October 2014 issue

DIMESTORE RECORDINGS

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THE RUBY SESSIONS

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HOPE FEST

RT O F M O C D COL

SKI

NNY

OCTOBER 2014

ROL L

ER

THE MANC TANK

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BUFFALO SUNN Scene & Heard 14-16 Dimestore Recordings 17-18 The Ruby Sessions

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

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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 Greg Clifford Liverpool Correspondent: Joe Loftus Manchester Correspondent: Dave Beech U&I Gigs Photographers: Eric Cooper Dom Marceleno

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

EDITORIAL We now come to the October 2014 issue of Unsigned And

Rising Sunn.....

BUFFALO SUNN

HAWK As you came into 2014 you seemed to signal the intent that you were going to hit the ground running. In January you advertised that you were looking for a director to make the video for ‘By Your Side’. That was a good six months before it was released in June of this year. In terms of what you wanted to achieve as a band this year has it all been part of a plan and strategy, because on the outside looking in, it would certainly appear that you have taken things seriously in the sense that you are now coming across as a band who are serious about wanting it. Was that the case?

I suppose the way we were looking at it was, that we had the album done last year so its been ready for a while so we had the music down we just needed a few more things to add to the package(artwork,music videos etc).We do take the band seriously and try and be the best that we can its funny 2013 was such a weird year for us getting the album finished creating the band that we have now and the sound that we have. We only became Buffalo Sunn not too long ago so we went right back to the drawing board to create the band that you would hear and see live today. We just love playing and recording music; always have and always will.

You also made the billing for Whelan’s ‘Ones To Watch’. In terms of the gigs that bands want to be part of that is one that is up there on the Irish music scene. What was the standard of acts like who also played? You also got good billing and played at 1:30 on Friday. What did it mean to be given the honour of being one of the closing acts over that weekend?

To be honest we were in the rehearsal room right up to an hour before we played, we needed the rehearsal, but it was great to be a part of the festival. Sometimes you need as much support as you can get and to play these kinda shows can really help you.

Originally you started out as Sweet Jane before changing the name. But how did you originally get together? What prompted the name change?

Well four of us are brothers so we have all be playing together since we were kids but it was only myself my brother Ruairi and our drummer Donagh who were in Sweet Jane. Sweet Jane started off as a side project and quickly took on pace. We released an album and it got good reviews. It only started to get serious when we approached the second album but due to our singer at the time we couldn't really get much done so in turn what happened was the band dissolved at the start of the 2ND record which in turn became the Buffalo Sunn album. To tell the truth it was me with a heap load of songs that i had wrote for something that had just gone belly up. But what we recorded we are proud of. You can hear the stuff that was Sweet Jane(the more rockier numbers: Witches, I Wanna Be In Love). You can hear where i wanted to go with the likes of By Your Side and Seven Seas.

As a band who were the influences on you all growing up?

We all have individual influences and bands we love, well its pretty varied across the 6 of us. But as far as music that would influence our sound I suppose it comes down to harmonies, bands like the Beach Boys, The Byrd's, Neil Young, The Band. I could go on but we usually start with harmonies and then work from there. We are also a big fan of reverb!

With the new album coming out this month, how much of that can you see coming through on some of the songs that are on there?

I'm sure a good bit of it will shine through. The songs have a different kind of vibe live ‘cause when i was recording them it was just me. Now we are a 6 piece we can get across the harmonies the right way and the keys and guitars.

To go back to the first part of the interview now, you recorded the single ‘By Your Side’ and it got a lot of airplay on a global level. That included US radio but also as places like Russia and Peru. Then you recorded the video and released that month before releasing the video in May and then launching the single in June. That was a good six-month period in

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terms of promoting the single. What were the lessons learned from doing so and did you see it all working behind the scenes?

Well to be honest the label helped a lot with the promoting and stuff that's really their focus. We do as much as we can with social media and trying to reach out to fans of the band aswel as trying to gain more fans by spreading our music around as much as we can. That's the good thing about Internet and radio. Its always good to hear that your music is being played in a country so far away its great that people get and like the sounds we create.

A lot of bands tend to overlook the importance of smart promotion. The trend a lot of the time in our eyes seems to be a reliance on social media and a fan base, but there never seems to be anything that resembles a strategy to it. In relation to how you adopted that approach with your single, will you be adopting a similar approach and focus in relation to how you will promote the album?

Well we are lucky in the fact we are on Reekus Records so we have a lot of help with promo that way. I think social media is very important its a great way to interact with fans of your band and allows you to build a good fanbase, which is very important. But for us as a band we are constantly learning and looking for new and different ways to get the band out there.

What can fans of Buffalo Sunn come to expect from the album?

Well as always we try to get the best sounding songs possible across to the Listener. I’d like to think the album has something for everyone on it.

No band ever has a fully complete album before they start recording. Was there anything that went into the album during the recording process that you are really happy with?

To be honest when the whole Sweet Jane thing collapsed I decided to throw the kitchen sink at the album in terms of choir, strings you name it! If I could get my hands on it i

stuck it on there. But it was a relief to have the freedom to go a bit nuts and not be boxed in because that's what was happening with SJ so everything happens for a reason i guess. Its funny we nearly have another album ready to go!

Yeah we hope to catch Woods and Slowdive.

Have any songs not made the cut that might make their way onto the next album?

Not sure yet some are still being finalized.

How many gigs are you going to be playing or has that still to be decided?

Yes there was a few songs that didn't make it on alright.

There is one or two I would probably have left off the album too as they are not so Buffalo Sunni sounding but sometimes you just gotta move on; whats done is done look to the future.

You also toured this year in Singapore. How did that come about and tell us some more about it. You played five gigs in total. What was it like to play to an audience over there?

It was brilliant we played a festival called Music Matters Asia. It was great to get to that part of the world and get such a good response to our music. We got invited to play it which was really cool. You are also set to play CMJ this year in New York.

How much are you looking forward to it?

Yeah that's going to be great! It’s always good to get to the states we have never played CMJ before so we are really looking forward to it.

That is an industry showcase gig, so it does mean that it is as much about the business end of things as it is about the music. Being included on the line-up at that is a big deal. With that in mind what would it mean to you the band if you were to get the right break off the back of playing there?

Well that would be the dream ha ha ,but in all seriousness we just go to these kinda festivals and just play the best we can.

Are there any of the other acts on the billing that you are looking forward to seeing live?

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That is coming up during the month, but what else is in store for the band?

Album is out October 10Th so we plan to tour it as much as we possibly can. Also keep and eye out for our ocean single video which is a continuation from the By Your Side video.

HAWK COLD COMFOR The past six months have been very full on for Cold Comfort. At the moment it would appear that you are a band who have a bit of momentum going for them, but it seems to have also come about at the right time given that you are about to release your new album. Given everything that has gone right for the band in the last couple of weeks how are you viewing everything?

Yeah it’s been a busy few months alright. We just finished a tour of the states and the album is finally ready to be released in Ireland after being released stateside in September. At the moment we’re good to go…everyone is feeling quite positive.

The release of your long awaited album ‘Tainted Winds’ is the first thing that we will come to now.

So far we now that ‘Be Gone’ and ‘When Love Grew Wild’ are going to be included on the album. Will there be any other crowd favourites that have made the final cut and will there be any surprises on the final track listing that people might not have necessarily expected?

The tracklist on the album consists of songs I wrote over the past four to five years. Most of the old tracks have made the cut but we wrote and recorded a few new ones in Bow lane whilst producing the album.

It’s taken us two years to get the songs tight and eventually down on record and overall we’re

delighted with the album and ready to tour it so people can hear it.

How pleased are you with the album overall?

How long has it been in the works – from writing, recording and mastering to release?

Who has been working on it from the production side of things with the band and what did they bring to the table when you began to get down to the serious side of the recording process?

We tracked most of the album in Loop Studios with Gareth Desmond and then went on to record two tunes (‘You Came Through’ and ‘Bury Your Head’) with Liam Mulvaney in Bow lane. We also mixed/produced the whole album with Liam. Gareth and Liam were great to work with. Both of them getting the best out of myself and the band and I’d have no problem working with either of them again.

Gents.

Where does the title come from and does it have any significance?

The title of the album (Tainted Winds) comes from one of the songs. It’s a reference to drug addiction.

The artwork for the album has been very interesting and it is designed by Eoin O’Connor. The artwork for ‘When Love Grew

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Wild’. You seem to be able to capture something on the sleeves with your releases that fits the tune and the identity of the band.

Do you have an idea in mind when you bring it forth to be designed or do you leave it up to the artist to engage the creative process at their end?

We’ve been working with Eoin for a long time, he’s a good friend of mine and he knows me and my tunes, I just let him role with it, it’s important to let him flow, I wouldn’t let anyone get in the way of my shit. We also used Fran Hartnett for the pencil illustrations.

He’s another old friend and a very talented artist, as you’ll come to see.

How did the band actually get together?

I put up an advert for a percussionist on a few sites and within a couple of weeks Colm Hassett (of Whipping Boy) got in touch saying he liked the tunes and maybe we should hook up. Colm brought Joey Mc Gowan who he played with in the Shitty Shit Shits, The Onset and Shadow Cabinet. We all met at Hellfire Studios and played the songs together for the first time. We all seemed to gel from the get go but we decided we needed a second guitarist. That’s when we found Mossy, and Cold Comfort was formed.

You have a rich blend of musical influences that seem to come through from your music

How does the Irish scene and festival circuit compare to what you picked up from playing over there?

From what I’ve experienced this side of the water from playing big gigs in the UK and Ireland it doesn’t really compare, it’s a whole different ball game and something we’re definitely going to tap into. We really got looked after in a big way and we want to thank everyone who helped us out.

I wrote a couple of tunes over there but they were influenced by shit happening back home and other recent tunes I’ve written for a new album, maybe I’ll write something of our travels soon though.

How many gigs did you play over and where did you play?

We played 7 gigs in total. Chicago, Kansas and Boston.

But what did you take away from it and what were the highlights for you?

Are there any plans to return Stateside for gigs? If so when?

To be honest it would be hard to pick a highlight.

Maybe Tim(The Hot Sprockets) Doing the Riverdance in front of a few thousand people in Kansas, actually.

That was pretty fucking funny! When you’re sponsored by a beer and whiskey company it is hard to remember much. I lost two pairs of shoes somewhere along the way.

We’re lucky enough to have been booked again for March and July, so we see how that goes.

In a way did breaking away from playing at home have a positive impact on you? How has that affected the songwriting process for the band in terms of new material? Has it kick started any new songs or helped to put other tunes that you have been working on in to a new perspective?

Did you get to see any of the unsigned circuit over there? If so what was the standard if artist like and was there anyone that stood out for you that you would urge our readers to check out?

Yeah we saw a few great bands in Chicago, they were our special guests in The Elbo Room The Sharrows and The Little Family Band. Two serious bands check em out.

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RT ’ and what we have picked up from seeing you play live. Who were the influences on you musically growing up and who are the musical influences that you have picked up from since then?

Yeah I’ve been listening to everything from Aphex Twin to Ben E King since I was quite young. As I grew older my influences would have been Neil Young, The Beatles, Elliot Smith all the usual suspects.

How much of that do you think has made its way through on this record?

It’s all influenced me in some way or another and helped me through some shit or another. So yeah a lot of it made it on to this record.

The second thing that has everyone talking about you for the right reasons has been your recent trip to the States with The Hot Sprockets. By all accounts it would appear to be a resounding success for both bands.

Yeah we just got back from the US. Ourselves and The Sprockets lit it up. We got booked by a company called Atlantic Sound based in Chicago and they really rolled out the red carpet for us, big time.

Dermo, Badger and Kev from Atlantic Sound, everyone at Kansas city festival and The Elbo Room Chicago.

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THE MANC TANK

by David Beech

SKINNY ROLLER

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ne of the things most interesting about Manchester's music scene, and I'm sure the same could be said about other cities I'm just not privy to, is just how supportive everyone seems to be of each other. Be it bands, promoters or journalists, there's an almost non-existent level of back-biting within its scene(s), making for a scene that really does celebrate itself, without looking at its shoes for too long. A further aspect of Manchester's scene that makes it what it is, are the bands that refuse to bay to the city's archetypal sounds. One band who embody both these aspects, paradoxically making them a quintessential Manchester band, is SKINNY ROLLER, a five piece for whom the ball is very much about to start rolling.

18 months ago they were a band who fell, albeit somewhat awkwardly, in to the generic Manc category, and whilst their sound held promise, it was also a little thin on the ground.

Fast-forward to the present however, and the band are casting the first stones and causing wider ripples. Having expanded their overall sound in to something far more encompassing, and far more impressive. Darker, heavier, and louder than anything the band have graced us with before, it's the sound of a band maturing, finding their feet.

It's also a sound which suggests there's still a lot more to come from the lads, and having only heard newer material in a live setting it will be more than interesting to see how that transfers to record.

Whilst the band have spent 2014 establishing themselves as ones to watch, there's still a whole lot of adjustments in progress, such as a potential name change amongst other things. And whilst such adjustments might very well shake up the band's audience, it's always good to keep things feeling fresh, and with the addition of a keyboard player completing the band's line-up, it seems fresh is very much at the forefront of Skinny Roller's mind. Expect to see and hear much more from them in the coming months.

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Hi guys, thanks for taking the time to answer our questions. First of all, the name, Skinny Roller, where did it come from?

As names go it was a pretty bad early decision by us. It just got thrown out one practise and we were in a hurry for a name so it stuck. The only problem being that now both musically and in general we seem to have outgrown it but we've only ourselves to blame.

Are the rumours true that you're potentially planning a change of name in the next few months? And do you think that will things difficult for the band or confuse people, after all you've already built a reputation under this moniker?

The rumours are true! We're changing it mainly to shake off everything that went with Skinny Roller. The music is worlds apart from what 'Skinny Roller' was all about and so a change only seems fitting now we're finding our feet in the scene. It's the better late than never approach which hopefully will work out. The main difficulty will come as we try and keep the status we previously had but we feel like a new band and hopefully people will recognise that.

Having been familiar with your sound for a couple of years now, it's clear you've come on leaps and bounds in the last nine months or so. Is there anything in particular this could be attributed to?

That's most likely down to the fact that we introduced Tom on the keyboard and synth.

He just freed us up to be able to actually write and perform songs in the style of what we all listen to and take inspiration from. It's gotten to the point where we can now write songs that are on par with our influences, rather than just aspiring to one day sound like them.

Also we discovered some pretty game changing albums around that time and we started to realise that those styles and sounds weren't out of reach anymore.

You were featured on the first Scruff of the Neck mix-tape earlier in the year, along with several up and coming Manc bands. How important are these kind of releases for Manchester or indeed any other city with an individual character?

Showcase releases, such as the mixtape, give people who wouldn't normally have access to your music a chance to listen and it's a great way to show the spectrum of the cities music scene. In Manchester there seems to be so many bands around that many can get lost in the chaos and the mixtape was a great snapshot of the scene as it stood. We'd recommend it to any band with the chance!

You've obviously played with some reasonably well known Manchester acts in a number of support slots, but are there any bands that you'd really like to play with? Or even any smaller bands you'd like to see support yourselves?

We're drawn to love bands with huge live sounds and sets that seem to flow, and so in an ideal world we'd be playing with the likes of The War On Drugs and Volcano Choir who are huge influences of ours. In terms of local

talent we recently checked out the new Horsebeach album after seeing it in Piccadilly records and as we're massive fans of Real Estate, we were hooked. We could really see ourselves enjoying a gig with them.

Having played yourself, or watched bands, at a variety of venues across Manchester, would you say you had a favourite? Are there any that lend themselves particularly well to the kind of DIY shows you and your contemporaries play?

Our favourite venues have got to be Deaf Institute and Gorilla, but they both have such different vibes it's hard to compare. Deaf's great for the relaxed atmosphere and we always have fun there but when Gorilla is packed it can just get so intense. Night and Day is a venue best suited to the smaller gigs as it's such an intimate venue that you feed off the crowd and tend to not want to stop playing.

You recently played at the Night & Day, a venue which is one of many in the country served an abatement notice earlier in the year, the news of which seems to have been rather quiet of late.

How important do you think it is for these kind of venues to fight such notices, and for people to be made aware of such goings on?

Venues like Night and Day give unsigned bands a platform to play to the music lovers that hang out there. It's one of the coolest venues around which means bands love to play it and people love to go. It's the perfect set up for a music scene to grow and it's what Manchester needs right now. If anything the abatement proved just how many people care

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about live music as the uproar and petitions made huge news. * Mark Nangle, your singer, seems to like hats quite a bit. Have we got another Boy George on our hands? Or is he of the Jamiroquai/Pharrell persuasion more so?

Somewhere between Dylan and Beck lies the answer.

2014 has been a pretty busy year for the band, what are your plans going in to 2015 and beyond? An EP release? More headline shows?

We've got some recordings up our sleeve so an EP is definitely on the way in 2015. As for gigs we've spent the better part of this year honing in on our sound and so all that's left to do is play it live and see how people take to it.

We're expecting a lot of gigs and hopefully some festival slots!

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

Game changing music is and always will be around, so be patient. Somewhere a band is writing your next favourite album and you just haven't heard it yet. As far as exclusive news goes we're in the recording process right now and we're taking our time to make sure the tracks are exactly how we envisioned them from the start. We can't quite put an exact date on it but when it feels right we'll open the doors to what we've spent so long creating. *It's since been made public that the abatement notice facing the Night & Day has been dropped and the venue will be allowed to keep its live music licence. One small step for Manchester, a giant leap for common sense.

Up and Coming - (by Joe Loftus)

LIAM MCGRATH Liam McGrath is an up and coming singer songwriter from just outside of Liverpool. I am not a fan of Jake Bugg but it is undeniable that McGrath is inspired by his songs as there are a lot of similarities between them.

Yet something else draws me a lot closer to McGrath than I have ever been drawn towards Bugg. I think perhaps it is the genuine working class sociolect his lyrics encompass and the honesty of McGraths songs as a whole. They paint such a reminiscent picture of those beautiful summers every one of us had in high school when worries were non-existent or consisted of not having enough money to buy a handful of sweets or cheap energy drinks.

guitarists six years older than himself so by the time he masters his craft I am sure he will be a well-known name.

I can hear several different musicians through his songs ranging from Lennon to Dylan, to Jake Bugg, Leonard Cohen, Yarbo and the Artic Monkeys.

After listening to several of his songs I stumbled across ‘Your Name’ which really appealed to me. There was something about it - a sincere beauty in the sounds that the chords convey and the innocence of the lyrics. It reminded me in a way of Marcel Proust’s ‘In Search of Lost Time’ and the great long passages in which he casts his mind back to the past. But now I am left with nothing more to say other than keep your eye out for the up and coming Liam McGrath.

And then I tell myself this kid is only fifteen years old. Not to belittle him whatsoever but it only drives me to wonder with awe and anticipation what he will be producing in another years’ time, or two years, three years and so on. He is already equally as good as singers and

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THE PRAYER BOAT – Polichinelle: Possibly the most underrated album of all time….

Words by Joe Loftus I would like to start by saying that this review is the most meaningful and genuine review I have ever written.

I can’t quite remember the first time I ever heard Polichinelle but every time I listen to this album it takes me back to an entire multitude of places. Being a child with my father playing it out loud some fourteen, thirteen, twelve years ago in the old house; in Cloughbrack Co. Mayo with it on full volume gazing up upon the mountains and loughs. Driving along the cliffs of Achill Island and across the Atlantic Drive - continuously sounding equally as beautiful and as new and as fresh and immensely brilliant as it did the first time we unknowingly slipped it into the CD player.

I haven’t listened to it in full for a good while now. Only one or two tracks are available on YouTube so I had to flick through maybe four hundred old CDs in this big box we have in the garage before I found it. But then I grasped it in my hands again and took Polichinelle out of its case and looked upon the inner sleeve. Pictures of Emmet Tinley, lists of band members, website addresses etc. They must have chosen it all so specifically before the release in the hope of it becoming a major success – and rightly so. It really does break my heart knowing that the sincere genius of this album has reached no great heights.

It is hard to compare The Prayer Boat to other bands. You can hear the likes of Jeff Buckley through Tinley’s tenor voice -entitled by the Irish Independent as ‘possessing a range that would make an opera singer’s weep’ – but besides that they are almost completely fresh. Touches of The Waterboys and Damien Rice, maybe SparkleHorse, but none of them are obviously connoted through their sound.

The band gained a cult following in the late 90’s but never really made it, and then they just sort of dissolved and faded away alike a great wave. They came so close so many times but never quite made the landing.

The album was originally released in 1998 and gained a lot of interest from Sony, so Emmett Tinley, the bands singer, was flown out to the United States only to hear that Sony wanted a few tracks removed from the album to be replaced by more commercial sounding ones. Alike the true artist he is, he declined – preferring to watch his masterpiece, untouched and genuine, fall down to a crowd of thirty rather than soar high into the charts, complete with some cheap and cheesy additions that the kids would rather listen to. So the deal fell through. It sickens me knowing people would rather listen to the next Take That single, or Nicki Minaj’s auto tuned bullshit as opposed to the soul stirring mastery of Wicklow’s The Prayer Boat.

It is one of the few albums ever made that really does not have a single bad track on it. Not only does it not have a bad track on it but there is not even one track which isn’t utter artistry. I would write a detailed response to every song on the album but I feel I would be wasting both our times as every song has the same consistency of allure as the song preceding and the one succeeding. There are several things I would like to tell you such as the climax and build-up of Paralysed and the vocal orgasm of Dark Green, however I feel that Polichinelle is an adventure that you’ve got to experience for yourself without any or much prior knowledge of what to expect. Just stick it on the CD player or on your IPod or phone or whatever, turn out the light and enjoy the enlightenment.

The album starts with Polichinelle itself and concludes with In My Arms Again and I challenge anybody to listen to In My Arms Again without feeling utterly saddened by its melancholic brilliance. It is on YouTube but with only a mere two thousand views in the era of technology it’s practically been heard by nobody and I really can’t for the life me understand why. I can picture it at the end of a cult and classic film just before the climax and the credits roll up.

Something shot in black and white most probably. It would be the best film ever made.

When it gets too strong and you know it will And you feel inside like it's got to end And all your tears have got you nowhere Just put yourself in my arms again Black and white is so easy to see Even the blue sky's never certain When your eyes won't reach for me And put yourself in my arms again This is now a plea. Listen to Polichinelle. Buy it on EBay. Buy it on ITunes. And just listen to it thoroughly. Listen to every track. Listen to its melancholic beauty. Listen to the emotions each member of the band conveys through the perfections of every chord, note, tap and tone. I see myself not as an overly emotional person but it is a certainty that I could cry and cry endlessly listening to Polichinelle.

Listen to it in the morning. Listen to at night. Listen to it sober, drunk, hungry or full, sad, happy, depressed or ecstatic. This is not an attempt for me to make you lose a couple of pounds or euros; this is definite guidance- the best guidance I could ever give. I want this album to be heard. This album will expand your mind and pull on every one of your heart strings again and again and again. I’ve said it before and I’ll say it again…It really breaks my heart knowing that the sincere genius of this album has reached no great heights.

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BLACK NEON KNIGHTS

T

he grass roots music scene of Liverpool is something that we have a true love affair with here at Unsigned & Independent and to underline that commitment we made a trip to the city recently to check out Hope Fest. We were extremely impressed with the set-up of the festival, the calibre of the artists we saw performing and the venues that we managed to visit. We also managed to discover some new artists along the way who are now fixed firmly to our radar. Hope Fest was also a resounding success, and this was the second time it had been run this year by the very capable Anna Grace Henney in aid of the city’s homeless, with patrons of the festival being asked to donate something instead of paying an admission fee. So that bartering system brought out the spirit of what Hope Fest was aiming for.

Our travels took up to The Brink on Parr St as our first port of call. It is affine venue to spend a Saturday afternoon and it also has a no alcohol policy in place. How it is all set up embodies a real sense of community and from talking to the people that run it we got a fine understanding of what the venue is all about. Given our busy schedule that day we only managed to catch one act there and that was Norwegian singer/songwriter INGRID FROSLAND, an artist who we have already featured in the magazine before. There is something defined about what she brings to proceedings as a performer and this is assured form her opening song ‘Walking Backwards’. The heartfelt sway of the tune is noteworthy and this is a feature suitably caressed in her voice. That quality relays upon the tune quite effectively. The essence is harboured and backed up in how it all comes together. The stillness of the delivery comes to pass in a balanced way from this commitment. Her next song ‘The Fighter’ then sees a more upbeat flight come through on the intro. The leveraged feel about her vocals knowingly pull it all through. Adding to that appeal is the refined showing of the lyrics which tolls away in the placid features on show. Collectively the resolve is telling and holds up as it makes its way through. Her invested effort is rewarded fairly on ‘We’ll Never Know’. The showing here is cleanly brought through from how it is fronted. It is harmonised and that realisation settles into the playing in a telling way as everything favourably falls into place alongside the soft and stirring attributes.

Inspiration is something that immediately wraps around the lonesome derivative of ‘Oh Oslo’. It slowly comes to pass and is very becoming in doing so. The partiality delivered manages that firmly in the approach and gives an acknowledged nod to being alone in the city and then embracing the lonely side of the city in a kindred way from the freedom it can also afford.

That filters through here and comes full circle impressively.

With ‘Dare To Believe’ the neat dalliance that squarely carries through creates a lucid hold over the tempo. It befits it all and the overall neatness of the trappings are what give it meaning.

The sombre and fluid qualities are noted, while her voice expands her range in the delivery. The deferred calling of which is what keeps this going and in focus in a positive way as it closes out. Her final offering was the rather spry ‘You Said’.

It opens with an air of confidence and proven worth. This is a savoury effort indeed that is catchy. Yet the focus is there with the licks in the guitar giving it a calling. The ease and comfort of her vocals also help carry it all off.

Following that performance our travels then took us by taxi to Cumberland Street to catch another band who have been on our radar for some time. Before we walked in the door of The Lomax we bumped into THE RELICS outside and in the exchange of pleasantries realised that we were all singing off the same hymn sheet with regards our understanding and commitment to promoting music at a grass roots level. As we said, they are a band that we have been meaning to see live now for some time and they got everything going with ‘September Wind’. Here they strike out with confidence on the intro and then allow things to hang back diligently as the play evens out. That is a coarse consideration and things pick up to reflect this. They are generous with the playing which in turn gives it a hardened whim. The vocals also play into in leanly

leanly and draw a Bruce Springsteen vibe from the vibe it gives off. The opening of ‘Being Down To The Bottom And Back Up Again’ is something that grabs you. The relativity of it all confirms the impact as things develop and is smartly placed.

Everything is in sync here and the big bridge draws another comparison to an American artist. This time out there are hints of Bob Dylan’s ‘Positively 4th Street’ in the undertone.

Then they launched into ‘Chasing The Dust’. The big showing from the guitar breaks across it all here and brings an unmistakeable attire to proceedings. There is a swagger to them as they begin to now own the stage. The defined roll of the rhythm gives this front and the weight is what pushes it through. This is a song that sounds the part, is rich in indie but at the same time elevates it above being standard.

They then seem to know where they are going now as they allow everything to fall into place on ‘Song Four’ and how they lock it all down shows sharply in the running here. The catchy formations in the hooks are backed by a purity of substance that is expansive in the right way also. The improvised Rod Stewart medley is a nice touch as well. ‘Rocky Mountain Time’ clicks into gear with the dots joined up by the Americana vibe that shows the band see the bigger picture. This grants it presence and the boisterous kick in the resonance adds some determination that tips the scales favourably in the right way.

The tasteful climb on show in the rhythm marks a clever distribution that adds a solid resolve in both the breakdown and change of direction with the playing arc. They combine to add a lot of worth to the narrative here. A formidable calling in the opening seals in the worth of ‘Goodbye’. The aimless resolve is credibly brought through and pays dividends in how it builds, even if it is a short and sweet affair. They burn the air in the room with their closing number ‘Never Again Until The Next Time’ and the intro alone makes the hairs on your neck stand up. It is electrifying and you take note of just how good they are here. The handling is up to the task and the bridge builds the sound. This is cleanly tapped into and the tracking is full on as they cut loose. The sharp turn of pace is fluid and the drumming vibrantly rounds on things with vibrancy, while their Rolling Stones medley closes things out with a good degree of showmanship.

The rest of our evening took us to Parliament Street where the final three acts on the line-up at The Baltic Social reminded us of what Liverpool has to offer. The first of this trinity was BLACK NEON KNIGHTS and a resolved cut carries through on their first song ‘Not Gonna Break’. This is heavy in the rock leaning with the guitar and drumming seamlessly merging together on the approach. What is cornered in the running is a locked and loaded approach that holds steady. The exalted weight in how they play is thrown down on ‘Loaded Gun’. The marker laid down has a sense of authority about it that is negated in a determined way. The depth hardens as it travels which allows the intent and bite to show. A hint of funk comes through on ‘Burn It Down’ before things break away from that approach. The breakdown is impressive and the playing gains are a strong showing that is worked in considerably well.

Another solid tune that sells you on them as a band is ‘Walk Away’ on account of how it is carried with purpose. The lingering traits drag across and cement the running. A guarded feel is processed and this is neatly comprehended in the urgency of the delivery. A brand new track then followed with ‘Go To Hell’ and the drumming on the opening is very slick indeed. Things come in off that and the pace is processed as it cuts across, which provides it with drive. The pace fixes to the flush feel in the tempo cleverly. In doing so, things are given a smart and hardy turning at the same time as the vocals cut across in the accomplished manner that they do. ‘Rise Up’ continues this heightened showing that has now taken hold in their set. The chord structure here is extremely catchy and rises up in a noted way. The chorus is big and anthemic, which is assured form the solid qualities on show from start to finish.

The mainstream qualities stand it good stead and how it closes out is the proverbial cherry. The high progressive showing on the open of ‘Not Your Fault’ closes things out and slows

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THE RELICS everything right down. That then contrasts tellingly with the charged pace which is gradually picked up. They lay into the delivery to serve up something that is comprehensively called as it powers along.

Along with a Luna Corona, the next band we caught live were something of a welcome discovery for us due to last minute line-up changes. From what we gathered from the crowd, WESTERN PROMISE were one of the bands that a large portion of the crowd had turned up to see tonight. The psychedelic overtures are coveted in a most promising way on ‘Long Way Down’. This is courted alongside a hint of roadhouse influences which in turn provides it all with a strength of depth that shows. The sense of fullness in the volume makes for a resounding opening tune in the right way.

The mantra of them is that they are a band for the people and ‘Wake Up Call’ sees this ring out in a virtuous way. The rich ska flavour allows the fluidity of the movement clock in with a determined feel. This takes flight in a powerful way and the absence of a brass section makes you do a double check, such is the impact of the pedal work on show here. Their new single ‘Bullet Proof’ is a mindful one that benefits from their qualities as a live band. That is confirmed here and the lightness in the pace is a nice effect because it grounds everything here.

The ethos to what the band is all about catches ‘Charlie Wright’ correctly. This is a withdrawn number. The obvious showing of smarts about it all hints at a murder ballad slightly.

How that is hauntingly captured fits both the mood and tone, while the expansive touches also provide it with a sense of worth. They again bring their ska influences back to the mix with ‘Killer’. This has a bold beat to it that is finely kept in check and comfortably processed. There is a fine showing her as it steps out, with the offbeat showing working as the rich and vibrant bridge is executed. ‘Revolution’ is a telling tune that is guided by the gentle running here. It is eased into being and what comes to pass in the tune is pleasing to hear. The operation in the tempo is splendid and the organ carries it all through with a rich texture. The inspired calling in the lyrics brings with it all a true call to arms. Then they closed out with a solo showing from front man John McGlone called ‘Justice For The 96’. This soldiers on and you can’t help but be moved by the sincerity of the performance. It is a closed off song and the subject matter is self-explanatory a quarter of a century on.

19th - 21st September 2014

That resolve caries through justly and the baying crowd hung on the chorus to show how much this is ingrained as doctrine in the people of Liverpool.

THE JACKOBINS were the final act we caught at Hope Fest and they have been on our radar for some time now. They are a very professional band, in terms of preparation and approach. ‘She Always Says’ is a carefully constructed effort. Hints of The Cure filter through and show how tight they are as a band. The listless feel is controlled and the clever flow in the rhythm deposited here circulates in a rotund way, but also alongside some light hints of New Wave influences at work. The chaste opening that comes to pass on ‘Ghosts’ shows a great understanding of what is required to make a grand live showing. The theatricality is the making of the performance here from the off from frontman Dominic Bassnett suits the deep and morose overtures. The rhythm itself is brilliantly carried through. Then things make for a bolder approach with ‘Shoot You Down’. The gothic sensibility in the organic is touched out with that as a standpoint. It seeps through in an effective way and the showing here is impressive. Broad strokes call out the delivery. Overall it is well layered with a superbly this evening. fashioned Avant Garde feel about it all.

The punch from the guitar intensifies ‘Hello Today, Goodbye Tomorrow’ and gives the direction a more noted shift here. The emphasis seems to be on developing the rock tone here.

The guitar is edged out with prominence to give the tempo a fuller effect. Adding to everything is the commanding vocals which give the band a more complete appeal in how they come through. Sharply opened and holding firm is ‘The Otherside’. It has a slight kitsch to it that opens it all up. They lead in with an air of confidence here and you begin to take note of how talented they are. There is a fine level of songwriting ability on show and how the play lines up is extremely tight. The rich volume hints at a U2 ‘Joshua Tree’ era and the bravado of their front man executes this formidably.

Anti-was song ‘Prussia’ closed things from them. A sense of authority fills the air off the rhythm that is lean and carefully considered.

The focus on the lyrics and vocals match the intent. It is an anthemic showing that is nailed down with real credibility. The movement and definition in the grounded approach all line up on this one to promote a great tune throughout.

But also deserving of an almost flawless live showing in the half dozen tunes that comprised their set here

WESTERN PROMISE - 13 -

INGRID FROSLAND THE JACKOBINS

DIMESTORE RECORDINGS Sweeney’s Bar (02-10-2014)

INTERCITY PUNK Tonight was Thursday and as Sweeney’s that means it is Dimestore Recordings. Everything about tonight’s line-up was all about the music. But at the same time it also managed to combine some international aspects with supporting the local music scene. Two of tonight’s featured artists were from Spain and Slovenia. The first of the international acts was Intercity Punk from Slovenia. Following a brief intro that fashionably put a polka fashion into the mix from how it blended into the delivery. It is called out nicely, which helps by it being a brief number. Again with ‘Mind Wrap’ it is an interesting experience to see a punk song played on acoustic guitar. This is something that configures easily, with the brash overtures and avenues vying nicely. That secures the angst that vocals need to get the point across.

‘Time And Road’ is an interesting tune. The tone is distinguished by the diversity. They are moments in the play that connect extremely well. This is a feature that touches out well with the harder moments and gives the trajectory a noted kick. The gentle plying of the guitar is reasoned well on ‘Falling’.

It is a supple refinement to the tune and the saunter brings some flair to proceedings, while the soft tone is full on. However there is a large degree of repetition and monotony which has now become evident and again repeats on ‘when Moon Goes Down’. There is that sense of rawness to this which meets a performance that brings the noise. The out of sync elements signify everything that is good and bad about punk, only this time it leans too much toward the latter.

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At the moment one of the richest music scenes in the country is to be found in Wicklow. Aside from the success of Hozier there are a number of fine acts currently to be found on the circuit there. With The Harbour Bar and Groovefest underlining how vibrant it is. Flying the flag for tonight was Look To The Lady. This was our first time seeing them live and they show promise. Opening with ‘Hypocrites Ae In Bloom’ saw them develop a sense in the collective playing that adds up in a big way. Things are catchy and the riffs procure something that is very easy on the ear. But it also has lift and zest. You also see a confidence about them as they play that you do admire them for. That is a quality that is there in abundance on ‘Say You Love Me’. It was their first single and it puts the goods on show with the fluid running. This is backed and tracked superbly. The incredible way it is fashioned is what allows the rhythm to clock in but that is what also works for the fashionable showing just as much.

Things are then brought around on ‘Wishing Off Airplanes’ from the guitar. The neat drumming also marries well to the sound. What bides away in the rhythm has a texture and volume about it all that very much provide it with a consistent dynamic.

LOOK TO THE LADY

Things then have a brandished feel that is easy to admire with how they come together on ‘Lose It All’. What marks it out in the right way here are the mainstream qualities that exist in the showing. They bring with them a sense of balance and precision that feeds into the rhythm efficiently. This is a section on show that also pushes things out rather positively which in turn feeds the catchy side. Their version of ‘Jolene’ carried al the right side of the classic through which also caught something imaginative with the rock slant put upon it.

They charged things up in a big way for their closing number ‘Red Light District’. The pace is kept track of and brings a West Coast hipster feel about it in the right places. This acts as a source of modernity in how it travels, while the handling on the bridge zips through the delivery. Those snappy flourishes are seized upon and closed with high regard.

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SILVERBIRD They get straight into it and show what they are about with ‘Lock And Load’. There is a glorious dirty feel about it as it rolls out. This is gathered in a neat way. The terse showing in the rhythm necessitates a rounded sense of freedom as it cuts loose and proves a fine prevailing effort in the process. With ‘Burn Out’ things are brought in evenly. A mark of intent is noted in the hardened progression that the slick movements benefit from. There is also a competence to it as it falls into place. The weaving in the bursts of play takes flight in a clever way.

But the consistency is what is key here as they lose themselves in the delivery as a band. ‘After You’ has a hint of being a guilty pleasure. Yet it is also a finely developed tune with a fine rock showing in the execution here. It is akin to the era when the genre ruled and that is a pomp that fills the air. The neat licks of the guitar roar out with authority.

An easy going effort sees them through with ‘Crunch Time’ and the relative comfort to it shows, but it is also a grounded tune. There is nothing to it that adds up to it being more than the sum of its prats but sometimes simplicity can be the key. Musically this is up to the task and all three elements combine in a concise way. A blinding effort follows with ‘Rock Circle’. The fusion of rock and blues combines well. In the expansive aspect things drop back and find their calling. It is a supple delivery and they go all out on the bridge. Rock’n’roll was made for moments like this and so was Dimestore Recordings. A new track followed and it is untitled but has a provisional name of ‘Lizzie’ at the time of writing. While it is lacking in the maturity and edge of other efforts it does have a distinguished Thin Lizzy vibe going for it. The drop of the four bar riffs see it switch between a ‘Jailbreak’ vibe to ‘Rosaleen’. These are dynamics that really see it step out and those arrangements are a declaration that foreshadows their closing track, which appropriately was a cover of ‘The Rocker’. Overall it wasn’t a bad set from a band very much capable of letting their music do the talking for them.

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BETA MOTION

We reviewed their album in this issue and listening to that was a sheer experience in cool. To see this Spanish band playing live was equally impressive. Things got underway with the undeniably hip ‘These Are The Days’. The delivery of the vocals is brilliant and fit to the song brilliantly. The expertise on show makes sense of everything. The colourful poise in the showing smartly captures the tune. You also sense that here is a band looking at the bigger picture from how it is laid out. Then a sublime tune comes a calling with ‘These Walls’. It is a sublime tune with brevity of tone on show.

That is tempered to the even flow here and gives it a deserved proven quality.

The tightness of the band shows here as the majesty pours out in the flow.

They gathered things smartly for their take on ‘Light My Fire’ and it is a brave band that tampers with a classic of that stature but it was a case of mission accomplished with it.

There is inspiration derived from the tempo of ‘No More’. The bass is delectable on this and the even roll is motioned through from the off. The guitar circles through the tune, while overall it is melodic and highly referential in places which help to give it a large mainstream calling. A smooth and silky offering best describes ‘Sue’. How it is delivered here rises in a content way. That shows the class of the band in doing so. Here the clean hooks and catchy chorus melt into everything deliberately. ‘take It While You Can’ has a tidy tumble and the discourse on show is highly fluid. It is akin to The Strokes and the openness in the showing catches something that has an underrated vibe and tone that give it a deferred showing. It is a tune that leaves a lasting impression. But bursting at the seams is something animalistic that is caught right.

Sent up in the right way is ‘Come Close (To Me)’ and it is a sweet number. The funk picks up on it in a solid way. The developed sense of appreciation as they lay on the instrumental qualities catches the calling in an inspired way. This is what brings everything through deliberately and carried off urgently. Their final tune was another rendition of a classic. This time out it was Blondie’s ‘Heart Of Glass’ that got the reworking and it came to pass in an endearing way. The lightness of touch was pleasing on the ear and relayed well in how it touched out. They did this one on their own terms and it showed.

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FRANKO FRANKO A half dozen songs and a cover made up the set for the excellent Franko Franko here tonight. They were our second last act on the night but they showed no signs of fatigue with a full on set that captured everything from the second that first chord was struck on ‘Strange Beginnings’. The lay on the rhythm and it shows. This is a content number with nou disco/indie leanings merging in a seamless manner. That solid demeanour carries it all off and adds a real touch of flair as it comes to pass in the electrifying way it does. Things continue in that considered vein on ‘The More We Chew’. The high yield from the guitar work fits into the playing folds in an imaginative way. What looms is handsome and comes across in a thorough way. The lean cut of the vocals and the insipid splendour are part of the charm. There is a deserved reach achieved in the bounce of the tempo that lights the tune up in a highly informed way. They also bring the funk and it is one of the things that the band is noted for.

A great tune with more to give is the best way to describe ‘Top Shelf’. They bring it through and the grandeur is richly earned. This is one of those songs oozing class, charm and class and bears down on those qualities with significance.

They played ‘Dark Horse’ by KATY PERRY next and followed it up with the incredibly hip ‘Far From Home’. The shake in the rhythm on this one pulls it all through. What is stowed away is fanciful and lean, but the development here is what gives it impact. They maintain that momentum in their set with ‘Sex, Drugs, Religion’ and the calypso on this one brims with a lot of the right qualities. So much so that Joey Sauce from The Hot Sprockets remarked how much he was ‘loving them’. But they really did own their moment with this one so it was deserved praise. They closed out with ‘Million Dollar Idea’. Here is a stellar tune with an acknowledged goodness emitting from it on all fronts. That is what fires up the delivery and the urgency is well contended. There is also the matter of how the lyrics and chorus materialise here because they very much show a tune that is on the money in more ways than one.

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WOB

This is a band that have been slowly making themselves known on the Irish circuit over the last two years and deserving of that recognition. The synth and EDM qualities of ‘Cosmos’ are rich in their conveyance. The patient and sober calling of it is managed in the approach here. The finesse builds and it then takes off in a promising way. The nouveau disco in the styling is impressive and binds tellingly to the tempo. Things gravitate towards a fuller sensibility with ‘Sello’. This is captured in the showing and clearly captures what is set out by the band. It is indulged in a high level of expression that connects in the showing in the right way, but also closes out in a big way.

The acoustic flow captures a spirited trapping. That traipsed feel, alongside the robotic aspects in the sound, give it a spatial calling. The resolve in the showing in that regard shuffles the tempo through smartly. Overall, this is gauged and reflected in the resolved progression. This evokes a grandiose appeal that is full on musically and fluid in a noted way. The looming presence of ‘Ice Kings’ generates the spatial trimmings into the overall operation with a paramount emphasis on the development and detail of the sound. The gilded guitar exonerates the delivery and provides it with a worthy calling. Their closing tune is the rather trippy ‘Jambon Jovi’. The garage styling meets well with the drum and bass trappings. That gives it a smart underground feel and hardens the extension to it overall. It then proceeds to encapsulate the song in the secondary progressions.

They are communicated in an impressive way that brings an alluring pull and sway that builds on the flow here, but does so in an excellent way.

Photography by Dom Marceleno

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THE RUBY SESSIONS Doyle’s Bar (30-09-2014)

THE STYLE A champion night of music here at The Ruby Sessions was gotten underway by a relatively new act on the Irish music scene called The Style. This duo has certainly got an incredible amount going for them with what they offer. The tunes have a solid backing and the smarts that they display in the lyrics very much denote an act that could have real potential if they can get into a studio. ‘Products Of The Sea’ by design is an excellent effort from them. With the chaste vocals there is worth to be found in this tune. The neatness and handsome showing has a built in goodness that is an excellent strength played to, but sealed by how good the vocals are. With ‘Falling For You’ the guitar keeps to a formation that digs in on the intro. It is very easy to admire. You also recognise the effort on show in the written aspects. The metaphors have a richness that comes to define them artistically.

They have an interesting composure on stage and that is amicably felt on ‘See What’s Real’. The adoration perfectly cuts loose from the opening line. This is a tune brought together and brought to life from the approach. The Eurythmics comparison is made on account of the vibe that comes off from the dynamics. The granted saunter in the tempo of ‘Real Love’ draws you in. It is well framed and the vocals cradle the emotion. This derives the depth and it is an exemplary showing. The kick to ‘Behind The Lines’ builds the song in a big way. The surge in the tempo is something that is tracked in the right way. It all leads in faithfully and the inspired lyrics have a sheer talent shown in that regard. It is a rare occasion that a band you see for the first time leaves such a lasting impression and they should definitely be an act going places sooner rather than later.

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STEPHEN JAMES We have seen Stephen James perform before and he is one of those interesting artists that we manage to see play from time to time. He also made the most if his allotted time here in Doyle’s this evening. His first song ‘It’s In Your Nature’ is built around a partial approach. The tidy flow of the song is held accountable from all of this. The prominence of the lyrics is thoughtful and considerate.

The silken feel of the lilt in his voice fires this one up and it is a well measured effort that holds when it does. The bonafide richness residing on ‘You’d Like To Tell Me’ gives it a gentle touch. A gritted determination also passes through that picks up well with the showing as a whole.

That is fine reflection of the calling that rallies behind this one. On ‘Friend Of Mine’ the weight of the song is carefully balanced. That gives of a tremendous amount of lift that holds prominently. Running with that is a mindful keepsake in the lyrics that also give it reach. This is further enriched by how the two guitar styles (electric and acoustic) merge on this one.

The lament on show with ‘Where Have You Gone?’ informs the delivery. It is an invested tune with a cumbersome flow underneath the playing. The urgency is quite close and it certifies the workings. The determination braces everything and drops across the play to give it an Americana showing. His version of ‘Lining Track’ by Lead Belly worked the crowd before his ode to his reckless days of youth closed things. ‘The Toothless Clown’ is provided well from the experience that lead to it coming to pass. It is well framed and proves he can deliver a sleek tune when required with this highly realised effort.

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LITTLE HOURS While they are a duo and playing a stripped back set, as is de rigour for playing The Ruby Sessions, they still manage to seep their opening tune ‘Crossfire’ in a degree of splendour. There is an ornate ebb and flow in the delivery that holds over it in a warm way. The inviting side of the tune treats that in a considered way that is enhanced by the warm tidings in the delivery. Debut single ‘There’s Still Love’ is an effort that is smartly collected. The piano has a real saying in how it impacts. That processes the gradual side of things and brings through the softness that resides by design. A spring in the step is noted from the more upbeat tempo of ‘Flavour’. The trappings have abundance about them. The heartened calling of the hushed vocals teases the song out. But it gives it a rightful calling and creates a resolved tune that is left in the standing from the approach adopted.

With ‘Tired’ the closeness of being that has come to define their set passes through in the details on the intro. Yet the progression then shoulders a hardened quality in the approach. This picks things up in a token way, while the relative ease of the vocals confirms everything. On ‘Amber’ a sleight of hand passes through everything in the play. That seems to find its way as a closing track in a commendable way.

There are evident showings in the structure here to suggest it is a bigger number waiting to be released.

The context makes good use of the romantic and forlorn measurements that comparatively come to pass in a fluid way at certain points. That furthers the precious assessment of the potential the tune could hold.

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CRAIG GALLAGHER

We saw this artist perform at this very venue recently and he is one of those acts that is comfortable enough with being on a stage. There are elements of inexperience in places but they subside when he gets into his delivery. ‘Home’ sees the lonesome side come to pass in a lasting way. The sentiment holds in the mature showing, with the solemn and sincere qualities provided well for it all here. The pitch in his voice can certainly handle the high notes when asked. The reflections of the loss of a first love, then a second chance and then reliving the whole ‘not working out’ thing provides ‘Don’t Think’ with its inspiration. It shows and the angst was preceded in his anecdote which ended with the words ‘A song about her but not for her’. That reaches deep and this pours out in the emotion of the delivery.

An untitled song then followed. As a work in progress it has a narrow feel to how things are arranged. The lyrics chased down something in the narrative that allows for a good account of everything be given in the workings. He then walked into the crowd to play a rendition of the Elvis Presley classic ‘I Can’t Help Falling In Love’ before seeing things out with ‘Okay’.

This is an effort that comes to pass quite resoundingly and the pitch of the vocals situates the right balance needed. Poise and purpose command the lyrics. The richness is a quality that is completed by how they remedy in the delivery as a whole here. Overall it is an astute number and a fine effort to close out on also.

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Irish Artists BUFFALO SUNN

By The Ocean By The Sea The sustenance of ‘I Wanna Be In Love’ grabs you in the right way, while the opening line assures the placid turning deliberately. That collective showing in the sloped running doled out generously powers the tune forward by getting beneath the delivery. You warm to the delightful showing of ‘By Your Side’. The magnetism of the bespoke quality comfortably frames the running. There are mainstream indie credentials, but there is substance to be found that relates well with how everything lines up. You feel them come into their own with ‘Gimme Truth’. Possessing a fine maturity and expression in the narrative it is a tune that alters the direction of the album. That is a showing that is carefully considered and rotund in equal measures. The psychedelic flow underlines this and gives it worth.

‘On The Right Side’ is a full on affair that hits the ground running in the right way. It is a comfortable tune and the vocals also characterise this as they light up the tune. The urgency seeps through this in the tempo and it lights up in the right way as it all runs.

Drawn out as a big number is ‘Let It Go’ and it plays to emotive approach quite efficiently. The big showing in the arrangement and slowed down tempo draw you in. Then things are charged up explicitly

10 on ‘Witches’. This is a tune that makes you sit up and take note. How it impacts shows and that is by design also. It is well tracked and what connects is savoury as much as it is ambitious.

The latter showing of the album is what proves how good they are.

That is confirmed by ‘Seven Seas’. It has a carefree flow that charms, while the backing vocals reside alongside the determined showing conjured. The lightness of touch prevails in a wondrous way and the select way things find reach is commendable. The gentle stirring of the guitar and strings tolls away on ‘Drifting Away’. A sense of a 60’s revisionist vibe fits in perfectly with this one. But what defines it is the richness of the approach and what it has to offer. It all fits together superbly by design and also carefully crafts the playing to something of conclusion. Hints of Arcade Fire subtly come to pass on ‘Told You So’. It is a tune deserving of recognition in its own right. This has scope, range and ambition on all fronts and they come together excellently. In the transition that kindly absorbs you as it plays and the break down is one that engages a lot in the approach and is rewarded so. The final track is ‘Ocean’. Here they lay it all on the line and go all out. That works for them and the steadfast motion of the rhythm harnesses this with efficiency. The running is hardened, while the listless narrative makes for an interesting contrast that sweetly determines everything.

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COLD COMFORT Tainted Winds

The album opens with the impeccable ‘When Love Grew Wild’. Everything on show is superb and reaches what it aims for. Be it the arrangement and the light touches of instrumental flourishes in the piano to the exquisite vocal delivery, here is a tune that lays down a marker and follows it up with a whole album. Second track ‘Belong’ picks things up carefully but hones the urgency to fine effect. The upbeat tempo rises steadily but there is a full on engagement with hints of roadhouse and rock sensibilities at its core. The careful construction shows and the casual appreciation corners the substance of the delivery. Third track is the eponymous ‘Tainted Winds’ and the allure of the abandonment pushes the rhythm through. It has a crisp treatise in the flow that is highly attractive, but the weight of the substance is acknowledged in the tempo. It has pace but that is there to keep it in focus, while the sense of revelry marked out here is astounding.

‘Aces Falling’ falls into places with the amicable attributes to match. The relative way things build is also of note and the expansive showing in the later progression benefits greatly from that approach. It also closes out in glorious fashion.

Hints of Americana influence become apparent on ‘Ratrace Blues’. The essence of cool flies high on the kick, but the generous way things are approached on a musical level brings with it a wealth of sound and development that keys it all up expertly. The soft

10 saunter of ‘Love Pains’ affords the song an undeniable appreciation it deserves. Things are lead in from the patience at the beginning, while how it comes full circle engages you considerably as a listener.

Everything lines up on this one and the engaging vocals take you along for the ride. What a tune and it is a stellar offering indeed. Coming full circle immediately is ‘Be Gone’. With lyrics that are worth a damn the song is set up, but the tempestuous flow of the delivery is inspired.

Commanded by this approach is the ebb and flow of the music which embraces the depth of the approach in a proven way.

The richness of being that provides ‘Bury Your Head’ indulges a more mainstream showing from the band. It is stylish and the steady way it is all carried off brings forth the anthemic qualities of the tune in a most fortunate way. Here is a realised tune that reacts correctly with the way it is all managed to produce the goods in a certified way that lets the music do the talking. Given elation in the lift of the overall flow is ‘High’.

The warm opening is greeted by a deeper cut as things step out. That sees a rapturous demeanour gather in the running that spills forth righteously, with a careful attention to detail coming through in the layers of the tune and the tracking here. They run away with this tune but never lose the run of themselves in the process.

The closing track is the considerately developed ‘You Came Through’.

The weight and flight are carefully constructed. That sees the pockets of musicality in the running smartly brought full circle. The fondness in the running selectively circles the delivery and has an essence that brings the curtain down here and shows the mastery at work in doing so. One of those great albums that is not just musically there, but the tracking list is also what makes it work.

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SEAN T MACLEOD Cool Charisma

There is a lot to admire to the opening tune ‘Cool Charisma’. Confidently weighing in with a degree of cool (pun intended) sees the enigmatic side carried through and step out with poise. Instrumentally solid, it is a fine track that is rewarding to hear. Extolling a 60’s sensibility is ‘Don’t Let Them Get You’.

Unbridled and chic, the savoury psychedelic flourishes are enhanced when the chorus comes to pass. This is one of those tunes finely processed and fronted to pull you in superbly. Taking a lighter approach to things is ‘Light Up The Sun’. It is brokered by an approach caught in the acoustic guitar before the playing is brought in. Hints of solo Ray Davies’ solo are evident and the comfortable running evolves within its own playing by circumstance as a result.

Keeping the composure elegantly is ‘Beautiful Star’.

A sweeping and solemn effort, things have instrumental depth while the vocals also impart creativity. Dandy sensibilities come to pass on this one but when it comes together it is a wonderful showing that conveys warmth to match the ambition. The drumming and funky side carries through on ‘Spit Free (Set Your)’. It has this David Holmes/Kalimba vibe that embraces synth in the light way. This gives it identity. It is a groovy tune in that

7 regard though and the tempo is equally pleasing. Holding a more upbeat approach is ‘Cross ‘n’ Rose’. The psychedelic narrative of the lyrics is kindred and sharply frames the delivery. The rhythm and tempo match, but it does lack something in places and hasn’t as much weight as it could. What it has going for it conjures up a delectable tune with purpose in many ways apart from that.

The harmony of the opening to ‘And Here We Come’ is quite alluring. The way it casts over the intro is followed up by temerity in the even skip of the tempo. It is a balanced tune none-the -less that seems to close around that tellingly. The awning is comfortably numb and processed accordingly with volume and texture coming off it in the right way. The dedication pours through on ‘Hilary’. A darker tune if you interpret the lyrics because it has a hint of the unhinged on closer analysis. Or in the ambiguous sense it is a fantasy, but it still provides well for the tune throughout. More forlorn than the rest of the album is ‘Kiss It All Goodbye’. The sense of loss provides the drive for the anguish. The playing tees this up and it creeps through smartly in the lyrics which powers it along and keeps it in focus.

The closing track here is ‘That Devil’s Back’. Thoughtfully laid out in the reflections but lacking a bit of commitment though. It seems to be placid and corners this but never moves away from it. It is just a tune that carries through but that lack of direction hinders it.

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STORYFOLD

Following on from 2011’s ‘Rocket Science’, 26th September 2014 saw STORYFOLD (formed 2009) release album number 2, with production by Ger McDonnell (U2, The Cure, Kasabian) and Phil Magee (Kodaline) on engineering duties.

This new body of work has taken 2 years to assemble in its totality, including release logistics. The proficient five piece can also boast about their Croke Park appearance in front of a crowd of 40,000 and supporting Feeder on tour.

The album gets underway with the single ‘The Lost And The Lonely, which appropriately sets the tone for what is to come. This is out and out pop rock designed for one thing and one thing only, radio play. No shame in that, but it must be stated.

Exploring and pushing boundaries is not what Storyfold appear to be about. It’s clean and well produced for their target audience. The bass drum is prominent at times too here, aimed at inciting communal handclaps at gigs no doubt. ‘Michael’, which follows, also has that universal radio appeal. Here we’re presented with a KILLERS meets CORONAS anthemic number. Traces of MANIC STREET PREACHERS exist too due to Paddy McKenna’s soaring vocals. There’s an overall fusion of Irish and American teenage pop that infiltrates the ears. Some will dig, some won’t. There is also the inclusion of a duel guitar solo, which unfortunately comes across as dated. Track three, ‘The Underpass’, kicks off with the appealing chanting of ‘Whoo-Cha’; a good hook that ticks the boxes. It’s a wellconstructed track that contains subtle textures and dynamic contrast, thus maintaining the interest. It’s the standout track for me. Lot’s of charm The piano sets the mood for ‘Beech Row’. We sense a touch of THE SCRIPT/U2 off this one. Like the preceding songs, there is a real bang!

It’s big in terms of its soundworld and approach. McKenna is quoted as stating ‘we wanted it to be big and epic and Ger McDonnell really understood that from the get-go’. To be fair to the group they achieved their aim. ‘Nothin’ To Ya’ is an old school pop ballad, epitomized by the

7 simple, yet effective, drums, which contains constant high-hats and side stick hits off the snare. The backing vocals of Lindsey Hogan are also worthy of mention here. The blend between McKenna and Hogan constructs a Romantic air. The theme of moving on is one all can relate to on some level, so it endears itself to the listener. ‘Dynamo’ follows and is a track that would certainly appeal to the passive music fan with the repetition of the title in the chorus becoming quite memorable.

A satisfactory blend of acoustic and electric guitar sets ‘Without You’ in motion. Sub bass becomes prominent before the entry of the voice. Clever piano is introduced, along with a change in drum groove, before the ‘full on’ chorus reveals itself. The song further consolidates the bands leanings towards emotive, romantic based pop rock.

There’s an overriding sense of BRIAN ADAMS in terms of its feel and tone. The bass line is pumping and drives the song along. The sound is one of marketability that would translate effectively to the ‘bigger’ stages. ‘True Love Tells Lies’ opens with an interesting a cappella, which is possibly cut short. Exploring this rich timbre further could have been an angle worth considering? Again we sense THE CORONAS as McKenna gives an insight into a doomed relationship. It’s a touching subject matter that has the capacity to entice a tear or two from a newly heartbroken. ‘The End Of Youth’ is a ringer for LIMP BIZKIT’s cover of ‘Behind Blue Eyes’. This is the most eerie track we’re served up with panned whispered backing vocals accompanying the lead voice in the second verse. There’s an impression of regret and poignancy that penetrates the senses throughout. ‘Perfect 10’ is sadly more generic 5 with GREEN DAY drum fills and end-of-phrase chord progressions. Perky BLIZZARDS staccato stabs on rhythm guitar and piano also feature. ‘Running Out OF Light’, for all its professionalism, brings to close a somewhat underwhelming LP. Having said that, it is a track that could certainly find itself a synchronization in an American teen flick.

There is a market for this sound and the band know what they’re after and stick to their guns. One can imagine a closing scene; guy inevitably gets with the chic in the end.

With the risk of sounding overly harsh, there is nothing of true significance here. The album is performed competently and is produced well in terms of pop norms and conventions. The group certainly displays adequate ability, however I can’t help but feel it ultimately lacks personality and character.

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THE SHAKER HYMN The relative ease of the opening track ‘We Are Awake’ provides well for the lightness of touch in the delivery. The vocals neatly marry to the lyrics, with their velvet tone gifting the delivery a deserved sense of reach when it takes off. It is then followed by the smart and spry tempo of ‘You Taste Like Nothing (On The Vine).

Again the sensibility meets with the affirmative as it steps out. Yet it is a tidy affair from the off with a consistent warmth coursing through it. A weighted approach denotes the intro to ‘Hunter & The Headman’, but it steadies the approach with real weight being a fundamental in the approach here. This breaks down in the play and gives it drive.

Also keeping things in focus is the listless aspects that come full circle from this approach.

A softer calling presides over ‘Caroline’ in the stirring way the delivery is carried through. The string arrangement captures the emotive side and steers this through. The considerate way it is approached confirms this and it carries it all through with a proven sense of togetherness as it lavishly builds. Things pick up again with ‘The Runaway’ but they seem to retain a withdrawn calling that gives way when the rhythm steps out. The precision in the tempo develops the running confidently. The broadened showing in the urgency drifts

8 across it on account of the right emphasis placed upon developing the music side of things. The lay psychedelic meets well with the indie credibility on ‘Get Away’. In the breakdown there is a formidable passing and sense of weight. In the glimpses of charm there is also a fine showing of intelligence that brings it all full circle.

The rotund feel on show with ‘Hang You From Your Heart’ gives it direction. It connects and grabs you from the off. The weight is all carried through tastefully and the approach spills out sufficiently.

This pieces it all together and the way it is neatly threaded through gives it impact. A sense of the comfortably numb fastens ‘Cold Unknown’ down. In doing so a fashionable intricacy captures the definition of the running and allows the sullen traits to seep through. The delivery is ushered through and brokers those aspects commendably in how it all comes across. ‘Deadweight’ adds up from the determination that crosses over on all fronts. The hardened notoriety of the narrative inspires, while the immediate lift in the tempo pumping through the delivery forges a high standard that is cleanly brokered in how it all plays out.

The closing track on this rather fine album is ‘What The Enemy Calls The Heart’. There is a careful and considerate calling to this one. The deftness of the arrangement reflects this and it accommodates the intention. The refined demeanour spilling forth catches the right balance in the rich formations on show.

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Irish Artists THE DARK LANES The Dark Lanes

Opening track here ‘Caught In The Headlines’ is a full on rock affair. Rather heavy on the delivery in an affirmed way. There are elements of a grunge approach and influence working their way through that reason quite well for it all here. But there is a smart progression to be picked up on the bridge, with the differing playing arcs gifting it an elevated calling. Stepping out in an even way and backed up by the deftness of the subjugated lyrics is ‘Unsaid’. Sincerity prevails, and the shared vocals also give it something that it is deserving of and things have a tight showing. Kept in sync on all fronts, the harmony here comforts the embracing overture of the tame showing in the rhythm in a triumphant way.

Cutting straight to the chase is ‘Shock’. The edgy and raw side of things stares back at you in a considered way. The fullness of the texture builds it evenly, while it does lack that polished feel as being the finished article in places. Sturdy in terms of how things are brought to the mix it curtails the darker side of things and has a noir residing in the running that is rich. We then have ‘Glitter’ as the fourth track. It has a lofty appeal and the way it leads in manages this sensibly. The patience that works away on the tidings matches the vocals. It all pans out and it is sourced from its origins neatly which give it a fine platform to build upon which accommodates a structured approach for the better. Closing things here is a cover of ‘The Rocker’ by Thin Lizzy. This is a commendable effort and it is not an imitation but more of an interpretation in how they put their own stamp on it.

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OAK HOLLOW Life Masks

Greeting you on opening track ‘Freedom’ is a lift in the running that is well considered. It hangs back and allows the vocals pride of place and things are put away from the anticipation that builds on the play. A plateau seems to give the layers of playing something that they revel in and that has the scope to match. Harbouring the expressive side rightly is ‘Blue’. It comes around in a digressed way that frames it splendidly. The soothing way it is all processed hangs in a delicate way and that refined touch is expressed in a telling way. Taken stock in the approach is a commendable effort that is engaging in its own right. With ‘Waste Away’ there are lucid stirrings in the rhythm. They stoke it and that hangs back smartly. The crispness fires it up, while the tempo is fluid and savoury. This is tracked well by design with the later progressions having reach from how they are constructed. The EP is given bite by the presence of its inclusion as a track.

‘Unwound’ is the closing track here. They go all out on this one, but it has a New Wave appeal that corners an indie disco approach superbly. The rhythm has volume that falls into place and that brings the beat through with a robust calling that imparts upon it in the right way from start to finish.

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RAPHAELS

Colours & Sounds A wave of optimism washes over on the tempo of the opening track ‘Colours & Sounds’ that provides it with a rich sense of being. Things fall into place on this one by design, with a hint of country and Americana in the richness of the delivery here. That clocks in and adds some welcome weight to the feel of the tune and adds an earnest sensibility to it all. The video for ‘Monkey Dancing On A Razorblade’ made the cut (pun intended) of our Editor’s pick for last month’s 4x4. The tune itself is a sweet offering and one that is brought around with a wonderful carefree whim that gets it going.

It flies high and that is a strength that is played to here. The result is a tune brimming with excellence and the abundant way it steps out is buoyed with confidence.

‘Revolution’ is a tune to get lost in. This is excellent and the level of maturity marks it out as a serious tune for all the right reasons.

Brightly spread movements of musicality come through on this, while the melodic qualities have an endearing substance about them that is very much on the money. The fourth and final track here is ‘Need This (And You Do To)’ has a residual essence that finds the soul of the song. The depth and referential aspects are highly detailed but it is the neatness of how it plays through that grabs you here. This is a brilliant effort and the heartened qualities on show produce the goods. While the savoury way it develops reach fulfils the promise shown on the opening.

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BAIRBRE ANNE Arrows

What abounds on the first track here resides in a pleasing way and travels across admirably on ‘Wake Up’. The steady way things get going reflect a distinction that is matched by the ambition and high end production values. But take nothing away these are key elements that nurture the tune in a deserving way that carries things through in a way that is processed naturally. Touching tune ‘Unsteady’ is another stirring effort encased in emotion. Her voice envelops the tune and shows how invested she is in the artistic process. The sullen piano then picks up with the drifting progression to ready the tune as it all unfurls. It is that closeness that brings out the best in the tune but hints that more is there to be found in the resolve.

With ‘Last Thread’ her credibility is assured. The soft and bespoke feel of her voice is brilliantly noted in the running here. What is also fashionable about this tune is the manner that the style meets the substance. There is a high yield from the song overall that is rewarded formidably. ‘May You Never’ is another excellent tune. The sublime way that this travels keeps a learned quality at the fore which comes to pass in an impartial way. It is stripped back and that minimalist approach serves it well because it concentrates everything upon her commendable vocal delivery. Closing track ‘Time Stands Still’ is an ambitious one. The direction of the intro prevails and there is patience in the build bears down well. Things very much hold their own here and are expressed in the delivery in an impartial way that lets the music do the talking.

The scope of the arrangement balances this out and is kneaded through sufficiently from the off.

What a great tune and marked intent as it closes the EP.

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LOOK TO THE LADY Mechanical Lights

Hitting the ground running with the correct level of pace is ‘Red Light District’. There is a cautious and even spread about the playing that catches a spirited calling in the delivery.

The loaded feel of the tempo has fluidity and this is something that they feel comfortable with, Bug guitar riffs build and meat with a tearaway approach in the drumming to produce a revelry that is solid. ‘Hypocrites Are In Bloom’ invests a fine emphasis on a blues and rock combo. This is a resilient tune that gives as good as it gets. The perused feel of the vocals feed it immensely and the running takes flight sensibly. In the hardened approach everything sits right and plays like a dream.

But it collects in a way that you pick up on immediately.

Deftly brought through off a cool bass hook is ‘Wishing Off Airplanes’. It grows in stature and the maturity of the tune gets down to the task at hand with the mechanics. There is also a fervent appeal to the tune that is considered in a forthright way. They play to their strengths here and the result is a tune that is impressive with the admiration for it fully deserved. Following on the tidy showing there is ‘Lose It All’. In the ambience of the structure is a well figured calling that projects just as efficiently. The climb of the rhythm is something that necessitates the build, but it is conversed in the vocals in a way that mirrors the approach finely. They then step out on the tempo and that has a remedial cut to it that fits in with aplomb, distinction and merit in how the break down collects and comes across.

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CASPER BLANCA

On Top Of Sticky Fingers The interlude that is ‘Intro (A Songwriter’s Anthem)’ has a neatness that extolls the virtues of the tune quite specifically. While it does so there is a brief showing of charm. That it is not fully formed leaves you wanting more. That disappointment dissipates on ‘You, You & You’. The hard showing pulls through on this one and the fullness of the rhythm gathers in stature. Telling vocals also etch across on this one, while the smart determination of the rhythm helps it out in a formidable way. A glorious guitar rhythm tracks across the intro of ‘Come On & Take It (Its Good For You)’. This gives it a sense of purpose that has an attentive and sober processing to it all. That comes to pass and the casual demeanour seems to close around this. All the while it seems to cleverly develop into a groove that is assured of its calling in a substantial way. It is short and sweet also.

Collected in a robust way is ‘The Ballad Of Louis & Anétte’. The playing seems to preside over the redeeming hard way it is all shouldered. This keeps it all together and ably steps out with real commitment in the showing that is negated in a thorough way on all fronts.

Pockets of play skip through and incite the harder showing by virtue of design, but it is also big on developing the play.

‘Sandy Blue- Blackout Beauty’ has a joyous skip in the step. This steps out in a habitual way and the ease at which everything is factored into the mix develops the running in an apparent way. Buoyed on by this there is also a great deal going for the vocal harmony and how it carries across on proceedings. There is a more progressive notion about things on ‘Tomorrow Never Knows’. It is a big, all out affair that lays things on. The soothing vocals are spot on and caress the grittier side efficiently. The way things slip into gear has a comfortable calling to it all that carries through. Things move in a mooted direction that has a hint of shoegazer on show with ‘Camp Neverland’. This opens it all up and the determined manner it all hangs in radiates in a proven way. The select volume has a cursive favourability to them that harnesses the bereft qualities knowingly. ‘Drunk On Oz’ closes it out. Here the softer calling endears, while the tenderness enriches it in a way that marries well to the overall distinction that carries across. That sits well with the slowed down aspects and holds well.

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BARRY FINNIMORE She Shook Me

The first track here is ‘Fallen’. The passive side is paramount and this in turn feeds into the mix quite fancifully. The context of the song is carried over in the nurtured aspects which depict the hardship of moving on and acceptance. Second song is ‘Can’t Listen To You’. It is a polished effort that evokes a sharpness and slick showing that come off in the running. How that is contended graduates the focus, while the listless demeanour smartly comes off with the seasoned approach adopted in the way it is all laid out taking pride of place as it is all brought through. A flush rhythm glides over the sound on ‘Hey You Two Holding Hands’. Honing in on the sophistication gives it an underrated charm that works. The confrontational side of things is expressed and this is what gives the delivery its motivation, but you then sympathise with the artist when you realise his acceptance at his loss.

With ‘She Shook Me’ the sound takes on a more hip approach. That resides in the tempo and it has a sense of purpose to it all that catches the innovative side impressively. There are hints of The Velvet Underground in how it presses ahead and the latent expression denotes a level of sexuality that sweetens the deal in a way of note. Final track ‘Sweet Caffeine’ is well laid out. The weight of the delivery cleverly gets things moving. A meander in the calling is a listless quality that expresses itself in a tangible way. The chorus itself also meets with approval and holds things in with relevance, yet it is a conclusive track that deservedly closes the EP out with a high standard.

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EOIN GLACKIN Pretty Girl

Brash and full on is the opening track ‘Pretty Girl’. The pace and the slick operation meet the preparedness of the delivery. This sees everything fall into place, with a glorious calling noted in how it picks up. It has fortitude about it that takes off knowingly, yet what befalls it stands it all good stead. The even tumble of ‘Morning Take Us Easy’ is a somewhat spiritualised effort that embraces the troubadour styling smartly. You feel the intent. What is yielded is brimming with pace and faced down in a stark manner that comes full circle on account of how it is approached. The call to arms feel to it takes you along with it and it does develop in a way that hurries along without losing focus.

Catchy number ‘Ride It Out’ has mainstream written all over it. It is exacted and the lyrics attempt to pull of something smart, but it is not fleshed out enough to make it happen how he would intend.

Suffice to say, that is not to say it comes up short entirely. It is a fine attempt and what falls into place stands it good stead because those aspects come to play their part well.

But it is the attempt at a more mainstream tune that divides opinion here. A mix of ‘Rain Finally Came’ justifies the praise he has received of late. It is a tune that leaves its mark. The clever stock taken of comes off and he stakes his claim for credibility firmly with this one, and based on how it all comes across he is allowed.

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International Acts

DREW DE FOUR Humanity Pop

The astute way that the piano carefully orchestrates the jazz sensibilities on ‘Be Here With Me’ add distinction in the right way. That is cradled with the prevailing charm also securing the warmth of appeal that it needs. But it contributes in a way that has heart throughout. Then a smart pop sensibility seems to brush through that engages a smart gospel harmony on the backing vocals. The drift that comes off this suffices and then the softness of his voice remedies things and grants it reach. The lyrics accommodate that in an active way while still coaxing the better of the delivery out. There is a real subtle hint of The Jackson’s ‘I’ll Be There’ mixing with a blues number on ‘Neverlove’. A very tender effort indeed and one that steadily comes together as it builds. Faithful in that regard allows it to process the tender side in a confirmed way.

Again the softer touch presides over things with ‘Books’. A hint of Motown begins to lead in on the album and the Smokey Robinsonesque calling here works a treat. It has a remarkable paunch to it as it picks up and that lean showing is handsomely tracked to corner the sophistication of the showing smartly. ‘Come On Down To The Sip’ has this cool beatnik quality to it all.

There are hints of coffee shop appeal to it, while the bass and other elements command a funky side that gets beneath the play in a conservative way. Again that hip factor is called upon squarely on ‘Mamamosito’. There seems to be a sense of indulgence to it that gives it vitality.

The structure here is well considered and that frames it all in a legitimate way that it responds well to in the playing. Following that is ‘Honey’.

Railroad callings surge through this and provide the tempo with a fanciful skip. As an all-rounder it is a tune that harnesses its potential, while the pleasance of the select qualities brings a timeless charm that embraces American genres and influences

8 Embracing a change in direction is ‘Can I Bee?’ Noted not just for the beatbox vocals applied, but also for the rock that then comes through. The playing arcs suffice and they are highly engaging. While the detail in the playing comfortably progresses the album in a bereft way before things move to a romanticised showing on ‘I’m So Happy’. The carefree saunter on show is admirable. It holds in a relative way which adds to the appeal. But how well versed it all is happens to be chased down without things feeling any strain or showing it. Again there is a refined touch to things with ‘Without You’, but it is a reflective tune that adds depth. It is a welcome addition to the album and the reposed feel of everything finds its feet from the opening. That is leveraged in a calculated way against what is intended and operates in the arrangement to show this in a devoted manner. The longing carried across on this as a duet serves it well.

Coming into the closing stretch on the album is ‘Annie’s Grave’. There is a solemn calling to this one matched by the delivery. Momentum swings in its favour from the reflective attributes and the careful weight of the arrangement commandeers this in a formidable way. Kept on course is ‘Boys At The Sky And The Ground’ and the askew temperament matches the narrative here. It is a bit of a keepsake tune but it gets where it needs to be. It is the style it is delivered in that provides it with front and that is greeted with a savvy calling that is ushered through respectively.

The album’s closing track here is ‘For The Best’. A wanton presence gives it reach and this remedies everything with the approach undertaken keeping it all in focus. But it is a tidy number marked out by how neat it all comes together.

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LITTLE GALAXIES Patterns

Review by Greg Clifford ‘Patterns’ is the debut offering from LA outfit LITTLE GALAXIES. The mirrorgram cover artwork (designed by member Adam Yasmin) aptly epitomizes the band’s sound world, as does the fitting band name. The groups’ style is an amalgamation of ambient/space rock and indie pop, while possessing a ubiquitous ethereal quality.

The opening instrumental track, ‘Patterns’, effectively acts as a prelude to the alt-rock suite, coming in at a length of just under a minute and a half. The piece marks it’s arrival with a luscious delayed electric guitar (a sound that is prevalent throughout the album).

The catchy, yet haunting, lead guitar line that follows reminds listeners of TWO DOOR CINEMA CLUB. A sense of urgency is being generated here. The band is luring you in, suggesting an ascent into space and preparing you for take off. ‘Tonight’, which is the band’s first single, kicks off again with delayed electric guitar before opening up with the entry of bass and drums. A change of drum groove accompanies the arrival of vocalist Jeanna Fournier. Her airy, smoky, yet dulcet tones are much welcomed by the ear. The 80s, almost disco, groove continues as the song gathers some momentum. The general character of this number evokes aspects of later PINK FLOYD, with the track ‘Run Like Hell’ springing to mind in particular.

However, as a single, I’m not convinced. As an album track it certainly warrants inclusion, but from a ‘single’ point of view it could do with some more production in terms of its running time and reaching a climatic point that truly moves the listener.

Next up we have ‘Listen’. Again, like every track on the album, the song opens with modified, effected guitar.

This unfortunately becomes predictable. Possibly in the future the group could consider relinquishing this formula a touch? The exactness of the drums is very effective here, as they drive the minimal, hypnotic character home. Once more Fournier excels herself, as she reveals her versatility and vocal range. The emotions that permeate the performance are certainly genuine and well executed. ‘Safe In The

8 Storm’ (which will soon have a music video to accompany it) further displays their cosmic pop tendencies. The bass guitar entries must be complimented in this track; I very much dig it. Next up is ‘The Rhythm’. It kicks off with guitar and panned vocals, which is a welcome addition to proceedings. Percussive timbres and layering is explored here. The snare ‘turned off’ works well, as does the continuous shaker pushing the track forward. Accomplished guitar work is displayed throughout ‘Just Between Us’, which is another instrumental piece. This offering serves as an intermezzo of sorts and reveals the influence of ROBERT FRIPP (of KING CRIMSON) and aspects of BRIAN ENO. It’s a ‘close the eyes and let the atmospherics wash over you’ kind of moment in the album, which is cleverly placed at this point. The delayed guitars, the 6/8 time signature and sequential lead runs help to create a dreamlike waltz scene, which is ultimately quite cinematic. ‘What Are You Looking For?’ carries on from where the previous track left off.

A U2 meets Pink Floyd 80s vibe is summoned now. Although the track is well performed and recorded, it comes across a bit dated and flat. At this point of the album nothing new is really being offered to the listener.

‘For Every’ shows off Fournier’s pristine vocal. Touches of Mazzy Star are present here too. Haunting tones suggests an otherworldly effect and a guitar solo, akin to MICK RONSON (ZIGGY STARDUST & THE SPIDERS FROM MARS), creates an emotional crescendo. ‘Fifteen’ is quite BJORK like in it’s introductory vocal phrasing. I find this to be the most intriguing track on the album. As the track progresses we have deviations from the standard 4/4 time signature; keeping the listener on edge and awake. The coda of the track explores a dialogue of sorts, as we have antiphonal singing between a regular vocal and a ‘muffled’ modified vocal, creating a neo-psychedelic sound world. ‘Real Or Make Believe’ brings the album to its conclusion. The opening has a subtle syncopated rhythm over a chord progression that is not too dissimilar to recent COLDPLAY releases.

The timbres explored here are charming, but the song lacks a true climatic highpoint to really close the album out.

Overall this is a strong debut presentation of where the band is at, in which they give a solid account of themselves. It’s difficult to forge a true identity or sound in this day and age with the magnitude of music available to us, but this band are on the right road. The group has a coherent, albeit samey at times, style, which is for the most part a positive.

The band could possibly explore more dynamic contrast and shape. Release the shackles and really venture beyond the stratosphere. Discover a new galaxy? All the components are there.

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BLACK DIET

Find Your Tambourine Deftly opening the album in a kind way is ‘Don’t Sleep Alone’. The kind fall of the piano and soft tone of vocals endears, while the backing harmony adds a softer poise to it. While it is a light affair that lacks something this shortcoming is made up for on second track ‘Nothing To Say’. The charm is immediate and gives it an attractive lift from the off.

The 60’s revisionist touches have a Spectoresque quality to them that brings it to life which gives it inspiration from the off all the way through. There is a great sense of structure on show as ‘You Do It To Yourself’ is lead in. The soul side of things wistfully takes hold.

The wholesome warmth of the tune has the right endearing qualities which front this sufficiently. Again there is a lot going for the vocals and the Al Green comparisons make themselves known.

The hint of ‘Valerie’ on the undertone to ‘Unbroke’ draws you in. The splendour in how it comes full circle seems to centre on the contented derivative of the tempo in a rewarding way.

This is figured out with an exquisite and tasteful demeanour guaranteed from how it is relayed. Fifth track ‘It’s No Secret’ is a solid ensemble piece which then leads in gracefully to ‘Lost Cause’. This is rich in texture, with the intro standing out for the soulful way it is delivered. The

8 poignancy amplifies the giving nature of this song in a rewarding way from how it comes to settle. That handling fortunately collects but it does so by design.

The sound progresses on ‘Thrown Stones’ and the upbeat momentum of the tempo eases off safely. Here the nouveau disco styling fashionably engages the listener. Looming flits in the guitar and other instrumental touches bring the rhythm to life, but it has a progressive indulgence on the bridge that denotes a developed sense about it all. They hark back to that 60’s revisionist vibe with ‘Don’t Tell Me’. That is noted on all aspects to this one. The clean feel about the tune pulls things in the right direction. After that comes ‘Cry’.

The Motown influences that have been carried off thus far are strongly considered here. Fine configurations in the delivery weigh in appropriately and bring it all through selectively. Finding the heart in this one affords it a lightness of touch that carries that sentiment across in a dutiful way.

Final track on this album is ‘Slow It Down’. Fresh and vibrant flourishes in the tempo give it lift. That vitality abounds in generous measures and on an instrumental level it grows in stature. Stowed away in the controlled motion is the determination needed, while the energised showing lands upon it all squarely. With the finesse on show the album is closed out with a fitting tune that is lauded in the right manner and deservedly closes proceedings.

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MECANICO M

Review by Greg Clifford MECANICO are a polished five piece hailing from Santiago (Chile), who make a virtue of seductive melodies and neo-80s disco beats. The album, selfproduced, exhibits a brand of electro indie pop that is sure to get you stomping your feet and put a smile on your face. On the surface one may consider this outfit to be your typical pop act, but once you open your ears and delve further you hear astute interplay and skilled programmed rhythms that demand respect and attention Opening track ‘Oceans’ has a real feel good factor that washes over you. This is pop at its best. The vocals, and melody line, are strong and competently delivered. The mix must be commended here too, as one senses DAFT PUNK at certain moments. The song is an ideal length for today’s singles charts and has an exquisite syncopated rhythm that’ll make you move. ‘Nobody’ is up next and again encourages you to shift yourself from side to side. I must admit this is not my preferred genre, but I can’t deny that there’s something very accomplished about the group’s attention to detail. The clarity and proficiency of the bass guitar performance is outstanding too. A brilliant drum groove gets ‘The Game’ underway before a killer funky bass line is introduced. The general syncopation and synth entries are most charismatic. A true dance floor anthem is presented here.

‘No More Love’ continues on from where the preceding tracks left off with an emphasis placed on the groovy exchange between drums and bass. Big synth pads enter to create an atmosphere of suspense.

For me this track would fit perfectly in a neo-noir LA heist movie, with DRIVE springing to mind. Around the midway point eerie voice samples are heard before the sax enters, akin to DICK PARRY’s playing with PINK FLOYD. The track also features gung ho dance floor electronic aspects and a female backing

9 vocal, which further drives the song along. A free form sax solo, with delays applied, concludes the track. ‘Gold Rush’, song five, bears a similarity to the BEE GEEs, but is by no means a copy, more a light homage if you will. A lush soundscape permeates as the song advances. ‘The Fighter’ further highlights the cohesion in their sound and identity. They’ve forged a formula and they run with it. ‘The Fighter’ has so much dance floor potential it could even entice John Travolta to come out of Saturday Night Fever retirement. Again the group displays its ability to create catchy, savvy melodic lines.

‘Starchild’ stands as a somewhat episode (musical link material) between the previous and proceeding track. The vocoder and sequential synth runs are of main interest here. ‘Check-In’ is a little groovier and laid back in character when it commences, which is welcomed. However, the same style and ‘lift off’ follows. At this point the band could have further explored manipulated sounds and arrangements to really hold the listener. ‘Street Royal’ follows and is certainly one of the strongest tracks among the release. Its crafted competently and also has an accompanying video uploaded on YouTube. The song encourages the audience to metaphorically ‘fight through the night to make it all right’. It’s a standard subject matter but one that has the capacity to move the listener, as they relate their own story to the tale. ‘Time To Synchronize’ is driven by more disco leanings. It’s a good fun funk track that includes both wonderfully and uncompromisingly cheesy guitar parts. ‘Lies’ kicks off with effective syncopated handclaps, until the song unfolds with the group’s characteristic style. ‘Adarna’ then brings proceedings to a close.

Whistling endears itself to the listener and creates a feel good festival vibe. Crowd vocal further emphasizes this mood. This is full on jungle party time and the band intends on going out on a high. Again the track displays efficiency and controlled, skilled vocals.

MECANICO know what they’re all about. I don’t believe they’re the finished article just yet, but there is bags of potential here. Their presentation, both audio and visually, is of a high quality and is sure to gather more interest in the coming months. Ideal for both festivals and dance floors, the band has constructed the ability to cross genres and social groups.

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BETA MOTION Beta Motion

This album opens with a great tune in ‘Take It While You Can’. We could sing the praises of this all day. The fanciful skip in the rhythm reaps what it sews, but also matches style with substance and garners those qualities to excellent effect. ‘These Walls’ is another tune with a select calling guiding the catchy side of things. This robust showing is sharply felt as it breaks through. That passes elegantly and has a fundamental zest that doesn’t compromise anything as it develops in tone and reach. It brings it all toward a deserved conclusion in the playing that is highly stylised. Then the refined hold of the guitar seamlessly ebbs and flows in a way that correctly fills out on ‘No More’. This shepherds the urgency in the delivery and processes things in a considerate way that is akin to poetry in motion. It is fanciful and wraps around the running in an open way that shows.

Passive number ‘Dressed In Black’ has a weathered sensibility about it. That is to be found in the lyrics, tempo and overall running here. The surmised tone gives it a sense of depth and the musical trappings seem to comprehend this which results in the effective way it is all outlined felt as affirmatively as it is.

With their own touch very much put upon it, their cover of The Doors’ classic ‘Light My Fire’ excellently tees up ‘Come Close’. This is a tune that is fired up from the intro, but it has an exquisite touch commanding everything. In the eccentric pull to things

9 they conjure up a highly efficient tune that turns on the style. A smooth canter develops the groovy side with the best of intentions which spills out in the music expertly.

A noted loom provides ‘Wake Up’ with a comfortable sensibility in the running from start to finish. The minute touches of the beat preside over things as the patiently collect. This lingers in a noted way and provides the emotive side necessary. After that is ‘Cause I’m Free’. This is a tune that has a faithful calling about it that comes full circle. The neatness of touch in the work as a whole benefits from the freedom of expression that gathers. Such a solid tune and one that has an affirmation to it that never lets up, this is a tune that takes you along for the ride. With ‘Sue’ they seem to embrace a pop styling but it opens in a left-field manner.

The clear progression denotes artistic integrity as it picks up and the allowance of expression gives it the licence it deserves.

‘All That I Want’ is a top drawer effort from the off. A neatness of touch presides over the handling. It steadies the tune and gives it focus, while the throwback feel to the alternative callings gives it a retro appeal that develops everything expertly. Then they seem to coax a nou-disco feel from ‘These Are The Days’. Things are pieced together and the chic hold is there to be found in how it develops. Strong in the showing from the off it is a track on the album that very much keeps everything in focus and rides in high on the back of this approach. In the blissful way it charges they achieve what they aim for. Their version of the Oasis classic ‘Wonderwall’ brings the album to a close and again they put their own stamp on it, while not in a Mike Flowers Pops way, to impress.

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BLIN

Paper Crowns Review by Greg Clifford BLIN crafts a fine fusion of folk, country and soul for her debut release.

The Melbourne songstress delivers a genuinely pure and honest album. She makes a virtue of subtle, yet highly effective, production and clever instrumentation, which is engaging, nostalgic, poignant and even dark at times.

Proceedings get under way with the highly impressive ‘Bare Bones’. It sets the tone accurately for the rest of the album with its eerie character. Her voice evokes melancholic scenes and she grants the listener an insight into her world with a performance that has attitude yet modesty. The languid style explored here is one of psychedelic folk/country rock comparable to COWBOY JUNKIES. Special mention must also go to the astute use of the woodwind, which hovers above creeping in and out in a ghostly fashion. Up next is ‘Infinite Procession’, which bares a resemblance to CROSBY, STILLS, NASH & YOUNG at times. What I like about this track is how Blin takes the standard folk elements and transforms them into something more avant guard, like a dystopian country song (which I mean in the best way possible). The lonely harmonica accompanied by sparse drum at the death is a suburb touch. It plays a cheerful melody that within the context of the track is quite twisted.

There’s real depth and ingenuity here!

‘Paper Crowns’ has a ‘gather round the campfire’ feel to it. It’s stripped back and tells the story of leaving the ‘paper towns’. Escaping shallow, superficiality and venturing towards purity is suggested. The constant pitched percussion and guitar ostinato conveys a horseback journey across a starry sky, while the choral entries further evoke the campfire. The vocal performance is strong and assured here.

‘Not Alone’ offers the listener something new. It wouldn’t be my favorite track, but I applaud the attempt to show off different aspects and angles. ‘I’ve seen so many faces in this lonely crowd’ touches on the insignificance of life and broken dreams. However, the bittersweet tale offers hope in the uplifting chorus, which contains traces of BRIAN WILSON. The chorus gives tough times the middle finger and prompts the listener to look on the bright side and soldier on. The beautiful piano outro is also worthy of mention. Next

10 track ‘Stand Up Strong’ is another country type ballad. Musicians moving around the microphone and breath sounds are heard from the outset. This makes it all quite real and ‘human’. The subject matter is similar to the previous song. Despite the ‘cracks’ appearing and the weight of living we must do as the title says and stand up strong. Vigorous backing vocals hit home the message by creating unity. ‘Beaten Track’ is next and conjures up a sense of longing, amidst 60s soul/country undertones. The track is poetic and lonesome, and the woodwind entries create a dreamy air. The lead guitar works well here also. It never demands too much attention, but is executed perfectly and compliments Blin’s vocal display.

The subtle hand claps, shakers and tambourine hits on beat 4 make it alluring. It’s an ideal lazy festival track; sun threatening to set, shades on and beer in hand.

‘Doin’ Time’ is the 7th track. For me it’s a bit of a filler. However, that’s completely forgivable as up to this point the album has been a resounding success. It’s an intimate number with pleasant slide guitar moments carrying the song on. ‘Ghosts’ is served up next and kicks off with stripped back vocals accompanied by guitar and percussion. When the track takes flight it reminds me of MOBY a bit, albeit it folky and acoustic rather than synths and sampling. ‘Moving Me’ is another country love ballad. Neil Young-esque harmonica is the highlight for me here. Interesting, this track comes across as being a song from a type of pop musical due to its contrasts in dynamics and general structure. The pronounced and clear words also establish this feel. ‘It’s Time’, the penultimate song, is gradually preparing the listener for the end. It features haunting drones and woodwind passages. The track has a certain ‘falling apart’. It certainly benefits from this spacey, psychedelic, strung out feel. I’m a sucker for a well-written instrumental track and that’s exactly what Blin offers us as she closes the album out with ‘Tomorrow’s People’. The pianist really excels here, exhibiting a shrewd feel and touch. A tempo rubato unfolds, as a sporadic shaker is superimposed to create an eerie presence.

Overall this is a very accomplished, mature album containing strong imagery, lyrically speaking. It’s a ‘real’ album, as opposed to a passive collection of songs. Its focus is not set in the mainstream yet the songs still possess a charm and accessibility that is easy to fall for. The album is pretty authentic and does not require mass production. The aural colours, arrangements and timbres explored makes this a thoroughly enjoyable listening experience and is an album I will surely return to. Blin not only has a wonderful voice but also presents herself as a true musician, who has collaborated with the right people for this project.

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MELANIE HORSNELL The Cloud Appreciation Society

We saw this Australian artist play at Saucy Sundays this year and there is a loving consideration to the album’s opening track ‘Oh So Nice’. The beatified manner of her voice is a calling that endears in a detailed way. The partial framing substantially secures the appeal.

Something considerate shows in the offbeat nature of ‘Uncoordinated Conversation’. The rhythm stows away with confirmation to give a more defined sense of worth and entitlement. It plays the part off the back of this. How things fall away on ‘Love You Madly’ adds a deserved sense of wonderment. An intrinsic value shows in the honesty. That is a calling that is sensibly shouldered and formulates with great distinction from the off in the tidings.

Her voice is a stirring attribute on ‘If We Can’t Be Together’ that actualises the fondness of the delivery.

This tune is carefully knitted together and there is a fine sense of resolve found from how it is laid out. The short and sweet ‘So As The Sea’ follows. The determined pull of the intro is a sombre one. What is also carefully considered is the lucid flow of the delivery and as she situates herself in the performance you sense the honesty in her artistic investment. Again there is an ample calling to

9 everything on show with ‘My Harmony, Our Gypsy’. The tumble of the guitar softly measured is a fine calling. As her voice comfortably pours out the tune is then completed.

The admirable endearment of ‘Black Mountains’ moves you from the off. She has a soft calling in her voice that provides depth. The darker tone rises sensibly and is cleanly taken stock of, yet it steadily embraces the folk leanings. Again she catches something with high emotional value in the delivery on ‘Tall Trees Arms’. This select tune is made all the more becoming from those softer callings. With ‘Noone’ the fluidity of the guitar beckoning things forth is confirmed within the opening line. It is furnished with a reverence that is carefully factored in to everything on all fronts.

Residing on ‘Late Afternoons And Ochre Wells’ is a delightful whim in the observations. They breathe life and warmth into the song. The precious side is grounded in the approach and feeds it all with a determination that impressively holds. A hint of jazz filters through on ‘My Heart Just Wants To Fall In Love’ but the leaning here is more in a country style. That interesting contrast in the rhythm draws you in but what really lights up here is the romance found in the dutiful way it all falls into place. The delicate manner hangs with a level of precision and is mirrored in the poignancy of final track ‘Contact’. Yet it hangs in a hardened fashion that is stared down when things pick up. It has a contentment about it that deliberately holds the neat showing which stands it all good stead.

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GYMNAST Wild Fleet

This is an interesting album from a band with an enigmatic touch about them. This is proven on the first track ‘Leander’. What is captured in the essence is mirrored in the keepsake calling of the vocals. It has a dark texture that the synthesised rhythm embraces fondly. With ‘Build A Boat’ there is a fanciful web weaved in the sound. That highly engaging turn is selectively tracked with the right amount of composure giving it additional favourability. The comfortable weight hanging back enhances the overall poise that is carved out.

‘Geneva’ is another grounded tune. The sparse temperament precisely fixes to the delivery. The spatial scope of how it sounds owes a great deal to the production. The arrangement is ably created and a sublime climb on show in the weathered collectiveness is chased down squarely.

The subtle way they are able to build tunes is what works and is highly evident on ‘Away The Sun’. Here things have a more lucid calling which is procured in the deftness on show. The way it leads in everything gifts it weight and resurgence in an understated way that is highly impressive. Another bold effort ensues with ‘Up In Arms’ but one with a marked sense of folk refinements coursing through. The lightness of

9 being tellingly sinks into the delivery. Active in the right way is the quaintness of it all on a collective level and is what seduces the listener. Their expressive side comes to the fore on ‘The Flood Or The Fire’. This is the effort on the album that announces the contemporary side of the band with the shared vocals. In the grasp of the subject matter they very much edge things out in a balanced way. Scattered amidst the playing are background nuances that are highly detailed and enticing. ‘Sleeper’ is one of those tunes you warm to. The framing here has something textured that comes to the fore. The sunken way it all meets in the delivery holds firmly and the spatial momentum procured in the process denotes true substance.

A more upbeat tempo abides on ‘Sirens’ that is intriguing to hear.

Things then develop a stoic sense of calling. At the core of this tune is a rich synthesised trapping that is chic, but the nouveau and New Wave organic cement the honourable intentions in a way that speaks volumes. The lavish manner on show with ‘Double Sun’ corners a fluidity that is pressed ahead firmly. The choice demeanour in the vocals settles alongside the lyrical calling to devastating effect. It is a tune that embraces the contemporary on all fronts but provides it all with a comfortable alternative end product. The album then closes out with ‘Culprits’. The metronomic manner of how it opens secures the appeal. It has a clear and direct shape that is keenly developed.

In the poise there is a high standard and the ground covered finds what it reaches for.

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JINGO

The Art Of Loving Review by Greg Clifford This is the debut offering from alt-rockers JINGO. The four piece, based in London, consists of Jack & Katie Buckett (husband and wife), Joe Reeves and Chris Smith.

The band, who recently completed their two week ‘Anatomy Tour’ of America, are a direct, no nonsense sort, who channel their angst with aplomb.

‘Black Flowers’ opens with murky, fuzzy bass and the vivid imagery of ‘when everything alive dies it becomes a black ribbon in layers of earth’. As the song unfolds one could be reminded of THE CARDIGANS. There is a wonderful synth counter motif heard at times that warrants mention. The general interplay and power-chord progressions create a haunting atmosphere, reinforced by the metaphorical refrain; ‘but these black flowers keep pushing up through the ground’, which is delivered with plenty of sincerity and attitude. A cosmic presence is designed through arpeggiated piano and vibrato guitars as ‘Skypunch’ sets off. The bass drum enters with an effective crescendo, which sounds like an aggrieved neighbor banging on the wall due to your goodself blasting this album too loud for their liking! The song is well constructed and reveals their flexibility as artists.

The backing vocals are very appealing, as is the vocal effect applied in the bridge. Up next is ‘When You Want Me’. It’s a big quirky number bursting with hooks. Traces of SCISSOR SISTERS at their catchiest best exist here. I like that the band, in the opening three tracks, ventures beyond one sound and style while forging a certain coherency, thus maintaining interest for the listener and keeping them guessing.

PETER HOOK (of JOY DIVISION) style bass sets ‘Belong To You’ in motion. The track, and album for that matter, must be commended for its recording, mix and production. The band exerts ‘tightness’ and treats us to honest

8 anguish. A pop-like drop, including the inevitable build before the coda, is well executed too. The title track follows and sees a switch to lo-fi intimacy. The rhythmic driving force is a simple click of the fingers on beat 2 and 4 at a moderate tempo.

There is a ‘looseness’ in feel that makes it quite charming. At the midway point the vocal splits into a polytextual counterpoint, which I really dig! ‘Hope’ fuses their indie-punk leanings with a more pop outlook. This is one of the more lethargic numbers on the album, but still displays their competency. Track seven, ‘Blue Wail’, shows off astute backing vocals. An intriguing soundword of wailing synths and guitars, how fitting, is a key component, along with its syncopated jumps. Its quite the fusion based journey this one.

‘Before You Were Born’ has a very well crafted drum/percussive groove. Steady piano is a constant and allows vocal melodies to meander throughout. At this point maybe the band have ventured too far in terms of crossing genres? Some may argue the album is in danger of becoming a little too eclectic? However, its still a majestic song in its own right. Katie Buckett really excels herself in ‘Jaclyn’. Its an idiosyncratic fusion with much appeal. ‘Same Without You’ continues on this quicker path that emerges halfway through the album, which contrasts with the album’s ‘heavy-hitting’ opening track. This song could be considered a filler and is probably superfluous to proceedings. ‘Iq84’ is a raunchy, rocking tune, which has single potential for sure. In August, of this year, the group also uploaded a slick and chilling video to accompany the track. ‘Don’t Call It Love’ brings the album to a close. We are presented here with a dark pop ballad with big emotive vocals throughout. The agony and turmoil can truly be felt and is epitomized by the dazzling electric guitar solo, which captures the subject matter forcefully. The song, and album, concludes with a thought provoking a cappella vocal pleading ‘don’t call it love’.

JINGO are a band with much potential and void of pretense; its alt-rock pop delivered correctly and individualistically. The album is of very high standard. However, one minor criticism of the LP is that it deviates a little in and out of musical focus.

Having said that, I appreciate the band going for it and letting their ingenuity and intuition guide them. I look forward to hearing more from this formidable 4 piece.

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International Acts

Retro

Review by Jamie Kelly Penny Swingin’ Cats are a jazz swing band that hail from Athens, Greece. The first track on this six track EP is entitled ‘Giftaki’. The song starts out with a nice little rhythm on the guitar. Not waiting too long the rest of the band join in and the ‘swing’ is set in motion. This is a truly great sound. Despite not being able to translate the lyrics the vocal performance on this track is really outstanding. A gradual increase in tempo gives everything a nice climatic finish. The next track is called ‘Horevontas’. This tune starts off with a quirky drum intro that sets the groove. This song has a real rockabilly feel to it. The trumpet melody that reoccurs throughout is a real hook, even though things don’t change too much throughout. There are a few really tasty guitar licks throughout the song.

The band have a very distinct sound and it is keenly felt on ‘Mikro Café’. What an intro. From the first few seconds this has got some serious quality. The vocal melodies throughout are brilliant. The level of musicianship throughout is superb. Everyone gels together perfectly to give any listener the perfect swing experience. ‘Peirasmos Apati’ follows. This starts out a little more atmospheric; the drummer using some cool sounds to set the mood. The guitar has a distinct twang tone to it that again takes the mood to another level. All the instruments complement the vocals brilliantly. The velocity swings in and out of intensity, giving some great character to the track. It tones down brilliantly toward the end to finish up. This was arguably my favourite song from the EP although it’d be hard to choose. The next song is called ‘Rocket In My Heart’. This starts out fast paced with some great energy and intensity. They manage to sustain this throughout the track. Again the melodies on show are brilliant - a trait that is evident throughout. This would get any crowd up for a dance and bring brings us to the last track ‘Retro’. This is a quiet song which consists mostly of just vocals and piano. I think I heard some clarinet making an appearance in this track, but overall it is an effort beautifully played to full effect which complements the whole song fantastically. What a great way to wrap up a superb EP that is definitely worth a listen for any swing fans out there.

10

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Review by Jamie Kelly ‘Shapeshifter’ opens up with some very joyful tones that meet quite well with the uplifting positive vibes. The vocals come in and everything goes into full flow. It’s a great song with lots of energy. The synth gives a unique sound to the band that separates them from other artists in this genre.

Next up is ‘Full Speed’. This comes straight in with a sweet drum and bass intro that sets a sturdy foundation for things to build on. This is a little more toned down than the first.

The stripped back parts are very effective and give the vocals a chance to stand out. Again the synth gives something unique and effective. The backing vocals toward the end really reinforce the chorus and create a hook for the listener.

With its quirky little synth intro comes ‘I Don’t Want To’ and sets a nice mood. I liked the guitar stabs over the synth in the transitions between verse and chorus because it gives everything more impact. Toward the end as this breaks down there are some nice vocal harmonies in this section. That wraps up that song.

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The last track is called ‘Brothers In Arms’. I found this to be very catchy. It really draws you in while listening. The breakdown in the middle is great and the backing vocals give the song a huge presence. You can imagine it’s a good live track. There is a nice little acoustic outro that gives off a good sense of completion to the song and the EP in general. This is very well written overall and backed up by high production quality which give off a great sound.

THE GALACTIC EFFECT The Beat And Beyond Review by Jamie Kelly

The first track here is called ‘Lifted (ft. Telekinetic walrus)’ and is a pretty cool song. The lyrics were interesting, catchy and overall a bit of a hook to listen to.

I wasn’t too keen on the female vocals but it didn’t take away from the song. The melodies were also catchy and easily remembered, which I think is a very important in electronic music. The second song is called ‘All Aboard!’.

It’s fairly psychedelic throughout and very atmospheric. I shut my eyes and just let it take me on a journey. The different moods that come at you while you’re listening get fairly intense overall. The next track is called ‘Surfing The Cosmic Wave (Ft. Steve Grant)’. Again this is pretty intense and psychedelic. The rapping( I assume by Steve Grant) added another element to the track that gave it a little more of a raw vibe. I loved the atmosphere and mood throughout the song.

Up next is ‘Morph N’ Hop’. This is another trippy tune that brings you on a journey when you listen. The song can put you into a pretty heavy trance, the main melody pops in and out throughout. It is a real reality check. It reminds you that you are actually sitting down and not travelling through space with your eyes closed. Which seems to be where I have been for the past few minutes.

‘Subaquatic’ is a little more up-tempo, although still keeping within the psychedelic vibe. If you try and envisage ‘subaquatic’ type things while listening it adds to the experience. The little break down toward the end gives it a nice fade out. This brings us to the closer ‘Nebulas’. This starts out with a fairly sinister vibe and builds on this to keep up the intensity. There really are some sweet parts in this. I loved all the little sound fx that pop in and out throughout. The main melody was great and well put together. There is a fantastically epic bit toward the end which brings it to a climax before letting you down softly to wrap the whole thing up.

Overall I thought this EP was fantastic. There was some seriously trippy bits throughout. I really cannot stress enough the importance, close your eyes and stick a pair of headphones on for this. Great listen for any psy-trance fans.

10

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GREAT COP Stay Human

Review by Jamie Kelly GREAT COP are an indie punk band that hail from the great city of Glasgow in Scotland.

The first track on the EP is called ‘Quarantine’. This starts out with some in your face overdriven guitar. Exactly what you want from a punk band. The drumming really stands out as a great feature in the performance on this track. I find that punk can generally be quite repetitive instrumentally but not in this case. He really does a great job of keeping it interesting.

Overall it’s quite a good track. The next track is a little less intense. It’s called ‘Sick Of Me’.

I liked that this contained a little more melody than the previous one, and a little more character. The build-up in the middle was quite effective, I’m sure this would be a great one to get the crowd going. Again I found the drumming to be a real stand out on the performance.

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The next one has real high octane, full blast energy throughout. It’s also the last track on the EP, it’s called ‘Vacancy’. This again has a quite a lot of character. Although it was quite repetitive I thought that the chorus was pretty catchy and it has a little bit of an anthem type of feel to it. It’s a very strong note to end on because it wraps up proceedings well. Overall I thought it was good. Any punk fans out there give it a listen.

SAVAGE SISTER Wild Sleep

The glorious reach of the synth scores across first track ‘Champagne Panthers’ in an apparent way.

The select reach of the dulcet vocals add a creative allure. While the richness of the texture abounds to procure a deliberated sense of accomplishment that is layered and structured to excellent effect. Marking a mooted progression is ‘Dreamfeathers’. The tidy ebb and flow of the drum beat majestically gives a redeeming sense of reach. What that brings to proceedings injects an impartial showing of class and substance. Yet the expansive yields are quite soothing in their tranquillity.

Bolder in the feel is ‘Witching Hour’. A stirring sense is noted from the steady way a more upbeat tempo hangs back on this one. The open baroque calling of the vocal harmony resides in a way that has a bereft calling to it. The motion of the playing arcs collects in a steadfast way that holds a sense of inclusion in the exclusivity of the expressionist side. Motioning a thoroughly deserved retro appeal is ‘Boundless Love’. It is a rich tune with the touching of the synthesised rhythm adding a telling allure to the arrangement. The ever present showing to this one carries across and what is yielded connects in the focus. The patience is something that also comes to sit well by design. The final track here is ‘Wild Sleep’. Arguably the strongest track on the EP and the correlation of the playing details is one that has a sharper feel to it than the others. The New Wave sensibilities are tracked here with more intent and the resulting tempo carries through in a way that also accommodates the spatial trappings of the delivery. It also has a defined sense of reach and completion in the focus that is impressive.

9

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THE JACKOBINS Ghosts

Another band that we caught live at Hope Fest was The Jackobins. The first track on this EP is ‘The Otherside’. It is a track that opens in a supple way. The way that the tracking is chased down fastens to everything in a subtle way. This in turn opens up the tune while giving the flow something to build upon. How that combines allows them to turn in a controlled effort that is very pleasing on the ear. Then comes ‘She Always Says’. The catchy side of things opens it up with a catchy vocal hook and then the rhythm is ferried across.

There is a handsome beat to this one and the persistence calls out the tune. That allows it to pick up and carry itself in a defined way, which in turn builds the appeal that it has going for it. It is a neat one and it is mirrored by the casualness that runs through.

Procuring a more dignified approach in the sombre mood is ‘Ghosts’. Scope and ambition combine to fine effect from the off here. The insatiable guitar plays in on ‘Prussia’. Hints of Kasabian run through it, but it is a savoury tune with bite. What is established in the arrangement carries it all off superbly and it is the sublime touches that grab you on this one in the right way.

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SOUNDS OF SPUTNIK New Born

This is a collaboration effort between Sounds Of Sputnik and Ummagma. They are another band we are quite big fans of here at U&I, and while the release is an album it consists of five original tracks with the remainder made up of remixes. On that criteria and basis we have included it in our EP section. The opening track is ‘New Born’ and it has a faithful calling that embraces a steady motion, which in turn allows the development of the overlapping play to commendably merge in the transition. Vocally it has a seductive allure and the structure on show denotes a solid sense of creative talent that doesn’t go astray. After that comes ‘Light Scheme’.

The string section in the background combines well with the cursive feel of the rhythm. In the trappings here is a defining tune and when it comes to pass you are taken along for the ride. The referential feel to this is carefully constructed and that is pressed through in a formidable way that resides in a truly definitive way. How things pick up is gracefully considered and that develops superbly.

Third track ‘Blizzard’ hangs on a one note opening. It then intricately begins to take shape. The arduous feel in the tone denotes depth and it is motioned through in a clean way. The somewhat sobriety of the track renders the listener to stop and pay attention. The darker focus is interesting and the graceful composition here has finesse written all over it, yet it is allowed to develop in a truly creative manner that is intricate and high on detail.

Embracing a shallow shoegazer stirring is ‘Shades Of The Cosmos’. The sublime margins of the play are akin to Portishead and a ‘This Is Hardcore’ era Pulp. The movements are lush and broad, but they have an invested depth that embraces the dark side tellingly. The notoriety is what draws you in here. Closing things is ‘Overdrive’. The opening of which is joyful calling. The vocals then come through and it is a tune that has a nouveau disco feel to it that pays its dues to its New Wave influences. The tracking here is sweet and the gravitas is secured to bring out the excellence through the music. The remaining aspects of the album are made up of remixes of ‘New Born’ and ‘Light Scheme’, and while they round it out sublimely they also bring something to the mix.

9

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WOZNIAK Pikes Peak

This is a lush EP and the extravagance is not overindulged. That is evident with opening track ‘El Maresme’. The looming stature presides over the breakdown here and the fluid trappings stay the course. The steady motion of the drum and bass create a listless framing within which the running keeps to in a fundamental way. With the lay of the guitar cutting across on the intro we come to ‘Paper Hat’. The rhythm here is a tidy and hurried affair that is carefully constructed.

When it steps out a brash shoegazer, akin to early Joy Division, makes itself felt. The bounce to it is considerable and that is what attractively carries it all through.

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With the tidings on show, ‘Kreuzberg’ is an interesting tune and the pick of the bunch.

Conclusive in the opening and blessed with a definition that allows the casual approach develop the tune, this is something to admire. How it hangs back by design captures the fluidity and intently brings it full circle. More mainstream and full on is ‘Columbo’s Car’. The authority to it is brought and done so in a forthright way bit commanded with confidence and stature.

Seeing things out is ‘Geasamtkunstwerk. The lucid turning here gathers pace and the progression is a gradual one. The static and stoic feel of it secures a numbing sensation but it seems to fit the overall aesthetic of the EP.

THE CORNELIUS CRANE

Soul In The Lightning What a brilliant opening track. The high feel of ‘Soul In The Lightning’ pockets something of true emotion and backs it up with the right credentials. Exquisite touches in the music seem to frame around the tune and give it a cumbersome and inclusive feeling that you are drawn to like a moth to the proverbial flame. The cherished calling of the vocals stow away here incredibly well. Second track here is ‘View From Victoria’. The speedy bluegrass kick that toils away in the intro is a deft tease. But it controls the ebb and flow, which shows as a hardened pick up begins to take hold. But it keeps a reserved approach in check which brings it all through.

‘Another Day’ makes good use of the sensibilities in an artistic sense. The lowly feel of things falls kindly and the emotive side of things is captured in the lost sense of the narrative. The heft is secured here and has an accustomed reach here that is evident. The apparel in the running is well considered in the musical sense and rings true as the progression brings it all together. It is a beautiful tune that takes you away with it all.

10

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HAPPENSTANCE Rain

The opine sentiment of the opening track ‘Big Dreamers’ meets well with the light way that everything is arranged. How that is shepherded opens the tune in a collective way. This in turns sees the comfort of the showing come across in a tentative way that suits the ease and casual calling. ‘Gone Baby Gone’ goes for a more prominent approach and develops the song in a more robust way. The positive and emancipated stirrings of the lyrics capture the intent smartly. The rhythm has a country feel in some parts and the qualities of the narrative also accommodate that in an appreciated way, but seem to direct it away from it being exclusively seeped in the genre but keep it aligned to that calling.

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The third track here is ‘Rain’. The tempo is one that has an interesting showing. In some ways it is pop and then it moves away from that towards something with a late 90’s indie vibe from how the rhythm travels. Yet it is exacted in a way that is consistent. Albeit a somewhat lighter calling but one that sees them comfortably through in the process. Not too in depth but not lacking in substance, just seemingly falling short somewhat where it shouldn’t.

International Artists LIZA FLUME Sleepless Nights This is a great tune and one that has face value from the very second her voice cuts across it. A listless calling fits the slight opening and she graduates into the delivery in a very smart way. The wanton feel of her vocals give it lift and the delicate showing of the arrangement also mirrors this.

That is why it weighs in as considerably well as it does.

10

EMPATHY TEST Throwing Stones

9

The first release from their forthcoming EP it is a fine effort. The intelligence and smart feel of the lyrics also have a hint of New Wave but they seem to lean towards something with a slight feel of Public Image Limited about it. This is a tune with a fine turn about it all and the collective way it all carries through is resounding. They also seem to have cleverly processed the calling on this one and that seems to be conveyed in the tidy retro chic that it also has going for it.

International Artists

MILLION MAN STARE Reportage

An interesting punk tune indeed, with the hints of diversity on the opening coming through favourably. It seems to imbue a sense of confidence in those offbeat showings. The scorched feel of the synth deliberates over it and it does contain angst, rawness and represents the genre. But the pace on show seems to favourably come to pass to show they have a handle on things musically.

8

ME AND THE CITY The Wild Ones

8

The volume and calling on show in the intro lights this one up. That is consistently maintained in the running, with the flow absorbing the running in a detailed way. The flourishes that impact on the delivery harbour a catchy side just right, while the leaner cut to the vocals is called out with aplomb in a favourable way here. It builds on that in the approach which gives it all direction.

THE NORTH SEA In Love Having appeared in our very first issue two years ago the band has been on something of a hiatus. They are back with some new material and the first single to be released is a fine effort indeed. It is a fulfilled track with the clever flourishes of indie and rock hanging back. The vocals of front man Eoin Kenny preside over it and fall into place by design. This is a strong and contended effort proving the band has lost none of their prowess in that time.

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THE FRANKLYS What You Said

10

Another stomper of a tune from this band with smarts written all over it. The groove of the bass guitar seamlessly connects with the resonance of the guitar on this one. This alone sells you but it is the confident manner that sees it all through that really makes you sit up and take note. There are also keyed in lo-fi aspects that are brilliantly handled and this makes everything so much better.

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FLORA CASH

International Artists

This is a lofty tune that comes together from the off. The partial display of charm in the tempo meets a defined sense of substance to bring everything full circle. It is an effort that abounds in a delightful way that you do get caught up in, but it is exemplified by the determined and hard showing that neatly plays in behind on everything.

10

TELL NO FOXX

9

There is an acknowledged contemporary feel that shows in the build here. It neatly travels and the causal way that the tempo flow has a listless calling that is engaged by the stark demeanour of the vocals. The savoury keepsake aspects on show are tellingly considered, but what is backed up in the tracking very much imbues it with a true sense of purpose in how it is all expressed.

VANN MUSIC They graced our July cover and they have proven their class with this effort. The International neo-disco vibe that they are noted for is evident here. That travels well on the rhythm here with a tidy hold taking over the beat that is rich in EDM and synthesised trappings. But it is a solid pop tune that reaches deep and they seem to denote an evolving of their sound in comparison to earlier tunes.

Artists

10

NATALIE MCCOOL

9

We warmed to this tune when we heard it. The tepid flow of her voice wraps around the tune in a fortunate way. While the rhythm seems to frame this one in a resounding way and it is a substantial calling that cleverly yields a sense of reckoning for the tune at the same time as it secures a sense of identity from the depth and range that are on show.

Big on developing the sound and carrying through an animosity in the process sees the tune through. The hard approach is shouldered and that resonates with a collected calling here. They also seem to lean on the off centre side that sits between rock and metal by embracing a darker tone. That is what they aim for you feel with this one and it is something that suggests a band beginning to find their feet.

10

8

A notable tune with presence to it in the bequeathed way it comes through. The lush vocals are an attractive trait as much as the acknowledged synthesised beat that patiently stokes the rhythm. A sense of revelry is procured in that heightened feel and one that is sensibly appointed over proceedings. How it hangs back gives the tune weight and a fashionable calling.

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

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

SPIES "Moosehead" (Dublin)

JINGO "1q84" (London)

The Rattling Kind "Open Letter" (Dublin)

The Beau Motives "Let It All Go" (Ireland)

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