Unsigned & Independent (December 2014)

ELDER ROCHE THE FEVERS THE JACKOBINS PETER DORAN DECEMBER 2014

SOUTHERN SUNRISE

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FONTAINES DIMESTORE RECORDINGS

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THE RUBY SESSIONS

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SAUCY SUNDAYS

THE MANC TANK

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THE FEVERS

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IRISH ALBUMS/EP REVIEWS INTERNATIONAL ALBUMS/EP REVIEWS SINGLE REVIEWS DECEMBER 4x4

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ELDER ROCHE 8 Southern Sunrise

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U& I Mus ic Magazine 26 K ings Inn S treet Dublin 1

EDITORIAL When we released our December issue last year it felt monumental to be able to have the great privilege to say we

Editor-In-Chief: Phillip Ó’ Baoighealláin Deputy Editor: Greg Clifford

We feature one of the most promising acts on the Los Angeles issue featured Peter Doran on our cover and we have an

Writing Staff: Eloise Cahill Gary Kavanagh Jamie Kelly Sean Brennan Liverpool Correspondent: Joe Loftus Manchester Correspondent: Dave Beech U&I Gigs Photographers: Eric Cooper Dom Marceleno

Interested in advertising with U&I? Contact: sales@unsignedandindependent.com

THE F

Brother and sister duo THE FONTAINES are currently becoming one of the fastest rising properties on the underground music scene in Los Angeles. They came to our attention recently off the back of some insanely positive reviews and impressive live shows through our co-op network over there. We caught up with Hank for an interview to talk about everything the band are about, their music, what the Echo Park scene has to offer and why he sees making it happen for yourself as one of the key ingredients for getting anywhere as an artist today.

Then the other question that begs to be asked is why and when did you decide to become a duo?

In terms of the influences that you have listed on your Facebook page, it seems to be both an eclectic mix as much as it is one that spans a long period of musical history. As a brother and sister duo did you grow up with different musical influences? And how have those influences come to shape your music today?

Is it easier to get things across in the creative process when you know each other so well?

We don’t tend to think about “who” influenced us when we’re writing something...usually we will come up with a part, then a couple hours later think, “whoa, that sounds like Pixies!” or something like that. Spending all our formative years together actually left us with pretty similar tastes...I think that we both like very clean sounding, pure recordings.

Stuff like The Cars or Sam Cooke. Weezer even. We like to be able to hear what the singer is saying!

Growing up had you both been in bands or done your own thing as a solo artist?

We both tried other things before we wrote together and none of them worked, so that’s how we wound up here.

I think much of our “decision” to make music together was just an inevitable by-product of our dissatisfaction with what we considered to be “popular” music. We didn’t know that places like Echo Park existed, neighbourhoods where you don’t have to sound like everybody else. So we just played around on our phones (I’d say that 100% of our songs are recorded as Voice Memos at some point during their evolution).

Nah. We just yell at each other more.

What does that add to the dynamics when it comes to the whole song writing process and all the other things that need to work musically?

Well, to completely negate my response to the last question, we actually manage to be very honest with each other as a result of living together. When a part doesn’t work, it gets cut. And with brutal language describing why it has to go too!

You have described your sound as ‘New Wop’.

What exactly does that entail and how do you fit what you are about as artists into something that can be labelled as a specific genre?

We made up that term SO THAT we wouldn’t have to be labelled as a specific genre that already exists,

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that already has positive or negative connotations for people...that way they don’t know what to expect.

The current single is called ‘Dustin Hoffman’ and your debut single went by ‘Paul Newman’.

Is naming the singles after iconic movie stars a theme with The Fontaines or is it just a coincidence that both singles got named in that fashion?

You’ll see.

Who has been involved with you in the recording process from the side of production?

Our very talented friend Michael Coleman did a LOT for us in terms of production. He was always willing to tell me when a part wasn’t working sonically. We also got to work with some other awesome engineers including Claire Morison, who works at Bedrock, one of the go-to rehearsal/recording/everything places in Echo Park (our neighbourhood of LA).

There was a lot of airplay for ‘Paul Newman’.

What did that do for raising your profile?

It made me feel really proud of our work. It’s not every day that a self-released record (that hadn’t even been commercially released yet) gets on the college radio charts. I think that’s a testament to our songwriting and all the work everybody put into this thing.

You are also very active when it comes to the process of video. In our opinion you seem to give careful and due consideration the importance of using it as a medium to promote yourself as artists.

FONTAINES

November. Soundcloud and YouTube have both been in the news, along with Taylor Swift’s removal of her music from Spotify. All in all, those stories seem to have dominated the business side of music in the news. Irving Azoff threatened to pull some 20,000 works from YouTube in a stance against getting a better deal from revenues generated for his artists.

Soundcloud is also set to undergo major changes that will affect new and emerging artists. In terms of receiving a fair price for what you produce commercially as an artist do you think that is something that can be achieved through streaming sites?

Thanks for the articles*! Always appreciate reading this stuff. I don’t really know what to make of it all, but I really appreciate all the love we’ve been receiving via our SoundCloud and Spotify followings.

For any emerging artist they are both essential resources for getting your music out there. If they were to become commercialised do you think that they would deter artists from using them or would you be more encouraged to engage with them because of what they can bring to the table for you?

There are no rules anymore. The old anti-advertising placement attitude is outdated...that is where the money’s at.

The internet is very much something that divides opinion among musicians. Some people see it as being a positive for artists because it has created a more level playing field for everyone, whereas others see it as something that has destroyed the industry with how piracy has now become commonplace and acceptable. Where do you see it having its place in that argument?

We would have close to no following at all if it weren’t for the internet, so I don’t get where all the hate comes from! I’d much rather people legally download our music...but the fact that that’s even a possibility is neat.

You are currently getting a lot of notice and attention on the LA scene. Historically LA has always been renowned for being one of the best cities in the world for new music, but how healthy is the scene at the moment at a grass roots level?

Photography by Maddie Freeman I think that the old-school anti-video attitude is pretentious and just acts as an excuse for musicians to be lazy. Be the whole package. Be the video star. I made our first music video on my iPhone using a stop-motion app, and not because I wanted to, but because nobody else wanted to do it for me. Now people want to work with us all of a sudden!

How do you see video as part and parcel of what being an artist is all about, and secondly, how important do you see it as a promotional tool for any artist?

15 minutes of fame = 150 Vines. Bands should just make videos and not even treat it as the sort of thing where it’s a choice.

The video for Dustin Hoffman is a very interesting one in its own right. Who did you work with for that video?

My friend John Dowd shot that for us. I think he did a wonderful job bringing some understated elegance to that song.

When a director explains their vision to you how receptive are you to what they have as a vision or do you like to put some of your own input in to the mix with their ideas?

I think that Charlotte and I are songwriters. Frankly, I’d rather let somebody else take the reins with something like a music video as much as possible, as long as it works within our aesthetic. You shouldn’t ask me how to make a music video any more than you should ask a director for medical advice.

The same also applies to the artwork on the single. Who did that for you?

Charlotte and I shot some photos, then she drew them (and quite well, I might add). Our friend Maddie Freeman created our logo.

That now makes it two single releases for you. One of the current developing trends as an industry standard now is the inclusion of streaming as relevant to compiling chart positions. Recently over here Meghan Trainor got to the coveted number one position with ‘All About That Bass’. The interesting thing about that was that she did it solely off the back of streaming. You have joined with Spotify, so the question is what is your opinion of streaming?

Again, just do it with the streaming. It’s not up to you as a musician, unless you’re only making music for yourself. And I’m too arrogant for that.

With streaming traffic now accounting for chart positions do you think it will have a serious impact on the more traditional consumer trend of purchasing downloads or do you think that a happy medium will exist between the two?

No idea. I don’t think anybody really knows but at least it’s monetized somewhat either way.

Anything is better than the Napster vs. Metallica days of yore.

Streaming is something that has been flavour of the month in a big way this

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Funny you should ask, are we’re just finally starting to find out about all the cool bands who are based in our neck of the woods. Lolipop Records is based a stone’s throw from our house, and is releasing a ton of cool music. There’s lots of great DIY venues in downtown LA where you can pay 5 bucks or less and see tons of great new bands.

Are there any venues that you really enjoying going to – be that for the purpose of playing a gig or to catch other acts playing?

We’re about to do our first residency at the Silverlake Lounge - that’s a great, small room where you can see several bands play for free every Monday. We’ll be there every week in January with some of our favorite acts, and I couldn’t think of a better place to put that sort of thing together.

You have a very good working relationship with Street Joy as well which should be mentioned.

How did that all come about and what is it about working together that you both seem to get so much out of?

Part of being in a great music scene is that we all help each other out. Street Joy’s members back us and then we go and book shows with a split bill in return.

Everybody supporting each other is the way to go when you’re starting out. Snubbing other local acts doesn’t do anybody any good.

What else is planned for you in 2015?

You’ll see. Just keep your eyes peeled for what we put out on thatfontainesound.com *Here are the two articles in question if you want to read them: http://www.hollywoodreporter.com/thr-esq/irving-azoffthreatens-yank-20000-748631 http://www.thefader.com/2014/11/12/whats-gonna-happen-to-soundcloud

‘Overhead The Stars’ was quite a lush and layered record where you incorporated a wide instrumental spectrum, yet ‘Outlines’ is a significant departure from this, taking a minimalist and stripped back approach. Was that a progression that subconsciously took it’s own form or was it an intended, conscious decision?

I find each album project has a life of its own – dictated by both the songs and the circumstances.

‘Overhead The Stars’ was a big record... big band, big studio, (relatively) big budget. With ‘Outlines’I didn‘t really want to go through the same process again. I was curious to go in the opposite direction. Also it was clear early on, that this group of songs would work best in a more humble musical setting.

Were there any specific influences for this album, music or otherwise?

Musically I really got into Alela Diane‘s ‘About Farewell’ album.

That was a big influence and also the mood and feeling of Billie Holiday‘s - ‘Lady in Satin’ album which is an absolutely stunning record. I listened to my fair share of Ryan Adams too which may have made its way into the album somewhere. Outside of music I was really getting into people like Alan Watts and the website Brain Pickings is a treasure trove of inspiration for artists.

You have a wonderful reputation of being incredibly candid, intimate and honest with your lyrics, and ‘Outlines’ takes these qualities to an unprecedented level. Does this album reflect in any personal way your life at the current moment?

In terms of songwriting, did ‘Outlines’ entail a different approach to your songwriting process, or was it a case of trusting the same old formula that worked for previous albums.

I don‘t know that I have an exact formula for writing songs. I didn‘t try to come up with any new appproaches or writing techniques for this album though.

Some of the songs were written or started when on tour, others were written in carved out stretches of time that I had dedicated just for writing (mostly at the country location where the album was recorded). I think we‘re constantly changing as people and that is reflected in our writing. On top of that, the more you write the more you get to know your craft. It‘s an ongoing process.I find that there are cycles you go through as an independent musician. Writing – recording – touring / promotion etc. Right now I‘m not really writing at all, but more focussed on how to get these new songs heard. It‘s important that the music is heard, that it has a chance to connect with other people and hopefully bring some value / joy to them. A friend of mine told me recently that this is the last stage of the creative process – actually bringing what you‘ve created to other people. This is our contribution, otherwise it‘s just journal-keeping.

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The songs on ‘Outlines’ have come from many different places. Some songs are a direct document of how I feel about life and making my way through the world. Other songs are closer to fiction. I like to try and paint a picture with these songs. To give a glimpse into some kind of world. I like that creative challenge. With the song form you only have so much time to communicate what you want to say. I like the idea of how in a painting for example, or a photograph, you can communicate so much in just one frozen moment. So for songs like ‘Moon’ or ‘Bright White Hearts’ I tried to imagine this world as a painting or a short scene from a play. So the record is like that - a mixture of personal real life songs and dream world / fiction songs.

I like to try and paint a picture with these songs.

To give a glimpse into some kind of world. I like that creative challenge.

ORAN Interview by Sean Brennan

We also were confident that we had enough experience to get good results. Doing it ourselves gave us a lot of space to be patient and to play around with the songs. It allowed for time to light fires, to warm hands and to really relax into the performances. It meant we could move through the process with no pressure, only curiousity.

You’ve now released more albums in eight years than many independent and unsigned songwriters manage in a lifetime. What’s the secret to your continued levels of fortitude and commitment?

Love. I love it. I love music and I love writing. I love playing live and I love recording. Also, there has been small progress and growth with each record. Small wins that make it feel like your moving forward. I‘ve gotten to know so many amazing people through music and I get to work with some seriously talented people who are also my best friends. It‘s a good situation. I‘ve also been surrounded by ridiculously supportive, nurturing and patient people that make it possible.

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Unlike ‘Overhead The Stars’you’ve decided on a self production approach to ‘Outlines’. Was this a logical process which simply felt appropriate given the highly personal and introspective nature of the songs or was it just a welcome change from the recording process on the previous album?

It was an idea ... a challenge.

Myself and Nicky (Who played guitar on both Overhead... and Outlines) talked about it a lot before we began and we wanted to try it in this way. We both liked the idea of being able to work away at our own speed and not being tied into a certain stretch of studio time where the clock is ticking and money is being spent.

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Following the recent album launch at Whelans, which was highly successful, what are the near future plans with regards to touring/promoting the album? Or is it straight back into writing mode?!

I thnk I owe it to this album to work as hard as possible for the next year or so on touring and getting these songs to the people. I have an idea to put out a single in March or April 2015 and do a proper Irish tour with that. I also will definitely be doing some shows in Europe & US in 2015. I aim to throw myself into the heart of battle... but to keep a calm heart. In saying that though, I would like to get back into some good writing habits soon. All in its own good time.

www.peterdoran.com peterdoran.bandcamp.com

RAPHAELS Interview by Gary Kavanagh

SOUTHERN Our London network recommended Brighton’s SOUTHERN SUNRISE to us last year and when we first heard them we were taken back by how distinct they managed to develop a calling that was very much about creating a true identity as much as it was the music. We have kept tabs on them this year which has seen them base themselves in Holland and really develop as a band in our eyes. We caught up with the band to talk about everything that has been going on with them.

Last year we listed ‘Brighton’ in our best of 2013 compilations (coming in at number 8 on our list) and you have followed that up with ‘Feels Like Home’. Are there any aspects on the new EP that sound similar to ‘Brighton’ or do you think it all stands up as something that very much has its own sense of identity musically?

Yes, thank you for that, it was a great surprise! Good question.

Both EP’s contain a variety of different songs, all inspired by folk, country, blues and pop, so in that aspect they’re similar.

For example the first track on the new EP, ‘Red Sun Calling’, could be compared to ‘The Game’ or ‘Young Love Blues’ on the first EP, although it also brings new genres to the table, like the synthesiser hook in the second verse. However, there are also completely different songs on the second EP, like the title track, ‘Feels Like Home’. This is a very small song that Shonagh wrote to cope with her homesickness and the move to the Netherlands and was recorded completely live. That’s totally different from the way of working on Brighton. The overall sound of Feels Like Home is slightly different too, this

time we locked ourselves up in one studio for a week to record the EP, whereas with Brighton it’s been recorded on various locations over the course of a few months.

Is the end product what you set out to achieve originally or did it evolve differently? Is it fair to say that any progression reflects how the band has grown since you started out in 2012?

It’s definitely all we hoped it would be, but it did evolve hugely throughout the recording. When you’re working with musicians like Pablo and Luka van de Poel (DeWolff) it would be almost impossible not to come out with a song that has been altered in some way. They come up with such fantastic suggestions and we play around with it for a while and then you start to forget what the original demo even sounded like because the new version just sounds ‘right’. For example, the drums for ‘Red Sun Calling’ and ‘Closer’ were completely different before we unleashed Luka on them. And of course, the music has definitely changed as we’ve grown as a band. I think we work much more cohesively as a unit and the other members, Daan and Remco, really know what sort of sound we need for a song when coming up with ideas.

You have been described as a somewhat Dutch meets British band by some. What aspects of your music would you consider to be distinctly Dutch and what aspects would you see as inherently British? Do you see your music as something that works as a combination of both or just a natural extension of what you are capable of producing as artists and the labels are just secondary?

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The only way we’re “Dutch meets British” is in the nationality of our members, so in that sense it’s a fair assessment, however it hasn’t got much to do with the music we write. The genres we use are very universally ‘western’. For example our country influences could be considered American, but country is loved worldwide. We just write something that feels right to us and sounds worth the effort of dedicating more time to it. If we come up with something we don’t like anymore after a week, we get rid of it and start over, no matter which genre it is related to.

You released the video for ‘Brighton;’ in January. It is a very soulful tune. In terms of being at your creative centre where was the band at the time of writing that EP? Where were you on an artistic level when it came to writing ‘Feels Like Home’?

Well at this point, it was just us, Arjan and Shonagh, in the band so the music was coming from our hearts and our main shared love at that point was Brighton, the city we were living in. Shonagh had never done anything musical before, so in that sense, the music was very fresh and ‘young’, amateur even. But now she has a lot more experience of the music world and what it’s like to be part of a performing band and a better understanding of what it takes to write a good song.

When we moved to the Netherlands there were a lot of new experiences, forming the band, touring across the country and for Shonagh, it was her first time living outside of the UK. The title Track of ‘Feels Like Home’ is about her working through her homesickness, so again it’s at an incredibly personal level.

N SUNRISE I think that will always be our inspiration when writing music, our own experiences, thoughts and feelings.

most of our other gigs, everybody just gets themselves there and we meet at the venue, so it’s not quite the same.

You have been primarily focused in Holland this year.

Are you planning to build on that for next year? What does being on tour seem to bring out in you as a band on a collective level?

You got down to the recording process in a big way in July. Was it hard to fit in recording around doing the festival circuit and gigs? If so, how did you manage it and how did you find that?

As we’re based in the Netherlands it’s obviously much easier for us to play in the area. Because it’s such a small country it does make it easy to get to gigs all over the place and our members live in different cities in the North and South so we all have to travel. We’re hoping to begin the new year with more gigs in new venues and it would be fantastic to start playing in some of the neighbouring countries. We had a brilliant gig in Bochum, Germany a few months ago. I think we’re all getting very close as a band, we’ve just welcomed our new drummer, Casper, to our ranks and he already feels like part of the furniture, which is great. We’ve never done a full-on stuck-together-in-a-bus-for-weeks tour so who knows if we’d all come out of that alive! But hopefully we can do this when we do a UK tour. I think we’d have a lot of fun.

It was a really fun week for us, recording in the studio. We made sure to block off that time for the sole purpose of getting the EP done so that we had nothing interfering with that. But of course, we were a little rushed occasionally and things didn’t always go as planned, but because the studio is owned by our good friends, DeWolff, we never had to worry about ‘closing time’ at all. We just wanted to make sure everything was perfect and if that meant spending an extra few minutes doing another take of something, then that’s what we did.

They say that getting away from home helps you to grow as a band. Have you found that to be the case?

I’m sure it would! The only time we’ve really had a taste of this was our gig in Germany. We rented a mini-bus and all travelled there together and we had a great time and it really helped us to connect in the few hours we were on the road. For

You released the EP back in September. Where did you have the launch? How did that gig go? Who supported you on the night?

We had the launch at the newly renovated Volt in Sittard, a really awesome venue. It was a brilliant night and we’re so pleased with how it went. Everyone was really nervous before we went on stage but when we started playing it all came together perfectly. That was a real highlight of this year for us. We were supported by local singer-songwriter Bo Venbrucx, who was lovely and played a great set of sweet songs beforehand, and our friend Ashwin from local band Martinus played vinyl in between the shows and afterwards.

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You have also released it independently on your own label. In terms of the freedom to create things that you want artistically, what other freedoms and benefits do you see from being an independent label that are of a huge benefit to you as musicians?

We have indeed, on our own little label called Southern Music Records, which we’re quite proud of! During his study at the Brighton Institute of Modern Music, Arjan has learned a lot about releasing your music independently and that has been a big advantage for us. It’s nice to be able to do and plan everything yourself, from the initial idea of a song, to a fully finished album. As you can imagine it feels incredibly rewarding once you finally get your hands on the first issue of your new ‘baby’. Of course it can also be quite tricky, as it is a lot of hard work and you need to deal with the potential mistakes you make, for example a typo on the sleeve of the new EP…besides the complete artistic freedom, which is an important aspect, you also get to keep the majority of your earnings and are always up to date about the development and response to your new album.

What else lies in store for the band in 2015?

We hope we can finally make that UK tour happen in 2015, which would be brilliant. It would be great to visit all those places we’ve played when we were just a duo with the full band and show the guys in the band a bit of the UK scene and of course Brighton, the place where it all started. Besides that we will continue to conquer the Netherlands and hopefully work towards a new release.

RAPHAELS Interview by Gary Kavanagh

ELDER ROCHE - 10 -

W

hen were you first introduced to music and performance? And did you receive any formal training?

I have always been surrounded by music. My father was a huge classical music fan. He would always have it playing in the house and car. My mother was a big fan of Jazz, especially from 30's and 40's.

As my eldest sister grew older I was influenced and drawn to her taste in musicians like Neil Young, Tom Waits, David Bowie, and Crosby, Stills, and Nash. She was going through her vintage stage I guess.

Who were/are some of your integral musical (and life) inspirations that have helped shape your work over the years?

I guess all the above really, although I did delve deeper into the music of Bowie, and Waits and old folk music (mostly Americana) when I was old enough to buy my own records.

Have you always performed as a solo artist or have you been involved in other bands and projects?

I tried to get into bands when I was younger, but I never really had much of an interest in heavy rock music back then, so I wasn’t that popular. But myself and some college friends formed a band and moved to West Cork to live and play.

We disbanded after the last Summer of college. Lot’s of good times had though. Since then, I have played with backing bands, but mostly solo.

What do you find inspires you to write songs? What subject matters intrigue you?

I love words, and the rhythm I find in word structures. Music seems to emanate from them when they come together in the right way. That is my greatest inspiration, and my greatest frustration. Sometimes I think the words are great, but they don’t fit in musically.

What were the central reasons behind moving to Berlin?

As a piano player it’s easier and much cheaper to tour around

mainland Europe if I’m road bound. Berlin was the perfect city to set up and work from.

How have you found Berlin?

Has it been a positive move?

And do you find the place conducive to creation?

Berlin is a great place for creativity, although I think I still write best in Ireland for some reason. It has been a rollercoaster ride since been here. Creatively positive, but not necessarily in the field of music. It has opened up other creative routes that I was blind to before. I wouldn’t say I find the place particularly conducive to creation. No matter where you are you have to find your own niche, and discipline yourself to get things done.

Berlin is synonymous with electronic music. Do you feel this can inhibit what you’re working towards? As in, does it become harder to reach wider audiences in Berlin as a result?

I don’t know. It’s not my field. If it does make it harder then it’s an invisible obstacle. Berlin is full of creatives in every field. People’s attitudes are open and searching for new ideas. We feed off each other. Who knows? I may just find a person I would like to make a dance record with.

You released a new EP in October of this year. How has this been received?

It has not been officially released.

I’ve decided to go back and change some things. The campaign will be set for next year.

To celebrate the new EP you also had a video produced for your song ‘Kerry Black Mountain’. How did this come about and how was the experience overall?

I created a limited amount of copies to correlate with the release of the video. I met Robert Grant who has been making short films of his poetry here in Berlin. I was

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really impressed by the quality and style of his production, so I emailed him and asked him if he would be interested in doing a music video. The shoot was amazing. The team were such hard workers, and so much fun.

Got it all done in a day. I’m very happy with the finished product.

Do you have plans to record an album? And what are you working on at the present?

I’m not sure. I may just release a series of EP’s. I am working on some guitar songs that I wrote through a dark, dark time in my life. They are grim, but they need to be finished, or else they’ll be a noose around my neck. So I’m working with a fantastic musician called Greg Clifford - You may know him. He is helping me get these little dirges down. We have also started to do some co-writing together, so perhaps some lovely sunshine will come of that.

Where are some of your favorite venues to gig at in Berlin?

Bassy Club, Kuggelbahn, T-Berlin, and the old Gaudy Cafe.

You also compose film music and scores? How does this compare to your usual song writing approach?

I like doing this very much. It pushes me away from my usual way of thinking. Working to strict deadlines is a great way of working. Something I struggle with when left to my own devices.

Recently you have dabbled with acting. Can you tell us about this and would you have intentions to further explore this line of work in the future?

Berlin opens up new areas of exploration. An opportunity that sounded like fun. And so it goes. I enjoyed the experience, but I’ve no clue if I’m any good at it or not. We’ll just have to see.

Do you intend to stay in Berlin long term? And do you plan to tour or play some Irish shows in the near future?

I don’t know to be honest. I do plan on touring Ireland in the very near future.

Dates are not confirmed as of yet.

THE MANC TANK

by David Beech

Modern bands are no stranger to innovation.

With music becoming little more than a commodity in the eyes of many, more and more bands are looking to combine their music with something else; looking to find a way to stand out from their contemporaries without compromising the artistic integrity of their output. Enter Manchester's The Fevers.

Fusing together a love for funk, soul and dance music, The Fevers are very much a band for whom innovation is at the forefront of their creative processes, and with singer Scott Fair working within the industry already, it comes as little surprise that their forthcoming release is entwined uncompromisingly so with the new media technologies we all readily consume.

With a rare live event at Manchester's Night & Day Cafe recently, The Fevers saw their New Life EP released in tandem with a mobile application of the same name. Unusual it may be, but the nature of the game's narrative ties in perfectly with the narrative of the EP; a lone cosmonaut travelling through space, sound-tracked by the EP itself. And whilst theimage of the lone figure in space could quite easily reflect the band as they take their

tentative steps in to the murky waters of the music industry, what it actually represents is the natural uncertainty of Scott Fair's impending fatherhood.“I was finishing my final year of university and we found out we were having a baby and so I had to seek full time work and finish my degree all whilst thinking about what kind of father I was going to be - escapism seemed an obvious fantasy at the time”.

With escapism and innovation both a recurring motif within The Fevers, it goes without saying that the appropriately titled New Life is an EP interlaced with such concepts too. This is music with a message, a narrative that reaches beyond the realms of what most contemporary indie artists are doing, whilst still retaining a universality that prevents them from ever straying in to pretension.

In short, The Fevers are a band worth getting yourself worked up over, and whilst they mayhave you reaching for the cold-compress and seeking out a darkened room, New Life is a fever you won't want to sweat out in a hurry.

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Interview: Hi Scott, thanks for taking the time to answer some of our questions. First of all, who are The Fevers and how did you start playing together?

The Fevers consists of myself (Vocals/guitar/synth), Tom (Bass), Lee (Drums) and recent addition Matt (Guitar). Tom and I are high school friends, misfits who gravitated towards one another through a mutual love of bands like Nirvana. We formed a melodic Grunge band and played some pretty dingy venues for years before evolving, through love of dance and funk, into The Fevers. Lee replaced a drum machine we used to use and Matt replaced our old guitarist…the rest is dull history.

You recently played The Night & Day Cafe at a release show for your latest EP, New Life. How did that go?

Very well thanks. It’s great to see people really enjoying our music in a live scenario. We don’t do many gigs so it’s always a big special occasion when we do.

As well as the EP, New Life also involves a mobile app. Can you tell us a little about that? How did you come up with the concept?

It was whilst I was studying my degree in music production. They were always banging on about

innovation in the market place, people thinking outside the box with campaigns, virality etc. I’ve always been a massive sci-fi fan and a retro arcade style game set in space seemed to tie in well with the music’s themes of exploration for new life.

The bio on your website says you're interested in using both modern and analog techniques when it comes to recording. Do you think this interest in traditional and contemporary formats stretched beyond recording, and that's what led you to release a combination of old(er) and new technologies with New Life?

We’re just looking at different ways of exposing our music to people. We noticed that for some reason the soundtrack from say Sonic the Hedgehog, is something that just sticks with you. It is well-written music for a game, catchy almost jingle-like, that sticks in your head through repeated plays. We thought with New Life it would be nice to do that with something a little deeper, like have the addictive playability of a game like Sonic but with a more considered soundtrack that takes repeated listening to sink in. This music is less immediately accessible than our previous stuff, but perhaps all the greater for it because the app provides a way to engage with it more.

You underwent a slight line-up change earlier in

the year. How did you find it? Was it an easy transition?

It’s never easy to replace a core member but we feel we’ve found a great match for our style, which can change on a weekly basis. We wanted someone adaptable and have found a great talent in Matt.

Similarly, how was it to be playing live again?

Did it all go as planned?

Our goal when playing live has always been to enjoy the music we write with others. We don’t try to divide ourselves from the audience with a weird stage persona.

We’re very genuine and that gives us a vulnerability that our fans seem to relate to. We’re not grade A musicians (which basically means we fuck up a lot) but our music always stands out from others and people enjoy it.

With the EP now released, what can we expect from The Fevers going in to 2015 and beyond?

Hopefully some more releases, I think people just need to hear more of what we can do.

Obviously with playing the Night & Day, I'm sure you're familiar with the Abatement notice they were served earlier this year, and have since

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beaten, but what do you think a venue like the Night & Day beating such complaints means for independent venues and Manchester as a whole?

I’m not sure of the direct repercussions with that incident, but I will say that it’s so important that independent venues survive. Live music is a massive part of the industry for one thing and for another, on a personal level I will always prefer watching bands in small venues rather than concert halls or arenas.

Being familiar with the local scene also must mean you've had the opportunity to gig with plenty of local talent. Is there anyone you think our readers should be checking out?

I don’t get out as often as I should but I did see a very entertaining show recently from Trojan Horse. My favourite has to be Age of Glass though…such an inspiration musically and a thrilling, often humorous live show.

Finally, any exclusive news or parting words you'd like to leave our readers with?

It would be great if your readers would try our free app and support something a little different we’re trying to do. You can find it for iPhone or iPad and for android by searching for The Fevers New Life.

by Joe Loftus

The Jackobins The Jackobins are deemed as one of Liverpool’s most exciting new bands and exciting they most definitely are. Their eerie symphonies of haunting choruses and maddening cacophonies; crippling riffs and softening keyboard kisses. They’re certainly one to keep your eyes on…

Whether or not people like them, bands such as U2 had that thing, which is why you can put most of the songs from The Joshua Tree and they won't seem one bit out of place or outdated and that album is over 20 years old now. I think it’s the best way forward really, do what you like, be innovative, don't care about what's in now and try to copy someone else and you'll stand the test of time.

So Veso, how did the band form?

Can you tell me a bit more about the song Ghosts?

It’s a weird one really. I used to live with John (keys) when I was in university and we always used to mess about with different ideas, but I wanted to make it more serious and went to him, ‘look join my band’ - as we didn't really know anyone in the music scene. That’s where I found Dom looking for a guitarist and I heard his vocals on a few of his old bands demos and was blown away. I was supposed to audition for his former outfit, but I never showed up on time because I was hungover. Long story short, we kept in touch and when Dom's band broke up three months after he was going to leave music for good. But one thing just led to another and he fell in love with my playing, the same way I did with his voice. So we invited John down and had a go at a few tunes; the rest is history really so they say.

I'll have to pass you onto Dom for this one as he felt connected to the song and wrote the lyrics, so he's got the best idea about it… Ghosts is one of our darker songs, both lyrically and in the feel of the instruments; it’s essentially a melancholic lullaby that seeks to look into those dark corners of our lives where we generally don't like to go. The 'Ghosts' of the title are not some Casper-esque spectres, but something far more frightening; namely, the demons of our own minds that pervade our lives at that most intimate of levels. They strike us where we cannot run, and other people, no matter how close to us they are, they cannot save us from them. However, it would be reckless to describe the track as a depressing piece, as I like to think there is hope trickling away underneath like some underground river waiting to find a spring to bring it to the surface. Basically, the song laments the suffering we put ourselves through, but heralds the oncoming strength that we accumulate when we face it.

And how have things changed in that time?

Well we went through several different line-up changes, before finding the right people; the sound has matured and become more interesting and diverse in the past 7-8 months. A big part of the lifeblood in the band has come from the arrival of Marc and Chris and I truly believe we're on the right track at the moment.

I'd say Ghosts is my favourite one of your songs, do you have a favourite?

It is tough really. It is very hard to pinpoint one your own songs as they all tell different stories and express different emotions. However I'd say my favourite song is the next one, the one we haven't done yet. The possibilities with new material are endless, so it’s very exciting and keeps you on edge constantly, but the one song that keeps doing that for me over and over again is The Otherside.

I'd say that The Jackobins are what I'd term pretty un-genre-able.

I've listened to a lot of your songs and the sound frequently differs and pushes the boundaries of several genres at once. Is this something you have done purposely?

What’s been the hardest thing The Jackobins have had to go through?

Yes and no. We've only been together in this current form for about 7-8 months, so I guess you could say we haven't completely found our sound yet.

That being said though, we've always aimed at being diverse and exploring all different musical depths possible.

The absolutely hardest thing is finding the right people; I strongly believe that the dynamics of a band are akin to the relationships we have with our girlfriends/boyfriends, it’s such an intimate thing, being a musician means stripping your soul of most or all of its clothes, and that can be a frightening thing…that requires love and trust, without that you're fucked - no matter how good you think you are.

Who was it that inspired you to start making music?

I think I owe it to my parents initially really. They were both really musical people, although they never really played anything, but growing up listening to Guns N' Roses, Deep Purple, Pink Floyd, The Beatles, The Rolling Stones etc made me fall in love with music. If I can recall correctly it was the moment that I first heard Stevie Ray Vaughn play that I thought wow this is what I want to do with my life.

And what’s been the best thing you've gone through?

Just growing as a musician and as a band and developing those strong bonds mentioned above, every day you grow, you add new leaves to your tree and your song gets stronger and stronger.

What are your plans for the band in the near future?

And who are your biggest influences at the minute?

For now really it is making sure the E.P launch which is on the 13th of December goes smooth and turns out to be a real success. After that we'll take things one at a time, but we're planning another tour in June/July and a few shows beforehand too with possibly a few European dates and quite a few festivals.

I've been listening to The Verve and The Stone Roses a lot recently. I guess I do that all the time anyway though. I'm trying to find someone that's that complete lately, but I'm really struggling. Most artist nowadays just find what they're best at, perfect it and stick to it, but after a while it gets boring.

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DIMESTORE RECORDINGS Sweeney’s Bar (4-12-2014)

ARIZONA KINGS Arizona Kings were the first act on the night and they eased into their set with a modest cover of Kanye West’s ‘No Church In The West’ before they launched into ‘Angry Men Roar’. This is a solid tune that is backed up comprehensively by the playing from start to finish. The handling is a slick affair and also showcases how tight that they are collectively. Exemplifying that assessment is ‘San Francisco Song’. Something languid hangs back impartially that is quite descriptive. Yet there is a consensus on show in the lyrics that reliantly comes forth from the open feel of the flowing guitar work. How they do their thing here is rather savoury.

On ‘Time’ the favourable qualities neatly drop. They denote something of real substance alongside the catchy bounce in the rhythm. The high yield retained in the comfortable stage presence greases the wheels in a way that is keenly felt. What emerges is a clean and catchy tune that is extremely impressive. There is a broad definition to how ‘Americano Blues’ is led in.

The sharp, hardy beat adds real swagger. In that bustle everything comes good. The vocals are pitched in a finite style that is well kept in check. The good bridge mirrors the steady handling that toils away, and, because of this, it leads to something specific. There is also a lot to admire about the catchy hook on the chorus. ‘The Storm’ then comes in off the back of a sway in the soft revelry. That is a circumstantial feature which lights it all up considerably. It is a smooth affair and the gathered sense of purpose does see them turn on the style, but it all hinges of the real sense of play that sees them ride this one out. They then produce a slower offering with ‘All I Need Is You’. On this one the warm trappings justifiably catch everything.

The notability on show is an apparent given by design that adds up. How it all breaks down is incredibly resolute with a concise precision noted on the heartfelt attributes that endear you to how it is structured.

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REBECCA COLLINS

Here is an artist that really caught our attention here this evening for all the right reasons. ‘Creepeth The Thrill’ really got things going. It is a tune with real bite to it, while the spirited vocals match the intensity of the hardened approach on show. It is an intelligent combination that rises explicitly with the paunch in the rhythm. But it also comes across in a neat and tidy way to suggest there is something to spare. After that we were treated to the lay Tex-Mex stirrings of ‘The Climb’. In how that is dragged across you sense what is being brought to the table from her on an artistic level. It beds in and there is an intuitive movement about it all that follows through. That neat flourish allows her voice to wrap around the notes. Overall, it is a cool and inspired number. Then we come to the alluring ‘Chiaroscuro’ and the well placed sense of structure is evident. This gives everything a somewhat lucid calling that is seized upon in a totalled way. But it is then furthered by the conclusive development on its own merits. A dark calling is noted in the progression here that is slightly incurring on a shoegazer vibe. It is rich in volume which is enhanced by the bespoke resonance of the guitar.

A pacier affair follows with ‘Home Fires’. That solid trajectory sees it hit the ground running. There is strength drawn from how it gets down to business that gives it a lot of front. It is a complete effort which has a big draw from how it is all laid out in the tempered bass and drum elements. Then we come to the deft ‘Black Triangle’.

Tiding away on the play is a deep resolve that manages to create a captivating presence. That gives it all a considered appeal that is very much at home with the allure, almost akin to Stevie Nicks for all the right reasons. But she stares everything down and more than answers what is asked of her on this one. There is a clever use of vocabulary in the lyrics of ‘The Clown’ that force you to take it serious. They add contention to another sterling effort from her here but also show her to be a serious artist. Gender be damned in the assessment here – on merit this is a raw and empowered showing which has enhanced value brought by the lean way it is all cut. She closed out with ‘I Heart U’. Charging through here is the rhythm.

The checked motion of the guitar adds an unbridled sentiment that collects in a real way. There is a genuine balance between notoriety and talent which makes for a live showing that took our breath away here tonight.

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LEVEL HEADS

Another act that impressed us here this evening was Level Heads. Their set may have taken a few songs to get going but when it did it was a top drawer calling from them. A resounding commencement comes through on their opening effort ‘Growing Old’ that is guided through by the closeness of the flow. Those relative touches provide a classy demeanour that turns on things sharply. The even weight then holds firm. You then pick up on the swing from the sharp drums on show in ‘City Life’. There is a snappy way to how it climbs that locates a catchy panache.

This in turn then gives good shake to the movement that takes it all home. ‘Waiting Game’ is a more mature effort and it is at this point that you see them up their game. There is quite the genuine cut to how it plays across that carries a degree of excellence all of its own. The terms of parity collecting in the rhythm are considered eventfully in terms of their totality, but it is a firm and upbeat calling that is highly mainstream.

The bustle of the guitar works on ‘Wake Up The Wave’. Tailored in the correlation is a colourful approach that spills forth in an illicit way that brings through a welcome turn in the running. That empowered showing confirms how that are growing in stature at this point. Two covers followed in quick succession – Lorde’s ‘Royals’ and the full version of the Peggy Lee classic ‘Fever’ before the good showing of pace announced ‘Blind Reggie’. This seems to shoulder an apparent affluence that is quite distinct but systematic of their on the spot showing here as they go all out. They don’t trip themselves up either despite it being very easy on the ear. This is down to it being blessed with purpose. They harbour a little hint of old school rockabilly in ‘Simplicity’ but it hangs back pretty soon into the song. The surge in the play is excellent and charming and draws a smart comparison with the works of 80’s band The Housemartins. It is inspired from how out on its own the elation comes to be. In how it drops down it is chockfull of energy. That exactness draws an implicit inspiration from how they wear their hearts on their sleeves here.

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Here was a band that turned up in a way that showed they really wanted this gig.

‘Wooden Heart’ was an impressive showing from them immediately. The sharp certainty on confirmed that from the opening. It then hung back to allow the steady build to plant the determination. That is a fixed stature that is kept in check alongside the considered worth of the catchy side that is outlined. It is an appropriate grounding and one with a high level of musicality about it all. They seem to favour a light flirtation with calypso on ‘In The Back Of My Mind’. That sees them carve out the groove in a considered and noted way. It is an adventurous showing and the shared vocals seem to further the lean momentum that builds. In the condensed attributes they really come into their element.

A more genteel number came next with ‘Visions’. What hides away here is highly stylised by the competence displayed in how it is all controlled. The good showing in the harmony and the toiling of the guitar are neat qualities that are beneficial to the breakdown in a realised way, but it does pack a punch in the temerity picked up when it takes flight.

LUNA LUNA

A more sunken number sums up ‘Don’t Say A Word’. It is very settled overall. The chaste drive secured by the vocals and the handling flourish it with the right amount of pace that sees it all check in smartly. Everything on show here is in sync and that makes the pursed traces all the more dutiful. They then played a new song called ‘Fabric’ and there is a certainty about the presence here that builds comfortably. That is configured neatly in the outline of the running here. With how those considerations are played into the workings the bursts of flavour prove to be a big draw. There is something lent to the guitar that brings a token level of sophistication which is enriched by the belief in the management of the vocals. The evident panache of their closing number ‘Never Let You Go’ prevails in a progressive way. The fluid upkeep is entertaining and confirms it all as a tidy number. What is considered in the calling is relative and offset smartly by the fundamentals of the breakdown.

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This next band stole it for us on the night. From the very second they took to the stage they owned it. With ‘The Irish Song’ they load up on pace and contain it in a set way. The catchy hooks see it right and there is an interesting pique from how the vocals are applied. How it is pitched showcases an impressive array of talent all over. The specific way that the mastery on show connects with the differing playing arcs is energetic and as it goes all out proves them to be the real deal. An exceptional level of fortitude then continues with ‘Feeling Groovy’ which racks ups the good vibes in the room. There is a clean break to how it all moves. The consistent and lavish appeal shows that the sharpness up there on the stage is not just confined to the suit of frontman Juan Beltran. That is recognised in the checked beat in the breakdown. ‘Gang Of Bullets’ was getting only its second ever live play but that never showed. There is a good deliberation in the guitar that has a chaste Bossa Nova calling that adds style. The indie drive then comes through and fixes something commanding to it that ramps up the delivery. It is a killer tune indeed.

Another electrifying effort comes to pass with ‘Scratching Parade’. Here there is a defined worth cornered which brings it all through. The big emphasis on the concise development of the running mesmerises you further with the degree of confidence that also backs it up. With a catchy and colourful Latin flavour comes ‘Pata Sola’. It is fulsome and the spry hooks invariably perfect the pitch. It is all carefully worked. The artistry on show melts into the playing on the bridge and personifies a band on top form. The little hints of ska and reggae serve it as well as the rock leanings so capably do. They then slow it all down on ‘Leo’. How intricate it all comes to be as it passes is hopeful and procedural in equal measure. That pattern formally builds everything but doesn’t stifle creativity. It is a generous showing on an instrumental level, while the lyrics also tell a wonderful tale.

On ‘Sex & Love’ everything is designed to get you into the dancing. They sink their teeth into the demands expected of them. Slick interchanges also charge it up in the right way. The certified level of funk pushing it all out adds momentum to an already full-on affair that is a true testament to their stage presence. They then ascertain a confident nou-disco beat that amazingly steps out on ‘Alive’. What hides away on the guitar licks is incredibly neat but also display some rather astute proven qualities that are well figured out by how tight they grow into this one.

There is also a lot to be said for the superiority of the vocals.

AZTEC JACKAL

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MAGES

Over to support Tongue Bundle at their album launch was French band Mages. Seeing as they were in town they decided to grace Dimestore with their presence. These guys were fantastic. Al of their ensemble set was untitled and improvised. However they avoided any prevailing repetition in doing so. The brass instrumental on the intro of their first tune brought a prevailing depth to proceedings. The richness in the playing qualities give it all a clean resolve.

Inhabiting the languid strokes is a positive application that brings life to the rhythm off the back of its catchy design. Again some more showboating comes to pass with their next effort but it makes for a fine contemporary affair. The saxophone has its moment after the one cornered by the guitar playing. It is captivating and enthralling with all the smooth trapping superbly noted in the later progressions.

Then they produce a steady and cautious effort that goes on to be a long player that goes the distance. Dictated by the slower movements to begin with, the pedestrian feel then steps out.

The bass drops off and there is a lonesome calling before the bass returns. That learned showing procures the minute details of the ebb and flow that is rather abject. Isolated in the running here is a fullness that prevails with the secondary direction cushioning the play in a way that elevates proceedings.

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After that they pitched things with a much broader definition that has a copious realisation in how it develops the expansive qualities. The worth is measured by this in the showing which then holds fashionably. The interesting development settles the structure as all the disco features come at you head on in the later tracking. Then they repeat how enigmatic they are as musicians with their last effort. There are stylish loops garnered alongside the neatness of expression. All in all, it is a fine case of artists losing themselves in an inspired moment truly of their own creation.

THE RUBY SESSIONS Doyle’s Bar (2-12-2014)

SINÉAD WHITE By some strange arrangement of fate we first saw Sinéad White perform in this very venue at The Ruby Sessions a little over two years ago now in 2012. On that night she very much caught our attention for what she is all about as an artist. In that time she has significantly improved in so many ways.

Her performance here this evening got underway with ‘Runaway’. What she has on her hands here is a song with a distinct wonderment to it that gives it the comparative showing it deserves. Yet you also respect that it is in the hands of an artist who does it justice. The detailed lyrics carry across a stationary testament that she comfortably grows into. That due resolve is tidied away in all the attributes on show. With ‘Poor Little Rich Boy’ you immediately pick up on the excellence. The conveyance in her performance matches the context. She manages to procure something of substance that centres on the tune, but there is something magnetic about her delivery here. The inner calling of her performance adds to the attention of detail that moves through this one.

She then covered ‘Chandelier’ by Sia and this was followed by her last track ‘The End’. There is an explicit confidence on show that clicks here. The angst in her voice and the empowered lyrics are a positive conveyance that brings the song into its own element. There is a slight hint of Ting Tings about how it progresses. This then catches a true burst of pace in the guitar that she runs with excellently. Her album is finished and it is something that we are eagerly awaiting the release of.

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PETE FAGAN

We have seen Pete Fagan before with Edisons, and their excellent album was reviewed by us earlier this year, and he is a very accomplished performer in many respects.

Tonight he was joined by Michael MacLennan on piano for his set. His set was very much suited to the surrounds of a Tuesday night crowd in Doyle’s. Adhered to in the guitar is a soft calling which lines up neatly against the longing of the piano on ‘Many Suits’ in a way that plays its part. Those soothing characteristics are rich and give as telling sense of structure to the way everything runs.

That granted appreciation in the showing serves it well but it is carefully considered which shows. There is a dependable sense of belief to ‘Everything’. It is tidied away with a fitting sense of distinction that benefits from the lean calling of the vocals. In how this adds weight the sincerity manages to come through. The consolidated way that it adds to the stirring context is appreciated further with the knowledge that it was recorded in the famous Sun Studios.

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The fullness is granted to the play from ‘Take Me On Down’. That admirably comes to pass. There is something very giving about the terms that give it reach.

In turn, it comes to sit well with the weathered context of the lyrics. Achieved from this is a fine sense of worth which is taken stock of in the delivery. The good qualities show and he then closed out with an n Edison’s number called ‘Evelyn’. This has a lovely impasse that is a joy to behold. But it then evolves beyond the intimacy. What befalls it to make that possible is graceful and makes good use of the respectful sombre tones on show.

We have always been impressed whenever we have seen Colm Lynch play and he is one of the few acts who are extremely comfortable and in their element when they play here. Backed up by his full band on the night he got everything underway with ‘Declare’. There is a strong calling to this that is given a real sense of balance that matures easily when factored in with all of the other considerations on show. That collective warmth fronts everything in a noted way, while his velvet like voice possesses a quality that eases across on the vocals. With how the elements find their calling here things come to pass in their own right.

The drumming eases in the excellent ‘No Hole In The Bottom Of The Ocean’. It is a descriptive tune with a smart transition abounding on the timely intro. The pacified feel that then comes off is a big showing.

Adding to the presence is a candid charm all of its own that are explicit marriage of vocals and lyrics. The tidy and lay features combine in an ensuing way that finely impresses, giving it a blessed appreciation overall. A glorious state of reason pulls the stellar ‘Crazy Tool’ together.

What abides here is a personification of true artistic merit. How clean it travels carries it all through. The placid style meets the well-considered level of pace on show which clearly amplifies the appreciated substance of it as a whole.

Their upcoming single is a reworking of the Prince classic ‘Never Take The Place Of Your Man’. Even though it is a cover there is a softer re-working here that moderates their version to call the shots just right.

Runaway Train’ has a faultless calling. It is well-versed overall and that is schooled in the performance in a way that matches how the tune develops. A sombre hold residing allows it to mature cleanly which in turn tidies away everything on the rhythm in a strong way. A high pitch in his vocals also adds something considerable to it all. Closing things out was ‘Human Behaviour’. Aided by a very sensible feel allows the demeanour to build in a rich way. It is retained in an attractive manner that has consistency. It is the real deal and that is confirmed by the big presence that comes through.

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SAUCY SUNDAYS The Grand Social (30-11-2014)

LAURA ANN BRADY Now going it alone as solo artist, Laura Ann Brady was our first act to play tonight at Saucy Sundays. She got everything underway with a new song called ‘Perform Your Rights’. It is a song about female empowerment and women’s rights. How it is played is a thorough affair and it doesn’t overstep the boundaries by alienating you from the feminist ideals on show. Then came ‘Harriet’. This has a hurried sincerity found in the genuine qualities. How pertinent that showing comes to be is well considered and those touches add a degree of value to it all. Her voice instils warmth throughout from how attractive it is placed. Forged in her next effort ‘The Darkness’ is a partial quality that adds a seasoned feel to the departure that as a whole in the delivery. That interesting aspect adds a sense of high expectancy to everything here. It shows how able-bodied she is as a performer and that keen eccentricity in the later progression confirms this.

Holding a sense of reverence is ‘Lie’ that the lull pays close attention to. The marvel of the lyrics here is well considered and the reflection comes from this. The tempo picks up evenly and has a solid sense of consistency about it that brings a sense of determination through in how it is kept in focus. She followed that up with a Nick Drake cover called ‘From The Morning’. Her closing song here was ‘Masterpiece’.

Here there is a depth considered in the permeations that is solicited sweetly from how her vocals accentuate everything. This comes across tellingly and brings it all through. The rhythm exhibits a bearing as it progresses that is quite light and beckoned suitably.

That good balance in the showing gives the effort meaning as a whole.

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BIRDS

It was our first time to catch these guys but they left a lasting impression. They very much have their sound figured out but it still holds a ‘work in progress’ vibe to it all.

There is a slight calypso feel to ‘Glass Hands’ which steadies the rhythm and makes for a tidy listen. The depth and resolve linger in a patient way which heightens the build as things step out. It prevails further because of this. ‘Too Much Stinking’ is a catchy number from the off. The smooth transition in the play necessitates something in the guitar work that boxes clever. That allows the running to become more compact and the beat on show is a truly strong calling. They then give good consideration to the rock values on show with ‘Hot Stomachs’. That is keyed in to the running in a rather central way.

An abject effort then follows that up and it is as interestingly titled – ‘Urgy Awna Yokipoph’. The progression in their sound to this contemporary effort is interesting.

The isolation in the sound provides a clean touch to everything. The rounded bridge is elatedly factored into things and makes it a truly virtuous effort. ‘Caprice’ is another convincing effort from them. Again that calypso style come to pass and they are aware of it in terms of how it adds to the mix. The tracking connects and it is all well worked through. A fine sense of volume is also considered from how it plays through with the riff work from the lead guitar excellently played in. They share the vocals on ‘353 555 357 353’. This is an impressive display of showmanship. What is also excellent is how they yield so much from the abstract make-up of thins. That is a realised fashion that allows the more cautious touch to press ahead sensibly. To close things out they garner a big presence on ‘D’elde’ which gives their presence something quantifiable. At large are light nuances of play which encompass the contemporary aspects resoundingly. The good grasp of development is all on show in the rhythm. Overall they were very much on the money tonight.

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ROPEMAKER The next act taking to the stage was the fully instrumental Ropemaker from Laois. With any act of that style it is all about how you play and develop your sound. They embrace that philosophy pertinently with ‘Maple Jar’. The extensive lead in on the guitar work tracks everything in a way that allows the playing to build. That full on and rich ensemble feel is considered in a thorough way. Things become more upbeat with ‘What Prestige’. That absolves everything and the showing is rich in instrumental qualities. That descriptively builds the formations but brings a decent level of consistency. The ebb and flow is robustly applied and the switch between the arcs allows ‘Copped It Sweet’ to play in without a beat being skipped. This is another steady effort from the, but in the seamless trappings of the play it feels somewhat like an extension of the other song. Their ability to handle the sophisticated showing is eased into by the management of ‘Lord John’ and conveyed in a forthright way. There is a smart sleight of hand in the management that sees it through that adds a comparative in the structure. On ‘Classic Barracuda’ they show a deft calling. That is noted in the select quality of the tracking which prevails in a persistent way. It brings a resounding depth to the progressive essence.

While the title may be somewhat askew, ‘Less Taxes = More Biscuits’ has a more funk feel going on. There is a sturdy kick on show that remains grounded in the contemporary. The arrangement seems to transition this to a broader precedent that is comfortable in the showing as it does so. They charge things up on ‘Full Power’. The convenient title aside, the pace on show is something that livens it all up. It is extensive in terms of what it offers as a calling here. Albeit short and sweet. There is a sense of them bringing the proverbial ‘it’ with their final effort ‘Savage Henry’. The rock approach sees them build a wall of sound that is channelled through in the immersive measurements. That supple draw makes the hard derivative in the sound and they know it.

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FANLIGHTS

We first saw this band at their very first gig here at Saucy Sundays, which is a common occurrence for us from time to time. But in that time they have matured in their sound and style, while also broadening their palette by playing on the London circuit. The way they have evolved showed with ‘Freeze Time’. A clever consistency opens everything but it is in the second verse that it really all comes to pass. Here is a tune from a band that is equally as clean and clever. The studious feel freely flows and the rhythm develops a casual style from this approach. That is freely managed and the confidence of how the band is fronted by Unamae Cahill, and her eccentricity really sells it. They heighten the richness of everything with ‘Fortune Teller’. There is an imaginative sway to it that impeccably tracks the true worth of the song. But the neat and steady parity of it is a truly persuasive quality that is rich in character. A resolute stirring is added to the high appeal laid out on ‘The Crown’. The tune itself has this clean pop sensibility in part but it matures with a good grounding in the breakdown. The way Cahill animates the stage here brings a confident showing that likens her to a female Morrissey from how she grabs your attention.

Something became fixed comfortably in the sentiment as ‘Soul Cake’ played out. That was an essential calling here on the night and it cut right to the chase. The languid callings fixed to the delivery in the right way and that extensive richness showed when the bridge came through. Opening with a solitary riff was the next track ‘Superstar’. It was something that narrowed the ply in a way that sits right. But it also spilled out evenly with the heavy approach. That was contained in a way that retained that marked sense of maturity that resides in their sound. The funky calling indulged in the rich textures spills out here and the good qualities on show in the vocals feel their way through as the sound builds. Closing things out from them was ‘Pallmall’. Here there is something tender to the breakdown. The elective qualities hang over it in a detailed way which covers a lot of ground in doing so. The intelligent mark to the lyrical narrative provides an additional sense of worth. It was great seeing this band play again and we look forward to seeing more of them in 2015.

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RIOT TAPES Our very first time meeting Riot Tapes was in Derry/Londonderry last year. Since then we have seen them play on a few other occasions and they seem to be a band that have a great deal of potential about them.

They have recently signed with Reekus Records and they are very deserving of a place on such an established roster. Things got going with ‘The Key’ and there is something sharply felt from the drumming that is clean commendable in terms of how it builds the rhythm. There is a superb 80’s essence procured in the vocals that show what they are about as a band through their music. What a truly stellar effort ‘Hello Insanity’ is. The way that they hit the ground running exudes confidence which really works in their favour by design here. Loaded with pace in a way that expertly works everything through adds a resilience to how it all builds. The catchy side is done right and the way the vocals hold their own shows as much as the nou-disco beat that energises everything by providing the handling with a vibrant touch.

They again hone their sound on ‘Gone’, but with an endearing and tender warmth meeting well with the approach. It is something that deliberates tidily over everything but in a subtle way that allows the earnest calling to be appreciated all the more.

Their current single ‘Cardinal Rules’ followed and it is well checked on the opening. The guitar resonates away in a carefree style before things hang back. The way the rhythm coasts along takes you for a ride in the right way. It is a true showing of substance with a sharp temerity that focuses on the sound as they go for the jugular here. The voice of Elaine Doyle is like velvet on ‘Open Eye Dreams’. Here she is clearly in her element as a singer. She corners the delicate aspects in both the lyrical narrative and an understanding of how the track builds. There is something about the ornate structure of it that is specifically felt as it balances the inclusive feel of the chorus. They then call on synthesised attributes in the backing track for ‘Rolling Highs’. That gives the process a somewhat sunken feel and the sound reflects that.

But again they come through by placing an emphasis on developing the build, and this is what gives it noted purpose. They really sell you on what they are about as a band with their last track ‘In The Night.

There is a clean opening and the noted sense of structure carefully unravels by design. Also standing out is the control of the drumming.

How grounded everything is on all fronts absorbs the room. The beat is excellent and the same goes for the tracking, which allows the pace to dictate the running by design. What a great band and their forthcoming album is something that we are eagerly anticipating in 2015.

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Irish Artists FEMMEPOP

From A Girl Who Never Sleeps We have been following this artist all year here at U&I and first featured her in our March issue.

The retro of ‘1983’ gets everything underway in a spellbinding manner.

The synthesised texture feeling out the tempo in an enriched way collects the grandeur by design. That then articulates in a way that appraises the chic overall feel of the delivery.

‘Timescapes’ then follows and again there is a glorious signature feel from the retro showings. A steady motion in the rhythm is evenly tracked, while the vocals procure a savoury quality that furnishes the outline of the rhythm with a realised sense of identity. The later progression denotes real flashes of brilliance.

Third track ‘Neon Nights’ opens with a scatty feel in the rhythm that is superbly tracked. In the process the expanse of the arrangement comes through. There is no disguising the quality that filters through here. As it takes flight a stellar sense of pop inspiration at work truly meets with the substance guiding it through.

The guitar work on show adds a decisive punt to how hard ‘Yellow Lines’ changes the direction of the album. That necessitation in the urgency is impeccably played in and it adds volume when it meets the sound. That assured level of confidence coursing through adds a stylish element to what is on show.

Things again change with ‘Astrogate’.

The metronome-like tempo steadies the tune into being. What comes to pass is this fashionable nou-disco beat that adheres to a contemporary approach in how it is styled. Things become more emotive with ‘Not That Kind’, yet there is a refined empowerment found in the lyrics and overall arrangement. The overtures allow the balanced virtues position themselves centrally which gives everything a token richness but

10 matches it with real flair in the withdrawn considerations on show. The bespoke calling of ‘Don’t Fear’ is an unexpected surprise and this committed showing in the way it is laid doesn’t feel out of place. The welcoming qualities are easy to warm to, while the endearing characteristics also open the song up in the right way.

An overcoming sense of diversity then presides over ‘Beautiful Boy. This moves the album into indie territory with a hardened rock sound explicitly converging on the delivery. Yet it still retains those whip-smart pop sensibilities that have been the album’s signature. You sense that the European influence of other acts she has collaborated with has rubbed off here in a good way. ‘Our Time’ then reverts back to how the album opened. A rich synthesised beat comes through on the intro and that intricacy to how it all operates is applied incredibly. It is just brilliant in every respect from start to finish.

Enriching the appeal is the parity of the tempo on ‘Where Are You?’ It is an honest effort, with the vocals seamlessly mirroring the intent in a way that adds a sense of validity to everything here from the reflective touches in the lyrics. The album closes with ‘From A Girl Who Never Sleeps’ and a devotion seems to be present that presides over the running in a select way. It endears you to what is on show and the inherent characteristics are carefully considered. While her voice is another welcome attribute to sing the praises about as the album closes out impeccably.

Overall this is an album that is certainly more than the sum of its parts.

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MAKINGS Cognition

This is an album that is not due for release until 2015 but we have managed to bag an exclusive and it is a defined effort from one of the finest bands currently playing on the Dublin circuit at present. First out of the blocks is the exceptional ‘iClone’. An excellent pop hybrid of Dark Wave meets retro as the true heft urgently picks up the tempo to bring it full circle by design. Robotic overtures then spill out on ‘Heart Attack’, but there is a patience building it that adds real panache.

Immediately you are absorbed into the musical endeavour on show. There is a mindful appreciation in how it is crafted that is mirrored again on the approach adopted with ‘Dig’.

Here a token anomic feel in the organic meets a blistering wall of sound. The result is a terrific tune that lifts off with a superlative New Wave feel in the strong rushes. What a truly realised effort indeed and the listless qualities that hold together just add that little bit of extra that great artists are capable of producing.

How capable they are as a band of investing their catchy style that embraces a darker calling is evident on ‘Lunatic’. That calling is found in the nuanced application that allows it to take flight. They ride in high on that approach which has a high appeal going for it. Then slick guitar and tempestuous bass hooks give ‘Lets Touch Me’ a thunderous appeal that is smartly reined in, but, by design, creates a full on affair that is specifically felt. They allow their rock side to show on ‘46A’. A kindred Black Sabbath comparison seems to wash over the track. It is there in the way the lyrics and vocals have their say, but the compact

10 development of tension in the track is an excellent feature that takes it where they want it to go. The halfway point of the album is reached with the descriptive and carefully level of ambition that is ‘Man On Fire’. A broader definition comes to pass here which is comfortably numb but carried off with prevailing depth in the stark feel noted from the layout.

The EDM attribute cleanly fostered on the New Wave treatise of ‘Suffocate’ provides well for the impersonal manner that harbours the vocal pitch.

Highly abstract derivatives then give way as the zest of the hardened tempo comes in and keeps it together in a very high standard. They keep that chic touch in check on ‘She’s Got The Lips, with a reach defined in the synth that scores everything implicitly. There is a prevailing front to this one which is highly stylised, while allowing a more pronounced draw from their rock influences tapped into to give it more reach. ‘Mythomania’ is a big track on the album that stands out for all the right reasons. There is an extreme to it when it reaches ascendancy. All in all it is an absolutely brilliant showing from the band in so many ways.

You are drawn in by the vocals on the intro to ‘Icarus’. An inviting sense of patience then gives way to a very upbeat number. The high pitch in the pace clocks in efficiently, while the beat lingers on it fast and ready by definition in a way reflecting the clever meeting of substance. Stylishly taking things back in a contemporary manner is ‘The Woolgatherer’, but the distinction located in the delivery links up well. The leaner feel appropriately applied progresses their sound in a way that connects well to the album as a whole. ‘Nazarene’ opens with an interesting allure which takes stock of the alternative aspects with real consideration. Offbeat elements come to pass here in a way that addresses their innovation as a band. In the album’s closing track ‘No Turning Back’ the lay murder ballad aspects duly realise the darker side of the context.

An abiding ebb and flow in the delivery knowingly sees them play to their strengths which cushions an interesting sense of majesty forth.

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MONKEEMAN

Lo Fi Against Low Lifes ‘Universe’ is a well versed track and a good call for an opener. While there is a light deliberation in the playing it is weighted sweetly. That allows the tempo to trap the sweeter aspects of how it is all framed in a well-versed way. Then they up their game in a marked way with ‘Socialism’. In the rhythm strong guitar derivatives are established which languish effectively. The prevailing drift powering the tune alongside the lyrics gives the tune suitable bite.

The pace is more loaded and charged on ‘Pressure’.

The cursive way it motors along generates a formidable presence that corners a select urgency which excellently pounds away on the delivery.

The direction of the album takes on a more agreeable feel on ‘Life Is Wonderful.

The musical arrangement is more detailed and called out in a patient way that adheres to the lighter brilliance on show. The harmony and backing vocals also light it up sufficiently and display a clear sense of warmth that avoids being oversentimental. The high retro feel of ‘Pretty Fool’ grabs you unapologetically. By design this is a brilliant effort and the shades of The Jam meets The Stranglers appeal that comes off it all is expertly worked in. A

9 lone acoustic guitar opens ‘Is It Getting Better’. From there the solemn calling of the reflective lyrics commendably grows on you when you hear it play. That adds a level of appreciation to it that heightens the reach of the track without it feeling unwarranted.

The neat tumble of the intro on ‘Moving In Circles’ suitably sets up the lighter psychedelic feel of the tune. It centres on everything in a concrete way which is credibly managed. The steadfast flushes in the rhythm correlate quite evenly and they then seem to procure a fashionable remonstration that holds by design in an appealing way. Careering along is ‘The Games That You Play’. The tried feel of the song is processed in the lyrical narrative, while the tempo picks up superbly and keeps it all together. The formidable flourishes narrow the tasteful ebb and flow while still allowing it to all have an impact from how it sounds.

That is then followed by ‘Cheesy Tunes’. This is a great inclusion and there is a capable feel to it all that goes the distance. Latent 80’s vibes come through in the calling but they are ably considered which is why the delivery holds in the robust way that it does. The album signs off with ‘The Great Escape’. The full on flavour of the guitar sound is deliberately noted. What is also well considered is how it is all laid out but it has this level belief that backs it all up.

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RAY SCULLY

Lets Blow This Town Tonight The opening track ‘I Found A Dollar Bill’ is a tidy effort carried off from the bewitching opening line.

The tempo light also sells you on this one, and there is a fanciful derivative to it all that considerably carries the poise through. Then the mood hardens with ‘The Mood Is Slow’.

However the later progression brings a savoury calling to everything. The emotional heft is genuinely considered and gets behind the lyrics in a truly masterful way. That is then mirrored by how it proceeds to pick up. Third track ‘Little Rooster’ is a more tapered affair. An earnest quality resides that is keenly felt which adds to the poignancy. That astute passivity is well considered and tracked from start to finish.

After that comes the eponymous ‘Let’s Blow This Town Tonight’. The lilt in the guitar on the opening has a reminiscent hint of ‘Out Of The Blue’ by John Lennon. Then it moves along in its own right and there is a controlled temperament about it all that is extensively built. That is what provides it with worth. With ‘The Haze/Ain’t No Grave’ the intent that is brought to bear shows. The lyrical

9 content and his vocals marry to that approach to give the sound something impressive to build around. The murder ballad qualities hold firm and it is a brilliant showing that takes the appeal of the album up considerably. Bristling along off the back of its own momentum is the tidy ‘Whiskey Headed Woman’. The rich blues style is rather becoming and it engages the roadhouse qualities superbly. That is why it so handsomely comes together and the leaner feel of his vocals shows what he can do.

You sit up and take note of everything for all the right reasons with ‘Coming Home’. How the rhythm is fastened refines the delivery as a whole. There is an expression to his artistic endeavour on show that also stays the course. That sincerity intuitively pours out on the running here in a way that feels natural.

The penultimate track on the album is ‘In My Head’. This is a slow builder. In the closer surroundings of the playing the worth is found. His prevailing voice lifts it distinctly and gifts it a deserved resolve. The last track is ‘I Won’t Let You Fade’ and again shows what he is about. There is a virtue to the lyrical narrative. The smart way the process as a whole is brought together comes off with real aplomb but also shows a proper instance of style meeting substance.

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REBECCA COLLINS Sonar

There is a resounding sense of urgency that chaperones the compact attributes of the tempo on ‘Creepeth The Thrill’. A notoriety resides in the rifled bursts of rhythm that are defined by their approach. In addition to that appeal there is a procurement in her vocals that maintains superbly throughout. Next track ‘The Sun’ favourably hardens the sound, but is matched by a relevant intelligence in the intent. The smart arrangement of the lyrics and movement bring a narrative of consequence to the arrangement. Alongside the contemporary touches is an exquisite showing that finely fits everything into the bigger picture. Third track ‘The Climb’ and the taut charm of the guitar takes you along for the ride. How it hums adds a sensible charm alongside the incredible level of attention on show. Adding virtue to her pursed vocals is the apparent talent she has as a songwriter which is apparent from how the calling is found in the lyrics.

Sounding like Air around their ‘Moon Safari’ phase is the excellent ‘Chiaroscuro’. How things melt into the music has a proven worth that cannot be questioned. The committed way she brings it all to the mix shows but it is how it all holds here that is crucial. Sense is made of the intended anomic qualities and that is what enriches everything to the rightful extent on show. How she softly brings through ‘This Sensual Pursuit’ is very much on the money. There is a seduction to be felt from how the bass line softly plays through. Collectively, there is a

10 refined motion that excellently bespoke ‘Jasmine’ comes next. Here there is a thoughtful cascade of brings everything together. This confirms for any listener that she is the real deal. The elements that combine to impeccable effect. It is the lonesome derivative in that accompaniment that the gradual qualities necessitate by design to define it justly. From the opening line ‘The Clown’ proceeds to display a commemorative showing of style meeting substance. A languished resonance weaves through on the taut guitar that shines bright. How this is approached brings a striking connotation of what it intends to realise through in a musical context that is high on intrinsic values.

Hitting the ground running is ‘Home Fires’. There is a brilliance to the tight showing here that her voice wraps ever so cleanly. It is hard to define it by superlative but it really slips into gear with an incredibly comfortable showing to it that grabs your attention in the right way here. It is a well figured effort that follows with the seductive outlines of ‘Black Triangle’. You pick up on a Stevie Nicks vibe in the right way. It harbours an emotion desire that is deep and there by design. It is extremely impressive and by slowing things down she increases the attraction towards it for the listener.

There is a rawness on show in how ‘I Heart U’ is delivered. That proven reach pours out superbly and it seems to have a glorified flair that places a proven emancipation at the fore that sees her significantly raise her game at the same time. How ‘Vivienne’ is walked in has a hint of ‘First Time Ever I Saw Your Face’ by Roberta Flack. On its own merits it is a haunting tune but one that moves you in the right way. The precision in the layout is immensely celebrated and appreciated. What a great tune and one that a great album deserves to be closed by.

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A LAZARUS SOUL

Last Of The Analogue Age Review by Greg Clifford A LAZARUS SOUL’s 4th studio album is a master-class in subtlety and honesty, while the textures are rich, yet stripped back. There is nowhere for vocalist Brian Brannigan to hide, not that he wishes to. He bares his heart and mind, void of ego but defiant. Lyrically this album will prove thought provoking, prompting considerations on the past and possible future strife.

Wit, depth and even satire can be found in the often-poignant words.

‘Midday Class’ is an impressive prelude, which creeps in, using panning, to set a bleak, ominous mood. Drone effects are used throughout while Brannigan effectively performs a sean-nós, minus the trills and ornamentations that usually accompany this style of vocal performance. Futile hope for the working class heroes is suggested in the poetic words, in which ‘there is no room in the dole queues, where the polling stations there are but few’. The accompanying drones are also beautifully haunting.

‘The Future’s Not Ours’ follows and sets the album in motion in which a band like feel unfolds.

Analogue tape was used to record this album and the benefits are clear here. You can close your eyes and imagine being in the space they tracked this. The guitar entries and comments are perfectly balanced against the vocals and create a real astute charm. Once more the lyrics are compelling and superbly crafted.

We have genuine words that are reflecting on modern Ireland and the undeniable, yet passively ignored, despair that exists.

While most contemporary Irish bands, and bands in general, gravitate towards more customary and contrived themes, A LAZARUS SOUL embrace subject matters true to them. This is where the authenticity lies.

9 ‘We Know Where You Live’ is a song for the lost and fallen, but through this grief you must acquire peace, acceptance and hope. The music reflects this sentiment and offers promise. However it may simply prove to be a pipe dream. Musically this is fulfilling without overbearing the ear. ‘Mercury Hit A High Note’ and ‘This Divided Kingdom’ deal with further social observations and the basic need to survive. The tracks are musically coherent with what has gone before, while failing to drift into obscurity and tedious repetition. They deal with the universal absurd and manifestations of doubt and anxiety that infiltrate the mind and being.

‘Last Seen’ has an ambiguous, reverie feel. Musically we have a drifting, lonely cloud. Anguish is not far from sight. The chordal progression epitomises the theme and establishes tension. Some the electric guitars contain traces of melancholic RADIOHEAD, while the vocal tone and delivery has touches of darker MORRISSEY. ‘Ghettoblaster’ has a slightly edgier air to it then. The murky, dingy, foot-stomping gloom may have been achieved by opting to have the renounced Lee Scratch Perry mix the track. Moments of the song could remind the listener of earlier U2 offerings too. ‘Last Of The Analogue Age’ brings the 8-track LP to a close. The track is quite stirring and again discusses the real people of the streets.

Whether or not this band truly does it for you, one must commend the efforts on show. Originality - in a world of herd mentality, boredom, musical safety and banality - exists here. It’s a relevant album that deserves to be celebrated.

However, I fear like most unassuming pure artists this album will get lost among the clutter and saturation that is the inescapable modern age. This is art though and make no mistake about it! And maybe on some level the album getting ‘lost’ is, in a bitter sweet way, quite fitting. Those who discover this album will appreciate it, if not love it, and understand this is an LP of ingenuity and description that can hold its head up high, free of contamination and the bullshit pollution that penetrates all too many releases.

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PERMANENT DEJA VÚ One Book, Write Down Another

Here is an interesting album to say the least. There is a tremendous sense of development on show with ‘Vivid Illumination’. What is appreciated in the emphasis on exploring the musical expression sweeps through proceedings with a clear maturity and sense of awareness as it all comes to pass. A sense of loss passes over on the reflections of ‘Home Alone’.

The emotive aspects are drawn upon as a point of origin from which everything comes to pass. There is a conversed feel to the overall aesthetic that embraces the approach set out for it that works explicitly. An abounding precious feel fixes interestingly to the lucid tangibility of ‘Utopia’. The ethereal resignation in the vocals impress fully here for the right reasons and they add a distinct sense of awning that calculates all of this into the equation in a way that shows.

‘Persevere’ is a well layered and fluid affair in so many respects.

There is a careful and considered adulation that underplays the expression to allow the inviting qualities become central. That adds a heightened contemporary resolve to it all that equates to something that is a little more than the sum of its parts in the detailed playing evident. With the pertinent manner that ‘Overcome By Your Love’ shapes up from the opening line you are drawn in.

The shared harmonies prevail and it is a tidy number that doesn’t attempt to be anything more. Ensconced by the fluid way the expansive expression curtails the intro comes ‘Secret Garden’. The guitar

9 melodiously toils away and this accommodates the somewhat carefree comparative allusions that drift through. They relate in how they carry across and the arrangement then builds in a way that fits to the thorough wonderment residing, despite it being a long player at seven minutes. An affirmed piano arrangement tidily travels through on ‘Only You’. This holds the prestige in a solemn way that comes to define the later progression of the album in an absolved way. In the mild touches tranquillity does prevail but it suits the opportune ebb and flow that ride high on this one.

A sensible cut bears down on ‘Running Out Of Ground’ but in how the trajectory is steered through the fullness stakes a claim. What feeds into the track mirrors a fine level of creative intensity. The oriental established calling is also quite the innovative touch that comes in and drops out in a fitting way here. Admittedly ‘Cry Out For Dead’ draws comparisons with The Cure. It is a highly contemporary tune but on its own merits they have created a notable that embraces the passive meticulously. With the emotion cornered in the sincerity of the high pitched vocals echoing the stoic integrity that comes with the acknowledgement. The sequential ‘Blackening’ does veer towards a style that tapers to a darker calling. A real morose precedent builds and it has overtures that engage that listless approach admirably, but with a clear and defined traits. The albums closing track is the indulgent ‘Chaos Of Love’. It avoids the pitfalls of pretentiousness by embracing an inspiration that is there by design. The abandonment that accompanies the pick-up as it steps out. Cascading touches of play fit in a compelling way yet add a sense of restricted exuberance which piques interest. Overall it is an album that doesn’t necessarily grab you in the beginning but gets better as it progresses track by track.

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Irish Artists

ABLE ARCHER

The Trouble With Strangers This Irish band follows up their previous effort ‘Bullets’ with another excellent effort that shows how good they are. There is also a sense of development on an artistic level with ‘The Descent’. The becoming calling sits well with the explicit dalliance in the piano, which moves things away from their noted guitar style live sets. But nothing seems to be lost in the process and it is never a bad thing for a bad to expand on their style which is what you feel they are doing here. ‘Ghostmaker’ just hits the ground running and sees them revert to what they are noted for. The stylised confidence seems to keep it real and the tracking here sits well with the blistering calling of pace that pulls it through. Vocally it also draws you in and the clever lyrics also help to victoriously feed the tune with what it needs to fuel the inspired draw it develops.

What subsides on ‘The Warden’ controls a sombre derivative. In the highly appreciated aspects of things on a musical level is a fondness that richly suits it. The intricacy at work denotes the detailed structure and it is highly appealing, but it seems to corner a marvellous sense of integrity that helps the song find its way resoundingly in how it all comes to pass. How everything falls into place on ‘Only Love’ draws you in. The ease of the flight is given due consideration and backed up by a fine display of arrangement. The guitar and bass steadily carry the rhythm while there is an honest virtue to how the vocals add a leaner element that is specifically picked up on. The same applies to the highly developed showing on the bridge which furthers the appeal of the tune in the right way. They sign off with ‘Superhuman’. That guitar riff on the intro is superb and things clock in by seemingly building around that. In terms of structure and framing it is well developed, but there is also a steady calling to this one that is a real strength that they draw from. The chorus is also deserving of praise here because it specifically corners the tracking and brings everything into focus with something to spare in how it does so.

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WOOD BURNING SAVAGES Boom

There is an undeniable standard on show with how they get down to things with ‘Colza Hotel’. They are enabled by their intentions from how it is all laid out. The full on impact of the guitar work corners the pace and they take licence from that approach to go with the flow. The results are remarkable. They extend their presence further with ‘Boom’ and there is something checked in the rhythm which sees it climb before opening out into a fuller affair that hangs in the air. The trajectory of how it sounds is also matched comfortably by the vocals in a good way. What is becoming exudes a high level of skill but it also carries a catchier side through with real substance.

Then we come to ‘This House’. The conviction of the opening line couples the outlay to a realised affair. In how it progresses there is a grandiose style levelled at it all that is comfortably considered to accommodate the bigger intention set out for it. After that is the equally sharp ‘Lather, Rinse, Repeat’. An appraised punk spirit fuels the running here, but they tastefully check everything. The vocals and the chorus are comfortable alongside the raw cut that is managed by the unconditional way they let it all off the hook. In some ways it is casual, but it only serves to add to the intensity and sincerity that is picked up on here.

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TRAVIS OAKS Travis Oaks

The first track we are treated to is ‘Birdhouse Blues’. The whip smart appeal of this is generated by the outstanding weight of the scatty rhythm. An Americanised feel in the right places gives it the energised lift that it reaches for. Adding to the appeal is the zest and opportune uniqueness of the vocals and their application alongside the very intelligent lyrical context. Heavy and calculated drumming announces ‘Soul Son’ and then a select grandiose rock calling maturely spills over it. Again the vocals are a solid consideration which draw you in and there is a quality to the brilliance of the tune overall that is cornered by the impressive way it plays out.

Hints of ‘Golden Retriever’ by Super Furry Animals preside somewhat by design in the undertone, but that is a compliment more so than a comparison.

This is excellent. The third track is ‘Last Love Song’ and again they get straight down to the task at hand. Letting the music do the talking sees the uncompromising rock fervour call the shots.

Nothing seems out of place and the impact is noted for the right reasons. The urgency harbours a noted sense of completion that it brokered impeccably on all fronts.

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THE FURIOUS HAZE Gemini

Opening track ‘Better Days’ is framed in a tidy way, which sounds almost identical to ‘Learning To Fly’

by Tom Petty. It is extremely obvious in terms of the way the guitar comes across. On its own merits it is a very tidy affair with the pleasantry factored in to give it shape and direction. That appropriately mirrors the softer calling here. Then we have ‘Faith’. This has a matured feel to it on the opening and it correlates in an emphatic way despite it being comfortably paced and weighted.

There is kindled resolve to how it sounds and carries across, with the revered vocals really feeling at home as the song pulls you in.

‘Movin’ On’ is the third track on the EP and denotes a keen appreciation for developing things musically. The arrangement has a high inclusive feel that resides cleanly. There is a comfort to be found and it is what brings it all in to focus, with a pleasing melodic presence kept together and checked diligently by the astute style of the play here.

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AINE CAHILL Paper Crown

The ambition and talent is evident on ‘The Pictures’. The calling of it invests the emotional heft of the track and the purity escapes to move you with the broad scope that follows on from there. In the composed expanse of the track you take stock of the careful consideration of the details, while there is a degree of explicit honesty prevailing within the lyrical narrative.

Then the sound embraces a more figurative display with ‘Runaway’ and this holds a stellar sense of authority that notably carries it all through. It is very tidy, while there is a lot to say about the whip smart feel of the lyrics. In the arrangement the expertise of the production values shows but it is a deserved facet because this is an excellent tune and should be handled with such due consideration.

Third track ‘Nuclear’ moves everything in the right direction. This is candid and stylish with an undoubted brilliance exuding from the running as the tempo kicks in. Yet it also hangs back by deliberation at times which adds to the already enriched appeal of everything on show.

A sense of completion shows on ‘Paper Crown’.

The observation in the lyrical narrative is highly stylised but there is a finite loneliness/morosity that could be interpreted as the artist in the third person, but a contention in how the arrangement is laid out also enhances the impact and adds the finishing touch to an already excellent tune. Closing out things is ‘White Piano’. It tells of maternal loss and the brilliance of it all pours out from a point of origin that you feel. It is impossible not to relate to the yearning and you note the sense of catharsis as it all comes to pass. But it brilliantly avoids being oversentimental.

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TABLIOID TV

Mixed Messages From the very second the fluid qualities in the tempo of ‘Fist Winter’ kick in you are impressed by the steady feel of the rhythm alongside the innate charm. This combination collects in a highly attractive way that comes to pass by design in a way that is high on appeal but moves along steadily. A conclusive transition is then completed from the off on ‘Always Hold On’. They still retain their sense of identity in how the guitar riff tidily lingers. Also parked off here by design is a formidable effort as it all takes flight and shows that they are a very impressive band.

Situated on ‘Check/que’ is something intelligent. How this is employed impressively develops the tune. A finite skip in the step correctly adds presence kindly, while the conviction bequeathing the overall delivery is high on the wow factor and shows that they identify only with being a band that wants to be judged on their own terms. Again they charge head on in with ‘Let’s Dance’.

There is a comparison with The Violent Femmes here. Boisterous guitar licks grant it presence and that absorbs the listening experience as a whole here. The grounded and pleasing feel here is exonerated by the way it is all carried through. The final track here is ‘Runaways’. It unexpectedly lowers the pace to present a tune with a more grandiose intro. Things go the distance here with the apparent level of maturity processing a comfortable reach that brings parity to their music. Brilliantly gauged elements all fit together by design and closes the EP with a high sense of value from its inclusion.

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ZASKA

Different Light There is a legitimate appeal going for ‘Modern Day Pop Song’. The hip-hop pitch is musically pleasing whole the doo-wop feel from the backing vocals add to the charm. What has been conceived here is an ideal song that is perfectly carried through. How it takes everything up a level considers what it needs to and concentrates on applying that to allow the music do the talking in a genuine way that is highly innovative. The stagnant calling of ‘Walls’ makes it a tune that is open to interpretation in a lyrical context. In the execution there is a prevailing presence that is bold, but in the accompanying musical arrangement the real consideration of the track as a whole comes to pass. That is achieved by cutting to the chase in a way that brings everything together in the inspired way it does.

Taking itself seriously is ‘Unexpected’ and there are shades of Hall And Oates about it.

The delicate piano structure orchestrates the softer framing. How it deliberately hangs back gives everything a polished sense of virtue that is carefully weighted but the sedate hop-hop elements put it all on a plate and make for a pleasing backdrop in the later progression.

Things are closed out by ‘Different Light’. A clean guitar and brass fanfare proceed toward a funkier style here that hits you in the right way.

There is a treatise in the disco feel that does no wrong here, but it is fluid and seems to process a hindered hold that selectively lights it all up with a clear sense of wonder to it all as it moves. It is brilliant and keeps the shape in a way that denotes a real understanding of things on a musical level.

10

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POCKETS

Raison D'Être There is a timely sense of reflection procured in the shape of ‘Alone’ that accommodates the lonesome derivative and the candid purity of the pursed vocals of Faustina Finnerty. The elongated reach secured from the sunken characteristics also frames it distinctly. In the ebb and flow of the rhythm there is a noted tranquillity but it also harbours a considered level of urgency that piques interest. Retaining that approach is ‘They Will’. In the withdrawn nature and element of everything there is a derivative that calls upon the savoury majesty of how it sounds. It is a fulfilling effort and one that showcases a conceptualised effort on all fronts on account of the descriptive way it is all pieced together.

There is a sharp change to the playing arcs that grabs you at the end in the right way also.

Enriched from the prevailing call of the intro is ‘Seek’. Somewhat guarded, there is a relevance in the lyrical context that mirrors the harboured processes at work on a musical level. That relays across the patient touches and, in the process, manufactures something incredibly pure by design to admire significantly on its own merits.

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THE DYATONICS The Dyatonics

Here is a band that are very much living up to the hype with this EP. The well figured ‘Slurr’ opens proceedings and it is a tidy tune that is well tracked. The whip smart sensibilities of the guitar work charge through it here with a true sense of identity, while the vocals also identify with the bold indie credibility that they give to their sound. They then develop the interchanges on show with ‘Charade’, which in turn develop a contemplation of mood and substance to fine effect. They resolve is a controlled feature which handsomely steps out and they seize upon the calling with real effect and that is a fine attraction here that leads to a solid conclusion while also denoting that they are no one trick pony.

They then simplify things with ‘Norlands’.

The shapely calling brings a comparison with Leaders Of Men as the vocals also command a sense of presence all of their own making. The pounding guitar and drum work frame this one to cleanly consider the urgency and this accommodation is a true marvel to the ear. Their last track is ‘Walk Away’. The brilliant flourish of the guitar here adds something inspiring. The construction on show is a careful one with a display of brilliance in the running that adds up in so many ways here. It brims with class and they certainly have saved the best for last with this one.

10

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KELLY MARIE REYNOLDS Ghosts

Here is an interesting artist indeed and that is picked up on with first song ‘Short Song About Love’. These Sandie Shaw vibes are cleanly laid down on even though it is an interlude more so than a full song given its running time of 1:06. Then with ‘Remote Consciousness’ she delivers something with a vicarious vocation about it that carefully considers the reflective attributes. The spirited guitar that floats across captures the haunting allure of the framing with a clean majesty as much as her vocal display does.

Then the passive style of her play lies in stark contrast with ‘Heartbreakers’. The throwback sentiment that carries across in the lyrics then conjures up bad memories. It is what provides the tune with substance and it is the harshness that is closed in on which in turn provides everything with a stirring sense of face value that is backed up by things on a musical level. Off the back of that brilliance we come to next track ‘Fade Out The City’.

She conditions something specific in the showing here. There is an inspiration drawn from the forlorn texture which blankets the sound diligently. The ability that she has for tracking things in the timely qualities of her music again presents itself on ‘Taken By The Night’. The tranquillity holding fast refines the moments of the tune in a soulful manner that holds comprehensively. It is a withdrawn effort but one that is merely reflective and this adds to the poignancy it sets out to achieve.

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KIRRU

Kiruu & Baobab Sung in Swahili is the fashionable ‘Sikupendi’.

There is something charming in the way that it plays which boxes clever, while the tradition Afro-Celt elements on show in the sound notably grant it presence. The quantified essence is procured and the delightful revelry of it all takes you along for the ride, while the context of it the emancipation for victims of domestic abuse and those in abusive relationships conveniently carries across in the lyrics. Then we get the full on swing of ‘Lu’. It is a rich and colourful endeavour that carries through on a fashionable whim that explicitly allows his voice to call upon it all in a dependable way. It is communicated in the exchanges brilliantly and the spry consistency of it all holds true. It gives it a suitable leisurely appeal.

The upbeat ‘equinox’ is the third track here. This has a high appeal that keeps it all together and the balance of Caribbean influence add to the mix considerably. The organ is a central showing that plants firmly in the showing and allows it to grow without compromising any of the artistic integrity. If anything it secures it furthermore.

Then he seems to retreat inward in terms of how the sound develops on ‘Outer Sills’. The sound is specifically traced and the softer flow travels in a highly stylised way. The build is steady and the vocals are exorcised in the flight which touches it all out firmly. A lightness equates on the showing here that is rather specific and intricate to enhance the appeal. The last track here is ‘Nyumbani’. Again there is a calling to the Afro-Celt origins that frames the music. It is an ornate introduction somewhat but it works effectively. A blanket of calmness falls over it all that is superbly considerate and well-constructed.

9

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BEACHED WHALES The School Of Fish

‘Don’t Stand So Close’ opens proceedings.

In the running there is a slick sense of operation that carries through with an understated closeness to it but the later progression meets with Roadhouse elements. The proven groove is a definite given that shakes things up favourably. Yet they overall play closes down on the serious side of things without detracting from the appeal. On ‘Cool Down’ they joyful take the sound to a reggae level. It is rich and grandiose, with the steady graduation enhancing the appeal. They cleanly figure the lyrics into the equation which raise their game. It adds a temerity that is well styled and suits the demeanour that they develop.

With ‘Booty Called’ they have this air of cool that is all of their own making. It is done just right and they are aware of that.

The shared vocals here add to the precedent in a highly likeable way. The fashionable funk qualities are also a consistency that stands out for the right reason while they tailor a lot of musical endeavour with the bridge. Seeing things out is ‘Free Tip. This is very different to the rest. The well thought out considerations equate well from the off. Hints of Madness come through on the saxophone and the ska derivative gives it a smooth running. But it has class in abundance and that is why it hits right. An EP with a diversified calling and one that showcases a band with promise.

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International Acts

WHITE LACES Trance

This band from Richmond, Virginia shows an astute level of command on ‘Teenage Brain’. In the elected New Wave touches things are framed before it confidently takes flight. The brimming charm of the lyrics pulls you in, but it is a neat tune with a lot of face value going for it. In the opening guitar riff of ‘Crusin’ the tune is frame by a staved sense of appreciation. It is a solid footing with the apparent quality of what this band are about essentially collecting before you as it plays.

Hints of The Cure, The Smiths and other high calibre artists are comparisons that are rightly drawn here. The dangerous retro appeal they have comes through again on ‘Skate Or Die’. Then this controlled burst in the vocals commands your attention. In how it gets beneath the delivery you sense the confidence in the air, but it all comes out in a smartly realised way that.

In the vocals there are slight hints of a heyday Pulp on show with ‘Mountains’. How the arrangement is meticulously developed also appreciates that assessment furthermore. The disinterested lull in the vocals brokers a solid underrated appreciation that takes it where it wants to go. Staying with their New Wave callings comes ‘Janet’. Here the overtures reside in the electronic flourishes to allow the expressive side linger in the texture. That pivotal calling sees them dig deep and even out in the progression in a way that sees them create a tune for any band to treasure really for all the right reasons. Then we come to ‘On A Wire’. It seems to illicit a temerity that flirts between indie credibility and shoegazer. It is an interesting apparel that sounds the part, while the tempo neatly meanders on a

9 whim but holds it all together in the fluid way it is all motioned forth. A Northern Soul contention fixes itself to the running of ‘Keith Sweat’. As things build they take their calling from how this drags across the running. The contention is apparent and it is a magnificent tune in so many respects.

The galvanised direction the album now follows spills out on ‘Heavenly Creatures’.

They check the pace here while the rich synthesised beat scores it explicitly.

Accentuated by the grandeur develops the contemporary side in a fashionable manner that adheres to a darker structure in terms of how the organic is noted on this one. On ‘Acid Pact’ they adhere to a more descriptive approach that is patient and somewhat withdrawn on the intro. Then this formidable oriental style comes to pass that fixes itself in a remedial way as the song plays out. What it creates is rather imaginative and of a rather rich standard imagination-wise. The strong approach on the uptake adds a recognised intent to ‘Nothing Clicks’. That is a thorough quality that gives it a robust calling that is steadily kept on track. Yet it has fluidity about it all by design that enhances the appeal on show.

The final track here is ‘Strangulation Blues’. The anomic calling draws you in from the impartial showing yet the ornate touches on an instrumental level also figure prominently here. The heightened feel of the emphasis on the development of the instrumental work is another quality that gives it all reach. A great and unexpected album – to hear Northern Soul influences from a Virginia band that goes the distance, well you don’t come across that too often.

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DARK HIP FALLS Seventy Four

Released at the end of last year, here is an album that has matured in that twelve month period. The inundated manner of opening interlude ‘Tell Me That You’ is a piqued offering before the sullen sound of ‘Paper Bag’ blankets the musical experience. The morose undertone avoids melancholy. That fortunate application recognises the withdrawn qualities builds on their stark characteristics.

It is a pivotal application which corners the stillness before the tempo breaks into a more upbeat calling. They continue that contemporary vein with how ‘Cocaine Design’ corners the leaner trappings. A lofted sequence is followed through that is rich in contemporary aspects but retains highly inviting stoic qualities in the rhythm that are cleanly angled into the running.

A becoming sense cuts to the chase on ‘Lam 1: Swing Dog’.

This sees the playing build with tight sense of deliberation channelling the running in a sensible manner that cradles the token anomic qualities on show. The progression drops everything in a square way that makes the catchy and upbeat elements come together with real flair. The understated ease of the vocals purse across with real wonder on ‘In My Eye’, and then a dalliance collects in the play as it assuredly comes to pass.

There is a descript calling to the sedate way it all breaks down that piques interest.

Snappy with a clean

9 precision to how it desirably runs is ‘Lam 2: Red Hands’. It is a steady track and the outlines cater for a whim that necessitates carefully on it.

But it is a patient number and the betwixt climb in the rhythm weaves through attractively in the right way. Then comes ‘Path Of The Crow’.

With the sturdy pinch of the guitar riffs on the intro it develops steadily. The synthesised beats on show add a hint of New Wave flair that embraces everything on a high level musically but still keeps the minimalist approach that is their calling smartly in check.

It is in how they embrace being innovative on ‘Bring Me Home’ that you sense that here is a band with it all laid out for them on an intrinsic level. They gauge the cautious stirrings in a detailed way that steers the direction towards something with opulence carefully exercised. That is what infuses the track here and the solemn face value is expended in a commendable way. The title track ‘Seventy Four’ is well worth your time. There is an expended resolve on show in how it builds. This is treated in an appreciated way. The darker calling baptising the lyrics is seized upon intelligently, which gives the placid follow through a resounding appreciation that carefully holds its own.

‘Lifecast’ has a more isolated feel that is stared down in the comparative way it is all fed through. That holds firmly. The lucid manner things build connects the dots carefully and displays an appraisal as it all comes through. The last track ‘Mr. Dim’ has a true enigmatic calling on all fronts. Intricate flourishes of instrumentalism are applied to give a solid contemporary feel that fixes the latent qualities to a true showing of wonderful and artistry and inventiveness.

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THE DEAD MANTRA Nemure

This is a very interesting album, albeit a short one at 8 tracks. Instrumentally everything adheres to a smooth transition that expresses itself within the definition on show. The haunting ‘Holy Dawn’; opens proceedings with a revered procurement that denotes a monastic appeal residing in the delivery before the playing arcs shift toward a quickened sense of urgency. Those surges in the rhythm bring it to life but coherently cater for a smart alternative offering in so many ways. ‘Mxeico’ then follows and this is another brilliant tune. The superb qualities enhance the abject reach here but it is a fully inventive offering. The organic is one that dares to be different and succeeds in a highly valued way. The rich volume grabs you unapologetically, but it is a blistering effort that lets the music do the talking in the right way. It is also short and sweet which works brilliantly.

They then allow the shoegazer stirrings to linger on ‘Don’t Call It Love’. It feels raw and unbridled, while the sharp resonance of the guitars whip it into shape. It all comes to pass by design in a well-managed way that contains the structures formidably as the running gets under the play in a big way. It is one of those tunes that make you go ‘fuck yeah!’ for all the right reasons when you hear it.

10 They stow away the tracking with ‘1996’ and it slowly comes around from how it builds. It is a requisite that rewards them justly. In the languid anomie praise is rightly heaped upon the track for its artistic endeavour. Then there is a virtue about the abandon of ‘Pure’ that is akin to New Order. The compact aspects hold off in a prevailing way but still announce their presence. That correlation on show is impressive and fluid. Drum beats accentuate the artistry as they come to pass, but in the vocals there is a realised maturity that is carefully constructed and takes the song to another level.

You sense the inward retreat on ‘I See Your Eyes’. One slight criticism of this track would be that the music overplays the vocals and drown them out. With that in mind, they certainly hold their ground with the playing. It is in the concentrations are explicit measured approaches that you take note of what they can achieve on an artistic level.

Following an interlude the album’s final track ‘Clueless’ arrives.

This really lifts and you appreciate it all the more when it does.

What comes through is impeccably checked in terms of how the pace is calculated. The bile that spills forth on the vocals carries the conviction it desires. What that brings just cuts across it in a sharp, raw and intended way that has a genuine cursive beauty at the core.

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OYAMA Coolboy

This recommendation from our Icelandic music network has recently completed a tour of Japan and this is an album to take your breath away. From the characteristic way they patiently build ‘Old Snow’ a noted appreciation procures both depth and substance in equal measure. There is a latent flight to it that is considered in an intelligent way from how it comes to gradually invest everything with a noted sense of purpose in the light way it is all traced. Second track in and you are just astounded by the sheer brilliance of ‘The Right Amount’. The soft and lush shoegazer leanings are incredibly felt. They add a sheer weight but one that is carefully balanced and constructed. The interchange of the playing arcs determines the level of class by virtue of the presence of true artistic talent here that catches the raw cut beautifully in the process.

Hauntingly beautiful is the best way to describe ‘The Cat Has Thirst’. As it opens it retains a reserved feel but then a resilient and opine upkeep brings out the rhythm. It is incredibly fluid and the checked pace is brilliantly constructed. The sharpness of the drumming stands it good stead, while there are keepsake qualities that capture an essence that is something of a fine blend between 60’s revisionist and modern contemporary.

They reach very deep on ‘Another Day’. Here the appreciated way that the weight neatly comes to find a calling branches out in a way that delivers something of true substance. All of the lighter angles bring a great deal of necessity to the running. You can rightly draw a comparison

10 with Pink Floyd at the top of their game with this one because it deserves to be categorised alongside such dignified contemporaries because of the apparent level of sophistication meeting appreciation that comes through.

Next track ‘Overflow’ orchestrates something incredibly narrow. By doing the expansive qualities on show are considerably extended. There is something careful and becoming about this one that holds the emotive approach quite close but allows things to move with a convincing sense of freedom and volition. Then we come to the rich guitar driven ‘Siblings’.

There is a contentment taking it over here with the tidy way that the obscured vocals comfortably shape it. It is a delightful attribute which is given further appreciation by how decisive the arrangement builds everything as a whole. This shows an incredible high production values and how they consistently keep everything in focus finds additional meaning with repeat listening.

They have an innate ability as a band to blend splendour as a calling. That is highly evident with the rich indulgency on show in ‘Lung Breathers’. The inviting drift of the vocals exonerates the prevailing temperament in an evenly gauged manner. There is a Lynchian ‘Lost Highway’ definition to the opening derivative which is revisited in a welcome way which builds the ascendancy in a way that cuts to the chase musically. The interlude that is ‘Don’t Be Sad Because Of People, They Will All Day’ has this Simon and Garfunkel feel to it that still denotes an awful lot in a 48 second running time. The last track on this superb album is ‘Sweet Ride’. Prevailing vocals give it a confident front that is magnificently undertaken and doesn’t come up short. The blistering resonance of the guitar work diligently carries through and shapes it all in a rich dignified way. The shared vocals enhance all the prospects in a relevant way and it stays par for the course all the way through.

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ISLAND BOY

Basic Instincts Review by Greg Clifford Richard Hunter-Rivera, originally from San Juan, and now residing in San Diego, is ISLAND BOY. He impressively wrote, recorded and mixed the ‘Basic Instincts’ LP, released earlier this year. The music is truly innovative and references 80’s aspects while firmly looking forward musically.

‘Hospital Bed’ is a most satisfying opening track. From the offset there is a Middle Eastern coating to proceedings created by the semi-tone intervals, which establishes a mystical passage. At times one could be reminded of KASABIAN’s debut album, due to the swirling synthesizer swells and the prevalent psychedelic tendencies. The percussion pattern is astute and the subtle syncopations create genuine excitement and engagement. A very strong track by all accounts!

He follows this up with ‘I Want’.

A slower, darker tempo is inaugurated at the beginning of the track with a simple synth bass motif hooking in the listener. The highly reverbed percussion also really fills out the space in a pleasurable way. The drum pattern and bass motif remain a hypnotic constant, while he introduces various layers. The minimalism is well executed and never becomes boring or dull. As a fellow musician I must also highly commend the offbeat rhythm and shifting of accents that occurs before the song really takes flight.

Song three, ‘Too Straight’ is simply excellent with those familiar with NEW ORDER being reminded of their track ‘Age Of Consent’. This is pure and very marketable electronic-pop. It contains an abundance of quality hooks and the vocals are pristinely delivered. ‘El Dembow Me Salvó’, for me, sounds like KRAFTWERK produced a track while hanging out in Puerto Rico for a prolonged stay. It’s really

10 quite unique and sends the album in a slightly different direction while preserving unity in sound, which is the hallmark of a strong LP. ‘Breaking’ is then a curious inclusion on the album. It’s essentially an avant-garde, mainly instrumental intermezzo, placed strategically at the half waypoint of the album.

This type of composition is not for everyone, but very much captivates me. The oscillating frequencies are, in essence, binaural beats, which are used in meditation, relaxation and even stimulation of the consciousness. My only issue here is that the piece of music ends too soon. However, the composer, in reality, makes the right call so that the album can keep evolving, in constant natural motion.

‘Ashes’ sets the second part/side of the album in motion. The synth arpeggiations provide the percussive drive, while the strung out reverb vocals create a dreamy atmosphere. The neo-80’s sensibilities are again present, which creates a poignant yet hopeful air of reflection and nostalgia. ‘16mm’ is a lower point on the album for me. It just feels a little stagnant in comparison to previous efforts.

It sets off in a generic way and fails to expand or truly grip. However exceptions are more than made in this case. ‘Parada 15’ follows and is another instrumental akin to BRIAN ENO cinematic compositions. The electric guitar, performed by Robert Hunter-Rivera, is full of charm and induces a sense of bliss and calm.

‘Epiphany’ is up next and has a strong percussive groove that pushes the track forward. Well-chosen and sculpted synth sounds give the track its character, in which another drug like, relaxed vocal performance works a treat. ‘Mandala Baby’ brings the album to a close. It’s a fine finale it must be said. One would envisage the song being featured nearing the end of a film; a scene of resolution and acceptance.

This is beyond doubt a very strong LP, which was a thoroughly enjoyable listening experience. It very rarely drags and encompasses a lot in 10 tracks, while never becoming too eclectic. I look forward to hearing more from ISLAND BOY in the future.

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SIMONE ALVES & YANN GOURVILL Astrakan Project B

This is a Breton album which means that it embraces a rich calling in folk and roots music as influences. That is certainly an evident attribute to the passivity of the first track here ‘Sell Ouzh Ar Stered’. They have recorded this twice before but they seem to have a love affair with the tune. The string arrangements gathers the residual ebb and flow that is delicate, while the chant of the vocals is a careful application that resoundingly creates fluidity to mirror the resolute reach developed.

Second track ‘En Anv Doue Ma Mamm’ is a murder ballad that sets a suitable precedent. The morose attraction is confirmed by the deeper and foreboding sound, while the patience of the tempo is unbiased in how it \comfortably frames the delivery. ‘Gwes Ines’ captures a nuanced appreciation that furthers the appreciation for the poetry of Luis de Camoes.

In how it is there by design on this one the political landscape seems to expand the impact that builds in the lyrics.

Stealing a march in a select way is ‘Sekrejou Ar C’Hloareg’. That manages to sustain interest and the traditional flourishes sit where they should. Overall it is evenly balanced and the compartmented distribution gives it a grander relevance that meticulously measures things on an artistic level.

Lamenting over the politics that leads to diaspora and other forms of separation

8 provides ‘Gwers Ar Yougoslavi’ with its subject material. This collects in an understated way, but it is intended to do so and it fits the context perfectly. It is a heavy listen, as should be expected, with the stark reality stared down unapologetically in the delivery. Yet they still develop a commendable sense of flight to it in the right way here. The lyrics are an unpublished work by Erik Marchand. ‘Seizh Vioaz’ is a traditional Breton affair that tells the classic tale of a man besieged by the loss of his beloved. The supernatural element takes the myth of Orpheus and Eurydice as a source material. In the dalliance of the playing there are rich overtures which play in considerably and are beset in a magnificent way here. The sitar is a rich application here and the mysticism is secured from the Eastern influences on show.

Their measurement of the most famous sad songs in Brittany’s history came next. Their version of ‘Marv Eo Ma Mestre’ adds their signature feel to it all while allowing a carefree consideration to accentuate the way the reach is developed in the musical sense. They leverage their Lebanese influences superbly on ‘Ar C’hased Arc’hant’. The context of the song is the foreboding precognition that women would have that their husbands would die at sea. That dark substance strikes at the heart of the vocals and embraces that sullen overbearing in an admirable way. There is a lot to be said for the way the music is laid out also.

The last track here is ‘Ur Plac’h Yaouank Ag An Oriant’ and tells the tale of Lorient who was captured as a slave girl. The rhythm toils away smartly and brims with a spirited determination defined by the clever bounce located in the tempo. In that taut characteristic a warm conclusive texture draws you in as it admirably plays away.

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BLACK ISLANDS Black Islands Review by Greg Clifford

BLACK ISLANDS, hailing from Barcelona, are a four piece that truly know how to ‘rock out’.

The group’s self-titled debut was released 15th October of this year.

Setting things in motion is ‘Missing Flame’. The opening track has a real hypnotic quality and may have been influenced by bands like BLACK REBEL MOTORCYCLE CLUB and ECHO AND THE BUNNYMEN. It’s raw and neo-punk in aesthetic. There’s genuine energy on show and some of the heavy guitar riffs and textures are reminiscent of earlier releases from THE STROKES and THE CRIBS. So BLACK ISLANDS find themselves in solid company!

‘Lonely Nights’ follows on from where the last track left off with heavy riffs and pronounced drumming dominating proceedings. One can draw similarities between the vocalist and BRANDON FLOWERS here, in that there is anguish and an almost strained quality.

But this is not a criticism. The vocal delivery is edgy and in keeping with the pace the band set off at.

‘Wine’ leans towards a more American rock vibe rather than the resounding English feel that characterized the previous offerings. A festival anthem is presented to the listener.

Vocally I find this one a little weak, however one could consider it quirky. Overall this track is nothing extraordinary or original, but is direct, to the point and is pumping throughout. The same can be said for ‘Rage’, in which the band sticks to their guns and formula.

BLACK ISLANDS don’t ask too many musical questions but know their strengths and style.

8 ‘Rage’ has the eccentric pace of THE ONLY ONES, in which they straddle the musical district between punk, power pop and rock. ‘Jack K.’ is then a little more cosmic and drifts in places from their more usual vibe. The track stands, ultimately, Janus-faced and is more of a ‘filler’ than anything.

The interestingly titled ‘Frank Whitaker’ is up next with the pounding drums creating a sense of expectation. The opening crescendo is akin to protopunk, until the song evolves and branches off into the realms of garage rock. The band attempts to offer a little more in terms of content and dynamic contrast here, which is appreciated and acknowledged. The song culminates in an emotive rock climax, in which the thick layers of guitar cascade and hit you hard. ‘Kim’, with a running time of 2:06, comes straight out of the traps like a Greyhound and further consolidates the bands inclination to attack musically. ‘Político X’ is another brief offering in terms of length but is certainly one of the most intriguing songs on the LP. The opening syncopated distorted guitar riff has touches of DEEP PURPLE and metal, in which the customary electric guitar harmonisations are also included. This is an intense tune, which is epitomised by the enigmatic vocal delivery and overall wall of sound. ‘Icon’s Lover’ is less intense but still maintains momentum and purpose akin to the Manchester scene in the late 80s. Constant pumping bass root notes provide the heartbeat of the song. The eponymous debut LP is brought to a close by ‘Benicássim 97’, in which the band presents a song in their native tongue. It’s a nice and welcomed surprise. Big guitars and riffs drive this one home.

Overall this is somewhat of a mixed bag, but certainly merits a listen. Those among us, who enjoy punk and direct guitar saturated music, will be fans of this collection. It would also be worth catching these guys live if the opportunity arises. I could imagine they have the potential to transcend in small, dingy, sweaty venues, and this I mean in the best way possible!

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FADED PAPER FIGURES Relics Review by Greg Clifford

FADED PAPER FIGURES are an American three piece that create a wonderful synthesis of Indie-Rock and synth-laden Electronica. ‘Relics’, released 5th August 2014, is their 4th studio album and arguably their strongest and most accomplished to date. The group has crafted a signature sound and certainly knows how to grab the listener’s attention. Aside from their musical exploits they have quite exhausting and impressive day jobs too including a doctor, a full-time professor of English at Yale and a composer for Robot Repair, a production company. I must say it’s most admirable that they manage to find the time and energy to produce such \accomplished material!

‘Breathing’ is a cracking opener, which really excels in terms of its infectious beats and interwoven synth riffs. One could certainly lose oneself in the musical depth and textures explored and be reminded of MGMT along the way. The song is also lyrically astute and encapsulates what FADED PAPER FIGURES are all about. Two thumbs up so! ‘Wake Up Dead’ is an intriguing number in which we’re treated to a slightly new age country tinged synth-pop fusion, for want of a better classification. This is quite unique really. The acoustic guitar, shakers, glockenspiel and pizzicato strings sees the song find a certain warmth embedded within electronic components, thus creating unity between this and the previous track. It also reveals their true musicality and willingness to pursue different soundworlds. ‘Not The End Of The World (Even As We Know It)’ is then lyrically very impressive with many words being uperimposed into the rhythmic spaces. The song also includes well-executed, yet subtle crescendos.

9 ‘Lost Stars’ opens with solo synth suggesting a cosmic atmosphere. The groove is like a mellower, sun-kissed KAVINSKY. The synth sounds selected again are quite canny and give the track a celebrated density. The blend of male and female vocals also gives the song a genuinely charming character. Next up is the ballad-like ‘Fellaheen’. The simple repetitive drum pattern engages the listener, as do the almost whispered and hushed vocals. A voyage is conjured up in terms of subject matter as the band assures ‘it’s ok if you follow me tonight’. For me this is one of the standout numbers on the LP, with the piano being introduced effectively in places. ‘On The Line’ and ‘Spare Me’ further explores their chosen genre. With these songs we see a certain formula develop which works for the group.

‘Who Will Save Us Now’ contains traces of MGMT and the catchy assessable nature of groups like OF MONSTERS AND MEN. Following on from that is ‘Horizons Fall’ and is a touch insipid for my liking. They still create interesting sounds here, but the track is certainly less dynamic and interesting than say ‘Breathing’, which is when the band is at their strongest. ‘Real Lies’ then makes a virtue of stomping kick drum and synth arpeggiations, in which the repeated refrain gives this one a nightclub anthem quality. There is single potential here for sure. There appears to be a sitar solo too in the coda and a sampled voice that I find most appealing and alluring. The penultimate track, ‘What You See’, for me, has touches of AIR, while the comparisons between the group and OF MONSTERS OF MEN are again pertinent. It’s a quirky pop number, which is sure to get the listener moving. High register synth sounds suggest Morse code signals, thus creating eerie undertones. Bringing proceedings to a close is then the haunting farewell ‘Forked Paths’. Vocal pads and harmonies further instill this atmosphere, along with the foreboding piano. Rather than going for a ‘belting’ closer, the band decides to exit on a reflective note.

Overall FADED PAPER FIGURES serve up a polished, savvy album. They seek to appeal to the masses while allowing fellow musicians enjoy their shrewd textures, instrumentations and hooks. A strong offering all round.

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UNIVERS Review by Greg Clifford UNIVERS are a Barcelona four piece consisting of Yago Alcover, Aitor Bigas, Eduard Bujalance and Pau Lopes. The band has been releasing material since January 2012, but this effort marks their first attempt at a full-length album.

UNIVERS do not sing in English, which I must admit is off-putting, to some extent, in regards not being able to understand the subject matter and thus connect with the lyricist.

However, I will not allow my ignorance and lack of understanding (of a foreign language) effect my assessment of what the band has to offer here; instead I will focus in on the musicianship, craftsmanship and performance.

‘Heather’ gets us underway. A PETER HOOK-esque bass line sets the tone of the song, before the track evolves into something akin to the dark domains of JOY DIVISION, with the main guitar theme exuding a similar character to that of NEW ORDER. Every facet of this appealing sound is centered in the territory that is late 80s indie-pop.

The vocal performance has a hypnotic and drone-like quality similar to DAVID HOLMES and ANTON NEWCOMBE (of THE BRIAN JONESTOWN MASSACRE). ‘Minerals’ follows and contains trances of THE SMITHS, but on speed! The track is quite edgy and makes a virtue of slighting haunting chord progressions. The guitar work throughout is impressive and the tone/timbre must be commended. One reservation I have about this song is in the chorus when the drum groove/pattern changes. The group means well but may have overcomplicated proceedings, as the song seems to trip over itself and become congested.

7 ‘Travessant La Llum Del Sol’ once more sets off like a more manic THE SMITHS, which I dig. The subtle eerie edge is prevalent and well executed, while the guitar riffs are interwoven astutely between the main vocal melody.

‘Estátua En Moviment’, which follows, sets off with real intent, almost with an air of triumphant British proto-punk. Although generally I find this style entertaining, and it’s performed with proficiency, I do find the vocal line a bit subdued on account of its static nature. Possibly venturing into wider ranges and intervallic leaps would make the songs even more appealing and memorable? ‘Iceberg’ and ‘Paral-lel’ are up next and are characterized by very strong bass performances. Again the group sticks to the same creed, which epitomized the previous offerings on the album. Albeit important to find a synonymous sound and brand, and UNIVERS have achieved this, one may consider the notion that the group play it too safe and fail to push their chosen genre, which, if addressed, could thrust the music into a more original realm that becomes very good rather than merely good.

‘Camps En Flames’ further drives home what the band stands for. The guitar riff is a strong hook and the cohesion in guitar tone throughout the LP is a satisfying touch. UNIVERS are not one for superfluous content within the song structure and this concise nature over clutter is a positive for sure.

‘Muntanya Magnética’ follows the same musical recipe. As Eamon Dunphy may say, ‘it’s a good song, not a great one’. There are of course appealing aspects to UNIVERS, but it all becomes far too samey and predictable. The final track ‘Lluita Infinita De Cossos’ is a somewhat emotive number, bringing affairs to an end on a high note. One could surely imagine this track being included in a film or soap opera.

This LP reveals the potential the group has. There are aspects that demand and deserve attention, but as the album progresses you get the feeling this is a homage to mid-80s British indie-rock rather than being inspired by the genre and channeled to forge their own identity.

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TERRORBALL

Red Alert 2014 There is a deadened feel on show in the electronica elements here that resoundingly pitches a contemporary feel across on ‘Robot Empire’.

They steady the tracking which in turn proceeds to burst forth with a really impressive footing as a more comparative upbeat style comes into the mix. ‘Axis’ is a bit more triumphant in terms of how it builds the tempo.

There is a resounding commitment to the focus which is channelled in the upbeat feel of the rhythm. Again that clean calibration in their style is brought to bear cleanly on ‘Stereos’. The resounding way that it develops the tone accounts for the careful consideration of the electronic nuances. As a result the tune fortunately comes full circle with the later progressions on show adding a suave level of deserved cool. They really change your perception with ‘Robosymbosis’. This is a stellar tune that embraces rich contemporary fields in the safe passage of the styling.

It is a consideration that resides smartly over everything and passively steers it all through.

There is a funky keel to ‘Súpá Roboto Reddo Baron’ that is superb showing. Here everything brims with class. They seem to comparatively bring a lot of the right ingredients to the mix and the practical way it is all applied falls fortunately by design. But it harbours these fantastic disco flourishes that really get you moving along with it. Maybe there is a level of expectancy to the title, but

8 electronica in a hardened way. The organic of the structure gives it a distinct east-European feel and that correlation brings the harder edge of the rhythm through in a complete way. Hints of early Daft Punk are also picked up on here. In how the pick-up commences from the intro onwards with ‘M.A.D.’ everything is honed distinctly. A hard edge guides everything through which has a souped up contention in the beat that travels extremely well on all fronts. Next track ‘Locobot’ is an offering of two halves. The beginning sees it all centre on a rich robotic organic that then progresses to a more intuitive offering with a clarity in the pronounced definition that is called out on it.

There is a more experimental feel to ‘Establishing The Groove’. The correlation in the showing has a rough around the edges feel to it but there is an expectancy that envelops the balance on show. That fastens steadfastly to the motion of the running here to bring forth a resolute clarity that has slight jazz affections worked in on the background.

‘Contra’ is a rich textured affair with a relative rise to the tempo. In the considered way it weighs in favourably the retro applications impeccably process the intent. That clean showing then enables ‘ICBM’d’ come to pass with a comfortable and catchy chic about it all. Some of the temperament harbours a selective urgency that electively travels.

That is what brings the appeal through in such an attractive way here.

The last track is ‘Policy Has Failed’. With the telecast inclusions they indulge in a somewhat leftfield level of creativity that is leveraged into the play in a fortunate way. That innovative approach comes off for them in the right way from start to finish, much like the album as a whole overall.

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SAMOANS Rescue

Immediately you are impressed by what this band have to offer in the detailed way opening song ‘Tightrope Walker Complex’ builds. This morose keepsake sensibility washes over the ensemble fervour by design which allows the progressive ambience filter through before the brief and edgy vocals cut through. They indulge in a heightened rock showing with ‘Lightning Beneath The Sea’. What befalls the collective showing is an incredible endeavour that richly embraces the forward thinking of how it is laid out. That closes things down and retains an innate clarity that breaks everything down evenly. ‘I Am Your Destiny’ meanders through with a distinct shoegazer stirring in the vocals giving it a clear sense of identity. That is a token quality on a deliberate musical level. The bespoke vocals cleverly adorn this one and bring a comfortable numbness through that helps the overall appeal by being suited to how it is all drawn.

A more Americanised feel comes over on ‘The Moth’.

The deadened keel of guitar loops suitable meets the sombre offering. In the vocals it all comes to pass and you feel a Foo Fighters influence presiding over it, but it is for all the right reasons because they display an incredible level

9 of musicianship with this one. Even though it is merely an interlude there is enough going for ‘Give Me A Place To Stand And I’ll Move The Earth’ to justify it garnering your attention because of the detail and appreciation on show. The pursed feel of the guitar work on ‘Dancing On The Sea Lion’ is a secure and fleeting offering. It is excellent and personifies a band that is very much on top of their game with the select interchanges that occur. That the comfort of the vocals extolls on it so well shows why that assessment is correct.

The play is cleverly closed down on how ‘A Thousand Knives/A Thousand Wives’. The stirring opening is highly expansive with a careful consideration to the layout that applies everything tempestuously when the urgency kicks in. A hankered chanting denotes what ‘Lilfo’, but is lacking something as an interlude. It comes across somewhat pretentiously and probably could have done with being omitted.

On ‘Apia’ the vocals are weighted which suits how it is built. The appreciative wantonness is tracked exquisitely and that tender calling in the bereft notions is impressively judged before it closes out all Dave Grohl style. The album finishes with ‘Wearing Shorts In Scotland’. The isolated aspects offer something absolute here, while the hard style of the play furnishes it with a deserved degree of presence and ability that caps a very fine album that can safely be considered the thinking musician’s album of 2014 in our opinion.

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GRAVEYARD CLUB Nightingale

As ‘Into The Dark’ begins you are encouraged furthermore by the layered feel of the ethereal synth coursing through. In hour it flows a prowess develops which excellently frames everything that comes to pass. Inviting interchanges in the tempo procure a sense of excellence personified in the conveyance and intricate details to determine everything favourably. Joyous best describes the bright way that ‘The Night Is Mine’ comes to pass. A slight patience is factored in but the synthesised cornering brings some melodious pop qualities to the mix. Their fanciful appeal weighs in and it carries it all off but never over complicates the process.

Then we have ‘Easy, Killer’.

Coming in off the back off a languid calling on the intro it is a rather interesting tune in how it is framed by the song titled phonetically sung through. That hooks you and it proceeds to a level showing that is fortunate by design.

Those candid virtues in the song title connect well with the arrangement, and in how the approach is considered and grasped you appreciate the tune on its own merit all the more.

They fuse a lucid approach squarely to the tempo on ‘Sleepwalk’ that is rather suitable. The shared vocals develop the song in a kind way. But it has something virtuous that feels innate and they seize upon this in a grounded way that furthers the appeal. They centre on a more pacified transition with ‘Nightingale’. It is all brought through with a soft piano

9 arrangement central and a reflective showing in the lyrics mirroring the approach laid out for it all. It is a steady tune but one that necessitates evenly by design. That is then followed up by ‘Stay Young’. Here there is a requisite nuance to the way they collective develop the sound. Hints of retro patiently subside before it lightly comes to lift off with a substantial and subdued tempo correlating everything to formidable effect.

How ‘Fire In The Sky’ blends all of the elements together really shows what they are about. It is competence on all levels shines through. What they concentrate into the arrangement has a sheltered mainstream appeal that cleverly considers everything. The steadfast resolve of the vocals then resides in the fluidity of the rhythm structure to really cement that appeal. Again the synthesised scoring is a big plus with ‘October’. The terms hold it all here and they are set out superbly. The fluid way that things are pitched comes off brilliantly and they seem to narrow the focus of everything in a way that mirrors the excellence in the approach also. With ‘Skull & Crossbones’ everything begins as a more catchy affair, yet the musical arrangement keeps it on solid footing. Deft and spry with the deliberation here, they derive something inspired here.

It sounds different to the rest of the album but still sits comfortably alongside the rest of the track list.

There is a clever poise to the final track ‘Kings Of Summer’. That is picked up on from the distal mannerisms of the vocals and reflective issues in the lyrics. That contains the context that sinks in. The vacant momentum reaches out on this and it is not a pop tune by any stretch of the imagination. The darker side of things prevails at times but it is a significant tune in its own right, just different to the rest.

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International Acts SOUTHERN SUNRISE Feels Like Home

‘Red Sun Calling’ shows a marked projection from their Brighton EP. Against the backdrop of the pleasing arrangement is a keepsake charm that familiarises the grander touches in the rhythm. The orchestration displays a fantastic level of depth in the derivative which comes to reside impressively.

The essence of the vocals backs it up and garners a warm sense of wanderlust that is absolutely top drawer. They then indulge in a country style with ‘Closer’ which then drops out to allow the piano frame the running. The soft and heartfelt features come around, and the lightness of the dobro in the background kindles it all. The fullness of the volume implies a stylish lilt that necessitates the precious concern of the weight in a truly commendable way.

The appreciation that pours out on ‘Elspeth’ has an unbridled showing. In the forages of the outline is a catchy and stylish saunter. That comes home to roost on the tempo. The colourful display is a rapturous one and it carries a neat sense of absolution across that lifts off with true class. ‘Feels Like Home’ is a tune of true worth that commendably figures everything out. It is quite a simple effort that lovingly considers everything. A humble quality comes off it all and the entwined characteristics add a rich sense of flavour to it that is graceful in how it measured.

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AS THE CITY RUMBLES UNDERNEATH Flowers From The Stars

There is a composite virtue that the synthesised sound carefully takes into consideration from the offset with ‘Hearts Expire’. It inspires you further when you hear it play. The direct way that they seem to extrapolate the right calling between balance and structure here prevails. Adding to that assessment is the quickening in the pace which draws you in. They rightly get the pop considerations on the right side with ‘When Stars Collide’. It is a track of true consequence with the catchy exchanges improving with repeat listening. There is a throwback 80’s feel about it that also helps. ‘I Am You Are’ has this curtailed intro that breaks through with the clear prerogative notably residing by design. The cautious structure then sees a smart 8-bit tempo set out in the tracking that takes flight with a consistent nou-disco apparel that hardens the running as it all falls into place by design.

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‘Said And Done’ is the first of two versions included on the EP. Here there is a select appeal to this version. The soft calling ornately hangs across and the passive way it is all brought through is neatly considered. That savours the virtuous qualities and the consistency is pushed through ethereally by the sweet fervour of the vocals. It is a concise calling that gets everything right. Sandwiched in between is ‘Sanctuary’. There is a sense of displacement with the creative rushes on show. That fulfils everything in an impressive way and is characterised by the fine tuning that the stillness attentively reaches out for. Those bespoke attributes meet the hardened resolve in a distinguished way that denotes a clever meeting of talent and ambition as it comes together. ‘Said And Done (Naked)’ is the second realisation of the tune and the running here weights the emotive aspects within the piano derivative. It is a deep and highly referential element that savours the approach in a noted way without overplaying the sentimentality. It adheres to a latent lullaby structure that is rather interesting. The final track is a remix of ‘I Am You Are’ by Chris Lago. The club anthem aspects shape it and give it some considerations from how it is all keyed in.

MISS LIZZY & THE DIZZIES Squeeze This

This EP has a psychedelic flavour to it with the first song ‘Paul McCartney Is Still Alive’ that soulfully picks up. The latent drifting qualities add a stirring sense of resolve that gives it all flight. In doing so the sheltered awning comes to pass by design in a truly figurative way and that adds a richer appeal to how evocative it all comes to be. Safely gliding through is ‘Feel So Fine’. There is something here that deepens everything and comes to pass in a way that speaks volumes. All of the composite elements are nurtured here and they are processed with a deft procurement that resigns the band to an enigmatic appraisal for all the right reasons.

The development of the playing on ‘Send You To Hell’ shows. Circulating on the intro is a steadfast Americana guitar groove and an organ which both combine in a cursive way. That combination displays murder ballad sensibilities that are conclusively drawn upon. The prevailing end product here takes the time to build but it is in that patience the real worth and depth find reach. ‘R’L. Sucks’ really brings something to the table. The closeness of the derivative flushes out the approach and it seems to galvanise the anomic notoriety that presents itself. The roll of it is a rich affair which is motioned in a way that connects the dots delightfully here. This is why it all lands squarely. The fifth track here is ‘Post Zen Blues’ and the artistry collects in a select manner. It is stepped out rather impartially but that enriches the appeal because it suitably builds. A light bounce tapers the delivery that is commendable, while wrapping around the delivery are psychedelic elements that add a trippier apparel that comfortably fits the outline here. This is a true musician’s EP in a lot of respects.

10

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JOEE JOHNSON Leisure Class

Keeping the pace in a charming way is ‘The Place For Them’. It has a telling identity to it that controls the movement.

Bristling with fluidity, the ample attributes playfully come across and they seem to rely upon a negated indulgence of narrative that is light in terms of touch which is then mirrored by how the sound is relayed. However, ‘In Ye Evening’ there is a disparate lull on show. This doesn’t necessarily work because it is an interlude, which is probably for the best because it feels incomplete. Then we come to ‘Cripple Crew Blues’. This plays like an old Gomez track and the reach in the presence is not found wanting. The running profits from this considerably, with harmonica and other blues elements adding up on it all in a fruitful way.

‘Up On A Tuesday’ closes things out. This is a tidy number that grows on you. The feeling conveyed has a narrative that is on a par with ‘Up By The Junction’ by Squeeze. It has this token consistency that works alongside the realistic assessment that brings it all round. One of those artists who should have a bright future ahead of him if he keeps this up is the overall assessment here.

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TOMLIN HILL True Side

This band from Norfolk, Virginia come to us via our US based music network.

Brimming with class is their opening track ‘True Side’. As an eponymous opener it denotes a fine understanding of blending genres and texture. Here there are aspects of reggae, ska and hip hop alongside the indie credibility that staves away in the delivery. It is all managed and the conclusive feel is there in the end product and it is an admirable effort. ‘Diamonds To Dust’ doesn’t necessarily hold up. There is probably an over emphasis on the rock side of things which hinders the direction. They do however track the outlines smoothly and the vocals come together, but it feels somewhat incomplete in places.

Third track ‘Wanted Man’ follows the select signature that they are more comfortable with. This is a very good song that is cleverly built. In the lyrics they also reliably apply something that bolsters the appeal. In terms of how it sounds they get everything right and channel it through with a collected vibrancy clicking into gear.

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INSPIRED AND THE SLEEP Coming Up For Air

Staying with our US based network, we turn to this San Diego recommendation. Initially you think that they are nothing special, but you are rewarded for your loyalty. In the breakdown of their first track ‘Sink’ they converse the pop sensibilities and combine their dream like qualities with hints of reggae that are lightly treated. The resulting effort is one with an enriched definition and causality to it that grows on you. They envelop a richer flow with charisma on ‘pool Guard’. The surf pop sensibilities don’t go unnoticed here but it doesn’t specifically to that as a genre. Hints of triumph confidently gather in the structures and they enrich the appeal that cries out with such wanton abandon as they shade the cool in the fortunate manner that they do here. The triumphant quickening on show here is something they comprehensively turn on.

They plant a virile and content appeal on ‘Fly Low’.

That proven worth in the guitar riff is a central feature that works favourably. Then bursts of colour fly out in the tempo and you appreciate the endeavour all the more before the exceptional flourishes in the bridge come to pass. The pitch of the vocals that opens ‘You Love To Be Broken’ is greeted by the impeccable build of play. Hints of calypso drop down relatively in the showing and they fashionable enhance the breakdown. The innovation of the characteristics affords it an equalised level of prowess that is further enhanced by the brass hooks that give it lift. The last track here is ‘Turning Screws’. The great pull of the retro values unceremoniously become a high point here. They breathe life into it as much as the verified appeal of the assured vocals. What the delivery as a whole garners is a nou-disco effort that has high hints of indie credibility also further worked into the calibration to give it an internalised sensibility.

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STARBENDERS Starbenders

Coming like an all-girl version of The Beastie Boys is ‘Naked, Famous And Dead’. The charged feel of it all holds hard and fast, while they give careful attention to letting it do the talking for them. To hear a band play a tune like this lets you know that they are contenders which takes them out of being pigeonholed as another riot-grrrl outfit. They further that assessment with ‘Touch’ which emphatically builds the guitar work. That hardens the sound and the joyous articulation in the overall direction is one that adheres to a defined course of action. They really kill it with this one. Not just a great title, ‘Bitches Be Witches’ impressively hones their approach. They incidentally place something raw into the mix that prevails in the tidy way they go with it all. When it gets going you really acknowledge it for the brilliance that is displayed.

Everything falls into place by design on this one and it shows.

You realise just how good they are with ‘Alter Boy’.

Screaming at you here is a real level of attitude that is not over deliberated. It is just there because the band wants to be taken on two things – face value and for their music. You can’t have any qualms with that request when you hear this. They have an unbridled front that brilliantly brings ‘Bat On A Leash’ through. It is raw, unapologetic and they go full throttle on it and you note the indifference that they bring through which is what allows the music do the talking. The catchy riff work travels well. In terms of pace they score this one well which displays their dynamic collectively. Bringing down the curtain is ‘Enchantment Under The Sea’. Here there is a granted reflection of rebellion, teenage lust and the carefree. You liken it to a CBGB era Blondie in their pomp. It is just brilliant and there is a natural contention about that works.

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ANCIENT BABES Futuristic Demons

This New York artist curtails the EDM elements and directs them in a monitored way on the sublime ‘Malcolm X In The Middle’. The movement is rather fluid and the running time is short, at just under two minutes, but it seems to engage a shoegazer tone into the mix that is rather pertinent.

After that comes ‘Cybertronic Vibes’ which sees the expressive overture filter through.

There is something figurative ensconced in the due consideration that envelops the structure. A concise intricacy unfolds which carries the disparate notions alongside their contented development.

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The broad showing of ‘Surface Terms’ is something interesting to behold. In the richness of the stoicism resides a natural element that is quite comfortable with the solitary nature that comes through. Lighter string arrangements also hold by virtue and that impresses a sway upon it all that is grounded and carefully put together. The fourth effort here is ‘Occult Commando’, and of all the tracks this one has the most heightened sense of development on show. It has a careful construction that allows a more engaging expression come through, while the slower drift is considered in a tantamount way. Overall this is an EP that has a laboured feel to it as much as it does an attempt at creating something, but there are hints of potential in some of the progressions.

BLACK SEASONS Black Seasons

‘Maverick’ has this real kick to it that catches everything by design in a straight forward way.

The contention spills out in the urgency in the way it sounds and the force of nature that is the vocal delivery. The fired up showing convinces in a resolute way which processes everything in a relative way that also accentuates the impact rightfully as it leverages the rock calling. They seem to hang slightly with ‘Only the Lonely’ but this brings a high standard through. Hints of RHCP seem to come across in the right way, but on their own terms they display an appreciation in the interchanges that interject that deeper understanding and appreciation in an unbreakable way.

There is a sharp pull to ‘She’ which flies well.

The desirable catchiness is apparent from the handling. This in turn drops a sullen outline that cleanly comes full circle. But it has a proven value about it all that respectfully holds true. That is apparent and repeated on ‘Distrust’, yet it has an apparent and more robust reach that takes it where it needs to go.

How they toy with the playing here is excellent and they seem to bend the sound to their will.

That comes across hard but also with a relevance that shows an appreciation when the bridge comes to pass. Closing track ‘Amputate Me’. The sense of numb carries across in a tidy way. That is stirringly channelled by the controlled flow and temperament that cuts to the chase by design. It is a leveraged calling but one that engages a high yield of play to formidable effect. This is an excellent tune that controls everything on show by design.

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IAIN TILL

The Rise And Fall Bequeathed by the warmth is ‘Haunted By You’. There is a rendering in how it comes around that soothingly carries through the right amount of balance and harmony. The outline of the descript tone kind of corners a hint of gospel virtue in a hopeful way.

Coming after that is ‘The Rise And Fall’ which has a more prominent guitar on show. That is fed in and the slow, hushed tone of his voice similarly enhances the appeal. Calling on those smart qualities in the lyrics defines it all and envelops a more bespoke affection that stares through with a comparative feel in the balance holding firm.

Then comes ‘A Step Away’ and it is a pleasant number. Nothing about attempts otherwise but that is nothing to find fault with. It keeps to the lament that is called out on it and the passing of the song comes to be by respecting that. Things drift along on ‘Something’ and they adhere to the appropriation of the derivative quite sensibly. The steady motion of the guitar and the bespoke vocal harmony expend upon everything here with a simple calling but it adds a garnered level of appeal that retains an honest virtue. Everything here is easy to admire and that sums up the EP overall.

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AIRESS Airess

There is a goodness to ‘Parachuting’ that falls into place. It has a safe feel that guides it with the vocal application, but on closer inspection the nuances in the play denote a high detail in the derivative that rides high on this one. There is a brilliance personified in the showing to ‘Le Vide’. The sweet release canonises the pop attributes by procuring a definition that develops the calling superbly. The richness in texture concentrates the approach and that vitality is embraced with a true conjecture at each point of calling – be it vocally, rhythmically or in the arrangement overall – that brings it together perfectly. Again there is a concrete feel to how right the pop styling work with ‘Patience I Know Well’. It is backed up by a high level of musicianship and production. Angling for attention is the mindful context of the lyrics which enhance the resolve of the delivery in a brilliant way. The fashionable upkeep of the tempo also provides it all with an attractive calling. This is brilliant.

Things are then away with the windswept ‘Wild Hearts’. The obvious attention lavished on the arrangement is keyed in from the beginning and this evolves figuratively as everything evenly progresses.

On ‘Rebirth’ a lot is revealed that reaps just reward as it plays through. In the synthesised discourse everything is carefully considered and resoundingly comes full circle. A fervent approach is picked up on and that sensibility adds a resounding finite touch to things that exudes class. Then things close out with ‘2046’. Hints of Massive Attack in places, it is a tune with a rich alternative calling to it that goes a long way. The construct of the overall sound is one that is developed and resoundingly brings everything through with a thorough sense of inspiration in many ways. There is a detailed ebb and flow that comes off the back of the comfortable vocals which further adds a nuanced hint of inspiration to the forward motion of the vocals.

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VASE Vase

This is a very rich New Wave EP. The telecast that precedes the music on ‘Cold War’ works quite efficiently. In the tracking there is a strong electronica style that is rich and dark in texture. How it adds subtlety to proceedings is a rudimentary inclusion, albeit a little languid and static. It does retain a steady richness by design which keeps it somewhat in vogue. Again the electronics is richly manoeuvred on ‘Leaving Home’. In turn there appears to be a New Romantic feel to it all as the cushioning of the vocals abjectly condenses the styling here. This is well leveraged and it brings a lot to bear upon proceedings. The progressive undertone corners the noir in the organic to great effect.

We then come to ‘Cloak’ and the smart drum beat and gorgeous synthesised elements converse here in a way that truly encapsulates a retro grandeur. The brilliance of the raw showing gives it an additional Krautrock appeal which comes to pass in the later progression that completes everything overall. The final track here is ‘Further Away’. The suggestive vocals grant it a glorious presence, while there is a quantifiable reach developed from how the rhythm is pieced together. The coveted passivity in the tempo adds a flourish to proceedings that centres upon everything in a resolute way.

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HEAVY HEART This Season

We first heard this London band recently and they became an instant office favourite here at U&I. The appetising appeal of the band is carefully considered with ‘Daisy Chain’. It has a tidy sentiment in the pursed vocals which aligns neatly with the token precedent of the relative rhythm. Here they stoke the delivery and the casual affirmations are there by design which adds an incredible temerity to the way it all spills out. There is a heightened sense of awareness of show with ‘Another Wave’. The clean way that everything collects hones in on a stellar New Wave approach and it comprehensively shows.

In the savoury vocals things also find their calling.

The retro investment is there by proxy and that adds to the appeal on show.

What comes through on the finite touches on ‘Shell’ plays its part. There is an active pursuit on a musical level here that is justly rewarded. The lay feel of how it sounds is conducive and stows away with a deft level of precision. The lingering qualities are enriched by the distal vocals which reside astutely and develop the performance side of the delivery with real distinction. ‘Blood From A Stone’ considers the countenance to the opening and closes seductively around this. The select tone is mapped out with clarity. In the balanced tempo it all comes to pass and proceeds to step out meticulously. That residual shoegazer characteristic hinted at in other tunes is again present and further enhances the reach of it all. The finish that washes over ‘This Seasons’ furnishes it all with a clever veneer. They show that they are clued in with this one. Affluent and lingering qualities are sharply considered and they relay neatly in the running overall. The sweet return on show is cornered by the lightness of being that comes through in the musical processes which display a fine level of appreciation for creating something of substance.

10

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WHITE FEVER

Beating Of Wings After the brief intro to the EP that is ‘Beating On Wings’ this Anglo-Scandinavian outfit brings a true sense of purpose to proceedings with the rather select nou-disco indie sensibility That is released on ‘Shadows’. The way it rolls out has a commanding sense of pomp that orchestrates the urgency by design. This is a personification of sheer brilliance that must surely mean they can’t stay under the radar in 2015. ‘Skeleton Disease’ is another brilliant effort from that endears you to them for the artistry displayed. The poetry that makes its way through in the lyrics delightfully draws you in. Adding to the richness on show is a detailed structure in the arrangement that allows it to deftly cut to the chase on a musical level.

The steady allure of ‘Daisy Drown’ lays things bear. There is a defined seduction at work in the rhythm which draws you in. Then the chaste qualities combine along with the contention that comes to pass collectively. Overall it is a brilliant tune with lay nuances flitting through at key points further enhancing the appreciation going for it all. With ‘Be My Baby’ commendably adding a distinct calling to their version of The Ronettes classic they closed things with ‘The Thrilling Kind’.

Here they shoot straight from the hip and get down to business. The bustle of the guitar riff on the intro sees it through with a smart temperament that keeps a cool hold over the handling. It has these heightened flashes in the play that hang back by deliberation and shapely encompass a more incorporated structure towards something conclusive. The rich overture sits back intelligently to allow the grander poise come through with a knack of certainty that confidently holds firm.

9 -- 46 54 --

SAVAGE SISTER Huge Moves Review by Jamie Kelly

The first track on this EP is entitled ‘Huge Moves’. This opens up with huge presence.

There is a great sense of energy that is apparent from the first thirty seconds. It is full of chilled out vibes that really entice the listener, making it hugely enjoyable to listen to.

In particular I thought the vocal textures in the second half were very effective, providing the song with its own atmosphere, giving it a distant feel. The next track is called ‘Composure’ and it doesn’t disappoint. Although quite short, this gives you an uplifting feeling that is such a pleasure for the listener. Like the first track, this one is quite atmospheric which carries and delivers its own vibes throughout. I really enjoyed it and I just wish that it had gone on for longer. It feels like a little anti-climax in how short it is. None-the-less it’s still a superb track. This sadly brings us to the last number ‘Little Claws’. This starts out with a slow drum beat that lays down the vibe. The use of vocal textures throughout the EP is top notch and is especially effective on this track. The bass line that is laid down through shows quality. In turn it gives the song a smooth flow that allows it to develop a presence. While it doesn’t necessarily differ throughout it wraps up the EP nicely.

All in all I thought this was a fantastic collection of songs. I’m really into atmospheric music that produces the right vibe. So this was right up my street. All I can ask for is more because it was such a great listen.

10

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NOVEL NATURE Nylon Nature Review by Jamie Kelly

The first track of seven on this EP by Novel Nature is called ‘1937’. Everything starts off with some synth and it is not long before the drums come in on top to send it all on its way. The vocals come in and we get our first taste of what Novel Nature are about. I liked the rhythm. It is a bit disjointed and quirky.

This composure allows the various sections run into each other nicely and allow each part to get its limelight. The mix of instruments in the band, specifically the synth gives them a sort of MGMT vibe. This brings us to the second track ‘Western Movies’ which opens up with a bit more of an indie vibe. The vocals are excellent. I thought the little breakdown section before the re-introduction of the intro riff was really effective. It also doubled as a pre-chorus which made it even better. There is a small bass solo in toward the end that gives a little more dynamic. Another chorus soon follows to wrap it all up.

‘Heroine’ is a great track with great drumming throughout.

Though this was a very catchy song, and I really enjoyed it, I thought it lacked a little variation throughout.

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The fourth track is entitled ‘Hush’. To begin with all has a really groovy and sweet vibe to it. It sustains this buzz for the majority of the song, not straying far from the initial origin. There is a small breakdown in the middle that works. A sweet synth solo on show is very suited to the vibe of the track. This brings us to ‘She Stays’. This song has a synth intro that gives off that MGMT vibe that I mentioned earlier. The synth performance throughout this track fairly stood out. This is what I thought really makes it. The little runs that go throughout and between verses is superbly effective. It gives everything its own sound and makes it stand out a little from previous tracks. How it breaks down toward the end before coming back in to tie it up is why. Lyrically it has additional strength. Ironically the sixth track is called ‘Song 7’. This is quite toned down with an emotional feel to it. There is some great playing on show. It takes another skill to play with this sort of minimalist feel. Some cool sounds are thrown in and out that are rather effective, giving a mystic feel to parts. This brings us up to the last track ‘Whisper’. This is probably my favourite from the EP. It’s everything I’ve liked about the band compressed into one track.

The whole intro section is fantastic. The little guitar melody played over the top of everything is just immense. After injecting a bit more power into the song, it breaks down into a section that brings in a choir. This was highly effective and builds back in with a guitar riff. Then accompanied by the synth, fades the song out perfectly.

SILVERTOWN Song For Today Review by Jamie Kelly

This EP from Silvertown opens up with ‘Song For Today’. The track starts off high paced, packed with energy waiting to explode. After the short intro the vocals come in to send it on its way. This is nice and catchy. I really liked the chorus and melody. There is even a small guitar solo toward the end of that gives everything a bit more of a rock and roll vibe. So far so good. The second is ‘Find Yourself’. This enters in with a little more rawness to the sound. The flow gives it an original sound. As it progresses little guitar licks come in, again giving it more character. It all builds up to peak at the guitar solo toward the end. From the first note of the next song ‘Unbroken Soul’ it sounds like it’s going to be a belter. It really comes in with all guns blazing. As soon as everything drops into the first verse it’s all very promising. A small build up brings it into an anthem-esque bridge with a little guitar lick in it. Finally it breaks into chorus and it lives up to the rest of the song, projecting power and energy into the ears of the listener. It all ends on a catchy progression that appeared earlier which provides a hook for the listener. This brings us to ‘Rainbows In The Sand’. This last track seems to be a bit of a ballad. It starts out all very lovey-dovey, which is a small bit cheesy. It’s hard to produce a track like this nowadays and in fairness they pull it off. It is quite stripped back, giving the listener a look at another aspect of the band. It adds a bit of dynamic to the EP as well from that bit of variation. Toward the end of the track, a small guitar solo gives it more emotion and life. Ballads probably wouldn’t be my first type of song choice but I did really enjoy this.

All in all this was a good EP. I think it can be hard to stand out in this genre and I believe that Silvertown have done a good job of making an original sounding EP. I am looking forward to hearing more in the future from them.

7

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SILENT LETTERS Kooyong Review by Jamie Kelly

The first track on this EP is called ‘Swimming Lessons’. This tune starts out with a cool synth intro. It’s a great opener. There is a really good balance of instrumental and vocal sections which enhance the dynamic and originality. There are some sweet melodies throughout that give it a distinct sound. Second track ‘Summerkiller’ is really chilled. It gives off some relaxed vibes that give you a sensation of bobbing along peacefully with not a care in the world. The drumming stood out to me on this because it gives the song a distinct tight feel, but one with a progressive vibe to it. The change of accent toward the end was very effective which gives it that little bit of lift. Overall this was also a great track, really enjoyed the vibes. Things are closed out with ‘From Half The World Away’. This track is a fair belter in its own right and a great one to end the EP on. It opens up with an exciting build up. It takes a minute or so to break into full flow but once it does it’s fantastic. There is a great deal going on here. A few different melodies playing in and out of each other make it rather enjoyable to listen to. It doesn’t change too much throughout, it’s very progressive and changes are phased in with some sweet transitions. This comes to a climax before the drums cut out and let the melodies finish up everything. Overall again a great track that’s very enjoyable.

9

This was a fantastic listen. The only flaw I can muster from the whole EP is that I wish it was longer.

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PAUMA

Sink Or Swim Just from the curve of the way ‘Sink Or Swim’ sounds you are drawn in. The playing configurations add a high sense of reach and weight to proceedings. The dangerously catchy hooks are another exceptional draw that are deserving of praise. In the vocals there is also something that goes a long way by design. The convergence of everything as a whole is what you note it all for. Then a tangible structure comes to pass with ‘Bank’ that is rather choice. The broad definition perseveres and gives the breakdown something to sink the proverbial teeth into. A hardened weight comes down on the tempo but doesn’t overburden it. Instead it comes to have a bearing that allows the worth of the song prevail in the dark reaches that reside in the playing folds.

They go all out on ‘Getting Close’. The desirable running here gifts everything poise but the hard shouldering of the pick-up is one that displays a resounding sense of belief. The big anthemic qualities make the hairs on the back of your neck stand up. This is an electrifying tune that is very much the real deal.

On the basis of this EP 2015 should be a big year for this band, and rightly so.

10

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PROM

Keeping Company This New York band exudes a commendable level of excellence throughout this EP. The terrific ‘My Line’.

Extended in the reach is a grandeur that is there by design. It considers the linear qualities of their sound and carries them through in the discourse with real intent. That is a realised parity that confirms their impressive understanding of building stature that stands them good stead throughout. ‘Stanhope’ has a convincing presence that comes through in the poise. The consummate appraised flow of the vocals adds a richness that suitably enhances the trance aspects on show. It is an unwavering tune that has a clear sense of direction and purpose joining the dots.

‘Flickers’ is a full on affair that has a condensed sense of reach that allows for all of the playing characteristics to be considered. The connection is made by the way it all travels. There is a smooth transition in the vocals, but the real overall aesthetic in the make-up of the sound is brilliant. What also stands it good stead here is the controlled presence found in the production values because everything comes through with a heightened sense of balance. They move their sound up a gear with the savoury retro chic that is felt with ‘Switch On’. It is a more astute number with a distinguished shape to it all. Here there is a fashionable tempo and how it triggers the right response from the listener is down to the impressive way that it all comes full circle. The indifferent calling of the synthesised elements call it out squarely and they preside over affairs in an obvious manner that is diversely enriched. Then we come to ‘Keeping Company’. This has a bespoke virtue that narrows the vocals to a more elusive offering. The partial and distal remnants on show are harboured by a diligence which keeps it all in focus. There is a noted conjecture in the expansive attributes which you also warm to.

That is what makes this New York band stand out for anyone who discovers them.

10 -- 46 57 --

International Artists FUTURECOP Into Your Heart This is a brilliant effort. The flight of the synth steadies the ship but it has this gorgeous appreciation on show in the expansive attributes which adds a heightened sense of distinction. It comes over emphatically and holds its own by design. It is very rich and commands the sense of focus superbly.

9

ARTBLOCK Polly

8

There is something about this has a Lou Reed inspired left field pull to it. The sunken sound is wonderful. While the deadened style is only as effective as the inspired lyrics that seem to connect with the offbeat characteristics, the inspiration does come from that calling. There is a lot to note from the latent exuberance that hangs back off the rhythm which adds significantly to the mix.

International Artists

THE CONTROVERSY Two Voices

Again this Los Angeles comes up with a tidy effort to follow up ‘Queen of Chinatown’. There is a delightful revelry and the compact disco beat is something brilliant. The fluid motion of the tempo is executed with a real sense of precision which drives it on by design. The faultless temerity of the vocals also lingers here in an undiluted way which favourably brings out the best in everything.

10

THE YETIS Little Surfer Girl/Warm California

9

This double A-side materialises with two charming efforts that come full circle in their own right.

The first offers a realised surfer tune (as you’d expect from the title) but it shares the sophistication of The Beach Boys for all the right reasons. The radio friendly fanfare is descriptively tailored here and the flurry in the sound gives way to allow the latter tune to come in. This bombs along in a rather peachy way. The pristine way it passes the time is very giving of anyone who checks it out and it all holds in a confirmed way in those charming aspects in show.

THE FONTAINES Dustin Hoffman Here is a tune that has a delightful sense of revelry to it all. The open feel of the flow meets with character and substance. It is a duly realised effort with a gritty flair to accompany the pristine showing of the catchy aspects. This is a cleanly cut tune and there is no denying this because it ticks all the boxes, but in addition to that is a timely quality that endears everything with a little bit more distinction.

9

PEUR Explosions

8

Here is a song that has a by the numbers feel to it, but there is a little bit extra on show. The requisite way that the hardened side is angled gives the rock leanings a formidable presence. This then relays the obvious intent of the build towards something of an imperative quality as opposed to it being considered as a standard run of the mill effort. It does hold with a sense of tangibility and that is processed in a compact way that stands it good stead.

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THE VULTURES Cancer/Vlad

International Artists

Soft embracing the sullen and graceful demeanour is the first track on this double A-side. Consumed by the temerity of the abject mood and tone that brings it all in to focus stands it good stead. In some ways it is opportune but there is something meaningful considered by the lonesome calling of the vocals. ‘Vlad’ on the other hand is a brilliant. The resounding attractiveness of the string arrangement and the force of the running here are a formidable combination. Holding in a steadfast way from the off it also has this rotund sense of obscurity in the lyrical narrative that completes it all.

9

JACKSONS WAREHOUSE Right Here Right Now

8

Things fall favourably on this one from the off. A pleasing and relative ease steadily balances the ebb and flow, while there are withdrawn qualities on show in the vocals. In the arrangement and tempo they find their calling. The astute way things cleanly filter through holds its own and it does so quite fast. Here is where the worth of the song is to be found and the placid texture is amplified in a way that sees it go the distance as a long player.

ALL THIS NOISE Seven Billion Like You

International Artists

This is a suitably impressive track. The hard call of the narrative is mirrored by the commendable way that the vocals are delivered. Adding a richness to the overall aesthetic here is a choice Dark Wave hint that takes careful consideration of the alternative structures on show. There is an anomic appeal that favours the contemporary apparel and by design enhances it furthermore in a relative way that draws you to it for all the right reasons.

9

LAS ROBERTAS Better Days

10

Formidable is the way to describe this. This is a true tour-de-force combination of punk and shoegazer that lands everything squarely. It rounds out the playing and the transition is one with a vitality. It is short and sweet, with the running time remaining loyal to how it should. The electrifying pomp is a true marvel and it seems to be brought through off the back of a real sense of substance, while the charged rhythm procures a Tex-Mex favourability that shoots straight from the hip.

WE WERE GIANTS All I Want This could be a track that gives this band their big break. In the lyrics is a conveyance of incredible depth and from that the arrangement would appear to be built around. It has a demeanour to it that is shapely, while the softer calling is carefully constructed and considered.

Hanging in the background is the evident expanse which is a persistent quality that frames it all by definition. It is definitely the real deal in a lot of respects.

10

COLUMBUS Harmony/Spanish Contradiction

7

For some inexplicable reason we received a large number of double A-side releases this month, and here is another from Sweden. A requisite pleasantry comes across from the highly stylised play with ‘Harmony’. The countenance gives it a confident showing and they run with it. In some respects it lacks a bit of direction to just keep it on course, but it doesn’t veer off by too much. The second track is cut from a more refined cloth and has substance prevailing from the intro. In how the approach steps out there is a more telling fit to the way it sounds. A relevance is noted in the delivery that is rather favourable but it has the same fallings in that they rely on an over reliance when a ‘less is more’ approach would suit the tune more. They overload it here slightly and it shows.

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THE ART OF AMPUTATION Californian English/Distorted Pop Song

International Artists

First up on this double A-side is ‘Californian English’. Residing in the electronic tempo is a carefully constructed tempo that affords everything a real touch of class. It is not just the synth that is brilliant, there is a true worth in the lyrics here that allow the vocals to find their place here. The second track is slightly Avant Garde, but it is not a pretentious effort. Instead there is a telling resolve that builds impressively. The lightness of touch on show is a formidable quality but it is all there when it comes full circle. What is evident when that occurs is that the ambitions have been realised and it materialises in a way that shows their true artistic pedigree when it all cuts loose.

10

THE BOX TIGER Fire Walk With Me

10

Another excellent effort from this fine Toronto band who we have always been fans of here at U&I. A delightful sense of revelry lights this one up. That is enhanced further by the hurried feel of the longing guitar structure that then allows the contemporary aspects merge seamless with lighter pop attributes. The attentive qualities are called out expertly.

The showing here is a finely developed understanding of range and scope which accommodate the broader stokes in the sound superbly.

STARS AND DOTS Snake Oil

International Artists

Here is an interesting offering. High in terms of the contemporary and alternative way it is all framed, there are elements when it gets into full flow that seem to shepherd a grunge calling. The pitch of the vocals embrace that fuller calling and this is a saving grace which also gathers momentum from how it is laid out. That dynamic is highly engaging and catches the intensity of the resolve in a savoury way that brings a lot to the equation on a musical level.

9

PELUCHÉ Ohio

10

This is a brilliant tune. Not only is it brimming with charm, but the harmonies also line up in a telling way. Adding to the appeal is the colourful way that the rhythm is constructed. In addition to it being highly detailed it just has this feel good factor that is ambitiously realised. The select combine so effectively with that the delivery overall is a truly flawless affair. In that regard they embrace the Caribbean elements that stow away to really come up with a splendid effort on all fronts.

SHADOWQUEEN Burning A full on rock showing from this Melbourne band that collects everything in a noted way. In the approach they stare down the playing and the sharpness is felt. A hardened tempo is the result and one that checks the pace in a noted way so as not to lose the run of itself. In how that is considered the compact elements stay on course as the urgency sensibly builds to leverage a commendable showing overall that boxes clever.

8

RACHEL BY THE STREAM Reasons To Live

10

To paraphrase the famous quote: ‘Future Pop is not a dirty word’. This independent Melbourne outfit show they are the real deal. The richness that collects by design in the delivery adds lift to it all that breaks the delivery down with precision. The galvanised flourishes add this blissful calling to everything that is impeccably fashionable and astute. That gives it all a steady calling that brings it to life.

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WOZNIAK Five Star

International Artists

In the foray of electronica is a mesmerising tune that is superbly tracked. The requisite touch of the shoegazer fabric enriches the appeal in a truly benevolent way when things take off. The absorbing feel of the energised tempo is elaborate to the extent that borders on genius. The well thought out structures and playing arcs complement one another while having the good sense to hang back by design.

9

THE PLASTICS All I Really Want

8

With the latest offering from this South African band they tease out the credibility of the checked indie sentimentality. Found in the fluid tempo is a fashionable element that factors in something that commendably brings a mainstream appeal through with the charming way it is all pitched. A lot is realised and well laid out in the approach that cleverly builds on that calling as it plays through.

POLAR STATES Roads/You Are

International Artists

‘Roads’ is the sharper of the two tracks here. A blistering foray into indie is noted on the fullness of the intro.

There is a bittersweet calling to the vocals that carries it all through and the togetherness of the brash callings sees them turn on the style fittingly. The lift in the chorus is a big draw also, while there is a steady and hip mainstay about the rhythm which comfortable allows it all come to pass. With ‘You Are’ it is all a steady affair but the margins are more considerate. In turn this offsets how things are keyed in and the placid style here, in contrast to the other track, holds its own and still gathers a degree of urgency in how it is laid and progresses.

8

MAJELLA MURHY Too Small To Follow

8

A commendable feel is noted here that softly filters through. There is a lot compensated for by its inclusion which marks something in the delivery that is rather efficient. A high level of attention and appreciation are also evident which in turn brings the more pacified characteristics through in the playing. It is stylised in a gentle way and it works favourably here.

MONGOOSE The Bottom Line Admittedly this is a tune that very much goes against the grain and stands tall for it. The relative charm offensive from this one has a brilliant sensibility running through it that is rather comparative. But here is a song that harks back to a highly stylised showing and the periodical feel to how it is styled is highly proactive and for that endeavour they are suitably rewarded with a well-polished end product.

8

NEW ARCADES Wherever You Are

7

What this tune does it does extremely well. The synthesised elements are polished and it is a slow builder. The partial side of things does overplay its hand somewhat at times which detracts from allowing the momentum to properly take hold. There is a steady feel on the rhythm that is tracked adequately but it is the playing it safe too much that stops the potential from being reached here.

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This is the December 2014 4x4. It is an editor's pick of four videos by four artists selected from four of our music networks.

At U&I we work with 94 co-ops across 49 countries and the music network that the recommendation comes from is indicated in brackets.

ORENDA FINK "This Is A Part Of Something Greater" (US Based Network)

STARWALKER "Blue Hawaii" (Iceland)

SHY NATURE "Birthday Club" (London)

VANN MUSIC "Gold & Silver" (Dublin)

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