bouche. accentuate the neckline of her Enrobed in a glaze of spicy warm, dark deeds. bitterness.

It rises like a scaly wyvern... ‘With Intent’ is demonic in its majesty. It has a thunder in its heart. And a treacly blackened synth exudes like glue from the Tar Pits of Hades. Guitar and bass are black as bitumen. And once they absorb into your mind you are unable to move against them. This is sinister. But wonderful. ‘Toxicate’ has clear roots in blues-rock. The jangle of guitars enclose around a central theme in highly decorative swirls. ‘It’s Not Enough’ is gentle and progressive. With tiny droplets of sound lightly tapping across those buxom vocals. Then it rises like a scaly wyvern.

‘Constant Tomorrows’ has a metallic haze to it. Like a badly scuffed hub-cap. And then ‘Behind Closed Doors’ has some satisfying low-chords. And an angular framework. The album concludes with ‘Affliction’ and some fiery fretwork by Sam Cull. This is, in a nutshell, a crush-loading heavymetal track. Audience satisfaction is guaranteed for this album. All the musicianship is superb. And the vocals are revealing and demonstrative. For those who like symphonic rock this will be a great pleasure. Link:

https://www.facebook.com/pages/WinterIn-Eden/110545798972772

RAW RAMP MUSIC MAG

Kirby Kaiser Doo Wop Fantasy New Single: “Hawaii”.

Want to spend some time in a trashy, lush, la-la idyllic fantasy island with ever-flowing coconut cocktails and tassled rattan beach huts? The 21-year-old Brooklyn via Chicago doo-wop artist Kirby Kaiser teases her debut LP with new single “Hawaii”. Kirby Kaiser’s bubblegumsweet doo-wop confections spin together wistful melodies and and lush harmonies tinged with the melancholy of teenage heartbreak.

RAW REVIEWS

Inspired by the carefree pop and soulful R&B roots of classic doo-wop groups like The Shirelles and the Chiffons, Kirby writes and composes all her music with the tonguein-cheek lyrics of a modern teenager who would rather “get high and make out” than go steady at sock hops and drive-ins.

A rhythm that sways gently as palm trees – a ripple of moonlight vocal – that shines out across the blue seas of liquid sound.

We had a listen to new single “Hawaii”:

Cool, moving and very, very beautiful.

The main voice is passionate and ascending – as cool spikes of guitar light up the corners of the song … like tiny silversprite candles.

Link: https://www.facebook.com/KirbyKaiser

Natalie McCool Dig It Out Natalie McCool, one of the most well respected singer-songwriters to emerge recently, has announced the upcoming release of her second single of the year. ‘Dig It Out’ will surely build upon the plaudits and momentum that previous single ‘Wind Blows Harder’ cultivated, which garnered praise from the likes of The Line of Best Fit, Clash, NME and Indie Shuffle. McCool boasts the very finest musical background, graduating from the highly prestigious Liverpool Institute for Performing Arts (LIPA) with top honours. A burgeoning alumni career has seen McCool perform at Hyde Park to an audience of 120,000, with a live four-track EP from London’s Abbey Road Studios also under her belt. Fans of McCool’s work include Sir Paul McCartney, Bernard Butler (Suede), Steve Lamacq and Mojo founder Paul Du Noyer. We listened to ‘Dig It Out’:

Image: thanks to: http://www.bidolito.co.uk/

Sitting somewhere between the trembling beauty of Copenhagen’s Kill J and the feminine sparkle of Iceland’s Ólöf Arnalds – the vocals here are like floating crystal swans. The chorus really stands out. Like a determined moth. She is trembling and fluttering toward a dangerous sky. The song is rarely embellished. It has an almost invisible boney corselette of small brushes and lighter accompaniments. This helps, to give the voice that divine splendour of holiness This is slim and tidy. And it feels so, so good.

Link: https://www.facebook.com/nataliemccoolofficial

FABLE Stranger In My Head ‘Parasite’ is the debut EP from the rising star Fable. Its three tracks have a complexity and power that defy Fable’s young age – she’s just 19. The EP was produced by the multi million selling progressive trip hop collective Archive, with whom Fable is also writing and recording her debut album. ‘Parasite’ is set for release in October 2014 on 74 Music. We checked out the new track from the EP ‘Stranger In My Head’:

It’s like a smear of intransigent attitudes and thickly warm temperaments. A baroque sounding exposition starts the song proper. And then the vocals reach high altitudes and claw at your insides. Drumwork (by Steve ‘Smiley’ Barnard) is insistent – and the accompanying sounds are dizzy and inconclusive. This leaves your nerve endings gnawed. And feeling a little jumpy. Link:

https://www.facebook.com/whoisfable

With a jig-saw of keys & noises by Darius Keeler and Danny Griffiths, the vocal sneers into view.

RAW RAMP MUSIC MAG

Redfest Review 2014 Peace and Dreads in the Surrey Countryside.

The best thing about RedFest is that it is so safe and quiet. It is a social weekend which is not far from home. It seems that many families participated in this year’s wonderful two days of festivities in the heart of the beautiful Surrey countryside. We saw lots of locals – moms and dads – with kids and grandparents – turning up for a day in the sun. To lick an iced lolly, and to enjoy a jolly kick-about in the generous open spaces.

RAW LIVE REVIEW

Then to participate in some sweet head banging … just as the golden sun went down. It’s amazing – the power of music. It is always a wonderful sight – the bringing together of tribes, ages, genres and even social classes – and this can only take place at very special festivals like RedFest. Properly coordinated. Professionally managed. And very safe.

The organizers are extremely talented – and this weekend they managed to create a peerless inter-cultural mix. Who could imagine a line-up that could include so many diverse acts? From heavyweight metal acts like ‘The Heart of a Coward’ or ‘The Dirty Youth’ (and the the incredible ‘Skindred’ show) – to the dramatically heated passions of solo performers like Lewis Watson or Lauren Aquilina. Or the incredible extravagances of rock ‘n’ roll acts such as The Struts or Peace.

Music was served at four different stages: The Main Stage, The Total Uprawr Stage, The Introducing Stage – plus the Head Space Tent. Best of all (in the evenings) was the ridiculously enjoyable Silent Disco. Music has the ability to transcend all boundaries – so at Redfest 2014 we caught glimpses of Santa Claus lookalike grand-daddy’s moshing down at Total Uprawr to the crushing guitars of The One Hundred.

They explained that they had made a very long and painful drive – a 16 hour road-trip – down from Glasgow to see us (the journey is usually ‘only’ 9 hours.) Wow – we were glad they did it!

But soon enough, after the sultry and shimmering performances of Lulu James and Lauren Aquilina [pictured left] things became very exciting – especially when The Skints came to stage.

Their guitar-infused hip-hop was music party material. Pure and simple. From The La Fontaines onwards – we knew (in our hearts) that this would be a very special weekend.

Although we were given a short set by one our favourite live bands – it was inspiring and completely danceable. A true ska-treat.

Of course, there were some disappointments.

While, apparently, the aunt and the children were swirling around in a trance to the sunshiny vibes from Young Kato up on the Main Stage. And where were Mum and Dad? They were probably watching rising stars like “The Bullet Proof Bomb” over in the Introducing Tent.

Catfish and Bottlemen unexpectedly pulled out (because of some unforeseen personal circumstances.)

After 20 minutes of tropical rain, on Friday afternoon the wonderous La Fontaines gave us a whole load of sunshine and smiles.

Everyone felt drowsy and faint. So they stayed in their tents. It was possibly a combination of heat exhaustion and over-doing it in the Silent Disco (the night before) that was to blame.

And on Saturday ‘A Plastic Rose’ did not really enjoy the size of crowd they deserved – punters were extremely thin on the ground.

Later, Peace [pictured left] came out and delivered the goods … this rock quartet based in Worcester (UK) has already been described as “The future of the indie” by The Guardian … yet this was the first time that the band had headlined a festival. How lucky were we? Link: http://www.redfest.co.uk/ Words and Pictures: @neilmach © 2014

RAW RAMP MUSIC MAG

LeeFest Review 2014 Sun in the Fun

This year’s LeeFest – the sensational award winning non-profit music and arts festival held in the countryside of South East London, near Bromley and Croydon – has already been nominated for another award: This time it’s the ‘Best Independent Festival’’ of 2014 by the AIM Independent Music Awards.

This year’s blazing sun helped create that longed-for party mood in Lee’s ‘Back Garden.’ And the highlights included The Cribs, Rae Morris, Krafty Kuts and the amazing dan le sac Vs Scroobius Pip - all helping to make this 2014 bash a party to remember. Headline act, the energetic MØ got hot, steamy – and -oh – so close-up... Other perfect moments, for us, were the wonderfully buoyant Cable Street Collective [pictured above left.]

RAW LIVE REVIEW

And the sexy Spaghetti-western, ska twang coolness of Corners of the Earth [pictured bottom right.] We also adored the mellow beauty of Nottingham’s incredible Amber Run. [Pictured top right.] Link: http://leefest.org.uk/ Words and Pictures: @neilmach © 2014

RAW RAMP MUSIC MAG

Tankus the Henge New Single: Recurring Dream

Tankus The Henge – six lords in the city (they make some glorious ragtime rock, reggae and gypsy punk ) – seem to have a high-flying dream that studies the inadequacies of their devotions. And after flying (through the night) with their loves – into the air – it comes as a shock to face up to the truths of the day.

RAW REVIEWS

The voice of frontman Jaz Delorean sounds dastardly at times.

And the fairground tinkles and furious drumming all add to the excitement.

The dieselpunk piano chuckles. And huge horns splash out in sympathy.

This is rich ska revival pop for a new generation of rudies … and you will enjoy frolicking in the fun-house.

The regal chorus is wonderful. It churns up a huge sea of emotion within your heart.

Link:

https://www.facebook.com/tankusthehenge

Clas Tuuth For fans of Mount Kimbie or Gold Panda Clas Tuuth will release his third EP titled just “003” via esteemed London indie NeedNoWater Records on September 22nd. Pinging a wine glass. Then humping a cardboard box. All to the rhythm of ‘Jingle Bells’ – well that’s ‘Cliff’ – with its deeply rheumatic purr of vibrating bass notes that rub the bones. And drill down into your cortex. On ‘Anchorage’ you can hear the trading junks coming in and out of harbour. And there is oriental mystery created by the shifting mists. The ticking of rain beats down against taut sails. And silverfins crest the waves. Creating a wonderful sensation. ‘Ours’ is a slightly ink-spotty memoranda. With torn pieces of rhythmic fabric left laying around – it’s like a tailors shop after completing a rush-job. ‘If’ is a jolly rustle of joy. With parchment thin overlapping synths and tambourining drums that bash and flicker. Then a glowlight low-sound tremors out like a trapped moth. They say that you are most likely to have an accident “Half Hour From Home”- the thought behind the theory is that you tend to turn off – you’re more familiar with the area so that you pay less attention and you focus less. Anyway, this track is densely frosted. Like looking through a very dirty pub window. Grease and residue obscure the view. But outside the world is going about it’s business.

Link: https://www.facebook.com/clastuuth

GIDGE Norrland - from Autumn Bells Swedish electronic duo Gidge (consisting of Ludvig Stolterman and Jonatan Nilsson) will release their superb debut album, ‘Autumn Bells’, on 23rd September.

A place where the sun shines through in dappled rays.

We listened to Norrland - the last track on Autumn Bells:

Like goldrays that beam through the webs and deep into the heart-oak.

Echoing horns slide out of a woodland glade, like butter easing from a churn.

But sneezing horns are never far away.

There is something slightly ornithological about the sounds – as if they are calling one another. Then the hazelnut pace begins with a tidy beat. A small clearing in the forest is located. This place is damp and mossy.

The synth sounds here are woodchip cut and seem very precise.

There are signs that the music of the forest will come alive without you or me around to conduct the majesty. This is probably the most inventive piece we’ve heard in a long time. Link:

https://www.facebook.com/GidgeOfficial

RAW RAMP MUSIC MAG

Whinnie Williams Mixtape - produced by pop kings - Future Cut

British solo pop singer Whinnie Williams aka the ‘Sunday Girl’ released her first single through Polydor Records in 2010 and supported Ellie Goulding on tour during the latter part of the same year. In March 2012, she co-wrote a song titled “Turn Up the Radio” for Madonna’s twelfth studio album MDNA after collaborating with model Zara Martin to form one-half of the DJ duo Ooh La La! In February 2013, Williams released her first single and music video under the moniker of Whinnie Williams:

RAW REVIEWS

Whinnie Williams has since created a mixtape (produced by pop kings, Future Cut.) It is guaranteed to get your weekend started: ‘Eiffel Tower’ is a sparkling protest song - ironically illuminating - with a “Je t’aime… moi non plus” underlay. The vocals are clear and silver-bell shiny – this slips down as easily as syrup, shandy & silky drawers.

The cheeky cheerfully incisive “Chav at Heart” will remind you of Lily Allen – but the bump and grind of ‘Doo Wop’ is a little grimier and has a dustier complexion. This mixtape is certain to gladden your heart and will lighten up any weekend. Check it out now! Link: https://www.facebook.com/WhinnieWilliams

Gallery 47 Invasion from “ALL WILL BE WELL” Gallery 47 is the dream and virtuosity of singer-songwriter Jack Peachey. His style has courted comparisons to Tim Buckley and Bob Dylan due to his poetic, pensive lyrics. He has released a new single “INVASION” which was digitally released on 15 August (I’m Not From London Records). Imagine vocals as tender-high and hopeful as Art Garfunkel’s – with a steady rappetty finger-picked pulse and a throbbing beat. “Invasion” develops like bubbles of storm clouds on a wistful day. The words flitter and fluster like moths on the wing. And all this is encased in a crusty pie made from papiermâché and gum. Wonderfully rash and lofty. Free Download Link: https://gallery47.bandcamp.com/track/invasion Link: https://www.facebook.com/Gallery47

The Flies Pleasure Yourself Bristol (UK) three piece The Flies release their second album ‘Pleasure Yourself’ on 1st September 2014 through Library Music Recordings. The Flies formed in Bristol when production team and Emmy Award winning soundtrack composers The Insects (Bob Locke and Tim Norfolk) joined forces with vocalist/musician Sean Cook. We listened to ‘Pleasure Yourself’: ‘My Baby Will Leave You’ has a plodding pace and a grizzled voice that seems as rough as sandpaper. So it comes as some relief when the whole thing blossoms into something lighter, brighter and brassier. And a good deal happier.

‘Pleasure Yourself’ has a tick-tock structure – and a music-box quality. Full of gears and intricate movements. The vocal is papery white and kind. Like the wrapping tissue on a promising gift. ‘All I Want’ has odd, rubbery inchsized twungs. Plucked out from the juices. Like cherry stones thumbed from a pie. The voice is soulful and joyful. And the rhythm sways like a clever waltz. ‘Part of Me’ has a delicate tangle of fine guitars. It’s breathy and fragile. This album is ingeniously inventive and gleefully eccentric. Link: https://www.facebook.com/thefliesmusic/

RAW RAMP MUSIC MAG

Acre Tarn Wishing Bone from new EP

The post punker’s ‘Letters To Fiesta’ lead singer AnnaLouisa Etherington and her new band Acre Tarn have announced their debut EP via Tri-Tone. New track ‘Wishing Bone’ has just been released from the EP. A grubby, listless beat emerges from a dark hollow place. Dry clefts of rhythm have notch-like characteristics.

RAW REVIEWS

Drooping branches of accompaniment expose some damply decomposed vocals. These vocals bioluminesce gently into something radiant and pure. Sometimes the voice of Anna is alpine-high – reaching sheer moments of pain. But it can also fall tragically into the mulch of this sacred grove.

This song is too complicated and too special to be played only once. The sap of voice flows like blood from the heartwood soul. And the majesty of the ferny instrumentality will attract you deep within the folds. Link: https://www.facebook.com/acretarn/

Ballet School ‘Crush’ Video The Berlin-based trio Ballet School comprising of Rosie Blair (vocals), Michel Collet (guitar)and Louis McGuire (drums) create classic melodies, beautiful beats and authentic lyrics. At the heart of the Ballet School sound is the perfect marriage between Rosie’s voice, Michel’s glacial guitar and Louis innovative drumming. Their ‘Crush’ video contains spiny rushes of guitars with cactus-like pinnacles of percussion. Rosie’s voice is crystal-clear but sometimes smears at the sky – hollered out over the scenery. Sometimes the song reaches sparkling highs … then the voice crystalizes the sensations… and moves us into sublime hand-clapped fanfares of sublime ecstatic joy. Totally uplifting. See the video:

http://youtu.be/ZgXwvvZNbt4

Link: https://www.facebook.com/balletschoolband

Black Whisky Union The Lysergic and The Acid ‘Black Whisky Union’ is an exciting three piece project from Southern California - set to be one of America’s hottest talents. The talented trio (Brit Sheridan, Jim Leber and Michael Wessner) have a sound that boasts heartfelt rock ‘n’ roll, memorable melodies and bass driven soul. ‘Please Don’t Go’ (from the 3-part EP) has a percussive sound of crisp lightness – a fold of tissue paper – like a new shoe box unlocked. Brit’s voice tenderly emerges – it is lush and very clean. This song is very reminiscent of the Winehouse version of Valerie (The Zutons.) It’s light, gentle and efficacious. Jazz at its most innocuous.

‘Little Lady London’ has a rumble of drums and a full set of talkative brass sounds. The low bass-notes cheekily nose around the scattered lingerie of sounds that surface the song. Meanwhile, the voice mumbles before it flies – whipping around the accompanying themes. The best part of this song is the rattling final dance beat that is so evocative of the sound production of Mark Ronson. ‘Gone’ is more jarring. The beat is stormy – like a good tango should be – and the voice has more passion and focus. The lyrics are much more aggressive here too. More of this please! Link: https://www.facebook.com/theblackwhiskyunion

RAW RAMP MUSIC MAG

Maria Evangelou “Mr Right” demonstrates Motown Formula

Maria Evangelou is a songwriter and performer currently based in London. Having been introduced to music from an early age, she decided to follow that path full-time as a way to express her artistic lifestyle and personality. Maria’s upcoming new single “Mr Right” is an enticing dip back into ‘60s history. It shows off Maria’s Motown, soul & jazz influences and can be compared to the likes of Amy Winehouse, Dionne Bromfield or Duffy.

RAW REVIEWS

Although soul and jazz are usually considered to be the field allowed only for grownups, Maria effortlessly infuses her music with a mature expressiveness. She is very comfortable slipping into these classic styles. The rhythm on single ‘Mr Right’ sweeps like a brewer’s broom across the stabelyard cobbles. A glimmer of reverberating twang hangs in the air.

Then Maria’s low-pitched husky voice contemptuously sneers its way into your view. The verse is full of scorn and smirk. But the chorus – when it reaches those higher altitudes – is far more optimistic. This girl seems clear in her resolve – next time she will find her Mr Right. Link: https://www.facebook.com/MariaEvangelouOfficial

Adult Jazz Spooks from Gist Is Adult Jazz have announced their album is out on the 4th of August. It’s called ‘Gist Is’ and was self-recorded at various locations around the beautiful Scottish Borders and in Leeds, where the band first took shape. Spooks [from the ‘Gist Is’ album] starts tenderly – with a sense of unease about it … in no hurry at all. Uncanny chimes combine together with sung notes, as a voice tippytoes around a forbidden room of sounds. The accompaniment grows furtively – cunning as a fox entering a prohibited area. Soon the pace picks up and rhythms start to plastically expand – fillling the landscape with joyful patterings. About halfway, the listener begins to realize that he/she is being directly spoken to. At this point, you will devote your full attention to the piece. But it still has far to go… Later, a glandular guitar begins to weave around the sounds. The pace becomes a little more ‘poppy’ – but this is balanced by a counterweight of (what sounds like) a toucansqueaking! The final moments of this beautiful song are immensely satisfying – as the song becomes an extraordinary, colourful rally … with driving beats and African sounding supplications. This is an unusually delicious and a fully absorbing piece of work. Totally uplifting. Link

https://www.facebook.com/adultjazz

Alice Brightsky Up Up and Away Singer-songwriter Alice Brightsky (Stopkoski) has been in bands before, but it wasn’t until she was solo under the spotlight that she found the core of her sound.

Set against pinnate strumming and finger-clicks, the slightly effervescent and almost oily voice of Alice fireflashes out and loops the loop like a satin ribbon.

With vocals that can come off only soothing to the first-time listener, but wise with an edge to those with an ear, Alice has been entrancing music goers through her lilting melodies that coat her meticulous guitar strumming.

The silky voice goes down low, until it touches the bottom of your heart.

Alice has just released her new focus track “Up Up and Away” from her debut solo album “Box Of Me” Fortunately, this is not the 5th Dimension song, but it is just as easy on the fins.

At other times, the vocal jumps skylark high – taking your passions up to the Milky Way. This is a very swishy song – full of twists, re-narratives and purring fantasies. Link: https://www.facebook.com/AliceBrightSkymusic

RAW RAMP MUSIC MAG

Bandcamp Choice 1: Daryn Alexus GREEN What is it? R&B and alternative pop from D.C. Best Track: International Lovers - stylish, funky, smooth & juicy. Well we’re impressed... Price: Name it Get It Here: https://darynalexus.bandcamp.com/album/green Link:https://www.facebook.com/DarynAlexusMusic 2: Out Of The Blue Soul Sister What is it? An all-male a cappella group from Oxford (UK) What’s not to like? Best Track: Lady Marmalade - yep, it’s sleazy, sexy, burlesque and performed by a load of fit boys. Price: about £10 Get It Here: https://ootboxford.bandcamp.com/album/soulsisters

Link:https://www.facebook.com/ootboxford 3: Allison Crutchfield Lean In To It What is it? Lo-fi pop punk from Philadelphia Best Track: Supermoon - It tinkles and swells especially as the vocal is piped-in Price: about £5 Get It Here: https://allisoncrutchfield.bandcamp.com/album/ lean-in-to-it

4: Zella Day Zella Day EP What is it? Americana from Los Angeles Best Track: East Of Eden (pink toes pressed against the carpet) Its sad - but somehow - upbeat. Price: about £15 Get It Here: https://b3scirecords.bandcamp.com/album/zelladay-ep

5: Alex Boye’ Africanized What is it? African dance from Portland, Oregon. Best Track: Royals - yes, it’s that track but now it’s Africanized! Price: about £10 Get It Here: https://alexboye.bandcamp.com/album/africanized

RAW RAMP MUSIC MAG