Unsigned & Independent (June 2014)

JUNE 2014

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LE R A SC

WISE

PS I L HY S E RS TH E D FFEN O EAT P E R THE M E H T A

GIRL

NC TA NK

DIMESTORE RECORDINGS – THE RUBY SESSIONS – SAUCY SUNDAYS

THE 12 MANC TANK

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The Repeat Offenders

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14

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Scene & Heard 16-17 18-19 20- 21

Dimestore Recordings The Ruby Sessions Saucy Sundays

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Irish Album/EP Reviews International Album/EP Reviews Single Reviews June 2014 4x4

WISE GIRL

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EDITORIAL We now come to our June 2014 issue which marks the halfway point for us this year. We have

and what an issue we have for you this month.

independent music around.

Everything about the band appears to be geared towards your second album “Brother Nature”. That is evident in terms of how the band’s presence seems to be more noted on this release than it was when “Honeyskippin’” was released three years ago. So we will start with the album. The singles that have been released so far seem to have an apparent maturity and sense of direction to them that appears to be a definite progression for the band musically. That is particularly noted when you consider “Homeslice” and “Comin’ On”, while “Soul Brother” still has that signature feel about it that people would recognise as being The Hot Sprockets.

It has been three years between the two albums.

Would it be fair to say that you have developed as a band musically and that is responsible, in a good way, for the differing feel of things musically?

We’ve been working really hard over the last couple of years, so I hope we’ve developed as a band! It’s hard to tell when you’re in the band; it’s so gradual for us, if ye get what I mean? It’s like the way you don’t notice you’re mates/family/kids getting older, if you’re around them all the time. People on the outside who only see them every couple of months/years notice it, but you don’t because you’re in direct contact with them every day. The same can be said for a band…we don’t notice it until we look back on what we’ve done and how far we’ve come. We’ve definitely developed our sound a lot more since the first album.

How different is this album going to be to “Honeyskippin’”?

Well for one thing, it’s definitely a fuller sounding album.

The first album was recorded in seven days and has very few overdubs; it pretty much sounded how our live set sounded around that time. Whereas with “Brother Nature” it was recorded in drips and drabs over about six months. I’d say in total we spent about 3-4 solid weeks in the studio. Once we had the bare bones of the songs down, we then started filling in the gaps within them. Things like, overdubbing extra guitars through different amps to achieve certain sounds. Backing vocals and harmonies are another thing we paid more attention too. Then filling out the gaps with keys and organs. A lot of these were improvised in the studio, which really gives it that fresh feel.

And in what ways is it similar?

It has a similar mix of songs to the first album; there are the usual rockers, the usual chillers, and the usual sweeteners, but the songs are definitely more developed and thought out. It also has a similar energy to “Honeyskippin’”. There is a certain rawness to it and genuineness that would be comparable to the first album.

You worked with Gavin Glass on this album too.

He is well respected and has worked with a lot of the most promising acts currently on the Irish independent scene. How did the partnership come about in the first place?

We played a gig with Gav in Crane Lane in Cork a good few years ago. We got to hang out with him there and have a laugh together. We both had a mutual respect for what each other was doing and what each other was into…there was an instant connection there but then after that night our paths didn’t cross until a couple of years later. Paul (our manager) put some joke up on Facebook about the band breaking up (something like, how he stretched the elastic band too far, it was a pretty crap joke to be honest), but Gav replied to it saying how it was a bummer that he never got to record us. We told Gav it was a joke and that if he was up for it we’d love to record our second album with him…and the rest is “Brother Nature”.

How long did you all work together on the album?

We don’t really know how long it took. We had the bass and drums recorded for eight of the tracks already. We recorded them in Windmill Lane over two days, so initially that’s what we had when we started recording with Gav. Later we ended up recording bass and drums for four more tracks. These we did over one day in Grouse Lodge. Then we went back to Gav’s studio to finish everything off. I’d say in total though, we roughly spent 3-4 weeks recording, but spaced out over the course of about six months.

How much of what has gone on the finished album was already there before you started recording and how much of it came about during the recording process or in studio?

Most of it was there before we went in recording, although, “Shake Me Off” and “Homeslice” were written about two weeks before we went in to record them.

“Homeslice” was the only one we changed on the day of recording; we stripped that one back to basics with Gav in the studio and built it up from there. It was a great experience doing that as we had to get the backbone of the song down that day otherwise it wouldn’t have made the album. A lot of the backing vocals and lead guitar parts we improvised in the studio, while some of the vocals, lyric and instrumentation parts were improvised in studio. You have to leave some of it open for improvisation as it gives it the record a fresher more natural feel.

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It was obviously a good working relationship between you all. What did he bring to the equation as producer that you look back on now and recognise as being positive in terms of input?

I’d say the biggest thing he brought to the table was his experience as a musician. I mean, he’s been in the business a long time; he’s played in a lot of big bands, released a lot of sweet albums of his own, toured the world, and recorded a lot of good material. He’s a professional musician, ye know? He’s an amazing player, and can play a lot of instruments really well, so it’s great to learn from someone like that. He knows how to make things sound really good. If there is a sound you’re trying to achieve he’ll know how to get it, and if he doesn’t, he’ll work with you until you get the desired sound. In saying that though, I don’t know if we would have come out with such a great record had we not got along together so well. We had a blast recording this album with him and I think that really unified the whole record for us.

The presence and profile of the band has been considerably more noted in the last 12 months.

It seems to have all started with the release of “Soul Brother” back in April last year and continued on. It would appear that everything is following a strategic plan because a lot of the right things have been falling into place for the band. One of the highlights for the band has to be your appearance on The Late Late Show. How much of a big deal was that for you as a band?

40 seconds longer then the recorded version on the album.

Finn sorted all the locations for the video; they’re all places in his home town of Cavan. We wouldn’t have been able to get such great results if it wasn’t for the kindness of everyone involved. All the costumes were our own clothes, except for the Lollipop man outfit; we had to borrow that from the local Lollipop man while he was on his break.

The actors (Daniel Brady and Blaithin McCormick) are friends of Finn, and, like him, are very professional, amazingly talented and great to work with.

His parents are wonderful people. They let us use their household for certain scenes, and his dad even stars as one of the painters. It’s easy to see where Finn’s awesomeness comes from when you meet his parents. We had a ball filming this video and we learnt a lot from working with Finn.

The video for “Comin’On” is a fine display of craftsmanship. That single tracking shot through the whole video must have been hard to do, but the end result is extremely impressive. How long did you work on that video?

All the videos, bar the last one “Shake Me Off”, took about 3 months of planning, but “Comin’ On” was definitely the biggest production by far. It was a monumental feat that Luke and his team at Little Beast pulled off. Jenny Moylan helped the whole thing run so smoothly, and her sister Kate Moylan did a miraculous job on costume fitting. We 100% wouldn’t have been able to do it without them.

Another key person in the production of this video was Bob Doyle at Extreme Structures. Also, it wouldn’t have been nearly as aesthetically pleasing without the support of all at Prop Me Up. We had 6 big van loads of props for that video; I can’t even imagine what it would have looked like without their help! The actual shooting of the video was done over one long day. I think we shot 9 takes, and out of them we could only really use 3 takes. So we all picked the one we felt worked best.

Was it hard to do from a technical perspective for the band?

‘‘ THERE ARE THE USUAL ROCKERS, THE USUAL CHILLERS, AND THE USUAL SWEETENERS, BUT THE SONGS ARE DEFINATELY MORE DEVELOPED AND THOUGHT OUT ’’ Yeah it was amazing. I’d say everyone in Ireland knows what The Late Late Show is even if they haven’t seen it, so it’s a great thing to say that you’ve been fortunate enough to play it. It was another milestone for us to achieve and we received a lot of good attention from it too. We gained a lot of fans that otherwise wouldn’t have heard of us. Ryan Tubridy (or, R-Tubs as we now know him) was great too.

Foot”, he was in the film “Chocolat” and was the star of “the Stag”, to name but a few. Our latest video for “Shake Me Off” was shot by Luke Sweetman and his girlfriend Esme Pum McNamee, and was edited by Dan Butler (Danny Scissor Hands) who did an amazing job fitting it all into just over two minutes. Again we could not have pulled it off without the extraordinary help from all at Little Beast.

Back to “Soul Brother” and the video for it. That is a medium that has definitely come together and fallen into place each time you have put out a release. It seems to be that you have a good partnership with the director each time. Who have you worked with on the videos?

Another positive we have picked up on is that there is a good hype about everything in the build up to a Hot Sprockets video. We are always including them as an editor’s pick in our 4x4.

How much of a big deal is it for you guys when you see the finished article?

Yeah I think it’s crucial to get along with whoever you’re working with in order to be happy with the final product. Finn Keenan filmed, edited and graded “Soul Brother” for us. He’s a really great guy and we got on with him really well. He worked with us meticulously on developing the story and really knew how he wanted the whole thing to end up. Luke Sweetman filmed “Comin’ On” for us, with the help of his production team Little Beast. He has a really great core of people working with him in Little Beast. This was his third video he shot for us. We’ve been best friends with Luke since before we started the band. We were getting in to playing music just as he was getting in to filming, so it’s always deadly to work with him and see each other progress.

It’s always great to see the finished edit. No matter what you have pictured in your head for the video it’ll always be slightly different, but fortunately we’ve had the opportunity to work with such incredible people, so the finished product always supersedes our expectations.

Hugh O’Connor shot “Homeslice” for us. Another amazing guy, really nice, really talented and a pleasure to work with. He’s an actor. He’s been in a lot of big films since he was a kid; he was the kid in “My Left

Back in April last year you released “Soul Brother”. Everyone was talking about that video for the right reasons. When the concept for the video was pitched to you what did you think of it?

The imagination and creativity shows, so it must have been a good one to film as well. Was it?

The concepts for the last four videos have been devised by us. Then we work with each director to develop the story more so that it can logistically fit into the timespan of the song. With “Soul Brother” Finn knew that to fit it all in we were going to have to get the song extended, which we did. The song for the video is about

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It was definitely the hardest to pull off from a technical perspective. If one thing went wrong in each take we wouldn’t be able to use it, so it was crucial for every element in the video to run smoothly. That’s why there was so much planning involved. We would go out with Luke to the location on numerous occasions and run through the whole video with just the band members to see how much time we had for each scene, to plan what was going to be going on in each scene and to see how it was logistically going to work. There was a lot of manual labour involved too; countless hours. The set up took about two days and the take down took about two days also.

The overall aesthetic of the video is highly detailed as well. The people involved in it as extras were there for the love of the band. But where did you do the filming and when?

We were originally going to film it on a beach out at Brittas Bay. We even went out there on a couple of occasions with Luke and planned and filmed how it was going to work. In the end, the cost would have been too high to film it out there. Things like insurance, getting electricity out there, catering, and travel would have just been too hard to pull off financially. We ended up shooting it out in our friends’ house in Celbridge. Without this location the video would not have been able to go ahead so we are very lucky to have such remarkable friends. All the extras are made up of our family, friends, and girlfriends.

The cooperation and patience from everyone is admirable.

“Homeslice” as well has gathered a lot of praise. It is a solid tune from start to finish. What is the song about because it comes across with a large degree of emotive heft?

Franky wrote the lyrics to this one. I don’t think it’s about any one thing in general. It’s more an amalgamation of particular thoughts. We write a lot of our songs this way.

I think it is better when a song is left open for people to take what they want from it. If a song is about one thing in particular it doesn’t mean it’s going to be perceived that way by every individual. Each individual takes their direct experiences and relates it to how they perceive each song.

The video for it is also well choreographed. In terms of the technique on that one in comparison to “Comin’ On” how was that experience for you all?

“Homeslice” definitely took us the longest to come up with the concept for the video; we really wanted a video that would suit the song. Once we had the concept we then worked with Hugh on how it was going to all tie together.

Again, a lot of planning went into this, as it was a pretty simple and delicate concept we needed some clever ideas to keep people interested. The main thing was trying to keep it coherent with the song, so as that it didn’t take away from the song or distract you from the song. Hugh and his crew did an amazing job on this video. Hugh’s friend Cathal Watters was on camera duties and made it look ultra-slick. Our good friend Jeff O’Riordan helped us out with all the projections, and his girlfriend Sharon helped us out with the set design. It was edited in Windmill Studios, whom really shaped the whole thing together and made it look so professional.

Your new single “Shake Me Off” also has another excellent video. How did that one all come about?

Again, Soper had the initial concept for this, which was roughly inspired by the movie Hot Rod. We left it late to get this one going though. We only went to Luke (our friend who shot the videos “Sleep Shake”, “Long Way From Home”, and “Comin’ On” for us) about three weeks before we had to shoot the video. For that reason he asked Esme Pum McNamee to get on board and help out with directing duties, as well as the help of Little Beast, his production team. Dan Butler (Danny Scissor Hands) did an incredible job editing three full days of shooting down into a two minute video. Bob Doyle at Extreme Structures built the ramps and flaming penis in only two days…a beast of a man!

We used my niece Zoe’s bike for the video -the small blue one. My brother John was our competitor in the video.

Then we had two stunt men - Billy Byrne who stood in for my brother’s parts, and Jakub Kokoszka, who stood in as my stunt double. We shot some of it in Soper’s gaff, some in mine, and some out in Celbridge in the same house we used for “Comin’ On” and “Cruisin’”. All the extras, as usual, consisted of our friends, family, and girlfriends; it’s really inspiring the continued support they have all shown us. It really means a lot to us.

We always see bands put together a film clip, mainly an old black and white move, score it by putting their own track to it as background music and call it their new “video”. Do you have a greater sense of appreciation for video as a medium now?

We always had a great appreciation for film; we just decided to get more involved with our videos, so as that we can get across who we are as a band. It’s a great form of promotion and in this day and age, with the likes of YouTube, it’s a great way of reaching a wider audience that normally wouldn’t get to hear your music.

It’s another sense to be stimulated, which is always a good thing.

You launched a competition for a support slot to play at your album launch gig on June 7th. How impressed were you with the standard of entrants?

Yeah we were blown away. There was some really top stuff that got sent in to us, a lot of really inspiring compositions and renditions. The variety of entries blew our minds. They took our songs to places we never would have imagined them going and they did them really well. That’s what made it so hard to pick just one winner; there were a lot of close calls.

TRAVIS OAKS were the overall winners. What was it about them that stood out from the rest?

As I said, there were a lot of close calls but Travis Oaks rendition of “Bad Jim” stood out to us immediately. It was a great composition that was sung well and played well. It had energy, attitude and a vibe to it, it had a good video and it was recorded professionally. It ticked all the boxes really. It’s probably better than our version so we had to give it to them, and it’s well deserved. There was a lot of really, really, great stuff that came in to us and we were truly humbled by the standard of entrants.

tune in to “Honeyskippin’ with The Hot Sprockets” on Radiomade.ie, Thursdays from 2pm to 4pm. We only just started it two weeks ago, but it’s going well. We get to play the music we like, the music that has influenced and inspired us, and we play up and coming artists from Ireland too. It’s a good buzz…tune in if ye got the balls!!

The summer is now in full swing. You are just off the back of two high profile appearances at Vantastival and Indie Week in Limerick. There is the album launch gig coming up in The Button Factory on June 7th. But what else is in store for you in terms of gigs and festivals over the summer?

We’ll be hitting up a small nationwide tour after the album launch. It’ll be finishing up at the end of June.

After that we’ll be rocking’ out at the usual festivals Knockanstockan, Westport Festival, Secret Garden Festival in Wicklow, and a good few more. You can check all our dates on our website www.thehotsprockets.com.

We’ll also be heading over to Wales to play the Green Man Festival, and then we have a little English tour after that. We’re in talks at the moment about heading Stateside, so keep an eye on our website for more updates. And then in October we’ll be flying over to Toronto, to play a few gigs for Indie-Week Canada, so things are really shaping up at the moment.

One more thing guys….the World Cup is on this year. Who do you think will win?

Ireland.

That competition would also be a reflection of the healthy state that our current music scene is in. But with the closure of Phantom in February how much of a loss is the absence of a resource like that for promoting the music of up and coming artists?

It was a bummer Phantom went under. There were some great DJ’s there that got dropped. Some of them are good friends of ours. It’s not entirely gone though. It just changed its name. I don’t think they’ll stop playing up and coming artists completely; the bits I’ve heard so far seems like they’re playing about the same amount of Irish acts. If people don’t like it though, they can always

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SCARLET

INTERVIEW BY JOE LOFTUS

On a relatively sunny afternoon in Widnes I spoke with Jessie Scarlet – a former member of The Thespians who is now focussing on her solo project ‘Scarlet’; an incredibly soul stirring and atmospheric collaboration of beautiful and ‘un-genre-able’ noise – and asked her a few questions.

After listening to a couple of your songs over soundcloud such as “Georgia”, “Harder To Be” and “Heart On A Line” one thing that seems undeniable to me is that you definitely encompass a wide variety of genre's in your music - is there a reason for this? Are you trying to create a new genre?

I'm influenced by a load of different musicians from all different genres. I was brought up being played Ella Fitzgerald, Nina Simone, Bjork, Annie Lennox by my mum and The Verve, PJ Harvey, Radiohead, Sex Pistols and all the 77 punk stuff by my Dad. Irish music was a key influence in my life as my Nan and granddad play all that kind of stuff, and as I developed my own music taste I started listening to the likes of The Cranberries, No Doubt, and Coldplay. More recently I've been into bands like The Horrors and TOY. I guess all these influences and my broad taste in music have kind of left the 'genre' door open to me. I think that's a real positive. It means I have a lot of freedom. I probably connect the most with PJ Harvey's music...but I wouldn't say I try and fit her genre when I write. Or any genre. My songs are just an overspill of my own self.

Obviously I will have been influenced by all these artists but it's not something I consider very often. I couldn't ever tell you what genre we are because I'm not sure of it myself. Genre isn't something I think of when writing. I always get really shocked by the different bands we get compared to. It's usually people I have heard constantly in my home as I've been growing up but never people I have actively gone out of my way to listen to, or bought their album, or consider myself a 'fan' of.

I suppose influences are sort of a mere appetiser whereas your own music is the main course! I can definitely hear all of the bands you've just spoken about carved into your music in some way, shape or form. As I've been listening to a few of your songs in the past week I've been hearing some slight sounds of Joy Division, The Cure, Two Gallants, Two Door Cinema Club, and even the likes of Heaven 17, Sinead O'Connor! What would

you say influences your songwriting the most and what inspires you to continue writing?

We always get compared to Joy Division! It's pretty cool that when I write I connect with the feel of the music. I imagine what the music is trying to say and put words to it. Sometimes I can place my own emotions and feelings into a song and write about something specific, but I've found that sometimes I just plonk words on a page and only later on do I connect my emotions to itlike I'm listening to something somebody else has written if that makes sense?

Relationships and friendships come into my writing a lot. But then saying that, I wrote Georgia about a girl I spoke to for five minutes in the toilet at a Blondie gig. (I forgot to mention Blondie- she's a killer influence) but yes, it's all a bit abstract. It's never intentional. I always feel that I don't really know what I'm doing.

I'd say the Joy Division link came to me through “Georgia”. It’s incredibly atmospheric and soul stirring to listen to. I write myself as an aspiring novelist and I can completely understand what you're saying. It can get incredibly hard to read your work or listen to your work as an outsider.

Or it is for me anyway. When you've spent night after night drinking coffee after coffee plonking words on a page, and then you've got to try and read it, as if you've never read it before. It’s mad and it’s confusing but it’s got to be done. I'm quite intrigued as to of what the girl at the Blondie gig did to inspire you to write such an interesting and delicate sounding song?

She started talking to me about cocaine. Literally, she came over and said 'hiya you look amazing! Do you think I look amazing?' So I stood there and looked at her- wearing a polka dot dress. Not much older than me yet soooooo much older than me if you get me? She starts talking to me about how much she loved cocaine and that St. Helens (where I am from) loves cocaine and do I have any and do I want some. I spoke about ten words to her. And she left. And then I couldn't stop thinking about her for weeks…wondering if she was OK. She was on her own at the gig and clearly off her face. I started to think about her family and if they knew what a vulnerable mess she was. I couldn't stop thinking about her for weeks. So I filtered her into music.

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‘‘Irish music was a key influence in my life as my Nan and granddad play all that kind of stuff, and as I developed my own music taste I started listening to the likes of The Cranberries, No Doubt, and Coldplay.’’

Wow... it's crazy what lives people live. So many girls and boys like her are out there right now roaming the streets in search of a fix just to pass the time until the next one, and the next one, and the one after that. Endlessly prowling for some purchased happiness and willing to sacrifice anything for it - morals, friends, family. You did the best thing - immortalizing her forever through a song. I wonder how she is right now, and I wonder what she's doing. So anyway have you been recording anything recently? And if so, tell me how it’s been.

Honestly she was so beautiful, but so vacant. I have been recording with Jon Withnall - one of the fellas involved in producing the first three Coldplay albums just to see what we come up with. Not for anything in particular just yet. Release wise, I'm not sure what I want to do just yet but I'm only three months into this project so far so I guess I have time. I want to get the boys involved too- they really bring something special to my music. They make it better live. There’s a totally different feel to the songs. It's like an underlying darkness. It makes the songs sound huge. They're good lads - Very talented. I'm lucky to have them on board.

That's great news. I'm sure something will come of it if you give it time. Just keep going for it and projecting yourself forward into the realms of creativity. What about upcoming gigs and festivals? Are there many of them coming up?

We're playing a little local St. Helens festival called Westfield street festival on the 8th June which is my first home ground show so I'm majorly excited about that and were playing Hop Farm Festival and The Secret Garden Party Festival in July which is so cool to be on the same line up as people like Ray Davies from The Kinks and one of my favourite bands Wolf Alice.

THE SHY LIPS are a Swedish band that has currently come off the back off a very successful European tour. With two single releases already under their belt this year they have been building on that momentum and gaining from it in all the right ways. We caught up with Victor from the band to ask him how the last six months have been and find out what lies ahead for the rest of the year.

It has been a busy period for you as a band. You had your recent European tour which coincided with the back-to-back monthly releases of your two singles respectively. The first was “That’s Where I Belong” in April and that was followed by “She Was Born In Bahia” in May. Were they both recorded at the same time or did they come about from separate sessions?

It's been a busy time, a busy life, but it's enjoyable when our business is our pleasure.

And we love pleasure. We recorded the songs at the same time, at Svenska Grammofonstudion here in Gothenburg together with producer Oskar Lindberg, who's also recorded THE SOUNDTRACK OF OUR LIVES amongst many other bands. In fact, we released “She Was Born In Bahia” first, and three weeks after that “That's Where I Belong”.

We had two songs, and we decided to release them on different occasions.

Was it always the intention to put out both releases to coincide with the tour?

Both yes and no, you know we do plan things but we want to do other stuff too, and then someone steals some time... It was about then I licked my thumb to see in which direction the wind was blowing, a month or so before the tour. It seemed appropriate to release them in combination with the tour, which was what followed.

Given how closely they were released as singles, why did you opt to go down that route as opposed to putting them out as a double A-side….or even putting them together as part of an EP with some older tracks?

Based on surfing the wave of success of the first song, to be able to reach out to as many as possible with the second. You know we thought of calling it a "double single" somewhere in like, February.

Is the release of both these tracks leading up to a bigger release from the band – an EP or an album?

Right now, we are in fact in the studio again, we'll release a new single this summer (somewhere in July probably), a follow up to She was born in Bahia...let's for now call it Bahia, pt. II. Our future plan is to write a lot of new material which will be, it things go our way, an album.

Do you feel that you have progressed on a musical level with your new material in comparison with “Nowadays”? What do you notice about how you approach things as an artist now that is different from then?

Yes of course, I can only speak for myself, but I mean I started to play the bass like four years ago or something because Adam played the guitar and we thought it would be easier to reach those dreams if I chose bass, tried out “Stir It Up” and “Johnny Be Good”...and next up our own material...I was fresh as a virgin.

And one gets better with experience, both in and outside the studio.You fail and fail and

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fail but you stand upand try to prevent things that make you fail again, and when you get mad enough, failure eventually turns you one...I approach it differently nowadays, since Nowadays...

The big thing that has been going on for you now has been your European tour.

Overall how would you say it has been?

I mean it's been fucking great! I love music and when love happens it's nice to get a kiss or at least some sort of response to that love...and music made my visit countries I hadn't been to, and I love travelling so it was like a month with your wife AND mistress in the same car, in harmony.

It has been a very engaging tour by all accounts, with gigs in Spain, France and Germany. That must have taken a lot of planning and preparation. How far in advance was the tour planned?

We started setting the dates in December...our booker had everything set a day or two before we left, and when D-Day came we just rolled off.

How different has it been playing to an audience there in comparison to playing to an audience in your native Sweden or somewhere else in Scandinavia?

Very different, it's a different audience every time...but when you get a taste of touring sort of the same anyway...but I don't mean to throw pies, or give them away, let's just say I love it when you dance.

Has it been of benefit to you in the artistic sense to take things away from home with the tour?

Who has been supporting you and played alongside you on the tour?

Of course, I personally don't feel at home in Sweden...I got my inspiration back, I felt I was at home being on the road again, traveling Europe. Sometimes we played on our own, sometimes with great supporting acts, and sometimes...you find yourself in Krupka, Czech Republic, watching this guy with blushing cheeks, on his knees, playing a guitar solo like nothing else matters...

What has been the standout point of the tour?

It's so different‌every place has been good in its own way. We like playing for people who really enjoy it, simple as that.

Are you a band who is more comfortable being on stage and performing live or are you in your comfort zone in the studio writing and recording?

I wouldn't try to write a new song in front of an audience...but when I'm done with the song, my shirt is very much unbuttoned on stage.

Taking things back home now, how would you describe the music scene back in Sweden for unsigned and independent artists?

I'm gonna be honest with you, I can't get the hang of it. I'm honestly mostly locked in the rehearsal room isolating myself from it. I've tried but when your e-mail address is hardly of any recognition, and your friends, and their friends don't have any friends, and your parents live on the countryside, you need a combination of luck, a lot of cash and a coin to flip.

Are there any other unsigned and independent artists back home that you would recommend to our readers?

Probably, but I think they're currently flipping' coins so I haven't heard of them. I don't have much time to find artists in my own situation.

One band I know of though, The Mondanes from Gothenburg.

What lies ahead for the band during the summer in terms of playing festivals or future touring? Are there any plans for new releases or to head back into the studio?

We're gonna do a few festivals in Sweden, release a music video for “She Was Born in Bahia� in late June, and then the new single "Bahia, pt. II", and continue to write new songs.

-9-

WISE GIRL

WISE GIRL are beginning to make their mark on the music scene in New York and they are taking a bite out of The Big Apple with a series of smart moves that are backed up by the right tunes. We caught up with frontwoman ABBY WEITZ to find out more about what makes the band tick.

let’s face it, when you're 6 feet tall and a woman, you are never going to fit in. As I got older I embraced my differences and they have definitely contributed immensely to who I am today. It's really important that people are comfortable with themselves. You have one life, are you going to live it by being told what you're supposed to do or look like? Fuck no.

How did the band get together and when?

What aspects of the music industry would you be a passionate advocate for and what aspects would you be against?

I started Wise Girl in 2010 with a completely different line-up.

Harry has been playing with Wise Girl since 2011. I randomly met him at a venue that I used to work at. The sound guy was playing my rough mixes from the first EP and Harry heard them. So he asked who it was.

When I told him it was my band he said real slick, "if you ever need a drummer, hit me up" and we happened to have just let go of our drummer at the time so we brought Harry in and he killed it! We had been looking for a bassist for a really long time and Paul and I have been friends for years. I had been having friends fill in or hiring people for shows. We were auditioning people and just couldn't find the right fit. In October, Paul reached out and asked if he could audition and he instantly clicked with us. I had hired Tim for a show we had in April and everyone in the band loved him. After the show I was sitting with him talking and really wanted to ask him to join the band but I was scared he would reject me, I literally felt like I was asking someone out! After a couple of drinks I popped the question with butterflies in my stomach and he said he'd be happy to be in the band as a member. We are now a happy family.

Who are the influences on the band musically?

Weezer, Letters To Cleo, The Beatles, The Muffs and The Ramones.

You were described by ELECTRIC FEAST as “a female Rivers Cuomo who deems no topic taboo while transferring her feelings into song. Weitz notes that present and past relationships inspired many of album’s tracks. This is reflected in the storytelling and honesty of the lyrics, creating a song-by-song memoir.” How much of that quote is true and in what songs do you think it is particularly appropriate?

All of that quote is actually very accurate. On our album "You'll Just Have To Wait", almost every song is about some sort of past relationship whether it be a friendship or romantic relationship. The only songs that aren't are "I'm a Freak", "Wishful Thinking" and "I'm Not Ready" which are all about internal conflict.

I am an advocate for women working hard to master their craft in the music industry. I am not an advocate for women being solely judged on the way they look. It's gotten out of control. Seriously, if every girl in this industry just said "Fuck these ridiculous standards, I am going to just be myself", the standards would have to die off right? That would be pretty damn awesome.

Given the opinions of other magazines and critics, what is your own take on what you are about as a band?

We're usually seen as a band who is playing good, fun, catchy music that people can relate to. I am also seen as the front person with a no filter who is all for girl power!

How much of that is reflected the direction that you take musically as artists?

It's all pretty accurate, What you see is what you get.

Your output has been very productive in 2014.

There have been two single releases so far. As we have already mentioned there has been “I’m A Freak” which came out in February. That was followed by “Just Won’t Do” in April, which we gave 8/10 in our May issue. How does the song writing process tend to come about for the band?

I write the songs. For the last album the producer and I worked out all of the arrangements first then brought it to the band to throw down and record. For this new acoustic EP I did the same thing with different producers.

You have another EP release in the works scheduled for a July release date. When will that be and what will it be titled?

The release date is July 1st, and the title is "Sing Me To Sleep".

When you reflect back on those songs now is it a sense of catharsis that everything poured out into the songs the way it did?

Definitely, I've always thought of song writing as an amazing emotional outlet. Kind of like therapy. It's funny listening back to the songs, I guess since I got it all out writing, I feel like I can't really relate to those particular situations anymore, like I kind of forgot about how hurt I'd been. Maybe I just blocked it out!

BITCH Magazine chose “I’m A Freak” as one of the 20 feminist friendly songs of May. Rebels do tend to make the best music because there is always a statement to be found that speaks a degree of truth. Do you see aspects of that song that lend itself to a feminist perspective?

To be honest, I think that song was just chosen because they liked the song. There isn't really anything feminist related about it except for maybe the song being about feeling like the underdog , and I can totally see females feeling like the underdog at times. I definitely pride myself as a feminist though and I think that's another reason why they chose that song, a feminist singing about personal struggles. It makes sense.

It seems that if you are an opinionated musician everyone holds it against you. CHVRCHES singer LAURA MAYBERRY would be a great example of this. Be it that it comes from social media more so than it does from contemporary media. But in your opinion, how important is it that people have a role model to look up to musically who is not a conformist?

I think it's really important that people have a role model that isn't afraid to be themselves. I have never been a conformist, I don't think I even really know how to be. When I was younger I always wanted to fit it but

- 11 -

Will the tracks be new material or will they be acoustic versions of material your fans are familiar with?

Three spanking new songs.

Will this EP be a live recording or a full on studio affair?

It is going to be a full on studio affair!

You are set to play a gig on the 26th of this month at THE BOWERY ELECTRIC. Who else is on the line-up with you that night?

You are set to play a gig on the 26th of this month at THE BOWERY ELECTRIC. Who else is on the line-up with you that night?

In terms of the music scene in New York are there any venues that you have a particular affinity for?

We love Bowery Electric and Arlene's Grocery a lot.

They're really good to us and the sound is always on point.

How healthy do you see the current unsigned music scene at present?

It depends. I think some people do it right and work hard.

Other people just complain that they can't get ahead but don't realize all of the hustle that's involved. They're too busy getting high in their mom's basement.

We have been recommended a number of excellent bands through our New York network, present company included. Would there be any acts out there that you would be impressed with that fans of good music should start checking out?

Allison Weiss! She actually just moved to LA but was located in New York before that and I am obsessed with her music. She is signed to an indie label and she's such a talented songwriter. I really hope she blows up huge because she's so freaking amazing.

What else lies ahead for the band this summer?

Besides our EP release show on June 26th at Bowery Electric, we are playing the Make Music New York festival on Saturday June 21st on The "Guitar World" stage. We are so excited to be participating and to be affiliated with such a legendary magazine! We are also in talks with labels, etc. So we will see what happens!

THE MANC TANK Column by David Beech

International Artists

Manchester is synonymous with bad weather; a perpetually grey city built on industry and with a wholly engrained history of the working class and unemployment. As such, with such limited prospects for the city's youth of the past, the musical output never really glittered with optimism. It may have been poetic, but never pretty, and only when flooded with pills in the late '80s, early '90s did the Happy Mondays dare to cheer up a little bit, followed by Oasis' laddish hope, both lyrically questionable bands. It seems now though that solid lyricism and an irresistible optimism have finally found a pairing in the form of the aptly named The Hope Edition.

Despite forthcoming single “Tony Adams Vs The World� being their official debut, there's been a handful of recordings online for a year or so now; charming, heartfelt, and at times whimsical tracks that range between spoken word, post-punk and old fashioned indie-pop/twee. What sets the band apart from most however, aside from the inherently sunny disposition, is the intelligence that runs through the lyricism, allowing Manchester to be painted in a far more romantic light than it's perhaps worthy of. There's an age old adage that suggests you can't polish a turd, in the case of The Hope Edition however, that isn't true and as images are conjured of kisses on the 192 and sick-stained hotel rooms, you can't help but smile.

Though the band have been described as being similar to both The Talking Heads, and Manchester's own Buzzcocks, it's not easy to pin a direct sound on the band, as each track seems to explore a different aspect of their influences. What is obvious though is that their previous experience in other bands has allowed a maturity to emerge within their song writing, and though the lyricism might not always be as uplifting as their name suggests, hope seems to be a theme that runs throughout their music regardless, making each track as irresistible as the last. With the post-punky 'Tony Adams...' due for release in June, let's hope the latter half of the year sees The Hope Edition begin to get the recognition they deserve.

46 --- 12

Hi guys, thanks for letting us catch up with you. First of all, being from Stockport you music could quite easily reflect your surroundings, but instead it's far more upbeat than other bands from the area. Why do you think that is?

Phil: I think it’s mainly because we haven’t based ourselves in Stockport; yeah we started the whole thing in Stockport some years ago but have grown and developed somewhat from those times. Our base is now in Salford and I think our music reflects very much where we write and as it’s right on Manchester’s doorstep we can take a lot of influence from what we see and hear around us.

Andrew: I think Stockport is quite an upbeat place; it’s no less miserable than Manchester or anywhere else. There’s just a larger selection of pound shops and cheap bakery’s. We’re in Salford now under a gym which is quite motivational too.

Similarly, your name is obviously fairly optimistic, something which I feel is mirrored in your music. Was there a conscious decision to write stuff more upbeat than a lot of the indie that's being released at the moment?

Phil: Well as I have mentioned we have grown and developed over the years of me and Andrew playing together and I think this style of writing has just come naturally to us. I think it stems from the stuff that we listen to. We like songs with impact, whether that is a catchy song that you can be singing for weeks to come from when you first heard it or whether it be a slow love song with a build up to a crescendo. I have never thought that there has been conscious efforts to have our songs sound like they sound, I think it just comes out that way.

Andrew: I don’t think it’s been a conscious thing, we don’t particularly aim to be optimistic or depressing, we just write the music we enjoy writing.

There's obviously a whole host of talent gigging and recording across Manchester, but what do you think it is that makes the City's scene what it is?

Phil: I think it comes with the sheer volume of places a band can play. I don’t necessarily agree that it’s a good thing though because it is getting more and more difficult finding new places to play which can spark up a buzz in the city. As much as it’s a great thing for music lovers to go out in to the city centre Monday through to Sunday and watch a band in a host of different places I do worry that sometime in the future the scene can become saturated.

Andrew: The Smiths.

Your sound isn't your typical indie fare and has been compared to the likes of The Buzzcocks and The Talking Heads. How would you describe your sound for someone who hasn't heard you before?

Phil: This question is one I answer on a regular basis when people ask about the band. I personally would describe our sound as an early Los Campesinos with a hint of Johnny Foreigner. I think it helps having so many different influences from each member. We all write in our own way and we all listen to our preferred genres and I think it’s a mash up between them all. When I listen back to our recordings I can compare it to about six other bands that I have on my iTunes.

Andrew: Indie if it’s easier. A nice indie though, more cups of tea than cans of Red Stripe.

Aside from being an absolute ear-worm, your forthcoming single 'Tony Adams Vs. The World' seems to have a narrative running throughout it, care to elaborate on it?

Andrew: It’s a song about feeling invincible. I wrote a lot about wishing I was someone a bit more than I am, this song is me going ‘right I am that person now, let’s go Godzilla and smash stuff up!’

You've been in your fair share of bands between you over the years, and as a result you must've played with a lot too. Any local bands you want to take this opportunity to big up?

Your single launch party is being held at Kraak Gallery, one of Manchester's smaller, more hidden venues, but there's plenty more on offer in the city. What are some of your favourites, either to play or to watch bands at?

Phil: It’s weird how after this last year I have completely fallen out of the loop with who is around at the moment, but there are a couple of bands that are doing really well at the moment and deservedly so. Hot Vestry and The Gramotones are two you should certainly check them out..

Phil: I don’t think I can pick an all-time favourite venue to play in as I haven’t played in all of them yet. I have three favourites of recent times I have played in and they are ‘The Castle Hotel,’ ‘The Eagle Inn,’ and I think a bands favourite has to be ‘The Ruby Lounge.’ Everybody that works in these places is extremely welcoming and friendly and it’s always a joy to play there. For watching bands I’d say my favourite venue in Manchester has to be The Deaf Institute. It’s a perfect venue in my eyes.

Great buzz around the place, perfect size and it looks great, plus there are not many venues with a giant disco ball.

Andrew: I only have eyes for Captain Dangerous, Hot Vestry and Ice Pops for Breakfast; they’re a bit lovely.

Andrew: I love Kraak gallery, I pretty much love every venue in town. I particularly love ‘The Castle’ though, many a fond night in that place.

With the single due out in a couple of months, you must be thinking ahead of that and to the other side of summer. What plans have you got for the second half of the year?

Phil: The second half of the year will see us gig a lot more around the country, hopefully see us at a couple of festivals, then it is all hands on deck to continue writing and hopefully start on recording our debut album.

Andrew: Possibly another single, working on an album. We will definitely be getting sunburnt at some point.

Phil: As I don’t write the lyrics to any of our songs I’ll leave this question for Andrew to answer.

- 14 -

Again, as a result of playing in a handful of bands, you must have some idea of what's important for those just starting out. Care to indulge our readers with the secret(s)?

Phil: I’d say steer well clear of the sharks of the music industry. There are too many people out there who prey on new bands to fill their own pockets and not look out for the bands best interests. My advice would be to contact venues yourself and put on your own shows with the bands that you want to put on. Also take time out at the end of your shows to speak to your fans, it means an awful lot to a fan for a band member to speak to them even if it is only for five minutes.

Lastly, enjoy the highs and fight back at the lows.

Andrew: Don’t play Oasis covers, nobody needs that.

Finally, last minute words of wisdom or exclusive news you want to leave our readers with?

Phil: As there is no “exclusive” news I can give my piece of sound advice is ‘Don’t drink and drive’.

Andrew: Our next single will be called “Dennis Taylor And His Jaws Of Steel”…probably.

THE REPEAT OFFENDERS INTERVIEW BY JOE LOFTUS

They are one of the rawest up and coming bands on the London circuit. That quality adds to what they have about them as a band because it means that it is their music that is doing the talking. I was lucky enough to interview Andrew RUDDICK from the Repeat Offenders who are a band I have almost struggled to sum up…however I think I might have just got it: If the Gallagher brothers were to meet a female doppelganger of Shaun Ryder and have some incredibly freaky sex together, then the nine month down the road aftermath of which would go on to become the aggressive and careless brilliance of one of the bands that people should definitely be checking out and their cacophony of bull-necked tunes.

What made you want to play music?

Listening to Oasis in the early days set it all off. My old man took me to Camden and bought me my first guitar for my birthday. Awful looking thing it was but it still sounds good these days.

Why did you form a band?

Initially with guitar in my hand I was not in a position to get a band on the go. Literally something clicked one day - just woke up - wondered what I was at…Then I pushed myself forwards first playing solo around open mic nights and with a view to meet musicians and see the reaction to some of my songs.

How did the band form?

I got the lads together meeting either by word of mouth or through a few classified “Musician Wanted” adverts.

From the music of yours I have listened to I would say I can definitely hear a lot of influence coming from Oasis and the Brit-Pop scene of the 90's, so besides the likes of these, who else is a great influence to your music?

flowing much easier. We worked with a chap called Charles Rees and he is an absolute gent. He made us feel very welcome to be there. We’ve got some tunes out of it. “Lose Control” is out already which we recorded there. We are now hoping we get enough people behind it.

The video for Lose Control has a definite sort of Supersonic feel about it, was this a conscious decision or did it just sort of sway that way?

Glad it comes across like that. Not much music these days comes close to what was going on back then. Bands like The Verve, The Stone Roses, Primal Scream, The Rifles, Kasabian, Elastica, Symposium, Gene, The Bluetones, Placebo, and Ash are the ones I’d say have played a part in influencing my writing.

Not forgetting The Beatles infamous gig on a rooftop, then we have “Supersonic”. An invite to my mate’s house warming party turned this up as a good venue. This just landed in our lap - It just felt right to do it with this song.

What inspires you to write songs?

Have you got many gigs/festivals coming up?

If so, whereabouts? Are you looking forward to playing them (and why)?

Witnessing a story unfold, maybe a couple arguing in the street, maybe someone drunk and passed out on the floor and then mix that all up with some clever word play to tell people how it is.

Have you been recording recently, if so what was it like? If not, when will you be recording?

We recorded at Paul Weller’s studio near Woking.

That was an amazing experience. It was our first session there and we all felt a bit humble being there. Once we got in on our second session there we really got the tunes on the go and ideas were

- 14 -

The gigs are coming thick and fast – our manager Dean is “on it like a car bonnet...”

We have several festivals in the pipeline. Playing a gig outdoors whether rain or shine is always gonna be a good laugh! To find out where we are, best bet is to check www.therepeatoffenders.co.uk/live What are you aiming for?

Aiming for the sun and we’ll take it as high as we can and let you know when we get there.

(The Truth About) Commerce Rquired!

By Johnny Dwinell In order to be a professional, commerce is required. That’s right…to be a professional musician is no different to being a plumber, construction worker or doctor. Commerce must happen. Somebody, somewhere, somehow, is charging money for something and part of the money they collect covers the cost of your paycheck. Without it you are dead in the water.

You may be the best musician and songwriter that the world hasn’t heard yet, but you are not professional by definition until you pay your bills in that trade.

This holds true for everything you will ever want to achieve as a commercial artist even when you are dead. If you want to make a living from being a musician you need to be serious about it from the offset. That means your mindset needs to adjust from day one and you need to get in the game when it comes to the money side of things. That is because when it comes to the business side of things you need to remember you are always going to be swimming with the sharks when that happens. There are three ways to go – swim, get eaten or get a bigger boat!

I personally believe that success is defined as making a living. For those artists and songwriters who aspire to one day leave the crappy day job they suffer through in hopes of “making it” in the music industry commercial savvy and business sense are crucial. That is why I am so disparaging when I hear people crib about selling out. That is the whole point. You can’t make omelets without breaking eggs. So this got me thinking as to why, exactly, artists are so against commerce. Whether you are the ultimate indie artist who always wants to make music and stay below the RADAR screen or you aspire to be a global superstar, commerce has to be involved. If you want to make it then the commercial side of things, which requires the selling of your soul in part is required.

“You gotta do what you gotta do for rock’n’roll” as the old adage goes.

Why do some artists feel like the art gets diluted with commerce? It doesn’t.

This is a valid point so I will dissect the old music business to uncover a few truths that may shed some light on this dynamic.

Looking at these facts it is easy to surmise that when the commerce of any art has to meet approval of two different committees at two different massive compromisin’ on the road to my horizon” in his Larry Weiss penned hit “Rhinestone Cowboy”. The label feels they know what is marketable and they want the artist to adapt to their proven methods so they can sell more records. The radio stations feel that if you sound more like what is in they can sell more ad copy of their previous big record and starts exert pressure on them to comply. As a result sterility can set in. Some artists are lucky and have the freedom to go their own way, while others don’t get that luxury and hence get accused of having “sold out”. It is an argument I could with in some cases also.

If we dig down, we could also argue that while the art may be getting compromised (to what must be a suitable amount to the artist) they are in fact in the

professional. That is their position. have countless conversations with up and coming artists actually forewarning them that the haters will multiply exponentially with the attention because “some people always tend to get real pissed off when they see someone living out the dream they didn’t have the balls to maintain. I say this because often times the “sell out” conversation is rooted deeply in personal baggage from the antagonist. I would tell the naysayer to examine their specific circumstances. What does the naysayer do for a living? Unless said naysayer can honestly say they love their job, then aren’t they selling out too? Aren’t they trading all their precious time doing something they don’t necessarily love for nothing more than a paycheck? Which begs the question of how are they different exactly from the artist who supposedly “sold out”?

I mentioned before that huge success almost always requires compromises. I do see real artists in music and acting who have found a palatable balance between big budget mass market projects that deliver big paychecks, press, and notoriety, and small indie projects that feed their artist souls. Why is that actually brought massive attention to a genre that is sadly almost forgotten in the mainstream marketplace and therefore the ends justify the means.

I do find it offensive when a popular artist seemingly runs out of ideas and starts to release music that is clearly trendy for nothing more than commerce.

The most important message we can take away from this article is that we are no longer in the old music business. So arguments about “selling out” and demon commerce are literally a waste of time because you now have the power, infrastructure, and access to knowledge to create a own business based on approach is crucial in that it is the only way to obtain any kind of major backing (either from a private investor or a major label). The best way to sum up achieving commercial success is to view your band/music as a business. And like any business you need to invest money to make money. This is the only way to be successful, and while it is not a guarantee, you have to embrace it or you will always be chasing the dream. Commerce is not a demon. Commerce is your friend and unless you embrace it you are never going to achieve financial success.

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DIMESTORE RECORDINGS Sweeney’s (5th June ‘14)

Due to further commitments this evening we were unable to attend Dimestore Recordings in its entirety, but we still managed to catch four of the acts playing on the night. What a great night of live music it proved to be as well with each act bringing their own sense of identity to things.

This three piece do not necessarily fit the criteria of being a mariachi band per se, but the absence of a drummer seems to be something that they build things around. This is evident in the showy manner that “Black Meadows” sits pretty.

Given this in the approach they develop an appetising feel which allows the hardened aspects to come through. The small flourishes on show are handled well and contained by the steady roll. Then an up tempo number follows with “Flat”. The neat kick gives this a neat sense of resolve that comes off for them.

Again it is all contained, but the fine foray in the vocals shows as keenly as the tracking. The rather sensible feel of it collectively comes from this inspired approach. How “Sapphic” is fed in shows. The soulful regression comes to be in the right places. Added to this is the open feel that comes to bear in an eventful way that is productive and dependable alongside the softer calling in the lyrics.

There is a big draw presence to “Salt Mines”. How it is processed proves a fine effort indeed, with little hints at play that give them a GOMEZ like appeal. Yet there is something landed fancifully in the kitsch that seems to have a volition all of its own. This comes to life in the live showing alongside a reckoning that is very fanciful. “Glory” proves to be a song that has a high yield in the tempo.

This is robust and is angled in neatly with the fluid showing. It is driven on by this and that determination comes through in the compact and clean way it is measured. A clever tune follows with “I Think I Need A Kip”. That aspect is kept in check and the vocals lay down a marker. All of this comes to pass in a way that seems to fire up the showing in a specified way. The light country feel from the sleight of hand bequeaths everything with a telling presence.

FREAKS & FRAZIERS The neat and steep impression that “Sheep” leaves gives the song a sense of resolve. This makes the delivery a more textured affair that pockets nice touches in the tempo. The calling to it here holds well and provides the volume with a transition that serves it well. There is a somewhat crossover feel to “Choking” which closes things for them. In some ways it feels Americana and then in others a progressive folk, it all circulates cleverly. What is locked down comes to bear upon the stubborn hold in the rhythm in a way that catches things just right.

...............................................................................................................................

The next band has been on our radar for the best part of a year now and from the slow opening of “Remember” the aspects of the delivery hang over delightfully. There is a neat control brought upon it, but also a tender feel in the bass. Then it creates a big impact with a tapered showing. The generous and courteous skip in the playing comes across in a way that shows how well the collect together as a band. The rhythm guitar seems to crawl through with a keepsake turning in the tempo on “Astrals”. This is finely pitched.

What is eventful here is noted, but on the bridge things are gloriously whipped into shape. This sees the loaded side move into gear, while it is also racy and edgy in equal measure. The drumming is to be reckoned with on “Nothing”. A degree of funk is found here which shows a fine alternative progression at work. All in all it proves to be something that is highly becoming in the process from the superb sense of completion to this.

Off the back of the glorious skip in the tone, “Want An Enemy” is brought through with flair. There is a subtle hint of “Teardrop” by MASSIV ATTACK picked up on from the undertone, but it has a raw feel all of its own when it is unleashed. That vicious streak in the vocals provides it with menace. It then becomes a fine assertion in the delivery which brings out the anthemic properties in the chorus. An ambience tethers to “Portable” that is rather select when taken into consideration with the execution overall. The pace picks up gradually and keeps it all on course. Yet this is chased down in a way that singles the performance out for the right reasons. “You, yourself & You” is eased in. Doing so gives it a swagger and that cool showing allows it to build. The smooth way it travels lines up with a formidable consolidation on show in the overall delivery.

TINY VINYLS - 16 -

A tender feel is noted on the breakdown with “Black Eyes” that provides well for it all. This defines the pull on show and gives it composure. The expansive turning yields highly for the delivery. The vocals also add their own fine touch to it all. After that comes “Animal” and the agnostic calling in the tempo is excellent. This is fed through with a sense of ‘real’ about it that picks up the pace and holds firm as it becomes a shapely tune. The true sense is further noted from the urgency that resides on it in a deliberate way.

Proving rather sultry is “Hide In The Shadows”. You sense that they have been practicing a lot to make good use of this. There is a heightened and rich texture in the nourish feel that is very much top drawer. What it also has going for it is the fact that it has big player written all over it and the class to back it all up with. The enamoured effort of Secret” secures a minimalist feel in the marrying of vocals and pitch. There is a high degree of expression to be found here in the alternative and progressive features. They bring it full circle as it becomes full on and the true sense of revelry in how it does so allows them the licence to go all out with the hedonistic showing they call on as they bring it all to a close.

BEACH

Immersing themselves in their music gives “Freaking Out” something fanciful from the off. This is built in to the tracking and lifts off to give it a catchy, spry kick that has a hint of shoegazer resolve about it. When it picks up it then becomes a lean and catchy affair that still manages to retain a feel of being held back. “Skies” is another tune that builds things around a solid arrangement that puts a vibrant touch to the rhythm. The drawl of the vocals is a cumbersome element which combines effectively with the inviting hook of the tempo. This is an electrifying performance and the sincerity in their ability adds to the appeal. Another earnest showing comes to pass with “Dancing On The Tables”. A supple temperament catches something solid in the beat that provides it all with a solid footing. Light meanders in the tone fall into place while the harder touches are also noted.

How good this is as a tune blew this reviewer away.

A sense of poise readies itself comfortably in the withdrawn styling of “Sea”.

How it comes to pass is noteworthy. The reverence that takes hold brings it all through and is controlled in a very telling way. It is this class and ability on show that fronts it all. One of two songs to be given a live debut tonight was “Golden”. A sombre sway and lean cut off the guitar are noted from what they bring to the table. The minimal touches are allowed to step out because of this. As the pace picks up there is a lot graced from the band’s performance as a whole. The added emphasis on play develops the apparent style that comes across so naturally. The lithe context of the guitar is also noted on “Into The Clouds” and is a rather deft touch that lights it all up. In how it cleverly picks up you sense the pragmatism filling out on it here. That gifts it an innovative turn that pushes out cleverly. That innovation traps those attributes while finding a freedom in how the expression is necessitated and accounted for.

A sense of serenity wraps around “Summer Haze”, which was the second of tonight’s debutants. The ebb of the running catches something true in the flight of the delivery. This falls into place giving it an idealised showing.

There is a sense of energy that bursts forth on the bridge that capitalises firmly on what they can do. Their next song builds in a big way that is consistent and full on. “Where Have You Been?” sees the tempo rise and how it is taken stock takes things up a level. That firm showing clicks into gear yet holds back slightly. With how it is let out things are off the cuff and the unbridled temperament that it has is firmly kept in check. Guided in sensibly is their final tune “Howling At The Moon”. A warmth pours out from the vocals which brings as much to the table as the rhythm that casually falls across. There are deliberated contours on show that offer a lot.

How it seems to build from the ground up is excellent. The fashionably progressive side of it is noted for how it carries through with the right balance between those leanings and something with a mainstream crossover appeal.

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The band that closed things tonight in Sweeney’s signalled their intent from the off with “Hatch Sixteen”. It is a brash number that is driven by the guitar and drumming. Overall, for an opener it sets things up nicely. There is a deeper feel to it when it gets going that is well developed. The dandy skip on the opening is savoured as it comes across on “Strip the City”. An awning develops in the more lay feel of the showing that neatly clicks into gear. What radiates from this exacts that energised showing, albeit somewhat mild, to great effect. Weaving forward is the blindingly kitsch “Falling Debris” which sits upon the tempo. When it steps out it becomes a slick number with a beatnik appeal going for it. This is pushed out admirably and tellingly comes through off the back of the approach.

An elegant tune is next called “Chestnut”. They appear to be mindful of this and the timely way that it is all brought through is very much a point of note. This rides high as well and a wholesome hold takes over on it here. While on the whole the progressive showings that close it very much deserve mention here because they are of an impeccable high standard. After that is “Caked In Sin”. Calling this one a straight shooter hits the nail on the head. These stirrings animate it and you also sense the belief they have in their performance at the same time. With the offbeat side of “Ghost’s Parade” there is an effective somewhat brought through. This sees it right and steadily guides it through, but there is a chic turn to it. The grace that pulls it through brings a sense of gravitas that lends itself suitably. This is noted by how focussed the bridge plays out. But it also meets a high standard set and met by their performance as a whole up to this point.

Placing a strong emphasis vocally delicately brings “Kerosene” through as a whole. They are very much into the harder showing and resolve here, whole the hints of NICK CAVE that come though call it out finely. That tone in the vocals is distinctly called out here and it is an absorbing experience to listen to with the drumming equally being up to the task at hand as well. In the stoic feel wiling away on “In The Fold” there is an obedience that gives the showing a totalised feeling in the process that hangs back knowingly. It is lead in promisingly with the sweet etchings of the vocals endearing to it here. How “Falling” is delivered seems to develop at its own pace. The drawl in the vocals resides here in a telling way. Over the course of the progression the weight of the play comes to pass. Then the bereft undercut to it begins to shadow the delivery by locking down the playing as a whole. Their current single “Hijack” brought things to a close by way of an encore. This is a mean affair. The intent lines out and it is prolific in the sense of how effective it works here. In the taut styling a lot is pieced together with an efficiency that picks up in how the running travels. This is a beast of a tune and one that sums up the very definition of the word “whopper” as it gets going.

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FOX JAW

THE RUBY SESSIONS Doyle’s Pub (3-6-2014)

The Ruby Sessions is now in its fifteenth year running. To put that into context, if it was an actual person it would be sitting the Junior Certificate this month. That is a great testament to how well run and regarded it has now come to be as a musical institution in Ireland. Due to a late cancellation there were only three acts on the billing this evening, but it was all to the usual high standard.

HALEY HEYNDEREICKX The first act to take to the stage this evening was all the way from Portland, Oregon. But what a great act to have the pleasure of seeing play it has to be said. As she began playing “The Drinking Song” the purity of her voice is immediately noted. It is all in the opening on this one which is finely brought around. A lot is made sense of in the delightful feel from what is on show. This in turn places a rather colourful notion kindly upon it all. The fine flow that she is capable of expelling from the guitar rises intently “Cabbage Piles”. In doing so, it places an eventual grace upon it all. There is a hard draw to be found in the tempo that inspires it all. This sits alongside the level of intent that is tracked in the keepsake styling, which gives her performance clarity and direction.

“Fish Eyes” has an abundant splendour about it all that pours out from the off. This very much a point of note as it adds a comfortable ebb and flow cleverly to the delivery as a whole that is highly inviting in a way. The body of the song makes the best use of the folk leanings. A bucolic darling feel is felt in the lyrics on the approach that bides neatly in the performance here. A lot is concentrated in her version of “Girl From The North Country” that has a steadfast presence about it and tees up her final track “Tales Of A Nervous 20 Something”. This is an excellent tune that sells nothing short from the raw cut of it all. This further denotes a sense of conviction about it all. As the tempo is worked in there is a more deliberate showing lent to things that sees it right.

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Stripping things back for their set was EMILY MANN. There is a detailed feel to the minimal feel of their first offering “Childhood” which garners something specific in the showing that is geared towards garnering the neatness in the performance.

There is a sense of development to it all that allows it to fall across easily, yet do so in a way that is highly fashionable. In the context of the lyrics the vocal range is also given an ample opportunity to become developed. The developed allure of “Moonrise” gives it all a sense of accountability. The depth shown on all fronts is innate to the manner that develops the composure. A disparate showing is noted that comes to bear in a way that defines it all as it falls into place.

They then played a cover of CLEAN BANDIT’s “Rather Be” before finishing on a real high note with “They Ain’t Got No Place”. Everything goes a capello on the harmony. It in turn places everything squarely upon it in an appealing way. What comes across is a gospel/southern soul song that puts everything in the right place.

EMILY MANN - 18 -

RED SAIL We have seen RED SAIL perform before on occasion and they brought the curtain down on everything here this evening.

“Balcony Ballroom” stays the course from the off. The fine manner that befalls it pulls through on the pockets of play in a delicate way. This adds an assured sense of focus to it that is impeccably sharp. They then played one of two new songs in their set tonight with “Birds”. The deft feel brings the rhythm around off the back of a solitary guitar riff. It is beckoned through and builds it in a way that merges the development closely with the delivery and produces a fanciful pace that works just as effectively.

clocks across here with a high standard about the showing as a whole that is eventful in equal measures. There is a clean composure on show to “Nothing At All” that builds it all up. A clever avenue is noted n how both guitars meet up. The soothing eloquence is underlined in the seamless showing of the vocals. There is a strong calling to it on all fronts that sits on it in a very specific and welcome way.

They did an encore and “Ellard” is one of those songs with a lingering sense that is cleverly treated. This keeps with the running and gets underneath it in a considered way alongside the tempo. It becomes a polished number that has a pleasance to it as it is all brought through.

This is clearly laid out and in doing so it necessitates the lighter flow in a firm way.

What is outlined on “Paper Cut Outs” is richly considered. It brings a sense of resolve about it all. The hard roll

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SAUCY SUNDAYS

The Grand Social (1st June ‘14) Even though it happened to be a glorious June bank holiday weekend, there was enough pulling power about the line-up this evening at The Grand Social to draw in a full house for the performers. But added to that was the quality of the performers in spite of the fact that it was going to be an early finish. Getting the evening off to a deserved start was hostess Lisa McLaughlin and from there the momentum was carried through until 10:30 came calling.

The standing that Saucy Sundays has is well deserved and when you see an artist travelling from Kilkenny just to play before heading back to play another gig in his hometown you understand that just that little bit more. Plus it gives you a higher sense of appreciation to what it means to other acts that they would be willing to go that extra yard just to play it. There is an endearing resolve to his first track “The Circle” that rolls off neatly. It seems to carry across in the overlay in a very capable way, while there are also fine pockets of play that get so much right. Added to that is the manner in how it cruises along which gives it more appeal. The configuration he is able to command in his playing makes itself known on “In Search Of Something New”.

Tasteful in how it opens the relative ease of his voice is very much at home on this one.

It is also a fine quality that brings a lot to the performance. The standard of the lyrics is high and they have an elation that is sweetly called out. The approach seems to be given an added sense of drive from this.

He followed up his cover of JOHN MARTIN’s “May You Never” with another original.

This time “When I Grow Up”, and its leanings towards an ode to regaining one’s youth, has an assured feel that feeds in nicely to the tempo. It gives the song a necessary heartened feel that has a lot going for it from the playing gains on show. To close out he played “If You’re Ever Low”. This hits the ground running and the flow has a solid feel about it. That rotund showing hangs off it in a way that lights it all up. Finely played in, it is the comfortably way that the candid style carries it all through that proves the measure of everything that counts.

GARY O’NEILL

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It has been a while since we have seen this band play live but they proved that they haven’t lost anything from the last time we saw them play. If anything they seem to have moved up a gear in terms of how they put everything together when they took to the stage here this evening. It all got under way with a solitary banjo bringing “Which Way” together. The resolute leaning of the delivery hangs back in an elaborate way. But in the vocals there is something of true consequence placed upon the delivery as a whole. The rhythm seems to accommodate a parlance inside the deadened sense but still manages to bring something comparatively solid to the mix. “Town Of Misery” excellently takes flight.

A marked urgency is to be found that fastens to it all from the off.

A lonesome showing again shows up on the intro. This time out it is “Bottom Of The Stairs” that is given the treatment, but it impacts upon it in a practical way that is finely judged. An apparent saunter is caught in the rhythm that cleanly comes through to fine effect. This in turn lends it a lingering sentiment that is very fitting.

“Still Of The Night”, appropriately tiled as well, develops a scintillating allure in the rhythm. There are hints of older PORTISHEAD creeping in here that due the drag of the withdrawn rhythm justice. It leads to a high level of ambience being felt that enriches this appeal. Here the conviction in the vocals also stakes a justified claim to ownership of the performance. What is brought through from the weight alongside the patient showing is felt in an exact way. A more pleasant tone then comes to be developed on “Shake” and carries a more involving presence across. The handling on show is very slick and gives everything a degree of accountability. From this the stride of the delivery is confidently developed. That is followed by the contrast of “Lonely Eyes” in an efficient way. The hardened resolve meets the country temperament nicely. They very much play the part here. The context of the lyrics has a heartened appeal, while the sincerity captured provides it with an essence. When considered with the passive side it makes itself known and is cleverly pieced together.

OKI’S WAGON

Things become more up tempo with “Gab Of The Geese”. They pick up in a gradual way that is called out excellently in the beat and rhythm. It has definite top drawer quality written all over it as well as being an easy going tune with a solid running about it all. This is fed in to give the composure an excellent fronting. They make things more compact with “Jelly Rolls” and they gel finely. Layers in the playing make themselves known and they frame the delivery in a way that adds up. The tempo is again more upbeat but it ignites the live showing in a way that sees them find their comfort zone from how tight it all comes to be. There is a free rein about their final track “Horror Chord” and it ushers in the loaded kick which glides in with a high run of confidence behind it all. A hold takes the progression forward with a neat bounce that denotes a sense of pedigree from how well focussed it keeps everything.

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Another band that travelled a fair distance for today’s gig was SCORPION JACK who made the journey south from Belfast. The bodhran in their set makes itself known on “Constantly Burning”, while the acoustic guitar proves equally up to the task. The robust and lean presence of it all is there to be found in the tempo, but there is a great deal championed in the vocals on the delivery.

With the neat showing from the off comes “Boxing Above Your Weight”. This commands the presence from how it builds and the select feel in the articulate aspects brandish it with a clean derivative. A weathered showing pushes on with “Error 404” that has a gutsy side that the guitar keeps pace with. The heavy and loaded tempo is sharply placed and also reels things in. When it closes strongly it is all let out neatly from how it is all slowed down.

Along with the sweet caress in the delivery, the demands of “My Funny Valentine” are deftly met. The noted way they are all lead in catches the imagination. The curst side of things also adds an even balance to it all. An interesting untitled instrumental saw a ‘hang’ (pronounced ‘hong’) come into the mix. This is a very exclusive instrument and it brings a high musical showing with it. The inventor is the only person in the world who can tune it. Facts aside, there is a “Tubular Bells” feel about it all. The selective side is secured from what you are witnessing on a musical level but it is also graceful in small measures. A more relaxed feel in the breakdown brings the tasteful side of things through on “Light”. They keep a sense of closeness in the tone steady as this releases the rhythm in an outward manner that draws you in. The minimalist ideals of it all are what draw you in here.

Again a more upbeat tempo comes to pass on “News”. It is all grounded somewhat from the somewhat morose tone that is followed up by the astute observations in the lyrics. The revolutionised feel comes through cleanly and catches it all square.

SCORPION JACK What pours out from the lyrics is almost like a manifesto but it is highly effective. That gravelly tone comes to the fore again on “Lame Duck Syndrome”. The lean side it doctored in a way that lights up when it takes flight. It also gives it a certain sense of weight in the process. After the highly stationary opening, “Five Long Days” then proceeds to a rather choice number from how effective the vocals travel.

They fit into the delivery in a way that adds a perpetual flow to it all before picking up steadily with a high sense of resolve rounding it all out. But it is a complete performance that plays like one. Their closing number “Tonight” goes down well. The specificity of it is inspiring and it gives it a polished showing that matches the string showing in the rhythm. This is direct and it exacts the pull of the urgency in the breakdown, while the fluid poise on show with the bridge and playing arcs keep it all on course.

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When a band takes to a stage and lays down a mark of intent with their first song you tend to take note of it. That is what happened when HOUDINI launched into “Nothing Here”. The aforementioned intent is teased out from the weaving play. This seems to catch a slick sensibility that fastens to the hardened running but does so in a tidy way that mounts up. The synth on show in their second offering “Friendly Fire” brings a touch of retro before things fall into place. The clean opening gives way and leads it all into a more expansive delivery. This attribute is entertained in a consistent manner. “Flaws” has a prominence that guides it in.

While it is catchy in the right measures, there is an emphasis placed upon developing it as a tune. It all holds up in terms of shape and structure and this is what gives it a deserved sense of presence.

Adding a disco feel to the mix is “Gimme Something”. Again there is a big hint at what they are trying to develop with their sound here. This is fluid and maintained with an accomplished feel to it all. They again connect the smart feeling to the opening on “For The Talking” that gives the overall flow a justified feeling. This is then picked up in an inviting way that is more than cleverly realised by how everything takes flight.

There is a tapered feel on show with “Colder”. This denotes a more ambitious approach from a song writing perspective. The solemn overture that is developed from the piano feeds into the running in a simple way, but one that is high on expression. Bearing down neatly on the delivery as a whole makes this an astute offering. That doesn’t necessarily come together as a whole, but still holds up.

They brought the curtain down on a fine evening of music with “Hold Our Own”. The strong showing adds to the compact flow giving it a full bodied feel. Yet it is also has a sense of inclusion about it that locks this down well. The menace in the tone stands tall over proceedings, but the high drive signals the intent as it all comes to pass in an impressive way.

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HOUDINI

Irish Artists THE HOT SPROCKETS Brother Nature

The minimal feel in the delivery of “Quarter Roam” denotes depth. The lonesome vocal and guitar riff are expertly tracked before a broader and hardened approach kicks in. That is a steady application also. It is how it is factored in with the progression that impresses most.

Then it is straight down to business with the excellent “Soul Brother”. This carries their high energy signature. Suited and booted, it is a track that is easily off the hook but also kept neatly on track. Again that pomp and swagger is maintained on “Boogie Woogie”. The upbeat tempo is a more inclusive affair with the range of instruments on show- harmonica, piano bringing everything to the mix without overloading the delivery. With the high level of consistency here you sense that The Hot Sprockets have arrived with this album.

“Shake Me Off” is a well weighted tune.

The clever kick in the rhythm takes it places, while there is a warranted sense of conviction that stokes it all. It is a short and sweet tune that emphasises a clever combination of style meeting substance as it comes together. Then “Comin’ On” brings everything through in a tidy way.

There is a sense of maturity in the lyrics and arrangement. It is showing what the band is now about and it marks a fine progression on an artistic level. The merits of it are there to be found in the proven feel as it plays. Then it is neatly followed up by “Homeslice”. This is probably the standout track on the album. The layered feel falls into place in an exact way that shepherds the definition in the delivery, but it is the brilliance on show as it all comes together that stands it good stead.

Leaning on a rich blues influence is “Heavy On My Mind”. It is concentrated in a prominent way that adds a slick touch that brings it all together in a tidy and complete way. The neat forays also have as much a say.

10 Then a more reflective and passive feel comes to pass on “Lay Me Down”. It gives the running an appropriate patience. How it processes that in terms of tone and structure resides upon the running expertly. You are then taken aback by the Tex Mex styling that takes hold on “El Toro”. A real sophisticated feel comes to pass here from this ensemble piece. After that comes the high octane “Show Me The Weight”. The lean showing also hits the ground running, while the raw derivative shakes things up admirably and is more akin to their older sound.

The sharp cut of “Woman And Chile” seamlessly merges with its predecessor. How the two are mirrored is found in the volume of the rhythm that wraps around everything formidably and the vocals feed into it just as readily. The sharp cut then progresses to develop its own identity. After that comes “The Worried Kind”.

A sentimental side bestowed upon the intro that is very fitting.

Then it becomes an all-out play fest which finely hones an ambitious approach toward something conclusive. This is an excellent tune throughout and of a very high standard.

The album brings the proverbial curtain down with “Someday”.

The bluegrass lick on the opening serves it well. It provides it with a tidy tumble and it is the harmonised aspect of the song that proves its worth. It is a brief ditty more than anything else but it doesn’t feel out of place and it closes the album deservedly.

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KATE’S PARTY Hollow

This debut offering gets underway with “Welcome To Seahaven”. The twang of guitars and scant regard relevantly stokes the rhythm.

The jaded feel in the tempo necessitates the conviction in the vocals. Their clever combination gives a sense of purpose to everything. Next is the more upbeat “Pockets”.

The dandy skip in the rhythm adds an inventive flourish to that pushes the haughty fluidity of the delivery evenly across. The manner in how it is angled has an even digression that is carefully applied.

“Paper & Glue” continues this approach, and the similarities work against it somewhat. What does have a lot of appeal is the intent present. This is locked down in the running from the off and consistently maintained.

It is strung along with a sense of abandon but matched with substance in the raw attributes.

The brash tone of “Cougar” shows teeth. There is a sense of monotony to it, but the cursive feel in the running adds a lot. That urgency is met collectively, while the vocals also jar something of worth from their delivery.

A slight interlude follows with “Pace” before we get to “End Scene”. The resonance of the guitar and drumming unravels in the delivery, but the change of direction marks a level of maturity in the later progression. It is noteworthy and sees the

7 band reach for a more ambitious approach that doesn’t feel beyond their means. This is a turning point on the album and sets up “Unfamiliar”. Here they are now slipping into gear and the juvenile feel that could be levied against the album before the interlude is now dismissed. A more nimble showing finds its way through in the delivery. More of their sound is also now being picked up on as you listen which wasn’t as notable before.

They hit the ground running on “Picture Me” and the correct amount of pace is dropped here. Things have a more rounded feel which complements finely. The agreeable way it all collects keeps things going from the off, with the west coast garage punk feel that they have coming to prominence in a binding way that has been evident throughout the whole album. That disenchanted feel that sits on the sullen aspects of their sound surfaces again on “Bike For Three”. The languid turn of events it becomes is highly inviting allowing the rhythm to rise finely. The smart focus allows the progressive feel on the bridge here to cut loose without it seeming flawed.

The last track here is “Hallenbad” and saves the best until last. The engaging opening meets with a strong lyrical content, while the overall performance fills out splendidly from the broad strokes on the sound. The way it is all honed has a genuine feel about it as much as it makes for an engaging listen.

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BIG SEPTEMBER Ballroom Addicts

How “Chakra Eyes” opens the album is very interesting with the guitar coming in over church bells. The hard side resonates across and eases into the delivery. How it comes settles into the catchy side it is all managed well from how it is laid out.

Another fine effort follows in their single “Preacher Man”. With the swagger in the tempo it walks the walk and talks the talk. The mainstream appeal of it is also well considered. “It’s All In Your Head” is brought through with a big emphasis on building it from the intro.

This works and it draws a comparison to THE KILLERS for the right reasons. The big feel plays out as intended, while the vocals come through akin to BAND OF HORSES and there is consistency to it all.

When we get to “The Righteous Way” they seem to be more comfortable in terms of how things proceed. As it all falls into place you sense that development coming through in the album’s progression. “Moneyman” underlines this excellently.

The narrative in the lyrical content is a strong showing.

Things merge seamlessly in the running which then pieces the song together in a tidy fashion. With “The Summit” they step up a gear. Cautiously opened, the tracking steadies everything and it is an impressive effort when it all unfolds. After that they revert to a chic feel

8 on “Love Is The Rhythm” which serves it well. While it again leans on the catchy side, it is not over reliant. Instead it develops a nouveau feel in the loop that measures up. But what really sells it here is the running time which clocks in sufficiently at 4:35 from start to finish.

As the harmonica pours out on “One Eye Open” the tempo is very full on before it hangs back. The languid way that the running is styled works as the progression breaks down. This also allows other aspects (such as the backing vocals) to find their place. As the harmony opens “Tear it All Up” you are immediately drawn to it. The earlier comparison with BAND OF HORSES is felt here, yet it has its own sense of identity. In the manner of how it takes flight it is a heady affair that processes all of the elements fairly. That gives the tempo the necessary kick but all the playing is evenly spread out on the graduation of the delivery. With the whip of sharp guitar licks comes “Paper Love”. The polished feel of the riff fades into the background comfortably and the fronts the track. An intent listen lets you feel the details such as the synth.

The even temperament of the last track “Beat Of The Breeze” is a subtle feature that garners a neat presence that is consistent. Even when the hardened showing comes to pass it keeps the direction on track, and is particularly effective in how it accommodates the more expansive side of everything.

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JOHNNY RAYGE Vigil

“Do What You Can” opens head on before giving way to allow a more sedated side come through. The piano is rather figurative and imparts an appropriate sense of depth upon it all.

By cleanly processing the urgency it is all leveraged into the running to carry it home. A steady kick unravels on “Not Without You” which sells you on the tune. This shows cleanly and it is able bodied through and through. How it takes flight is impressively brought to bear and catches the tempo just right. Safely arranged is “Need”. There is a select feel kneaded through with the piano providing a watchful derivative on the overall arrangement. But there is a sincerity touched upon in the lyrics that freely opens up the later progression.

This lets you in as a listener as it is all let out.

The steadfast flow on “Hold” is an excellent application. The delivery is gauged in an excellent manner on all fronts. The beat rolls over on it, but there is a seamless quality in the lyrics and vocals that combine to devastating effect here. A positive comparison to SIMON AND GARFUNKEL is made on “Cracks In The Wood”.

There is a refinement that grounds the song in how the expressive side necessitates on the delivery. The observations made in the

9 narrative provide well and give it a solid framework within which to operate, and the arrangement feels as though it has been built around this. Then we come to “Uncharted Sea”. There is a rich splendour tracked throughout the running and it is an endeavour that rewards him on an artistic level. The degree of investment is carefully managed and as a result the progression lends it a deserved sense of maturity that sails across.

A hint of classical reproach comes through on “Parisian Skies”.

Then it is carefully managed as a sense of wonderment and abandonment take it over. This feature neatly curtails in the approach which in turn is relayed in a way that gathers the warmth, but it is the scope and range displayed that provide it with something of true worth here. The optimism of “Love Making Love” is rounded on quite pleasantly. It is what floats the song, but at the same time gives it character. Albeit a simple tune it is a highly effective one none the less.

A bespoke sentiment carries through on closing track “One More Time”. The listless resolve of the wanton feel of the tempo steps out with a clear distinction. How it is performed procures a sense of majesty in the running. The sense of innocence prevailed here doesn’t feel out of place either.

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CROW BLACK CHICKEN Rumble Shake

The brash feel of “Hang ‘Em High” calls the shots in a highly effective way from how the pitch of the guitar provides it with a hardened weight. This is brought through and stacks the urgency in a way that serves it well. On “Two-Seven” the skittish opening is then met with an excellent vocal showing. How it is all fed through knits the delivery together in a presentable way. This busies itself in the rhythm by tidying everything away to allow them get down to business.

A gritty showing comes to bear on “Bitter” that steadies a leaner grandeur upon the tempo. But there is also a figurative weight fixed upon the texture that provides well for it all. This allows you to feel the progression in the pick up on account of how well situated it comes to be.Fourth track “Priest Hunter” hints at their bluegrass influences. This is rooted in the lyrics and captures the essence by way of tribute. Yet they also navigate it towards American territory which superbly fuels the delivery.

That same influence is felt on the lonesome stirrings of “Little Paths”. A cursive passing allows the presence to develop which in turn guarantees a sturdier lift.

This is another gritty and unapologetic track that muscles its way through,

9

but provides it with a neat drag in doing so. The eponymous “Rumble Shake” then follows. The harmonic is richly called out on the intro and it has a fine turn of pace working in its favour.

When it kicks into gear and takes off the trajectory is one way.

The explosive feel that catches the rhythm guides it all through. It is the unrelenting feel on show that immediately draws you in that provides the class.

The guitar that wiles away on “Black Asphalt” sees them flirt with a funkier side that is cleanly caught. The lyrics are deeply rooted in the grand sensibilities of the blues, but it is the vocals that give them a place to call home. With “Black Man’s Gold” they procure a smooth tune from the off. This is majestically outlined, while the distinction noted in how it follows through sits upon it excellently. The sterling “Jessie Mae” is next and there is a delectable feel about how the vocals drag across. In some ways it has a gospel feel and in others it plays like a chain gang song. That contrast is what piques the interest, but there is also a formidable degree of musicality showing in the arrangement. This is a tune very much worth its weight in gold. The final track on the album is “Sit With Satan”. The notions of hard living reflected in the lyrics give it a passive aggressive style that tells it like it is in the narrative. The southern showing in the delivery sees the band wear their hearts on their sleeves as to where their influences lie and they comfortably run with it.

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YEARNING CURVE The Murder Machine

The subject matter of the current affairs of Ireland today resonates squarely on “The Murder Machine”, which is the title track that opens the album. There is a neatness that leads in it, while the spoken verse is an interesting trait that inexorably expresses itself.

The political statement and reference to the economic situation is fed into the running finely. With “Cruel, The Politician” there is a conclusive feel drawn forth.

The piano underlines the tone, which seems to manoeuvre the delivery overall. A lonesome derivative is noted here and the definition seems realises this in the conclusive way it is relayed.

The third track is called “Control Inc.” The socialist/anti-capitalist sentiment of everything comes to pass. That can divide opinion, but it does bring a degree of brevity in the performance.

What comes after that is “Sometimes”. The poignancy hangs on it and the morose feel of the song filters through. Yet it somehow lacks cohesion and has no sense of direction because of that.

The album moves up a gear with the next two songs.

“Distant Drum” embraces a stylish synthesised approach. This is handled with a sense of clarity and

7 when it steps out you are left highly impressed. How it all operates is excellently delivered. How “The Whistleblower” opens is very select. That provides the track with a fine platform and it is built in an excellent way. The splendour of the guitar work is excellently tracked and it keys in a lot of the right traits. How it is relayed comes to pass in a refined way and the carefree resonance of it is a comfortable application.

The eccentricities that spill forth on “The Informer” bring a sense of revelry. An elfin like sound takes hold from the folk attributes in the rhythm. This is presented well, while the vocals purse across on it and add a tranquillity that listlessly bides well in the arrangement as a whole. Again there is something cleverly pressed when it comes to “On The Wheel”. Somehow they seem to procure a savoury calling from the manner that connects the acoustic guitar to the soothing vocals. These are fine qualities and worthy of a mention. The last track is “The Soldier”. On the intro a deeper sound is dropped which creates an ambience. It is duly felt, while the progression is reflective of the context. A solitude is noted and carried across in a haunting manner that fits in.

Overall it is an album of two halves. Edwyn Collins sang “too many protest singers, not enough protest songs”. That is the impression you get from the first third and does sum it up fairly.

The terms of the second half of the album provide it all with a saving grace because you sense that they have played to their strengths with the final five songs.

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KEVIN NOLAN Frederick & The Golden Dawns

How the album opens is interesting. An impassioned vocal opens with a male voice making the song’s content open to interpretation. It is an expressive effort that can divide opinion because of what it attempts to express.

There is an intricacy shown on “Ctrl” that sees things come to pass fancifully. A lightness of being is felt on how the rhythm comes through here that serves it well as interlude. What follows that is called “Splinter” and the album seems to begin at this point.

There is a sense of volume about the arrangement before a valid alternative style presses ahead. A deft feel encompasses the lyrics and augers well on the vocals. This is a well gauged approach that captures a good sense of depth and expanse from what is on show.

Again the layered approach is noted on a musical level with “Last Days Of Harry Carey”. The opening vocals are called out much the same as the opening track.

The nimble feel of black music does come to pass here alongside an alternative styling. It is an interesting facet and it avoids pretentious fallings by actually being good. The interestingly titled “Ballade To St. Dymphna” builds into a very abstract stride. An enigmatic noir element seems to find its way

8 through in the running but it seems to sit well on the delivery.

Ambient and progressively neat as it meets a sturdy kick, this is high on innovation and achieves it suitably. A little bit of TOM WAITS comes to bear on “The Guess”. It bequeaths a rugged edge upon everything. Yet it is all brought to bear with an appropriate degree of invention that crosses over in the delivery. Strings develop “Drowning” on the intro and the poignancy runs through it cleanly. This is a track that draws on that narrative in a distinct way. In turn it is what ignites it all and provides it with a sense of purpose. How it evokes the listening experience is an interesting trait.

Things continue on the lonesome road with “Peggy Sue”. The listless way it is all tracked has a nostalgic tilt, but it meets a virile slant that manages this proactively. “Oil On Canvas” places a lot into developing the arrangement. This invigorates things in terms of how constructive the approach comes to be. The haunting vocals are a neat touch as well and it has a slight keepsake feel about it that is a saving grace.

Joined on vocals by JULIE FEENEY on his final offering “Aubade” seems to a perfect fit. As a duet it is evenly balanced. The piano encroaches upon it very fetchingly and resides in a way that feels very natural. This catches all of the ethereal attributes in a deserved way.

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FRANKENSTEIN BOLTS Slow Season

Review by Valerie Scanlon

Wexford artist Justin Cullen aka FRANKENSTEIN BOLTS’ dream pop/folk album “Slow Season” is a ten track affair that gives us an insight into his talent and work and has a great acoustic folk sound throughout. It kicks off with “Sleeping Sacks” - a song that matches his vocals to the title. They are sleepy and hushed but it picks up a rock vibe in the progression in a similar way to TWO DOOR CINEMA CLUB, but a slightly down-tempo version. The light strumming melody of “To Make Sunlight Thin” feels like an Irish folk song. The sound effects of a crashing wave to help set the scene, with the three-art harmonies adding a touch of flair. The intro to “Love Of Sailing” sounds similar to DRAKE’s “Take Care”.

An odd comparison to make but the uncanny, overall sound is hazy and sleepy until its outro which brings the noise.

Kicking off with a white noise background is “Bad Impressionist”, yet it is backed by some gentle acoustic strumming that really suits the song and his vocals. It has a country sound but here it also seems to extend something in the same vein as THE MOLDY PEACHES. When we come to “Frankenstein Bolts” the

7 soft harmonies in the opening seconds of the song are the making of it. The 80’s jazzy guitar riff also gives the listener a new sound to pick up on. It closes and gives of a rockier edge in doing so.

“Alone Ranger” is a more up-tempo offering despite the title suggesting a country tune. This is confirmed by the dance side that reinforces a pop flavour. Clocking in at 2:16 is “Old Horse Mind”. Despite the running time, what it comes across as is something that feels more like the intro to another song or perhaps a hidden track on the album. It ends as soon as it begins.

The eponymous “Slow Season” is again an upbeat affair which sees the upbeat pop/folk styling meet with a blues guitar riff and then a synthesiser in the mid-section before finishing up with a clever guitar sound. More volume comes to show on “Cusp”.

There is a hybrid feel to this one. More of a full on band is imparted to great effect. The last track on the album is “The Wave”. The sombre intro of the organ tracks something solemn.

The church like feel of the harmonies with the intro is mostly a muffled affair/overdub that hauntingly covers up what is being said.

The blend of pure acoustic/folk mixes well. His unusual voice sits well on this. The sleepy side of the albums is there but the layout is structured to allow the more upbeat songs come to pass. It is not a continuous stream of the same sound over and over which makes it easier to get behind.

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Irish Artists

ANA GOG Resemblance There is grandeur by design felt on the opening track “A Short Walk”. The layered feel of how it is all arranged works in a side that is trying and suffices when considered alongside the graceful feel of the expression on show.

Then with “Still Life” the piano is delicately gathered and creates an ornate structure that is comparative from the gradual way it cuts through. The kind way that is found in the processing here is apparent and adds an n expectant texture upon it all that lays way to the task at hand tightly. Dwelling on a sentimental lush tone is “Old Haunts”. It has an inspired contour in the shrunken feel of the play but it is also highly abject. A detailed intricacy is coveted in the expressive elements that pull through.

The fourth track is “Going Through”. Opening in a solemn manner it then retains that as a determining factor for how it wishes to sound.

It is a gentle application and one here that works extremely well from how it falls into place.

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THE HARD GROUND Triptych

Savagely seductive in the way it plays is “Belles And Beaux”. There is a sober feel about it, but the causal sway adds a neat allure. The deep tone charms as much and it gets under the playing in a way that comfortably couples everything together. The graduated feel that purses forth is excellently handled. Then the tempo seems to embrace a more defined feel on “Ashes”. The tentative angst in the vocals steadies into the delivery. Again there is a sense of cool that pours out, but it is all met with a high feel of substance in the right places.

“Two By Two” shows how good they are. They raise their game here and it shows. In the way things play out you get the sense of determination and grit that is steadying it all. It has a dark touch to it that elevates the appreciation firmly.

The fourth track here is “Spies”. There is a patient feel about how it builds which in turn accommodates all of the resolved style that is factored in. How it is framed is cleverly able to accommodate this and lends it an accomplished level in terms of how it all positions itself.

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KEVIN RYAN

Everywhere Is Here The kindred feel of “This Town” visits upon the delivery in a tidy way that is careful and considerate. This is noted in the way it is handsomely brought to pass. The shapely running sits right and seems to second guess all the right things as the neat side is pulled through.

Then a select feel bristles on the opening of “Me Me Me”. It is this lull in the play that provides it with an attractive showing that is beckoned forth cleanly.

The pursed feel of his vocals piques here and adds another attractive layer that sees it right. “Games We Used To Play” makes good use of the arrangement. In the intro an expanse builds while his voice holds freely on the delivery as the vocals come to be. The softer offering breaks down faithfully here and it is a tune that has a listless quality to it, yet there is a hopeful turning to be found in the lyrical content.

The closing track is “We’re Away”. There is a proven feel to the slight kick in the tempo. It is a fluid affair in that regard, while the brash feel of his voice carefully gives the song a sense of accountability as it is reined in. The combination works against the backdrop of how this all works as a whole.

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THE STOLES The Stoles

The EP gets going with “Another Road To Recognition”. The traits on show here track the hard running in a sensible way, with the drawl of the vocals rising on it tellingly. It has a colourful sense of recognition that lights up with the clever hold of the tempo. In that the urgency seems managed and steadfast which shows.

Then comes “Protest Song” and the dandy march that is stolen in the delivery is impressive. The mean sense of volume comes to pass in a way with a sense of purpose. This is cleverly treated in the fashionable feel that it leans on but it works in the right way here. Third track “Red House” has a reliant tracing on show in the guitar. The vocals breathe out on it. While it sounds good there is something weak in the lyrics that detracts here. The industrious way it is built hangs off it cleanly and fits the styling comfortably.

“Shine On Me” moves up a gear in a faithful way. It keeps it together in a dependable way. The fluid feel on show meets all the right turns and fastens the urgency in the tempo towards something conclusive here. A very promising tune as well.

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THE KLARES The Klares

Review by Valerie Scanlon The Klares are a young Irish four-piece band consisting of students Eoin O’Shea (Lead Guitar), Andy Burke (Rhythm Guitar, Vocals) Cormac Sheridan (Drums, Backing Vocals). All are aged 16 and still at school but they have a real mature sound. They have already played major venues The Academy and The Workman’s Club just to mention two, with some more gigs lined up this summer including The Grand Social and The You Bloom Festival. Their EP “Dirty Birds” has 5 tracks and gives us a great introduction to the group. First off is the title track “Dirty Birds” and really shows the talent they have. The maturity in the sound is not what you would typically expect to hear from someone so young. It has a strong rock edge with great mix of guitar riffs and drum beat. “I Don’t Really Like You” has an intro which has that Japanese pop chord structure which then leads into a song that is similar to Arctic Monkeys early stuff.

A bit like “I Bet You Look Good On The Dancefloor” because the riffs are sure to have you taking out the air guitar. Third track “Leave Without Me Tonight” is a pure rock filled effort, with an awesome structure between lyrics, riffs and drum beats. You again hear that Arctic Monkey influence but also some Kooks comes to pass. Up next is “Smile For You”. The intro here is fantastic. It also has a great matching from lyrics and structure throughout. It makes you stop to take stock of how good they are and they can only get better because they are already brilliant. The closer here is “Sundance Soldier”. Again, the cracking intro is sure to catch your attention. It has a great sound in total, while the vocals and music just all round make it brilliant.

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I see big things for this ban. They are establishing a fan base through support slots and small gigs. I think “Dirty Birds” is just the beginning for them and I really enjoyed listening to this.

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ZASKA

In Your Own Sweet Time “She Gunk Gunk Dunk A Funk” lives up to the zany title. It addresses things and takes in the funky side as it gets down.

The eccentricities lock down a lot and comprehend the fly attributes smartly here. Clocking in at over seven minutes is “hold Your Head Up High”. The devilish feel of the funk moves across it in a fine way. The assured cool composure readies it all on so many fronts. The steady resolve of the vocals extracts a great deal that is high on appeal. The manner in how it busies itself merges closely and retains that in a consistent way. Then there is a more considerate foundation called out on “My Rock”. It is a lazy tune that reflects on a lot of things.

The rather intimate aspects hold their own and settle upon. The plentiful feel of the song is also noted here and then it changes direction. In the differing stances between styles a lot is gathered that works quite well.

They tidy things away in “In Your Own Sweet Time” and the harmony opens it all up. Then the playing seems to follow a structured approach that holds it all together. Smooth and classy are two fitting superlatives here, and this is a kindly realised affair that relaxes into its own comfort zone.

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International Acts

JOYS

Brutto

Review by Caitríona McKenna

“Brutto” is the debut album from Moscow-based rock band Joys. Full of sexy guitars, drums and bass with a combination of lead male and (mainly) female vocals; I love when rock is kept simple. We are hit with the powerful female-fronted vocals of Lily Zaitova from opening track “MMBB” aka “Make My Blood Boil”, which made me instantly fall in love with her voice.

Reminiscent of Joan Jett as well as The Pretty Reckless’ Taylor Momsen – Lily’s voice is strong and seductive.

Male vocalist Slavec Onishchenko is incorporated in later tracks including “White Witches” and “I Tend Not To Hang Out” which I thought both had a bit of a White Stripes sound, as well as on “James Joyce”, which had a bit of a Queens of the Stone Age vibe. As a Dubliner, I was amused that we got a shoutout in the lyrics of “James Joyce” and I was intrigued as to the inspiration or story behind this track.

8 It was extremely obvious that Nirvana have a strong influence on this album in parts too, particularly on “11 11” – the guitar on the intro and riffs throughout sounded so similar to “The Man Who Sold The World”. I got a similar vibe from “Spirits” too – not that I’m complaining. Good taste creates good music, and Joys prove that with this album.

The lyrics are somewhat dark in parts, which I loved. I loved practically everything about this album, but mainly the guitar riffs throughout – they were just spine-tingling and made me want to experience Joys live. Everything just fits together so perfectly on this album, and once again I think that’s down to simplicity, talented musicians and strong vocals. Switching between the male and female lead vocals is a good change and keeps things interesting. Wins all round in my opinion.

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BOSHIA

Irrefutable Woman Review by Caitríona McKenna

“Irrefutable Woman” is the debut album from New Jersey based Boshia Rae-Jean, and what a debut. At first I wasn’t sure what to make of it, and if I’m honest, I’m still not – it’s undefinable, yet very powerful. It’s very obvious from the onset that this is an album about feminine power.

It’s a mix of alternative rap/hip hop and soul with an empowering message to women. It’s refreshing to have a strong female voice in such a male dominated genre, but Boshia has just the powerful and passionate voice to take that on.

With an interesting mix of original lyrics with a powerful message, consistent beats, some techno vibes and various audio clips thrown in, “Irrefutable Woman” has a bit of everything. It feels like an audio scrapbook of Boshia’s thoughts compiled and remixed into an album. It’s very random and I love it. The intro to the album was spoken

by Trae Harris, which was very different and refreshing in addition to being beautiful, poetic and empowering.

A lot of the tracks have very vicious sounds, for example on “Cultcha Vultcha” you can practically feel the venom being spat out with her words as the music builds in the background to a techno beat.

It is also clear throughout the album that Boshia is extremely passionate about feminism, with this album being her way of expressing that.On “Power of the P”, it becomes apparent that perhaps this album isn’t just feminist, but all out anti-male.

8 One of the stand-out tracks for me was “Single Parent” as it grabs your attention from the opening with an audio clip from Star Wars, as well as another at the end. Darth Vader saying ‘I am your father’ is remixed throughout and is a very unusual and creative way of conveying the song’s message. This again reinforces my opinion that this album is like an audio scrapbook of Boshia’s thoughts.

The main pulls of the songs on this album are the strong messages they convey. They’re unusual sounds and, on some, very catchy and radioworthy hooks and beats. “Allstar” stands out as having a different feel to the others and falls under the catchy/radio-worthy category, though the lyrics don’t have the level of depth as some of the others. “Poppin Bottles” also falls into this category, with a sound similar to Soulja Boy with its very repetitive hook In terms of messages, there are so many strong feminist ones throughout, but one of the lines that stuck with me is from “Be The Man” – ‘Be the man that I know you can, or you won’t be in my future plan’. There is your female empowerment right there.

There was so much going on throughout this album that I’m still trying to process the whole thing. I’m not a fan of hip hop/rap, but this impressed me as it was so different. I admired the message it’s trying to convey – it’s a whole different type of girl power. The whole album is very unusual and unlike anything I’ve ever heard before. It’s very heavy, and definitely not easy listening, but it’s still so good. If you like unconventional albums with a powerful message, this is for you. If not, well, I’d still listen to it just to experience the remixed Star Wars clips alone!

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THE DOLLFINS The Dollfins

Imbued with a degree of raw sensibility garnishes the right amount of menace on opening track “Bitch”.

This has all the hallmarks of a fine punk band. The unbridled feel meets the delivery superbly bringing a sense of real to it all.

“Everyone Makes The Wrong Decisions” is another retro tune that sparks into life, but does so in a commendable way that sits right. The candid composure in the rhythm expertly gives the play a tidy appeal. A leaner feel of the guitar riff on “Friendly” progresses towards a clean and catchy beat giving it an understated sheen as it moves. The sense of abandonment to it on all fronts really plays the part.

The strong and determined showing as it takes flight realises so much. A sense of pop hangs off “I’ve Got A Head”. This short and sweet tune that is firmly tracked, which catches all the punk qualities in their sound but marks them out as a serious band from the robust meander on show.

A leaner showing comes to pass immediately on “Lightning”. The likeability of the tune is there from the off, while the integrity is apparent from how they get down to business straight away on this one. The force of the delivery rains down in it in a clean way. It cements the hardened side of it superbly, with the

10 snappy feel of the brash tone very much a big draw here. The smooth feel of the bass line as it opens “In my Head” very much charms. As the vocals offer another level of appreciation, it all comes together with a real showing of style meeting substance.

You are very much blown away by how cool “Jacques Le Ripper” plays out. That it has the title it has is just a stroke of genius. The hip feel of the tempo is absolutely top drawer, but you also sense that the album has progressed from the raw beginning to something that is now very much on the money. They just tear into things and the lack of any reprieve coupled with the 60’s revisionist/psychedelic feel makes it what it is.

There is sense of reliance called upon from the guitar and drumming as they open “Kiss Me Quick”. What is on show in the operation very much acts the part. The totalised feel of the delivery is matched by a serious level of intent. The affirmative stance noted in how it steps out really makes you take note here. A very cool instrumental leads the album towards the closing track “Road Trip” with a real sense of distinction. The final track here is one that embraces the tone of the album’s later development in a noted way.

A sheltered feel carries across from how the tempo drags through that is rather apt. The particular and showy aspects shine bright here even though it has a withdrawn sensibility to proceedings.

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THE DELPHINES Hush

The clean showing on “Screen Door” lays down a fine marker. There is a sharp flow that cleverly accommodates the finer points. The light approach of the shoegazer feel raises the standard giving the subtle climb moving through the running here grandeur. How “Eat You Alive” progresses from the zippy opening is extremely impressive. The lean flushes in the rhythm are processed expertly. With how the playing arcs are managed kindly moves the serious tone toward the catchy side, with the two combining to devastating effect here. The fluid motion is exceptional also. “Hush” maintains that underground air of cool.

The raw and edgy side come to pass smartly. The uniform way that all the rhythm collects develops it in terms of tone and beat while also grounding it in a way that feeds into what the band identify with in their music.

What charges the air on “Careless” has a true sense of authority. Then it breaks down into a catchy tune with the scatty running in the tempo providing it with bite. How this impacts on the running brings it all together. Even more so given the brief running time, which probably allows it to be exacted in the clever way that it comes to pass, but it is very much on the money. Coming to the

10 half-way point with “Wasted Love” they again go full on and allow the playing to do the talking for them. It all hits hard and fast, with the sprawling feel of the pace kept firmly in check. That bodes well and carries it all across with an inspired and lean showing to it all.

The appropriately titled “Feral” is boosted by how they lay into the deliver. This fastened the resilient side to everything and clocks in fashionably. It is very showy in the right measures and this is honed to perfection.

The smart feel of the drumming connects with the guitar loop on “Vice”. The big expanse that it builds toys with the rhythm before the excellent way the vocals add the correct balance with the harmonised feel they have. The selective attributes harden the resolve here while allowing the play to develop in places. The heightened feel is expertly tracked and they lead in “Little Viking”.

This has a handle on everything from the off. In the inviting processes the background styling fits in and develops the prominence accordingly. There is a strong handling about the way it all moves. They up their game yet again with “Kentucky”. Building into a high tempo affair before handsomely hanging back sees it right. The way that they balance the approach is also noted here and it is what makes it a smooth operator. The last track is “Notches”. With the fine way the pockets of play are collected off the back of the intro you see the album close in the way it opened.

Full on and unbridled, the raw feel is tidied away sweetly all the way through.

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SAMUEL VAS-Y Tickly Teeth

The candid feel of the opening to “Jungle Dream” has a curt demeanour that houses his voice neatly.

Then the leaner side develops things but keeps it beholden figuratively as the settled tone of the vocals marries well with the lyrics.

“Cada Dia” is another tune that comfortably embraces the musical side. The flavour on show doesn’t go unnoticed and the Gallic sentiment perusing forth adds the necessary chic.

Guest vocals are then supplied by CATHY DAVEY on “Creeping And Crawling”.

The pert tempo is delivered with zest and particularly effective as it all plays out.

The pleasance is there in the animated stirrings on show as they tentatively inch their way forward.

They corner the charm instantly and give it lift.

A more solemn approach is noted on “West, Always West”. The intricate hold of the guitar here serves it well. Something empowering hangs off the lingering qualities. They hold tight and the reserve that is factored in holds steady. That in turn allows the resolved feel to blossom. Following that is “That-a Girl”. This is another song that bristles with appeal. Quick out of the traps, it makes certain of the high points in the arrangement. Motioning the patience populates the song in an endearing way

9 which assures it of stature. The trumpet is a neat touch in the background also. Gently calling out the song’s title on the intro sees “Cocou” come into being. Sung in French allows a degree of romanticism to it all that deftly fits the saunter in the rhythm. As it does so, the tune is blessed with an allure that tracks everything delicately.

There is a brilliance about “Millionaire Of Hours” from the off. This is a strong tune that all comes together in a noted way. The simple approach feeds it with a bountiful zest before the overall layout of the song candidly brings things to the fore with a high sense of accountability. The smooth sway of “Dervish Dance” is just brilliant. The lay calypso feel about it is very rich, while the select way it develops the allure in the tempo is exemplary. The little touches add a lot of the right things to the mix here but how it all plays out has an inspired feel all of its own that is quite particularly.

Then we come to the eponymous track “Tickly Teeth”. This is again ushered in on the back of a cool fanfare. The easy listening style that is a wonderful feature throughout comes together with a song of substance. The majesty in the lyrics, coupled with the Parisian candour that comes across, fixes firmly. The touch of depth in the backing vocals keeps it fresh. The album closes with “A Home”.

This plays things safe and the reflective side of things work kindly here. How it draws out everything works incredibly well. Overall it is an intelligent and earnest tune from start to finish.

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STELLARSCOPE The End Is Near

Holding the urgent side on the opening track “Zero Gravity” puts an emphasis on developing the sound. The guitar is angled in a way that gives it causality, while the charged feel is churned out with the anomic sense of being to the vocals. There is a more of an upbeat tempo and new wave feel about “The machines Must Die”. Very vibrant in the right places the purpose and intent grows in stature with how it hangs together. The discourse to it is easily picked up also. With “Luxurai” they seem to embrace a more morose style. This leveraged against the drag of the playing.

The presence of a grunge sensibility gets offset by a progressive approach in the progression. The two styles merge neatly and connect in doing so in a way that builds prominently. Then a harder feel of the guitar calls out “Make Her Pay”. Readied from the offset the disenchanted showing makes its way through. Given bluster from doing so it weighs in appropriately and they seem to take the album in another direction musically with this one.

Then we come to “One Way Ticket” and this gradually comes into be. Hanging back with the lyrics gives it a more isolated feel. But it is suited to the delivery and the punk styling they have absolves it that little further when it is all laid on.

Sixth track “This Will End Tonight” harbours a sense of anthemic quality in some measures. They seem to have invested a great deal in how things come to settle across

9 here which ignites the running somewhat. The bridge isdominated by how the play develops and procures a steadier beat to the tempo along the way.

“Friend For The End” is another strong effort. The hardy approach works again but the emphasis is placed on developing the arrangement. Textured in a neat way and fastened together with the styling allows the rotund showing come through. Grounding out a more sullen sound is “Hey You, Let’s Go”. That sees the approach reasoned well and it drives thing through in a committed way. It packs a punch in the rhythm that is landed squarely. How the guitar builds into a casual formation on “It’s A Revelation” secures a somewhat psychedelic feel. Those slight touches serve it well by framing the rhythm in a revered way.

“Like Tomorrow Will Never Come” plays like a true punk tune. The purposeful stance of the raw and edgier sound drives it on. Added to the mix is the snappy feel of the tempo that stirs it all up as it is let off the hook. A more ambient flow is motioned through on “It Finally Happened”.

Things pick up steadily and there is an even structure detected that balances out the rhythm. The New Wave presence is noted and it doesn’t leave them too exposed either. On “Zombie Stomp” they jump right in.

Hitting hard and fast sees the punk side click into gear. It is teased out and the lyrics fit around the delivery smartly. How “You Never learn” encroaches in a way that has a marked sense of pedigree about it all. All in all it is how it moves that sells you on it because it has an animalistic feel in places. The album signs off with “Waste Of Space” and it is anything but. This has a sharpness to it that resonates in the delivery. The paunchy side configures in a way that walks the line. That is reflected in the boisterous way it is all pushed out.

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BURNT TOMORROW

My First Mistake This gets going from the off with the heartened skip in the beat to “From the Heart”. How it builds things is a clever application that rides high. The sharp bounce in the step is keenly felt and sells you on the tune. “Give In To Hope” feels a lot like CROWDED HOUSE. The harmony resides alongside the pleasantries of the overall delivery. They feel it out and what necessitates procures an ethereal flow that is comfortably pushed through. The fitting way that “My First Mistake” runs has a curt feel.

Nonchalantly toyed with in the tempo this hangs neatly.

But it builds in a convincing way as well. The clear way that it all gathers works heavily in its favour.

There is a rich sovereign feel on show with “Blind”.

The assured feel in the layout allows a lot to show in the progression and delivery as they take flight.

The neat bluster impresses and suits the styling. The acoustic guitar brings through a tune in the shape of “Take Me Home”. How it hitches up plays out in a highly becoming way. A warm sentiment adheres to it, as is the case of a lot of the album so far, but it isn’t a case of repetition. It is developed and breaks down accordingly. The tone of the album becomes a more subtle affair when it comes

9 to “Haunted”. The reflective nature bringing a sense of catharsis or closure that spills out in the delivery. The loomed feel of the delivery gives it an even transition but it all connects distinctly.

“Understand” is an attentive tune that is a full on affair, but a candid one none the less. This gets underneath the rhythm fashionably. The jilty running gives it a consistent stirring that is rather explicit. That Neil Finn comparison is keenly felt on “Cliché”. How it comes through immediately absorbs you in the experience. That it is a well arranged tune on a musical level is another added bonus. The strength of play here invigorates it totally. The backing vocals of GABS DE TENA on “I Miss Your Smile” open it with precision. The delicate poise secured from the piano and guitar delivered an additional touch that serves it well. It is all framed in a way that tailors these qualities towards something of real conclusion that is set out from the off.

Things are more carefully aligned on “Southern Nights”. Biding things well it is a complete affair from the second it takes off. The promise of the opening is maintained in the free running of the overall delivery. The accomplished feel is there to be recognised and is acquired from all aspects on show. A lucid and brash overture announces “Medicine” and gives it a strong sense of contention. The even manner about how it is paced is comfortably processed and stirs it passionately. The last track “God Knows” is another appealing effort. Traced in a way that approaches the delicate elements in a carefree way, it is driven home when it picks up. There is a strong showing vocally, while the tempo has the necessary mean streak behind it that accommodates this.

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HARLIS SWEETWATER Put It In Dirt

Geared up and full on is “Goin’ Up the Mountain”.

The lyrics, subject matter, how it moves…it is all there and worn with pride as the delivery is proudly rounded on. That exactness picks up in the hardy feel formidably cut loose. A more personal feel is noted “Ana Lee”. How it is outlined manages to tie this down and carefully administer it with a smooth transition noted on all fronts. After that there is a keen and stylish front on show with “Coolant Blues”.

The hardship is somewhat statutory here but it is expressed in a formidable way, while the tempo neatly travels across to bring balance.

How the guitar and dobro slide across “Cornbread Blues” milks a bluegrass showing for all it is worth.

The hardship adds a sense of definition to the running as a whole which tees things up in a dandy way. A more upbeat and engaging showing comes through on “Don’t Keep Me Waiting”.

The brass section adds a determination that sweetly feeds the derivative of the tempo. It comfortably opens into a bigger number. The deserved presence also has a sense of contention about it all. There is a spruced up railroad calling on show with “Can You Feel It Too”.

The piano and harmonica on the bridge add a sublime flavour that happens upon it in a telling way, but they

8 give it a complete showing none the less form how they shake it up.

After that comes “Can’t Make You Love Me”. There is a likeability to be found from how it comes together off the intro. It is another encouraging and engaging tune. So much falls into place here and as the album’s token long player it goes the distance.

A lot is treated right on “Crosstown Woman”. This again invests a lot into the overall playing and pours it out in the delivery in a generous fashion. The glorious way it all steps out is a lavish turn but one that none the less proves itself throughout from the thorough showing of the groovy feel. On “Muddy Water” things revert to a higher plain.

The acoustic guitar settles the tone from the start and a lonesome vocal is called out that fits. There is a personification in the display here that this is relayed in the delivery in an impassioned way which serves it well. There is an immediate presence about “Evil Spirit” that hits the ground running just right. That is a consistent trait that is tracked with a superb level of precision and fortitude which in turn give the drive an abundant skip. How it closes embraces things finely.

The album is rounded out by “12th Street Loneson Blues”. This has a country style that takes flight evenly. But it so well processed that the sentiment is shepherded in with a distinct quality.

This comfortably drifts across in the calling here which works extremely well alongside the deft handling and intricacies of the delivery.

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THE MIRROR TRAP Stay Young

The resolved feel of opening track “American Dreams” excellently allows the harder flush of the play come through. Doing so fronts it with a real sense of swagger that has a marked urgency calling it all out unapologetically. A hint of a disenfranchised feel taxes “Toys” in a way that is relative alongside the clear way it is all driven forward.

In the urgent aspects lies a sense of purpose that turns on the style efficiently. That is aided by the resonance of the tempo surging through.

We then come to “Killing Time”. What is forged here rests on the arrangement in a dependable way. How it picks up has a justified and curt feel that settles across in a determined way.

A light saunter sees “Waves” come to pass. It has a languid turn about it that comfortably all comes together, but the tracking here is extremely neat and it shows. In getting beneath the running it manages a lot of the right side of the play in a proven way. After a brief telecast segment comes “Pigeon Chest”.

Dragging the tempo across here makes it all come together. It is a lean offering and it is heartily delivered with a strong calling on all fronts. This is what makes sense of everything as it plays. A more lucid feel is noted on “Dreamers” yet it carries

7 the rhythm off in a compact way. There is a hint of New Wave to this that serves it well. It is a slight application and then it proceeds toward something of consequence. That is then followed by “Westminster Ghost Story”. How the plucky riffs seem to steadily climb on the intro is commendable. It is a fitting attribute to the running here because it allows it to fall into place evenly. But it all becomes a balanced delivery that catches the right amount of style and substance, but it boxes clever at the right moments too.

“Bell Street” keeps in line with what the rest of the album has identified with. Big tunes built around a large guitar ensemble, but imbued with a degree of heft in the process. This sits on it all in an accountable way. Some spoken word precedes “Future Lionheart”.

It gives a little hint of early punk in a way and the delivery comes through in a raw way. That leaves you with a higher sense of appreciation. It doesn’t necessarily all fall into place, but the disenchanted feel of this does please. Driven more by the bass and drum than previous tracks is “Goodnight Stallion”. What is located in doing so works well here. It allows the vacant side of things to be processed while the ebb and flow come to pass. The final track here is “Fades”. It is a steady tune that comes together off the intro suitably. Aspects of it are somewhat bland in terms of the rhythm but they are made up for by the metaphors in the lyrics. They see it right and the resolute feel of it warrants appeal. Collectively it comes together which is what matters. That the album doesn’t close as strongly as it opens counts here.

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THE CAPSULES

The Long Goodbye Review by Jamie Kelly

The appropriately titled “The Beginning” starts the album and the build-up is a rich synth based affair. The vocals closely follow and in turn set the song on full flow. Which then becomes something that is very strong vocally and a great performance. The next track is called “Super Symmetry”. This starts off with a smooth bass drum and some more synth. The vocals come in over the top and give it some depth. The layering of the vocals is really effective but it doesn’t develop too much throughout. Again the vocals are the main attraction.

With “Monsters” things open up with some cool sound fx followed by an impressive vocal melody. Then a guitar riff comes in to complement the groove of the drums. The vocals so far on the album have proven very attractive but this song doesn’t change too much. It builds up a bit toward the end before fading out.

The next track is the title track of the album; “The Long Goodbye”. This builds in with good use of the vocals. Again this song is very strong vocally, but rather simplistic and somewhat unimaginative in other aspects. There is something lacking in how it is backed, yet it still sounds good though. “Death Of A Comet” opens with synth again and is very distant sounding. This creates a lot of atmosphere and makes for a mystical effort. The drum beat that comes in is sweet. While keeping it simple it adds character and doesn’t allow the delivery to stray too far

7 which sees it retain consistency towards the end. “Hollywood” then sees a little more edge come to pass. There is an intensity formed as the melodic synth complements the vocals that is highly effective. When it comes to “You Are A Metaphor” they again form the main part of the song, but it does feel as though it follows the melody. It does prove effective by creating some strange, powerful vibes that I imagine would make their live show all the more invigorating.A more upbeat feel comes through on “Signals” that is really catchy and consistent. How it hangs in the background provides a hook for the listener. Again it is let down by the sense of repetition that has happened before. Things are focussed on “The Lonely End” with the emphasis on arrangement reflected in the sound that is a strong and effective calling. The backing here is more than just part of the song and imbues it with more depth than any of the others so far. The small guitar solo towards the end gives another enticing element. I found the intro of “With Every Hour” to be rather interesting. The psychedelic and otherworldly facets are very soothing overall.

This is one of the more interesting inclusions on the album.

“Don’t Look Down” seems to have a bit more energy to it than most of the tracks on the album so far. It also has a higher sense of completion about it. Having said that, it is let down from the lack of a sense of direction, climax or change yet again. My favourite track here was “The Forgotten Days”. Blessed with a great vibe it also stood out for me because it was one of the few tracks that sounded like it was complete.

The increase in pulse toward the end finishes it all nicely and is what the other tracks have been crying out for. This also tees up their cover of the GLORIA GAYNOR classic “I Will Survive”. Overall I thought this album was pretty good, but a lot of the songs seemed to be lacking in variety and change. Having said that, I think each song has its own merits that gives the album a unique sound.

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International Artists

IN GOLDEN TEARS Farewell

Review by Valerie Scanlon IN GOLDEN TEARS are a 5 piece band hailing from Hamburg, Germany who have been together for three years but have already headlined a tour through the UK and performed at European music festivals. They have released their four track EP ‘”Farewell” which makes it sound like it’s a final album, but it is in fact it is their first. The band comprising of Patrick H.Kowalewski (Vocals, Guitar) Mats Dörband (Bass), Robin Shaw (Drums), Max Schlid (Keyboard, Synthesiser) are pop with a rock edge. The EP kicks off with the loud, high energy of “I Still Believe” which sounds like a football anthem. It has a chant on it giving it real power along with a real rock vibe, even though Patrick’s voice is soft and quivering.

The second track “Surround” has a softer and gentler intro, but builds into a great catchy dance-up tempo beat infused chorus.

A great drum beat reinforces the lyrics and the outro has a great sound. “Winners & Losers” kicks off with a soft piano melody and Patrick’s choir-like vocals. It then builds and picks up some more texture from a drum beat and harsher piano melody. The brilliant vocal layering creates an echoed sound.

In the chanting section you really hear the electric guitar rift wailing in the outro which gives great strength.

Final track “Pray” warps the sound under Patrick’s vocals and again has good build. This introduces more power and instruments as the song builds. It has a Coldplay sound to it, with some soft piano mixed in amongst the heavy drums and guitar riffs. The band’s sound is Pop/Rock, almost like Coldplay, but Patrick’s vocals are much softer and almost choir like, which works well with the heavy sound of the guitar, bass and drums. With only four tracks you don’t hear much diversity within the songs but you still get a feel for their abilities and talent.

8

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FOUR POINTS RESTRAINTS Malice

Review by Jamie Kelly Getting it going here is “The Last Of Me” and starts off all sweet country-esque with the bass line that gives it foundation. The guitar work throughout the song really stood out to me. I thought it was hugely effective and fills the sound with character. Overall this is a great number that is sure to get any crowd on their feet. The next track is entitled “Barroom Kyle”. This song again has a small element of country surrounding the rhythm. From the first thirty seconds of this you can tell that it is going to be great. The guitar rhythm is the back bone here and all the instruments complement each other extremely well. Three minutes in and its complete bliss, everything about this is perfect with the groove and melody combining in such a fantastic way making it overall. “Partner In Crime”. This starts out with a nice steady drum beat followed by some sweet guitar and what sounds like a mandolin. The flow radiates some great energy. The vocal performance is immense.

The melody towards the end is so good and accompanied then by some really effective backing vocals, it makes for an emphatic ending to the track.

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The next song is called “The Plague”. This starts out with a bass intro, then the guitar comes in and adds dynamic to the intro. The vocals set this into full flow. This is a little more chilled out than previous offerings. The song gathers momentum throughout and quickly eradicates the chilled out atmosphere given off at the start and builds up for a climatic finish. The fifth song is called “Heading East” and starts out with a steady groove. The vocals come in and set it off, which continues as the way for a while. The lyrics tell a story that is consistent with the title. The melody that comes in every so often is very effective as well, as are the backing vocals. The last song on this fantastic E.P is called “The Writing On The Wall”. It starts off a little more intense than previous songs, omnipotent in its own way but very powerful. I found it to be both vocally and lyrically a trait evident throughout all the songs on this EP and I’ve listened to it many times since first hearing it.

FLORRIE Sirens

The flair of “Seashells” is highly impressive.

It has a catchy balance between poop sensibility and indie credibility. The clear way that it all flows catches everything right in the transition with the positive vibrancy trapped in the tempo bringing a lot to the mix. The high production values are also evident but it is also a fantastic tune from start to finish. “Free Falling” sees the rhythm pick up and it carries through with a real zest. The lazy way that her vocals fall across in the delivery adds something sultry and well versed to the performance that injects it with a sense of purpose. The catchy flow of the rhythm is also noted but it carries a substantial level of weight also. A more expansive offering then follows with the intro on “Wanna Control Myself”, but how it progresses has a finite feel about it that grabs the attention. The weaving of the play translates the scope and intent commendably and brings through the side of it that has bite in a controlled way.

Two remixes close out the EP. The first is SHADOW CHILD’s dub mix of “Little White Lies” and this sees thing settle into the grove cleverly. While the second is PREDITAH’s version of “Seashells” and this adds more loops to the sound to bring it through in a more relaxed fashion. Both versions bring the EP down in a way that chills out and provides an anti-climax each time, but that is the idea.

10

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THE CORDUROY SUIT Revisions

The steadfast roll of the rhythm on “May Day, Son” cleanly encompasses everything. The class is felt and the delivery has a spacing to it that acquits itself in a hardy way that the rumble keeps a keen eye on. A formidable level of scope is also there to be found and they allow themselves to get carried up in the music in a good way. With “Left To Survive” the drumming and guitar lock together on the intro to lead it all in. The opening line is there to be admired, and it then proceeds to grow into an out of sorts love song that has a romanticism all of its own. It is quite innovative in fact.

Things are out of sorts somewhat as “Giant Neptune” opens. However it sees a graduation in the delivery that gifts it the right level of poise that offer a degree of certainty. It is a consummate song that falls into place with the later progression. After that comes “Pushing Me Around”. They seem to shade it by allowing the music side of things in the arrangement take centre stage. This in turn sees the vocals pushed out in a more commanding way which also enhances the appeal. At the same time the substance is neatly found in the forays as well.

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They close out with “To Be Shaken”. What is stowed away adds a morose sense to things, which then picks up sharply. The shared vocals also bring their worth to the mix and come to add an extra sense of definition that gives it a more inspired and complete feel.

YOUNG UNKNOWNS Endless Landscape Review by Valerie Scanlon

Brooklyn, NY four piece band YOUNG UNKNOWNS have released a new 6- track EP titled “Endless Landscapes”. The band consists of Meredith Meyer (Vocals, Guitar), Matt Arbeiter (Drums), Seth Ondracek (Bass) and Nicholas Semrad (Keys). They have a sound similar to Kate Bush mixed with Lana Del Ray and electronic beats to back up the instruments. The first track is “I Want to Lose”. This song is easily described as smooth. We are introduced to Meredith’s vocals immediately with a 1-2 beat and smooth electric guitar.

Her vocals are so soft and pure which strikes a resemblance to Kate Bush. Track two is title track “Endless Landscape”. This has a stronger electronic dance presence, and, again, Meredith’s vocals are pure on this. The starting beat is almost like an 80’s power ballad, but the vocals are much smoother. “This Is Where We Belong” comes next. It again has a strong electronic background with a mix of instruments. The vocals here are very much like Lana Del Ray in and it almost has a futuristic sound. With “The Flower”, a gentle guitar strumming intro gives it a slight country appeal. The dreamy and sweet side of her vocals matches what the content akin to the blossoming of a flower, and is a very delicate sounding song in total.

Tweaked slightly is a cover of “Drive” by THE CARS. Even though it is gentle and soft you can tell within the first few seconds, with a similar dream sequence beat on the intro. Here the vocals are hushed, soft and choir like compared to the ‘raspy vocals’ and rock edge in the original. The final track is a remix of track two “Endless Landscape (Pacific Remix)” it has an EDM vibe but also sounds like an 80’s pop song when the synthesiser kicks in. But it embraces dubstep and provides a greater mix that enhances her vocals over the up tempo beats.

This band I feel have a real 80’s edge, but proved with this EP they can change up their sound with some electronic beats backing the songs, I can see “Endless Landscapes (Pacific Remix)” being played in clubs all around the world, it could be what breaks them into many countries. In total I enjoyed the EP.

8

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NATURAL STRANGER

Talk About Demons As If They Were Friends Review by Jamie Kelly

Natural Stranger are a rock band from Brooklyn, New York USA. The opening number “Demons” is a short song that seems like a small intro to the E.P. It gives off a bit of a spooky vibe that creates an atmosphere for the next track to follow which is called “The Passed Away”. Instantly kicking in with some high energy guitar and drums that set the tone for the track, the vocal melody that comes in is distinct and crisp. It changes toward the end and brings a neat dynamic in the process. The small guitar solo at the end adds to this. Overall this is a smooth and steady effort that gives a good start to everything. The third song is called “Romance”. This is quite an anthem in its own right. The vocal melody is very strong throughout and is greatly complemented by the accompanying guitar licks that follows each round. Overall I thought that this song was great, and an abrupt ending that was used to full effect gives it a great send off.

Up next is track is “You Are The Hybrid”. This one starts off with some guitar accompanied and then a very sweet bit of cow-bell.

The drum beat that is played throughout the verses really stood out to me on this one. I thought that this was structured very well.

The use of the cow-bell again in the middle gives it some great dynamic range. The breakdown section towards the end also adds purpose before it gives way for a guitar solo and a climatic finish.

The penultimate track here is “Shooting Star”. I really liked the groove of this. It sounds different to what the listener has become accustomed to throughout. The guitar work is very uplifting and pleasing to hear. The title of the EP is used to good effect in one of the lines. When ‘talk about demons as if they were friends’ was sung I thought this was very effective. I found “Ride” to be very strong lyrically. It seems like we are hearing a story throughout.

The guitar riff that comes in after each chorus is very effective and a true positive here. The production quality of this stood out as well. There are some sweet uses of panning with the beat change toward the end built up to leave the track hanging in a dramatic outro. Overall I thought this was a well composed and structured EP that sees all the songs give off a great sense of completion. Well worth a listen.

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SYMPHONIC PICTURES

Symphonic Pictures Review by Caitríona McKenna

I’m in two minds about the self-titled, synth-laced indie-pop EP from Symphonic Pictures. Opening track “Smile It’s Real” has a very unusual flow/composition – it starts off with a fast beat which abruptly cuts to slow and back again, with some screechy lead and backing vocals thrown in. It comes off as quite scattered and sounds like different recordings were cut and mixed together, which essentially it is – the drum tracks were recorded in studio and the rest in the band member’s collective homes. This is equally annoying (as at times it can just sound like a lot of noise), yet impressive the more we go on.

“Feathers” lends a bit of an MGMT feel to the sound, combining sweet Nirvana-esque guitar riffs with synth and drums, and is a bit more pleasant on the ears with a better flow between the lead and backing vocals. They lose it a bit towards the end of the track when they try to incorporate too many instruments and it gets a bit too crowded again for my liking.

Things picked up for me with the last two tracks – “Bootstrap Paradox” in particular was a standout track for me. Simple to start with drums, guitar and a bee-hive-like synth buzz and clearer vocals which let us hear a Matt Bellamy quality to them. I like everything this track has to offer – its simplicity; its dreamy nature and its quirky title! Similarly, closing track “Backwoods” was enjoyable with steady beat, blips and beeps throughout – creating the feel of dreaming about being inside a spaceship. Or maybe that it just me? We’re brought back down to earth with the pleasant sound of the saxophone in the background towards the end which was a nice touch.

7

Though it was quite lyrically inventive, had its moments and got better the more I got into it; the majority of this EP was just too noisy and all over the place for my liking.

Some people may dig this, and the future of this band is definitely bright, but unfortunately it just wasn’t enough for me.

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YELLOW CREATURES Nature of the Beast Review by Caitríona McKenna

An EP full of catchy hooks and psychedelic vibes; “Nature of The Beast” is the debut work from self-proclaimed ‘spooked up post-punk’ foursome, Yellow Creatures. With a hint of a Kaiser Chiefs to their sound (particularly on the first two tracks), the Newcastle natives still manage to retain a distinctly original and unique sound.

The instrumental opening track “Drop Anchor” eases us into the 4-track compilation with steady drum rolls, electric guitar riffs, funky keyboard blips and quirky/futuristic sound effects, all of which prominently feature throughout. Title track “Nature of The Beast” continues this steady yet fast-paced flow/beat, reminiscent of 60s classic “Monster Mash” by Bobby “Boris” Pickett and thus lending the band their ‘spooky’ feel. The strong drum beat and chanting vocal quality throughout “Before The Flickering Of Shadows” slows things down and makes me think of Burning Man festival, for which this EP would be the perfect soundtrack! Combined instruments such as the bass, keyboard and tambourine create a wind chime-like effect on this track as well as closing track “Strict Medicine”, again creating spooky yet hippy vibes which is very cool, though maybe that was just me. Marc Bird’s voice throughout the whole EP just seems so deep, thoughtful and wise – both vocally and lyrically – and is a real treat for the ears as well as the soul!

8

Overall, “Nature of The Beast” makes for some seriously chilled summer listening with a spooky edge. Pass the hair garlands; get ready to dance around a festival campfire and press play!

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THE LUCK

Muscles and Bones Review by Caitríona McKenna

Incredible would be the word I would use to describe “Muscles and Bones”, the second EP from London based acoustic duo The Luck, but even that wouldn’t do it justice.

The title track “Muscles and Bones” opens with the gentle plucking of percussive guitar which hums as it meets the melodic male vocals of Max Luck, shortly followed by the vocals of his sister, Esmay, and we’re instantly hit with such an overwhelmingly mind-blowing strength. And I’m in love.

In love with their voices; in love with their lyrics; in love with their melodies and powerful harmonies – in love with this whole EP. Starting with their voices – Max and Esmay have the most beautiful, almost romantic mix of male and female vocals that are incredibly strong and just made for each other. Max with a low, smooth and steady voice not unlike James Blunt and Passenger; Esmay with the sweetest balancing vocals which reminded me of Sarah Jane Ellis from former Dublin band The Half Pennies. Both Luck’s vocals are flawless and complement each other perfectly.

I honestly can’t pick a favourite track as I loved them all, and they are all quite similar, yet still outstanding. “Muscles and Bones” is such an exceptionally powerful track, and possibly the closest I’d come to picking a preference. “Heroes” stood out as an epic ballad, as did heartbreaking track “Holding On”. There is quite a heartbreaking feel to the whole EP, but it’s so unbelievably beautiful. The emotions you feel throughout are so strong, so you know they’re doing something right. It made me tear up, it made me smile and it gave me butterflies right from the start and for the duration, which only happens to me with something special. It becomes more and more apparent with each track that The Luck poured their hearts and souls into this EP. They then reach out to us through it and not only melt but pluck on our heart strings along with the guitar.

“Muscles and Bones” is an inspirational and overwhelmingly powerful EP with the power to restore your faith in music and up-and-coming talent. It relies on nothing but simplicity and the strength of vocals. Rather reminiscent of another folk/acoustic sibling duo, Hudson Taylor, it is full of beautiful melodies and soaring harmonies paired with percussive guitar, heartfelt lyrics and not much else. This is not just music, but God-given talent in its purest form.

10

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THE OUTFIT Tough Kids

Review by Caitríona McKenna “Tough Kids” is a thoroughly enjoyable EP from Denver natives THE OUTFIT which merges new and old school rock to create an energetic and all-out fantastic sound from an obviously talented bunch. Bass features heavily throughout, but they keep things simple with the addition of drums, guitar and the confident vocals of Eric Johnston extremely resonant of Caleb Followill - giving the band an overall self-assured and mainstream/radio-friendly sound.

“Projector” features stronger/harsher vocals with the instrumentals matching the tone perfectly giving the track an angrier feel without diminishing the enjoyment. It also showcases a bit of an electro buzz with a Space Invaders feel at parts, and an epic guitar solo towards the end. “Caesar” was a stand-out track for me, featuring funkier bass at the start and a bit of a classic rock sound á la Thin Lizzy at parts, similar to title track “Tough Kids”.

“What Happened To You?” grabbed me from the first few notes with its sweeter sound tinged with pain and heartache – such a beaut of a track!

Although all tracks on Tough Kids have a similar sound and feel; it doesn’t get boring. Fans of Kings of Leon will undoubtedly enjoy this, as well as those keen on the likes of Thin Lizzy, AC/DC and The Strypes to name a few. This EP brought such a smile to my face and made me want to experience these guys live! I can definitely imagine them playing the likes of Glastonbury some day, and I can see them going far – watch this space!

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THE QUINCEY The Quincey

Review by Jamie Kelly The first track on this EP is called “Sunny Days”. The music in the song really reflects the title and is a feel good sort of song. It evokes good, happy summer vibes. The overall catchy side I found very good musically. This has great radio potential. The next song is called “Look Up To The Sky”. This starts off with some sweet sounds. The use of tremolo in the intro gives it a real dreamy feeling that is very atmospheric, and, again, a very happy song. The guitar solo in the middle gives it a bit of edge as well. I also thought the vocal outro was also very effective.

The third song is called “Late City Night”. This is a bit more energetic than the first two tracks.

While quite atmospheric, it creates an ecstatic, energetic vibe while still having a chilled element about it. The song simmers down near the end before building up into a climatic ending. “Rainbows” comes next. This is a very gentle and relaxing listen that evokes whimsical thoughts. It is rather uneventful throughout, but in a good way. The simplistic element is what gives it the psychedelic buzz that it carries.

Things are wrapped up with “Til The End”. This starts off with a vocal melody that is again very dreamy and distant. The slow tempo throughout gives it a mystical feeling, as if you are being carried along floating. There is a point that picks up a bit towards the end which gives more of a sense of journey. I really enjoyed it.

Overall I thought this was a fantastic collection that might be up the alley of anyone who likes their psychedelic music.

9

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THE RIVER BAND The River Band EP Review by Valerie Scanlon

The River Band EP is up for review. This is an acoustic/folk five track EP. Getting started with “Heartaches”, this is a real happy lively sounding acoustic number. It has a Spanish guitar which gives it an upbeat sound. “No Love Around” comes second and has a great folk/acoustic sound. The vocals are similar to an 80’s ballad. It also features a harmonica that enhances the appeal. As the title suggest, “Trumpet Song” features a trumpet as the key instrument but the acoustic guitar is also in the equation. The mix of the two instruments provides a great sound and melody. The brilliance of the vocals gives it a throwback feel that edges it all out along with the Spanish brass flair.

Next track “Jackson” has a real folk sound to it with a basic acoustic guitar riff. The catchy bridge has a really great sound going for it.

There is a wholesome Americana feel going on here that works. Things close out with “Dream and Wonder”. The old school sound to it finds its place again with a basic acoustic track. But it still keeps you interested form the flair in the outro with the simplicity of a mere tambourine shake.

9

I really enjoyed this EP and look forward to hearing more from The River Band. The sense of authenticity in the acoustic sound is my kind of thing and I hope to hear more soon.

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TANGRAMS Waves

Review by Jamie Kelly TANGRAMS are a three piece band that come from Melbourne, Australia.

The first track on this EP is called “Satellite”. The track starts off with high energy as the drums and guitar surge together to set the foundations in place.

The vocals swiftly follow giving the song a bit more intensity. It lacks a bit of variety as it doesn’t change throughout. The next track is entitled “I Don’t Know What I’d Do Without You”. This starts off with a little drum intro before a quirky guitar riff is introduced making it that bit more distinctive. The vocals soon follow and give it a bit of a dreary atmosphere. Again this song lacked variety as it struggled to develop further. Third song is “Teeth” kicks off with a high velocity drum beat that creates high energy levels for the rest of the song. The fast paced vocals combined with the power of the overdriven guitar give it bite. A guitar solo towards the end adds a bit of dynamic to the track.

“Phantom Limb” has a slightly different feel to it in comparison with the previous offerings on show. The use of tremolo gives the guitar the ability to create ambience. All the instruments complement each other very well here; all generating vibes on the same wave length. This is a great track overall. How things close out it done with “Waves”. This song adds a bit of variation. I really enjoyed the intro which I thought it was very unique and original sounding. The drum beat that goes throughout the majority of the song also adds a similar sense of originality. Again I found that the song lacked in dynamic and direction which doesn’t see it develop any further. Which I think it’s a shame as it has a great vibe to it. Overall I thought this E.P was good. Having said that I think that the songs have more in them. They just all seem to have an element of repetition to them which leads to a failure to develop any further than the base riff.

7

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THE BACKHANDERS The Backhanders

This was sent to us by special delivery from our Manchester network because this band is currently riding high on everyone’s radar. Even though it is a two track EP and could be classed as a double a-side there is a lot to it. “Campfire” is the first of two songs on show here. This is recorded as a tribute to THE CLASH frontman JOE STRUMMER. That is definitely picked up in terms of tone and presence. With the fine way that they let loose on the delivery you sit up and take note of how impressive they are. The raw feel necessitates here on the free flow and it carries through to get the best out of the tune. The bridge sees a harmonica cruise across on it to add to flair alongside the noted edge of the running.

The second track is “Down By The River” and this brims with the right amount of pace and maturity. The balance between the two falls into place in a determined way. As a result it has a clean cut that weathers through on everything by taking it up a gear as it all steps out. The stationary country feel in the undertone suitably rides in high as it all takes flight.

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International Artists TRAVELLING WAVE Tradition And Evolution The smooth feel of the guitar reaches comfortably across on the intro. From there things move into a tune that is motioned through on an air of cool. The smooth and passive flow of the shoegazer style imparts on it in a stylish way, while the finer points in the rhythm are developed conclusively by the emphasis placed upon developing things musically.

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MONTAIGNE I’m A Fantastic Wreck

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There is a fragrant feel in the alluring and expressive side of this. The hint of cabaret makes the subjective side of the song come across concisely. The intricate nature of the tracking relays into the overall delivery in an enlightened way, which suits the enigmatic flashes that come through in the overall delivery. Yet it all works from how it is fronted and the novelty is part of the charm, but more importantly it contains all of the right elements in a highly substantial way.

MADE VIOLENT You Had It Easy/ Talk About It

International Artists

This is a double A-side with the first track fixing a rather hip tempo to everything. A fair comparison is drawn to THE STROKES in their early pomp. On its own merits there is a steadiness that falls into place here that catches the delivery with a raw side that also sits neatly with the catchy way it flows. This furnishes it with a substantial level of appeal. The second tune is another complete effort that gets a lot right. The undertaking in the delivery commands everything and duly brings it through with a clean sense of urgency about it all. These are two songs to reckon

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CARDBOARD KIDS Dime A Time Lover

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This is a very cool tune from the off. The defined pull of the guitar adds depth and draws you in. The edgier feel of things offers a pique that is angled in squarely from the off with the guitar settling into the hard face of the delivery. The select feel of the vocals neatly knead their way through on this as well, and the overall combinations weave together very cleverly.

GANG OF PEAFOWL Feather Knife This is another double A-side. The bequeathed feel of “There’s No Place In Heaven” has a defined temperament that casually ushers across on the neat meander of the tempo. The tapered feel of the shoegazer style configures well in a textured way that shows their intent. Second tune “A Perverse Action” leans into the delivery. A bigger presence is felt from how it builds which then cleverly subsides. It brings a due sense upon everything that is processed in a way that matters.

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SLOW READERS CLUB Start Again

10

This is a tune and a half from the very beginning. The concentrated feel of the delivery falls into place in a keen way from the firm execution that patiently builds. The lift that arrives in the tempo is very exact while the urgent way that it is all delivered congregates on all of the aspects in a telling way. Overall it all connects in a subtle way that shows but befalls it in an excellent way too.

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THE GRISWOLDS Beware The Dog

International Artists

There is a neat and spry feel about the intro. The select way it is traced gives it a slight bounce that allows the pop sensibility of it to develop into a stride here. There is also a clean feel about it all and the substance is denoted by how casual it feels, but also that they have kept one eye keenly focussed on bringing it all through off the back of some excellent tracking as well.

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1912 Timing Will Keep Us Apart Forever

8

The smooth lick of the guitar shows the blues influence and input in the cut of the rhythm. The raw and withdrawn vocals have a drawl that seems to denote a gritty feel here. This flows in an eventful way and makes the song take flight while at the same time keeping it grounded.

WILD SMILES Fool For You

International Artists

The band throws down on this one in a way that shows they mean business, yet it is guided through with a steady hand. The guitar and the even feel of the flow catch something specific in the tempo that sees to this. It has neatness in the overall projection that carries it all through with a sense of togetherness that rubs off against the gritty feel, but keeps it all in line finely.

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JINGO Turn Around

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This is a very enigmatic tune. There is a practicality felt in how the rhythm is brought around and it is this emphasis which gives the song a broadened sense of appeal that suits the tempo on show. There is a reputable hard side to it that pushes the seasoned attributes across in an evenly weighted way. A quaint characteristic is also drawn across it that is rather inviting.

EMERGENCY DOOR RELEASE Serotonin Sarah There is a feel of RHCP about this, but in a good way. The comfortable bounce in the bass here feels like it. Yet the band also shows that they want it. There is a fine and hardy feel chased down by the rock side of things that catches the right points and runs with it. A catchy derivative also lights it up as much as the casual feel of the comfortable vocals.

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THE DEAD FLOWERS Make It Bright

9

There is a sincerity conveyed in the gravelly tone of the vocals charms. The overall delivery is excellent, while the pick-up in the pace adds an alarming sense of completion in terms of how comfortable it pieces everything together. The durability of the context is also apparent, which suits the adamant sense of urgency that is locked in along with the sweetness of the tone.

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MISTY MILLER Taxi Cab

International Artists

Soft opening and the lilt of her voice is a fine detail to the intro. It picks up in a steady way and has a grounded feel to it all. Picks up and there is a groovy feel alongside the rock side that is angled in. The lean feel of this is a brilliant turn and fixes the listener to the tune for all the right reasons. The slick feel of it all is a case of style meeting substance and it shows superbly.

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AURORA J YOUNG Passing Me By

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There is a fine sense of definition as this song opens. From that promise a brilliant tune spills forth. The conviction of the lyrics and vocals come together in a way that stays the course. While the delivery is guided through with a confidence that goes hand in hand with the sheer brilliance of how this one is cut. The moving attributes here get so much right and it is a flawless tune all the way through.

SKRIPTURE Small Talk

International Artists

This is very urban. The substantial manner that the rhymes are dropped bends everything together, while the looping drum and bass serialise a smart degree of presence. It has the necessary kick while the animated feel of the beatbox elements do come in fancifully and keep the resolve on track. Lyrically things fall a little short somewhat because there is no context per se, but it has a vocal delivery that is levelled out quite specifically.

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ELLEN AND THE ESCAPADES Lost Cause

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Brought in by the drumming in a very pronounced way, things proceed along with an effortless feel. How it is willed forth displays strength of depth in the arrangement.

The vocals also trap in a sleight of hand that procures the emotion in a figurative way.

In the overall breakdown of the tempo resides a tune of fine stature that is brought through accordingly. The high standard maintained serves it good stead, but it also denotes their ability as a band in the right way.

I’M YOUR VINYL No Regrets This is an absolutely brilliant tune. It so well constructed that the impact from it is immediate and apparent in a way that is of high value. The ease with how the tempo is casually caressed steadies into the running. The soothing vocals procure and endearing and welcoming quality that borders on perfection. The Tex-Mex/Americana/Ennio Merricone attribute brings out the best in it.

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THE DEAD HEAVYS Uptight

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This is a tune with top billing qualities readied throughout. The light feel of the rhythm has an apparent zest to it that controls the tempo. The lean way that runs through contains the tumble in the tempo. As such it coasts along and the lingering feel of it all connects in a telling way.

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Mz Moxy Sugar

International Artists

This is a tune that catches you unexpectedly. The depth of the hardy showing in the playing exchanges fills it all out in a prominent way. There is a charm to it and the sassy way it comes to pass has a neatness that exudes an air of confidence. In how this is fixed in the tempo turns on the style and it is a genuinely fine effort that casually earns its spurs.

International Artists

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CORRINA JAYE Gold

9

This is excellent. From the off it all falls into place. The finesse that builds in the synthesised dynamics is cleanly processed here. They in turn process the figurative aspect and the apparent affluence on show does stand out. It also has a dark side that accommodates the clean nouveau disco chic, while there is a great deal to be said for how the tempo works its magic.

VOXILLARY Skin Ripper

International Artists

The new wave industrial feel makes this a full on affair. It handles these attributes neatly in the arrangement. How it is co-ordinated is very urbane in places, while there is a combination in the vocals and overall tracking that denote a distinct harder, east European influence upon it. That calls out everything rather squarely and gives it purpose.

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FARO Drive On

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There is a resolute feel to this song that is cleanly detailed. The vocals fall into place and give it a completed feel that carries on through. How it is driven on by the pleasing feel of the flow holds it together. The steady progression seems to make excellent use of the candid approach in the arrangement and this allows it to come around of its own accord. A well figured effort from start to finish.

BLACK SONIC REVOLVER Play Along This just gets down to business straight away. It is a fluid number that has an edgy and raw cut to the styling. That allows the sensibilities to let out with an inspired and unbridled cut about it. How this in turn translates gives the framing of the arrangement room to express and let loose. In some ways it could have been reined in a little bit more, but it is still a sterling effort none the less.

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THE SKINNY GUNS See You Again

8

The pleasing touch in show as the acoustic guitar gracefully opens the song welcomes the inherent feel of the vocals. The coarse feel in the lyrics is well thought out and it has a feel about it that is akin to THE EAGLES. The even exchanges hanging off the vocals bend the play accordingly and it is a select feel as it does begin to take flight.

Yet they configure in the right aspects that it needs which shows.

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This is the June 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.

KASSASSIN STREET "The Royal Handkerchief Ballet" (UK)

OH CAPTAIN! "Hatchet" (London)

LITTLE GHOST "Hornets" (UK)

THE SLOW READERS CLUB "Start Again" (Manchester)

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