June issue 2013

G LAS T ONB UR Y BOUND

June 2013 Issue

KNOC KANS TOC KAN BOUND

The Cujo Family Rachael McCormack Rob Steenson Joe Symes & The Loving Kind

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THE MANC TANK

Rachael McCormack

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6

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4 Land Of The Giants Plus:

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Rob Steenson

THE CUJO FAMILY

Scene & Heard 13-14 The Sunday Roast 15-18 Saucy Sundays 19-21 Dimestore Recordings 22-24 Ruby Sessions 25-32 Album Reviews 33-40 EP Reviews 41-43 Singles 45 June 4x4

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EDITORIAL So we come to our June issue, which has come off the back of a rather productive month of May. We became involved in the inaugural “It’s Happening” festival in Derry/Londonderry. The festival itself was live streamed to 203 countries. In terms of the calibre of the people who organised it we are very much looking forward to being involved in organising the festival in 2014.

We also welcomed two new members to the team – DAVID BEECH and ANDREW DUFF. David Beech brings a great deal of experience to the table. His regular column “The Manc Tank” will feature interviews and segments on the unsigned and independent music scene in Manchester.

Andrew Duff is a graduate from NCAD with a BDES (Hons). His expertise in graphic design is something that will now see a progression in terms of layout and design of future editions.

The final landmark achieved was moving into our new office in the city centre. We are now located on the second floor of The Chocolate Factory. This will be the hub of all musical activity in Dublin in the near future and we are looking forward to getting some more of the music based products and services we have in the pipeline off the ground. We will have more details to follow in due course.

The June issue is a fantastic one that contains interviews with Glastonbury and Knockanstockan bound band LAND OF THE GIANTS from Plymouth. In addition to The Manc Tank, we also caught up with Liverpool band JOE SYMES & THE LOVING KIND.. We also have interviews with Irish artists including THE CUJO FAMILY, ROB STEENSON and RACHAEL MCCORMACK. There are album reviews from NANU NANU, SOUNDS OF SYSTEM BREAKDOWN and others.

As well as EP and single reviews, the “Scene & Heard” section covers the best of the live music scene in Dublin with Saucy Sundays, Dimestore Recordings, Sunday Roast and The Ruby Sessions being reviewed.

There is also the June 4x4 which contains four videos recommended from four of our music networks and uploaded to our official YouTube channel. And it all begins on the next page.

Phillip Ó’Baoighealláin Editor-In-Chief

BAND OF THE MONTH

An excellent summer lies ahead for Plymouth band LAND OF THE GIANTS. This will see them playing at Glastonbury and also Knockanstockan in July. We caught up with them to talk about their music, playing with The Jam’s Bruce Foxton and everything else they have in the pipeline.

When did the band get together? How did that come about?

LOTG: It all started back in 2010 when I met Andy at one of his solo gigs. We started talking and I joined him for a couple of songs. We have been playing together ever since. We started an acoustic duo and met Chad our drummer and our old bass player Phil. For about a year we played as a 4 piece, playing a mixture of originals and covers. It wasn't quite the direction we wanted to go in, so we invited Carl to play bass for us and Gaz to play trombone. We then began writing more ska/reggae songs which is how the line-up stayed until 2012 until Gaz's brother Glyn moved over to Plymouth from Guernsey. He joined us on the flugel horn which has helped massively to create the big sound we have today.

As a band you have a rather distinct sound.

There are different musical elements incorporated into the sound. How would you best describe your music?

LOTG: Hard question to answer! We are asked this a lot and still don't know what to say to people. I guess we all have a lot of influences that shouldn't really work with each other but I think we bring them together through our love of music and just having a good time which is what we aim to give people when they hear us.

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Who were the musical influences on you all growing up? Are there any differences for each member of the band, and if so, what does that add to the creative process?

LOTG: I think we all listened to totally different stuff growing up. I guess that's because we are all different ages and come from different backgrounds. Personally, I listened to a lot of blues and rock. Gaz and Glyn listened to a lot of ska/punk so there is a wide range of styles kicking about at practice which is probably why we have a unique sound!

In October last year you guys came to Ireland for a couple of gigs. You played in Athlone and Dublin. We saw you play one of those gigs. Being from Pymouth what did you make of our live music scene?

LOTG: We were blown away by the response Ireland gave us. For some of us it was our first time in Ireland so really didn't know what to expect. I think, for all of us, the trip was one of our biggest highlights of the bands career so far.

Everyone we met from the listeners to other musicians/promoters had such a good attitude towards music which can be lacking in certain venues/bands in the UK.

Your reputation as a live performer is one that precedes you as a band for all the right reasons. This summer will mark another busy one for you on the festival circuit.

What is it about playing to a big crowd that seems to see you come into your element both musically and as a live performer?

LOTG: Yeah…the festival circuit is certainly where we love to play the most. Everyone is there for the same reasons, music and partying…so you're on to a winner. I think if any band who can't thrive from that and let it show in their performance are in the wrong business. It’s always good to get on a big stage and hear your own songs come through a big sound system. I guess, sometimes we have that in mind when we write, especially in the rhythm section.

The highlight of your summer has got to be playing Glastonbury at the end of this month. That is a huge achievement for any band and it goes without saying how much being on that line-up is for anyone.How did it feel to be told that you were going to play at it? What does it mean to you on a personal and a professional level?

LOTG: I don't think it’s quite sunk in yet, but as far as festivals go they don't get much bigger than this. However, we aren't quite on the

LOTG: This is pretty much up there on summer highlights with Glastonbury for us. I think the ability to chill and check out new music and interact with people on your own wave length is just as exciting for us as the performing side.

After the musicians/people we met in Ireland last year if they are anything to go by then we are in for a "deadly weekend" as you guys like to say.

March was a pretty productive month for the band and a very positive one. You featured on BBC Introducing in Devon. Tell us a little bit about what the radio show is about.

What is planned for Land Of The Giants after the summer?

So much to look forward to this summer at the moment.. let’s see if this summer leads to anything? Hopefully go back to the studio and do some more recording. There are a lot of songs that we don't play at gigs that we are saving for an album. I think there are talks of a tour of the Alps in January too - that would be an awesome start to 2014!

LOTG: It's a cool show that features unsigned music in Devon, you submit your music on to the BBC website and it gets listened to and hopefully played. We were asked to go into the studio and perform a live set and answer a few questions - it was a rather strange experience; trying to find that energy you get playing on a stage in an empty room. Since the show Tom Robinson from BBC Radio 6 (who hosts the John Peel stage at Glastonbury) has taken a bit of interest in our music and played our latest single "The Drop" on his show. So it was definitely worth doing!

You also played alongside the legendary Bruce Foxton. What was that like? From watching someone like him perform is there anything that you learn and take with you to bring to your own performance?

LOTG: I would like to say that we did, but quite honestly it was a disappointment. It was all very pretentious. I think we all walked away feeling uninspired by it all, but on the plus side we got to play to a few hundred people who might not have usually come to see us; we had a great response from them.

Sandwiched in between both of those appearances you started recording a new EP at Goodmerry Farm. How is that whole process coming along and when will it be released?

pyramid stage yet - lol! It has been a long drawn out affair getting our 100% confirmation, we first started talks with them last September and were told we wouldn't know for sure until February time. It was hard not to get too hyped about it until we got the green light. It really has put the icing on the cake as far as our summer of festivals is concerned.

LOTG: The EP is coming on amazingly thanks.

Our producer, Kristian Sharpe, is to thank for that though. The guy in a genius and really doesn't hang about. The songs are just about to be sent for mastering, so I should think by the time people read this they will be available to buy at gigs and online.

Has that always been the ambition of the band?

LOTG: I think to play Glastonbury is an ambition for any band, don't you? I think it means so much to all of us as musicians because it feels like all the hard work we have put in over the years is starting to pay off. It’s going to look pretty good when approaching new venues and festivals too, which will hopefully help us get on some new stages.

Last year another ambition that you had was to play Knockanstockan. That will be realised this summer when you play it next month. What is it about that festival that holds such an appeal for you and how much are you looking forward to playing at it?

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RACHAEL McCORMACK

How old were you when you first realised that music was going to be a calling for you? Was it a particular moment or song that just decided it for you?

RM: I’d say I was 11 when I heard Stevie Wonder “Isn’t She Lovely” and I started singing with it. I knew there and then that I wanted to learn how to sing like Stevie. But nobody can sing like Stevie…so yeah I was very young.

Who were the influences on you growing up and who would be the influences now?

RM: Well I was a 90s teenager so Take That and Robbie Williams were a big part but I always knew I wasn’t your typical teenager. I was listening to 50s and 60s music – Motown, Fleetwood Mac, Stevie Wonder. Now the biggest inspiration to me would be KT Tunstall. She continues to be so inspiring with her 4 studio albums. She really made me pick up the guitar and write again. I met her in 2011 which was fantastic.

Has the ambition always been to become a solo artist as opposed to being in a band?

Or did it only ever matter about being a musician and making good music?

RM: I never thought whether I’d be in a band or be solo singer. I just wanted to be involved in music and when I started writing my own material I wanted to be the captain of the ship so it just happened that way. But having my band with me feels more like a family to me now.

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How long have you been working on the “This Is My Identity”? What can we expect from the album? Is there any particular song or songs that you are glad to see being included on there for whatever reasons?

RM: The album is the work of 2 years of solid recording with my producer Paul Woodward who I call the Phil Spector of Ireland as he’s not afraid to try something experimental and that’s what Ii wanted. You can expect an electro/pop/indie feel to my album. It’s gonna be like a rocket ship to Mars. Now there’s a hint.

I’ve many favourites but I’d say “Crippled Inside” would be my favourite personally as that period in my life when I wrote it were heart-breaking times for me. But something positive did come out of it which was that song.

You have worked with Paul Woodward along the way on recording the album. He is someone that has supported you all the way. What does working alongside someone with his experience show you as an artist and what have you learned from working alongside him?

RM: Working with Paul Woodward has been life changing from a musician’s point of view. He’s so switched on when we’re recording that if he feels he can push me a bit more e.g vocals he’ll push me and I’ve learned so much from him. I see, write and listen to songs with more of an open mind and a better understanding than ever before. He’s an incredible musician/producer who will be a friend for life.

There is an Abbey Road connection with the album too. Tell us about that and what it meant to you to have part of the album come out of the famous studio.

RM: Well I went to Abbey Road in July 2011. Just being outside it and crossing the famous crossing was so special to me. I’m a huge John Lennon and Beatles fan so I made up my mind there and then that my album would make it to Abbey Road no matter what it took. I made it happen with my first single off the album “Everytime”. It got mastered in April 2012 at Abbey Road and it was a dream come true for me.

When is the album going to be released and when is the launch night for it?

RM: The album will be released on June 22nd and will be in shops and i-tunes worldwide. I will also be holding a launch night in The Mercantile that night too.

What do you have planned after that?

RM: I plan to do a tour with the album in Dublin, Cork and Galway. Then it is onto London in August where I’ll be gigging in Bar Solo and Bar Vinyl in Camden. I’m really looking forward to what lies ahead for me. It’s exciting and it is a dream come true.

http://www.breakingtunes.com/rachaelmccormack https://twitter.com/rachaelmccormac

THE MANK TANK - with David Beech The best of the unsigned Manchester music scene

VELOCETS Manchester is a city steeped in musical history; every post-war generation that could call the city home has begotten to us at least one band that has gone on to become a household name. From the electro-soaked melancholy of New Order to the up-tempo drug-fuelled rave culture of the Happy Mondays; the meat- free morosity of The Smiths to the cocksure arrogance of Oasis; right down, even now, to contemporary classics such as The Courteeners. And really, it's easy to see why. Manchester plays host to a burgeoning underground scene, in which a plethora of bands and genres all jockey for the attention of PRs and promoters. One such band is Stockport's Velocets.

Growing up amidst the Brutalist architecture and perpetual grey of a town once rated as one of the worst places to live in the UK, you'd be forgiven for thinking that the music and ethos that the band purport are that which will match their surroundings; a Joy Division-infused amalgam of self-deprecation and misanthrope. But you'd be thinking wrong. In fact the only thing that the band have in common with Manchester's Most Miserable is a loose label of them both falling in to post-punk territory.

The energy and the optimism of Velocets is something that's inherently Manchester.

Tracks such as 'About the World' and 'Tell It to Your Kids' crackle with a youthful exuberance that's juxtaposed with a

surprising amount of maturity in the band's song-writing. However, it's not always peaches and cream; 'Naked' upholds an even further level of maturity but the inherent optimism takes a backseat in favour of a much greater sense of candidness that's “as close to emotion you’re going to get with Velocets”. The chorus is a particularly emotive affair, especially after the relatively understated verses, while the songs conclusion is as melodic as it tumultuous as guitar and bass weave in and out of each other at once, both delicate and ominous.

Post-punk is a genre that's thrown about far too loosely these days, however it seems to suit the overall aesthetic of Velocets. From the reverb-tinged vocals to the clean yet crunchy guitar parts, there's a slight sense of nostalgia emitted by the band while they paradoxically manage to keep their music fresh and exciting.

Thankfully the band's energy also transfers to their live sets too (which will no doubt see the drummer taking his top off).

Singer/bassist Adam Walsh, and guitarist Elliot Berriman feed off each other’s energy; like a younger Barât and Doherty, it is a joy to watch and no wonder that BBC Introducing, amongst others, have already picked up on the buzz surrounding the band. Fresh-faced and with the world (or at least the city) firmly at their feet Velocets look set to take off in a big way.

Photography by Trust-A-Fox-Photo (@trustfox) Dave Beech @davebeech

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Future Phantoms are a band that we have been following for the last 18 months or so. They are a band that we really like and we see a lot of them on the live circuit. We caught up with them at their recent gig at The Ceol Train Sessions last month in The Mercantile and this is what we chatted about.

ROB STEENSON

If you go back a few years ago the hip-hop scene was regarded as something of a novelty or it was continuously dismissed by people. But fast forward a couple of years and it is now it is given as much consideration as any other musical genre. What do you think that change in attitude and recognition can be attributed to?

RS: I think it’s still somewhat of a novelty. A lot of people that hear about the scene think it’s great that they can hear someone using the same accent as them making rap songs just as good as the Americans. At the same time I think people are still extremely quick to dismiss it once they hear the phrase ‘Irish Rap’ or whatever. But since I started out, around 7 or 8 years ago now, it has definitely taken a huge, huge step in terms of being more accepted. I think a lot of that is down to the artists themselves taking it more seriously, putting out more professional sounding tracks/videos and the likes.

What is your music all about? How did you come to become a hip hop artist?

Who were the influences growing up and who are the influences today?

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RS: My music is generally just stuff I feel I have to get off my chest, a lot of it is based around problems I see myself and others facing on a daily basis in the north inner city, but I tend to do some more light hearted stuff too because it’s important to have fun with it and not take things too serious all the time! At the same time I do it because I love it and I always did. If I was living a comfortable life I’d still be making music, only with a difference, because that’s what it is; truth!

I got into it when I was a teenager though a friend of mine that was a HUGE hip hop fan (and still is!) He had every album under the sun and I’d spend hours in his house listening to his collection. My influences growing up are pretty different to the influences I have now, when I started out I listened to a lot of the Game, Eminem, Kanye West, Jay-Z, even a bit of Nelly’s older stuff! Now I listen to a mixture of every genre, ranging from the likes of Two Door Cinema Club, to Macklemore, to Damien Dempsey! I’m a huge Damo fan.

The hip hop scene in general in Dublin is one that is thriving and has been for a number of years. There are battles and

hip hop nights on many times a month.

Not just in the one venue either. Was it hard for you to be taken seriously as an artist starting off because that was the genre of music that you wanted to push?

RS: Ha ha! Yeah, extremely. Back in the day people use to look at you like you had ten heads when you said you were a rapper. I use to get mad embarrassed and that. But after a while (when I got half decent!) I started to tell them to f*ck off if they didn’t like it. It is amazing the respect you get if you tell people to f*ck off once in a while! Once you get past worrying about what other people will think, you tend to push your stuff a lot more!

The big thing that we have picked up on is that the music scene is run that is strongly driven by a sense of community.

Everyone that is behind the promotion of the music is in it for that very reason.

How do you see the unsigned scene for hip hop artists at the moment in our country? How different is it now to when you started off on it?

kind of like a stable door, amongst other things.

Let’s just say it wasn’t the way it was when we got there. Anyway that flat was Apt. 6…myself and Joe, our guitarist, have been mates for ages and always worked on music together. We always said we’d call our band the Apartment Six, even if it was only two of us. After working with different musicians and weeding out the useless ones, we worked with Simon (Bass) and Sean (Guitar). The lads are both incredibly talented and after doing loads of gigs and a good bit of work with them, it made sense to form a band! Since I had already used the Apartment Six Club name for myself and Joe, and had it around the internet a few times - we just ran with it. Although neither Simon or Sean were ever in the Apt.6!

You released your EP “Throwin’ Rocks” earlier in February this year. That was critically acclaimed. There were 8 tracks on it. How long was the writing process leading up to that? Are there any other plans for further releases?

RS: I actually didn’t sit down and intentionally write an EP. It was just kind of a collection of tracks I’d been working on over the last while.

Some of the tracks are up to two years old. I decided I needed to have some sort of CD or demo to with some artwork and my songs on it.

You know to hand out at gigs and stuff, or to promoters or whatever. The only CDs I had of myself were from years ago, hip hop mixtapes like!

You will play Castlepalooza this summer and you are pencilled in to appear at Knockanstockan. How big a deal is it to you as an artist to be playing those festivals? Do you see the inclusion of yourselves and the style of music as one of the positive things to say about the Irish hip hop scene? Are there any other plans for appearances on the festival circuit over the summer?

RS: Its huge to me to get slots at festivals like Knockanstockan and Castlepalooza, apart from being an avid festival goer myself, I absolutely love the idea of playing at them. On top of that, the fact we’re being asked at all is amazing. I mean, it’s not like we’re an ‘Irish hip hop band’ or whatever, but it’s still a pretty huge step for Irish hip hop to have rappers at such big festivals.

New festivals appear all over the country every summer. Do you think we will ever see a festival dedicated to hip hop music take place in Ireland somewhere in the future?

RS: I wouldn’t say in the near future, but maybe at some stage, who knows! Great idea in theory, the only problem is getting people to go.

Irish hip hop is still at a stage where even getting people into Irish hip hop based gigs is a challenge. We’re lucky that way because we can play all sorts of gigs with the band, I don’t really like to be boxed into one ‘scene’ as such!

The EP just turned into an 8 track CD by the time I added the older tracks and worked on some new ones. So it’s really more of a demo!

I’m pretty happy with the way it turned out, although we did go back and add some guitar solos and stuff, just for the iTunes release. No plans for another EP release as of yet, to be honest. I reckon we’ll just gig with this one over the summer. God knows we don’t get much good weather but we can’t be sitting indoors when we do. Then maybe hibernate in the studio over the winter and get a new one out for next summer.

RS: Ah, I try not to air my opinion on it too much. The Irish hip hop scene is growing. I think people need to work together a lot more instead of against each other is all I’ll say…it’s too small not to! We fit into the band scene as well though not just Irish hip hop. We regularly play on bills with no other rappers on them, just all bands! The scene is really different to when I started out. It used to be just recording a (not great quality) song, putting it online for 20 people to hear and maybe give some feedback, then onto the next one! No videos, very little gigs, certainly no airplay or festivals!

Where does the band get its name from and how did you all manage to get together?

RS: Back in 2011, a friend of mine moved in with his bird for a few months, he had a flat in Fairview that wasn’t being used, but the rent allowance was paying for it. Because I was going through a break up and in serious party mode – he let me stay in the house for a few months because as far as he was concerned he was finished with it. It turned into a serious party place for everyone around the area. I think when we left the door was broke in half,

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You were a band that was recommended to us through our Liverpool based music network. How did you first manage to get together as a band?

Joe: I was playing acoustic gigs myself around Liverpool and the northwest starting in April 2011. Colin came on board July of that year. So me and him were playing gigs on a weekly basis as well as doing interviews, radio sessions in Liverpool and around the globe. Dave joined in June last year and we had a session guitarist and bass player come on board for the first gigs we had booked. The second gig we played as a full band we headlined the main stage of the 02 Academy 1 in Liverpool for Noel Gallagher's High Flying Birds official after-show party. Paul came on board October last year when we played as the main support band for Steve Cradock (Paul Weller/Ocean Colour Scene) at the 02 Academy in December 2012. Chris joined the band 3 months ago. Up until he joined we had a session bass player to play the gigs we had booked.

Colin: Yeah, I personally had been in bands before this, and when I left the last I asked Joe - who I've known for several years- if he wanted any percussion live and in the studio. He said of course, and we played many gigs as a duo for several months. I think he's summed up the rest. I had heard a few songs of theirs on the Internet and had seen the name mentioned in various places, so when I heard they were looking for a new bass player, I got in touch and it went on from there.

Dave: I was doing my own stuff and my friend asked if I was up for joining a band as he knew Joe was looking for a keyboard player. We met up and as they say, the rest is history! Joe was already with Colin at that point. We've had some changes around the last 6 months or so but we're solid now that Paul and Chris have joined.

Working with these guys is great, we have good banter and are all on the same wavelength so we're looking forward to what lies ahead!

Dave: Quite varied I think. Joe has the basics covered of what we all appreciate musically and style wise. But we all draw from other aspects. I love my Jazz and look towards artists such as Bill Evans, Herbie Hancock, some Jamariqui and also other artists such as, Jeff and Tim Buckley, Oasis, Noel Gallagher. I'm even partial to some Ferry Corsten dance stuff too! Ha ha!

Paul: As a guitar player I'm mainly into blues which I think gives a good solid foundation for playing many styles. I go through phases of different genres and am currently listening to a lot of Cuban music which is very happy and uplifting.

Chris: I think the good thing about being in a band is that as well as having common musical influences, there are a lot of various other acts which we all listen to, so there are always different styles / bands getting mentioned, it all adds to a more broader musical style.

You are releasing an 8 track mini album in July. What was the thinking behind that?

Was it part of a strategy for you as a band or something that you wanted to put out because you had the tracks?

Joe: We have put out the album cover as a build-up/Promo on the internet. We have a launch date booked in Liverpool and we will be putting out details soon. It will be released on our very own TRULY INDEPENDENT label through iTunes/Spotify.

It will not be the same "Oh here is track 1, here is track 2..." It has a story built around the songs, so we want to put out an album that has a theme behind it. I myself did not want to put out an album where by the listener will know what to expect. I'm really pleased with the work that has gone into it even down to the album cover and layout.

What influences do you all have as a band?

Colin: We have many, many tracks, but we just thought instead of doing another E.P just do a mini album. We could've done a full album, but I guess we want people wanting more. Ha! Ha! The theme just came out of our... well, random ideas. And why not?

Joe: We get asked this all the time in interviews because no one can put us into a genre. I think the main band we can all agree on that we are influenced by is The Beatles. Other than that there are a lot of different bands/music that we all listen to. I listen to a lot of John Barry (Ipcress File, Bond, The Persuaders E.T.C.), so much that I listen to I could go on forever.

Dave: I think initially Joe thought about wanting to get our stuff out there after getting some great reviews on his previous E.P. “Where Do I Belong?” We realized that we needed something to showcase the whole band as "Where Do I Belong?" only featured Joe and Colin. The album is quite diverse and shows how eclectic we can be.

Colin: As well as the above - as Joe's mentioned, which I love (I actually own many John Barry soundtracks), My personal drumming influences are people like John Densmore, Ringo Starr, Art Blakey, Max Roach, D.J Fontana, Gene Krupa, there's so many.

Paul: This will be the first physical release from the full band line-up and represents an important step in our development. We've all learnt a lot in terms of production, promotion and marketing from this album. We've also had a good laugh along the way.

Paul: I joined via a chance meeting in the street between a mutual friend of mine and Dave. I was quickly in at the deep end getting up to speed for the Cradock gig but that is often the best way.

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Chris: Yeah the mini album is due out in July, and we have the album launch night on Saturday 20th July at the Zanzibar. Instead of just doing the same bog standard debut 4 track E.P, putting out the album with 8 tracks on it will hopefully stand out as something not every band does. It's sounding really good at the moment, again the songs all flow, and just track 1, 2 etc. It really shows the work and thought that has gone into it.

Twelve months before that you released the EP “Where Do I Belong?” Was this a process that was any different to launching and recording the E.P? Joe: The “Where Do I Belong..?” E.P was just myself and Colin on those tracks. So I was still a solo artist at that time, but we were looking for other musicians to get a full band together. I wanted to start the ball rolling by putting out an E.P along with a video after only playing gigs after a short while, so it was not credited as the band. I went back and credited it as the band afterwards. So we have only been together as a full band for nearly 10 months now. It was recorded and sold at gigs at that time. The video was great to film. Also my dog is in the video.

Colin: I enjoyed recording that E.P as much I have enjoyed recording this mini album - if not more. Recording processes are quite similar except now we have a full band. The launch of the album I guess will be much bigger, as the exposure of the band grown since the last release in more ways than one.

Dave: I think Joe's more or less covered what you've asked. But I think the great thing is that, with no disrespect to Joe, having other people play with you other sounds or directions can go with songs and that's been great, as Joe will agree. “Ready to Ride” has a great Jazz feel and Joe didn't initially have that in mind. So it’s brilliant to have a band that will try to make a mark rather than just plod along with what's put in front of you.

Chris: I wasn't in the band when “Where Do I Belong?” was released, but compared to bands I recorded and released stuff with in the past it's been a much more thorough process, and just record and release as quick as possible. Releasing it under Truly Independent has given us the ability to make sure it’s sounding the best it can.

You record and release it all independently. What would you see as the main pros and cons of having done things that way?

Joe: So we have total control over what we do and don't have to answer to anyone, that is why I set up the label TRULY INDEPENDENT. Anyone else can do the same and I would like to think that other bands/solo artists will do the same also.

Colin: I can't really name any cons; how can you? The pros are that we are in control of what we do. Simple!

Dave: Total control. We can release what we want, how we want, when we want. Who would not like to be your own boss? We all have a final say, we're very equal and it's great to have that through the band.

Paul: Record labels these days out source much of their work to independent promoters, advertisers, distributors etc. and we are in a position do the same. A label these days is simply that – a label on a record and is a very different animal to what is was in the 60's/70’s.

Chris: The best thing about releasing the album independently is that it gives us the freedom to release it when and how we want without and pressure about dates, and therefore not compromising on the song quality. It's like what The Specials done with Two Tone Records, a bit like sticking to fingers up to the established order and saying "This is how we want to do it!" I would like to think a lot more bands would do the same thing, turning the tides on the monopoly.

We would also like to say well done on that accomplishment. Are there plans for a full album?

Joe: Yeah it’s going to happen. After our debut album is released we will be putting out a 3 track E.P with songs that are not even on the debut album. We don't want to con the public by selling something again that we have already put out.

Dave: Definitely! Why would we release an album and just leave it there? Haha. We will continue to develop as a band, as don't forget, we have only been together for just under a year.

And, that's also with the chopping and changing of the band too. So as the band that stands today is only a few months old! I'm sure there will be some collaborations with Joe and the rest of the band too as we all write so we'll see what happens.

Paul: I don’t think we’ll all be sitting back relaxing after this release there’s plenty more for us to release in fact there’s several demos being worked up as we speak.

Chris: Definitely, as well as gigging and getting everything ready for the album release, we are also in the process of getting a 3 track E.P ready to come out soon after the album. We are also currently working on some new material, so hopefully after the summer we'll get into the studio and get that started. Watch this space!

Liverpool itself is a city steeped in a rich musical history. There is a long list of exceptional bands that have come from the city over the years. How is the unsigned scene in Liverpool at the moment?

Joe: There seems to be hundreds of bands in Liverpool at the moment, seems very similar from the stories of the Merseybeat era.

Colin: I don't really pay attention to it at the moment. That's nothing personal towards any of the acts. I'm sure there's a lot of great talent out there.

Dave: Honestly? There are a plethora of bands in the city but can I be honest? It seems saturated with the same type of bands. There are ones that spring to mind who are doing well themselves and they too have taken a different angle or take and good luck to them. But there are numerous bands or people in bands who ask us how do we do it and we say “hard graft and going outside the box”. But good luck to any band out there. The city is renowned for its rich musical heritage and I hope there is a band/ artist out there that breaks out and puts Liverpool back on the map

Chris: The unsigned scene in Liverpool at the moment is massive, but then like you say with the tradition it hopefully always will be. That is why it’s important to do something that little bit different, whether it be with the songs we play or the way in which we release them. It all helps to stand out from the crowd.

The city itself is famous for The Cavern Club and The Beatles. Are there any other venues that you enjoy playing as an artist?

Joe: 02 Academy main stage and Academy 2, as we have played both stages, The Zanzibar, Parr Street studio's, The Brink; I'd like to play the Echo Arena. I have played the BT Conference Centre by myself as part of some work I was doing back in April 2011. I played 3 of my own songs to over 3,000 people then went and played to 25 people in Bold Street afterwards on an open mic night.

We have yet to play other venues in the city as we are a new band. But we are looking forward to playing other venues in the city.

Dave: To be honest, any venue in Liverpool is great. We've been privileged to have been able to play BOTH stages in the 02 in Liverpool. We love playing the Zanzibar but there are other venues I'd love to try. The Kazimier, The Royal Court and The Empire, and of course we'd love to play the Echo Arena. So you never know, see you at the Echo Arena next year?

Paul: We are making inroads onto the Manchester scene and have just played Lock 91, that’s a great venue with a good sound, very much like the old cavern setup with its large brickwork arches.

Chris....I have played in probably nearly every venue around Liverpool over the years in various bands, and as much as I like playing in the larger venues such as the O2 Academy, I really like playing the smaller venues such as The Zanzibar and the Shipping Forecast. When they are full and the crowd are really up for it, the atmosphere is amazing.

Colin: Hoping there is a summer. Ha! Ha! We'll be promoting the album to its fullest, and gigging here, there, and other places.

Dave: Gigs, gigs and more gigs. We have now got management so we expect the band to really push on in the next 6/12 months so you heard it here first. Joe Symes and the Loving Kind win the Mercury Music Prize in 2014! I jest but then again you never know!

Paul: Our Great British summer, will it ever happen? I’m personally looking forward to playing outdoor gigs like Larks in the Park in September, should be a good vibe and hopefully time for a pint and check out other bands. We’re also down for the Hoylake festival in July and Salford Music Festival in September.

Chris: We have a few local gigs leading up to the album launch, then playing as many indoors and outdoor festivals as possible and getting the album out to as many people. Then it's back into the studio after summer hopefully to start work on the next album. Keep an eye on the website as well as on Facebook where you will be able to keep a track on everything the band are up to!

We have been watching other bands like THE SUZUKIS, BALCONY STARS and THE THESPIANS come through in the last year or so. There are also other fine solo artists such as ALI INGLE and CALVERO that are also putting the city firmly on the map for music. Are there any other unsigned bands/artists that you feel people should be checking out?

Joe: Yeah…JOE SYMES & THE LOVING KIND. I think it’s great that Liverpool seems to be getting a lot of media interest at the moment and people seem to be giving our band a thumbs up which I'm very happy with. I don't like to mention one band/solo artist to be honest as there are so many so I think I'll just say good luck to all unsigned artists/bands.

Chris: I have seen Ali Ingle a few times, he has a really distinctive voice, but there are so many bands it would be hard to say who are the ones to watch out for, but it's good that there are bands out there that are putting Liverpool on the map. I hear it's been over 10 years since a Liverpool artist has had a number 1, that's something that really needs to change.

What are the plans for the band over the summer?

Joe: We will be playing gigs in and around the north-west, back in the studio to record our next E.P, festival gigs and radio & magazine interviews you can find links on our official website at WWW.JOESYMES.CO.UK

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THE CUJO FAMILY “Stories Of Ruin” is the new album from Bray band The Cujo Family. We caught up recently with their drummer REUBEN POUTCH to discuss the new album, the launch night itself and what they have planned ahead for the festival circuit this summer.

You are regarded as one of the most distinct bands on the unsigned circuit in Ireland. Tell us about the musical influences that you all have as a band.

CF: There are too many to mention really, I think anything that has made us tick, or hit us in that certain way over the years has influenced us, but here’s the ones that are too good not to mention: Bob Dylan, The Band, The Boss, Bill Callahan, The Felice Brothers, Levon Helm, The Rolling Stones Biggie Smalls, Wu Tang, Paul Simon and on and on…

How did the band get together?

CF: Will and Gav have been playing together for years, they were in a rocking band years ago called “BumLazy”. After a spell of playing in different bands they got back together and recruited myself (Reuben) and Hook, and that was that.

The new album is called “Stories Of Ruin” and it is out at the end of the month. There is a most definite transition in terms of how it sounds to your first album. It has been a work in progress over the last two years and in that time the line-up of the band has changed.

How much of that has had a bearing on the new album in terms of the new sound?

CF: Gav, Will, Hook and I have always been the core members of the Cujo Family and I think the new sound was just a natural progression for us, having said that Liam Mulvaney definitely helped us realise our ideas for this new batch of tunes.

There have been some omissions from the album for tracks that people might have expected to be included, such as “Bray Head Hotel”. What led to it being excluded?

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CF: We used to play it differently, harder and faster, and when we went in to the studio it just wasn’t working for us. It wasn’t until Terry joined us that we had another look at it and that is when it found its groove, at which point it had missed the boat. It’ll be on the next album.

“God In A Tree”, which was overlooked for inclusion on your first album, is included on the track list this time around. There is a big difference to how it sounds musically when compared to the original version and it underlines that progression in the music on the new album. How did it come to be re-worked and then included this time around?

CF: There was beauty gear in the studio that we wanted to utilise. One of those pieces of gear was a Hammond and Gav had the idea for that pulsing sound and it just built from there really. It turned out beautifully for us.

This album still has The Cujo Family signature about it, but it also displays a stronger folk influence on it than your first album. How would you describe the music on this one?

CF: HardFolk.

You have released two singles in the build-up to the release of the album - “Sleep Lemonade” and “Paris, The Hate In My Heart”. Are there any plans to release other tracks from the album as singles?

CF: Well actually, “Sleep Lemonade” isn’t on the album, that was just a one off jobby we put out in the interim. We will be releasing “Dog Gone Crazy” on the 21st of June, just to get ye creamin’ in the run up to the album release.

The gig in The Harbour Bar in February was the first gig from the band in 2013. That was to highlight the FundIt campaign that you launched to get the album made. What do you make of crowd-funding overall?

CF: I think it’s a winner. I know some people don’t agree with it but it gives people like us, people with no money, the chance to get their projects out. It was a blessing for us. Without it there would be no cds, no vinyl, no launch…no nothing. Thanks again to all and sundry that made it happen. Big up your bad selves.

When is the official album launch and where?

CF: The official album launch will be on the 29th of June, in the Sugar Club. It’s going to be a dinger of a night with support from The Eskies, who know how to grip it and rip it, and Dylan Walshe, who has kindly agreed to come over from London to warm y’all up. There will also be a documentary about our fine selves, put together by our good friend Isolda Heavey, premiering on the night.

Will there be any other appearances over the summer on the festival circuit?

CF: I’m pretty sure were signed on for Knockanstockan and The Rhythm and Roots Festival.

We’re playing the Greystones Roots and Americana Festival as well as Electric Picnic. Keep an eye out on our various social networking pages - Facebook, Breakingtunes, etc. for more info.

New album entitled ‘Stories Of Ruin’. https://www.facebook.com /pages/The-Cujo-Family/101765956532391

SCENE & HEARD

The Sunday Roast The Mercantile 26th May 2013

TARA LEE She opens up with “Soundtrack”, which begins quite softly giving us a feel for what the song is all about. The verse begins in that fashion, before picking up in volume as the song progresses.

The vocal is delivered with great power. The song has an excellent melody with the lyrical content making it the complete package. The lyrics are quite personal but everything is delivered in a positive light. “Overboard” is again quite a slow tempo affair. The lyrics are again quite personal to the artist. On this occasion the chorus is delivered in a softer, more emotional way but really hits the audience hard. Again what shows is a nicely crafted melody that is well put together.

“Happy Out” stands out due to its lyrical content. It is sung in a generally positive mood but has evident contrasts. The lyrics indicate that she is angry with someone. This anger comes across in the delivery and melody. Is it as powerful as the previous songs? No. It does generate some level of excitement but not in the same league as the previous two. Returning to first principles, “I’m Done”’ is a slower tempo song delivered softly with a lot of sentiment. The song shows off the vocal as well as the song-writing ability. The melody stands out with catchy elements spread around the verses. The vocal delivery provides the vital ingredient as it really is all about the voice. Again there is plenty of emotion in the delivery.

“Poetry” is again quite similar to the other songs in the set. Her vocal range shows off more this time. The song starts slowly, changing slightly and picking up for the second verse. The continuation is built with the progression. She uses dynamics quite well for effect. It is a little bit too similar to what else we have heard. It doesn’t quite last in the memory but does solidify its place in the set rather well. Again we can see that there is a particular approach taken to the song writing. There is plenty of feeling and emotion put into “Catching Raindrops”. The heartache of the artist really drives the song and this is evident in the lyrical content. She has a great talent for writing distinct choruses that can give the songs their standout features. Her vocal is well delivered again here which is a constant highlight in the set. Tara is quite a young songwriter who has a defined style. She has the ability there definitely but needs a bit more time to develop. The set shows plenty of positivity and she is going in the right direction. It will be interesting to see what else she has to offer.

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NO ATAK The band opens with “Rounds” which starts slowly building with effects. The addition of the guitar gives a more organic feel. The vocal is an underrated quality in the song and really helps the audience identify with it. The song breaks down in different parts before steadily building back up. They don’t build up predictably mixing it up and showing their fresh ideas. They have a very unique sound. There are many different contrasting sound effects which make it feel like there is much more going on than it appears.

They play straight into “Abomination” which doesn’t sound quite as big, with the song being dominated by heavy guitar riffs whole cool bass and drums play in behind the guitar. There aren’t quite as many effects in this one. They do get the mix just right, not over playing the effects at all which is refreshing to hear. It has quite a straight forward sequence just lacks that big moment that we are waiting for. “Lazy” opens with quite a heavy drum effect. The song’s intro builds up for about a minute before the guitar and bass are added to give the song direction. There is quite a distinct melody which is sung with plenty of reverb on the vocal. The standout feature here is the clever old school guitar solo. They play out the song with a huge ending chorus that makes it a real stand out.

“Hammers” builds off from the intro around the steady drum effects again. The riff played between the lines in the verse sound great here. It’s very much a ‘Gorillaz’ style song in terms of the structure and different musical elements. It changes up slightly in the middle, then to the outro with cool effects and plenty of heavy guitar and drums. They finish their set with “Fear” which starts slowly and gives an early impression that something big is going to happen.

The song has plenty of twists and we never exactly know what direction they are going to take. There is a solid riff held on the bass allowing the lead guitar to really explore with different riffs and solos. The vocal is well delivered again here with plenty of effects on the vocal. The mix between electronica and rock blends well together to give fresh ideas.

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THE THOMAS DONOGHUE BAND

throw in a few musical elements that sound great behind the chorus, particularly the violin and keyboards.

The band began everything with a song called ‘Quicksand’ which has a sudden opening without much of a build up. They start straight it with some great harmonies at the beginning. The lead vocal and guitar carry the song while the keyboards and violin bring the song together. The verse is well written, very polished and expertly delivered. It has a huge chorus again delivered with exceptional quality. The song is very well composed showing great early indications.

“Along the Levi” opens up with some cool blues style harmonies before the lead vocal takes over. The verse is soft and simple. The addition of the drums midway through the verse takes the song up to the next gear. While quite heavy it does give the impression that it is building to a large chorus. As always they hit the chorus hard with another fine delivery. You can’t fail to notice that they use harmonies to great effect giving the song its underrated quality. While we know it’s there it feels as though it doesn’t get the appreciation it deserves.

“Start Again” is the second song of their set. This song has more of a slower build up and longer introduction phase. Again the harmonies provide the opening. It steps up a further level with the addition of the drum beat. The verse is very well thought out followed by another hard hitting chorus. That chorus itself is delivered with plenty of power that fills the room with true presence. This band has a very individual sound. There can be no immediate comparisons drawn to any other bands. They have very much their own unique sound.

Overall they play a thoroughly enjoyable set and put absolutely everything in to the performance. Whether they play to one person or a capacity crowd they definitely put on a show for their audience. They have a great attitude too and are really worth seeing live.

“Railway” again has a quiet build up with different instruments being added as the verse progresses with everything coming together in the chorus. The song has quite a catchy melody with the lyrics falling perfectly into it. They are very well written creating some distinctive images. There is a quick breakdown which builds back up to a final powerhouse chorus delivery that hits the audience like a tonne of bricks.

While ‘Elegance’ is somewhat related to “Railway” in terms of style, it is a nice follow up. It has a much more laid back approach but it does seem like a lot of work went into the lyrical content. The vocal delivery does standout. It is a very new song but is a passing one in the set. While well written it is a little bit too similar to others in their set. It would be interesting to see if they can come up with anything different. Again they

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OAK HOLLOW This young talented rock band kick off their set with their new single “Go Easy”. It opens up with a really good guitar riff that indicates that this song is going to be a proper rock tune. Everything comes as one at the verse which is well put together. They make their presence known with their in your face style of play.

The style of delivery is really reflected by the song, which is a catchy, solid well polished rock tune. The opening song gives off a positive impression of the band.

“Doubt” opens on vocal and guitar which builds with the addition of drums. The clever guitar riffs are quickly played between verses. The song takes a slightly different direction for the chorus. It’s not the typical approach and it has quite an unusual sequence but works nicely. They play an instrumental outro again played with plenty of attitude generating fresh excitement.

“The Way” has more of a relaxed approach. The song is still played with plenty of heavy guitar riffs. The chorus has a great catchy hook that will make the song immediately identifiable. Like the previous track they break it down before another high tempo instrumental close. The ending really shows off their individual musical skills and sounds great when it all comes together.

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“Unwanted” opens up with a steady drum beat. The song is definitely heavier with a much harder rock vibe. Very different to what else is in the set, it is defined by the chorus, which is particularly heavy. However the song shows off the band’s versatility. The tempo is much slower this time. The song takes a few different unusual, yet effective, directions.

They end with “E.A”. The standout feature is definitely the catchy chorus melody. The lyrics are simple and well written making the song relatable to the average listener. These lads are all about the rock’n’roll music and make no exception here. The breakdown builds up towards a chorus which ends the song this time. ‘E.A’ ends an enjoyable set from a young upcoming band. They have plenty of fresh ideas and don’t lack in confidence.

SCENE & HEARD PETER WHITFORD

Saucy Sundays The Grand Social 26th May 2013

The first artist to open things here on this fine Sunday afternoon was PETER WHITFORD. Opening track “Rollercoaster” is a starry eyed affair. That was then followed by “Break The Green Machine”. It is a song that has a real spark to it. Resolute in appropriate measures, it is the openness in the lyrics that display the real quality of the performance. The song is managed rigorously and everything on this sits in tandem with the delivery to ensure that what is played is done so with a secure sounding to back it up.

Third song in his set is “Raindrops”. Here the guitar produces something in the projection that gives it all a sentimental feel.

The closeness to it is obvious in the softer aspects that finely perpetuate throughout the duration. From there he plays into a song that is very deft and descriptive with “Me & You”. The alignment of how it all works is able to sit finely inside the tempo and rhythm. The music itself is colourful to hear and more so when the song manages to take flight. Here there is something imaginative at work and it does it all quite well.

Two covers and one original closed out his set. The first cover was “Viva Forever” by THE SPICE GIRLS. With this version he is able to get the intimate qualities of the tune very much under his wing. As a result of that the song is imbued with an ethereal quality that elevates it above being another cover version. The original sandwiched in between was “Too Young To Die”. This was the best song in his set and for good reason. The flickering movement is condensed within the tempo and makes it instantly engaging. The lyrics drop nicely alongside the rap elements on

show. Although the song is a brief number, there is enough competence on show to merit appreciation and credit. The closing number in his set was “American Girl”. A reworded version of the KANYE WEST and ESTELLE tune that shows well. While not necessarily a difficult tune to cover, his approach to the song does emasculate the lyrics to good effect and matches that with a suitable delivery here.

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IAPETUS

The next act to play was the very interesting IAPETUS. His approach to opening tune “Stefan” stokes the play in a way that brings an aura to the electro aspects in the sound. The ambient and atmospheric approach to it infuses the sound with everything appropriate. In doing so the track retains a consistency in the rhythm generated. A more trance induced sound followed in “Spirit”. He beat from the drum machine neatly pushes it all out here. Then it becomes up and a variance is factored in. House aspects of the sound define the song as much as the trance side of the sound does. The result is lucid in places before the more full on parts of the playing kick in on it.

A telecast opens “Signus-XI”. That creates something impressive in the atmosphere in the build-up. Boldly experimental it is accompanied by a splendid synth beat running through on it. By being high on the retro the catchy side of it is caught just right. What is obvious in this regard is that the designation to it is all down to design.

With “Contact” the interesting sound centres on a select sequence of beats that work well on it. That approach creates something in the sound which the track builds on. What is put in place around is built upon well and the formula is adhered to with great deliberation.

More positive electronica effects add to “The Bleeper”. The sound on this one is very much focussed on the drum and bass formations.

It is given a clean cut in the showing to it all. What is motioned in the play continuously moves forward on it. With that the process becomes an invigorating one and sets up final track “9 Levels” superbly. Here the controlled change in the sound is handled well.

There is a true strength to it. What is marked out on it are the animatronic moments and how they are suitably played in. It is a showy and demanding track but what is channelled through adheres to a strict regime that is very smartly operated in the live delivery.

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YOSSARIAN LIVES We were very pleased to finally have the privilege of seeing the next band live.

Things got underway with “Being The President”. The opening is guided by the shared vocals and is a feature that makes it all the more prevalent in terms of how it sounds. The song comes together in a well-regarded way that keeps something telling in check that opens it up. The finesse shown is shouldered by their playing ability. That was followed by “A Big Enough Stick For The Moon”. This is one of those songs with a delectable and concise feel to it. The soothing quality is down to everything being situated appropriately. The lyrics are another aspect that shines through in how they are rolled out. What is notable is the spirited feel.

A fine lead guitar slides across on “I Tried To Win Her Back”. The song itself moves on with a sense of purpose and the vocals come in on it with a true reckoning. That produces something that is a delectable and well figured affair. Both in terms of arrangement and the live performance, everything on show here is well maintained. There is a piano brought into their sound on “What The Hell Am I To Do Now?” By applying it the showing to the song is made all the more complete. The handling serves it all up with aplomb. That is suitable in the breakdown. For that the bridge excels in terms of how it sounds. They trace a synth aspect across everything on “Modern Lovers”. That scores the whole track and produces something very keen in the sound. There is a throwback and nostalgia reflected further in the lyrics. This highlights the production producing a well applied canter. What then becomes fetching is how the rock side of the sound develops prominently.

Some infectious pop credentials go a long was on “Kansas”. The song then leads on from this and comes around when the weight in the delivery is matched by all of the playing. That gives it an interesting presence from the band and it is something that comes unexpectedly in their set. The song has a lot of style and substance to it. There is then a sense of the safe from “Afternoon Delight”. It is clear and delightful with the way it all sounds. That ignites something here that is an effective turn. From that what it also allows for is everyone to see the band play to their strengths here. Their new single “Leagues” closed out an excellent performance. The song is cradled by the band as it opens. The soft side then meets a departure in the sound. That departure is then matched by the vocals and a neat structure in the overall playing. The tempo is fluid and backs up the ambition and ability of the band.

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CONOR LINNIE

We reviewed his album in our April issue and we were very pleased to have the opportunity to see him live at Saucy Sundays.

“The Writing In The Sky” takes its title from a line from a DERMOT HEALY poem. The song stirs something steadfast in the rhythm from his acoustic guitar. What follows through is projected in his voice. The very learned feel to it all comes off well and is underlined by the stillness in the sound effectively applied.

“Gossomore Girl” shows purity in the articulate conveyance. The tempo is traced out on it in a way that shows imagination, while capturing the enigmatic qualities in a way that you warm to. That serves the procession in the whole of the song and brings out the best in it.

Playing into something captivating and fluid was “In The Unearthly Light”. The sound of it produces something tranquil and lavish. There is a sweet refrain in the elegance of the delivery that flushes out the tempo. That signifies the timely hold on it quite well. The harrowing aspect of how it sounds caresses the performance with subtlety. The opening track of his album “Moths” followed. The stirring kick to it is felt and the blues strands in the sound are immediately apparent. That points the song towards a country styling also. But the direction is a straight affair in how it is outlined. The gravelly tone in his voice captures a distinct quality and brings something affluent to it all.

A fine cover of “I’m On Fire” by BRUCE SPRINGSTEEN was succeeded by “The Praying Mantis Blues”. It turns in finely on the song and the barbed and concise elements to it all derive from the pure showing to it. There is directness in how the lyrics are handled. What is then shown is an exchange in the playing graces that is both magnetic and fervent. The fluidity is well gathered here. He closes out his set with an inspired version of “Wicked Game” by CHRIS ISAAC. Here he puts his own feel on the song and his delivery is faultless.

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VICKERS VIMY VICKERS VIMY have also had their album included in our magazine and began with “Keep Your Eyes On The Road Ahead”. Everything shines brightly and is pleasing to hear. A pleasance is derived from the acoustic guitar that earnestly circulates. That creates a composure that is helped furthermore by the trumpet gestured on it. “Trouble Follows You Around” is another able bodied number. In this case the trumpet is lightly applied but still manages to add a sublime touch.

The song is blessed by a sorrowful lament that is well circulated in how it sounds.

The banjo and harmonica factor in on “Chicago”. The bluegrass style is something they are accustomed to. This is evident in the confident composure of the delivery. The emphasis is on the softer side of things. It becomes a handsome troubadour number in a way, but it safely nurtured by the band. The tender showing has a real splendour about it. The effortlessly laid back approach suits “Off Sea By The Aquarium”. Something in that approach benefits it by allowing the rhythm to travel well. The exquisite make-up of the song is underlined by the inclusion of the trumpet.

“Southbound” is one of those tunes that has a lovely skip to it, yet can still retain a stark and well beaten rhythm. The retaining of those elements is symptomatic of everything a good tune requires. The song itself is rather figurative. This is underlined by the body and shape that are sensibly judged on it all. On next song “Days Are Getting Better” the apparent charm of the band shows. This is a crafted well song with a timely spacing to it. The chorus shows true class and spirit by nailing down the emotive aspects but also portraying them in a fanciful light. It sets up a natural parlance in the chorus that brings the poignant aspects out in it.

The harmonica characterises the sound on “Devil On Your Back” and partners up well with the banjo and guitar. What is created is befitting in terms of style and heft. The sure footing in how the rhythm plays in it gives the song an ability to drift. That fine momentum about it all shows something resolute and compact, yet it also formidable for how robust it sounds. Their last tune was “Broken Star”. It was inspired by the movie Amelie. The song itself is a captivating affair.

In it the band situates something compact in the process that is able to make it a more enamoured showing. The song itself is pristine and flourishes from the delicate side to it that they flaunt as the playing sails across on it.

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SUPERBLONDES

The delivery on “There’s No Rush” is all about the impact. That is needled finely with the raw conviction in their performance. It invites a comparison with THE STROKES that is paramount throughout their set. However it is not down to them trying to emulate them as a band, it is down to the influence they have had on them. The tune is something that is inventive and energised, yet it also underlined by a tenacity that shows through on it here. With “Hit It” there is an abject breakdown on show. The drumming opens the song finely and from there the lithe vocals cut in. The overall running is well tracked and sees the guitar pour out on it. This is a song engineered with a convincing verve. The live showing scores top marks and you get the sense of hunger from the band here. They then followed it up with a punk version of “Chelsea Hotel” by LEONARD COHEN and that was a highlight of their set.

With “Can’t Do It Alone” the sound moves into a more serious direction. It is a truly accountable showing from them. They produce something that has a drawl in how it sounds. Those animalistic traits exemplify the true nature of them live. Their current single “Kill Some Time” followed and has a revealing open to it. It is a sturdy effort that marvels in a New York splendour and builds the intensity around that. They also show that they are schooled in the style of bands blessed with playing ability and the grasp on the playing side is an important trait here. The catchy rhythm comes off finely on “Always A Little”. That is what drives the song and it angles it in a way that gives it the necessary trajectory. The resilient side is played in well on it. The lean playing secures the hard points of the track, and showcases the sturdy side of their vocals and sound.

Their upcoming single “Nahdia” was next. It also proves to be a good choice. The hard edge to it comes through. In doing so the style and substance present shows that the band has an exceptional number on their hands with it. A cover of LANA DEL REYS’ “Blue Jeans” shows some mettle. Here the electrifying performance suits the style that they have. They then closed out with “Take-A-Take”. This is inspired by the drumming and bass. They give it the backbone necessary, but the guitar plays into the reckoning just as much. The sound hones in on the rich rock aspects. By watching the band live here you feel that this could be a band that everyone starts to take notice of. There is a broad definition to this that is matched by a brilliant display of showmanship from the band.

The next gig from them is on Friday, June 21st in Sweeney’s.

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ELEVATION FALLS

The last band tonight had been busy over the weekend and this was their third gig of the day. They opened with “Shadows”. The playing is very well judged. The heavy attributes are not leaned on too much. That makes the playing more appropriate from them and gives their performance a consistency. The vocals come across rightly and the overall result is a catchy beat in the process. With “Fantasy” there is a pace running through the whole song. There is something quirky in the way it sounds that is able to become a selling point on it. The American derivative on show is there to be picked up on. The guitar on the sound is something that spills out on the body of the song. This is also blessed with a catchy side that is finely measured in the exuberance displayed.

The rhythm pulsates finely on “Aliens” and has a fine guitar solo on the bridge.

That gives it all some gusto and the tone is more embattled. The depth in the sound is fleshed out by the drumming and bass here that hold up very well. What also matters is the way the band gel in the delivery. With everything clicking into place “4 am” then slows it all down. This is a soft song in the set that is reminiscent of the earlier solo material of lead singer HAZEL JADE ROGERS. But it also marks a maturity in their sound by the lingering quality showing. This points it all towards a well fronted display that sees the guitar match the ambition of the prominent display from them as a band.

“Bring Me Down” has a scintillating guitar that smoothly slides across on it. From how it opens there the song invests a lot into the performance. The return is apparent. By getting hold of things in the manner that they do here they are able to march onwards by precedent. A cover version they worked on as part of “Vibe For Philo” came next. “Dancing In The Moonlight” puts the spotlight on the band for the right reasons (pun intended) because they get the sound down to a tee on it. Their last song was “Stand Down”. The vibrant playing on it is impressive and is counter balanced by the drumming. The rock elements are laid on and credibly so. The energetic way that the playing arcs washes across on it are augmented well.

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Dimestore Recordings

SCENE & HEARD

Knockanstockan Launch Party

30th May 2013

MESCALITO We saw this band platy last week at Dimestore Recordings and tonight they were here to play again. They opened with “Methusula”. A song blessed with gravitas that has something very select about the way the groovy side of it is figured. The build to it is steadily done off the back of some absolutely beautiful tracking. The effortlessly cool showing here is backed by a playing ability that cleverly allows it all to step out while underlining the very definition of a fantastic live delivery as it does so.

Smartly fronting the playing with a marked distinction is “Tightrope”. It traps in a calypso element in the rhythm and the vocals are applied in a liberating way that enhances it furthermore.

The way that it abundantly skips along here is guided by the handling which shows in how it all connects to the competency they have as a band.

The bass line is a big deal on “Back From The Dead”. It is extremely prominent and catchy. The drumming is another aspect that backs it all up considerably. With the playing condensed the build up to it is one that is calm and serene. In it the band finely shows their mettle.

“Third Stone From The Sun” by JIMI HENDRIX wowed. A fine body of work to begin with the tempo on it magnificently follows through here with the catchy Kasbah elements in the sound figured well. The live performance here very much realises a well-polished performance that is as sharp as a pin. The enjoyment of hearing it played sees nothing stand out individually to set it apart from one particular element in the sound as it is mesmerising to see in the way it is all collected.

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RED SAIL

The breakdown of “Eggshells” is rather interesting.

They seem to pocket that in the sparse stillness of the sound. How it comes to rest on it is quite well done and gives everything a loving feel. There is a good impression felt from the autumnal styling here.

“Balcony Blues” proves to be a very pronounced song that shows a strong folk influence. The approach of the playing is one that is handled with due care and consideration. There is an abstract way that it is all gathered and it also happens upon a sheltered feel to the sound. On the surface there is something of substance but it is in the arrangement overall that is finds stature.

The tender and timid showing to “Whole Again” is something that they settle into quite well. When the vocals are shared there is an obvious change in the direction and from that the focus of it is developed. It is able to appreciate in a good way and the band emerges from within that song on next track “Wheel Your Wings Home”. The sound on it gradually flows. The tone is finely pursued as a point of focus. It articulates neatly in the overall structure and the bridge is neatly applied. The harmonies of the vocals are a wellmanaged trait that comes to have a good bearing overall.

An awning comes from the sound on “Sailing Song”. It is a rather fine turn in the performance that brings the whole process together. The keyboard lines things up while also spacing it out and putting the pace on the way it sounds. There is a feel from it as it is all tightly reined in. There is a good showing to “Paper Cut Outs” here that sees everything fall into place. The piano overshadows the song. That definition comes across and drops neatly into the playing, while the live delivery itself is well done.

To close out they played “Collide”. A nice flight shows about it in terms of body and shape. The way it forms up is nicely done and the alignment shows something of significance here. That sense of meaning to it is found in the captivating and enthralling way it sounds.

It is made all the better when it picks up the pace. In doing so something invested shows.

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MELTYBRAINS The next band brought an interesting stage show to accompany their music.

They have got the music to back up the artistic showing. The instrumental fusion smartly shows in the aspects of things on “Intros Are So Original”. The opening track on their EP is aided by a cursive feel from the rhythm here. The expressive side of their music very much meets with the experimental. The deeply referential feel to their music shows on “Chocolate Is Mmmm”. Here they repeat the good trick of their opening tune but it is given further merit in how the expanse in the sound on it shows. They also add to it all with a more adventurous approach.

“Look No Further” is a song with a true splendour to it. The depth and magnitude of serve it well. What shows is the band playing to their strengths with the catchy and ambient with the percussion aspects being refined in the way they come to be.

The vocal harmony on it is another impeccable aspect that is delivered appropriately. There is a nice hint of reggae about “Lees Span Po” but with the progressive playing angled in on it, a definition is added to it all. The expression here is what matters. It is there to be found in the delivery and

arrangement, but it is located with how the synth measures up well on it. The overall effect is something that resonates and shows the resounding organic feel that transforms the playing in the delivery. The closing number here is “Light Show”. Honing in on the hollow moments in the opening, the song then gives way to a largely industrial sound. That is what drives the synth on it.

As a result there is a more inviting feel to it all. The way it is arranged is what gives the direction it follows the necessary distinction.

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STICKY DIGIT

After that is the exceptional “Bad Things”.

Intensified by the rhythm, everything about it holds fast and steady. They also display a pensive feel that is suitable. With this one the band finely shows their credential. It proves to be a song that is smartly switched in from beginning to end that is matched by the electrifying performance it deserves.

“Crazy” is a song that gets down to it. A very full on guitar is what matters in terms of how the sound is focussed. It plays like a mosher’s wet dream given the string hilt to it all. They plough along on it and it expertly gathers momentum.

They whip it into a fine frenzy in the intense showing to it all. How it hones in on this is superbly done.

Opening number “Mushrooms” is something that possesses a clean and full body that is brought to bear effectively on the rhythm. The guitar is on with a leaner sound and an evident drive. What works here is the urgency and impact that are nicely balanced out on it. There is a sure footing shown on “Your 3”. How it sounds and resonates are finely in tune with the alignment. Forcefully applying the heavy rock side of things injects the tone completely here. The tempo becomes engrossed in the way that the rock side is rolled out and that is what gives the sound the surge it has.

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There is something about “Between The Middle” that is able to give the pick up on it a formidable kick. That is something situated finely, but also with something clean and clever to it all. These qualities are finely exacted in the overall execution. A long build-up on the intro to “Don’t Wanna Know” then brings a heavier instrumental affair to the fore. The vocals are able to come in here with a withdrawn feel that shows cleanly on it all. That allows it all to move alongside the heavy draw in the sound that it settles into rather well. Allowing for the ensemble qualities to become well placed in the process is another excellent turn on it here.

RACE THE FLUX “I Am On A Mission” is wonderfully scored by both the electro elements and the guitar. That gives the song a distinct new wave feel. Everything is nicely kept in check on it. What also circulates well is the way that the rhythm develops a true malevolence to it. This is what seals the deal right here. It is able to give a rudimentary showing to it all. Some very nice playing from the guitar announces “Rainbow Dreamscapes”. This relays superbly upon the rhythm and gives a true zip to it all. It is also defined by a showing of real muscle that it has all licked to a tee. This well worked effort comes together by virtue of the band making all the right moves on it here.

The crossover in the playing styles is done with relative ease and “Siren” has a fantastic pick up on the pace. There is a distinct retro feel going for it. The well carded effort from the band carves out those features in the sound. That sees them play to their potential on it and is distinguished by the different directions that occur in the playing arcs. The determined and full on sound from it displays a true revelry in how it is delivered.

A fluid song follows in “11”. The enormous gains on in this show well. The rhythm produced is one that is both thorough and consistent, while the handling of it all is a proper affair. The figurative is felt on the drumming here. “Cannon” finishes things up for them. It is a song that catches a fine beat by the way it controls the play. From there it injects it all with the interjection of the right things that impressively brings it all together. The lead guitar cosies up alongside the rhythm on the bass rather well here. What is locked down in the process here is a very clever style that has happening written all over it.

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LOTUS EATER

A band that we have seen play before here at Dimestore Recordings is LOTUS EATER. They have been busy recording an album and they got everything going with “No Man’s Land”. The stark feel developed in the music creates an ambience that invitingly brings an allure that is very appealing. The guitar steadily strums across here. While the bass and drumming bear down on with an applied force.

There is a great trippy feel about “Elf Hop”. That transcends well on the finer elements of the playing. Something with vigour is created in the process and shows cleanly with the funky styling on the bridge here. It is rather dignified in how the playing progresses and it draws a comparison with MASSIVE ATTACK.

A fine cut is felt on “The Note” that produces a delicate showing in the rhythm. The languished tone is a rather select feature to it all. A fine bass hook also runs through on it here that makes it desirable to hear. Attentively nurtured, it is made all the more formidable from the animated aspects of the live performance. “Stay Cold They Say” articulates in a rather apparent fashion that has broadness about it. It also draws a comparison with MASSIVE ATTACK’s song “Safe From Harm” on account of the subtle feel from the undertone.

The dignified control comes through but there is a rush to it that sees it comes alive and stabilise the sound.

Gracefully moving into things is “Merlin”. It is also able to give it the correct amount of urgency. In doing so it locates the rhythm and solidifies the foundation upon which the song builds. The abandonment felt from it is a pure feature on show and it reasons finely for the song. It is also great to hear when it gets into full swing. They them take stock on “It’s All Too Late”. Pedals are finely worked into the song. The vocal showing is completed here and the whole song has a shake to the rhythm. In short it contains everything. The drumming has a presence in the showing to it that is well tracked. The illuminated showing to it makes it all the more glorious.

A mean streak is what creates the flourish to “Jazz On Crack”. By grounding out the rhythm they develop a clever shake to this. There is an evident depth to the song that is catchy but also matched with a lean guitar sound. They did an encore and came back with “Ice Queen”. The feverish sound to it is helped by the way the drumming and bass wrap tightly around it all on the intro. From here it cleanly builds and it has a guitar sound on show that is a good calling. The song opens up like a good can of whoop ass in terms of how everything about it applies here.

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SCENE & HEARD COLM GRAY The Kilkenny artist travelled up to Dublin tonight especially to play here this evening in Doyle’s ahead of embarking on a summer tour of the UK festival circuit. That is all in the lead up to the release of his debut album in August. His opening track here was “Eternally Life’s Big Dream” corners something finely on the playing side of things. It hits the delicate aspects finely and this result in a rich folk feeling come off the way it sounds.

There is also something settled about the way that the tune is caressed and that is completed in the way the song is expressed. The feel from the tempo on “The Rose And The Dove” centres everything more inward. The rhythm closes in around that hallowed lull quite well and gives a finer feel to the tempo. It is favourable and rather distinct in the way that it finely mediates and for that it stands its ground rather well.

The sentiment rises up finely on “Four Bangs On The Temple Door”. In how it is done the song climbs in a way that bewitches in the sound. The sheltered gives the lyrics a token feel to go alongside the fine way that it all runs. The overall result is something that is admirable and resolute. The loving quality shines through on his last track “The Lost Girl” and is well nurtured by him as an artist. The vivid imagery conjure up in the lyrics is sheer poetry. That traces a clear outline in the rhythm that is steadied handsomely from the acoustic guitar accompanying it.

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The Ruby Sessions Doyle’s Pub 28th May 2013

MEL PARSONS Currently enjoying a European tour, the New Zealand artist was in Ireland as part of the tour to promote her second studio album “Red Grey Blue”. The homely showing to her first song tonight “In My Head” benefits from a wholesome rhythm that is matched by the live delivery. It is also notable for the heartfelt qualities that permeate on it. There are some slide guitar riffs delicately applied in the process. In how they blend into the song sees the overall process be a gentle pursuit as a live track. Then things take on a more upbeat fell with “Bones” and the heft in the sound serves it well. The result is something with a feint Tex-Mex vibe that sees the electric guitar glisten on it. All the playing is collected well here are as the pace moves on it. Another aspect that is a big draw is her voice. It provides the heart but also portrays a sparse and slightly lonely quality that gives it a fine allure.

The bridge on the song also asserts well as it beats down on it.

“Things Will Get Good” is a song that picks itself up and carries you along with it. That is down to the innate closeness that is brought to bear on it. The sweeping sound to it points towards looking at the optimism in life’s situations while also staring down the stark points in the lyrics.

With how it is all embraced the song proves to be a stirring effort that doesn’t overdo the sentimental. An upbeat tempo that is both forceful and urgent motions the playing forward on “Pleasure And Pain”. The intent is laid down in the approach and gives a good account of her as a performer. The veneer to it throws a cool showing into the mix that matches the composure. To see out here set was “Down In The Bar”. Here it is very much a case of ‘game on’. The handsome and figurative showing from the guitar here is properly handled. The story told within is an interesting one that adds to the delivery. The lean side of it shows sensibly and the chorus is a fully entertaining prospect that matches intent with playing ability. The combination of the electric guitar and acoustic guitar is something that electrifies the air also.

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ALIEN ENVOY Former THE FAT LADY SINGS frontman NICK KELLY closed things at The Ruby Sessions tonight under the name of ALEIN ENVOY. He opened with a poignant tune called “Break America” that easily conveys that feeling. How it all comes across on it is imparted with a degree of freedom that keys in well with the patient build. In doing so it acquires a wanton feel to it along the way that soothes nicely. Playing to these strengths, the song dots all the places in the final US tour of his former band exceptionally well in the lyrics in the song. LANCE DALY then joined him on stage and brought the bodhrán in to the sound of things on “Resolution”. From there the song closes in smartly around the recital of a poem which is about the wish list we make for ourselves for whatever reasons but never adhere to. The delivery is pragmatic and while not innovative it does show something very smart in the direction change musically that is excellent. With how it is done a DAVID BYRNE comparison is made.

Another excellent showing follows in “There’s Nothing Left To Do But To Dance”. The formation to it is solid.

What is chased down in the playing is very descriptive and it gives the rhythm as shake about it all. That sees the whole song come through in a way that garners a greater appreciation on it all. A song by THE FAT LADY SINGS was gestured sweetly. With “Providence” the playing is slowly gestured and from that it all patiently steps out. That is a card that is well played. Stemming from this is a performance that holds true and travels well. The voice turns in well on it here and it sets up his last tune of the night rather well. “World Exploding Touch” has a serious kick to it that floors the rhythm. The rhythm has a recognisable quality to it that expresses well. How the performance side of everything is approached revels in the handling that lands everything finely on it all and caps off a truly remarkable set with the style it deserves.

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Album Reviews

Irish Artists

THE CUJO FAMILY Stories Of Ruin The album opens with “Dog Gone Crazy” and immediately imparts something graceful. The subtle hint of bluegrass filtering through sits neatly with the overall demeanour of the rhythm. The body displays a stark maturity in the arrangement that cuts across with a striking impact. From there the album has you. There is a neat little tumble to how “Mary Browne” opens. The bass line matches nicely with the catchy skip in the sound. The vocals bellow finely alongside a tune with a pomp and fine stride in the step. The folk influences show on “Cage Rattler”. A graceful feel is expertly reflected in the soulful and sorrowful traits. The inclusion of the violin and piano accompaniment to it gathers in a timely and descriptive way.

“Water Into Wine” is another inclusion that curtails the folk influences finely.

A hard keel shows in the lyrics. This well-placed quality shows finely alongside the rhythm. Something intended comes through in terms of how it all comes together. There is something dandy and fanciful to “One Bright Morning”. There is a pleasance perused throughout from the playing.

It is a steady tune that fixes those aspects finely. They then follow it up with “North Of The Knowing”. How the pace is applied gives it a kick that cleanly shakes alongside the fluidity. It is a track that is reminiscent of their debut album for how everything is neatly channelled.

The guitar is bathed with intrigue on “Killing Song”. It is well relayed in how it pieces together. There is a true consistency that is well measured and applied on it. The forceful aspect of the way it sounds rolls out on the

arrangement with no holding back. They do it exceptionally well. The homely side of their music shows well on “Green Trees”. It collects well with a noteworthy dalliance showing. What courses through on “Paris, The Hate In My Heart” is invigorating. Relentlessly pursued by the band in terms of the playing, there is a serious thump it. It is courted finely. This projects the leaner and more affirmative aspects in their sound into the song.

Clocking in finely is “You Choked”. The intro to it is very spirited and it launches the song finely. With a looser feel to the way the tempo tumbles along on it, it is a song that positively climbs and proceeds well from the opening. It is given a robust and sturdy kick that serves it well. The interestingly titled “Alonzaina” is next and is rich in a folk context. Those aspects are cleverly chased down and they carry the song. Closing the album is “God In A Tree”. The difference in the version included on the album compared to the original underlines the musical progression of the band. Defined by the variation in sound, the version here adds more texture and impeccably sees out the album.

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ENEMIES Embark, Embrace

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The album slowly opens with a lucid intro and after that brief interlude “Executive Cut” follows. Scattering the sound across on it sees it bluster with a colourful crescendo in the sound. It is exacted finely in terms of being an almost ensemble piece. The musical directions develop the arcs finely with the vocals added abjectly to it. Defined by the snappy drumming that tailors neatly on the intro is “Unit Shifter”. It is an astute piece of work that has fine looms in the sound that bring something characteristic to the sound. They project some fine and quaint touches that go nicely alongside the zip that the guitar brings to the process overall.

Calypso is a defining genre in the sound here and it is a prominent showing on “Beacher”. The vibrancy catches things on it imaginatively.

It has an abounding tempo that weighs in with flourishing elements that catch the timing of it all just right. There is an intriguing progressive and alternative feel to it on account of the rock side accounted for.

Next is “Indian Summer” which is a marvellous and catchy affair. There is an evident flourish to the rhythm, but behind that are the vocals.

They are added in a contemporary fashion that makes it a more interesting listen. The derivative in how the track forms is an impressive showing here.

“Coral Castle” steadies the guitar riff allowing the rest to be steadily built around. It is concise in that regard with the picking up of it all tidily coming together. The branching out with other musical arrangements shows well. They retain a good hold on it all musically while simultaneously creating an expansive sound. They experiment more with sound on “Nighthawks”. The result is something that revels in a cautious sound and still produces something with vigour about it. The steel drum in the sound catches things nicely.

Here the delicate precision in the play comes to define it.

Alternative and progressive turns on show make it all the more enigmatic to hear and they catch things very well. How it manages the pacier side of it and blends it to produce something mellow in the sound is a show of good fortune here. The next track is “Love Unlimited” which settles the guitar into a neat groove. It pushes things out for them with that. There is a splendour about it that catches things inside a fine curve that is comforting to hear. The last track is “Northwest” and it is another expansive number with a broad definition in the sound. From that approach the musicality of it is shifted in a direction that concentrates the languid side of things. Overall the album is a bold step and in some ways does come off repetitive, but there is enough on show to warrant a decent appreciation.

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Again the tropical flavour of their sound shows well on “Moesha”.

NIALL THOMAS

What is located in the rhythm on “Down This Road Before” invitingly brings all the finer moments into context. His voice billows out in a touching way and becomes another superlative feature that sits well with the slightly vacant focus. He adheres to that approach on “Hit And Run”. There is a trying departure in the vocals that sits well, but it is the deliberation that impresses most.

By clinging to that the song has an inviting temperance. The third track is “Spillin’ Diamonds”. The warmth steadies into the tempo and gives it all an apparent flurry. All of the song has a clean cut to it.

The still qualities in “Breathe Easy” are particularly effective on it all. There is a certainty noted in the progression. A violin beautifully chaperones the soothing beat. That is what characterises the features of the tune. That is followed by “Chasing Rainbows”. This is another song that aligns everything expertly. In that correlation is a fine meeting of lyrics, tempo and vocals that were made for one another. They really shine here. The tempo on “Handle It” powers it all fantastically. The spiritual and Shakra-like sound from it is impressive in how they lock in all those features. This is where the song finds definition.

There is an absorbing and ambient element neatly cornered on “The Flickering” that suitably keeps it grounded on the opening.

That is a structure that is adhered to well and it is able to balance things inside that neatly. It is able to neatly lead into “Hook By Hook” and the guitar is strummed across delicately. There is an 26 U&I June 2013 Issue

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open feel to it all and it takes flight in a way that is confidently done. “Nothing And Everything” very much brings everything to an almost stationary halt. That stillness is condensed into a concise pattern that the rhythm follows intently. The precision in it is keenly felt.

The album finishes with “Be Good Be True Be Kind”.

There is a token way the playing leads and everything that is required for the song gets behind it as it rolls out.

What is notable here, as is indeed the case on all the tracks, is that the arrangement is all proportionate.

NANU NANU Unit 1 The evident ambience that opens the album on “Baby Bug” is a wellplayed card. The morose and sombre tone invites you in as a listener.

The key moment lies in the transition of the harder electro elements coming into play and how effective they prove to be. On “Pocket Of Gold” is where they come into their element. The vibrancy of the tune meets something in the synth that creates a truly stellar tune that doesn’t hold back. The essence of the song is driven by the exceptional purity of the rhythm. On third track “The Gift” the patient build-up is rewarded with how everything synchronises. The showing to it is all the more impressive by what the tracking imparts on it overall.

They then produce something that has a more solitary undertone with “Dirt”. The noir elements in the sound give it a serene hold that makes it an intriguing tune to discover. Against the backdrop of the electro on “The Drop” sees some rap come into the equation. The contrasting vocal arrangements are mirrored by the diversity that fixates and move across on the track. With “Seahorse” they produce something that is very delectable. What is evident on it is a well-polished oriental styling that neatly ties it all together. An added dimension to the album is displayed by the presence it possesses. The bionic and robotic structure in their sound gives “World War Zero” a touch of class. That is portrayed throughout the song in the vocals and the musical arrangement. Everything on it is an impressive showing of force.

“Skin” sees the sound delve into a territory that has a stringent trance formula worked steadily into it. That is tightly conveyed and permeates nicely in how it is all spaced out. The delivery of it lets it languish there but at the same time appropriately locates the sound in a choice way.

They then pick up the pace on “Patron”. Here the synth resonates before inviting the drumming and electro elements into the mix. On account of the gradual way that it all builds the structure of it all sees it play into serious anthem territory. This is a tune and a half right here

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that has everything going for it. It is a complete tour-deforce when it gets going. The album closes with “If I Were” and it is a song that places something reserved upon the whole process. That is showing in terms of lyrical content and vocal delivery, yet matched by the sound coursing through. The idyllic sensibility of it is suitable as the closing track on the album because it has a knoll in the whole way that it sounds. You also get a sense of closure from how it all comes together here that signifies that all rather appropriately.

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SOUNDS OF SYSTEM BREAKDOWN Nomad

The sophomore album is one that picks where their very impressive debut left off. A very obvious new wave structure shows on “Intro” and that draws you in figuratively. That lays down the marker on the album. From there the album swiftly moves into “Jumps”. The way it is maintained shapes it around a slight calypso aspect that finds a true reach within the synth and electro elements. The result is a catchy and upbeat little number that tidily continues upwards. Next track “Neon Contrails” follows the formula of their first album. The bass is a derivative aspect forming on the beat that moves the steadily forward with excellent hooks.

“Pony” is beautifully handled. The guitar rips across on the sound giving it a staggering and effective nuance that meets well with the synth. That connection is enigmatic. It is a imaginative and catchy affair that turns it on. The next song is “Mayfly” and it develops a fluid movement in the rhythm that is cleverly motioned. The tempo intensifies in a way but concentrates the playing aspects to allow the countenance to cleverly match the delivery. The pick-up on it is excellent. That is followed by “Silverfish” which creates something atmospheric and inviting in the sound. The song is a purely instrumental affair that hones in on a trance-like state to great effect.

A snappy little number is next in “King Of Reptiles”. The context of the song is made up of a quirky and industrious rhythm that delves into adding texture to the approach as everything progresses. That keeps it all sounding fresh and is matched by next song “Skin”. The movement in the rhythm is incredible. It just grabs you when you hear it and the brilliance of it easy to identify. They produce a more garage orientated sound on “Dark Chocolate”.

The drum and bass is the driving force from the intro but makes way for a tune that has an abundance of fine elements kept clearly in check. The departure from the intro marks it out as the tune on the album that people should track it down for.

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“Even Up The Numbers” is infectious and catchy. Simply one of those songs you hear and recognise it as a wonderfully ditty. The ‘popcorn’-esque feel from the tempo here energises the entire track. That ability to produce a catchy beat is repeated on “Tear At The Seams”. The rhythm locks in those points sweetly on it and presents something extremely clever in the process. A reprise of “Mayfly” then sees in the final track “Learning To Be Human”. They beckon a more relaxed feel from it and the laid back feel on it very effective in how it skilfully readies it all. What they adhere to on it preserves the lucid styling and prevails all the more for the allure it produces.

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THE QUICKSAND BAND Approaching Rain “Fade Away” opens the album. It is a soft number that balances those aspects finely in the sound. The lyrics convey a gentle demeanour and the playing pulls away with a humble showing. On “Open Road” that trait comes in favourably. The distinctly intricate pattern governs the play and sees it all fall into place almost like a pleasant and soothing lullaby. Then their sound develops more forcefully on “Stars Appear” as the rock side is angled in quite figuratively on it. It hangs back on the playing yet also manages to linger finely. It takes over and rolls out well here. That is followed by “Learning”. The everlasting quality to it expertly shows.

It slowly drifts along and on account of that it goes a long way as a tune. The patient feel to it is exceptionally done and slow it down expertly.

On “Bury My Bones” they stirringly stoke the playing. It is very much a song with a broad expanse. The lyrics have a depth and the manner that the tone sweeps across on it marries well with the passive feel.

“Homesong” is something that tees up nicely on the album. This is one of those tunes that immediately impresses because of how simple and effective it is. Following that is “Beaming Out”. The piano and smooth slide of the guitar denotes something of a session musician feel. There is a sweet JOHN LENNON vibe to it also as it lights up. The sound on it is very insular and used to great effect as it hits hard. “Sweet Sarah Belle” collects the sentiment on the song with a reverence to match. The delicate way that it all holds in the tempo is equalised in the softness of the vocal and lyrical capacity.

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There is a fine cut to the arrangement of “Approaching Rain”. The steadfast side is backed up by the rhythm from the guitar. It is an overall sturdy and reliable effort with a melodic sentiment that is suitably weighted to the task at hand. Next is “That Voice” and the calm feel from the languid vocals see it right as the rest of the playing comes in around this. It is rather figurative with the kick in the pace seeing the flitting between the two musical arcs articulately handled. The tone on “All The Love” stands up well when the guitar resonates alongside it.

Bringing the more compact points of note in the sound stands up well on it and reflected in how it plays. The closing track on the album is “Time”. The Shakra effect in the tone is something that immediately stands out. That spiritual essence is a vibrant flourish on the tune that brings an honest verisimilitude upon the tune that finely lets it all out.

It is also appropriately positioned in the play list on the album.

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Album Reviews

International Acts

DEL BARBER Headwaters “Love And Wine” opens the album and sees the song finely come to bloom. The precision in how the delicate and lonesome tone of the tempo sits alongside the structure is a delight to hear. That produces something which keeps well within the lines defined by the country narrative present. The bittersweet shows well on “Everything Is Not Enough”, with the overall running finely coerced by the lyrics. But what stands out more is the wholesome derivative showing in the overall temperance. “Queen Of July” situates those country aspects finely. The warmth and sentiment that deftly rolls through here is backed up by musically. The stark pull expertly manoeuvres the entire track daintily along with true splendour.

Carving out a distinct eloquence is “Believe Me”. Handsomely supported by the piano and dobro sees a reverence play away in the background. With that angled in the vocals situate something stationary that is befitting of the lonesome sentiment it has. It climbs steadily and produces a subtle harmony that steadies it overall. “Can’t Turn Around” places the emphasis on a more upbeat tone that is followed through. However, the tempo relaxes into the playing in a spirited way that brings a definition to it when carried off. A brief number is next in “Right Side Of The Wrong”. Yet it takes heart from the timely tale it tells.

There is a tidy showing to it in the lyrics and the story told produces something descriptive for it. An organ plays sweetly into the music on “The Waitress”, and when it meets up

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with the snappy side of the drumming it is a perfect alignment.

It is enriched by the vocal delivery and the ensuing result is a song that has sophistication hiding behind the showing that it revels in.

Pocketing an Americana influence benefits “Running On A Wire”. That is demonstrated in the bustle to the rhythm. What is pursued from that approach imparts a majestic essence upon it that steers it trustily along. There is a dandy line that is drawn out on it that is pristine and pragmatic.

Some more of that same influence shows on “Hen House Manifesto”. It has a distinct bayou feel to how it sounds. That is something that it embraces quite well. The significance of that is apparent in the reflective expression in the lyrics.

What is conveyed in the opening to “Soul Of The Land That’s Mine” displays a definition that matches the expanse in the sound. Yet when it opens out into a duet it really grabs your attention. The honest and humble attributes of the song are defining traits that see you lose yourself in the music. It is very blissful and somehow obtains a gospel overture that soulfully plays out the

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THE DURTY WURKS Somebody’s Got To Do It The Scottish band launch into things on “Free Rollin’” and shakes things up finely. The guitar places an onus on the rhythm that holds up well. The rock’n’roll elements of their sound blend and show in terms of how tight the whole process plays and feels. Displaying a sturdy side is “Nightmare”. It is able to process a shoegazer styling to great effect. There is something that staves away on the sound that the playing finely brings out in a clear and concise way. They then seem to drift away on next song “Enomena”. The grandeur to it all delivery this is finely coaxed out in the delivery. The vocals sit ever so well on it and the rhythm slips away on it with a true degree of reverence. The deadened feel to it is pleasing to hear.

“Time Fades Away” has a volume and lift in the sound that is relayed sufficiently on it. Catchy in the right way, what also shows well on it is how they track the playing in it. As already mentioned, the volume of the song is apparent and that is what sells it here.

The dainty aspects of “Carousel” easily shine through. The casual way to how it plays is well adhered to allowing the rhythm to run through it in a way that shows. In short it is a great tune from beginning to end. “The Way” contains something that is entirely inviting. The vibrancy displayed in the playing curtails neatly in the rhythm.

Pushed out by fine guitar riffs the song is driven on in a truly nostalgic way with a slight psychedelic way in terms of how it coasts along. Lavish beats bring a bounce to the sound on “Letting Go” that is able to see the tune embrace a shoegazer style without having the vocals drowned out and lost. Here the opposite is the case. Instead what occurs is a song that is pursued finely and on account of that approach the music takes precedent and expertly locks that all in.

The lean drumming shows on “Community Mistress”. The rest of the playing is affirmative and hangs loosely as the other points of the song acquire that style. On the vocals it shows tastefully well with something assured in how it takes flight. A very fine bass with a sense of authority plays in “Sunshine”. The guitar slightly strumming away comes in creating a swagger to it all. Very fetchingly done, it then proceeds along a well plotted course that duly sees the excellence come to the fore. The mellow tune that ensues is one with a fine pick-up. “Dream” closes out the album. Here the rotund feel from it all disperses within the playing. The apparent way that the playing creates a sunken feel is something that it benefits from. It also sees the band paly to their strengths on it.

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THE HOLLYHOCKS Pop Culture

From Turin, Italy comes a band with a fantastic style and composure.

They import new wave and other influences to great effect which shows on “Intro”. Distinctly continental in terms of how the harder dance elements are factored into the mix, the concoction in the sound is something of a deadly derivative in terms of substance. On “Drowning Boulevard” the influences of bands such as DEPECHE MODE and KRAFTWERK take over on it. Synth aspects blend in expertly to craft something delirious that sees it stay on the right side of retro.

“Animals” renders something in their sound that emotes finely in the operation. Anchoring the sound with a fusion of pop and superb guitar derivatives gets the right reaction. It transgresses to show a fine operation at work. Everything about it is catchy and borders on perfection.

Steering their sound into a strong guitar driven focus is “Pleased”. The indie credentials of the band are very much kept in check on it here.

The bass superbly runs through it and with how they adopt this approach in their sound does display a lavish 80’s vibe. The song is generous in what it gives back to the listener. Possible single release “Night Lights” is next. There a SMITHS influence to the sound. The rhythm jostles forth on it and the guitar and drumming sound hold well on it. The departure from the synth based sound of the previous tracks loses nothing in the transition in terms of pace and form.

Brilliantly catchy and imaginative it retains the same retro characteristics well. Another track with blistering pace follows in “Bind Me”. The concise way about the rhythm sees it hit the ground running. No let up on that front either it continues forward with severe pedigree. This is an amazingly catchy and vibrant tune all the way through.

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10 They return to a sound which centres on a strong synth base with “Bind”. It finely reverts back to that sound. In doing so the second transition in the album is well handled. Nothing about the direction of how everything sounds musically goes astray. The dark nature of it is effective also and return to that style is more apparent on “Lack Of Sense”. It is expressed in a blissful way that portrays an incredible presence. Third time is the charm as the trick is repeated on “Ocean”. With the way the song picks up the pace here it is charged with the correct amount of conviction to match the scope and ambition of the delivery here.

SAIDAH BABA TALIBAH (S)cream The album from the Canadian artist is one that embraces electronica elements and fuses them with a harder rock edge on opening track “(S)cream”. It is motioned across with a due diligence that results in something with the right amount of pace that commendably opens the album. Second song “Bang It Back” leans into the rock aspects. That is applied on the sound and vocal delivery resulting in a clear cut on it all.

Things are let loose on “So Cool”.

Rocking out and blending the synth into the background it is a feisty tune that gets down to the task at hand. It very much proves to be a long player capable of going the distance. Another potent tune follows with “High”. Here her voice sits closely within the structure.

That is what sees the song grow in stature as it meets with the clearer orchestral aspects of the musical arrangement.

A synthesised sound opens on the intro to “On My Knees”. The innuendo of the lyrics meet with the sound and the tune is all the more galvanised for it. While holding back it makes the release of it all the more articulate when it comes around. On “Good Morning Baby” everything about it softly outlined.

Her voice eloquently shows through and carries the sweet notes with true clarity. There is a blissful feel to it that is rather fitting.

Funky describes next song “Do It” and it very much brings those qualities to the fore on the rhythm.

A catchy groove is also generated on it that is downright in how it gets it on.

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From there comes “Gittaknowya” and the song falls into place with a tender outline. The tamer feel to it finely pursued and in doing so the softer side shows on all fronts.

The playing to it is defined by that as a descriptive.

Thundering along is “Place Called Grace” and in locating these points in the song it lets loose with little or no regard.

For that it is all the more intentional and the good points come through on it. What works is the tidy way the rhythm runs freely. The playing stares that down giving it a beneficial kick while still showing something of an allure in the sound. “No More” is inviting in the way it is delivered.

Closing in around the reflective nature of the lyrics it is a song that emphasises the lamentable qualities. They fall in with the weighted delivery and the application is smartly judged. The closing track is the album’s long player “Fall Again”. It is something that has the scope to match the ambition, but at the same time it clocks in at over eight minutes which makes it a bit of a demanding listen compared to the rest of the album. The strengths lie in the way everything is focussed on it. They are kept in control rather well though.

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ADJOA SKINNER Songs For Tall Women And The Short Men Who Love Them There is a quirky and circus fanfare to “God Made Me Tall”. From that the lyrics accompany it in a suitable fashion. With the off the cuff styling it sufficiently brings everything to heel on it. “Bikini” plays those aspects of the sound rather well. Here the brass and piano develop a concerto appeal to it that furrows through. The sensible running to it evokes something imaginative and plays that card finely.

Her voice calmly comes to bear on it also.

A session styling is finely felt on “The Recession Song”. There is a truthful and watchful feel to how it plays. What is portrayed in the rhythm is rather significant in terms of how refined it sounds.

Shouldering all that sees it all come into its own with serious aplomb and merit.

Steadying itself is “Freedom”. Traipsing along on the jazz influences in her sound sees a sophistication exude here with abundant splendour. This is a classy affair which resolutely busies itself around those points. Softly applying the acoustic guitar brings “The Way You Hold Me” across with a distinct allure. Her voice flashes across it with a soothing and inviting feel that sees it savour the moment. It plays the affluent card rather well. “Universe” seems to be styled similarly.

The pace is set aside and holds steadfast. In doing so there is a fine enclosure created around the way it sounds.

“This Dark Night” is another languid affair. It makes the best use of the solemn tone derived from the playing. It captures the finer points in how it operates and neatly fastens the slower tempo to how it is arranged.

8 The piano is a curt feature in the sound on “Don’t Leave Me Hanging”. It keys in nicely and with her dulcet tone creates something succulent that takes hold of the song. The quality in the delivery is a blissful turn that situates everything where it should be. Then “Near” follows which embraces a prominent acoustic guitar on the intro. There is a purity located in the song that artfully comes into the reckoning. It is finely balanced in terms of how it is delivered and played. The closing track is an acoustic version of “Freedom”. It brings something smooth and mild to it all that is able bodied. With the difference to the approach it is also able to handsomely show through for the right reasons.

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MEL PARSONS Red Grey Blue

The first song on the album is “In My Heart”. The styling grasps an elegant tone and suitably runs with it. The innate hold from it draws from the sound to marvellously complement everything. That is followed by “I Won’t Let You Down” which forges ahead in terms of the rhythm. It derives a consistency on many fronts. Soothing the song are the vocals which smartly sit alongside the tidy showing. Everything that needs to line-up on it beautifully does so. On “I’ll Go” the country influence on her sound shows. The circumstantial way that it all coast along draws you in on it quite intently. A sorrowful tint comes forward from her voice that equates upon things rather well. Skipping along on A Tex-Mex appeal is noted on “Bones” that parlays finely in the background of the song. From there her voice projects finely on it all.

It is very precise in the ample way that it glides across but what is also a strong showing here is the steady way that the track is all managed.

“Damages” is a truly wonderful tune to here. Exceptional for the tone that is the basis for how it progresses, it is all the more enigmatic for the finesse shown in the ambience. On that aspect the prim qualities of it are apparent. Hanging off the heartfelt is “Saturday Night”. The nostalgic reflection suits the lucid texture that the playing generates. It is very lush and pronounces without overdoing things. “Springtime Sin” is a bright and lavish affair that can rely upon the vibrant tempo running through. What appropriately shows is the measured way the catchy aspects seamlessly play into it here.the beat is a fine guitar rhythm that steadies it all.

“Things Will Get Good” has a weight felt from the sombre tone playing out on it. That is stared down and met head on. By doing so, the narrow

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points allow the sweeping hold on the song to settle in and bring the bittersweet moments to bear on it quite well. A rich bluegrass styling finely shuffles along on “True Story”. There is a LINDA RONSTADT feel to it and also reminds you of an Irish band called I DRAW SLOW for the dignified way that it all comes across. Possessing a sturdy and lean style, it is underlined by the violin that plays through.There is something about “We Will Find Love Again” that places an emphasis on playing a safe card. The track is soft in the approach and dutifully brings around a showy rhythm. The guitar breaks into a strong running that brings it all together sensibly. The last track is “End Of The Day” and longingly drifts along with a sense of closure in how it plays. This also pushes out a soothing sentiment and careens nicely along off the back of this.

EP Reviews

Irish Artists

THE REHNS

The Gentleman’s Sip “On My Way” begins with a shared harmony and then when that gives way a fine blues element comes through on it. The intense showing shoulders that aspect of the sound with a degree of finesse overall. The smart southern styling of the lyrics is something that also meets well with the sound. What is produced is something with a neat shimmy to it.

They pour on the rock side for “Liquor And Wine”. That sees the sound develop a refined feel that enigmatically pulls you in. From the lead guitar resonating across to the drumming, there is an intense feel to it that is cranked up to maximum effect on it.

Coursing through the rhythm on final track “Romeo” is a graceful element that imaginatively comes to the fore from the rhythm.

This is something that shows the potential of the band. It is rather potent and matched both in terms of scope and definition.

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2MINUTES2MIDNIGHT How Did This Happen?

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The EP opens with an acoustic guitar deftly playing before a hard rock side to the sound comes into the mix. With that direction the sound becomes very guitar driven and opens into an American hazy style. There is an upbeat

aspect on show with that tie neatly with the tempo and lyrics.

The result is an apparent bounce in how it comes across.

From there comes “Street Lives”. Again they focus on deriving the catchy elements in the sound and it works for them. There is a distinct indie vibe to it but it is also leaning towards something reminiscent of Los Angeles based garage bands. Although how they do it manages to produce the same clean cut from it. The third track is “Signs”. What takes centre on it is the content of the lyrics. From that it finds the means to develop a trajectory in how the song takes flight. The catchy side is fed in neatly and let out just as well.

There is a desirable attitude displayed in the delivery on “Carry On”. From that they drive the song onwards and it has a raw cut to it. The edgy aspects are pushed out by the playing. The forceful intent is deliberate and those mechanics at work produce finely for the track overall. It is the drumming on the opening to “Bachelors Walk” that draws you in. From there the guitar comes into the reckoning but with an additional piano element at work they produce the goods. There is an elegant gothic undertone to it that seems to depart when they pick-up on the pace comes in. From this the song stirs the catchier side in the chorus to great effect. The closing track here is “Shine On”.

The bespoke method in the way that it is arranged is a delight to hear. Again they derive something nostalgic here and in this case it is a magnetism that defined Britpop bands of the 90’s. There is a distinct underline showing through on it that is equal to the sum of all its parts.

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RUFUS COATES & THE BLACKENED TREES

The Crossover

There is a keen drawl let out on “Neatly Intolerable” that soothes along on it. The music is characteristic and has a particularity about it that is finely suited to this. All of the playing is well tracked and keeps the withdrawn arrangement kindly in check. The sound develops a finer feel on “Taken A Wander”. It has something discreet about it. What prevails on it is a bellowing that aligns with the antagonistic feel to it quite well. The feel to it overall is somewhat distinguished, while the rhythm has a sweeping and ornate style that suits it well.

The veiled NICK CAVE feel about them shows furthermore on “Lessons Taught”. It is engrossed in a speculative and inviting folk lustre that is clearly evident. The upbeat undertone to it does catch an imaginative side that is steered well on it. There is a fortunate feel to it that is cleanly pushed out on it.

The last track here is “The Crossover”. Marked out by a solemn tone at the intro, there is a well-worn and weathered strain felt from the vocals that pass finely on it. The sheltered points in the track bottom out on it in a very descriptive way. They find the heart provide the soul that gives the forlorn presence in the lyrics something delicate which come in to it all with a real sense of reckoning.

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UNDERWATER PICNIC Atlas

The three track EP gets going with “Burn The Past”. With a handsome feel to the rhythm the catchy side of the playing is brought out rather well. The loom in the beats on it is a terrific application that is seen through with a great degree of deliberation to it all. It catalogues it all rather splendidly.

The second track here is “Let’s Get Lost”.

There is something about admittedly repetitive in terms of the sound that seems to replicate what went into the opening track.

That aside there is enough in the mechanics of it that denote a presence about it. They stick with what they know and the way that it all takes flight is handled well.

“Remission” closes out things for them here.

It is a marked departure from the more full on reliance of a calypso sound. Instead there is a darker approach in the subtleties of the rock application. It plays across on the track and the change in direction is notable yet nothing is lost in translation.

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FEATURING X The debut EP from the five-piece is an impressive one. We managed to see them play live earlier this year and the potential they showed as live performers left a very lasting impression. The opening track here is “Jekyll And Hyde”. Incorporating a very fine guitar sound drives the song forward. The sense of urgency rises up rightly on it and in the lyrics there is a fine amount of enterprise shown.

The catchy way that the rhythm snakes to and fro across on it is another impressive trait.

That is then followed by “The Boat”. The smart way that the upbeat sides of things leisurely come to play on it is most impressive. There is a darling feel to it. Fully embracing that and allowing it to run its course sees the autonomy in the arrangement flow through with a large amount of sophistication.

They close things with the exceptional “One Too Many Times”. There is a dangerous element that is locked in by the finesse in the rhythm of the guitar here. The deadness of the sound displays an incredible accuracy in the playing as it takes flight. With that menace and bite to it aside, the lyrics and vocals here stir it all extremely well. The control over how it sounds shows a band that are very much going to be fixed on the radars of a lot of people over the coming months.

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MELTYBRAINS

Attention! Now That We Have Your Attention

The three track EP opens with “Intros Are So Original”. The expansive approach to things is reflected by a bold and referential arrangement. Keeping everything closely together here is a shrewd move. There is a countenance about the tracking on it that absorbs more musicality into the formation as the song progresses. That produces something impressive and innovative simultaneously.

“Block Rockin’” brings some retro to the mix. Experimenting with a sound that flits some 8-bit video game manoeuvres into the mix, the effortless way it all slips into gear gets around quite interestingly. Cleanly cut and imaginative there is a lot on show that will appreciate aficionados here.

The last of the three tracks is “SoupOrSynth”. There is a charged and almost dance like resonance to it here. The build to it steadies it here quite formidably. That parts and from there the direction changes to manifest some more of a vacant feel to how it sounds. That holds well on it.

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THE DAILY HOWL Live From The Barn Vol.2 A nice merriment about first track “Endlessly” sees it through. The timeless and trusty manner it is delivered is very much a throwback to a bygone era musically. Teddy boy moments reveal themselves in the playing here. With the steady rhythm from the bass and drumming the sentimental aspects of it are able to bring a great deal more from the lyrics and vocals. The harmonica is a nice little touch in it too.

Displaying a sorrowful and soulful harmony opens “Where Do We Go From Here?” They keep everything within reach and sit atop the playing. Outlining it the way they do sees them place it all well. Tidily skipping along it is able to bring a veneer to the rock’n’roll way that it is styled. The shake up on it is infinitely adorable and well defined. How it coasts along is a finely crafted trait by them.

“People Be Happy” emits a positive and vibrant beat that comes across on it immediately. It could be considered that the pleasantry is something that is slightly overplayed, but in terms of the nostalgic display it holds up well. The guitar has a finesse to it that is crafted from the rhythm guitar on it that travels well and shows it to be a finely mapped out affair.

To close things out here is “Maggie” and it is something that has a folk influence that meets something more urgent. It is freshened up as the song develops. With that in mind the lyrics convey a fullness to them that is somewhat languid and favourable.

There is a tumble about it and it nicely generates a wanderly quality to it all.

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THE STATICS Hidden Pigeon

We have had the privilege of reviewing this band on two occasions recently. The song develops and coasts along admirably on “Hidden Pigeon”. The rhythm spins on it with a neat flurry in the guitar holding its own with the drumming.

With the bass line coming in there is a subtle “Love Cats” by THE CURE feel to it. That is not an imposing feature because it effortlessly appears to cut loose in the tempo.

Freely running along it is then followed here by “Hit And Miss”. The dutiful way that the tempo comes into the reckoning sees them box clever in that regard. Mystifying somewhat, it lays things on in a way that amounts to something that becomes more than the sum of its parts.

“Alone” is a track here that hits the ground running in terms of the pace and delivery. They both link up and the catchy feel to it is an able bodied and dutifully refined quality that is served up well here. The straight up way that it is all angled in is incredibly voluptuous with how it gives the song body.

Closing out is “As I See It”. Gathering the elements that worked finely for the rest of the EP works effectively here and sees the way it airs develop its own sense of identity. Well marked out points on show here include the vocals and the invigorating way that the song is pieced together. A tidy skip to the drumming is also a fine selling point on it.

They seal in everything necessary and show their wares with what they can do musically.

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EP Reviews

International Acts

MADNESS & THE FILM Scrapbook

The duo draws from the subtle way that they chase the movements in “London Town” to great effect. The yearning to it is a figurative aspect in the way that it all finely comes together. It operates within the margins but it also brings other elements into the sound. The Latino flavour on the bridge in particular, and it is able to gift the whole song with a sublime sense of identity. On “Moonlit Shadows” there is a bluegrass feel to the way that it picks up. However it is a withdrawn movement that is primarily on show. The feeling to it is brought out and the openness showing to it here is something that they cling to finely. A very accomplished effort is turned in by them here and one with varying degrees of musicality that don’t distract from the listening.

Third track in the mix here is “Persuasion”. Smartly moving and invigorating to hear at the same time, it motions a very competent display forward. The polka side of it is a neat trait that sees a very vibrant rhythm peruse out on the whole song. While being very deliberate on those terms it is also spaced rather well. The last track here is “The Motions”. Investing an imaginative approach with the old style telecast in the sound sees it intentionally sit fine with that.

The loving characteristics are then showing through on it splendidly.

They blend the piano into the tempo and it displays a devotion and carefree figuration from there on in. It is in the embracing that it develops the longing feel to it as well as they do.

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SOUTHERN SUNRISE Brighton

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The Brighton band is a breath of fresh air to hear. The peaceful and tranquil showing is brushed in neatly on “Brighton”. There is something to it that produces a heartfelt ambience. The percussion sits finely on the sound and it beckons all of the right aspects of it from the approach. It is suitable to the scope of the band and something that makes the song flounder in a way with real charm. Quite a substantial change in direction with “Young Love Blues” is noted. The tender side of the lyrics is embraced by a country song. They very much produce the goods on it here. The passive feel to it plays to the strengths of it all here. For the daring approach alone it is there to be appreciated, but when it all comes together it is truly astounding to hear.

Gloriously taking a chance with their music they repeat it again with “The Game”. It is a sublime effort that sparkles.

A bass line magically cuts through on it. Behind that on the bridge the slide guitar meets with the piano on the sound.

The skiffle aspects in the sound are played well here and see them come up with the goods. “Sorry” is another marvellous effort from them. Prim and proper in the way that it is all able to transcend, there is a delirium felt from the lyrics. They conjure that quality in a pristine way and with how it formulates you are immediately captivated.

“Postcard” is another sterling effort from them. Here they are rewarded for their efforts. The dutiful and carefree nature to it lifts off well. Backing up the rhythm is a definitive style that embraces a subtle 1950’s grandeur.

Making up the bones of the song it is able to cleverly connect everything. The radio edition of “Brighton” is added to the EP and how it opens shows well in how it closes.

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SPIDER CLOUD

1St Demo Of Spider Cloud The Japanese based duo has a way about their music that very much shoots the breeze on “What Should We Do?” that finely shows on the opening track. Getting behind it all is a display of warmth that filters through.

The folk aspects of their music meet a fine shoegazer style that is blessed with an appeal that comes to bear on it rather well. The second song is “Morning Light” and the optimism rounds out the beat here. The token way from it all is able to give the song a good sense of movement that fondly drifts across on it. The drop in the guitar has a steely hook that blissfully brings it along.

A LOU REED inspired turn opens “I Don’t Need The Sunshine”. This is a song that wouldn’t look out of place on “Transformer”. Dandy and descript, there is a nice little jazz feel to it also. Next is “Fallen leaves” which has a high point in the way that the wandering aspect in the music displays a sheltered feel to it. The autumnal and withdrawn vocals deliver something appropriate that keep in tandem with the conservative beat playing out on it faithfully.

A beautiful female voice carries across on “Walked Along”. In the sublime feel it is a homely gathering from the tone. A soft piano delicately balances the elements if it, with the shared vocals of the duet here

8 brightly shining eloquently for it. Sombre tones are applied but the way the sound is all centred is something that it never detracts from.

The closing track on the EP here is “Birthday Song”. Although it has a brief running time it is able to impart the right degree of sentiment.

Simplistic and handsome in nature.

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BEACH VACATION Maritime

This recommendation from our Seattle based music network open with the expressive “Waves”. This is an ensemble piece that is rather brief but includes enough fluidity in the lucid showing to deserve inclusion. Teeing up the next track “Washington Weather” is the amazing rhythm that is locked in on the playing. How it is delivered brings an enormous bounce to the sound. The licks from the acoustic guitar seamlessly jostle the shoegazer aspects of the band, but elevate them above the morose labelling of others by displaying a truly imaginative effort along the way.

“Stay A While” epitomises a very upbeat rhythm and delves into it before a wanton vocal harmony comes into things. That gives it a subdued benevolence that finely comes through. With how it weighs in the stationary and cautious approach of the song works all the more. There is a neat current that parlays on it here that is also worthy of mention. Then a wholesome skip turns in on “Escape”. What it is able to do is gravitate the working of the song toward something of principle and composure.

Fanciful in terms of the structure, it is also defined by an intention in the way that they roll out the laid back characteristics of it here.

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INDIGO BEACH

Stolen By The Sun A stark aspect opens the first track “Riverlight”, but it picks up and the fast, upbeat tempo removes any fears of it being something that could steer into the melancholic.

The ambient feature in the sound here relays finely on it all. It is not there to create something withdrawn but rather it creates a unique hold over the sound. Then they produce a fine dalliance on “Stolen By The Sun”. The colourful feel to this is in the running of it all. Clinging to the guitar on the intro, it then spaces out and moves into a calypso/reggae vibe. Laid back and very much all about creating a vibe in the sound, the intention is achieved.

With how it all seems to narrow collaborates between the different musical directions, but it is an organised and contained showing. The third track on it is “Hanging On To You”. It is a distinctly modern British affair enhanced by a sturdy rhythm that is catchy as hell. It is very telling in that regard.

Things develop a softer flow on “Home”. With the warm way that it is all pushed out here sees something intricate in the playing. Sorrowful lyrics draw you in on it and the manner in how it all reverts inward doesn’t go unnoticed.

Then towards the end the playing develops a strong rock side that steers it home. Then “Find You” follows. The guitar and the rhythm of it clock in smartly on it. The shape to how it sounds has a reverence that sits nicely with the tone of frontman JORDAN YEATES. Everything on it seems to glide across with finesse and there is a freestyle/beat box aspect in the singing that connects finely.

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Lovingly picking up the pace with a catchy aplomb is “One Night”. The skiffle feel from the way that the guitar clocks in on it is something to behold. The way that the drumming drops into it with a snappy appliance is another clear cut point on it that stands out for the right reasons.

The symmetry to it all is well applied and the results are evident with how neat it all turns out. The last track is “Stay”. There is a good hang about the guitar on it that permeates on the intro. From that the rest of the rhythm comes in while that remains in place until the vocals come in. The second coming of the guitar rhythm is a lean affair that does carry the necessary amount of definition and works it all in rather well.

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GREAT PLAIN SUNDANCE Manor Park Sessions

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This three track EP was given to us in our office and we have been enjoying listening to it since we first got hold of it. The opening track “Burn The Roof Down” has a compact bluegrass rhythm. The banjo holds court on the rhythm on the intro. Then the vocals develop a draw in the sound. With the way the tempo develops abundantly in terms of texture and pace a marked departure becomes apparent in how it sounds. It still weighs in with a degree of intent and the duet aspects of it catch up on it finely.

Then it is “My Love” which follows and again the folk sensibility here is apparent.

The lyrics evoke something in the distraught and torn feel to them. It has a steadfast feel to it that brings a raw and gnarling definition to it all.

Greatly lined up it rides out and sees the final track “Stay Up All Night” hit the ground running. It colourful collects and the articulate gains in the playing replenish the sound here finely. It is very tight and showy.

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NEON CARDBOARD Eternally Hailing from Hasselt, Belgium there is something enigmatic to them. Opening things here is the intriguing and impressively arranged “Decay”. Accompanied by a raw sensibility is a dominating industrial flair in the sound. This results in something edgy and somewhat uncouth that has the ability to kick it. “Peace Cross” channels the playing into something with a narrower scope. In that regard it is all somewhat able to galvanise the playing by locking in shoegazer style with proficiency. The engaging feel here is something that will appeal to those who look for music that pushes boundaries and divides opinion. The elegance to it is a subtle and drawn out affair that does that.

“Mad Squirrel” is an ensemble interlude and it then leads into “Eternally”. The descriptive feel is noted on both. A native Indian flavour is picked up on from the intro on the latter. With a very select tracking meandering across on the sound to it there is a lot to admire. With that regard the effervescent European art side to this comes through with a lot of intent and ability. “In Heaven Everything Is Fine” takes a more serious and graphic approach in terms of sound and lyrical content. The delivery etches something to it that flirts with a gangster music influence but retains an experimental sensibility.

With “Silent Shout” they call upon a very different style musically.

Being able to call upon a steady influence that does remarkably well gives it something seasoned overall. The last track here is “Listen To Stephéne Hessel”. This proves to be a demanding listen at over ten minutes in duration. It opens with a narration over a simple running track. It is not anything that immediately works here.

In terms of it being included it takes away from the rest of the EP. While it is a bold approach it is not as imaginative musically.

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DEEPER UPPER Structures

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This Lithuanian band is an interesting prospect recommended to us through our music network in Moscow. “Trapping In” gets it all underway and the new wave feel about it is evident when it gets going.

There is a lean and figurative way that it all builds up and they are able to focus on that with an incredible conviction. The guitar charges along and with the synth scoring it you are mesmerised when you hear them combine. The urgency and vibrancy in the sound is highly productive in terms of how it rises up. The way that everything falls into place on “As We’re About To Fall” is spellbinding. The respective musical elements formidably show on it. The ordinance to it all seems to finely fall in line and with that consideration the appreciation for it is fully merited. The synth slips comfortably into the playing with the vocals adding a wonderful presentation to it all.

Next track “In This Dance” has a lot to be happy about. A very descriptive outline of the rhythm results in a catchy synth based sound. With the way that it catches on the chorus it is a track that was constantly put on repeat in the office when we first heard it. That hasn’t changed. The substance to it shows and draws you like a moth to a flame when you hear it. The final track is “Stoneworks”. Again the new wave sound sees them play on auto pilot. They cruise along on this one and the organic feel here is paramount. The electro element in their sound defines it here. There is a colourful bluster coming through and the magnetic attraction to it is magnificent.

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Singles of the Month TREESLEEPERS – “True Fiction” The song has a fine sense of direction. Embracing the style it has results in an engaging listen. Here the polka aspects serve it well. They form impressively upon the rhythm. The vocal arrangement harmonises in the song and it is an overall convincing effort that interestingly lingers.

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RACE THE FLUX –“I Am Animation” The song builds a distinctly retro structure around a sound that centres on a strong organic synthesised beat. Tempered finely the tempo to it is given an expanse in terms of delivery as the other playing elements are keyed in here. It becomes an ensemble that is characterised by an expanse in the sound as it develops progressively.

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THE DYATONICS – “She Wants” The stark rhythm is one that resonates well with how the song comes together.

The playing is able to develop an impact that comes across cleanly. That holds the playing together and by doing so it concentrates it all finely. It is a straight forward affair which brings some straight forward old-school mechanics to the mix with how it plays, but that is nothing to fault it for.

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YOSSARIAN LIVES – “Leagues” This is a very interesting tune to listen to. Formidable in terms of how interesting it sounds. There is an even balance to it. The abstract feel to it is felt in relation to how it plays. The rhythm is concise and in the vocal delivery something marginalised shows.

There is a laidback feel to it that is relative to the stripped back styling of it musically.

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LAST SECOND MAGIC – “Gravity” The piano plays in neatly on the intro here before the play comes into the reckoning on it. It deftly travels and it has an endeavour to it all. The settled feel to the rhythm kindly picks up on it. What hangs behind in the music stands up well on it. The abrupt moments in the vocals are nicely timed.

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THE ABBEY SKYWAY – “I Don’t Belong” Brisbane artist PAUL HARVEY has produced the goods on this one. The song has a fine sentiment to be felt on it. It is able to relate a sense of the fragile within the structure. The fine way that it is all collected elegantly comes to the fore behind the fine arrangement. The light approach in the build-up also clearly projects something telling about it all.

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HURDLES – “Kaleidoscope” The guitar settles neatly into the intro. Following that is a distinct vocal delivery. As it progresses it then falls finely into place with the progression. It is able bodied and possesses a smart showing of charm that spills over on it. It is a figurative display and the leaner points in the playing transgress smartly on it.

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TINY VINYLS – “Hide In The Shadows”

While not necessarily gothic in there is a subtle darkness at play here. It is intriguing in how it runs. With that in mind it does build nicely. Heightened by a sense of awareness it is able to catch something just right in the whole song. The vocals have a distinction to them that heightens the appeal of it also. The single is free to download from soundcloud. If you directly contact the band via eamil you can avail of full quality Wav or 320kbps mp3.

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COTTON MOUNT – “In Blue Colour” The Geneva band produces something very Avant Garde on first listen, but a second listen shows more. There is a detailed finesse to how the playing flits between different arcs. With that acknowledged the lucid traits to it gather more formidably. The sweeping style of it then seems more relevant and settled, while still asserting something of having an identity about it.

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RACHAEL MCCORMACK All of the right things seem to fall into place on this. It is very becoming when the pleasant showing to it comes in to the equation. The song has a light feel to it all, but there is a consistency to the rhythm. That is something that sits cleanly upon it and the song is able to benefit from that.

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SUPERBLONDES – “Kill Some Time” When you hear a great tune from a great band it makes your day. Here the song is all about creating a forceful intent. It opens up with that in mind and keeps track of it. The deliberate way to it all leans into something with a hard New York keel about it. The raw characteristics in the sound are a strength that is played to with great effect.

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EMPIRE CIRCUS - “True Believer” There is a consistent way to this one that is well tracked. It steadily builds up from the intro. The certainty to it is found in many quarters. The fullness in the body of the track is to be found from the way the rhythm is managed. With a lavish feel to it all, it is a track that invigorates you with each listen. It is a staggering effort that really shows a band with a lot of potential.

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KAPITALS – “Ms. Heartache” A steady rhythm is courted finely from this. The way it all branches out is splendid work indeed. But in the way that it all builds it cuts loose in a rather distinguished way. The neatness shows in the arrangement of it, while the tempo is evenly balanced and able to project a large likeability for the song overall.

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THE LOOSE HEARTS – “Behind Your Eyes” The Liverpool band’s latest offering is a sublime affair. With the way the rhythm moves across on it all it is a scintillating tune. In part it has something lavish and heartfelt with the running, and behind that is a solid and consistent rhythm that is competently delivered. The rather neat showing to it all hinges well on the crisp hold that the tempo places upon it all.

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THE LAST MONROES – “Underneath The Streetlight/Thieves” The double a-side has it all going for it on the first track. A commendable guitar rhythm plays out on it with some true old-school sensibilities. Alongside that they needle something straight forward from the lyrics and vocals that sit comfortably on it. It edges out and the catchy hook to it all is there to see. The second track provides a heavier beat with a sense of authority. An animalistic turn from it is picked up on and in the way they roll with it show they are a band comfortable with playing to that style. The lean showing to it is excellent.

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4x4

The U&I 4x4 is the editor’s pick of four videos selected from our music networks and featured as a dedicated playlist on our YouTube channel.

The June 2013 4x4 consists of the following artists: (The respective music network is indicated in brackets)

St. John the Gambler “Lemonade Man” (Dublin)

Inky Jack “Radar” (New York)

The Atelier “Catch The Sun” (London)

John Gibbons feat. Skilf “Colder” (Dublin) 45 U&I June 2013 Issue

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