Unsigned & Independent (May 2015)

HamsandwicH Grounds For Invasion Paul Cox Wozniak MAY 2015

The The

North Sea

False Advertising The Lockstocks The Sundowners THE RUBY SESSIONS

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SAUCY SUNDAYS

THE MANC TANK

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The North Sea

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GROUNDS FOR INVASION

SCENE & HEARD 18-19 THE RUBY SESSIONS 20-21 SAUCY SUNDAYS 22-36 37-52 55-57 58

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

PAUL COX

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ALEX MOIR WOZNIAK PETER DORAN

Last month’s readership: 171,306

U& I Mus ic Magazine 26 K ings Inn S treet Dublin 1 Editor-In-Chief: Phillip Ó’ Baoighealláin Deputy Editor: Greg Clifford Writing Staff: Jamie Kelly Sean Brennan Marky Edison Liverpool Correspondent: Joe Loftus Manchester Correspondent: Dave Beech U&I Gigs Photographers: Eric Cooper Dom Marceleno

EDITORIAL Welcome to the May issue of Unsigned And Independent. We have an incredible issue that is jam around. Our cover features one of the most promising bands on the Irish music scene – The North Sea. We caught up with their frontman Eoin Kenny ahead of the band’s eagerly awaited debut album. Speaking of albums, we also have the band who have recently topped the Irish album charts – HamsandwicH. We caught up with Niamh and Podge from the band ahead of their upcoming gig in The Olympia Theatre at the end of this month. We also have interviews with Grounds For Invasion, Wozniak and the third part of ‘Our Friends In The North’ sees us sit down and talk with Paul Cox about CavanTV. This month Dave Beech talks with False talks with The Sundowners and The Lockstocks.

Bringing everything back home Scene & Heard sees us with Saucy Sundays and The Ruby Sessions making up the content for us in that regard. Our co-op network has form of albums, EP and singles for review and we also

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Photo by Trevor Kane

The North Sea -4-

Almost like people remember where they were the day Kennedy was shot, so too can we recount when and where we first saw The North Sea live. It was October 10th, 2010 at 10:10 when they played The Sunday Roast in The Mercantile and it was one of those gigs from a band that you always remember for the right reasons. Since then we have followed this band closely over the years and they even featured in the ‘Scene & Heard’ section of our first ever issue when they supported none other than The Mighty Stef. We saw them play recently at Gigonometry’s first birthday party and sat down after it to talk with frontman Eoin Kenny to talk about everything that is going on with the band, because this summer is shaping up to be a monumental one for them in addition to the release of their long awaited debut album next month.

It is all beginning to happen for you. The last 12 months have really seen things move up a gear for the band. Not just in terms of the workload and gigs, but there is an output and end product to it all that is a reflection of all the hard work you guys have put in over the last five years.

What has been the plan there?

your own personal reasons and what be band related for you?

who we wanted to get to produce the album so we were lucky there.

Well I love Whelan’s, and we recently played our first sold out gig there so that would be it.

How many tracks are going to be on the final album, and what will the title be?

The second single to be released has been ‘Drinking Alone’ and that is a track that is defined in a way by the maturity that runs through it. But, again, anyone who is familiar with your older back catalogue it retains that sense of identity that your earlier material had but also represents that progression in the sound that you have been working on. Is it a case of it being a damn fine song or is there something going on behind the lyrics on a more personal level?

All lyrics are personal I suppose, but this tells a story I created that would suit the mood of the song, more than anything going on in my personal life.

It’s a ten track album, and we’re still deciding the album title. We will let people know when it’s released.

You started recording the album a long time ago...back in 2013 in fact. From talking to you before now and just bumping into you at gigs it does seem to be an album that you are extremely happy with. What does it mean on a personal level to know that it is finally ready to be put out there for everyone else to hear?

We can’t wait to get the album out into the world, similarly to releasing the two singles, the songs get a second lease of life when everyone hears them, and everything has being leading to this point.

Paul McLoone called it his ‘favourite single of the year so far’. He chooses his words carefully so how much of a compliment is it to have someone like him say that about your song?

Let’s talk about the album launch. There is no doubting that you guys are up for that gig and it is going to be one of those nights to remember, but who will be on the line-up as support for you on the night?

Where and when is it going to be on?

Well we have always being working towards our debut album, since the band was created, testing different songs live and working on our sound and direction. Then in 2013 we headed to Black Box studios to record the album with David Odlam, released the first single from it “In Love” in Sept 2014 which was received well, then the second single “Drinking Alone” early this year which received a massive amount of radio play, thanks to Paul McLoone and others, now heading into our album launch on the 26th of June in The Grand Social, with a number of festival dates over the summer.

It’s a great compliment, and Paul McLoone has being a great support to the band, playing our singles regularly and we’re all big fans of what he does.

We haven’t announced the support acts yet, but can tell you that it will be in The Grand Social on the 26th of June, and more details will follow soon.

Another thing that you guys seem to get right is the layering of how your music sounds. It is indie but it is also got its own calling in the sunken way the more sullen guitar derivative works at times.

Who would be the musical influences on the band?

There are a lot of gigs coming up for you as well this summer. You have already played the 1st birthday party for Gigonometry as headliners last month. But you are very much in demand in terms of festival appearances and miscellaneous. What other gigs have you got coming up?

You also shot your video in March last year for ‘In Love’. That was filmed downstairs from our office in The Chocolate Factory with Secondframe.

How did you find the process of shooting a video in its full glory?

Second Frame are great and really caught the emotion behind the song. The Chocolate Factory is a great spot to spend an evening as well.

We all have different influences and places we come from when working on a song. For me Whipping Boy, The Smiths, Echo and The Bunnymen, The Wedding Present have definitely moulded my input, lyrically and melodically; Gar Mackey is influenced more

by Nick Cave and Radiohead; Daragh (our drummer) is into electronic stuff, which creates our sound. It’s not something considered just what happens in the studio when working on new songs.

That went live in August last year and it was well received and then you released it as your debut single. For anyone familiar with your back catalogue there would have been some other older tracks that could also have been released as your debut single instead and probably a lot earlier too – say ‘ ‘I’ve Seen Everything Now’ or ‘The Losing Half’. Why did none of your earlier material get selected?

But what really matters now is the album. Having done our homework on this it is an album that has a lot going for it. You have spent a fortnight recording it in France. In terms of the commitment that you need to have as a band to make that work it also must bring a good sense of pressure knowing that you need to make the most of your time there. That must make you switch on as a band though?

We felt that ‘In Love’ was the most immediate track on the album and worked the best live.

It’s still received really well live and we love playing it, but we also we thought it would be the best track to press to vinyl.

We recorded the whole album live and to tape so that added to the pressure to get each take right first time, but also emulated the live sound we wanted to add to the album.

We knew the time we had and what we needed to get done, which meant long hours in the studio each day, but we love being in the studio so that’s the fun stuff really.

You were interviewed as well for something that month called ‘My City’ which asked you what it is you love best about Dublin and where your favourite places are for whatever reasons. But if you take the same concept but ask it with the sole purpose of only being about music based places in Dublin what make your list for

Where in France did you record the album and who has been involved with the production side of things for it all?

Black Box studios just outside Rennes out in the middle of nowhere, with David Odlam,

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We’re delighted to be playing Canalaphonic festival and Indiependence and will announce more dates around the country soon. We’re always into doing interesting and different shows, like the secret gig we played recently, so we will announce more details of gigs around Dublin after the album launch.

It is shaping up to be a year that keeps you on your toes. The album launch aside because that is pretty much a given but which gigs/festivals are you looking forward to playing the most?

We’re really looking forward to Indiependence and it will be our second time to play it. We had a great weekend the last one and the line-up this year is excellent.

After ‘Drinking Alone’ you did a mini-tour of Ireland. It seemed to be a roaring success. Are you looking to expand on that and planning to follow it up with something similar to promote the album?

We’ll be releasing ‘Decay’ very shortly with a video and more details on how people can get their hands on the album which we will release before the Dublin launch party.

You are a band that thrives from the environment of being on stage as much as giving off the sense of belonging that comes with that when your music does the talking. Any stand out gigs?

Our recent gig for the launch of ‘Drinking Alone’ in Whelan’s was our favourite gig so far. The place was rammed, but we feel the album launch will be the best one yet!

GROUNDS FOR INVA The West of Ireland is something of unchartered territory for us here at U&I in terms of visiting venues to see bands live.

Suffice to say we are familiar with a lot of up and coming bands from that part of the country. Grounds For Invasion are one such band, and having seen them play recently at Gigonometry in March, what we had heard online was equally up to that high standard when we saw them live. In addition to being an incredibly interesting act to see perform on stage they are also one who will probably be popping up on everyone’s radar this summer over the festival season. We sat down and talked with Tracy Friel and Will O’Connor about everything that is going on for the group at the moment: In terms of how the two of you got together it is really a case of being in the right place at the right time. When you look at it now and how such a random event can lead to something so important in life what do you now make of it all?

Will: Well, I'm just really glad it happened at all.

It just goes to show that there are huge amounts of potentially untapped talent about the place. Go out and make something. If you think it's good, don't be embarrassed to show it the world.

Does it make you somewhat philosophical?

Will: Nope!

Tracy: I’m a hippie at heart so yup, the idea of Kismet and the interconnectedness of everything appeals to me and is something I like to think about.

How did you come to settle on the name Grounds For Invasion?

Will: Band names are surprisingly hard, you go through a lot of shit ones before you find a decent one! I saw a conversation on Facebook about one of the horrible wars being fought somewhere east of here, someone mentioned that one side was going to present something as grounds for invasion. My only contribution to the conversation was "Yoink!".

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The Access Music Project (AMP) was something that you were both involved with – albeit separately- but it obviously is something that you are both very passionate about supporting. What is The Access Music Project exactly and what is it all about? Are you still involved with it now?

Will: AMP is a community employment scheme designed to train up unemployed musicians to a recognised standard in various subjects like music theory, piano, guitar, vocals, sound engineering, percussion etc. The tutors are all pro musicians who really know their stuff. I loved it. It was one of the most rewarding things I've ever done.

Importantly, it legitimised music as a career option for me. Plus, prior to AMP, I'd never written any music. I call in from time to time. Last year I gave the participants a workshop on using a laptop as a compositional and performance tool which I really enjoyed.

Tracy: I am not as involved as I’d like to be as I’m juggling a lot of stuff at the minute but AMP is a place I’ll always feel connected to. Doing AMP was one of the most transformative things I’ve ever decided to do. It gave me the tools to do something that I had dreamed of doing for a very long time.

Will: I used to listen to a lot of gangsta rap and industrial metal when I was a teenager. I mellowed out a lot in my 20's, getting into a huge amount of stuff, from indie to country to folk and blues and so on. My all-time favourite album is Neutral Milk Hotel's 'In The Aeroplane Over The Sea'. Oddly, I've never been a huge fan of much electronic music, beyond a teenage obsession with Nine Inch Nails and The Prodigy. I've never heard of most of the stuff Tracy's into!

Tracy: I mainly listen to old Blues and folky or country stuff with a fair bit of old and newer rock thrown in. It’s hard to say how much other people’s music influences your own when you’re making music that isn’t in a genre you really listen to. In saying that though I grew up in the 80’s and 90’s and have loved loads of electronic stuff like Yazoo, Tricky and Everything but the Girl so I’m sure that probably filters in somewhere.

We first met Will when he had his solo stuff as Willow Sea. What aspects of that come through in the music here and which elements do you immediately recognise as being distinctly their own signature?

Tracy: His ability to orchestrate all the elements that make up a great tune is the same in both but the dynamics are probably different as I’m adding lyrics so he’ll leave me space (whether consciously or not you’d have to ask him). I think Will writes some tracks that are very distinctly Willow Sea songs and others that could go either way...he’s played me tracks in the past that were meant for Willow Sea but I’ve begged him to give them to me because I’ve loved them and they’ve really excited me.

ASION As a duo it seems that you are a great partnership for one another, both on stage and off, in terms of how what each of you brings to the table complements the other on an artistic level. But in terms of the dynamics and how you approach the music how does that work in its own right?

Will: So far, I write the music, Tracy does the lyrics. When Tracy calls over for rehearsal I'll play her bits and pieces and see if she likes them. If she likes something, I'll burn it to a CD and she comes back at some point with lyrics and vocal melodies. We'll record some scratch vocals that I can arrange around and polish it from there.

Tracy: I love the way we work, I get so excited when Will plays me a new track he’s been working on and can’t wait to get it into the car so I can start writing in my head.

Who are the musical influences for you both? Did you bond over a mutual love affair over the same taste in music or was it a case of the differences fostering a more interesting approach of ideas on artistic level?

Even though you have been together for a very brief period of time, you have already released your first album. How soon after you got together did you begin to realise that you had an album in you?

Following that train of thought, how soon after you realised that did the process of putting down all the ground work for the album begin and how long did it take from inception to completion overall?

Will: The director, Marta Barcikowska, came up with pretty much everything. Other than us turning up and moving really slowly for hours at a time, she did all the work. She lives with a friend of mine so I already kind of knew her. She did a video for another Galway musician that was really powerful so we asked her to make us a video based on that.

Check it out, it's 'Uganda', by Steven Sharpe. It's incredibly moving.

Tracy: Yeah we really had to trust her vision, we loved the concept from the start but as the process evolved it was hard to see the final picture in our minds. Thankfully we absolutely loved it plus she’s a pleasure to work with!

How different an experience was making that video in comparison to how you made your video for ‘Boiling Point?

Will: The Boiling Point video came about as a trade, we didn't actually have anything much to do with it.

I sound tracked a web series for some film nuts in Galway (the show is Runners, it's up on YouTube), in return they made us a music video. I think we did pretty well out of it.

The artwork for the single is also quite impressive. Who designed that?

Will: A friend of mine, Mike Dwyer, is an illustrator/graphic designer. He’d showed me some of his own stuff years ago, and it had kind of lodged in my brain. I bumped into him in a pub last year, just as we were deciding what song to release as a single, and got chatting to him about maybe doing a poster for us. He’s a lovely guy, and great at what he does. His portfolio’s up on www.factoryedgedesign.com Having been added to the line-up for Body & Soul this year how much are you looking forward to it?

Tracy: I’m so excited to play it as I’ve never been before. I’m also bringing my daughter along for what will be her first festival.

You are also adding a drummer to your line-up. Who is the new drummer and how has that added to the sound that you already have?

Will: We actually released an EP in summer 2014, but didn't do any promo for it at all. We'd sort of drawn a line under those first 5 tracks and earmarked them for the EP while I was working on other stuff that eventually became the album. We'd the album mostly done by the time we released the EP. I'd a bit of a purple patch for a while there (I released an album, Elementary Chaos, with poet Seamus Ruttledge and opera singer Michel Durham-Brandt in 2014 as well). It just sort of happened. We got to ten tracks and figured that was enough.

There are a couple of tracks on my hard drive that weren't working, and a bunch of false starts, but we ended up with 10 finished tracks that made sense together, and that's the album!

Interestingly, I don't think of tracks as GFI tracks until Tracy puts some vocals down, then I can't think of them any other way. Tracy's got a lot of vibe, it's her vocals that glue our tracks together and give them their GFI-ness.

Will: Our new member is Dave Shaughnessy, who plays in half the bands in Galway. He'd been onto me to do something together for a while (which we'll hopefully get back to after the summer), he was really into the GFI album, so we asked him to join.

We've only had one rehearsal with him so far, but it went great. We can't wait to start gigging as a three-piece!

The video that you made for ‘Bruce Lee’ was a rather interesting one. There is a rich degree of innovation behind that which must come as a great comfort to see your own music extended by something that is of an equally high standard. Was the concept something that you both came up with or was it down to the director of the video? Did you have any input in the creative process there or did you trust their instincts completely?

Tracy: I’m gone for most of July having fun and turning 40 after that it’ll be business as usual, gigging and trying to take over the world.

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Has it given you any new directions for new music or will that be something that you expect to happen in due course?

Will: We haven't started working on a follow-up yet, but we've talked about it a bit. Having an actual drummer in the setup is probably going to change how we approach writing it. We'll see what happens!

What are your plans for the rest of the summer?

Will: I’ll be working on a couple of albums for Galway-based acts, which I’m excited about. Each of them is different from what I’ve done before, so they should all be really interesting to work on.

Also, I’m getting married in July, so there are all sorts of things to get sorted out there.

Hamsandw HAM SANDWICH happen to be one of the most revered bands on the Irish music scene and they have become something of an institution in their own right over the last decade. With it now being five years since ‘White Fox’ they have kind of done their own Stone Roses thing by releasing their third album ‘Stories From The Surface’ last month.

All signs on this one point in the right direction for the band with it being well received in all circles. They are very much going to be one to THE Irish bands that people will be hearing about this year so we caught with Podge and Niamh to talk about their new album, what the summer has in store and the small matter of that Hot Press cover.

In March last year you released ‘Illuminate’ and that was a taster for what the new album is all about. Given the period between the two albums are there any notable differences between how this album sounds in comparison with ‘White Fox’?

‘Stories from the Surface’ was approached quite differently to White Fox. We had a lot more songs to work with and play around with. Whilst touring ‘White Fox’ we all accumulated 100’s of ideas & bits that we got to weave in and out of demos. It was exciting to see all of the ideas piece so well

together. We had some great weeks in studio jamming and creating. That really set the tempo for the whole album. We had so much more to utilize.

We experimented with lots of synth sounds; Cello, trumpet, violins and even a kalimba. I feel the strings and general arrangements were more thought out/more complete and complex than anything we'd tried before. We really maximised and showcased our potential. Vocally we wanted to sound more dynamic and harmonic. A lot of the vocals were given far more time. Working out harmonies was a big part of the whole package.

In terms of what the finished product sounds like how happy are you now with this album?

Darcy coming into the mix added a new dimension vocally. We weren't afraid to write songs with a lot more going on and with multiple parts. We also weren't afraid to take risks sonically and I think every song greatly benefits from this. We wanted to make each song grow stronger and stronger from the original demos. We really hit walls on three or four tracks but our confidence was up and we kept a great attitude to push through and develop and change any songs that might have originally had weak parts. When you strive for a certain level of quality you'll get there if you’re willing to fight through any pain staking frustration. I could go on but I've already caused enough damage with this answer.

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While it has been five years since ‘White Fox’ when did you actually take the first steps towards writing the new album? Is everything on here solely new material or have any of the tracks that didn’t make it onto your last album been included this time around?

It's all completely new. We had some demos in our emails for almost THREE years but we only really got a chance to focus on the writing process in the last two years or so. We needed to keep gigging to raise funds which naturally would have slowed down the process but we luckily still had a good demand with shows to keep things afloat.

Your last album is one that still stands up all these years later. How much of the new album makes it a different album entirely and what aspects do you see as being similar to your previous output?

Why thank you. Yeah… we still hold ‘White Fox’ near and dear. It really brought us amazing experiences like playing to 25,000 people in Phoenix Park. It kick started a very healthy fan base for us. Our fan base is literally all ages too which is incredible. We can appeal to a two year old child or a 90 year old granny. It's an album that we've transformed live too and we still love playing songs from ‘White Fox’ live.

own right. Was that a deliberate approach on your behalf as a band or do you think that the hiatus you have been on has seen your creative side develop differently in that period?

I think our creative side has definitely developed.

We more or less started with a clean slate. We wanted to explore different genres with ‘Stories From The Surface’. One review we received picked up on this perfectly. We wanted to go into more dance territory ala LCD Sound System, Vampire Weekend and Talking Heads on some tracks and then more raw and intimate on other tracks to give the album a better sense of depth.

Darcy was coming up with intricate guitar riffs not too unlike Television and that spawned me in turn to try complement that with my own guitar lines or hooks if you will. Bass lines were just as crafted to match into the guitar lines. Drums were very much a part of the root of the songs.

There are more fun patterns and more detailed percussive bits highlighting song parts. I listened to a lot of early Fleetwood Mac albums in the run up to the mixing time and they were a definite inspiration on some of the more gentle sounding songs. We wanted songs to have that warm analogue glow. That was something that Danny Kalb our mixer was very aware of and he really nailed that I feel. I wanted this album to sound great on headphones. Have parts coming at you from all angles. The intro on ‘Square 3’ is an example. It is like a sneaky tribute to ‘Money’ by Pink Floyd.

How quickly did it take for the band to click into gear once you got back into the studio?

wicH ‘Stories From The Surface’ is born from all we've learned through ‘White Fox’. Lyrically we were more focused and fussy. We all brought a lot more to the table lyrically which was one change from ‘White Fox’ where it was predominantly just myself and Niamh. Dave, Ollie and Darcy really chipped in. I feel there’s more layers to the onion with our new album. We wanted a lot more drama within the songs. We wanted to write songs that went from whisper quiet to ramming it home. A perfect example is ‘In Perfect Rhymes’. We wanted to make each song more unique within itself. The biggest compliment we keep receiving is that people can't pick a favorite song. Or they can but it changes weekly. I still am in the undecided camp. When you’re writing an album you should want every song to be something special. That’s what we aimed to achieve with five very fussy bastards and a hugely experienced Karl Odlum. His foresight was priceless. He spotted some things in songs and issues that we all missed and he forced us to serve our songs a lot more. When Karl Odlum is smiling you just know you’re doing something right. Not that he never smiles. He was so excited when we polished off illuminate with little vocal touches and he absolutely loves the very spacey chorus vocals of Satellite.*

greats have played there from David Bowie, Radiohead and even Charlie Chaplin. Even the old bar in there is amazing and the giant porcelain urinals in the lad’s jacks give me an immense sense of awe. To headline and sell out such a place is a bucket list ticker for me. That’s the highlight of the year for me in terms of our live shows. We put so much into that show. The stage just looked amazing. And we put on a huge lighting show which just ads so much more to shows when it comes off. Playing with Arcade Fire and The Pixies was crazy too though. Frank Black was watching the whole show at the side of the stage and I got to meet him afterwards and he was like 'you’re in HamsandwicH right?". That’s something I'll never forget. The Pixies are the coolest band on the planet in my honest opinion. Arcade Fire are no slouches either.

Then you have the magnificent honour of being the artist selected for the cover of the 900th issue of Hot Press. It goes without saying, but when you think about it there could have been any other Irish artist ahead of you and that would have been a long list. In equal measure to it being such a big deal it must be a very humbling experience for you to know that they hold you in such high regard to give you that particular issue. How long did it take for it to sink in that it was really happening?

Yeah it was a real honour to be asked to do something like this. Hot Press is such a huge part of the Irish music scene and it was amazing to be asked to do it.

The cover itself was rather daring shall we say.

Was that always the original concept for the cover?

The early stages in studio are always all systems go. You’re laying down drums and structuring the songs. Like building a house. It’s the final stages when the songs need to be decorated and furnished where things slow down. This is where each song gets a constant going over until we're happy that every verse, bridge, chorus, intro, outro or whatever really pleases us. Its only when all six (including Karl) of us are really happy with everything that we dare go onto to a mixing stage.

Yeah the concept was American Beauty and the shot used was one of the last shots taken that night and it just stood out a mile from all the others I think. It was tasteful and eye catching at the same time.

Did you miss the camaraderie as well?

A small bit maybe yeah. There was a point where I thought "Oh my God what am I doing! I'm not a skinny model type person!" But then I just thought to hell with negative thinking! The photographer Kathryn was amazing and I totally trusted her judgements and she made me feel totally comfortable which was awesome.

Missed the Camaraderie? We practically live in each other’s pockets. That can be a further head melt.

Last year you played the Olympia and it would appear to have been one of these gigs that meant a lot to you as a band on many levels. When you look back on that now and compare it with the other high profile gigs you played last year, such as Arcade Fire and The Pixies in Marlay Park, where does that one rank for you?

The Olympia is one of the best indoor venues in the whole country. It's steeped in history. All the

Of the tracks that were released before the album – ‘Illuminate’ ‘Apollo’ and ‘Fandango’ – they do have something about them that differs from your previous output in their

When you look at it now it was tastefully done but it also has something iconic about it. The high artistic merit of it is there to be appreciated. Obviously it was something that had to be delicately approached but did you have any hang ups about doing it?

I couldn't quite believe it was happening but I was so excited to get involved and do something daring! Of course the phone call to my dad was the first one I made after finding out I would be doing it, just to prewarn him about the slight nudity!

HamsandwicH play The Olympia Theatre on May 29th.

Photos by Dara Munnis

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by Joe Loftus

PAUL COX ‘Our Friends In The North’ takes a different look at the music scene now.

This time around we are shifting the focus from being on artists and looking at two people who play an intrinsic part in their support of emerging artists in the north of the country. Since Cavan TV launched in 2011 one of the key figures behind part of its success has been Paul Cox and his dedication to the music side of things with The Green Room. That has been a resounding success and has been an incredible launchpad for artists such as The Strypes, The Whereabouts and Áine Cahill to get their music out there. We caught up with the man behind the legend to talk about why he is so passionate about supporting new artists and promoting their music.

Cavan TV launched in 2011 and it is certainly an all-inclusive affair with how every aspect of community affairs come to be represented by the diversity that is covered. Having recently changed its name from The Green Room to Totally PC it is safe to say that that aspect of Cavan TV is your baby.

What was it that attracted to developing something like this in the first place?

Brian Daly owner of Drumlin Media approached me about doing a music programme a few years ago at first on a strictly local basis as we were on the local cable network. It was a great success and we decided that we would expand it nationwide and I know a good few people in the business and invited them on and it worked.

It is a great platform and the list of names that have appeared on it is certainly impressive. There is an incredible focus on promoting both local talent and Irish talent. How do you find such a high calibre of musicians to appear on the show?

I have been in bands all of my life and have a lot of friends in the business and my connection with The Strypes has been a massive help, but people know we are about music and loving music so when we invite them on they know we've had people like Pat McManus, Eleanor Shanley , Chris Difford ,Midge Ure , Keith Allen etc. and are delighted to come on. It's also very informal.

Our Friends In The North (Part 3) In terms of what you do at Cavan TV, it has a high standard of production value about it. There can be a tendency for people who have something like that to be reluctant to give any emerging artist a platform to get their music out there. You would seem to have a different philosophy. Just tell us what your philosophy is in relation to supporting emerging artist.

We want to give everybody a chance… a chance they won't get in the bigger towns and cities. To u some of these bands or singers could be the next big thing. The Strypes, arguably the most talked about band of the moment, launched their first single on the show and rumour/urban legend has it that Elton John saw that show! So you never know just who is watching, so let's give everyone a go!

When you take a look at how the careers of two bands like The Strypes and The Whereabouts have gone, how humbling is it to know that they were on your show when they were relatively new bands?

Both bands are a work in progress and I follow their every move but saying that we watch everyone that's appeared. There's great talent emerging all the time ....Travis Oaks, Featuring X, Fuzz Gigolo, The Klares, Kathy Crinion, Jemson Green…the list goes on and on and we keep an eye on everyone's progress .

To people in Dublin they may not be too familiar with what Cavan has to offer but you are also involved with The Café Sessions that take place in the Chapter One café. They have become something of a musical institution in their own right.

From what we have heard about it from artists who have played there they hold it in high regard. Of all the gigs you have seen played there which stand out the most for you and why?

Chapter One has become an incredible success and was started by Niall Walsh and Joe Keenan some years ago and now Joe is ably assisted by Cathal and Linda Sheridan. I'm there on a stand by basis. A bit like 'doc on call’ and already there have been a few 'you should have been there ' gigs but one that stands out was the night Chris Difford played. He sang (along with the crowd) most of Squeezes hits. It was absolute magic to hear the songs heard on the radio becoming huge hits being sung by the man who wrote them in a café ... in Cavan! We have talked with some people who have been guests on your show and one of the things that

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they have remarked on is how impressive the set actually is. The conclusive agreement from everyone is that it helps them to relax but it also gives off this conveyance of being around professionalism, which can sadly be missing a great deal of the time on video based formats that promote unsigned and independent music.

When you had the idea for The Green Room did you immediately identify that the set design was going to be something that would reflect a standard of what people could expect from the show?

When people come on the first thing we want them to feel is welcome and relaxed , there's a no bullshit attitude and its more about making music having a chat and a bit of crack. It’s only rock and roll but we like it.

To return back to the key word being ‘standard’ there is also a rather quick turnaround from the editing side of things with each episode. It also reflects well on how the show is put together. From the outside looking in it would suggest that there is a great team making it all work.

Who else is involved behind the scenes with the show?

It really is a great team and it’s the same team that works on the other shows. Brian Daly is our studio manager and the brains behind CavanTV. He is hands on for all the shows. Dave lvan Standen is in charge of all audio production and he's been in bands too. So he knows how to treat bands when they come in. Tina Brady is floor manager and vision control. She is in charge of Bernard and Ina who get the studio ready for the mayhem. Charlii McGauran is our social media consultant ( she does the texting!) And our in house photographer is Paul Reynolds.

With the show changing its name what will remain the same and will there be anything new that you will be bringing to the format?

The main aim is to promote all Irish talent so no change there and we hope to get more international guests on board as they visit. Anyone reading that wants to come on contact us via paulcox23@gmail.com If there was an act that you have you yet to see play there who would you like to get on the line-up?

The Clameens, Le Galaxie, Rackhouse Pilfer, Monster Monster ....there are so many but someday we will get them all on.

THE MANC TANK

by Dave Beech

FALSE ADVERTISING If the old adage that pop will eat itself is true, then currently it's gorging itself on the DIY college rock aesthetics of the 1990s, complete with slacker drawls and stoned guitars. And though it might not quite be the aural equivalent of a Michelin Star restaurant, sometimes all you need is a bong and a ready meal.

Especially if you're the kind of fuzz-aficionado who gets off on those DIY college rock vibes.

One such band who absolutely do, is Manchester's False Advertising, a trio (fronted by singer Jen Hingley) whose appreciation of the '90s make them both nostalgic and relevant; the riot grrrl bite of recent release 'Wasting Away', coupled with the narcotic wooziness of 'I Don't Know, making excellent first impressions. What's more, the DIY aesthetic the band upholds so well is far more than just aesthetics.

Having recorded and produced their debut album themselves, not to mention relentlessly playing every available stage across the centre of Manchester, the band harbour a credibility in circles their peers might otherwise not, something which, we hope, will bleed through in to their debut when it drops later in the year. We caught up with the band ahead of its release to find out a little more about them: Hi guys, thanks for taking the time to answer our questions. First of all, who are you and how did you get together?

Chris: Hey no worries, Jen and I had mutual friends at uni and found ourselves attending Leeds festival together every year.

After repeatedly bumping into each other on the open mic scene we eventually decided to join forces - firstly playing covers.

Jen: This then led us to begin writing our own music and putting together an eventual band initially a few years ago which is where I first got introduced to Josh. This project started a bit later with Chris and I demoing and then working in the studio - we soon got Josh on board when we decided we didn’t want to be a two-piece!

The name False Advertising, is there a story behind it?

What does it to mean to you as a band?

Chris: Jen came up with it and we didn’t like it at first. We had many names, but the reason this one endured is not only because it wasn’t already taken but because it represents our attitude to modern day consumerism.

Jen: Maybe for you Chris - it’s less weighty in meaning for me, it stuck because it sounded cool and resonated with our tendency to swap instruments.

Josh: I suppose we wanted to play off the idea of deception.

You've all played in other bands previously, how have you found that's helped you when coming together now?

Jen: With a bit of know-how, it’s not that difficult to record your own songs - so why shouldn’t you try your hand at it? At least initially while you’re figuring out what you want to do.

Josh: You can listen to music until you’re blue in the face but it’s only playing with other people and experimenting with different influences and styles that helps build experience.

Chris: Jen, you cut me deep. We could be viewed as arrogant for not wanting any outside influences. But the project is very personal to us, and I think we really wanted to challenge ourselves and put our broad spectrum of skills to the test. If it had been easy it wouldn't have been so enjoyable.

Jen: It’s all been about confidence for me. I’ve taken more of a back seat in previous bands to gain experience but that’s all got me ready to take more of a lead in songwriting and performance this time around.

Chris: This is my 13th band; probably because I’m deluded and terrible. I just can’t give up…it’s rooted in my ability to function.

Being from Manchester, and being as involved with its music scene as you collectively are, who are, in your opinion, some of the bands worth keeping an eye on in the city at the moment?

Josh: Our good friends the Hyena Kill.

Chris is also involved with local label Scruff of the Neck, acting as their in-house producer of sorts. How have you found that's benefited you as a band?

Chris: I've been developing a low cost method of production for many years, Scruff has given me a base to hone my method, which, in simple terms uses the (in the box) ethos of the modern day travelling super DJ and turns their method of production to multi-tracked audio. I had to build a very powerful PC to achieve this however as there is not a laptop in the land that could handle these projects.

Josh: This experience has gone a long way to facilitate our DIY approach for sure.

Jen: Having the luxury of studio time this early in our band has been a massive privilege - but something that I know Chris has worked very hard for. I'm chuffed that I can hold my head high and say that we've made the most our time in there.

Your debut album is due out later this year, what can we expect from that?

Chris: We shared a rehearsal room with them until very recently - they’re a force to be reckoned with live and have always gone out of their way to help us out.

Your press releases states that you take your influence from “bands like The Smashing Pumpkins, to the themes of children's TV shows”. What children's TV shows in particular, and can we expect to see you playing any of the themes live?

Chris: Honestly it was a bit of a flippant remark, you’re the first who’ve picked up on it!

Josh: As a kid, watching TV is when you have some of your earliest exposure to music whether your aware of it or not. Kids shows are full of hooks and melodic little ditties that end up leaving their impression somewhere on you.

Jen: We also said that because our practices also sometimes degrade into whistle-offs. Where we’re all trying to whistle the most inane, catchy childish version of a song that we can. A bit weird…

Chris: Noisy, bassy, brooding, hooky and melodic.

Jen: Loud, solidly written songs that bridge the gap between catchy and interesting.

Josh: I also reckon we’ve found the balance where we can be pretty faithful on record to how we actually sound live. A window into what you can expect if you come and see us.

Everything surrounding the album has been off your own back. How important is it for bands such as yourselves to be able to take a DIY approach to their music?

Josh: It’s part of the landscape that we find ourselves within today.

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Speaking of playing live, Manchester's a city full of eclectic venues. Is there anywhere you'd particularly like to see yourselves play?

Josh: Think we’re all agreed that we’d love to play the Apollo.

Some of the best gigs I’ve been to have been there. Each time after I’d always imagine how amazing it would feel to be on that stage.

Finally, once the album is released, what can we expect from False Advertising going in to the second half of the year?

Jen: It’s all about the album - with that hitting towards the end of the festival season. Then we’ll be heading out on the road to support it in the latter half of the year.

by Joe Loftus

by Joe Loftus Industrial indie is the term I would coin to depict the noise of The Lockstocks. Widnes born and bred but it is in Liverpool they are... 'erected', if we wish to smirk. Imagine The Doors and Ten Years After with some additional Alex Turner northern twang but without his now arrogant annoyance. They're new and fresh on the scene, having only been around for a virginal first year, but here they are and here they remain so take a listen after you have devoured their wisdom.

The Beatles, The Smiths, The Clash as well as Hendrix and The Stone Roses. I think you can definitely hear the influence of all of them bands in our music.

Some people might see making music as a waste of time, especially with the nature of today's music industry. Why do you want to make music?

Nobody in this band would say that making music is a waste of time, at least not our time. Music and making music is something that we all feel very passionately about because it's the only thing any of us want to do. We just really enjoy playing together and making music together. That's something that we will carry on doing, whether people want to listen or not. I believe that we can be a great band, and I want people to hear our music and enjoy listening to it as much as we enjoy playing it.

So Dom, The Lockstocks have just released their first E.P and it's sounding great. I'm guessing I wouldn't be wrong in saying you haven't been around for too long?

No we haven't been together too long, just over a year now. I was in another band with Mike, who's the lead singer, called Cable Cars.

Mike played bass in that band. We became friends and decided we wanted to break away from the other members of Cable Cars, and so we formed The Lockstocks. I was playing with Olly, the lead guitarist, in a band in college and I knew he was good so I recruited him; he in turn recommended Tyler who's the bassist. He was also on the same course as me and Olly. And that's how we came to be.

Amen. That's really great to hear. There are far too many 'musicians' only interested in the fame and glory without a care for the beauty of the music itself. What would you say is the hardest thing about being in an unsigned band?

I think the hardest part about being in an unsigned band is definitely doing everything ourselves. Getting gigs, promoting ourselves and getting ourselves out there and getting people to listen, especially when you don't have a great amount of funds to help and it's hard to get paid gigs.

That’s how you came to be. Anyhow, I've known you for a while Dom but who is it that initially got you into music?

I think I've always been interested in music. From an early age I was learning to play the piano, but it wasn't until I entered high school that I started to become more serious about it. It was the album ‘American Idiot’ by Green Day that did it for me. It was unlike anything I'd heard and I thought it was brilliant. After listening to it I knew I just wanted to be in a rock band so I dropped the piano and started to learn to play the drums instead.

And what would you say is the best thing about being in an unsigned band?

I'm not sure at this moment what the advantages of being in an unsigned band are, as ultimately that's the goal for this band, to get signed. That is where we're aiming. We all really enjoy being in this band and primarily that's why we will continue doing what we are doing, but we are also very serious about what we want to achieve.

We want to work hard and we're all determined to take this band as far as it will go, and hopefully that will mean getting signed and being successful.

Perhaps someday the piano will be picked up once more.

What bands have influenced the essence of The Lockstocks’ sound?

I think bands that have influenced The Lockstocks are definitely

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by Joe Loftus

by Joe Loftus

THE SUNDOWNERS Vinyl sell-outs The Sundowners are arguably one of Liverpool's most exciting independent acts. They have been on the scene for as long as I can remember and have certainly cut their teeth. Their sound is one of hybrid contractions and collaborations. One of old and new; of distorted and clean; of Liverpool and Everton style polar opposites but one of brilliance.

You're also scheduled to be playing SoundCity, you must enjoy playing festivals do you?

Yeah it's our first appearance at Sound City so really excited for it. We'd play every festival if we could because it's nice to play outside when you spend the rest of the year playing indoors.

What would you say has been your greatest feat so far?

So, The Sundowners have been around for quite a while now, but exactly how long has it been?

It is still probably Glastonbury. There’s a special energy there that you don't get anywhere else. Paul Weller was amazing too!

We’ve actually lost count but it must be about 4 years now.

Who are your biggest influences? From listening to a lot of your stuff I'd take a gamble that it is the likes of 60's psychedelia thrown into a mixing jar with bands such as The Cranberries, Fleetwood Mac, The Eagles and Aimee Mann.

How did the band form in the first place?

Alfie already had the band going but needed a new singer. Myself and Fiona were gigging acoustically together until he asked us to audition. Long story cut short he couldn't get rid of us and shortly after Tim and Jim we were on board.

There are so many bands we listen to and we all have our own favourites but your pretty spot on there. Definitely the likes of Fairport Convention, Can, Neu, etc. come into the mix for us as influences.

What inspires you to stay in a band that long?

It's who we are. We all have normal jobs to pay our way but there isn't anything else we'd want to pursue.

What inspires your songwriting?

Just in the past week you've announced that you will be playing the Isle of Wight Festival....again. How does that feel?

Life and experiences, the highs and the lows. It's hard to go in depth because sometimes it can be really personal too.

This is quite the cliché question but I'm fed up of concluding my interviews with, so what does the future hold... So I'll mix up my words. If everything goes to plan, what are The Sundowners doing in twelve months’ time?

Yeah we're buzzing for it. Essentially we're supporting Fleetwood Mac. We've just been confirmed for Festival No.6 which we can't wait for either.

What was it like the last time you played it?

Hopefully we have our second album out and get down to playing more gigs and festivals.

It was a boss gig. The line-up wasn't as good as this year’s.

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ÁINE CAHILL Wozniak THE GREAT AND POWERFUL WOZ – Review by Marky Edison

On Saturday May 16th, The Grand Social will witness the Irish debut of a band a mission to cause terminal tinnitus.

Wozniak are a four-piece band from Edinburgh, Scotland and they like it loud.

Formed in 2012 after Simon, John and Sarah had played in a covers band together. They were joined by bassist James and, bonded by a love of uneasy listening, started playing gigs in their hometown. The name comes from philanthropist and Apple computers pioneer, Steve Wozniak.

The band cite Chapterhouse, My Bloody Valentine, Ride, The Cure, and Slowdive as key influences on their songwriting approach and are happy to wear those influences on their sleeves. Wozniak's sound displays a broad musical palate but most of all they have embraced the sound and spirit of shoegaze.

Long neglected by Irish and international music fans, the reunions of Slowdive and Ride shortly after the release of a new album by MBV have sparked a resurgence of shoegaze. And for Wozniak the timing could not be better.In November 2013, they released double-A side debut 'MFMB'/'New Hampshire'. Brooding and largely instrumental epic-ness and shot through with elements of grungy rock, psychedelia and full of reverb, delay and feedback, the single immediately connected with an international online shoegaze community who were eager to hear.

Sarah- “When we first got together we were planning on more of a straightforward post-rock sound...walls of

sound, lots of reverb, prominent bass lines and submerged vocals....It’s definitely about the wall of sound. It’s got to be layered, fuzzy and gorgeous, and above all, loud. I think there is something about the volume that elicits an emotional response.”

The shoegaze elements soon came to the fore and Wozniak's shared passion for it, and a massive collection of effects pedals, saw them writing more material. Scenting the online appetite for shoegaze, the band launched a Kickstarter crowd sourcing campaign for a new EP. Released in June '14, Pikes Peak was recorded at Depot Studios in Edinburgh. In the brief period between debut single and EP, their sound had noticeably tightened and Pikes Peak abounds with a clarity of focus. It was a leap forward for Wozniak.

The spirit of independence and community is strong within the group. They create their own artwork for the EP and make their own videos. They organise a lot of their shows themselves through their promotion arm, Morningside Young Team. Morningside is a posh area of Edinburgh, and a young team is a gang of rowdy youths; were they from Dublin they could have called it Foxrock Skangers.

2015 has been a busy year for them already. They have made their first live appearance in London and spent a lot of time in the studio recording a follow up to Pikes Peak. Latest track Five Star is available as a free download from Bandcamp as a taster from the forthcoming EP which is due for release next month. And now they are preparing for their first international show when they share the Circus stage of the Grand Social with Makings.

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WOZNIAK

Mark Edion caught up with Sarah Cuthbert- Kerr from the band.

There seems to be something about Scotland and shoegaze‌ There are a lot of bands in Scotland at the moment (maybe there always are) who have that earnest, windswept Caledonia thing going on. That's fine. But, Wozniak don't. That's not to say that Scottish bands that have preceded us aren't an influence. Obviously we wouldn't exist with JAMC, but neither would we without Sonic Youth or the Velvet Underground. It's complicated!

Tell me more about the songwriting process for Wozniak. Who brings the initial ideas? Is there much jamming involved and time in the rehearsal room? At what point are John and James involved in new songs?

There's no set template really. Sometimes, Simon's got a guitar riff and might have made a demo, sometimes, there's just a cool guitar or bass sound that starts off a jam (I have an aversion to that term though). Once we've decided we like the initial idea we usually just have a play in the rehearsal room. The bass and drums are totally integral to it all. Some songs come together pretty quickly, like Five Star - it started with a bass line and then we all just joined in and 20 minutes later it was more or less as recorded. Other songs take a bit more work. Some just never get there, or at least haven't so far.

You do your own artwork and videos and state that you have the expertise and equipment within the band already. Who does what, when it comes to other media?

And how did they acquire those talents?

Art school/work life/ etc John is a professionally qualified photographer he does freelance photos and videos, and James is a film-maker and editor - he is currently working on a film which involved him climbing every Munro in Scotland. So that's quite a lot of in-house talent right there! I think John's done all our photo shoots so far. And we've made all our own videos too from start to finish. I usually suggest some video ideas, or at least explain the sort of feel I think we're going for. And then do terrible acting. The artwork is Simon's domain he is totally self taught. He does all the cover art, plus posters for any gigs we're putting on. He's got a great eye for it all.

Wozniak initially came together after you were playing covers for fun. And you

allude to previous bands. Can you give us some more details on your previous musical adventures? And about what sparked off the formation of Wozniak?

Simon and I have been in bands together for a long time. If I remember correctly, the first was a Riot Grrrl band called the Raging Hormones. I think we had one song. Then we were in a band called Ffitch, who were sort of dream pop - think Mazzy Star meets Joy Division - when we were at Dundee University. John was in a band called Archangel who recently reformed (without John though) and we supported them at their EP launch. They're kind of sweeping electro-rock.

James was the singer and guitarist in Denied Sons of Iglesias who, I think were pretty full on alt rock, like Queens of the Stone Age. So, after a bit of a break while we tried to become actual proper grown ups. Simon and I had been getting back into music. We decided to get a few friends together to do some covers - that's when we got John involved. I knew he was a drummer and we worked together so I asked if he wanted to come and play. It was fun, but we only did it a few times. Then the three of us just thought we'd do our own thing. Simon already had the name Wozniak in mind for a band, so that was it.

Wozniak were formed. The plan was do a post-rocky thing, but it never really happened.

We were a three piece and then when James was done climbing mountains he joined too.

Pikes Peak was a big step up from MFMB'/'New Hampshire in terms of songwriting and production. If Five Star is anything to go by, the new EP will be a similar leap forward for you. What factors are contributing to the evolution of your recordings?

I think the recordings are evolving because every time we go into the studio we learn more about how it all works for us. So when we did the MFMB/ New Hampshire single, that all came from playing the songs live and I'd certainly never recorded in such a hi-spec place as The Depot before. But then when it came to Pikes Peak, we knew much more about what we do, with layering, with effects. And our relationship with the engineer was developing too - we work with Craig Ross at The Depot in Edinburgh. He's really on the Wozniak wavelength now and always has a new piece of kit for us to try out.

Each time you go in to the studio you say that it might be an EP/ might be an album that you come away with. Is quality more important than quantity for you? Also I'm interested to hear more about your recording process. What gets recorded first? When is it finished?

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Quality is definitely a priority. When we put together Pikes Peak, we wanted it to be a cohesive record, not just a random collection of the songs we had ready to record. That's the same with the new EP too. We've chosen the tracks and the running order carefully. We had hoped that the next release would be an album, but realistically time and the dreaded money meant that it would take a long time to get ready, so we decided to approach it in a different way. Anyway, our EPs are longer than some bands' albums! When it comes to recording, we put in a lot of work ahead of time and rehearse as much as we can. Simon usually has a pretty clear idea of the overdubs he'll be planning. I have a rough idea what I want to do with the vocal if there is one. We play as live, usually with the focus on getting a take that feels good, and then we go from there, layering up tracks. There is always room for another track, another effect and to try something different. Well, until the studio time runs out. We usually start with the song we feel most confident about - I would imagine that's the case for most bands. And we've learned that for that first one it can take a few goes to get a good one, and it usually gets easier after that. I am almost much more nervous in the studio than playing live, probably because there is no hiding the imperfections (of which there are many in my case). Songs and records are finished when we're out of time and money. Sorry to be so crass, but that's the truth.

It would be all too easy to do a Kevin Shields otherwise.

You've gigs coming up in Glasgow, Edinburgh and Dublin, and festival season is upon us. Have you confirmed any festival dates yet? If you could play any festival in the U.K., or in the world, which one would it be?

We haven't got any festivals lined up, but we have applied to a few. If we could play any festival, I'd love to play Primavera Sound in Barcelona. I'm a big fan and we have a song named after the tram stop you use to get there, so it'd kind of be like a homecoming.

I first came across you online and you seem to have a big international following.

What have been the benefits, and the pitfalls, of the digital world for Wozniak?

It's all just been benefits so far, thankfully!

Shoegaze is a completely international genre we were just on a compilation Revolution - The Shoegaze Revival with bands from 16 countries including Pakistan, Indonesia, Italy everywhere. We've had great support from the online shoegaze community and its media which we really appreciate.

Sydney

LUPA J There is a glorious countenance in her music. The embracing of the layering in her work favourably gives it all a crossover appeal that is appreciated on an artistic level. The application of everything showcases a stellar degree of finesse that is prominently invested by her through the need product displayed. She is one of those impressive artists unafraid to go against convention and her music reflects this.

BATTLESHIPS of distinction. The settled ebb and flow of their songs is denoted by a heightened appreciation of depth. The conclusive way they retain that and maintain a sense of lucid fluidity is an enamoured calling and there is an intensive calling to their sound which formidably sees them raise their game in terms of the integrity on show in the music.

JENNY BROKE THE WINDOW Here is one of those bands who ooze confidence and bring that to bear off the back of a defined sense of cool. The tunes are there but so too is a telling sense of depth in their more mature tunes. They carry everything through and no matter what approach is adopted in terms of style there is no denying that they are a highly capable band when they let the music do the talking.

MONTAIGNE Quite possibly one of the best artists that Australia has ever produced, her music corners a stellar degree of worth. The capable level of creativity that pours out takes everything where it needs to go. The arrangements are intrinsically built but there is a sense of modernity to what she produces. That offers her sound a telling degree of presence that is backed by a suitable degree of creativity and substance.

THE WALKING WHO With their scuzzy guitar riffs and rich psychedelic music this band are certainly one who embrace the genre. There is a formidable affluence at work in the dynamics that richly comes to pass and the attainable showing in the music is one that emphatically comes to pass. There is a tremendous degree of referential to the casual demeanour in their sound which is collected in a positive way. The sound is not too heavy and it is one that maintains a solid level of consistency throughout.

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NOVA AND THE EXPERIENCE It is hard to say what it is about this band that makes them so good. They seem to have a darling sensibility about them that comes across in the music. But this is not there primarily for show. There is an apparent show of class in what they find as the subject matter for their songs, while there is a mindful sensibility that comes across in the melodic qualities time after time. They are a band that you can easily fall in love with and never grow tired of.

THE GREASE ARRESTOR The hazy psychedelic prowess of this band is expelled in their sound quite cleverly. As such they not only corner a favourable niche in their own way but they also imbue with a knowing sense of richness.

Everything that comes to pass in the approach is favourably appreciated and richly steeped in a progressive sense of substance. The prudent way it all comes full circle is done in a way that meets with favourable approval and denotes a stern sense of appreciation as they let the music do the talking for them.

THE DANDELION It is not just the psychedelic aspects of their sound but rather how multi—dimensional this band sounds. They have a favourable calling time and time again on each of their tracks. The deft way it is brought full circle is a commendable display of the talent they have at their disposal. By having the diversification in the movement everything also holds sway in a desirable way which will convert anyone who discovers them into a devoted fan immediately.

THE ELECTRIC VOGUES Another superb band and you can draw a comparison with great acts such as ELO here.

Something in the way they build everything adds a sense of brilliance each time. There is also an entrenched sense of depth which is richly commanded. The consummate integrity is brought to bear and carries it all through by keeping it together in a detailed manner that keeps a lot in check.

THE GRISWOLDS One of the best independent acts in Australia, they have been an office favourite here at U&I for a number of years. They are one of those acts who are impressive for all the right reasons. They exemplify a solid level of distinction that is carefully carried through. In their approach they exert a knowing degree of worth which catches everything on the right side of pop but also knowingly travels in a way that accentuates everything with a telling degree of specificity each time that is highly endearing.

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THE RUBY SESSIONS Doyle’s Bar (5-5-2015)

GAR COX Having released his EP earlier this year, which is also reviewed this issue, Gar Cox did exactly what it said on the tin by playing small intimate gigs in local bookshops. The first song from him here tonight was ‘Hospitals And Airports’. The careful brokering of the tune bides with good fortune. The lyrics have a prudent sense of majesty. That captures an immediate sense of sentiment that is suitably convincing. But the soft quality in his voice also helps to administer the appreciation. ‘Oh What Is That Sound’ shifts the direction. Here things move from the more refined calling of the opening track to one with a fluid and compact urgency. It rides in highly with an endearing degree of resolve. This is backed by the truly engaging vividness of the lyrics. The tine itself also develops alongside the hardened progression. What is brought together adds a proven aspect to the delivery that hangs off his folk influences just as readily.

Another bountiful number followed with ‘Kiss The Sky’. Here the poetic calling brought an adverse Lou Reed calling to the mix. The autumnal worth in show adds to the romanticism in the noted reflections that are merely personal observations about the everyday. It is how the thoughts spilling out are captured that captivates you here. Then he retained that dignified assessment of his song writing ability with ‘Life Makes Us Strong’. The purity of the opening line is a big draw.

Placid to a certain extent it provides well for it all here. There is nothing lacking in terms of conviction and that is measured on all fronts. The leaner calling adds to the resolve fashionably as a result.

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LITTLE JOHN NEE

Tonight things were a bit different in the sense of what was brought to the mix with this next artist. With the elements of spoken word thrown into the mix it all had a sense of the theatrical to it. He began with a punk tune played on a ukulele called ‘Anarchy In Letterkenny’. That was imbued with a sense of distinction, while the comedic elements were carefully judged in his performance. And it was followed by another poetic offering that cornered the isolation. It is an untitled effort but one with a barren sense to it that was highly attractive. The theme of nostalgia running through it associates well with the isolation. When you pick up on that you see past the eccentricities and the sitar on show works well. The same goes for the next poem. It tells a tale of woe but finds the humour as the tale of a wedding is told. It is the communal folly that gives it charm here.

He then closed out with two original songs. The first was ‘Lorraine’. It is a likeable tune and crafted in an earnest way.

That is nurtured in the calling and the emotive showing is what carries it along. This is rather sufficient and the provision on show counts for a great deal here. His final track ‘Spark plug’ makes good use of the elegant demure that holds in the playing. This sees it through and the raw dynamic ushered in has slight Billy Bragg notions to it that work the theatrical calling smartly.

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LAURA SHEERAN Provisionally titled ‘Tender’, her opening song was one of an incredibly well measured temperament.

The Avant Garde touches relinquished a hint of passive notoriety. But is the bequeathed vocals and how they saturate the play here which enriches it so tellingly. They are factored in to give the texture an impressive richness which comes through in the showing here. Taking things to a darker place is ‘I See Prophecies’ and how the noir collects is rather favourable. The drumming beat gives it a compact backing that is neatly expressed. Artistically everything on show has high merit and her performance seems to motion this through. Her balletic movements in stage also add presence. But a closer listen to the tempo sees a slight Eastern sense of mysticism also play in behind the tracking that is rather impressive.

With an obvious collusion between the underground rhetoric and her own prowess ‘Sapphire Eyes’ corners a heightened fixation. It is not too edgy either. Rather it has a more introverted calling. The sedate tempo accommodates the movement in a way that confirms this assessment. Her final track ‘Forever Love’ commands the relativity on show. The electro is gloriously calculated into the equation and a rigorous pique then abounds. The looming way that it is all defined exhibits a telling precedent from how neatly it is measured in necessitation here.

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HAMSANDWICH

Having currently topped the Irish album charts with their third album ‘Stories From The Surface’, our final band is very much the act of the moment in the country. We have also got an interview with them this issue as well as a review of their album. But tonight was all about what they could do with a stripped back set in Doyle’s and it impressively got underway with ‘Hold Me Up’. The sense of fortitude displayed with the instrumentality on show adds up. The open quality to the performance guides an elegant sense of touch through and is denoted with a resounding sensibility. This collects in a way that is a big draw. They then call upon a goodness to bring ‘Imperfect Rhymes’ through. The strong and steady refinement offers a lot. But the ebb and flow here captures the softness which progresses to a more noted sense of determination as they go for it to close.

There is a heightened sense of hip to ‘Illuminate’ on the album but here it works just as effectively as an acoustic tune. The clean drumming is sharply noted and gives the rhythm an abundant bounce. It is orchestrated in a way that captures the neat and catchy side firmly. The tempo climbs in a way that excellently sets a standard but, at the same time, also allows their collective creativity come through. Sandwiched in between a fine version of ‘This Must Be The Place’ by Talking Heads and ‘I Feel Love’ by Donna Summer was ‘All Worth While’. You are sold on this one. They note the parlance in the delivery. That gifts it a learned sense of worth which filters through in the detailed expression here. You also feel that it being stripped back is what helps to capture its essence so firmly.

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SAUCY SUNDAYS The Grand Social (3-5-2015)

TRIPTIK EMPIRE From the manner that ‘John O’ comes in with, there is a telling sense of fluidity about the band. However it also has a kraut rock feel that resides rather favourably. That holds in the affirmative here and is eased across in a way that is not too taxing. That gives their stage presence a noted lively showing. The makings of ‘Faster Than A Mistake’ are rather determined. The Steady hold in the rhythm is what brings it all together. The warranted sense of conviction alongside the roadhouse showing listlessly hangs back but also captures the enigmatic in how the prowess is detailed. ‘Vizio Di Forma’ is an Italian number. Here the drag off the tempo works. B y design it has an infused degree of definition.

Added by the determined presence of the band it is backed up in a way that is not overbearing.

Fired up and frenzied by the scuzz of the guitars is ‘The Snake’. It dominates here in a way that is also highly economical. It is a bit light though, but again there is an abject notoriety to the showing that favourably keeps it intact. The later progression realises everything in a worthwhile manner which comes to pass on the bridge excellently. With its refined pep, ‘Requiem For A Swing’ sees hints of a beatnik calling come to pass. The bass deepens the sound here in a way that is both academic and procedural. The direction changes reflect that and the elements of swing create grandeur. This is spacious, but the intricate details in the play weave through the running in a worthwhile way. Closing out with a heavier sense of resolve is ‘Batman Is On Prozac’. Immediately this is a full on affair. The lean intro gives way and the progressive elements connect. The rich musicality displayed and the sullen tone makes the most of the spacious trappings as the development takes hold.

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MAGIC MOODLE AND THE VINTAGE CYCLE ARRANGEMENT

It was a very definitive set from this band. Even though it comprised of a four song set things were very much a case of style and substance coming together and leaning on the side of quality over quantity. ‘Indie/Intro’ is noteworthy. You sense the appreciation in the stylish 60’s glances that come off it. That collects in a way that personifies the band’s integrity and is exacted well in the broader calling. You feel a pastiche of The Yardbirds meeting Britpop and it is a long player that goes the distance. ‘Retro’ corners a specificity that is reflected in the patient handling. There are no vocals per sé, save for a chant but this is hummed in accordance. The lush psychedelic feel enriches it and the dynamics operate with a sharp ‘Summer Of Love’ vibe going on. ‘ They get going with ‘Jesus Don’t Want Me For A Sunday Base Line’. The West Coast groove shows and the expectancy of the two previous tracks doesn’t deter. The fluidity shows and that abject sense of flight shows in the movement which results in them finding their calling. Their fourth track was ‘Orange And Gold’. The careful details come through in the textured layering. You become fixated on how rich and carefully orchestrated both the band and the tune are as everything combines.

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TOUCHWOOD It was hard to know what to make of this band in a way. They opened in a favourable style with ‘Feel’. The procession to the way it works has an abundant calculation in the delivery. There is a conclusive sense of weight in how it steadily climbs. That is followed by the more sedate attributes of ‘Elysium Mines’ holds rather well. From this showing their set began to steadily build.

But it is where they come up with the goods on ‘Angelic Era’ that things take off.

How this brandishes a pop calling is figurative enough, but resignation comes across in the vocals which deadens it acutely. It works rather well and sees a distinguished Embrace comparison made. That is on account of how the vocals work and combine with the robust qualities on show.

The band also possesses greatness about their presence which draws you in.

This is noted with ‘Day By Day’. It is a reflective tune with an impasse that embraces a fine level of indie credibility at the same time. The maturity in the lyrics is presented in a way that shows a top drawer effort that wouldn’t feel out of place on Coldplay’s debut album ‘Parachutes’, such is the high standard to this. Getting its first play live was ‘I Was Yours’. The narrative is about the realisation of something when it is too late. It has a refined splendour which commendably shapes the arrangement. This is also something which sees the tempo find an agreeable level that is high in appeal. The softness in the vocals may be a tad too light but it is justified from the depth in the lyrics.

It is now that you begin to see the band grow into their set and the fond quality on show with ‘Where Buildings Fall’ brings poise. This invitingly settles upon it all in a well contained manner. The telling pitch brings it all to bear and the safer vocals again send it all through with a clarity outlined in the showing that is quite fitting. With ‘Live Like’ they lift it all off with an exemplified degree of precision. The skip in the rhythm adds bounce in a conclusive way. This falls fortunately by design and with the right degree of pep. That showing brings an alarming degree of smarts to the mix which balances it all out. Things are taken down with ‘Count The Stars’. The opening line is superbly placed. The honesty conveyed in the lyrics takes its calling from here and the overall pleasance in the arrangement is what also carries it off. They closed out with another majestic tune called ‘A Million Miles Away’. It has a big impact and this shows they can bring the harder showing to the mix when they want to. The catchy way it is styled also had the crowd in the palm of their hand which suggests that they could be one to watch in the near future.

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FOX E AND THE GOOD HANDS

It has been a very long time since we last saw this band play bit it would appear that they have lost none of their mojo. As soon as ‘Black Edition’ got things underway there was a rich degree of charm on show to match the steady determination and poise in the backing. The movement is incredibly fluid here. That adds a chic rhetoric to match the good sense of funk. They also go all out in the bridge before reverting back to the groovy side of things. Then they trap a slight hint of jazz which adds a classy cut to it all on ‘Think Less Than You Do’.

Again it has something additional to the funky calling that lights it up. It could also be down to how good they are live but it is a showing here that is incredibly inspired. This is obvious from the fluid way it is worked into a frenzy but you also sense how up for it they are as a band.

Neatly tidying away a reggae calling is ‘Supposed To Know’.

That is provided well for by the lullaby tone that gives it a keepsake styling. The tamer lyrics here are fondly applied and delivered in a rejoiced way. That sweetened apparel suits what they are singing about and brings with it a solid sense of charm. They bring an authority to them on each track and it is noted more on ‘Chinese Whispers’. This seems to bring a Blaxploitation influence to pass that you feel. The intro is scintillating and shows that they are very much the real deal.

They take care of everything as they get down to business. The savoury zest in the pomp stands them good stead as it marries well with the freestyling in the lyrics.

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Another carefully detailed effort from the band is ‘Unfortunately’. The assured demeanour is carefully ushered in. It is well fronted and the kindling of the tune displays a high level of appreciation. It is also vibrant when it picks up which brings a real degree of confidence through in a highly engaging way. Following that is ‘Punch Drunk’. The sophisticated intro moves into a more upbeat delivery. That is then broken down in a way which controls the weight expertly. The change in the arcs is factored in without anything being lost in the process. The energy of the song and the band are provided for excellently in the way they bring a unity to it all. A baying crowd wanted one more tune and they duly obliged with an encore. ‘Good Hands’ snaps into being.

There is a prominent showing of class behind the play. This is delivered brilliantly and the class on show prevails. They also seem to make good use of their presence. The song itself is given lift by the soulful vocals and the manner in how it finds heart leaves a lasting impression.

Irish Artists FIACH MORIARTY The Revolution

The efficiency that ‘The Revolution’ possesses as a track hits you immediately. This gives the trajectory of the tune something to work off. One eye is kept firmly on that approach while another is thrown on developing the sweeter calling. It is a very impressive opening track and matched by a degree of keyed in sensibility that is carefully calculated as much as it displays integrity. On ‘Mount Street Bridge’ the poignancy collects in an immediate way. The later progression tells the story of the 1916 Rising through the eyes of a working class boy in the British army. The substantial way this takes his circumstances into consideration is done in a way that avoids the sympathy for the Devil pastiche.

Next up is ‘Confession’ and this is a masterful effort indeed. The somewhat personal derivative suitably comes across in the morose contention. The sombre essence of the arrangement enriches the texture and tellingly fixes a considerable temperament upon it that is reflected in the maturity that shows. In the unbridled weight of the progression there is something explicit about it all.

Embracing a lighter sense of touch is ‘Freedom And Resistance’. There is a degree of splendour to how it is all played in and matched with a commendable degree of charm.

How the proactive side is considered gives it a backing that provides it with a passive referential. Again a sense of tenderness sets the precedent with ‘The Mother’. The careful way it develops figuratively embraces the sheltered calling that is also delicately procured from the acoustic guitar. There is a hushed tone that caresses the vocals smartly provides for everything in an engaging way but also gives it

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meaning. Another tune with a broader calling is ‘Nightingale’, yet it has a softness of touch to it all. The comparative of his voice tellingly gives it lift and is something you warm to. It has a careful consideration in terms of the instrumental arrangement which traipses across it in a kind way. That provides well for the genteel nature that is there at its core. With ‘Don’t Want To Let You Down’ you get caught up in the moment. The foremost way it is pieced together forges ahead virtuously which is galvanised in a conclusive way. It is a rather tidy tune brimming with appeal. The steady ebb and flow that corners the charming points also heightens their relevance at the same time.

The album seems to move into a confident stride now and with ‘Raindrops’ everything comes to pass impressively. The tidy and robust way that the rhythm drives this on is the making of it. There is also a sense of revelry in the dynamics that breaks the composure down in a relative way but still keeps the momentum. ‘While Oil And Water’ is a duet and he is joined by none other than Wallis Bird on this one. In the fine sense of completion that it possesses it proves itself. The heightened sense of worth is captivating and adding to that considerably is how the ease of the softer vocal awning lights it up. With its chaste intro ‘Won’t Lay Down’ has a finite calling and it builds respectably.

There is a noted degree of worth felt from how it travels which harbours the sentimental in the transition comfortably well. This approach brings the solemn calling to bear in an attentive way, while there is a maturity to how the bridge develops a more ambitious and layered approach to the way it sounds. Closing out the album is a live version of ‘Confession’ which was recorded in Vicar St. The religious references in the lyrics are keenly noted and again it draws strength from the calling it has but it underlines how well it is all necessitated.

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GROUNDS FOR INVASION Dying Stars

This is an album that contains ten incredibly strong tracks, with each reflecting the artistic investment of the duo in their diversification. Proceedings get underway with the fittingly titled ‘Beginnings’. It is an emphatic number that draws strongly on its synthesised sensibilities. The concentration of the ebb and flow passively adds to the distinguished level of creativity at work. With second track ‘Let Go’ the conclusive weight behind the tempo brings the cool demeanour through. Also adding impact is the confident sway of the rhythm which sashays across with a chic allure. That is a steady attribute that allows the wanton abandon find its calling. Third track ‘Stones’ sees the placement of the intricacies count. It is something in the showing that suits the contained maturity because it suits the approach.

This in turn allows everything to flourish under that construct.

They then begin to develop a heightened alternative showing with ‘Visceral’. This marries a deliberate showing to one that retains a sense of withdrawn focus. The subtle fervour is interestingly considered and locks away a ‘Space Race’ drive in the rhythm. The stoic vocals also help the track find a derivative that is highly realised and suitable. Even though it has a brief running time of less than two and a half minutes, ‘Little Things’ corners the poignancy in the reflective calling. It is the comfortably

10 numb calling from which it draws strength and condenses the poise maturely in the minute touches. Immediately things pick up with ‘Stars’. That directs the upbeat rhythm in a positive way that grabs you. The conveyance of the lyrical narrative takes it forward and also underlines how strong the context of their songwriting is. But what is also impressive is the post-modern retro style that fits into the running here.

You sense that there is an appreciation for letting the music breathe on this album and that assessment is confirmed by ‘Nagelbett’. How the playing arcs develop things gives the flight depth. But it is shaped and structured formidably to accommodate that approach. What follows in ‘Bruce Lee’ displays a sharpness to the synthesised elements which holds in an engaging way. They further promote that sharpness with the engaging way those qualities accentuate as it progresses.

Integral to that is a noted sense of indie disco identity that brings it all through. Best described as a slow burner is ‘Run’, but when it finds its feet you are suitably impressed. The comfortable lead in the way it builds carefully constructs everything and provides it with the foundation for it to open out into. Here the purity of the arrangement is fundamentally flawless and leaves you with an undoubted appreciation for everything it has to offer. There is a sense of a comedown to ‘Dying Stars’ that is significant. The anti-climax sentiment is conceived with a sense of the comfortably numb at the core. This pitches the delivery in a way that gravitates towards that anomic attribute yet smartly settles affairs by shaping the tune around a fitting contrast that picks up ambitiously.

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STRANGE ATTRACTOR Wacky World

This album has it all going on and the funk is placed at the forefront throughout. The first track is ‘Off The Wall (Or Not At All)’. The joie-de-vivre coursing through locks everything down. The elements have a vibrancy and the careful way it is produced affords them a requisite share of appreciation. You note how the tempo is built at key moments and how that is down to those respective instrumental moments. Retaining that sense of fluidity is ‘Keep Your Mind Moving’. A prevailing and tidy effort, it also has a recognised sense of grace to how it all takes flight. It has a pleasing sense of chic and the stylish way it moves keeps it together, while also bringing the finesse of nouveau disco flair to pass in a truly telling way. ‘Nothing To Take’ has a little twist in the rhythm that catches the imagination in the right way.

The zesty way that picks up the delivery is what carries it all through. The hooks in the bass combine equally well with the sharp pinches in the drumming. The sharp way it is kept in check is one thing, while the harmonica on the bridge is another impressive attribute that proves the bands credentials. You also fall in love with the disco beat that takes over on it as well.

How the movement gets underneath ‘Fish In The Sky’ shows how this bands works collectively. Matched by how the rhythm is laid out is a glowing sense of appreciation.

What moves through the playing furnishes it with a stellar fortitude. That brings the necessary touch of class and the sax solo on this cements everything it has going for it.

Again there is a sensible charm

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on show with ‘Wacky World’ which is backed up by the playing. The eschewing prowess that is cornered here invigorates it in a steady way.

The tempo is somewhat slower here but lacks none of the impact of other tracks either. There is a retro charm to the album as a whole in places and this is another track that exemplifies this with a knowing sense of capability that meets integrity. The album moves toward a more favourable progression with ‘Zombies’. This is a great tune. The way it builds factors in a great deal which sees the elements combine impressively. The leaner virtue lingers appropriately, while the catchy endeavour of the lyrics adds something to it that is stylish and relevant in equal measure.

The way they can invigorate a track through their playing is exemplified from how ‘Read About It’ steps out. It all adds up. It is a highly engaging tune and the pace is something that retains a grounded consistency that also empowers the tune. As the equilibrium takes hold here it meanders through in a highly attractive way. Yet how that is concentrated adds a considerable degree of charm to it all which envelops the delivery in comfortable way. It provides it with the movement it needs. ‘Hey Hey Hey’ has a nice touch of jazz tidied away on the rhythm. The bridge is something that cleverly processes those swing elements. There is a slight lightness about it that is a bit tepid and that is reflected in the vocals. The monotony does detract when it is picked up on. Closing proceedings is ‘Guinea Pigs And Pawns’. The happy exchanges on show are smartly crafted. They save the best until last here. How it builds is one thing, but how it languishes as it breaks into a stride serves it extremely well and it carries an urgency which squeezes every ounce of charisma from it. It is a seductive element consumed from how the style and substance come together.

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LITTLE XS FOR EYES Everywhere Else

This is an album of ten tracks that can’t really be pigeonholed and for that it is a highly admirable effort indeed. The high standard of innovation shows in the procedural approach to how ‘Phantom Wings’ builds. The steadfast layering of the arrangement accommodates a subtle J-Pop groove. In how that is carried through and pressed ahead brings a subtlety which impresses for all the right reasons. Again a sense of sophistication is cornered by the opening of ‘Love Gets Lost’ that again mirrors the J-Pop sleight of hand. This is reflected in the relativity of how the vocals and rhythm combine. It is an effective plus point that leaves you in awe of how the band are pushing the proverbial musical envelope here. ‘Sleeping Hearts’ takes things into more defined pop territory and the impressive weight in the tracking suitably brings it all through. In the committed feel as it takes flight there is a heightened sense of realisation. This becomes more apparent in how the song’s essence is cornered by the virtuous way it comes together to give it that noted sense of completion.

The opening of ‘Summer Stay’ retains a sense of the cautious before the pace cleverly picks up. The ebb and flow is rather tidy, with neat retro flourishes in the rhythm adding real quality to the synthesised elements. It is a conclusive effort and one that simmers with class. Arguably the stand out track on the album is ‘Logical Love’ because it

10 borders on perfection. There is a calculated showing to everything which builds in anticipation from the sharp drum beats on the intro. It has a select appreciation about it which envelops the sound conclusively which is further provided for by the catchy hooks on the chorus.

‘Dusky Seaside Sparrow’ acts as an interlude and is then followed by ‘Funk Island’. In the calypso formations of the play a nou-disco style cleverly develops, while there is a real plus going for the casual feel of the song overall.

Hitting the ground running is ‘Loser Leaves Town’. This gains composure with maximum effect. There is also a degree of finite efficiency about it all as it comes around. It is a joyous pop effort and one that gets better on repeat listening. Another point of note is the credible manner the rich texture of the playing comfortably settles the delivery as a whole. This serves to confirm the high standard on show. Bringing a hint of maturity is the more refined ‘Nearer To Nowhere’. It has a hint of closeness to it in the right way. That is reflected in how the music is processed. But the same can be said of how everything comes together as a whole what comes to pass as it is all felt out has a broader calling.

The album signs off with the consummate ‘Disko Bay’. Again there is a smartness displayed which is pressed ahead advantageously. What heightens the fervour here is how the retro qualities collect alongside the noted modernity in how it all plays out cleverly.

Overall this is a defining album that should feature prominently on a lot of best of lists for 2015. And rightly so.

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NEW VALLEY WOLVES

Refusal Is Our Weapon Having graced our cover last month and seen them play live on numerous occasions, we have been eagerly awaiting this album and it doesn’t disappoint. This is an album that lets the music do the talking and you hang on every word. As soon as the opening riffs come across on ‘Shake Your Bones’ you are hooked.

This is a proactive calling to this which fires it up and plays how God intended rock’n’roll to be played. The unbridled delivery fashions it full of urgency from the off. Again ‘Animal’ comes to be a track with real bite. How well calculated it is shows. The first thing you admire it for is the steadfast way it climbs into a groove which hits rightly. How it is structured gives the vocal delivery on the chorus some serious impact. Nothing is sold short here. A chagrin resonance comes off the play and immediately draws you toward ‘Fire In The Blood’.

The intense virtue of the rhythm stings the air. You sense that the band is not fucking around here with how they lay it on because everything comes through in a way that doesn’t disappoint.

At 1:48 ‘Acid Ocean’ provides the album with a steady interlude that sees it act as more than mere filler because there is a token drag to the tempo that lights it up explicitly. That is followed up by ‘This Bad City’. Straight away they get down to business. As the weight of the guitar and drumming combo wrap around the rhythm there is an additional presence confirmed by how lean the vocal cut is here. The brash showing here

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sweeps through but there isalso a raw prowess to how it runs which spreads evenly and doesn’t see things drown in a wall of sound. In the unmerciful way ‘Shark’ comes to pass there is a lot to admire. The tenacity is apparent. How this comes to back up everything muscles its way through and the dynamics are very much in sync throughout. This is another track with attitude but it is there for a reason and not just for show. Somehow ‘Athens’ deviates in terms of how the playing arcs work. This is quite apparent but doesn’t detract or feel out of place.

Instead it wonderfully develops the album by not being as full on, while the later progression brings the rock attributes together tidily.

Again they revert to type with ‘F.T.F.’ and this is another confident tour-de-force that shows mettle. The tempo is a controlled affair that denotes a true degree of bravado. That confident rhetoric processes the intent squarely but also sees the running pick up in a way that notably concentrates that as a calling toward something of real affirmation.

What is called upon with ‘Crooked Sea’ very much sees them pull something out of the top drawer. Vocally things have a stark face value which blends into the song seamlessly, while there is a bold saturation that envelops the rock calling. Off the back of a deepened intro comes ‘Cold Winter’. It is somewhat deadened tune which has a sense of isolation to it all but it also comes through with a noted sense of detail as an instrumental piece. The final track here is ‘Rabbit’. Blessed with a telling sense of modernity this puts the icing on the cake for the album as a whole. It is an exceptional tune that is fuelled by an enormous degree of intent but it manages to convey a level of conviction that signals the intent as it shoots straight from the hip.

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HAMSANDWICH

Stories From The Surface The album’s opening tune ‘Hold Me Up’ is incredibly attractive. This is picked up on from the handling. In a way it is somewhat heavy but the lightness in the flight accommodates the neat revelry in the vocals. This is what takes it where it needs to go, while the pedigree of the arrangement sits upon the delivery in an equally impressive way.

Next is ‘Apollo’. There is a channelling of nou-disco apparel in the progression which cushions the delivery.

This is rather chic but is mindful of the fact. That approach rightly combines style and substance, while the fluidity is also smartly kept in check. With ‘Square’ the intricate manner on show fixes something deft to the delivery. In how it progresses an added layer of artistic merit is also processed. The harmony of shared vocals brings a persistency to the ebb and flow which corners the bespoke, while the avenues also allows the broader shouldering to come off relatively well.

They prove that you don’t have to sell your soul to make a good pop song with ‘Illuminate’. This is a tune that is incredibly fluid, while the sleight of hand collected on the rhythm gets beneath the delivery to add real depth. The attractive keepsake appeal is highly creative and how well placed all the elements are gives it real inspiration. Maintaining that consistency is ‘Fandango’ and the determination held in place confirms this. How the vocals fill out is suitably impressive. How it holds really galvanises it when

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it gets moving. A slight hint of Belle And Sebastian is also present as they send it on its way. How ‘In Perfect Rhymes’ plods along is a rather appealing but the real value is found from the admirable way the music peels away as things pick up. In that regard the relevance of the detail heighten the taut hold of the tempo which adds the necessary edge in a proven way.

Pressing a steady dreampop calling on proceedings, ‘To Replicate’ is a dresses it all up dutifully. How giving it is on a collective level presses the graduated style of the rhythm ahead with sophistication but it is guided by the sensible way both the vocals and arrangement are brought through and considered in equal measure. You start to feel that the album is on a comedown with ‘Broken (Start Over)’ initially but it is a steady tune that is commendably tracked. Doing so finely captures the ambience. How it moves makes incredible use of the spacious aspects, thus giving the projection an intelligent elevation. Arguably ‘Satellite’ is the best track on the album. A lingering oriental influence comes through in the arrangement. The volume is enriched and the passive worth of the delivery is mirrored by how the vocals follow through. This is a very complete tune which enriches the album all the more for its inclusion.

Closing track ‘All Worthwhile’ shows how well laid out the album’s running order is because it perfectly fits in as a final offering. There is a distinguished sense of reflection on show in the lyrics. The finite demeanour of the vocals alongside the rhythm boxes clever and the expression of the delivery impacts with the right level of sincerity.

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PETER MCVEIGH PM

What is set out from the album’s opening track ‘Stronger’ serves it well.

Cornering the elegance of the string arrangement processes the weight comfortably, which is mirrored by the seamless way the leaner flow adds distinction which builds the arrangement. Off the deft touches of intricacy in the revealing intro, ‘Song For Winter’ converses to become a fine duet. The patience seduces the listener as it drifts across. That brings the lush calling of the harmony through with a sense of intimacy. On ‘When We Kiss’ the boding essence collects in an interesting manner. This connects by channelling a dedicated sense of urgency through. How the softness is glanced at adds a playful touch that fortunately takes it where it needs to go as the compact showing takes hold.

By building upon a formidable sense of fondness ‘Dancing kindles the structure of the piano arrangement in a way that sits right. The kneading of the vocals adds a soft reverence that proudly brings forth an endearing realisation.

Another tune that holds the softness together is ‘This Year’ but it has a commendable level of appreciation to it. In the innate quality of the lyrics everything is pressed ahead in a way that marries well with the vocal delivery. There is a lighter feel to it but the tender calling brings a sense of closeness which stands it good stead alongside how the arrangement accommodates the scope of everything.

Harboured in the softer

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reflection of ‘I Remember’ is a pitch in his voice and tone which seem to dally through. However the hardened way things pick up is calculated and carries it through with a nice touch of intent that doesn’t deviate. It merely provides a stern front to the majestic way it is all outlined and adds kindly to the mix.

Of all the tracks on the album it is next song ‘Sarah’ that you think fits his voice more than the others. There is also something to how this is laid out that to suggest it is built around the lyrics. They have more precedence here and their worth seems to be more enamoured than on previous tracks. That is an accentuated touch which provides well here and the prevailing warmth feels like an extension. ‘We Can Dream’ is something that feels very much by the numbers. Even though the apparel on show is a steady one there is nothing to it that stands out to take away from the overall assessment of it being ordinary. That shortcoming is made up for by ‘Home’. Wonderfully lingering here is the piano arrangement. As the piano arrangement lingers it wonderfully comes to pass from the pursed vocals. They breathe life into it by imparting upon proceedings a heady lift which prevails in a fundamental way from how the bespoke showing fits to it all as a whole.

The album’s closing track is ‘Save Me’. Tellingly framed and intricate, it is a song with a proven sense of refinement that captures the emotive side prominently. The way it retains a grounded sense of vulnerability is an attractive trait that balances the sincerity on show with a performance in the delivery that matches.

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I AM NIAMH Wonderland

As soon as her vocals begin to tease their way through on ‘Wonderland’ there is an unmistakeable sense of virtue brought to bear on this album. A bewitching allure is also situated in the delivery which entices the erratic touches in a gifted way.

But there is a sense of the enigmatic to it that is brought through by the artistic merit on show. Then the direction shifts with ‘New Home’. The heavier calling of the tempo holds prominently, while her vocals seem to guide everything as they work around that. But with how the pace smartly picks up in places defines it in the right way.

The shift in dynamic adds a touch of eccentricity to ‘Wait Until The Morning Comes’. A heightened sense of specificity, which suitably draws Kate Bush comparisons, resides on this.

The tremendous way it is brought to bear garners appeal intelligently and brings it all into focus in a resounding way that retains faithfully to the musical side of things.

The intro to ‘Bellend’, with its listless calling, places everything at the fore. It is more of a side note than actual track but it creates good mood and tone.

That gives way to the spry calling of ‘Sent Box’. The accentuated charm is the result of the calculated way it is contained. The bespoken way it sounds and plays dallies along with specificity, which in turn provides it with a noted degree of originality in its direction. To borrow a pun, ‘London’ sees her find her calling. There is a richer hint of synth on show which builds the prowess in a concise way. There is a favourable showing to the arrangement and the steady outline of how it is tracked provides extremely well for it all here. That also sees everything stay on course as the playing arcs change in style. That owes a lot to the superb handling on show.

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With ‘All For View’ the alternative style she has as an artist prevails. The sombre texture to everything enhances the presence furthermore by giving the darker apparel something conclusive without it descending into monotony.

In the unassuming nature that the lyrics come to pass on ‘Fool’ alone you are attracted to the song. Another plus is the taut fixation in the tempo which leverages a solid sense of calculation into the mix. It also retains that consistency in a highly admirable way. She again prevails with the enigmatic ‘Cyclops’. A leftfield dalliance to the musicality plays out with telling resilience here. This heightens the developed flourish in the alternative identity she has as an artist. In its own way there is a hint of Balearic influence at work with ‘Hang On’. Overall it is carefully and astutely gauged.

Proving her capability in a telling way is ‘Change The Pattern’. In the high attention to detail that is marked out by the spacing everything is helped along prominently. You pick up on details such as the cello and the rest of the percussion here. Everything is laid out clearly and as such there is a heightened calling to it that tellingly forms in the reach without it coming up short. Blessed with an innovation that works favourably is ‘Conversations With Bunny’. The confident way it steps out realises a great deal, while her vocals provide well with how they are pitched. In short, there is a clever display pocketed here that is rich in artistic endeavour with this track. With ‘Turn Back’ it seems to be an offering that is more about the expression of art for art’s sake. In that regard it is divisive and hard to make a call on because not everything comes together favourably in part. To see out a rather fine album is ‘Creep’. Here she allows a sense of splendour to take hold. That is mirrored by the creativity and how that is directed towards the music. As the distal nature of the tune takes hold there is a bereft breakdown on show that garners well by intent.

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AND SO I WATCH YOU FROM AFAR Heirs

In its own inimitable way ‘Run Home’ captures a definitive sense of the enigmatic. Yet is also tailors the alternative aspects in a heightened way.

How it is layered imbues the delivery with a telling appreciation that is embraced to highlight their artistic integrity in a fundamental way.

How the urgency collects on ‘These Secret Things I Know’ impressively corners the running. The impact is a steady procurement that is carefully measured but also retains an impressive sense of identity that is highly engaging musically. Armed with a steely resolve from the off is ‘Wasps’, while there is a sleight of hand in the undertone that denotes an Arcade Fire influence. As an ensemble piece it is one that takes to the task at hand rather suitably and delivers accordingly.

With the spry way it opens ‘Redesigned A Million Times’ has a more prevailing sense of sophistication. It is reasoned with well on the tempo but the due flow of the vocals on it is also a telling aspect. The considerate way everything is structured here falls into place and leaves nothing to chance.

Again the ability of the band is foremost on show with ‘People Not Sleeping’. The instrumental showing that comes through here is immense and backed up by a prolific standard that lays down an exceptional marker.

There is a more defined intent to how the rhythm picks up on ‘Fucking Lifer’. Not only is it more upbeat but it exudes a specific degree of confidence, whole again that Arcade Fire

9 influence lingers slightly. But when it gets moving the fluidity takes hold in a benevolent way which gives it a formidable sense of closure and depth that seamless extends from the opening onwards.

At over six minutes, ‘A Beacon, A Compass, An Anchor’ is one of two long players on the album. It maintains a fine sense of instrumentalism and structure which carefully craft. The tiers within the layering are highly effective and how they are referenced within the delivery carefully construct the track in way that is highly relative. Despite its running time, ‘Animal Ghosts’ is an engaging tune that feels like a masterpiece.

The incredible sense of prowess that collects in the playing presides over the delivery with a notoriety that meets an incredible level of distinction in the playing details. It is a commanding effort indeed and one prevails in the latter stages of progression to encapsulate an odyssey of magnificence trapped immaculately within a wall of sound. Resounding in terms of how it is carried through is ‘Heirs’. The appreciated showing that carries it all through is thoroughly presented and the arcs also accommodate a lofty sense of ambition that meets tellingly with the credibility on show.

With the casual demeanour of ‘Tryer, You’ the heavier signature of their sound dissipates. There is an engaging sentiment on show and that soothing meander in the softer calling here offers something sedate to begin with before lifting off in a rather subtle way as the tempo shifts to a more realised calling. But it is also feels rather apt and closes the album appropriately.

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RADIO ROOM 92|93

When an act gets to record with the legendary Steve Albini they find themselves in the presence of someone who has worked with some true legends. On this album it shows why. The progressive and post grunge feel is something that is felt throughout this album is exacted on every track in a way that keeps everything together.

Things open with ‘What You Heard’. Expelled in the leaner derivative of the guitar work is a dynamic that takes precedent. The encompassing precedent that coats the vocals extolls a shallow calling that suits the raw nature of the delivery. The album continues with that transition as ‘Skin Touch’ neatly bears fruit. What is played through considerably corners the more rotund aspects but there is also a sedate sense of worth that accounts for a great deal on the isolated showing that makes the impact on show more direct. They seem comfortable harnessing the intent when required and it shows as ‘Just Like This’ furthers the album’s progression. In the resilience everything is cleverly balanced with a prowess accompanying the lucid trappings that binds all of the aspects together in the affirmative. It is also a track given room to breathe which is picked up on with the appreciated touches that come to pass.

Off the back of how it checks in there is a slight quickening to the pace with ‘Better Now’.

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This hits you in the rhythm and the vocals equally retain as sense of definition as it all falls into place. How the impartial qualities are relayed sees everything come to pass most favourably. They apply a softer touch with ‘About You’ that holds all of the intricacies in place on the intro. After that gives way there is a sturdy sense of traction. The brandished breakdown of the tempo underlines that and pulls it in the right direction. Another fine track that sees them get straight down to business is ‘Maybe Her Too’. The determination is apparent but it the stoic urgency that travels through which deadens the resolve in a comparative way. Flourishes in the playing arcs also furnish it with an edgier apparel and it corners a grunge-like sentiment that steps out prominently.

How shrug takes off brings a noted sense of development to the album. In the way the guitar derivative is fixed to the delivery it fashionably holds court. It is rather steady but the controlled touch finds its calling and while it is remedial to a certain extent it is the way it presents itself that you are drawn to. While ‘Who We Owe’ is a brief tune it benefits from that because it sees everything compressed into that running time. As a result the compact calling works well alongside the underrated calling that fuels the tune and still manages to fit in a bridge section in under the two minutes it plays for. That is impressive to say the least. With an interlude preceding it that has a high prog rock influence about it we come to the aptly titled ‘Curtain Call’. Somehow there is a sense of cool shaded here which fuels the delivery. The accommodating way that the playing is channelled allows the urgent attribute come to pass but also deliver it in a way that favourably evens out on all fronts.

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Irish Artists

Coming Home Country music can be something that you or sold on or you give a pass. With this EP there is a commendable showing of fine songwriting ability that is backed up by an impeccably high standard of musicianship. Starting it all off is ‘Coming Home’. You pick up on the heart and sentiment in the showing. This steers the performance in a foremost way and the tidy weight of the arrangement brings a stern degree of accountability to proceedings in a similar fashion. ‘I Wish I Could Love You More’ has an autumnal settlement which carefully plays its part here. There is a finite calling from her pursed voice here. In all there is a somewhat sedate value to the song and it is embraced without it feeling complacent. In short it leads somewhere from how it is addressed.

From how the opening line feeds into ‘Don’t You’ the apparent maturity takes it where it needs to go. How the tempo brings it around gives it movement. This is very cleanly processed. Another telling feature is the sincerity that spills forth from her voice, but it is how the urgency in the rhythm is doled out which commendably grants it presence. Displayed with ‘Now That Your Mine’ is a sensibility in the running which evens out by the way it is completed by the lyrics. In a way it has a sweet quality but that is backed up by a substantial degree of worth from how the delivery works as a whole. The fifth and final track is ‘Meet Me In The Middle’. Again there is a forlorn quality in the reflective nature of how it comes off. The metaphorical derivative processes a sense of optimism about how love between two people is the ultimate completion in life. In that sense it is nothing particularly new, but it is brought together in a very neat way which makes fine use of the intention.

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CHRIS HAZE

Thoughts To Words This album opens with a telling sense of confidence with ‘Don’t Wanna Fall Asleep’. One of the redeeming qualities here is the rhythm. It has a hint of Northern Soul that meets with a sense of modernity.

It is very chic. The way that the raised feel of his voice comes to pass also fits comfortably here and there is a steadfast precision t how it all runs which is guided through with a telling sense of ambition meeting ability. You could draw a comparison to Duffy’s ‘Rockferry’ album here.

‘I Don’t’ follows and it is another tune deserving of praise. The arrangement has a delightful hint of revelry and again it gives his voice a suitable platform as everything takes hold. His R&B influences have rubbed off here. What stands this good stead rests with the ebb and flow. They have a resolute worth which carries everything through and leaves you wanting more. Completing the EP is third track ‘Dry Your Eyes’. A very commendable effort indeed and it shows in the forthright way that it grows in stature. The intro is a soft affair but it progresses excellently. In doing so there is a sharp cut to it that is rather lean without it feeling unnecessary. The steady way it builds traps the remote qualities to makes that a more calculated calling when it takes off.

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TANDEM FELIX Comma

Released as a single, ‘Nothing I Do Will Ever Be Good Enough’ showcases a band that is at the top of their game. The fluid way it is all motioned through has a sense of togetherness and is further confirmed by the virtuous apparel of the way the vocals circle the song. They prove decisive here and the fixed casual flow is superbly factored in. The way it enriches the tune is magnificent. Extending that sense of majesty they have about them as a band is ‘Waiting In The Wings’. It is a token calling and one which finds a sensible balance of both weight and substance. How it is eased into being adds a proven weight that sternly contributes to everything on show.

Carried through superbly is ‘Moon Tingles’. The subtle Americana blues derivative serves it well.

It is a spacious tune and the excellent standard on show is called upon commendably. There is a stoic appreciation in the vocal delivery which also falls favourably upon everything here and adds further face value as it all takes hold.

Continuing on the American vibe is ‘Union St. Blues’ which procures a darling testament in the flight and provides the song with warmth. It is a requisite touch and one which adds an admirably to everything on show. This is an effort that is carefully guided and it shows. The final track is ‘Mandarin’ which starts off with a haunting sense of the solitary. It is fitting and sees the rest of the arrangement built prominently around this. Also on show is the band’s alternative approach for which their earlier work was noted. This is a fine effort to close out with indeed and an equally impressive EP overall it must be said.

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THE TITANICS The Titanics

Taking off in a fine way is the opening track ‘You’ve Got It’. What it brings to the table is carefully calculated and fed in. As the rock styling takes hold a brash air of confidence also comes to pass which develops a heightened sense of maturity, which fits around the arrangement comparatively. It is a neat tune and tracked in a way that compresses the intent in a way that suits how it is all laid out. In a way you pick up on a strong Foo Fighters/QOTSA influence with ‘She Wants It’. It is played in with a foremost sense of prominence. In a way it is lacking because it has a by-the-numbers feel but it is compensated for by how committed a showing it all is. That signals their intent and it is confidently brought to bear from the lean showing that is cornered.

Adding a sense of a more calculated calling is ‘Holy Smokes’. The chaste way it opens builds in a deft way before bringing a resilient sensibility to bear as it gets down to the task at hand. In the dynamics here is a formidable keel and it boxes clever. The careful way this is curtailed shows in a certified way but also puts some weight behind how it works overall. In ‘Cannonball’ they get straight down to a full on bluesy affair. It rocks out in a clever way. The leaner showing brandished here correlates in a finite way and carries across in a way that necessitates in a worthy way. The way it hits caries that intention across and it picks up the running in a steady way. Then we come to ‘Call It Out’. The movement here is more graduated and it stands it good stead. It clicks into gear.

How it is all touched upon gees it up and works effectively well. How the anthemic prowess is curtailed here adds to the impact in an impressive way here and sees it go the distance.

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GO WOLF Running

This is another fine recommendation from our Belfast network. They get things going with ‘Running’. The neat nou disco apparel adds to the indie credibility in a dutiful way. In the charming bristle of the intricate synthesised beats there is a clever flourish of class that adds heart to the song. Things move up a gear with the nice way ‘Slow Burn’ adds a retro appeal.

This is carefully orchestrated and the smart dynamics working their way through are a calculated showing that adds style. The way it picks up is also rather relevant and brings something noted to the mix.

You feel how ‘Friction’ works. It is the standout track on the EP. As the opening line comes to pass it catches you off guard. It is not necessarily a pop tune but one with a hint of a darker maturity to it all. The break down is one that is commanded by the presence and good mind to how it is all set out. The standard here is also incredibly high. The final track is ‘Even God’. It has a telling sense of discourse which gets underneath the delivery. The lyrics are highly reflective and they suit the way it neatly flows. It has a heightened procurement that is idealised. With that alongside the patient calling it comes full circle in a prominent way.

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THE CLICKS

Time Goes By When an EP opens with a cover it can be a bad omen. That is not the case here with their live version of Ryan Sheridan’s ‘Oh My Sweet Carolina’ would appear to be an exception to the rule. But we are more concerned with what they can do with their own material. With ‘I Know I’ve Won’ there is a degree of sensibility but also a keen showing of folk influences at work.

The sombre relevance of the vocals tidily adds to the worth of the song here. How ‘Bodies’ pushes the underlying sexual context is felt out intelligently. It places a real potency upon it from how it speculates upon the intimacy. That careful consideration is mirrored by all of the details on show and provides it with a noted sense of purpose from hold it holds sway.

As you would expect, ‘Lullaby’ is a rather soft affair. The poignancy of the notable reflections also conveys an earnest attribute that fits. This lingers on the sentiment but not in a way that overplays everything. In how it sweeps in things tellingly come to pass and there is nothing necessarily to find fault with here from how it is composed. ‘Time Goes By’ also feels its way through. There is a very abject flight to it that gives it a kick. How it holds is doled out squarely while the meander of the tempo drives it on. It is a solid combination of upbeat folk met with real intent. As a final track it suitably closes out on a high.

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A LAZARUS SOUL

Mercury Hit A High This is an interesting EP to say the least. The opening track is covered by both the band in question and again by The Last Sound. The first version there is an innate sense of development. which processes the finite fluidity of the arrangement. It prevails in a way that slowly unravels. But what is fastened in the lyrics is an eye opening showing of telling prowess that meets a graceful alternative worth in the breakdown as it is all cornered. The second version does the original justice. It not only embraces the alternative and progressive nature of the track, but what it also has is a noted sense of identity that makes suitable use of the creativity on show as the attempt is pulled off. The electronic elements play their part in a conclusive way also.

As ‘Mark’ll Sink Us’ opens it takes you along for the ride with the latent psychedelic attributes bringing a chaste resolve to bear on proceedings. The development of the structures realises this and it allows the creative process as a whole become an effort that promotes the musical side of things foremost. It is a mesmerising tune that is grasped figuratively from the off and continues with that train of thought as it fully progresses.

With fourth track ‘On The Late Shift With The Skeleton Crew’ a profuse organic is noted.

Hints of a dark calling, a la Nick Cave, add to the pensive feel. There is a noted sense of depth in the lyrical observations. They in turn give it a telling ‘poetry in motion’ feel that settles into the noir texture commendably. This is a very solemn tune but one that more than holds its own indeed.

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GAR COX

Support Your Local Bookshop Having caught this artist playing live at The Ruby Sessions (and the review is in this month’s ‘Scene & Heard’ section) we were impressed. He duly gave us a copy of his EP in person to review. What is brokered on the opening track ‘Hospitals And Airports’.

The solemn premise that collects in the guitar work bestows a grace upon it that fits rather well. It does so in a lasting way which provides extremely well for everything as a whole. There is a dandy calling to ‘Kiss The Sky’ and the impresario holds in a Lou Reed-esque like way that works rather well.

The sheltered ease of the vocals accentuates the observations in the lyrics and project upon the delivery in a highly practical way.

The eponymous ‘Support Your Local Bookshop’ follows. The calculated showing in such a brief running time is a great calling indeed. There is pace, style and substance all inside the 1:47 running time but, more importantly, they bring everything full circle in a most opportune way that is comfortably processed. With ‘O What Is That Sound’ there is a folk undertone in the tempo that attractively weaves through the track. It commandeers a lightness of touch that rounds upon the tune in a way that adds a noted sense of completion. That fits alongside the impartial call of his voice. What is showcased here is an effort with largesse to it which is brilliantly brought to bear.

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DANI

A Whisker Away Dani is another talented Belfast based artist that we are very familiar with here at U&I. Her EP is a captivating quintet of elegance. The elegance of ‘balloon’s masters a graceful sense of poise. There is an earnest virtue in her voice that carries it through. The favourable calling necessitates a sense of virtue which is sensibly embraced. In the lightness of the outlines you are drawn in but it is a song that finds its worth from the narrative of the lyrics. They fix upon it a heightened showing which works as intended. Again there is a sensitive tailoring of everything with ‘Heartbeats’. It rises in a bespoke way that is incredibly tidy. This secures a neatness which opens the progression in a tender way. The fluid way that motions the derivative through drives it on but still retains the notion of intimacy that really defines it.

Fixing a blues influence so prominently on proceedings is ‘Dice’. The change of direction grabs you here. It is more urgent and the resolve collects in a way that reflects this. In the maturity of the lyrics it is all set and the tempo also drives it on in a way that is highly credible. There is an edge to it and that rawness builds considerably well here. Again the tasteful way the EP changes direction shows with ‘The Castle’. Ably determined it is a tune that carries itself extremely well. The weight of the Americana influence imbues it with a noted sense of identity that is brilliantly applied. Her version of ‘The Auld Triangle’ has a favourable take and it distinctly schools it in a way that moves it away from its original trad calling.

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LIZA FLUME

Morning Light The traipsed feel of the first track ‘Sheets’ is one that captures an emotive sense of isolation. The expressed calling in the vocals illicit a deftness of touch that meets with approval. In one way the vulnerabilities on show are tenderised but on closer inspection they showcase a sense of specificity from which it draws strength. With the electronic touches in the rhythm, there is a minimalized calling to ‘Apart’. Very much it is an offering that has an oeuvre at the core and it plays intrinsically to something with a standardised art house appeal but it does garner a knowing degree of richness from how the anomic sensibility is closed in on here.

The third track is ‘My Love’. It too is a minimalist track. How the artistic side is intrinsically stared down shows. It is a highly expressive effort, albeit one that can be divisive, but it is a committed showing that wants to embrace the artistic side of everything for art’s sake. That is an acceptable premium here and it gives as good as it gets.

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International Artists

THE LAKAZANS Homegrown

There is an impeccable sense of groove to ‘Little Child’.

The rhythm fills out with a noted sense of purpose while the vocals also offer a noted sense of distinction in terms of how they seduce the listener. The richness of movement is apparent and settles into the tune superbly.

‘Four Sixes To Beat’ is a tidier affair. The pick-up in the Americana keel is fortunately felt. The hardened resolve also lingers in an equally fashionable manner, while the kindled sincerity of the lyrics also captures the essence truthfully here.

Third track ‘Queen Of Dirt’ is an equally superb showing.

The way that the arrangement is formed has a splendid degree of certainty about it. Everything moves with a solid sense of determination when it gets going. The steadfast fronting of all aspects brings it full circle and the highly desirable intent is matched by a display of telling artistic integrity that takes you along for the ride.

Feeling somewhat like Canned Heat’s ‘On The Road Again’ is their cover of the Martha And The Vendells classic ‘Dancing In The Street’. The approach works well here. Picking up smartly

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is ‘Don’t Give That Jazz’. Here there is an alluring degree of sophistication to it all. This is tidily considered. What adds a sense of totality to everything is how cleanly cut everything is which adds to the charm offensive in a real way here. ‘Why Should I’ is a highly emotive affair. Reflected in the subtle outlines is a sense of sincerity. That pours out in the music and the vocals pursue this with a suitable level of intent. That it is closed down with such relevance invitingly draws you in.

Embracing a sense of swing in the rhythm is ‘Wonderland Words’. The harmonised fluidity of how it all comes to pass delights in such revelry.

But it has hints of blues that also paly their part equally well. The movement squares everything away and that is what gives it momentum. The second cover on the album is Elvis Presley’s ‘Hound Dog/Mercy’ and it is followed up by ‘Need Me’. This channels a forthright level of appreciation. The abiding way that the fluidity of it works sells you immediately. Also collected rather well is the depth in the vocals. What they display captures both the heart and soul here with a telling degree of exclusivity as they envelop the delivery magnificently.

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LITTLE LAPIN

Remember The Highs This is a fantastic album.

From the opening song ‘Magnet Eyes’ there is a pronounced retro quality, but it still adheres to an indie rhetoric. The steadfast tempo adequately embraces the synthesised beat but it does so in a manner that allows the slower recourse come to pass in a highly beneficial way. But the allure of the voice is also equally endearing and how this comes full circle is nothing short of brilliant.

Her savoury voice corners the delivery of ‘Over The Draft’. The tranquil temerity of the rhythm is one thing but the imbued calling is exceptional. The docile way it collects adds a formidable sense of worth that superbly underlines the patient nature and dynamic in the minimalist way it is carried through as a whole.

As the guitar riff on the intro of ‘Remember The Highs’ comes to pass it enables the tune to come around. Hints of a Chrissie Hynde comparison are suitably made. This is a tune that is constructed in a forthright way with the leverage behind it pushing it through. Yet it is engaging and the manner in how it is all engaged denotes a sterling level of ability meeting talent.

‘Go! Stop! Go!’ is anything but. Rather it is a neat state of affairs from the off. The sensibility on show is a commendable pursuit that holds a noted sense of artistic integrity about it all.

The foundation of the tune

10 carries an incredible degree of worth that is keyed in with noted calculation. As a female vocalist she also captures the soul here and that further appreciates the essence of it overall. When you listen intently to the lyrics of ‘Sound Of Summer’ you discover just how great it is. It is a lean tune and the delivery turns on that aspect impressively. The disjointed projection on show is also a favourable calling, but it is the depth running through that sees it bear fruit. This is a solid tune in so many regards. What is asked of the lyrical narrative of ‘In My Mind’ carefully carries it all through in the reflective showing.

It steps out in a tasteful way. That adds a proven sense of resolve to the nimble sense of fortune that backs it all up. But everything on show is there by design and you sense that the somewhat laboured 60’s revisionist vibe that lingers here in such a referential way.

‘Colour Blind’ is an uncomplicated affair that steers the passive side of things right from the intro. When the upbeat progression comes to pass you feel a sense of urgency in her vocals that is necessary to allow the compact framing of the tempo come through. The deviation between playing arcs is handled in the affirmative which grants it an added sense of discourse in the dynamics on show. With ‘Panic’ her voice carries the song. How the arrangement is laid out provides a platform for her reach. It is here that you see the modest qualities she has in the earnest way the performance is carried through. It is suitably pressed ahead in a way that lets things continuously flow. Her final track is another charming effort called ‘A Nice Coincidence’.

There is a niche here but is a quality that avoids pretentiousness. It just ticks along in a tidy way and the fashionable way it does so is something to truly warm to.

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TWIN PLANETS

These Walls Hold Nothing But The Death Of All That We Hold Dear Beginning with an interlude, the album denotes a textured approach that sets everything in motion with ‘Centipede’ while also retaining a degree of prog rock in the process.

Then we come to ‘Space’. The resolve is steadier and the softened calling of the vocals is realised by the way it suitably fits within the way it is all framed. Although a fair criticism would be a lack of depth in the lyrics which lack any real development to speak of here. They launch into a more noted pomp with ‘Forces’. The scatty pace fused with the feverish vocals sees them up their game. There is a credibility fastened to the tempo which gets underneath the playing in a remarkable way which is enhanced further by the snatches of clever playing that invigorate it accordingly.

Now the album begins to come into itself and with ‘Communicator’. Although there is a subtle shift in the playing and it develops a more mainstream calling, in parts it is too light. However the shortcomings are easily overlooked when it gets going because it seems to have a calculated showing from how it impacts and this is matched by a noted sense of volume to the music side through off the back of that. This seems to be a tune that corners milder indie apparel and fuses a sleight of hand that has a defined New Wave saturation to it at the same time. There is a defined layering in the lyrics which accommodates that approach in a sensible way and moves it along

7 comfortably. The richness of theguitar work dominates the intro of ‘Intervallics’. Initially the lyrics come to pass in a way that is average, but then the running comfortably takes it where it needs to go. As such you appreciate what the song evolves into and it is a rather resilient affair which catches everything imaginatively. A segued calling washes through on ‘Interplay’. The interweaving sway of the play settles upon everything cornering everything as intended. This is a tune that sees them up their game considerably. The practical way it is all approached pockets a sense of relevance in the process and this is carefully orchestrated from the off.

Armed with a high octane approach as it lifts off is ‘Empires’. Rightly captured from the off sees a careful adulation cut to the chase here. The splendour merged with the tune is carefully tracked. It is a tune with a more emphatic calling from the rock side of things, but it still carries a heightened sense of representation from how it falls into place. With next song ‘Scarli’ there is a degree of progression picked up on from how things develop. The guitar derivative saturates the tempo before a more resounding pomp is garnered from how it all picks up. The steady stride exudes a competence and the vocals also preside over it in a way which feeds into the song conclusively. Displaying sharpness on the intro, that gives away on Spies’ to see a more sedate indie calling envelop the tracking. It is an inviting premise that plays in a formulaic way but retains a sense of composure as it takes flight. In some ways it is catchy but that is down to its arrangement more so than being a deliberate application here. The final track ‘Sirens’ doesn’t necessarily work. It is lacking in composure in the lyrical sense. It plays quite well, but where it falls short in combining the two effectively shows. For that it loses something of value, although not completely, to make the shortcomings obvious and apparent.

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SOFIA TALVIK

Big Sky County We had the pleasure of seeing this Swedish artist perform at The Ruby Sessions in September last year and we have been awaiting the release of this album. It doesn’t disappoint and the commendable resolve of the first track ‘Aha-Aha’ gracefully carries it through.

Placed within the intricacy of the arrangement is a lingering feel which carefully shapes everything. The lingering feel if her voice sweetly brings a neatness that is a perfect fit.

More heart is brought to proceedings with ‘Big Sky Country’. This settles everything in a neat and tasteful way, while the layering allows the seasoned American folk calling to sit comfortably. The attractiveness of everything is underlined furthermore by ‘Dusty Heart, Empty Hand’. It draws you in selectively, while the prim quality of her voice floats across like a fine velvet as it caresses the sentiment in a beautiful way. The heartfelt showing of everything weighs in appropriately and leaves you wanting more.

In the finite way that ‘Lullaby’ is dispensed the tracking bodes well for the song. You are hit in the right way off the back of the opening line. How it moves forward gives it stature in a telling way, while the earnest reflection of the lyrics are the additional ingredient that collectively brings it together. The intricacy of movement is also something that shines for it in a favourable way. There is a degree if faithfulness in her voice and it comes to pass favourably so on ‘A Matter Of The Hearts’. As a quality it is garnered in a becoming way but it is made even more telling by the noted sense of conviction behind the

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lyrics. The lament of the song doesn’t go unnoticed either. She then embraces a more alternative calling that has a haughty Kate Bush apparel on show with ‘Starwalker’. It is both refined and calculated in equal measure. The narrative on show here takes hold, but it is the inspiration drawn from the oeuvre traces worked into the dynamic of the song that see it stand tall. She recants everything brilliantly with ‘Bonfire’ . The tender glances add a fuller sense of resolve that is embraced attractively.

You sense the poetic aspects in the observations but it has a Cohen-esque presence running throughout.

The darling wonderment of ‘Jasmine, Rose & Sage’ carries it all across with a resounding sense of majesty. The banjo billowing in the background attributes a noted degree of poise that comforts the delivery. Yet there is a sweeping aperture in how it all comes to pass that is steady and inviting in equal measure. The favourable way that the acoustic guitar meets with the soothing saunter of the string arrangement on ‘Give Me A Home’ marries to the tune in a resolute way. The tapered feel that sees it come to pass is a conclusive one. You see how the structures add to the dynamic from their supple contribution because the broader calling is astutely accommodated for by their presence. The attractive way that ‘Fairground’ comes to pass is superb. There is a noted sense of class on show. It is a song that is enhanced furthermore with the appreciation in the flight. It seems comfortable and the extensive way it is all brokered in the delivery pieces it all together and the purity in her voice brings the necessary refinement to keep it all on track. The final track here is ‘So’. It contains a knowing ethereal quality. The soft realisation of it as a whole is something that displayed a neat sense of composure. It is a more inner calling that is picked up on and the lyrics seem to lose themselves in that respect, but it still holds up well.

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SOVIET X-RAY RECORD CLUB Wake

‘Have You Looked From Underwater’ is a swirling cascade of sound and it breaks away to see the temerity of ‘Never Enough’ add a heightened sense of fluidity to proceedings.

Here the abject manner of the approach builds everything The broader definition adds weight in how it processes the deadened calling of the track. That is characterised by the sloped vocals which channel the inner shoegazer finesse to marvellous effect and suit the overall structure on show. You note the splendour of ‘Magnetic North’ for all the right reasons. The minute touches in the string arrangement are superbly condensed. That gives the rhythm a compact measurement and the confident way that the vocals hold their own draws you toward the charisma on show. That emerges in a stylish manner through and through to display real class in how it works its magic here.

The industrialised organic sees a New Wave calling come to pass on ‘Good Things I Only Think Of’.

Not only does it have a finite underground groove to the handling but there is a retro chic brought to bear that is outstanding. The pace is cleverly checked and this makes excellent use of the quickened resolve that

10 gets beneath the tempo. What is located has its own rhetoric but makes sure that it comes to the fore explicitly. Holding a refined 60’s calling is ‘Bones’. That is a highly referential feature here and one that imbues it with a classical sensibility as the psychedelic flourishes come to pass. That defines it in the right way. Another defining aspect is the way the arrangement is considered because this helps accommodate the approach and artistic merit comfortably. Taking the time to build works favourably for ‘Last Days’. It allows the sunken feel to become a proactive trait. With the relaxed transparency in the fluidity it seduces the listener.

Aptly titled, ‘Comedown’ brings that patient allure to pass commendably. How the elements gather is one thing but it is the lingering way it all moves that has real value. That corners the 60’s revisionist vibrancy and adds to the determination of the handling yet still finds solace in the affirmed way it coasts along. You are taken aback by how good ‘Shake’ is. Again there is a sensible correlation between how it sounds and runs, but they very much nail it here. It is such a highly engaging track that repeat listening makes it better each time because it is so cool. Then we have final track ‘Door’ which is the album’s token long player. The graceful way it allows the finite aspects find their place commendably sees it through and lushly frames everything. There is such a realised sense of presence to this that you are left in full admiration for it and it has the artistic integrity to carry that through with the utmost distinction.

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JOINTPOP

Quicksand This album is the follow up to 2013’s ‘The Pot Hounds’ and sees the Trinidad And Tobago outfit build on that with a suitably impressive offering. It all gets underway with ‘Mil Mascaras’ and with the conveyance of kick to it the tune builds into a steady run. Here it seems to be cornered and the way the delivery revels in the approach galvanises it impressively. It is a sweet and tidy tune, nothing more than that, but it still delivers. Rather favourable in how the impasse builds into the arrangement, ‘Two People, Two People’ comes next. It has a deftness in the way it takes flight which suitably offers a conclusiveness to it all. The chagrin of the rhythm keeps it in focus and the consummate way it adds urgency to things moves it along with a fine cut set into the groove that commands the delivery with confidence. Ably cornering a select calling is ‘The Chief Suspect’. The troubadour feel that hangs off it is commendable and they process this impeccably. The timely feel to it speaks volume and it is an approach that is tellingly brokered to absolutely brilliant effect from the level of appreciation on show in the arrangement.

After the brief interlude of ‘Wembley’ the album sees them getting straight into things in an attractive way with ‘Simply Beautiful’. You note a comparison with the heyday of Elton John circa 1973 with the sobriety. It is well orchestrated and screams of a fundamental appreciation from how it is approached. What comes off here is top drawer work from start to finish. They bring a hip rock creole to the mix with ‘Good Bad By You’ and revel in it. They turn it on here and the pomp has a celebratory connection to it but it also is built upon something solid. There is a telling hint of teddy boy rock to it that is subtle

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but adds presence in a good way. ‘Lost And Found’ is a tune which has something going for it. Things are cleverly factored in here and the approach allows the abject calling of the music give it a foundation that is rich in worth.

The overall emphasis on the music adds neatly to proceedings and the rough and steady way it runs has a precision to it which prevails.

How the lyrical narrative paints a picture accounts for a great deal on ‘Down To Me’. Things are kept together in the patient reflections and how honest it feels as the vocals spill out conditions it in a way that doesn’t see the sentiment outstay everything, It is carefully calculated and this provides well here. The quickened pace of the eponymous track ‘Quicksand’ motions everything through formidably. It cleanly comes through. With the committed showing behind it there is a resilience to it which takes stock of everything in the handling without it losing any sense of focus. The album itself has as a whole a timeless pastiche and ‘Together (Suzuki)’ seems to call upon references to The Clash meeting with Ray Davies. The rock side of it gives it an edge but it is softly brought to bear. The dynamics work excellently here and see it right by proxy.

You also feel it is probably a real crowd pleaser live too.

That same combination is called on with ‘Reality And T’. The fierce resolve settles it and while it feels as if it has a by-the-numbers approach in part there is enough behind the delivery to push it along. It is not forced and as a result what is coaxed through as a natural extension to it. Again the Elton John comparisons come to pass with ‘We Will Never Know’. There is a stringent standard that the lyrics adhere to. This directs everything smartly. How it adds weight is neatly factored in without it detracting from the ebb and flow of the process as whole. In the undertone of ‘Trinidad’s Burning’ there is a subtle hint of ‘Lolly’ by Toni Basel. It is a neat tube and it tops off the album by relentlessly retaining both a sense of raw to it and merging it with a more sensible touch.

The result is a tune that has a perfect running time, deadened resolve in the vocals and an abject sense of identity that equates well.

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INJECTING STRANGERS Patience Child

Injecting Strangers, of Cincinnati, are a four-piece upbeat, Indie rock outfit. They produce an eclectic and authentic fusion of whimsical rock and hook laden pop. Fun and positive energy permeates the album.

Injecting Strangers’ enjoyment and camaraderie is also alluringly sensed and engages the listener. This ethos and approach is displayed in ‘Dr. Jekyll & Mr. Hyde’. The band are not taking themselves overly seriously but are by no means off the cuff and to be disregarded. This is well constructed pop, which contains traces of vibes akin to Franz Ferdinand and The Hives. The closing measures then serve as a cadenza-like passage for the bassist to showcase his Flea-esque slap credentials.

‘Lioness Of The Old West’ follows and carries on the eccentric and amusing air.

Similarities can be drawn between this approach and that of The Hoosiers. The ‘crowd’ vocals are very ‘American college rock’ and are well executed. ‘Lucky’ exhibits neo-60s horror rock, as the band exclaims sardonically ‘I’m a lucky little fucker’. The track ventures in and around that ever so fine line between the insane and the genius! Overall this offering is ironically charming and builds effectively in intensity during the coda, due to well-worked meandering and interwoven vocals.

‘The Snow’ then sets off rather sinisterly, with the singer disclosing, disconcertingly, ‘I hide from everyone I know’.

This number breaks away from the opening offerings. It is certainly bleaker and darker in nature, while the vocal delivery captures the aguish of the text.

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It is a solid moment of contrast on the LP.‘Haunted Heavens’ opens up in a surreal fashion with the lyricist narrating a spoken horror story. This is very peculiar indeed. Having said that I’m open and have a high tolerance for ‘weird’. Musically the band again displays their proficiency and pop sensibilities, particularly during the stops and syncopated moments. However, this track itself is a little over done and theatrical. Style over substance springs to mind. ‘Little Shooter Upper’ moves on from the horror/musical side of things, as the band dabbles with a sound akin to the Bare naked Ladies ‘Big Bang Theory’ theme tune. The punk tendencies on display here would surely lend themselves nicely to a live crowd. A track I dig apart from the generic, dated electric guitar solo, but that’s purely a preference thing.

The solo itself, for what its worth, does display skill.

The eccentric tale of ‘Nightmare Nancy Pt 1’ follows, in which the band deserve credit for going ‘outside the box’ and cultivating something quite quirky. This leads nicely onto ‘Nightmare Nancy Pt 2’, which nods to aspects of the Arctic Monkeys. This track sees the band at their best, with youthful drive and exuberance in abundance! ‘Detroit’ then presents itself as a rock, power-pop ballad, which further displays their unpredictable leanings and tendencies, before Tea Cup brings a halt to proceedings. The isolation and reflective nature of Syd Barrett’s solo endeavors is sensed here. The song is strung out and an apt finisher. The juxtaposition of the electric fuzz guitar, acting as an obnoxious pedal note/drone, against the acoustic may not be everyone’s cup of tea, but is an inclusion I certainly dig.

This is an album that is sure to divide opinion! Personally, I applaud their efforts and appreciate their willingness to release the shackles and abandon safety and conventions.

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THE FALLOWS Hurricane

The Fallows, who formed in 2010, are a four-piece indie outfit based in Chester. The band have been going from strength to strength of late and have supported The Charlatans and Cast, as well as featuring on the same festival bills as Razorlight and The Courteeners.

‘She’s In My Mind’ sets the LP in motion and is a real statement of intent, epitomised by the driving and unrelenting drumming. A swagger ensues as the track unfolds and is further instilled by Gavin Swann’s vocal delivery, which is not too far removed from the iconic Liam Gallagher approach. Aspects of Oasis and U2 are felt throughout. ‘Rock n Roll’ is served up next and carries on where they left off. The band cites The Verve and Black Rebel Motorcycle Club as inspiring their output and this is evident. For me the track is full of attitude, but a type that is alas more pseudo and generic rather than authentic and daring. ‘Hurricane’ then benefits from a slow build, before a hypnotic groove emerges. The track itself has all the hallmarks and nuances associated with this style and genre without falling into a carbon copy category. The haunting, yet attenuate, harmonies bed in nicely along with the almost Eastern sounding, trippy lead guitar. A fine effort this.

‘Hey Man’ is a clever inclusion on the album. Although the song is by no means groundbreaking or revolutionary, the sensible production, performance and use of panning is worthy of acknowledgement.

This kind of track is sure to excel at their live shows and possess single quality, further enforced by its running length.

Once again an Oasis influence is prevalent. ‘Shoot Your Gun’

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once more sees the band utilize their characteristic and formulaic opening measures, with the bass drum creating momentum and anticipation. The distorted vocals are a nice touch and much relished timbre change, which also suits the vocalist’s style and tone. ‘Fireworks’ then starts with a nostalgic and sweet, yet edgy, electric guitar. This song relinquishes the ‘cock-out’ brazen-lad air for a more reflective and romantic feel. This number offers an insight into their musical flexibility, while the string arrangement further captures the sentiments expressed in the song, which stirs the listener emotionally. Traces of the Arctic Monkeys’ rock ballads and Ocean Colour Scene can be sensed as the track continues to build.

‘The Light’ kicks off with an acoustic guitar, which offers another change in timbre and direction. Its inclusion at this point, along with the previous track, is a shrewd move and prevents the album from becoming stale and predictable. Its inclusion is reminiscent of when Serge knocks out a more acoustic driven number on Kasabian LPs. The production and arrangement again deserves two thumbs up! ‘Feeling In Your Soul’ then exhibits an 80s rock aura, before ‘Shut Your Eyes’ stakes it claim. However, the latter feels a little lost in places and lacks the assured directness of previous offerings that appear on the LP. ‘Lady Of The Lakes’ then very much adheres to the Oasis, English 90s school of rock, with a repeated pedal note effectively taking centre stage. The vocal performance exudes proficiency, while the harmonies are subtle and complementary.

‘Reprise’ brings the LP to an effective close in which the band recall the albums opening track, including a cohesive audio sample. It’s a sound touch, which creates a full circle effect. The band can be proud of their efforts all round here. They by no means push musical boundaries, but showcase their musicality and ability throughout what is a very solid and accomplished LP. Kudos lads!

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THE RIGHTOVERS Blue Blood

Hailing from Hawaii is The Rightovers, previously known as Conceptus. In fact only 5 days after releasing the LP as Conceptus on bandcamp it was pulled, only to be reloaded on the 10th April 2015 under the identity The Rightovers. Slightly confusing for fans this and also not the most savvy timing PR and marketing wise, but the band were ultimately correct to alter the name, for whatever reason, before it dragged on too long.

The band describes themselves as sun-soaked pop and they certainly live up to their selfproclamation with the album’s opening track ‘Valerie’. The track charmingly opens as a lo-fi demo with a lazily strummed ukulele reminiscing on when the track was conceived and written.

This promptly gives way to the studio rendition, which contains elements akin to The Coral and The Thrills. It’s a straightforward track, which doesn’t pose too many questions, but the simplicity forges a certain agreeableness. Some of the guitar work, with synth accompaniment evokes The Cure. One criticism, however, is that the vocalists falsettos are sometimes a touch fragile and pitchy.

‘Canyon Country’ again lives up to its Summer-sound, college rock billing. The reverb-laden vocals contain traces of Cloud Control, in which the band again make a virtue of simplicity as the track pleasantly unfolds.

‘Vaseline’ opens with a rather mercurial dialogue, before the track emerges. The song complies with their ethos and the male/female vocal combo is much savoured and reminds the listener of The Magic Numbers.

Though upbeat in demeanor, the song is poignant, and tinged with reflection and regret. This is further instilled with the

8 slightly dissonant chordal interjections. The elementary approached is then applied to ‘So Famous I’m Fucked’ in terms of the instrumentation, which allows space for clarity and a certain directness that is accessible for listeners.

‘My Trebly Underground’ opens with sampled voices and crescendo string pads. Neo-80s power pop is evoked, as the band possibly draw influence from The Killers. The distorted guitar and general mix here is a little crude but it is a welcomed new timbre and slight change of direction. The band is fairly formulaic but understand their sound and stick to their guns. The lyrics here, and throughout the LP, are symbolic and emotive, and very much worthy of a special mention. A cover then follows in the form of The Mekons ‘Hello Cruel World’, in which they give the song a grittier, more distorted edge.

‘Arthur’s Army’ kicks off with a hopeful, alluring guitar riff, before a sombre acoustic guitar takes centre stage. The track again conjures up a nostalgic air, and one of acceptance, as the lyricist concedes the simple yet pertinent reality ‘it’s a shame we can’t turn back’. Traces of The Cure and more light-hearted Stone Roses aspects are sensed during this offering. ‘We Can Run/A Piper’s Lament’ then sets off with a youthful exuberance. Although the lyrics are slightly pubescent they hold a certain innocence and charm. The track then purposely derails making way for the psychedelic acoustic lament, which is akin to the Small Faces whimsical ballad sections that feature on their ‘Odgens’ Nut Gone Flake’ LP. ‘Floating Near The Sun’ then has a strung out sun scorched vibe, in which the bass guitar is at its most prominent. Subtle dissonances and chromaticism gives the piece a sinister undertone. mountain (Hawaii), fades in with a motorik Krautrock beat. The guitar interplay and short repetitive melodic motifs are also sympathetic of this genre.

Again The Cure influence is felt. This closing instrumental track ticks many boxes for me. Very hypnotic indeed!

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International Artists THE FONTAINES The Fontaines

With loving sophistication things get underway with ‘Paul Newman’. The rhythm is both fluid and timeless. This in turn envelops the collected showing in a heightened way while the charm offensive of the vocals also sees them considerably raise their game. The appreciated touches on show capture the enigmatic intentions in a resounding way from the off and it is a fine marker laid down. The shoegazer panache here is rather inviting also. Keeping her lit, so to speak, is ‘Dusty Springfield’ and the tempo has a hip feel to it after the intro. What is projected in the vocals is both lush and then leaner when things pick up. That displays a tenacity that invigorates the movement. There is also a favourable degree of weight that is balanced by the smart way it all runs.

The outline of ‘Charlotte Fontaine’ is a somewhat seductive affair the plays out cleverly in how it is followed up. There is a refined emphasis that is a throwback to the old school soul classics. The dreamy way it plays out brings a sensibility to the tempo that is imaginatively factored in and the handling is brought to bear off the back of this approach in an exceptional way. The way ‘Dustin Hoffman’ seizes upon its moment is something to behold. The dependable way it is brought to life is highly presentable.

The flush manner of the beat has a swing to it that adds considerably to an already classy affair. With the ample distinction that comes to pass on ‘Cate Blanchett’ you are drawn to the song. It is highly attractive and takes it where it wants to go. There is a knowing sense of aplomb to this that the twee showing corners in a highly appealing way.

This is pulled through in a commendable manner and does give the compact flow of the rhythm a sense of bite that works favourably well here at the same time.

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THE STAYCATIONS

Something Good Tomorrow Coming in off the back of an upbeat calypso meets indie chic is ‘Going Out’. The shuffle in the tempo has an enormous degree of pep. The light way it all comes through captures everything on the right side of enigmatic and the favourable way this moves entices you as a listener. The clever way it moves is another plus here. Reverting to a more descriptive showing is ‘Brainstorm’.

That favourably brings a stoic sense of maturity to bear on the track. How it is placed in the flight adds a bit of a Post Wave rhetoric that drags through with a commendable nouveau and finds inspiration from doing so. ‘Slow Down’ is a track that comes in three parts. The first is merely an interlude whole the second is a calculated one, even though it is a bit of a downer. The morose sentiment on show brings it to a melancholic territory but there is a fundamental keel when the upbeat aspects cut across the rhythm.

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Sandwiched in between part three is ‘Boats’. The sunken feel of the tune is played to great effect. The drift of the guitar and vocals adds a derivative that lingers in a way that looms finely over proceedings. There is a grandiose presence in the leaner progression which is also well laid out and brings a great deal to the mix as the lavish rigours take hold. The trying way ‘Slow Down (part 3)’ comes together is one that injects a prevailing sense of poise upon it all. Then we come to ‘Bad Weather’. The spry movement locks down the delivery and the calling of the vocals proves up to the task. It oozes confidence and it is tracked in a deliberate way to maximise on that calling. The ‘Outro’ that closes it feels like an anti-climax which makes you consider the integrity of its inclusion. It doesn’t detract from it feeling as though it is unnecessary filler though.

SINK TAPES

Special Offer Things get straight down to business with ‘Blow Me A Kiss’. Lingering touches of a shoegazer rhythm adorn this. While the vocals also whittle down the delivery in an unbridled manner that suitably pursues the conviction on show. This is a rather purposeful offering that lays down a marker. The urgency located builds it impressively and holds with an equally relative footing that is commendable. Second track ‘Pool Kid’ seems to revert to amore dream-pop territory. Spatially it embraces that psychedelic aspect and there is something bespoke about it all.

The ethereal feel is a conclusive one and that reliantly comes to pass with a committed permeation that finely calls upon the integrity that is on show.

The third track here is ‘Small Lipped Bird’. It is an attentive number that gets down to the task at hand. The composure displayed effectively gets beneath the running here. How that is contained manages everything in a closed way but also displays something intrinsically inviting as the bridge opens everything up from how it is all keyed in.

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SHAPE OF THE SUN Shape Of The Sun

You are floored by how honest ‘Tear My Heart out’ comes to pass. There is a telling sense of worth in the lyrics which embraces a depth of songwriting ability that is rarely seen. It is not just the poetic stillness of it that impresses but there is a numbness to it that is played in with a telling sense of the real that is easy to relate to when you hear it. You are again blown away by the depth of the lyrics on show with ‘The Bad Nights’. They impress and play their part but also adding worth is the brilliant way that the rhythm comes to pass here. It is a very cool transition to everything from the off here. The fashionable way the best of it is brought to bear denotes the expertise and skill on show.

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Off the back of a terrific guitar riff comes ‘I Wanna Be Your Light’. The stationary intro is accommodated for in the way things are admirably stared down as it all comes together. It is built in a commendable way and it runs accordingly. The spring in the step lands with sweet aplomb which is another attractive trait to everything on show.

The intro to ‘Icicles’ denotes a more spacious approach to how it all builds. The string arrangement adds a hint of definition that adds to the partial perspective it all finds itself presiding over collectively. This is a more sombre tune with a heightened alternative yield to the music but it works none the less. The fifth track here is ‘The Fire Waits For No One’. It is well managed and the containment of the arrangement frames the tracking more so than it being the other way around. That sees the rhythm through and there is a stellar degree of confidence about it that meets a clearly defined level of substance as it all comes full circle.

KARATE DANCER Kyu Jumite

We have become big fans of this Spanish band here in our office recently. They keep the feeling at the fore of ‘You Don’t Know Me’. It is an involving duet that is followed through.

The comparative nouveau showing captures the essence in the tempo and it travels accordingly. The way ‘Hellaven’ kicks off immediately grabs you. There is a solid credibility in the chic vogue that is displayed in the rhythm. Not only is it blessed with an edgier calling but it is also rather innovative.

The ordinate way it mixes everything up displays a degree of industry that sees it right.

You also can’t avoid how the beat catches the imagination and this is something that has a formidable prowess in how it breaks down.

Again there is a sensibility in the nou disco vogue that the band identify with that gives ‘From The Stars’ a movement in terms of the dynamics at work. It impressively comes through and the laboured handling accentuates the charm displayed. It is well formed and the spacious way it moves grants it something incredibly defined at the same time. The fourth track here is ‘Main Roads’. Of the track listing it is one that embraces an alternative calling. There is a broader appeal to the arrangement that works its way across.

The vocals are richly processed and that is why it develops in a different format to the rest of the track listing here. But it loses nothing in the process because it only serves to highlight the credibility of everything on a collective level.

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FORMAL PARTY Make A Sound

There is an added prowess to ‘Make A Sound’ that keenly engages the rock side of things. It has a hint of an old-school appeal going for it, but it is carefully played through. How it takes flight carefully blends it together and releases a harder calling upon it all.

This is captured in the lyrics and they shape it without any sense of distraction as they are leaned into.

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How ‘Make A Sound’ moves is a bit formulaic and it lacks something for it.

How it is laid and out and arranged is effective. It is not here where it doesn’t come together. Rather you feel that something in the delivery doesn’t add up necessarily. It does retain a distinction and directs the angst but something still comes up short. The third track here is ‘No Fear’. It is the best of the three as well. There is a more noted confidence doled out and the way it is all trapped works admirably. The blues calling brought around is relentless and cuts straight to the chase. The loaded weight exudes confidence and shows.

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LOW CUT HIGH TOPS The Cuts

Via our Washington music network this band are a real joy to behold. Essentially they are a hipster’s wet dream. The disenchanted feel of the first track ‘Cigarettes & Wine’ has an underrated beauty. The unassuming confidence it has breezes through and there is a scintillating sense of minimalism at work that corners an explicit air of cool. In that exuberance of the non-referential they very much pull something top drawer out of the proverbial hat. ‘Come My Way’ is also a tune with a defined sense of commendable poise in the underground apparel. Again it all cuts away and takes you along for the ride. The laissez faire structures inhabit something that flirts with a shoegazer style but elevates it above that. ‘La La La’ is a bit of a nuanced tune but doesn’t feel out of place.

Rather it heightens the maturity from the simplicity conveyed.

Another polished effort is ‘Bread Crumbs’. The sensible way it is collected follows through with an excellent level of determination. Again there is a pensive air of confidence in the way it sounds but it is incredibly hip. The sharpness of it is perfectly pitched and the way it steps out blows you away. There is a confidence to it that is incredible to feel. Again they come up trumps with ‘Lets Run Away’. A more balanced sense of composure sees them flirt with a pop calling that is implicitly smart. The synthesised elements come to pass with flair. The dynamics at work are well figured out. The way that the vocals are also brought to bear are processed in a way that materialises excellently. The last track here is ‘I C U In My Head’ and sees things close out on a high. There is something whimsical to it which adds in appealing way. Another telling feature is the way that the lyrics shape it. There is a bold sense of intelligence to them and the steady breakdown of the tempo also sees it right. Everything on show connects the dots and nothing feels out of place. In short this is an EP by a band who are too cool for school made strictly for the cool kids.

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TINY MESSENGERS Aurora

‘Built To Last’ opens the EP and it has a telling sensibility that leaves its mark. Things are highly developed and keep the tracking fluid. The way it moves alongside that prevailing maturity keeps it ticking over in a fundamental way which is highly admirable. With a feint bluegrass fervour carefully caressing the play, ‘All You Lovers’ is a complete effort. Initially it is a settled affair before a subtle kick is added which hones the running. It also captures the heart of the song in the delivery.

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Another tune that very much captures the moment is ‘A Letter To Friends’. It has an endearing sensibility that is carefully considered.

The lyrical narrative finely follows everything up and it is a telling number with a defined sense of worth which neatly comes full circle. It opens in a conclusive way and closes in an equally capable fashion. Shades of ‘Parachutes’ era Coldplay fit into the running of ‘One Fine Morning’ as it comes to pass in the later progression. That it comes together off the back of the stoic bluegrass flavour of the intro is to their credit. The lightness sees it step out smartly and in how it is followed up by the closing track ‘We’re Not Alone’ you are sold on the band. This is a prevailing tune blessed with a kindred sense of soul that is embraced in a knowing way. The way it retains that quality displays a notion of faithfulness and it prevails in a truly benevolent way on all fronts. The arrangement is carefully considered and allows the elements come to pass with nothing sold short in the process. It such a distinct tune and it romantics everything in a deeply referential way.

THE SLEEPOVERS Pink

Review by Jamie Kelly This opening track ‘Sucker’ has a cool intro that meets a fast paced rhythm on the guitar with some background noise that gives it a kind of spacey vibe. The drums come in and bring the song to life.

The chorus was particularly catchy, the name of the song is used several times.

There is a cool melody towards the end that the guitar doubles over. It’s like a broken down chorus worked to really good effect. The next song is called ‘Friends Without Benefits’. It starts out very delicately, like its building up to something. It flows into the first verse very well. The guitar riffs that come in and out throughout the verses are great as they add a huge amount of character.

There is a break down near the end of the tune that has some sweet drumming to it.

This then ends on some sweet vocal harmonies followed by a drum fade out.

The final track is ‘Crazy Town’. This opens up with a drum fill that sends the song on its way. The high tempo gives the song a buzz. I really enjoyed the guitar solo through the middle. The erratic calling of the main progression helps sustain the high energy atmosphere throughout. The whole band build together to create a dramatic ending.

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THE SLEEPOVERS Blue

Review by Jamie Kelly The first track is called ‘Bomb’. It starts out with a fast paced chord progression on the guitar. The vocals come in on top and make for a really tight intro. This song has a great flow that is very well put together. I really enjoyed how seamless the transitions were between the verse and choruses. The breakdown toward the end wrapped things up nicely. Next up ‘Catch And Release’. Things open up with a solid beat accompanied by a synth beat that is superb. The melody that the synth plays is brilliantly catchy. It repeats a few times throughout to great effect. The vocals sit on top of it really nicely in a few parts. There is a great sense of professionalism in the sound with all the parts very defined and well worked.

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This brings us to the last song ‘Lullaby’.

It jumps in with the full band at high tempo. This has a very uplifting sound to it, making it feel nice and happy. The chorus is a real hook that is extremely catchy. There is a break in the pace toward the end that sets the song up for a climatic ending by reinforcing the chorus and showing it to be a great effort overall.

BLACK SURF Black Surf

Review by Jamie Kelly The EP opens up with the song ‘Army Of Sheep’. The track starts off with a fuzzy riff on the guitar, the drums are soon to follow and the song bursts into full flow. The song itself is quite laid back, with the 6/8 groove giving it a nice feel. We are treated to a little guitar solo towards the end that really adds to the whole vibe overall. Things finish up with a sweet outro that sets the tone for the next track – ‘Burn it to the ground’. This track seems a lot more energetic from the get go and produces a kind of ‘Arctic Monkeys’ comparison. A few sweet riffs and a catchy chorus make for a belter here. I particularly liked the little break down that set up for the outro.

The third track on the EP is called ‘Are We Getting Closer’. This is a real head bopper of a tune. It has a great summer vibe to it. The riff that carries it through is extremely catchy and you can imagine it’s a fan favourite. I liked the way this breaks down in several different parts because it changes it up and adds to the dynamic. This brings us to the last song - ‘Dive’. This is a great offering. The vocals are quite different on this track because the verses are rapped. It’s done very well and it sounds great. It makes things epic because the choruses stand out very well on account of the vocal contrast. It’s a fantastic number to end the EP with as it wraps the whole thing up nicely and is very powerful.

9

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SEEMINGLY SAME

Running From My Shadow Review by Jamie Kelly

The first track on this album is entitled ‘Night And Day’. The whole thing opens up with a laid back drum beat that sets the scene. The guitars and bass are soon to follow, with the chord progression really catchy. The chorus contrasted a bit with the verse, and it makes them stand out. ‘My Own Worst Enemy’.

This has a different vibe to it altogether. It’s all quite dreary but in a good way. It’s a bit like a modern Nirvana type of sound. I loved the break down section from about half way through, it fills out and gives it a really unique vibe that sees it finish up well from there.

This brings us to number three, it’s called ‘Cancer’. This starts with a groovy little drum intro. The riff that comes in over the top is pretty cool. There’s a nice tempo to the vocals throughout the song. It makes the words sound like a continuous story. It all gets a bit more upbeat in the second half. The same guitar riff that comes in at the start plays out the latter part and it ends on a cool outro. The fourth track is called ‘Today’s Low Is Tomorrow’s High’. This is an interesting one as it seems quite different from the first three.

This is mainly due to the drum sound. This features an electric drum-kit judging by the sound but it gifts it all a bit of a psychedelic vibe. It doesn’t change too much throughout as the vocals are the main focus for the majority. The vocal harmonies worked really well throughout. They gave good emphasis to the right parts. It gets a little punchier towards the end of and goes out on a high.

8

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This brings us to number three, it’s called ‘Cancer’. This starts with a groovy little drum intro. The riff that comes in over the top is pretty cool. There’s a nice tempo to the vocals throughout the song. It makes the words sound like a continuous story. It all gets a bit more upbeat in the second half. The same guitar riff that comes in at the start plays out the latter part and it ends on a cool outro. The fourth track is called ‘Today’s Low Is Tomorrow’s High’. This is an interesting one as it seems quite different from the first three.

This is mainly due to the drum sound. This features an electric drum-kit judging by the sound but it gifts it all a bit of a psychedelic vibe. It doesn’t change too much throughout as the vocals are the main focus for the majority. The vocal harmonies worked really well throughout. They gave good emphasis to the right parts. It gets a little punchier towards the end of and goes out on a high.

THE PROTAGONISTS

A Blessing In Disguise Review by Jamie Kelly

The first track on this EP is called ‘Within a dream’. The song opens up with some guitar feedback that sets the foundation for the drums to come in and start the song. When it kicks in it’s all quite thin. It lacks depth and impact.

The song itself is pretty cool, but I think it was a let down by the production quality. The second number here is called ‘Sandles’. This has a sweet groove to it. The inclusion of vocals on this track gives a lot more depth to the sound. The main riff that is used is sweet but seemed a tad repetitive by the time it gets to the end.

I really like the vocals on ‘Runaway’, the vocal melody in the chorus was very catchy. The song has a great feed of energy, it’s a very raw sound. Overall this is a good song, I really liked the outro. This brings us to the final track ‘Routine’. This has some really catchy melodies, both in the guitar and vocal.

With the guitar lick which plays over the verses standing out in particular. The chorus is a real belter with tons of energy. It then breaks down toward the end, before a steady outro sees us to the end.

7

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International Artists THE HEMULENS Some Kids Of People/She Said Here is a double A-side with real flair. The first track has an unbridled sense of chic that collects alongside a tempered old-school rock’n’roll rhetoric. That keeps it together, and how the urgency is positioned within the delivery carries a sterling level of faithfulness to match the honed precision on show. ‘She Said’ continues that approach. It has a safer feel about it but there is also a noted sense of distinction as the keel in the rhythm breathes a heightened sense of invigoration into it all. The tracking keeps to a steady format and it is rallied in a prominent way that is cleanly cut.

8

INNER OUTLAWS Permababy

10

Now and then a song comes along that blows out minds. This is one of those occasions. A lot can be admired from how this sets out its stall. The shared lyrics capture the depth in a settled way. What also proves highly referential is the cool way that the rhythm collects. Not only does it linger expertly but it has an intrinsic seduction in its calling that the allure corners in a highly fashionable way.

International Artists

EARLY HOURS Changehood Immediately a sense of the solid meeting of retro apparel galvanises the tempo before the smart sensibility that hangs back sees it all come to pass. In the air of confidence a sense of the fortunate is found which impressively settles matters. The urgent way the tempo is tracked is well matched to the vocals here which garner both appeal and substance in a truly telling way. It all filters through and connects steadily with a thorough sense of notoriety that is neatly balanced at the same time.

9

CANDY DARLING Going Straight

9

You fall in love with this song straight away from the opening line. The rigorous accountability is carefully measured. As such it fixes a proven degree of calculation upon it all. The savoury sway of the lush vocals and the shoegazer drift of the rhythm all add up.

They leave their mark in an indelible way which is rather flattering but it denotes a heightened sense of sophistication as the ability on show brings it all fill circle.

PADDY HANNA Austria What is commanded from the lightness of the flight tailors this song with a fine level of efficiency. As a result there is a sharpness that cuts to the chase from the off. It also embraces a fine hint of revelry. But what seems to capture the imagination here is a sense of romance in its own right which is endearing and cornered in a very pronounced way without feeling rushed. It is a splendid tune in every regard and the old-school sensibilities that meet touches of Scott Walker work extremely well.

9

THE FRANKLYS Bad News

9

Exuding both confidence and prowess in equal measure this is a tune with a raw prowess. This tenacious calling feels like a natural extension to how the band identify with their style. It is mirrored by the hardened urgency which cuts to the chase. In how the fluid movement adds to the resolve here you pick up on the solid intent. It gives it a harder edge but they are able to process it in a way that leaves everything square in front of the listener in the shape of a damn fine tune.

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CORNER BOY

Untie The Noose

International Artists

With the stunning way the track impacts you recognise the talent at work. A careful consideration is worked into the folk elements and they are leveraged against the pace where this picks up. The tenacious and upbeat manner of the rhythm fuels it in a telling way, while there is also a finite essence to the way the hearty side seems to gather on the tune, All in all it is clever and the quickened aspects get beneath the playing to really add the extra touch it needs.

9

OF VERONA

In The Places Between

8

Heightened touches of the abstract seep through and suitably accentuate the sombre mood of the track. In the steady way that the tracking slows things down there is a sense of isolation in the procession that fixes to it impressively. A wonderful placing of refinement elegantly grants it a refined sense of maturity. The placid vocals also come to pass in a relative fashion. Overall what comes across is blessed with an art house calling but elevates to a more accessible level musically.

THE MONO LPS Emilia

International Artists

Here is a tune that gets down to business straight away. The resounding worth of the guitar work is what provides it with a solid footing. It serves it well and as much as the vocals have a leaner sense of intent about them, so too does the absorbing way that the rhythm takes hold. What is brandished here has both style and substance but also pays fine adulation from the blues derivatives that cleanly light it all up.

8

HEART OF THE HEART

Minneapolis, Minnesnowta

7

With the sedate and passive vocals edging their way through, this is a slowed down effort. The outlines of the track are well accounted for. As it opens it is initially indifferent to a certain extent but as it progresses it makes up for it in an indirect way.

That compels the delivery and the conviction fits it evenly, but it does have an over-reliance on the approach which detracts from it here by making it somewhat tepid.

MANNEQUIN SEX DRIVE Hear The Silence

This is a settled tune. The absence of pace is considered for in the way that the lyrics are laid out. From what they bring there is an accumulated intent on show. It does have a passivity about it that is reliant to a certain extent and in others a bit on the light side. Yet there is a sensibility to the weight behind the playing which allows things a compact footing in a resolute way.

7

SILENCES The Sea

9

What materialises in the becoming stature of this tune notably condenses the musical showing with a confident maturity. Also accentuating everything here is a precision which feels its way through. This gives the song an ethereal calling and that is situated in a prominent way as the tempo is ushered through. It is a song that prevails in a way of note and is richly backed up by everything in a way truly of their own making.

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THE SMOKING GIANTS Push It Forward

International Artists

This is a tune with a telling degree of momentum. This is what gives it presence. Yet it also manages to convey a solid degree of indie rhetoric which also adds credibility here. There is nothing sold short from how it sets out to become a tune that lets the music do the talking. From that approach there is a knowing degree of credibility ushered in and everything comes full circle in a telling way.

8

ECHOTAPE

All My Days

8

This comfortably slips into gear. The steadfast breakdown of the rhythm gives it a clean showing. All of the revelry here holds with a showing sense of relativity. It imbues it with a grandiose calling as it clicks into gear. That is rather choice to a certain extent but it is also a tune which manages to curtail a leaner dynamic to high effect which charges through the delivery in way that is both explicit and lean.

THE CLOX Lullaby

International Artists

The title for this is rather appropriate. What the Brooklyn outfit have cornered here has a high degree of instrumental work which finely crosses over with a differing playing arc and style in the later progression. As such the fusion of electronica and synthesised beats to the more steady rock calling galvanises the tune. It is a rich showing and one which feeds through with a choice distinction etched into its very fabric at every turn.

9

URSO POLAR

Its Official I Hate Ramsgate

10

We first came across this band last summer when our Brazilian music network recommended them to us. They have really come up trumps here. A descript punk influence is at work in the dynamics that wouldn’t feel out of place on the current New York scene. Armed with a serious level of intent what also seeps through here exudes class, while the taut tempo adds something of prominence to the overall dynamic on show. This is a very sweet tune indeed.

WHITE LINE FEVER Anomie

This double A-side consists of a refined effort with ‘Sirens In The Distance’. It is a beautifully crafted tune which exemplifies a careful consideration for delving into a heightened calling in the artistic sense. The bucolic characteristics on show are elegantly outlined and add a comparative sense of distinction that personifies their artistic merit. Influences of Pink Floyd are apparent here and rightfully find their calling. With second track ‘I See Icy Figures’ it is all crafted in a more delicate fashion. The obtuse sentiment reflected in the calling is tastefully applied. It is captivating and the bridge underlines their credentials superbly.

10

EMERALD PARK Liberteens

10

This is a tune that holds its own. The way the developed showing falls into place on many fronts. Firstly there is a lush calling in the harmonised vocals at the beginning, while the lightness of the intricacies admirably frames the delivery in a token way. Heightened by the way it progresses there is a mild derivative on show which also tastefully comes full circle. It is a favourable tune that is championed furthermore from the diversity cornered in the delivery. It is equally excellent as it is diverse. The sedate way it travels formidably grants the neater expression a deserved deftness of touch.

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LYEL

Waterproof This is the debut single from this Helsinki artist. There is a smart temerity to the way it is arranged. How that follows in the breakdown cautiously embraces the lightness of touch in the rhythm. The synthesised calling captures an essence that sensibly allows the electronic elements bridge the demure of her voice and give the tracking a sense of consistency in how it flows.

8

BATTS

Morals

8

How this tune opens is extremely well considered. The traipsed feel of the tune is embodied in the warmth on show. There is a stylish essence at work here. It in turn gives the minimalist calling a profuse sense of integrity. The ushered vocals are also a lush attraction that necessitate evenly as everything moves through.

LORIS Yeah

International Artists

This electropop outfit from Belfast are fast making a name for themselves. This is a glorious tune that is coated in a splendid sensibility that sees everything move through with a degree of precision and balance. The vocals sit alongside the tempo and each one is as figurative as the other. This cakes the tune in an alluring attraction that flirts with a sense of heightened seduction as it looms, but those inviting characteristics are matched by a fundamental showing of style meeting substance.

9

YELPY Feel It

9

The initial opening of the song closes things down. But there is a noted sense of telling intuition at work when it begins to pick up. The steady way it moves gradually comes to pass. The movement itself is impressive and the framing of the track’s arrangement carries a conclusive sense of poise, but he also comes across as being fully invested in his music as his voice comes home to roost as the track suitably progresses, while the richness in the way it is all arrangement is impeccable.

COLUMBIA MILLS

The Advanced Stages Of Out Of Control The significant way that the shoegazer calling on show comes to pass enriches the rhythm.

There is a sense of despondency chased down in the lyrics which are arrested by the drift of the vocals. They feel it all out here and the sharp Post Wave fervour collected in the tempo also matches the noted sense of distinction carried through in the breakdown here. It is how it lingers that you really admire this track for.

9

INDIA MILL

In Motion/My Fury This double A- side gets moving and the first track has a hint of a Scott Walker vibe to it. The deliverance of the rhythm carries a formidable drift and it picks up in a calculated way. It has a softness of touch but manages to imbue it with a little touch of Northern Soul in the process. That is a lasting trait. The second track brings an eccentric punk calling to it all. The skiffle in the rhythm brings it into focus and the despondent kitsch that is on show is incredibly attractive. The artistic worth of it blends seamlessly to how well this is pitched and has a Talking Heads prominence about it.

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STRANDED MERMAID If Dragons Could Cry

We have been fans of this Swedish band for a long time and this is a tune that displays both fine Scandinavian pop sensibilities and finesse in the movement. This all holds in a token way which is rich in innovation that carries the resolve of everything through. The able neatness provides it with stature and it is processed in a forthright way through and through which denotes the high level of artistic merit called upon by the band on a collective level.

10

TAPE RUNS OUT Friends/Flowers

The first track on the double A-side is one that embraces a distinct New Wave sentiment but also brings its own style to the mix. As such you feel the New Wave is merely a flirtation here. The imbued way that the track builds relies on a more prominent showing that is about developing an oeuvre in the sound as opposed to fashioning something more extroverted. Yet the approach works commendably here as it imbues it with a noted richness that piques interest. ‘Flowers’ seems to combine a higher artistic calling. The introverted style is more prominent here and the casual demeanour drifting through has an indifference to how it is all referenced that appropriately leverages those minimalist qualities against something that wants to push things musically.

8 LIGHTS THAT CHANGE Voices

International Artists

Here is a telling tune indeed. There is a shoegazer calling at work in the dynamics that is grounded out. The haunting way that the vocals reside here also enriches it in a token way.

But it is also built in a way that allows the tracks progression carefully build the sound. As such it becomes louder in principle as the song builds. Yet how it is placed draws you in and there is an anomic principle at work but it seems to breathe life into it, which makes for an interesting contradiction.

8

OLD HANNAH West

9

After the brilliant ‘Irish Boys’ EP of last year, they have returned to form with another excellent tune that is cut from the same cloth. With an unwonted sense of approval it takes flight. The toil in the lyrical sense runs in a commendable way. The harmonised vocals are also a fine derivative that courses through the veins here. It has an added sense of appreciation with the intricate way that the music takes hold and shapes the arrangement here because it is drawn upon expertly.

THE SHY LIPS Bahia Part 2

Here is a tune that has a lot going for it. The confidence exuded is one that shakes it up in a way that notably settles proceedings. The square way things land beautifully lights it all up.

How they maintain the momentum sits comfortably well as it all takes flight. In the sharpness there is an explicit texture which is brought to bear with full effect. How that commands the delivery as a whole ably locates a specific sense of urgency which fuels the tune to exceptional effect.

10

ROOSEVELT ROOM Must Be A Reason

8

There is something about the way this opens. It is carried through with an air of confidence but it then seems to imbue a noted sense of weight as it muscles through. The hardened shouldering of the elements all comes through, but it is backed up with substance. The weight of the lyrics clock in and add to the overall aesthetic, while the drop down in the rhythm neatly leads it all in. In turn there is both an edge and a noted sense of expression moving through it that works.

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This is the May 2015 4×4. It is an editor’s pick of four videos by four artists selected from four of our music networks. At U&I we work with 95 co-ops across 49 countries and the music network that the recommendation comes from is indicated in brackets.

TWINSMITH 'Alligator Years' (US based network)

SAL VITRO 'Wear It Out' (Dublin)

LITTLE XS FOR EYES 'Logical Love' (Dublin)

NATALIE MCCOOL 'Pins' (Liverpool)