Unsigned & Independent (September 2015)

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OUR FRIENDS IN THE NORTH

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OUR FRIENDS IN THE NORTH

‘It’s good to be a bit individual and do something different.

If you can see the bandwagon, you've already missed it.’

DONAL QUINN Photo by Brian Mulligan

It is safe to say that this has been one very good year for this Drogheda artist. Having released two singles, selected as a Hot Press nominee for The Big Break and more in store, things are shaping up for Donal Quinn in a big way. As part of the ‘Our Friends In The North’ feature we caught up with him for a chat in Toronto to talk about his music and everything else that he has going on.

Here is what he had to sayThanks for taking the time out to talk to us as well. How are you finding Toronto?

Thanks for having me. I’m on holidays here with my friends and I’m having a great time. It’s September and it’s still warm. The place is buzzing. I’ve been taking it all in.

This has been your year for all the right reasons. You re-released your debut EP ‘An Introduction To Donal Quinn’ in November last year. That was a smart move it would seem. Why did you opt with going down the route of re-releasing it on i-tunes and Spotify when it was already out there, so to speak?

It wasn't available on iTunes or Spotify so I had to rectify that. Give people the option to have ‘Which Way Is Up’ on their phones…

But that seemed to have been a decision that you got right. Do you recognise that as one of the freedoms that you can have by being a solo artist when you want to make a move like that?

Yes, definitely. I have ownership over the decisions being made which is freedom. I do seek the opinions of family and friends on some things I do musically and take it on board when making my final decision on it. I will pay attention to an audience’s reaction and their reception of a song at gigs. This will factor in when deciding what song to record and release as a single. Being a solo artist really suits me at the moment because I want to get a direct representation of myself and what I’m about across through the songs, the gigs and the interaction with the people online and via the media. However, I have a great drummer that I currently work with and I would like to write and perform with other singers and musicians in the future.

From seeing you play live, image wise you could be considered a mod, but there is something that would also hint at a 1990’s influence around the Britpop era on you as well. But it also seems to come across in the sound. Who were the musicians that you grew up with and more importantly, who were the musicians who really got you into music? What was the moment for you were music was that calling for you?

There was a lot of great music in the charts and on the radio in the 90’s and 00’s when I was growing up. I would have mainly listened to whatever was in the top 10; Blur, Oasis, The Verve, Pulp, The Lightning Seeds, The Beautiful South, George Michael, Jamiroquai, The Fugees, Take That, Alanis Morisette, All Saints, Spice Girls were good and Coldplay. I liked the Mark Morrison song “Return of the Mack”. I was about 16 when I began to actively seek out music. There were a lot of great Indie bands around at the time that I was drawn to such as The Strokes and The Libertines and later on, bands such as Arctic Monkeys, Bloc Party and Hard Fi. These were the bands that got me into music and it was at this time that I felt music to be my calling. Currently I listen to a wide variety of music. More “dancey” sounds are preferable. I’m also a big Paul Weller fan.

How does the dynamic of the creative process work for you as a solo artist?

I always set out to write a massive anthem that captures the sentiment of being at a gig or dancing in a nightclub. I’ll get there one day. I start off by getting a groove going on a guitar.

I’ll go to my bank of lyrics or story ideas stored on my phone. The melody will come when the lyrics and guitar groove are fused. I’ll gig that rough draft of a song a couple of times and the song should begin to come together nicely. I will then add bass, drums & overdubs and produce it on Logic (a music software program). There are times when a song will turn out exactly as I had initially envisaged and times when the song has taken a completely different path.

Both are very enjoyable creative processes. As a solo artist it means i can achieve a direct and undiluted version of my idea for a song.

Does that pose any difficulties for you if you have an idea for a harmony or melody but need to bounce ideas off other people? If so how do you overcome this?

I will mainly agonize over lyrics. If I’m having difficulties, I’ll get my sister’s opinion. She has the same taste in music as me and has an idea of what I want my song to sound like. She will give me some honest critique and suggestions but will get no song writing credits or royalties for her efforts.

So far this year you have releases two singles to rave reviews. The first was ‘Heart In Ur Hand’ back in April and you followed that up with ‘Don’t Say’. Were you taken back by how well received they were critically?

Not particularly, however I am very appreciative to anyone who has shown an interest and taken the time to write about the releases. It is through people like U&I who write about the releases that allow me to reach a greater audience.

Both of those tracks have an energetic pomp to them that makes an impact as soon as you hear them play. The quickening of pace on them was something that floored us when we heard them and, if we are honest, they made a refreshing listen for us in comparison to the normal softer fare that we come across on a regular basis. How important is it for you to have your own identity as an artist as much as it is for your music?

It’s good to be a bit individual and do something different. If you can see the bandwagon, you've already missed it.

Personally, I’m trying to make tunes like the bands and artists I listen to but in a way that is unique to me.

The singles did open some avenues for you domestically and abroad. The first of which was being nominated by Hot Press as one of their finalists for The Big Break this year. It goes without saying how much of an institution that is here in Ireland, but it must have been a bit of a big deal for a homeboy from Drogheda to have made the cut this year. Was that the case?

It was a bit of a big deal. It drew a lot of attention to ‘Heart In Ur Hand’ which I had released during that time. ‘Heart In Ur Hand’ got selected as Hot Press “Track of the Fortnight” around the same time. Roisin Dwyer from Hot Press also went on LMFM radio to drum up some support for me as a finalist, which was a nice touch.

‘Don’t Say’ was also picked up for airplay in the UK. How did that all come about and have you any plans to follow that up with some gigs in the UK?

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I shared the song on Soundcloud and a UK radio DJ got in touch. He shared it with some other radio DJs who have played it since. Dermot & Dave on Today FM chose me as their “Homegrown Hero” and played ‘Don't Say’ every day for a week on their show. Dan Hegarty also played it on 2fm. I was well impressed with all of that.

Even though you are from Drogheda, you regularly play on the Dublin circuit. Of all the venues that you have played and the club nights which of them stand out for you for one reason or another?

There is an event called Able Archers in Sweeney’s, Dame St. in Dublin. It’s on the last Friday of every month. That one stands out for me. I have played it a few times now and it has all been wicked. There are great DJs on before and after the bands. There is always a decent crowd there which is good. It’s free entry.

Outside Dublin we are rather familiar with the current crop and unsigned circuit in the north of the country. There is The Spirit Store in Dundalk for example, but there are also incredible resources available to artists such as The First Cut on Dundalk FM, Cavan TV and BRTV for example. What has the emergence of these supports had on the production line of talent that is now beginning to emerge on the unsigned circuit in the north of country?

These supports all put a lot of time and effort into helping acts who are trying to make a name for themselves. They have all been very kind and supportive of me. It gives you another way of getting your music heard other than through gigging. And it is all a bit of fun.

It is not just that The Strypes were this one off band. The north of the country is one of the most vibrant corners of the country for music. We could be here all day listing some of the acts that we have been impressed by, but this is your interview. Who would you champion as a new artist or band from the north of the country that you would highly recommend to our readers?

Orwells 84 and Damien Nash are from Dundalk.

Andy Casey is from Drogheda. These are top lads and fantastic songwriters. I highly recommend these gentlemen.

With your EP released and your singles already dropped this year, have you been working on any new material? When are you looking to release it or is it still at the recording/writing stage?

I wrote a lot of big tunes last year and at the start of this year so they are all set and ready to go. I’ve lined one of them up as the next single which I am going to record in the studio and release before the end of the year. Like ‘Don’t Say’, it’s been going down very well at gigs.

You seem to be a highly productive artist as well, but what does a normal day involve for you?

I get up when I want except on Wednesdays when I get rudely awakened by the dustmen. I put my trousers on, have a cup of tea and I think about leaving the house. I feed the pigeons I sometimes feed the sparrows too it gives me a sense of enormous well- being. And then I'm happy for the rest of the day safe in the knowledge there will always be a bit of my heart devoted to it.

What else is in store for the rest of the year then?

I’m looking forward to getting started on the next single and putting it out. It’s gonna be the best one yet. We’ll see how that goes…

It is an interesting name for a band, so let’s start with the name. Where does the name come from and is there a significant back story behind it?

Essentially the name does not directly relate to airports… It’s mostly related to what we call free time observing/thinking moments (very important for an artist) and which many of us experience at airports.

Hence the metaphoric relationship.

There is a connection to Ireland as well with the band and that is down to Johann and Errol spending six month’s here back in 2005. It was after that six month stay that you formed a duo. What was the moment that provided you with the catalyst to do that?

A number of songs were written during that time. We played earlier together even before Ireland but the actual Airport Impressions duo was formed in 2008 when we decided to actually start recording songs. The first song we recorded in studio was called ‘Beside You’ released in March 2008 locally and once released it made an instant impact.

When you began to play around with your music at what point did you both come to the same conclusion that the dynamic you had would work better if you were in a band?

How soon did you start to put the band together?

Actually with the release of Beside You (2008) and the instant popularity we noted that the sound was taking us towards that of a full band hence we decided to put the act together to be able to give our sound a live dimension. This formula worked really well and by late 2009 we completed the current line up with Errol, Johann Steve on Drums and Chris on Bass.

When that is all taken into perspective that is ten years, with 7-8 of those as a band. But the last few years have been very productive for you as a band. That has seen you release two albums – ‘Mariette’ last year and ‘Minutes Of A Lifetime’ before that in 2010. We will discuss ‘Minutes Of A Lifetime’ first.

In 2009 we released one of our biggest hits Borderline and then the one which made the biggest impact was released in 2010 (Walk With

Me). These were actually released with the album ‘Minutes Of A Lifetime’ in 2010.

Given that you have been together a long time as a band, was it an album that was an easy transition once you actually got down to the recording process?

The first album helped us grow together as a band. It actually took us only 2 years to release the album between 2008 – 2010.

Who was involved behind the scenes with the production?

The first album was co-produced between the band and Howard Keith Debono (a local producer).

Recording was performed at Jagged House Studios with Howard as well.

There is the old Bowie saying that ‘a song is never truly complete until someone outside the creative process hears it’. Again, given that you had been together for a few years how much of the album was already the finished article and how much was directly the result of being in the studio?

To answer the question we fully understand that the Bowie statement. Many of the songs were pre -recorded (home recording) and some of the songs actually didn’t change much. As a band we tend to try and do a lot of preparatory work. We even use some sounds (e.g. pads and synths) from the original recordings. There are obviously some other parts which just come up at the studio during recording and they are a lot of fun too.

It was a well-received album too by all accounts. In terms of the band dynamics how have they changed over the years?

How does the song writing process now work for you as a band today?

Sure ‘Minutes Of A Lifetime’ made a huge impact… and it actually made us who we are today. Both albums had a mix of different formulae for song writing which we believe helped us have an interesting texture in songwriting. These varied from some songs which were entirely written by either Errol (‘Walk With Me’, ‘Hymns Of June’ etc.) or Johann (‘Berlin’,‘Borderline’) and which then were

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obviously given the band’s musical input in terms of arrangements.

This is actually a very important stage of our writing and arrangement process… there are also other songs which are co-written between members and other which are written entirely by the whole band during jam sessions. Still we tend to give our songs their required time particularly when it comes to lyrical content. We view each song as an artistic project in itself with which we would like to share a story, a concept or any other impressions we might be going through. Also we believe that Errol’s voice gives us an authentic edge in our song writing irrespective of which formula we use for the song to be written.

Had that changed with your second album in any way?

As per above.

That was followed by ‘Mariette’ in a relatively good period when you look at it. How important was it to keep the momentum going that had been generated by the album?

Well ‘Minutes Of A Lifetime’ was released in 2010, and ‘Mariette’, although released in 2014, recording was finished I believe by Sept – Oct 13, so once again in terms of album processes there was another three year gap. During this period we kept ourselves very busy experimenting in new sounds. Musically we wanted to delve into rawer sounds and that is actually more difficult to create although at times it sounds simpler. For example Johann experimented a lot on different guitar tunings (other than standard) which feature on ‘Mariette’, the banjo, the double bass and other drum beats which were a whole new experiment when compared to ‘Minutes Of A Lifetime’. With ‘Mariette’ we once again grew altogether musically by adopting a less is more approach and trying to achieve that regardless.

Given that you had the whole recording experience of going into the studio, the discipline for recording the tracks and everything that goes with that, how much of that experience stood you good stead second time around?

The first album helped a lot for recording when it came to the recording ‘Mariette’. Obviously over the years we had gained also more confidence and actually this had helped us further.

AIRPORT IMPRESSIONS

Was any of the material music that didn’t make the final cut on the first album or did you start from scratch with every track on there?

There were actually some interesting songs which were written at the time of ‘Minutes Of A Lifetime’ and which made it onto ‘Mariette’. For example speaking of both ‘Berlin’ (which was completely rearranged by the band) and ‘Silhouettes’ which we believe remained fairly similar to the original recordings.

Did it also give you the impetus to be more comfortable in the studio and push things musically this time around?

As with feeling comfortable in the studio it was pretty much a good process for us.

Was there ever a moment where the fear of ‘Second Album Syndrome’ crept in?

As with second album syndrome, yes you are right… we believe that it is always present with every second album. In our case it was properly stronger since we had experimented further into new sounds, i.e. folk, country influences mixed with melodic contemporary rock as per our previous album.

Did you work with the same people on the production side of things on your second album?

Yes we worked with same people in the same studio.

Was it a longer period in the studio this time around or was it similar in terms of the time you spent recording?

The pre-production phase was slightly longer given that we based the recording mostly on the acoustic guitar. On the whole however we believe both recordings took similar time.

Is there any sign of album number three?

At the moment we are just personally experimenting and writing songs or musical parts which we will start collating at a later stage.

In April you released ‘Star Signs’ as a single and then you followed it up with a video. In terms of what went into that video there was a lot- location, wardrobe, editing- basically it was a very professional approach from you in every regard.

When we saw the end product we were making slight comparisons with ‘Valerie’ by The Zutons. How much input did you have in that video or did you leave it all in the hands of the director?

Thanks for the comments on ‘Star Signs’ we really appreciate that (The band’s latest video which dropped after the interview had been sent to the band) Yes that involved a lot of pre-production work including lots of meetings and sharing of ideas with the director. We actually set up a team of crew and helpers including finding vintage props, costume designers etc. Honestly The Zutons video was never referred to in the prep work. We also shot it in an old British prison here in Malta and for our budget limitations we think we did a good job.

But a lot unsigned bands seem to be neglecting the importance of the music video in the age of YouTube.

Whereas you come across as a band who would recognise it as being more important now more than ever, given how accessible it is as a medium for your fans. Do you see the video shaping the future of the music industry now that the way people consume music as a commodity has been forever changed in the age of the internet?

Sure. We give huge importance to music videos nowadays releasing a song without any related visual loses a huge percentage of the impact the song can make. People are now almost obsessed with social media and they give it more importance than any other type of media. So to get out there we believe it is crucial to use the right tools to make music accessible there. Of course it is not always possible for unsigned bands to present visuals and videos compared to the heavy budgeted videos sponsored by the big labels etc. Still sometimes a bit of creativity which costs nothing can do magic.

As well as releasing the second album and maintaining the momentum that you have built up you have played some impressive gigs this year too. Take your gig with The New Victorians at Aria. That was something that very much spoke a lot about you as a band, but it also spoke volumes about

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how impressive the music scene in Malta is. This would be something that not a lot of people would be aware of.

Likewise for your recent gig that you played at Electrifying Elmo. How do you view the current grassroots music scene in your own country?

Yes we have now been renowned for our local shows in our country… we did public events with crowds exceeding 5000 and from year to year these concerts give us boost and energy to do it more. The music scene and level here considering the size of the country is of good standard. We believe we are still reaping off some influences we got from the British colonial times. As with grass roots probably there is enough music to export to other regions more renowned. Still with the help of the internet and accessibility we believe the time will come where music can be exported to foreign shores when it is of good quality.

How much of what you are able to do as a band comes out in your live sets that you can’t replicate in the studio environment?

The live energy is something special and that cannot always be replicated. We were recently actually considering experimenting on recording a song in full live version (vintage style) to capture the live feel.

And of the two settings which one would you say sees you in your element best as artists?

It is difficult to answer… the live feel we believe gives us an authentic edge as we play live always as if it is the first time … we give it all and that is something crowds love to feel.. But still we believe there would be other listeners who love us for the recorded music in particular for the melodies and lyrical content.

What else is in store for the band for the rest of the year?

In the pipeline we would expect to release another single with a music video and then concentrate on collating our new material to work on new material in studio. With respect to life we are in contact with some festivals outside Malta which might host us for their 2016 edition. We are surely look forward to that.

YOUTH MASS

Interview by Marky Edison

Youth Mass was formed in 2010 by Neil ‘Nev’ Nevins and Willy Gray in Trim, County Meath. Later joined

by Darren and Barry Mullarkey, the four piece have an EP and an album, "Morning Run | Evening Sun", under their collective belts already. The release of the album was followed by an extensive Irish tour culminating in a headline show in Whelan’s.

They’ve been well received in the press, not least by ourselves at U&I. “Morning Run | Evening Sun” was our Irish Album of the Year for 2014 and their live show was compared to early Radiohead and Arcade Fire when we saw them perform at Gigonometry in January this year. We spoke to bassist Barry Mullarkey about the band.

Tell us a bit about the songwriting process for Youth Mass. Who brings the initial ideas?

The process of getting each song over the finish line varies a little.cIn general, Nev would come into practice all delighted with life. He'll play us a riff he's come up with, or even a few chords of a chorus. He'll get the yay or nay from us (normally yay in fairness) and we'll just thrash it out.cDarren is pretty good at developing something small into something awesome, and puts flesh on the bones. He kind of runs the show. He's very creative too and gets the most out of Nev's ideas. Willy is in the main one behind our quality control. He’s probably got the best taste in music in the band, and the biggest knowledge.

writing. I think you can tell looking and hearing at a band on stage if they're tight. I'd like to think that if you came to see us the least you'd think is that we're a tight unit, but more likely you'd fall in love with us.

You’ve done an EP and an album now. Was there a big difference between the two recordings in terms of what you had learned the previous time?

The biggest difference in the two is probably in production. For the EP, it's was all new enough to us. We played a few gigs and got good responses, so the natural progression was to record an album. There was no real pressure. We were lucky enough to support The Naked and Famous in The Olympia and play Electric Picnic In 2012 as a result of the release, so we definitely got a taste of what could be when it was time to release again.

We thought that in order to maintain what we had, or hopefully increase it, we should write an album. A lot of people nowadays say there's no need for albums. That EP's are enough. But we definitely felt it was a natural progression. We felt pressure to do things right, but I think that was just from ourselves, to have the very best release we could. But we were way more in tune with ourselves as a band in comparison with our first EP; we were well able for it. Normally, as a band we are really thorough, even on the smallest stuff, so we put huge work into the production, really a lot, so it took way longer than we thought, but it was so worth it. Some pretty cool people said pretty cool things about it, and that's all you want really.

I think a lot of what I do in the process surrounds structuring the songs, what goes where, what to drop, what to add. So it's genuinely a joint effort. Normally the vocals are the last part of the jigsaw. We quite often have a melody from an early stage and Nev comes up with the lines. He comes back to us with them and there are maybe a few small changes we all agree on.

But it's actually that…we all have to agree on something, otherwise it's tossed. We're quite democratic I guess that way because there is not much drama at all. Then sometimes, as we practice and jam a lot, we'll come across something by accident, something that sounds cool, we'll mark it (we record pretty much everything) and come back to it. Next thing there's a tune or two in there. In fact we came across some cool stuff from about three years ago last week that we'd forgotten about that's really cool and is getting our attention right now.

The two records have done well. Are there any plans for another album?

Is there much jamming involved and time in the rehearsal room?

Who would you ideally like to have a session with, if you have anyone play with you?

Yeah we get together at least 3 or 4 times per week. If we have two gigs in a week we'll practice for two days, if we have a week with no gigs we'll still get together and practice or jam probably 4 times. Sometimes were rehearsing and sometimes

We really like Girl Band at the minute. There are not many better bands in the country at the minute. They're doing everything right and going from strength to strength so it'd be sweet jamming with them.

We have just written and recorded 6 songs in K9 studios in Deansgrange. We have another few to record, but I think the plan is to release an EP rather than an album. We're going to release a single off it in November and then the EP in February.

So there is new material on the way.

What is next for the band?

We're also planning to do visit Europe early next year. We did our first nationwide tour last winter, 20 nights finishing in Whelan's in December, and the whole experience was so good.

So we'll be doing that again in 2016.

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You’ve been compared to Bloc Party, Arcade Fire, U2 and Idlewild, amongst others. Are you happy with those comparisons?

Oh yeah we are, some of our favourite bands, bands that have influenced us and shaped our music too. I'm always amazed who people compare us to, sometimes it's so varied, but that's great too because everybody takes music, both the sound and the meaning, in their own way. It's personal to everyone and if we're part of that for people then fantastic.

Which band’s career path would you most like to emulate?

I really like the way Arcade Fire roll. I think people not only like their music but feel like they like them as people, if that's makes sense. Their humble, the music is obviously amazing, and it appeals to such a broad demographic too. I've been impressed with them when I've seen their interviews, but I'm also impressed how they don't whore themselves to the media at any given opportunity too.

Your debut album, "Morning Run | Evening Sun", was our Irish Album of the Year in 2014 and picked up other accolades too. Do awards and such translate into gigs and opportunities in your experience?

Totally. They're very much welcome obviously, and we'd take more. We feel like we deserve more. It may not be cool to say that, but bands like us are under a constant battle. We enjoy it, of course or we wouldn't do it, but it's a battle. If people hear us, or see us live, they seem to like us, so the battle for us is getting our music out there, getting people to listen.

But for sure we’re fortunate to see a real change from gaining nice accolades. At the start of 2014, we were playing to pretty small crowds, relying on your friends to turn up. By the end of the year we had completed our first nationwide tour. It's a great buzz and a real eye opener the first time you see people in the crowd singing along, knowing the words to your songs.

You released your début EP "Misanthropy" in 2010.

You’ve been around a while. Do you feel that you’ve found your voice and your sound in that time?

I would say we've grown a lot musically in that time. You learn a lot from gigging, a hell of a lot. We've definitely found our core sound, but every time we write a new EP or album, it's a total blank canvas. No matter what you do in music, no matter who you are, or what your last release was, I don't think you've ever cracked it. We've a long way to go to be the band that we want, the band we're aiming to be, but we're really up for it.

One of the interesting things that we have picked up on from doing our homework on you as a band is the approach that you adopted in terms of how you released music prior to your album ‘A Taste Of Heaven ‘ in November 2013. The year previous you released an EP with ‘Face The Future’ in April 2012 and that was followed up by a single release with ‘Safety’ in December that year too.

In terms of the output you followed through by releasing new material on those three occasions. Was the EP release down to those songs being ready before you wrote ‘Safety’ or did you want to release an EP first to give people something more to get hold of?

The material from the EP ‘Face The Future’ was ready long before its release. As for the single ‘Safety ‘- it was recorded just before its release, and it wasn't actually made as some special strategic step. We actually write and publish material if there is a desire to share a particular song.

So far ‘Safety’ is your only single release to date. Given the way people consume music do you think that there is still a relevance to be found for the humble single in the music industry today?

Yeah, I guess that's right. Now there is such a flow of information that listeners are not always able to focus on the full-length album. It is only for music lovers now! Although, once again, we emphasise that at this point, we do not adhere to any trends and go our own way.

As we have already mentioned all of your releases to date have been new material. Do you adopt a disciplined approach to pushing yourselves on a creative level by producing new output musically each time you sit down in the studio? Or is it a case of you being in a very rich vein of form at present when it comes to the creative process?

It happens in different ways. Sometimes everything happens by itself and is pretty fast. Then it is a case that sometimes you need to concentrate and work hard.

How does the dynamic work between the pair of you?

Most of the material is produced on the circuit - I choose something from my billets, make arrangements, bring it to a state of readiness to connect vocal. Then Faijee writes vocal lines and lyrics. It is only after those things are done do we go into the studio and think over all the details.

Are you recording or writing at the moment?

into the studio soon.

deliberate on both of them?

You released the album ‘A Taste Of Heaven’ back in 2013. From listening to it we have to say that it is a rather diverse offering. We picked up on hints of Eurythmics (‘Back To Heaven’) and jazz (‘Precious Days’) to call out two aspects in the sound. How would you describe the sound?

No. It's just a coincidence, and perhaps it's a rule.

Petersburg is quite close to Scandinavia and its spirit is also something that is close to us.

During the development of our music we have accumulated a great variety of genres and styles.

Defining your own music is not a simple task. Maybe it would be better to do that for the musical critics, for example, but it is not what we are about.

The album was well received by all accounts.

Music.org listed it as 22/200 albums released in 2013 from Russian, Belarusian and Ukrainian artists. That must have been a nice sense of recognition at the same time. It was also the highest ranked English recorded album as well. Does singing in English pose any difficulties to you in terms of the language barrier when it comes to writing or are you both fluent?

We have no real difficulties in recording in English.

Well except for the constant questions from the Russian media - "Why English?” – but we have no problems with it.

You toured off the back of the album. That saw your travels take you to Liverpool last year for SoundCity. We have something of a real love affair with Liverpool and its music scene.

What did you make of the standard of artists that were performing at the festival last year?

Do you have any plans to tour again in this part of the world?

We really liked the festival in Liverpool. We met a lot of interesting bands. If it happens that we get the chance to play there again we’ll be very happy.

The really big thing that has happened for you now is your Grammy nominations. Granted it is only the first round but to turn up on the radar of the judging committee is impressive all the same. How many categories are you nominated in?

Frankly that has been down to Chatfield Entertainment. We have been nominated in three categories, but it is merely just a nomination for now. We would certainly like to win, but but now it does not matter.

Another aspect that you get right as a band is video. Two of your videos in particular have suitably impressed us – ‘In My Room’ and ‘Fall’. What we have noticed about them is the Scandinavian cinema influence at work on both of them. Has that been something

We are writing new material and we will be moving

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Did you work with the same director on both of them?

Yes, the last two videos ‘In my Room’ and ‘Fall’ were filmed by the same person -Valery Nevin - and we all enjoyed working together.

Your sound is one that lends itself nicely to those isolated themes and the cinematic scope found in your music does invoke those qualities neatly when they spill out on both of those videos. Did you have any input in the direction of either of the videos or did you have complete trust in the director?

Of course we fully trust the director. Otherwise it simply doesn't make sense to work with someone who you don't trust. But for the song ‘Fall’ we ourselves would have done another video.

‘In My Room’ was a winner at the Meters International Festival Of Short Movies. It walked away with the award for best video. Did you feel at the time that it was something special when you saw the finished product?

No. We didn't think about it as being something special. All these awards are relative things in their own right but not a final goal in music and art in general.

Your video for ‘Fall’ was also well received.

Again there is that underlying theme of something darker in the psychology of the video, but it is all suggested or implied. It is not direct. Do you think that is down to your music having the same degree of interpretation about it allowing for a marriage of convenience in the artistic sense between artist and director?

Yes, to touch on what we mentioned before about our music videos. With this video there really is a sense that everything is ambiguous and everyone does draw their own conclusions. We think that everything will be alright when we make a video.

Rolling Stone have also picked up on what you are about as a band, while you have also been picked up by Chatfield Entertainment. What else is in the pipeline for you for the rest of the year?

Perhaps there are a few more surprises in store, but we don’t think we have any control over those things.

But what is in our power is the ability to write honest songs and look far ahead.

THE JACKALS The Scottish music scene is one that we have been familiar with since 2006 when we expanded our co-op network to include two in Glasgow and Edinburgh. Since then we have kept a very close eye on some fine emerging artists and bands over the years. One such band that has everyone talking about them at the moment is The Jackals from Edinburgh.

It is safe to say that 2015 has been a very big year for you as a band. With the main focus being the release of your album ‘People’ and being signed to Burger Records. So how would you sum up how this year has gone for the band so far?

Yes, it has been a very busy and exciting year for the band and that’s set to continue.

That is probably down to the release of your album ‘People’. It was produced by Owen Morris and his record speaks for itself when you look at the big bands he has produced in the past. How did you guys actually come to work with him in the first place and when did you all decide to start working on the album together?

The record was recorded in Edinburgh at Split Level Studios and was actually mostly produced there. However Owen mixed a bunch of songs for us and our previous single. We have a lot of unreleased material mixed and produced by Owen which will make it on to our next release. He was a great guy to work with, very informal sessions and he was mixing from home which was a nice laid back approach. He produced “A Northern Soul” by The Verve which is a real favourite of the bands so it was great that he thought very highly of our music.

When you go into the studio with someone like that behind you it must give you a certain degree of confidence to know that someone of his stature has the confidence in you as a band. Yet it must also give you a certain degree of confidence in your own ability as an artist at the same time. Do you think having him on board helped you make the record that you really wanted to make?

It certainly was a boost knowing that someone of his stature was digging our music especially his interpretation of closing track on the album “Dust’’.

In terms of when the album began as an idea, all the way through to completion and production, how long was that process overall? Did you have all of the songs you wanted on the album identified before you began recording or did one or two come about once the recording process had begun for the band?

We pretty much continuously record and tinker with songs and have a vast back catalogue to pick from. We thought it about time to get a record out there. It took about the best part of a year to put the record together.

You have also been signed to Burger Records. Now that you have the backing of a label behind you what

have you noticed that has significantly been down to what that affords you that wasn’t necessarily the case in the past?

Well The record was self- financed and Burger Records liked it and are distributing it in the States. It started with a cassette release after a meeting with Joe Foster (Creation Records) in Glasgow. We are putting it out ourselves in the UK on all formats and are open to any label interest.

It got you signed to Burger Records as well. With a label behind the band what difference has that made to everything that you want to achieve as a band?

It is great to be involved with a label like Burger Records as we respect the way the go about their business. We have pretty much always done things our own way but really appreciate the extra exposure that a well-respected label brings.

When Carl Barat endorsed your band what kind of a confidence boost did that give you guys?

To be honest it didn’t really affect us that much. We had people joining our social media sites thinking we were his band but once they heard our music they were contacting us saying how much they liked our material. We have been the Jackals for a long time and it made us all the more determined to get our songs out there and show people the real quality we are capable of producing.

Another thing that is really cool is the artwork. You can tell that the sleeve is something that was given due consideration. It is somewhat decadent but here is a hint of the psychedelic to it with the somewhat 60’s Revisionist notoriety about it at the same time. Who designed your album and how much of the band’s identity do you think was nailed down in the finished article with the cover?

We came across David Van Patten whilst listening to the band White Fence on YouTube. He had a montage of his artwork set to a song called ‘Raven On White Cadillac’ which we love.

He is a Californian Artist who paints street murals and is commissioned to do all kinds of cool projects in the States. He is a great guy and superbly talented. We basically sent him the record and title and asked if he would be interested in doing the artwork. Dave loved the record and was delighted to do the sleeve. Yeah it’s a thought provoking piece of work, people within people and the very nature of how everyone is different but the same in several ways all at the same time.

What bands/artists would you recognise as influences on you musically and which ones would you identify with now as directly shaping the way your album sounds?

That’s kind of a tricky one as there are varying styles on the record and the number of unintentional influences are vast in retrospect. Say from Buffalo Springfield to The Verve and everything in between.

It is also scheduled for a vinyl releases next month.

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There is something to be admired about vinyl that the digital track can never replicate. What do you think has been the key factor for vinyl’s longevity over cassette and CD that still resonates with music lovers today?

For us a well-produced record cut properly on to heavy grade vinyl, there really is no comparison with other formats. It gives the songs the respect they are due and makes it a proper piece of art especially viewing the sleeve. Our album has been cut on to double 140g vinyl at 45rpm for optimum quality.

One of the cool things that happened for you was your live return when you supported Allah Lahs. They were two gigs in Broadcast (Glasgow) and Electric Circus (Edinburgh). They are two venues we are very familiar here with at U&I. Both of those gigs sold out so what was it like to play your first two comeback gigs to a packed audience? In terms of lightning striking twice how did both of the gigs go on the night?

Yeah, both the gigs were incredible nights and a real buzz as the venues were absolutely jumping. Allah Las are a great band that we were already fans of and also really top guys.

We went down a storm at both gigs. Allah Las were very complimentary about our performances. The audience reaction was incredible and we got some really nice reviews.

We also drunk a lot of bourbon with the guys and swapped a few war stories.

At the time you weren’t label alumni with Allah Lahs, but do you think that gig helped you get signed to Burger Records?

It was kind of already in the pipeline, but it can do you no harm playing with great bands such as Allah Las who have released and played shows for Burger Records.

We are familiar with the Scottish music scene and in our opinion the country is experiencing a very rich vein of form for acts that are coming through. Some of the emerging acts we would be familiar with would include Vigo Thieves, The Van Ts, The Begbies, The Beat Movement…to name just a few. Are there any you think our readers should also be checking out?

The Scottish music scene is thriving at the moment and there are loads of good bands around. Delta Mainline are a great band and good friends of ours and are well worth checking out.

What is in store for the band for the remainder of the year?

We will be putting on a big showcase night in our hometown Edinburgh to play the album in its entirety and give it an official launch. It’s looking like we will be heading to America next year for some shows and possibly playing Burgerama festival in California. Our next show is September 24th in Broadcast in Glasgow with the fantastic Serpent Power, Ian Skelly of The Coral and Paul Molloy of The Zutons supergroup. Their new record is brilliant along with ours.

People can expect a night of killer tunes and visuals. Peace brothers and sisters.

THE MANC TANK

by Dave Beech

Altar Flowers For a city that gave birth to Joy Division, it's a little surprising that there are so few acts in Manchester overly indebted to them. Sure there are plenty of bands that name check in them biographies and interviews but none that can channel Manchester's Most Miserable as well as you'd hope. Not that Altar Flowers sound particularly like Joy Division either, but there seems to be a shared appreciation of life's darker side between the two bands that's rarely seen amongst the assumed and often adopted laddish mentality of Manchester's music scene.

That isn't to say Altar Flowers don't have a lighter side however. In fact, the band deftly balances pop pomp with darker flavours, making for something that's truly a breath of fresh air amid the myriad generic guitar bands on offer in the city. I caught up with vocalist Jay Gibb to found out a little more about them.

Hi guys, thanks for taking the time to answer our questions. Firstly, could you introduce yourselves and tell us a bit about the band?

Hi, we’re a noisy, pop Goth band from Manchester, England aptly named Altar Flowers with Paul James on guitar, bassist Charlotte G on drums and my charming self on vocals and guitar.

The band started with me sending an email of a track to G, we met up, he got the band together and here we are.

Your sound is a delicate balance of pop sensibility and darker undertones, was this an intentional direction when writing, or more of a natural occurrence?

Maybe a bit of both but I prefer the term ‘considerate thieving with absolute precision’ – that’s our ‘art’ right there!

Similarly, such a balance reflects the band name brilliantly, was this why you opted for Altar Flowers as a name?

‘Brilliantly’!? Thanks! That’s what you get for 70 odd clicks on a Death Metal Band Name Generator!

You weren't always called Altar Flowers however, you were known as LVLS (Loveless) up until the start of the year. What brought about the change in name and how has it benefited you as a band?

It seemed an obvious change to make. Lots of changes with people coming and going, a change in sound, etc. – I think ultimately we confused a lot of people as well as ourselves. So, yeah, it was necessary. We know what we’re doing now- we think….we hope.

You've just debuted the first mix of new single 'It Will All End In Tears' what's the story behind it?

That’s only there because it was the first track we started mixing last week! We have no clue which tracks will be singles- they’re all very much candidates.

'What’s the story? An unpoetic and direct pop at an ex-friend who falls in love too easily… Stupidity.

Your debut album is due out early next year, what can we expect from that?

13 tracks, 44 minutes of terrifying, heavenly, honesty. We can’t fake it, we’ve tried!

Ultimately, it’s an honest record. Some tracks are 6 months old, some are 6 years old – whatever, they all work collectively. It’s sort of a concept record but I don’t wanna go into in that too much. I think it’ll become obvious when people hear it and they can make up their own minds.

A typical Altar Flowers track is somewhere between Smashing Pumpkins’ ‘Siamese Dream’ era crossed with 80’s bleepy synth hooks or at least we like to think so.

It’ll be out next March, but we’ll have a few singles out before then.

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Your Facebook page mentioned several of your tracks had been left off the album. What do you look for when deciding which tracks to keep and which to drop? Are they still likely to find their way in to your live shows?

Yeah, there’s no reason why not. I went through ALL of our demos- 40ish songs and it was pretty clear to me which bunch of tracks had to go on this record.

Like I said, I picked from a selection of songs that were written between 2009, before I even considered being in a band to songs written only a few months ago. The thing I love about our band is that we can do anything we like and it doesn’t not sound like us.

Stuff seems to have moved quite slowly for you, as far as bands go in this day and age at least. Was this a personal choice, and do you think that it's helped or hindered you as a band?

Again, people coming and going and, though I think you’re right, I also don’t think we’ve done anything to give the impression that we should be ‘out there’ or any further on, have we?

Now that we have something to push and are together as a band, I‘m sure we’ll be able to move on.

Finally, what can we expect from Altar Flowers gearing up to the album's release?

We’re at The Ruby Lounge in Manchester on the 26th September giving our small yet wonderful posse an insight into what’s to come. Then we’ll be finishing the record, and hopefully releasing a single with a shiny video towards the end of November. No doubt we’ll be dropping a few more tracks but right now we’re booking for a tour hopefully in March and finalising a few other things.

Other than that, we’ll no doubt be appalling over Christmas getting fat, taking time out, ready for the run up to our album’s release in March with all that jazz and hooh ha.

It shall be glorious! Thanks guys, it's been a pleasure.

Brazil

THE EGORAPTORS One of those bands with a real air of cool and contention about them. With the confident way that they exude class on their tracks they are also highly capable of transferring that to their live sets. As they inhabit a clean sense of resolve that has a harder pique that rocks out everything about them marks them out as contenders.

BRANCO BLU While not necessarily a punk band they are not necessarily exclusively an indie band either. That is what sees the contender side of the band relayed in the angst of their music. They drop the harder calling into the mix each time and they have that noted sense of notoriety that allows the harder showing muscle across with the attitude being backed up by the music.

URSO POLAR This band first came to our attention early last year and we have been close tabs on them. Their tunes are very clever and the high way that the charm offensive necessitates in the leaner showings on their tunes imbues it all with fine presence and servitude. They embrace those hooks and the elegant touches hold in a relevant way that sinks into the play impressively each time.

TRAVELLING WAVE This next band are very much about the contemporary. They seem to orchestrate aspects of their sound that are leftfield, but do it in a way that negates away from anything mainstream.

They are one of those bands that revel in being uncool because that suits the anomic texture felt out on their sound. How they track that has an isolated conjecture each time but they revel in it each time.

FLIP CHICKS A female band with balls and attitude. They have a confident swagger and this is relayed with the music. It is all important and how that all leads into everything captures their punk sensibilities in a way that puts everything at the fore. The heart on the sleeves approach is York in their sound as well.

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LITTLE TRAMP One of those bands with indie pop written all over them. But there is a proven consistency in the music. There are keen modern influences at work on the sound here- such as Arctic Monkeys and Foals for example. Yet there is also a noted sense of guidance to how everything is let off the hook when they cut loose on their leaner tracks.

INDENTIDADE If the influence of modern British bands has been noted on other bands we have mentioned, then contemporary bands such as The Kinks in their latter days are evident here. The polished and free flow of the sound captures a whimsical observation in the lyrics and engages that quality in the style of their music. Here is a band with a lithe appeal but it manages to fuse style and substance together rather charmingly.

THE JALMAS This band are all about the guitars. They embrace that approach in the running and it pours out richly. They are one of those smart operators who know how to play to their strengths. They are a full on operator when they take to the stage. Live reviews have shown them to have the confidence to pull it all if and they deliver every time that they play in front of an audience.

HARD DIVISION These guys would be the anti-heroes that you back. The sound is one that feeds to that approach but with a committed feel to how the rock side of thing balances everything. There are also aspects of the sound that denote a roadhouse influence at work. But the steady way they style everything works by interjecting the right degree of urgency and locking that down in the compact processes at work in the exchanges.

INKY These guys are one to watch. With the high development of their sound everything has a noted sense of volume. They are also quite contemporary act who fuse a degree of modernity in the flourishes to fine effect. Artistic, musical and critically acclaimed, they are also a tight prospect when they perform. Everything you could want in a band who strive to be different is here with these guys.

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by Joe Loftus

If you have had the privilege, or the disprivilege – whichever way you look at it, of reading my monthly column in Unsigned & Independent, or even my blog, you will be no stranger to Sugarking. I have been a huge fan of Sugarking for the past couple of years. I remember a snapshot of my past, a girl from my old school telling me endlessly to give them a listen. For some reason it took me a good while to finally pluck up the courage to give them a go. I don’t know why.

But when I did they just stuck to me. Since then things have changed. It has been kept behind closed doors and I am not an intruder. All I do is cover the music. The band has been taken off the ledge and given a dusting. Kyle Taylor remains on guitar, as does Greg Scott on drums. The rest are gone.

Although the band are not focusing on their past. It is all about the future. Welcome Solomon to the stage.

With a name reminiscent of the exceptional blues guitarist Solomon Burke, Solomon comes forth and plays bass. And who sings? Kyle has taken it upon himself. And it works. By Christ it works.

The change is evident but I absolutely adore it.

The first track on the E.P – ‘Kind Is Kind’ - pretty much sums up the change in the band. Those first bold strokes of guitar ring similar to The Frames' ‘The Stars Are Underground’; whereas the lyrics are wholly Kurt Cobain. A large contrast to the classic rock sound of old Sugarking. However lets’ not dwell for too long on ‘Kind Is Kind’, as it is the next track that blows me away more so. ‘I Forgot My Names Again’. It begins with such an innocent charm of melodic guitar accompanied by a distant and heavenly wordless vocal. Yet in its heavenly overture it is all very post punk which yet again depicts the graphic transformation this band has took. Another thing I love about the opening of this song is how when the lyrics seep through into the mix the guitar follows the tone of the lyrics almost alike a distant echo. But the innocence is penetrated just less than a minute when it is all ripped up with distortion and shouting.

Nirvana, Pixies, Coheed & Cambria, The Frames.

They all burst into the forefront of my mind. But just as quickly as it comes the violence of the music is gone. Back to the tranquil and dormant state it lay in beforehand. And dormant it is as the eruption ensues once more. The power, the passion, and the anger.

And this baby doesn't stop – it is driven into a Biffy Clyro-esque riff. It builds and builds and builds. The sinister roar of Sugarking. And back again into the dormant abyss.

Up next comes ‘Count The Stars’. This one is possibly my favourite song on the EP. It really doesn't hold back in kicking straight in. A classic post punk riff.

Wilko Johnson springs to mind. One thing that becomes very evident as we get to track three is that this new Sugarking are excellent at picking their chord choices. Every single song so far is monotonous in its cacophony of anger and beauty and then out of nowhere it disperses into this distant chord. It is excellent. ‘Count The Stars’ is no exception. And then? A guitar solo out of nothingness too. One of the most technical solo's I have ever heard. I think of ‘Colosseum II’. Every note is impeccably precise. It is sheer beauty. And the mixing of the song brings forth such brilliant companions for the guitar solo in the background.

‘Wishing Won't Wait’. This one reminds me of my good friends with And The Golden Choir. Well for the first few seconds. The music itself is very Germanic in the intro. Very dark and sinister and exciting.

Somewhat alike to the soundtrack of a cult film. But it is the vocals that take centre stage and I am reminded of Green Day. But this is much better than Green Day. I always hated those cunts. But in this song in particular the similarities in the vocals is too close not to mention. One of my favourite things about ‘Wishing Won't Wait’ is the drum fills that occur just before the next segments of brilliance.

Similarly to most tracks on the E.P the climax of ‘Wishing Won’t Wait’ is simply marvellous. Guitar, bass, drums and vocals all pounding in together. It is Jeff Buckley's ‘Eternal Life’ all over again. I cannot wait to see this E.P performed live.

The last track on the E.P is entitled ‘Pleasure Of Being Offended’. This one begins with a very American feel. Personally, the first verse doesn't do very much for me. But don’t let that put you off because the first verse is wholly necessary for the song to seep and weave into the chorus which is purely magnificent. It is repetitive, different, and melancholic. As we dwell into the final two minutes of the song I am unsure as to of what to write. How can my words sum up such beauty. It is masterly, it is inventive, and saddening and new-Sugarking and brilliant. I wish to compare it to somebody but I just can't find the links. Again I am driven to say, this is my favourite track on the E.P, but that isn't true.

There are too many that I adore. I don’t know what more to say. What a transformation. I am done. sayonara.

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THE RUBY SESSIONS Doyle’s Bar (15-9-2015)

LUCY PEACH Not only was this Perth artist playing The Rubys for the first time but she was also playing here first Irish gig. Things easily fell into place with her opening song ‘Girl The World’. How she harnesses the softness of tome really moves it along with a realised sense of depth found in the song writing. There is something lean and pensive about it that is brought across in the smart showing. That allows you to sense how invested she is in her performance on a slightly personal level, but it is not overbearing. She then neatly launched into a version of Bruce Springsteen’s ‘Dancing In The Dark’. This was actually rather select and she comfortably located a richness in the texture that was highly evident from the playing.

Her next song is ‘48% dedicated to Amy Winehouse’ and it goes by the name of ‘Golden Days’. She blankets the opening line so invitingly that it carefully outlines everything that follows. The development of range in her voice also opens up the delivery.

Hints of ‘Back To Black’ hide away in the undertone, but the essence of the lyrics also holds sway. This plays into the vocals in a way that truly holds up. She closed out with ‘Be So Good’. The countenance in the lyrics pieces this one together. They also give it a grounded measurement that is content and contained. From this a prevailing degree of intent also pours out from her performance that is impossible to miss.

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DAN OWEN

By his own confession the next artist to emerge from behind the famous red drapes has developed a new found love affair with Ireland. He also showed what an accomplished performer he is with how he got down to everything on ‘Hannah’. It is a carefully orchestrated showing that captures the intent of his voice in the open showing. He growls into the delivery and that certifies everything fully. The hardened texture gives it character and that is leveraged against the delivery in a way that adds up.

‘Fall Like A Feather’ brings a lot to the mix from what one man and a guitar can show in one song. The sincerity placed brings out the character in the lyrics with an added sense of conviction. That is fastened to the delivery alongside the steady climb in the rhythm to help grant it the right level of appeal. ‘Into The Storm’ is an innate number with a steadfast quality very much on show. This pleasing number is carefully tracked. What this gives to the passing consideration in the lyrics is faithfully distributed throughout. His final track saw some harmonica factored into the mix and really saved the best until last. That defined the song by brandishing it with a more elaborate flow coming through in the guitar. That remedies the delivery in a way that shows.

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CORNER BOY We always seem to catch this band when they play The Ruby Sessions but they never disappoint either.

As the title suggests ‘Go Softly Into The Night’ is a tune that is slowly brought in. the commendable stirring of the violin adds up in a way that is effectively felt. It is what carefully brings the passive calling together. That certifies the bespoke manner of the tune but also retains a sense of folk semblance alongside that approach that is carefully worked. A new song then followed with ‘How I’m Free’. A very sentimental number but one with a good showing in the vocal harmony. That complements the delivery by filling out the play as the elements find their calling effectively. But there is a fine degree of relevance called upon as they do so.

They then got into the signature style that we have come to know them for with ‘Frozen Ground’.

Keeping that in check they brandish the delivery in a way that is present in a way of note. The sombre quality of the strings helps to frame it and it is an effort that closes out with style. ‘Untie The Noose’ is a brilliant track. Here you see them cut loose as they rally behind the delivery. That imbues it with a sense of revelry that is certified by the kick in the tempo. It is rather lean but the select attributes add up and bring it home here.

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BASCIVILLE

We have also caught this band live here before at The Ruby Sessions and we reviewed their EP ‘Blues In Red’ in our July issue. They opened everything with ‘Sweet Heart Rodeo’. That saw them bring a rather hip co-ordination to the play that very much held sway. The gentle movement is highly attentive and that added a sense of the resurgent to proceedings. A jazz sensibility in the tempo correlates everything in an appealing manner. That gives it a nice swing that tidies it all off.

Another stylish number then followed with ‘Say You’. This was chased down figuratively. The intricate riff helps it find a groove that is incredibly steady and robust. But the developed showing that comes off is impressive. That sees the largesse to it picked up on in terms of scope. ‘Sweet October’ happens to be one of those tunes with commanding sense of scope. That lay allure in the sincerity projected in the vocals is rather endearing. Overall the delivery has a looming derivative found in the lingering touches of the guitar, but there are fine lines in the lyrics that also jump out at you in a prominent way. They closed out with a brilliant number in the shape of ‘To The Line’.

The formations have a smart quickening about them that is highly developed. It helps give it a musician’s musician appreciation. What appeals here is how it avoids pretentiousness. When it gets going it is excellent and there is a slight Peter Gabriel vibe channelled as it does so.

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SAUCY SUNDAYS The Grand Social (13-9-2015)

TADGH LIPTON A tinge of sadness filled the air this evening at Saucy Sundays as the news came through that after five years this wonderful club night will be no more after November’s 5th Birthday party. But not to be outdone there was still the high degree of music on the night and getting things going was Tadgh Lipton playing an acoustic set. He set about everything with ‘Grudges Were Problems’. Here there is a well felt approach at work. The lean vocals are met with a meaningful sense of intent as they sit alongside the compact flourishes of the tempo. It is also kneaded through and this is what gives it a fixed pragmatism to the exchanges. ‘Pay Pay’ picks up in a good way which is very much on show here. The hold complements immediately in the solid build that adds an indifference to the performance. Yet in the intent and the urgency the narrative still manages to come across lighter. This could be on account of it not necessarily working as effectively in an acoustic setting.

The casual countenance of ‘Feelings In The Air’ is charmingly felt. This sees the number step out smart with a virtuous drop in the rhythm holding deliberately.

Seeing things mature further is ‘Selfish Lover’. What holds it together gives it a tangible worth. That comes off the sharper intent, but there is an imbued offering of substance here. That is noted from how it gives a freer rein that corners the depth neatly. ‘Sad Love’ has a strong opening line that carries it all off. This is spry and, while not as practical as the others, is a well thought out offering that sees weight added to the dynamic from the lyrics. If anything ‘Out Of Prison’ lets it all down. It is too much a by the numbers affair and, to be honest, it is hard to find anything complimentary about. Overall it is something that doesn’t work or have anything going for it. Harsh as that might be it is rather tepid with nothing of note that stands out.

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AARON ANTHONY

Having undergone something of a name change from Rocher to Aaron Anthony there has been nothing lost in terms of what he is capable of doing when he takes to the stage. He is a competent performer when he grabs a guitar and that showed with his first song ‘Be Free’. The favourable allure that travels through is neatly stoked. It gives a joie-de-vivre that corners everything justly. With how that necessitates over the delivery it all adds up and the playing arcs give it presence. How this is favourably worked with the ebb and flow shows. Calling on a stronger Latin vibe is ‘Girl Next Door’. This is a gifted tune that is granted fervour from how it is pieced together. There is a confidence that comes through and that adds a resilient quality that carefully takes everything into consideration. But there is something in the commitment that adds context.

Channelling his inner pirate is ‘Officer Officer’ and again he seizes upon the right qualities. The traipsed element in the delivery is somewhat paramount and adds to his stage presence. Neatly trapped folk touches add to the expression and that carries weight. What is on show is highly industrious and clever. His upcoming single ‘Before I go’ followed and this takes the direction to a softer one. There is a fundamental kick to the running that is tracked meanly. The leaning of the vocals also sits comfortably with the delivery and the secondary progression that also plays its part does so rather well.

You sense how invested he is with ‘When I Met You’ as the song seems to hang onto something specific. The tender aspects touch on this but it is the apparent way it steps out that grabs you in the right way here. The layered showing is one that also fills out with the vocals. It becomes all the more endearing for how effective it all is on the approach and this underlines the opening assessment.

‘Caroline’ shows how capable he is of creating a tune that gives meaning to the substance. There is a lightness of touch on show here that meets with the neater contrast of the forlorn expression in the lyrics. That is carried through in a dutiful manner that fixes your attention fittingly. All good things must come to an end and so it was with ‘The Open Book’. The lithe dalliance on show makes for a rather upbeat showing. In the whimsical calling of the lyrics and vocals there is an added charm. This committed virtue weaves through in the tempo and is bewitching. The way that the exchanges interject is a clever calculation with hints of Noel Coward tidied away in their eccentric nature.

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BLUE MERYL

Giving new acts a platform to play on has been one of the great strengths that Saucy Sundays has always been noted for. But so too has its reputation for being something of a musician’s Mecca for artists from out of town to perform at. The last act here this evening was a Kilkenny band that we had never seen before. But they were given the opportunity to headline and they didn’t disappoint. Things got underway with ‘Higher’ and this is heavy on the rock but applied in a balanced way. The vocals and rhythm are fixed by a sullen ambience which is met by the delivery. Also standing good stead is the loop in the tempo which is fashioned from the guitar but done in a way that adds a candid value. There is a high end to how it closes also.

What takes their next song ‘Take Me Away’ where it needs to go is the determination. The lyrics are able to situate the intent here and this moves across comfortably. The way that the mid-bridge section also drops down also shows some fine potential for this band. Again the lead in on the guitar work is what gives ‘The Dread’ its makings. This holds sway over proceedings. What also complements this finely is the drum and bass combination that is chased down. ‘All At Sea’ shows how the timing is all in. The even keel in the rhythm cuts loose. That certified apparel connects well and there is a lot contended with. In particular the aspects that see it become a more full on affair are in your face but they let the music do the talking when that occurs.

Holding the stillness in a reliable way is ‘Cool It Down’. This provides it with an air of cool. The framing of the song is also apparent in a highly intended way. The breakdown is what keeps everything on track. That sees a cursive allure kept in focus by how the motion of the pick-up on the pace is so well timed. They closed out with ‘Two Sharing A Bowl’. Shown in the tidy running is an accentuation that pockets the playing in a neat way. This is a good tune, but the commitment shown here saw them grow into the performance. In particular on the vocals and that is why it connected with the audience here this evening.

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ALBUM REVIEWS THE SUNCHYMES Present

The instant attraction of this album is secured by opening track ‘I’ll Call You Up Today’. A nimble sense of proficiency is called upon from the dynamics. That is reflected by the tidy rhythm which complements the approach. You sense that ‘Mellotree Park’ is a continuation somewhat but this time around the sound is developed further. As the delivery collects there is an overall invigoration which moves everything up a gear. You can draw suitable comparisons with a ‘Pet Sounds’ Beach Boys era on this one because of the intricacy on show in the overall layout.

You sense the influence of Wilson with ‘Time Will Tell’. This is another tune that is something of a revelation to hear. How the arrangement is tidied away holds the fluidity but steps out with marked proficiency. Again that invigorated appeal takes you along for the ride with ‘Wondering’. The efficiency of the 60’s revisionist styling checks all the boxes here. The largesse of the orchestration embraced gives the scope something that is developed in a truly fundamental way. While ‘Carousel Girl’ has a trip the light fantastic vibe to it that saunters through, there is a lightness of touch that lingers tellingly. The softness of the piano gifts it a bespoke quality that plays through like a dream, and, alongside the ushering of the vocals, finds a noted sense of completion as it all comes together.

There is something signature about ‘Mr. Buckstone’ that works and falls short in equal measure.

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The efficient touches of play in the delivery suffer from a sense of redundancy. There is however an inspired jouessance but it somewhat feels over-reliant on the same approach as the other tracks. Lyrically ‘Have You Seen The New?’ moves up a gear and the interesting distinction moving through with the playing arcs adds contention to the running. It is a smoother transition with a heightened emphasis on the arrangement giving it salvation. But there is depth on show that lines up prominently with the outlines. The lightness of touch that presides over ‘Lady Gracious’ guides it through from the off. That accentuation carries the delivery through with real significance. The intricate touches prevail, not just in the instrumental work but also the harmony, and this is what draws you in.

With how the vocals are kept in check, a tidy calling gathers on ‘Through My Eyes’ that is smartly worked. The balance of the instrumental exchanges integrates into the structure in a way of note. Then we come to ‘Pictures In My Mind’. The opening here is incredibly solid and is one that is carried through with real confidence. How that seeps through in the structure is carefully considered. This lends it a refined presence that is carefully factored in to the overall presentation. The album closes out with ‘Centuria’.

They channel their inner Pink Floyd by bringing the listener on a careful musical odyssey. That is mirrored in the clever way that the ebb and flow are controlled within the alternative structures on show. Yet there is also an impressive level of ambition that abounds with the scope and range displayed, and does save the best until last in every sense of the word.

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AIRPORT IMPRESSIONS Mariette

There is a lot to admire about this album and it opens with ‘Wishing Well’. Hints of a Tom Petty heyday meeting The Coronas carry it off. The mainstream apparel laid out is met with this tremendous burst of energy which is rather abstract but keenly felt as it is all brought around.

Kept on course smartly is ‘Come Along’. The strong showing coming through connects the pace and urgency with the right degree of impact. When it gets going it is fired up commendably.

This provides it with the right degree of flair for all the right reasons. What a refreshing tune ‘Berlin’ is. The whistling on the intro is a revelation and a joyous application that leads things through. It is a dependable tune and the tempo is quite diligent as the charming characteristics really grow on the listener here. But when it takes flight it gets going in a true way of note.

Hitting the ground running is ‘Star Signs’. That commendable sense of movement stirs the intro and then drops out. It holds the contention when brought back in and the resilience displayed is highly impressive. Nothing is left to chance and what is invested in the delivery takes it places.

That then brings us neatly to the eponymous ‘Mariette’.

This opens with a lightness of touch apparent in all the avenues on show. The opening line has an awning and it reigns supreme over proceedings in a well measured resolve that works comfortably alongside the

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movement as everything steps out. What is impressive about the band’s ability to get beneath the play is evident on ‘While You Wait’. What adds up gives this a noted degree of presence but it is also rather formidable in how it cuts straight to it. It is steady and mainstream but in a way that adds up.

The somewhat more shapely demure of guitar on ‘Ballymena Sun’ opens things up in the right way. It has a forthright essence that carries across.

This is what lends it the lean countenance the momentum needed to carry it all off, and it works extremely well by design. Continuing that rich vein of form is ‘If You Abandon Me’. Again there is finesse found in the execution that bears down on the urgent calling rather well. How that is cornered as things pick up shows for all the right reasons. Initially ‘All We Got’ opens too stationary and it doesn’t progress beyond that unfortunately. It is well layered and developed from a musical perspective, but seems to drift than have any sense of direction.

All of that is forgiven with ‘Hymns Of June’ and for good reason. If this is penance then they have saved their souls because it is brilliant. The confident way they pick it up and run with it makes this a flawless addition to the album worth tracking down. Channelling the emotive on ‘Let It Shine’ reliably produces a big hitter. The steady nou disco touches in the latter progression move it forward from the intricate opening. But it is how the differing playing arcs work here without detracting in any way that defines everything. Closing proceedings is ‘Silhouettes’. The sleight of hand in the Tex-Mex undertone alongside the select couplets feed into the track with a smart sense of deliberation. It glides through with such a pertinent showing here that nothing feels out of place and it closes the album out on a high note.

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COLIN CLYNE

The Never Ending Pageant ‘Merry Go Round’ kicks off with a neat sense of contention found in the breakdown. The steady manner of the delivery is mirrored in the tempo and the lyrical context frames the romantic notion with further contention. This is diligently chased down in the transition and keyed in to the process in a grounded way that is tidy and fashionable. After that comes ‘This Blue Town’ which is more prominent in terms of how it is laid out. The leaner calling is pressed from the vocals, while the minimalist instrumental breakdown suits the country styling. Albeit somewhat light in places, the duet aspects also hold their own. Off the back of a strong opening comes ‘Sizzle Not The Steak’. The breeze of harmonica is incredibly prolific and the tidy amble of the running keeps things on the right track. That somewhat spry channelling gives it a fortunate sense of drive that is easy to appreciate.

On ‘I’d Rather Do’ the arrangement is a settled one but has a relative sense of urgency. This bears down well to give the running contention. Yet there is a reflective turning on the proficient lyrics which gives it a darling sensibility that falls upon it to give it suitable lift. The big flourish opening ‘The Never Ending Pageant’ holds firm and the pleasing accompaniment that follows is also rather easy to admire.

What is collected has relativity about it keeping

7 those lighter touches in focus but is brought through in an opportune way. Again the harmonica is brought to bear on ‘Top Of The Mountain’. This is a tender offering with a plentiful appeal going for it.

But there is a neat showing of substance factored in to the working dynamic which opens it up in a rather fortunate way at the same time.

Again the positive and upbeat is embraced with ‘Toast The Happy Times’ as the running peels away with the tempo. It is sharp and this resilience is prominently felt in a token way as it takes flight. While not necessarily blessed with depth, it has a confidence located in the delivery which takes it where it needs to go.

Giving the album a more mature grounding is ‘Doin’ Fine’. This is a conclusive assessment as soon as things take off. The careful demeanour playing across is mindful of this approach and retains that in a wonderful way which presides over proceedings excellently. There is something of a second coming to the album here with ‘Playing God’ shifting the direction. This ticks a lot of boxes and is a bigger number backed up by the music. More mature in terms of narrative it also plays with a sharper sense of intent from the off that is consistently maintained. ‘Dunnottar Skies’ offers an interesting contrast by bringing things to a more intimate point of expression. It is big on play but in some ways it lacks the necessary impact. You do feel it is overindulged somewhat whereby more emphasis on developing the song might have been more beneficial. The final track on the album is ‘My Bonny Broken Valentine’ which carefully captures the mood. The ornate vocals spilling out give the bolder calling conviction. Yet it is all held close and this is where it draws strength.

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FALSE ADVERTISING False Advertising

Having interviewed the band as part of The Manc Tank in May this is an album we have been looking forward to and it doesn’t disappoint. ‘Breaker’ lays down a fine marker. Neatly there is an embracing of grunge but the emphasis on development elevates it further.

It is a hard and sunken affair with bite, especially in how the leaner vocals lay out terms. You are drawn to ‘Another Mention’ like a moth to a flame. It is a raw tune that shows real grit from how the sound drags across. This gives it a rough and edgy calling that is fundamentally realised as the urgency brings it all through.

Third track on the album is another ripper. ‘Wasted Away’ shows what the band can do.

Here the sound is more American in terms of feel and texture. Still retaining that raw calling no less, it is more rounded and solid with a true affirmation found from the weight that gets underneath the playing. solid with a true affirmation found from the weight that gets underneath the playing.

They get straight down to business with ‘Dozer’. How the impact hits you owes a great deal from how they hit the floor with this one. Pacey and, with a dart of swagger in the tempo, it is one of those anthemic tunes for the disenchanted that anyone can get behind. ‘I Don’t Know’ takes their grunge style to another level. Yet a clever and hip countenance adequately shapes it. The drop down in the grooves invigorates it fully and is met by a noted sense of contention that turns on the style in a big way. ‘All Of The Above’ is a song you fall in love with immediately. The neat essence meets a creative

10 sense of substance. It imbues the delivery with definition that is embraced stylishly but completed by an edgy sense of collected cool. X-RAY Specs were an underrated punk gem and there is a suitable comparison with the vocals of Jen Hingley she channels her inner Poly Styrene here. But there is an animosity in the tone which sufficiently pulls it through to give it a degree of volume despite the DIY feel.

A comparison with another band is made on ‘Cold Shoulder’. This time it is Placebo playing in on the undertone at the start. Yet they then depart from that stoic calling and leaner guitar figurations resonate. This sees the resolute maturity of the delivery take hold. The impeccable shape is completed by the token sensibility of the steady climb. Given a shot in the arm by the approach is ‘No Good’ yet there are more mellow attributes called upon that give it grace. How everything breaks down and is put in its place also gives everything a stellar sense of contention.

There is something admirable to how ‘Only Way’ corners a spry flight in the tempo. From that attractive glint the shoegazer determination is matched by the fawned vocals. That careful weight sees everything pay off. Again there is a noted contention to the guitar riff on ‘Finish Line’ which gives it a kick before a break in direction heartens the sullen execution as it steps out.

How it asserts upon the deliver is truly the making of it here. The closing track on this excellent album is ‘Something Better’ and has grunge written all over it. The drumming overlay contends neatly against the heavy contention, but where it comfortably moves the playing arcs sees everything close out by coming full circle.

This is one hell of a debut.

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CATHERINE HATT Lost And Found

We have warmed to this Belfast artist off the back of this album and the opening whims of ‘La La La La’ offer something intricate and pertinent in equal measure.

What meets well here is the ample flow of everything.

Her voice is softly sprinkled upon the delivery, while the intricate guitar and instrumental work provide for it all in an ample manner that adds resolve.

Then that whimsical essence continues on with ‘Everything’. It is notable here and it deliberates over everything with a heightened appreciation. Her voice has an ornate calling that is rather refreshing to hear as the defter calibrations take hold.

There is a recurring theme through the album that is softer in its calling and ‘Easy’ falls into that category. Her voice seeps through in a joyous way and the lovely bespoke attrition of how the guitar lingers adds something wholesome.

The addition of the harp adds a more prominent sense of instrumentation and the latent feel of the tidy arrangement accommodates additional aspects in the play which add to the appreciation in a telling way.

A nimble sense of prowess collects in her guitar work on ‘Let Go’. This is brokered in a considered way that gives the delivery a fond

7 pique. The lingering touch of violin adds poignancy. How that extends the appreciated touches gives the overall showing something classy and defining. There is a fine balance between artistry and folk which comes to pass on ‘Broke’. An ambient tone greets the listener on the intro and it is then carried through.

There seems to be passivity to how things all fall into place which has a graceful calling found in the pursed qualities on show. You pick up on the neater way ‘Forever Healing’ embraces the slightly upbeat calling. It retains that careful signature but this is a bit more developed vocally. And again the musical side of things is retained in a similar fashion.

Heightened by the religious overtures, ‘God I’m Alive’ becomes a more seasoned showing. There is an investment in the gospel derivative of the lyrics that pays off. It seems to capture the essence in an imaginative way which is placed at the fore quite tellingly. The church hymn vibe works without feeling strained.

Then ‘Not Leaving’ comes out of nowhere. A sleight of hand in the tempo gives it a jazz feel and the vocals are trapped in a way that mirrors this approach. It has this hip feel about it that grows on you for all the right reasons. Then the album reverts to a more dignified calling with ‘Wedding Bell’. This is big on developing the harmony and it draws light Kate Bush comparisons. There is an eccentric touch in the vocals which adds a flourish to proceedings in a wondrous way.

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STATIC IN VERONA

Everything You Knew Before You Knew Everything A great album should open with a great track and it is found here with ‘Anyone Anymore’. The resonance in the sound has a slight pop virtue, yet alongside the shoegazer slant in the rhythm proves a big draw.

That is attractively seized upon and provides the running with an added sense of determination which adds up. You sense the emphasis on development with ‘Heavy Hands’.

The chagrin gritty drag in the rhythm is motioned through with a sense of added propensity. The bursts of play concentrated alongside the backing harmony finds a distinct calling. This is a seriously impressive tune bordering on indie perfection.

It is followed up by another clever tune in the shape of ‘Future Ghosts’. A rather leftfield number in places, it also has a fine indie calling about it. The delivery weighs cleverly but the formations of play, along with the synth, give it a heightened showing that just takes it up a level.

This is a gem of an album deserving of being heard by a bigger audience. That is an assessment confirmed by ‘Blink’. It corners an intricate balance between morose and alternative that is endearing. The way the envelope is pushed here

10 shows for all the right reasons. ‘Shudder To Think’ is another clean cut. The resolute tempo builds and is accompanied by an accentuated prism of sound that shines. Then there is the compact way it picks up. The lean temperament is leveraged magnificently on all fronts and chased down accordingly. Especially in how catchy the chorus is. Then things go retro with ‘Wait, Wait’ in a way that builds the anticipation squarely. Yet delivers in a way that doesn’t meet expectations yet doesn’t leave the listener unhappy either. The development is impressive and gives it an underrated essence of cool.

‘Then A Hush’ ignites off the back of a restrained charm. The languid euphoria of the rhythm commands the harmony in sync.

That passive calling is well outlined and the layering of the delivery is so well suited to what is intended in the artistic sense. Rich in reverb is ‘Forgetful’. This gives it a stern indiepop allure that is smoothly transitioned. The able bodied direction also enhances the ebb and flow which is centred on explicitly but has a lightness of touch which offers an interesting contrast against the compact flourishes. A tune to remember if anything. Again there is an admirable consistency on show with ‘Tomorrow Feels Like Yesterday’ that has a somewhat leftfield allure which meets the progressive feel of the delivery. It plays out in a way that is big instrumentally, but the vocals are really what flesh it out. The album is brilliant from start to finish and it is closed with a suitable ensemble called ‘Alternate Ending’. It does exactly what it says on the tin.

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LAUREN HOUSLEY Sweet Surrender

There is a formidable signal of intent to the opening track ‘Nice To See Ya’ that draws a suitable CCR comparison.

Calling the shots here is an American style that turns a corner with a hardened showing to her voice that is impeccably applied. It has an open showing in the right regard and this brings it to life. Nurturing a softer side is ‘The Waiting Game’. The piano formations on the arrangement suit the mood.

This is a patient number but it holds reliantly. That sees the definition of class in how the closer moments are chased down here. ‘If You Were Mine’ is more country in terms of how it is styled. It impresses none the less and the token way that the safe calling is brought through is deserving of appreciation.

The ornate piano figuration on the intro confirms this but there is a soulful virtue to her vocals that also holds up.

Another neat tune on show is ‘Face The World Alone’.

Reflective in a measured way it is steady in terms of how it builds. This approach places the emphasis on the patient calling to fine effect. The nice ethereal fell works well.

The direction moves away from that on ‘Ghost Town Blues’. How the compact feel of the beat brings it through steeps it in class. If anything it sees a more black influence come to pass. But the impact of the key strokes, harder in a refined way, give it that deserved shot in the

9 arm but she also displays the vocal chops to carry it off. There is a Stevie Wonder vibe to it in parts and it is rather invigorating through and through. There is a vocation to be found from how she gets behind her softer tracks and that shows again on ‘When Autumn Came’. Here the specific way the arrangement holds true gets behind the track gives a tender calling and some further merit.

The eponymous ‘Sweet Surrender’. Again it has a fortitude that presses the bigger country style through. The noted softness in the texture commendably adds shape, volume and texture in explicit fashion and is doled out with deftness in the measured approach on all fronts. Then there is a soft careening to the intro ‘Show Me What Love Is’. The heartened calling pours out on the opening line. It traps something lonesome that is realised impressively from how the reflection of the lyrics carry the hurt. Then there is the strong contention carried across with the strings that also play in effectively. The great thing about the diversity of the album shows as ‘It Ain’t About You’ motors along. A bit of a Teddy Boy feel in the rhythm, this is shapely and then there is a bit of beatbox that quickens the delivery. It is a viable effort indeed and the dynamics at work are excellent. Things close with ‘All You Need Is A Friend’.

This is another brilliant tune that draws you in. Her voice is given a solid platform here. This is big on Northern Soul and it shows. That sedate movement in the acoustic guitar that flushes out the sound meets with the piano to put everything on an even keel with real class.

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GENAGHR

A Dream Outside The opening track ‘Dizzy Ghosts’ is refined showing that lays down a marker. The pursed vocals are ushered incitingly in the delivery, while the bursts of guitar add weight in a prevailing way. It moves in a nimble way and it has high sense of reach tidied away from everything on show. Then there is a continuation of that derivative that develops ‘She’s A Witch’.

The attractive way that the beat sees it through adds something enigmatic that is highly attractive in how it works. The vocals are an added plus here but it has this sense of esteem to how it flies that is jovial and intelligent. Opening with a weight that closes down the tempo favourably is ‘Heroine’. It is a solid showing and the stoic sensibility that runs through the rhythm is cleverly tracked, but the warmth prevailing in the lay vocals shores up everything in a fundamental way that is incredibly chic.

thing step out with real flair. While not exclusively an ensemble affair ‘Dark Star’ carries through like one. In the developed forays of the playing channels it finds the right measure of resolve to carry it all through in the arcs on show. With a careful opening, ‘Embers’ sees the dignified calling of the lullaby-esque structures forge something that meets the funkier sensibilities in a nimble way that shows true flair when it gets moving.

The latent psychedelic touches on ‘Bathed In Light’.

Again it is floated on the way this approach works. It seems to have a classy touch coursing through that moves it expertly. This lends it a coveted sense of focus that works extremely well. Cut from the same cloth is ‘Where I Lie’. A fluid number but there is a sense of eccentricity in the controlled lyrics. They seize upon the leftfield considerations in a way of prominence while the delivery collected in the playing also sees every

What can only be described as a gift of a tune comes ‘Powder’. The heartfelt control exerted gives the ebb and flow context. That floats in on an apparent air of cool that suits the listless demeanour here but it is absolute perfection. Imagine Air in their ‘Moon Safari’ phase but with guitars and you are on the right track. The tethered way that ‘Fill My Gums With Blood’ channels the fluidity gives it consensus in the musical sense. This has a vibrant sense of esteem found in the forays that open in out, but it locates the forthright charm offensive in a way that lights it up majestically. Blessed with the considerable way that style and substance meet is ‘Lonely As A Shark’. It retains a leftfield sense of hip in the lyrics that add character. Then there is the tidy showing found in the tempo which keeps it grounded. It is a song that you melt into when you listen to it because of its sheer brilliance. The dandy sensibilities evident throughout see the album out on ‘Trampoline’. It adheres to that daydream formula in a pristine way but it also develops the arrangement with real expertise. The whimsical vocals draw you in but it is sedate in a way that carries weight.

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CHANGING TRAINS

Theory Of Everything We received an e-mail request to check out this Irish band and we weren’t disappointed by what this Limerick band have to offer.

‘One Of These Days’ is a reliable number. The tidy feel of the vocals aside, there is a bit of a maturity hiding away on the lyrics. It locates a barren sentiment before the empowerment takes over and drives it on.

That suitably pairs up with the steady way the tempo picks up.

The choice way that the ethereal aspects of ‘I Loved You Once’ channel the play away from an over-sentimental approach works. It is solid and there is an earnest degree of servitude that keeps this on course. It is neatly spaced which also helps the a ppreciated touches come to pass. Bringing the piano to bear on ‘Won’t Let You Down’ is an astute move.

The darling way that it all comes together in the orchestration is neatly considered. There is a broad calling to the intricate isolation that is picked up on from the minimalist approach in that regard but it suits the steady sensibilities at its core.

There is a freer rein to be found on ‘You Said It Wouldn’t Rain’. Lyrically it is worth its weight and that is contended with in the delivery which sees everything sit forthright but

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in a subtle way. It is quite distinct in that regard and the telling way the arrangement moves around that is highly appreciative. As the tidy and ornate calling of the tempo opens ‘Gathering The Sunlight’ it keeps hold in a steady way. It remains the only instrumental work before layers of vocal harmony come in on top of it. Then things carefully build and it has a freer sense of conclusion to it all as it comes together. The vocals are somewhat bigger on ‘Staring At The Moon’. Yet there is a careful consideration that opens it all with a degree of certainty. It comes on strong and it is welcome when it does because it is done in a way that measures the approach with certainty.

‘Feeling Great’ has a higher yield on the intro in an instrumental sense. That broadens the scope before narrowing back down to something with a lay indie appeal going for it. That is brokered fairly and the softness of the vocals are tidied away to add character and warmth. But it has an urgency that also clocks in on the tempo to move it in the affirmative. Broadening the sense of contention in the instrumental sense is ‘Let Me Breathe’.

Opening with a string and bass ensemble sees hints of Black’s ‘Wonderful Life’ hide away on the undertone. It has a long lead on the intro before a neat and virtuous vocal range calls the shots to see it all out. The final track here is ‘Away From Me’. It lingers and that leaves a just impression. There is lightness of touch that frames this but it also sees the vocals hold onto something in the lyrical narrative that it draws strength from.

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CHEERLEADER

The Sunshine Of Your Youth Cheerleader creates a blend of feel good indie rock fused with power pop. A summer festival vibe is ubiquitous as the LP unfolds. It’s simple and to the point but is not lacking in artistry or skill. In fact their concise simplicity serves as a coherent hook, which runs throughout the material and in the fact the album is 8 tracks in length. I quite like 7-9 track releases.

It eliminates filler and superfluous content. It’s also quite in keeping with where we are as people in the West; i.e. lacking in attention spans. Therefore, ‘8 tracks’ have a better chance of being listened to in their entirety.

A hazy sun scorched vibe is prevalent during the album’s prelude, which comes in the form of ‘New Daze’. The Philadelphia quintet captures positive energy through the use of effective hooks and infectious melodic content.

This is a solid opener and is sure to have the listener eager to hear and discover more. ‘The Sunshine Of Your Youth’ pushes this idiom further in the form of a melancholic number, with a bittersweet subject matter and twist. It is an all-round polished and impressive effort, which makes use of sweet and pristine vocal harmonies. Lyrically this is a track that people will be able to directly relate to. ‘On Your Side’ is then a quirkier offering, which has lo-fi elements juxtaposed with their characteristic sonic quality. There is a late 80s

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British vibe suggested here, presented in a modern context, which is most uplifting and inspiring.

‘Perfect Vision’ has a more indie dance pop vibe to it, which is quite alluring. Although one could argue it’s a little cheesy, fuck it. It ain’t such a sin to embrace ‘cheese’ every now and again! Once more their polished proficiency is prevalent and comes to the fore. They understand their sound and vision and realize it. ‘Haunted Love’ also exudes this quality. The drums present provide a simple but fine driving force and pickup. The electric guitar is subtle but full of hooks and density, as the textures are full and pure. ‘Dreamer’ once more alludes to the retro synth rock that was once prominent in England, thus creating a fusion between American and British styles and musical approaches.

‘The Quiet Life’ has the big shoegazer quality, along with American quirk. It is quite emotive and could well feature in an American teen flick (this is in no way suggested sardonically). Sound tracks and synchronization rights are ways bands and artists can gain, monetarily speaking, and should be more partial towards. The LPs swansong, ‘Little Bird’, is a worthy curtain closer and exudes charm and personality, which is epitomized by the piano. The setting sun is suggested here, as affection is implied through the lyrics and stripped back instrumentation. Overall this is an elegant and attractive 8 track. It would be nice to hear the band, in the future, let the shackles off a touch and push the musical forms a little more left of centre.

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THE GROUND WILL SHAKE

The Ground Will Shake The Ground Will Shake are a rocking 4-piece act hailing from Dublin, who formed in 2013. Following on from their successful slot at Stradbally’s Electric Picnic in 2014, the outfit tracked their debut album, with Pete Holidai and Gavin Glass offering their production skills and experience. This is out straight rock, which nods to the 70s, set in a modern context.

Getting us underway is ‘Engine Heart’. The vocal effect applied is subtle but suits the lead vocalist, as choppy electric strikes creates an edge and direction akin to The Strokes and Franz Ferdinand. The group also makes a virtue of fuzz bass tones. Although competency is on display, this is not the most inspiring and exciting of album openers. A late 60s Teddy Boy rocker vibe is suggested during the slightly sinister and upbeat ‘Rolling Sixteen’. The change of drum pattern and rhythmic direction during the chorus is a shrewd touch, as is the additional syncopated percussion hooks.

The track however fails to truly capture the imagination once more.

‘Reno’ picks the LP up nicely, with a commercial vibe that stands out more. There is swag and confidence on display here, which is epitomized by vocalist Paul O’Connor. There is an Undertones meets Beatles feel created in what is an all round musical offering with the crafty usage of triplets and briefly suggested modulations. This is more like it lads! ‘The State’ then opens

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with a rather intriguing riff, which is sure to capture the listener’s attention. This is a peculiar number in ways, but this is to be embraced for sure. The electric guitar work is quite authentic and the lead imitating the lead vocal is most proficient, as is the antiphonal singing moments applied during the chorus. Overall this cosmic offering has real purpose and drive. ‘The Pretty Things (Bleed)’ opens with an Arctic Monkeys rock ballad approach; with the reflective almost tongue in cheek wit. Forceful drums drive the track forward before a college/summer rock vibe comes to the fore.

‘Devil’s Tower’ shifts the album’s focus a touch. It’s an intimate, almost strung out number, with an appropriate vocal delivery once more. The harmonies also add a certain charm to the song, as does the string arrangement. ‘Black Manhattan’ picks proceedings back up again. Here an interesting vocal effect is employed, which suggests mysticism that works in tandem with the backdrop of the instrumentation. ‘The Flood’ is then an old school rocking number that embraces a prominent bass line and duel vocals akin to The Last Shadow Puppets. This is an accomplished number that is sure to leave a lasting impression.

‘Thinking Of The Man’ is frantic and hectic. This is a number to be savoured in a live context, which exudes youthful exuberance. It’s running length of 1.42 is most fitting also. No bullshit here! ‘King Of The Bones’ continues pertinently from where the previous track left off.

Heavy riffs take centre stage for the offering. There is also a bonus track to be enjoyed before the album closes out. ‘Melmoth The Wanderer’ is a whimsical composition, which creeps and swirls in an air of subversive mysticism. It again touches on Alex Turner. Overall this album is a bit of a mixed bag. The raw materials are there and this band is one to watch.

‘Reno’ is an excellent track and must be applauded for that fine effort.

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THE BLOOD RED MOUNTAIN BAND Far From Daylight

The folk 5-piece outfit, led by vocalist Mark Flynn, serves up an astute alt country/Americana effort entitled ‘Far From Daylight’.

What very much comes across here is their collective musicality and ingenuity.

Exploring musical textures is important to this band, which is evident through the embracing of the oboe, fiddle and rich vocal harmonies.

‘First Light’ is rather Beatles like in that we have an excerpt from the LP played backwards, which creates a glacial soundscape. It’s reminiscent of the opening measures of Sgt. Pepper’s, where the orchestra tune up and prepare themselves before the crowd is treated to the show. ‘All The Times’ sets us underway, with an alt country effort akin to Beck’s ‘Mutations’ album. The timbre of the upright bass and its subtle glissando’s work wonderfully and are a real musician’s hook. The track builds appropriately and emotionally as the group sets out their stall in a very proficient way. ‘Stars From The Main Street’ is a genuine nostalgic and poignant number, which is associated with this idiom. Flynn’s vocal display is fitting and strikes a chord with the listener, as a Neil Young vibe permeates.

The lo-fi drop before the final build is a nice sonic touch also, thus displaying their appreciation of dynamics and timbre; an important facet often neglected by modern groups.

‘Fair And Tender Ladies’ sees female lead vocals come to the fore, which shows the flexibility of the band and the array of options and skills the

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band can draw upon. However, as this track ventures on it becomes little more than just middle of the road, as it lacks adventure and the invention that was previously displayed by the group. Having said that, the a cappela drop salvages outright banality. ‘On These Waters’ then offers the listener something a little more commercial, whist maintaining their direction and integrity. ‘(I’ve Got You) On My Mind’ was released as the band’s single on 14/8/15.

For me it wouldn’t be the album’s most commercially standout track, however the track very much lends itself to synchronization and could be most applicable as a soundtrack. The violin skills on show, courtesy of Sarah May Rogers, are also worthy of a special mention here. ‘My Sweet Rose’ sees the band embrace a livelier number and approach. This is a welcomed touch at the juncture and shakes the album up nicely! The fiddle has a wonderful instrumental part too, replacing the stagnant and predictable electric guitar solo. ‘Til The Wheels’ opens with a brief section of backwards material, referring back to the LPs opening moments, suggesting a link, before a lonely and isolated ballad, which exudes Americana, unfolds. ‘Trial’ then has the directness and skill associated with Crosby, Stills & Nash.

‘Lucy Jackson (Don’t You Break My Heart)’ embraces a more hoedown backdrop, with the obligatory energy and double stops in the fiddle. ‘Last Light’ is another backwards instrumental section, akin to The Beatles more avant-garde moments. Closing us out is then ‘Catch You When You Fall’, with the arpeggiation suggesting an apt farewell. The vocal performance also has a poignancy, which suggests receding into the distance. All round the band put on a very skilled and accomplished performance here.

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THE LIONHEADS Human Walk

The Lionheads are a 4-piece hailing from Oslo, Norway.

Their style is an amalgamation of power rock and pop, which has that EuropeanAmericanized vibe. Their influences include Radiohead, Coldplay, A-ha, The Killers to name a few. Aspects of these bands, along with U2, I feel, can be sensed during the album’s opening track entitled ‘City On Fire’. The track also possesses a quality and character similar to that of Coldplay’s ‘Paradise’, in terms of its commercial appeal. ‘Exit’ is up next and embraces a slightly different approach, as an intimate folk number ensues. They maintain the pop stance while fusing folk elements into their own voice, before the track builds accordingly and opens up tactfully.

‘Home’ then opens with the intensity of The Killers, before the vocals lead the way as the track settles down. Aspects of this number relate to the Irish outfit The Script. Stadium power pop rock is developed and embraced here. There is a familiarity created, which will appeal to the passive listener.

All round the playing is accomplished, if a little dated and predictable. ‘If I’ follows and has a Coldplay pop ballad feel to its opening measures.

Synth swells create a cloud like journey and feel, which lays the foundation for the lyricist to open up upon and give an insight into his dreams and suggested hopes and anguish. Big sounds and textures are developed and refined as the track gathers momentum. ‘Everything Will Mean Something’ further instills their approach and

7 vibe, which sees hope suggested through their sonic inflections and nuances. ‘House Of Cards’ takes more of a back seat, which is a welcomed change of pace at this point in proceedings. Although, very together and appropriate, I feel the track is almost too polished and lacking in character. Up next is the energetic and synth driven ‘Stars’.

Again their predictability is ubiquitous.

Basically we have an outfit that will appeal to some, possibly many, as their vision is coherent and well crafted. They have a commercial energy and soundworld, and are handsome men. Boxes are being ticked for sure, but ultimately the music is shallow and pseudo-emotive. There is an emptiness, which is strategically hidden with hooks and production. The average radio listener and polite and innocuous concertgoer will dig. ‘Morning Light’, needless to say, continues this trend.

‘Red’ and ‘Human Walk’ brings proceedings to a close. Don’t let my cynicism put you off this outfit altogether; Judge for yourself for sure.

The shortcomings for me lie in the lack of personality and authenticity.

Even to try something slightly different and explore more subtle musical touches would be most welcome and greeted with open arms. The problem I have with most music is that it is inherently nice and fails to shake or ask questions. This is a band from Norway, effectively trying to emulate British and American acts. Why not embrace what is indigenous to them and their area? However, as I say this is a competent band, and this must be acknowledged. Not everyone can put an LP together and create songs and form a collaborative vision. I just can’t help but question how ‘musical’ this work really is though.

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MR LITTLE JEANS Pocketknife

Mr. Little Jeans, aka Monica Birkenes of Norway, serves up a wonderful concoction of modern pop and indie synth rock. Based in LA, when asked about the album’s title she explains that a Pocketknife is ‘small but has a million uses.

It can open locks, cut ties and be used as a weapon or even for first aid’. The artist sees it as an extension of ones ‘strength, intelligence and courage’. It is an interesting metaphor but a pertinent one that reveals her depth and philosophical outlook that manifests itself in her musical creations.

‘Rescue Song’ opens with a quirky air of mysticism, before astute harmonies take centre stage in a track laced with hooks and feel good vibes. It an interesting and accomplished offering, which acts as a juxtaposition between darker undertones and one being ‘saved’. This is the perfect marriage between ‘musical’ integrity and ‘catchy’. All round I very much dig this number! ‘Mercy’ continues proceedings. One feels this is a more subtle and personal song. This is an electro-pop ballad at its best, which fantastically utilizes and explores synth tones and timbres, which complement her impressive breathy vocals.

‘Runaway’ then has a more dance floor appeal and approach, whereby she reveals her flexible nature.

‘Oh Sailor’ has a certain naivety and innocence, as the performance and instrumentation is akin to Lana Del Ray. But to simply say that and nothing else

10 would be a lazy comparison, as there is more on show here. The children’s choir during the chorus is a wonderful touch and is in keeping with the pure subject matter and poignant virtue. This is another gem on the album that leaves a lasting impression. ‘Don’t Run’ opens up intriguingly. Here the artist wishes to explore her hybrid pop idiom, thus creating something charming yet elusive. The ethnic percussive pattern acts as a memorable hook and effective driving force. ‘Good Mistake’ then has an eerie yet uplifting mood. This is part of her skillset and charm, as the listener is left guessing and almost disconcerted. There is an overall sweetness to her approach, but the breathy vocals have an intriguing underlying cynicism.

‘Haunted’ is a creation quite varied and authentic, which should come as no surprise when you read her early influences – Mariah Carey, PJ Harvey and Massive Attach. Birkenes is a true musician, who learned piano and guitar at a young age, as well as winning singing competitions and participating in choirs. This has all been an invaluable experience and pores out of this LP. She soaks up influences and experience and as a result has something hugely original to show for it! This is further instilled when one listens to the electronically rocking ‘Lady Luck’ and the savvy and sexy ‘The Suburbs’ (which is an interpretation of The Arcade Fire song). ‘Heaven Sent’, which follows, is a continuity of the ethereal landscape. Although not as dense, this number exudes apt charm in a neo80’s context. ‘Far From Home’ and ‘Valentine’ bring the LP to a close. These numbers don’t reach the same heights as the previous offerings, but nonetheless do not detract from how proficient this album is. This is a great listen and one I highly recommend.

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EP GREG CLIFFORD

Irish Artists REVIEWS

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? EP

This is a three track EP in fairness, but that is a minor squabble. Things get underway with ‘Why Can’t You See?’. Firstly there is the appreciation for arrangement that stands out and that gives everything a sense of recognition. It is intricate and the pick-up in the tempo sees his vocals also keep up. That everything comes together with such precision is a testament to the level of craft invested in the track itself. You get drawn to ‘One For Luck’. It is a veritable offering that is carefully layered with an intricate level of detail found in the metaphors of the lyrics. The soft and tranquillity that he possesses in his voice finds a home here.

The reflections on show offer a solid sense of countenance that is suitably positioned.

Then we come to ‘The Weight Of Living’. On the strength of the intro there is a galvanised feel from the psychedelic foray of the sound. Then things kick on and he conveys a sense of the compact in his delivery that suits the solemn tone projected.

Equally things are balanced in the instrumental sense, but it is the harder calling here that is found in the deadened showing that really brings it to life. ‘Why Can’t You See? (Extended Version)’ closes things and it is a good addition that doesn’t leave things short in any way.

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OAK TREE SECRETS First Breath

What is confirmed in the opening of ‘At The End Of The Day’ captures the breakdown of a relationship in the lyrics in a noted way. It is reflected in what the graceful lyrics give an account of. That is rather select and his voice also imparts upon this in a way that gives it a further realisation when things turn the corner as the progression pushes the delivery on. The guitar kindly falls into place on ‘Secrets’.

Again there is a softer touch that embraces a sense of questioning circumstances. It seems to lay things out in that regard without going beyond the reflecting, but that seems to suit the contentment on show because it imbues it with warmth.

The safe temperament of ‘Burned Edges’ keeps things intimate. Here there is a realisation found in the lyrics that seems to impart a sense of emancipation on a personal level.

This conveys a sense of closure as much as it underlines the notions of moving on. This is judged evenly in the calmer structures that are on show. A harder strum comes off the guitar on ‘Bona Fide’. The autumnal tidings give it what it needs. He is a competent vocalist and his bespoke manner adds a sense of consistency that falls into place. That is what brings this around and it is again a softer effort that is imbued with the same contingencies of the others. The last track is ‘Never Look Back’. First off there is a harder sense of development in the sound that is attractive. The spry kick draws you in. It feels like the other tracks and that works but also holds it back because it lacks development. Granted there is a more majestic calling instrumentally but it overplays the forlorn showing.

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WARDANCE Wardance

A lot of noise is being made about this London band it is easy to see why from this offering. Firstly there is a commendable sense of development to their opening track ‘Free Radicals’. Something of a joie-de-vivre filters through before the spry guitar riffs and drumming capture it square on. The urgency is collected in a way that screams punk put it is driven on with purpose. The exuberance on show in the vocals and lyrics is also a perfect marriage. Checking in with a robust sense of drag in the rhythm is ‘Reality’. It seems to embrace the grunge calling and the clean way the revolutions of play commit to the showing here accentuate everything explicitly. The licks on the guitar also add something token here but it is how it all collects that shows it to be a different animal to its contemporaries.

The opening to ‘Guiding Light’ is developed and it looms expertly. The vocals collect and open the song with a lay feel. That resonates diligently and there is a communal focus to everything that shapes it finely. It does have a leaner pick up and that is driven by the guitar hooks and shows intent in an integral way. To close things is ‘Come Alive’. This brings things through on the back of a euphoric sensibility that lays it all out. In the determination there is a sense of the raw which cuts through in the flurry of the resonance. It sparks, but it has a committed virtue about it that plants everything squarely in front of the listener to admire.

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THE SOUR SEEDS Always Never

There is something about this band that you really catch. First track ‘Can’t Bring Me Down’ is impressive. The vocals of Darragh Cullen suit the sullen haze of the sound and this is keyed into the dynamic in a fundamental way. Also taken stock of here is the higher feel of the arrangement. It is developed in a way that cultivates a concise wall of sound that has at its core a stellar emphasis on the music. As a result the overall breakdown is something that culminates brilliantly in what is relayed.

The precision in the guitar riffs on ‘Painful Dance’ are impeccable. The high standard to it stands it good stead but there is a confident projection also noted in the vocals. It is a rich effort that is carefully layered and the meandering tempo holds in a relative fashion.

The stillness of the vocals is also doled out in a way that offers something further in the conclusion. On next track ‘Shake Me Down’ you pick up on the 60’s revisionist vibe it has going on. Akin to Dave Clarke Five in places this has shape. The rhythm is neatly corralled and the cornering on the pace lights it up with equal precision that is followed up by the delivery as a whole. Feeling as though it is the other half of the same coin comes ‘Always Never’. Again the 60’s revisionist vibe taken stock of is touched on to fine effect here. It is great in the way this track is brought home as it closes, while in between it also holds a high standard of appreciation that kicks everything into touch. It exudes class, as does the EP on a whole.

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SOREN JUUL Soren Juul

There is a lot to like about this three track EP. ‘Ambitions’ gets it all underway and it has a defined sense of scope that is apparent from the off. There are lay Arcade Fire intricacies in the rhythm that are rather diligent, but when his voice comes through it seems to caress the song in a way of true worth. Hanging in the background is a neat disco panache that doesn’t necessarily take off, but in the steady temperament if the drum beat it holds in an attractive way before the bridge builds upon it. Then comes the softer touch with ‘Manly Beach’. This sees the piano placed upon proceedings in a way of prominence.

Adding richly to the delivery is the passive vocals which are applied astutely. It gives the song a pique and the longing derivative of the lyrics frame the narrative in a fundamental manner. From there it builds into something rather cinematic with the largesse of scope and arrangement combining to great effect.

The third track here is ‘Soulseeker’. Again you see him dig deep and come up trumps.

This is reflected in the sullen conjecture of the mood. In turn there is a sense of rotund balance to be found and this plays across in the delicate way the vocals are traced. The outlines of the instrumental are also tastefully considered. They trap the lighter flight in a commendable way that adds to the allure.

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THE VIRGANCE Paradigm

This EP opens with ‘25 Years ‘. It is a lavish effort with a tactile feel to the texture. That is amassed from the finite way the shoegazer apparel of the looping guitar prevails over proceedings. How that comes to define things is evident in the churning but enhanced by the accompanying electronic touches. The sound becomes more contracted on ‘Epiphony’ with a more determined presence duly noted. The more heightened appreciation on show gives the wall of sound a bit more leverage. It is also rounded out more and carried through with telling distinction in a way that gives the tempo a more robust sense of style. We then come to third track ‘Sequester’.

This is a more alternative showing. The layering shows a defined sense of scope in the arrangement. This calculated call builds the slower movement on the intro.

What is neat about the movement here keeps the progression compact and relevant. Then we have ‘Moonlog’. With the bass hook on the intro it starts off with a real sense of contention. As the heady stirring of the riffs come to bear down it moves prominently. A fixation becomes apparent but it also denotes a sense of development in the musical sense that has been present but here takes things up a considerable notch. In the secondary progression the sound is gloriously saturated and carried across with a true sense of accomplishment.

Turning on that same level of developing the sound is ‘Saturnine’. The heavier emphasis on the drumming is felt on the intro and the synth is layered around that before dominating the aural landscape. The way it lifts the sound fits everything together to give the running time added bite. Ukrainian band Ummagma feature on ‘Down The River’. This again has a fine sense of ensemble balance and there is a tranquillity fixed upon the rhythm which is exacted with precision. How the guitar derivative charges through here gives off an added allure that scorches the sound expressively. ‘Dissipate’ is a smart tune. The running time is kept brief but it has a more resilient feel about how it is styled, with a biding furore tidied away in the tracking. Yet the sonic pitch seems to bring a choir like ambience to proceedings. This distinction meets well with the guitar play and seamlessly blends into final track ‘No Return’. In how it is keyed there is a pensive calling. You pick up on how balanced the overall depiction is and it is a steady tune that is met with a fitting encore at the end.

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8 MY OTHER GIRLFRIEND Three is the magic number with this EP. The first track in the trinity is ‘Crumbs’.

Found in the weight of the tempo is a careful calculation that suits the sullen demeanour. It has a checked call to it that comes off in a way that keeps everything grounded, but when the running gets beneath the tempo it takes flight in a deft way. It is precise in that regard with the vocals also fleshing things out smartly. What also adds to the dynamic is the intelligent way the hustle of the lighter touches come through.

Blessed with an energetic pomp is ‘Strong Words’ and it has a neat underground value about it. The uneven raw showing in places adds up. There is a sufficient sense of contention which gives it a suitable contention with Echobelly’s ‘Great Things’ in places. A very clean tune but it has loose derivative that sharpens what comes across in the delivery. ‘Chrysalis’ is the final track here. It is a tune that openly slips into gear. The steady way that the tempo emerges here gives the alternative approach something that comfortably slips into gear. Lyrically it is also rather interesting and this is another feature that offers an interesting call to how it is all layered.

WARRIORS OF THE DYSCOTHEQUE This is an international affair with the artists coming together from France, Ireland and New York. Collectively first track ‘Atom Vibe’ is a good blend of electronic workings. That is suitably concentrated in the loops that carry through. Some of the aspects are rather succulent in fact and serve the delivery well in how they are handled and applied.

A little bit of Massive Attack and Tricky et al seems to come through in the subtle permutations on show but it is rather select in its own right. ‘#Hashtag’ continues in that developed format and it is rather telling. The neat encroachment of the vocals steadily leads it all on through. The organic of the sound is experimental and the spacious trappings have a modernity that fuses jazz, electronica and other styles in the hybrid that comes to pass. The somewhat passive stirring of the rhythm on ‘The Future Is Ours’ calls on a nou disco turn.

That gives the sound prominence. Things then lead on from that approach but hold firm in the way that the fundamental showing is contended with. It is in those light forays that the track broadens and shows intent. A remix of ‘#Hashtag’ by James Atkin is included as a bonus track here. That is a smart reworking too it must be said and the echoing of the vocals adds to the ambient in a fluid way.

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9 BOBBY MOS There is a tidy way ‘The Getaway’ hangs back. There is a taut determination from the rhythm guitar that is called upon in a fine manner. It seems invigorated and steady, with a defined correlation between the blues flourishes and a lighter flight giving the tempo shape. That suits how it gets up and runs. A more languished flourish on the guitar drags through on ‘Better Days’. The sedate calling is ground out and the vocals have a part to play in that. Yet it is the select way it begins to come into its own that really provides something of a high standard.

Channelled in the play is a level of skill that draws suitable comparisons with Buffalo Springfield on account of the Americana having a charm offensive to it that completes everything. Bold strokes possessed in the running leave their mark but it is also attractive from the way the vocals work. The third track here is ‘Devil’s Lullaby’.

Again there is a noted sense of contention to be found in how everything is laid out. Diligent licks in the guitar are met with an abled piano arrangement which carries the tender flight here, but the vocals give it the lean showing that balances it all out.

THE HUGS

Modern Sparkle ‘I Won’t Let You Go’ is a slick track indeed. That confirmation is found in the air of cool that drifts across in the movement of the rhythm. How that is comfortably mirrored by the lay apparel of the vocals gives it a steady sense of direction that is used to fine effect from the off. What hangs off the tempo on ‘Laws’ owes a lot to the endearing flourish of psychedelic worked into the mix. The bespoke calling of the lyrics are leaned into and they embrace that calling formidably. Yet there is a heightened sense of development to the play which is highly admirable and breaks down evenly. The impressive sense of development on this EP is apparent on ‘Fearless’.

There is a prevailing depth that calls the shots. The eventual ebb and flow on this is excellent. All of the touches here add class and it is hard to pinpoint the key dynamic because everything on show plays to the strengths of the band.

Then the direction shifts to a more Post-Wave feel with ‘So Many Things’. A deadened electronica influence calls the shots but the nourish texture felt draws comparisons with Trent Reznor’s work. It is rich in that regard but it adds a kink to the sound that is rather underground and grubby. But boy does it work. On ‘Sex Calls’ the approach on the intro is an EDM based one and the tracking is steady off the back of this. The indie chic of the band is still present but it is a tidy number with a lithe appeal going for it. The wanton running of the tempo is clever and it adds some zest, but the lyrics also hold their own and offer up a lot that is referential to what is on show. In a way ‘Perfect Blue Day’ brings proceedings full circle. The automated drum machine gives it an invigorated retro charm that convinces. Yet there is an intricacy to the playing here that is motioned through in a fair and firm manner. The consistency in the texture is impressive and this gives everything a more fluid contention that is turned on sensibly. In a way you could draw a comparison with Prince because of how the Avant Garde touch is flirted with to give the emphasis on development a greater attraction.

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PUPPET REBELLON

Life Is In Your Hands It is good to see this Manchester band go from strength to strength and this EWP opens with that confirmed by ‘Life Is In Your Hands’. This is a well thought out effort with a positive message conveyed in the lyrics that points out the futility of focusing on the negatives. It is direct and the way that the tempo backs it up, with the paunch in the rhythm adding bounce, draws you in. But it is the attentive way it is all pieced together that works here. After that is the brilliant ‘Watch Me Fall’. There is something hard in the trappings here, but the pace is checked in a way which adapts well to how it is all structured. The hard calling seems to be matched by an apparent direction overall that takes the steady approach sensibly to where it should.

‘Claim To Fame’ is bigger in terms of opening presence. Then the inviting way it is guided in works a pop dynamic somewhat. Yet it is called right in the determined way the leaner style is seized upon. Last track ‘Test Pilot’ is another zesty effort that hits you in the right way.

The vocals are clear and they wrap around the song in a square fashion that gives it lift. The arrangement is also noted for the same reasons and everything on show is energetic from the off with no let up. It is a solid showing that carries the right balance between impact and substance.

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DISSENSION RISING Retribution

The four tracks on show here are very much of a high standard that signifies a strong band flying the flag for the genre on the Irish music scene. Getting things underway is ‘From The Inside’. Angled in to the tempo is a resounding guitar riff that is rather direct.

What it adds to the equation is complemented by the drumming. You note how felt out it all is and it keeps that lean derivative in check to allow the vocals come across as the formidable heft in the delivery is gauged. Something that is put right on ‘Heaven Knows She’s Tried’ is the development of the lyrics. Things battle through and there is a weathered feel to how the rhythm is condensed. Yet there is a softness in the pursed vocals in places that also bridges that approach as the richness of the playing takes hold.

As the quickened showing takes hold ‘Left Behind’ takes off in a way that displays contention. There is also something rather solid about the vocals on this also that take you along for the ride. The final track ‘Shame’ also tears it all up on the intro. That good burst of pace is consistent and the urgency that checks in runs tantamount but is also rather determined. How the band round on everything here is noted and the catchy hooks in the secondary progression are very much the real deal. But this is a track that really comes good in the latter half and what is locked down in that regard calls the shots in a mean way.

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MONKEY PRESIDENT Monkey President

The nouveau chic that permeates on this EP makes this recommendation from our Belgian music network a true gem. The retro calling of opening track ‘I Wait’ accentuates everything on show with a noted precision. The disco rhetoric in the sound adds vibrancy. Here is a tune that is realised in a highly credible way from everything on show. ‘On The Top’ hits the ground running and has an edgier kitsch to it all. It is admirable and it engages that approach in a way that neatly brings style and substance together. There is some leftfield notoriety to this but the underground assertions in the delivery are exacted in a way of prominence.

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‘Golden Moment’ opens in a way with an astute sense of appreciation on the vocal. That gives it a bigger calling and things tidily commit to that approach in an apparent way. It is selective and the ambient allure that comes across in the mechanics of the song is quite well represented.

There is a deadening to how the shots are called that suits the artistic way the macabre styling is drawn upon. Rich in synth is ‘Keep In Mind’. That is channelled on the tempo and confirmed further by the roboticised vocals that preside over it. The disco pop attributes offer a lot but this is more New Wave if anything. It is invigorating to say the least. The final track draws suitable Portishead comparisons. The atmospheric and moody projection of the tempo on ‘Hold Me Tight’ darkens things somewhat. The high pitch in the vocals, and the darker context of the lyrics, are effectively called upon in the delivery here. The largesse added by the scope houses the arrangement sufficiently as the tracking is carried off with a lofty sense of ambition.

ELEVATION FALLS Origins

The opening track here is a real signal of intent. As ‘Goodbye To You’ opens in a softer manner it is then met head on by the urgency in a formidable way.

Hardened by the switch in the way this is closed down there is also a presentable foray from the vocals that equally mirrors that approach. The developed showing of ‘Infinite Always’ has the same approach factored into the mix but doesn’t repeat the same trick. Instead it goes for a more ambitious approach in terms of how it all breaks down. You pick up on that from the neat nuances that also check in and it does have a steadfast rock showing that calls the shots fairly. The progression and maturity in terms of developing the sound that frames each song comes to pass smarty on ‘May You Be’. How things are transitioned is grounded in a way that is paramount.

There is a certified development to the lyrics which also see the band up their game and deliver on that in a prominent way.

‘Souls Burning’ is old school. A big rock number that opens graciously by hinging everything on the lean vocal showing, things then begin to build with the layering adding to the patient derivative that bides its time well. A good interjection of pace sees it on its way. In the handling it charges through and the focus abounds as it all clocks in. Adding a fragrant Carlos Santana approach with the opening guitar riff comes ‘Brought Me Down’. This brings neat flight in the acoustic guitar which pans out the sound. The reflective showing in the lyrics is clever and what is brokered off the back of that doesn’t fall short. The hook in the chorus does what is asked of it as well.

Another song carefully built on the intro is ‘Lately’.

This sees them go all out with the rhetoric also reflecting the band wearing their heart on their sleeves in the style they identify with. ‘Tonight’ sees them out.

Again the orchestration commands a harder approach.

The bigger vibe to it here does draw Evanescence comparisons because it falls into that style. The prowess channelled is leveraged against a higher vocal pitch, but it works.

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MISS CHEMI Miss Chemi

An impressive effort to say the least and the graceful calling found on ‘Ruthy’ brings a touch of class to the mix. The hip hop flourishes on the backing track, combined with the jazz sensibilities and 20’s feel of the sound are a big draw. In the way the play adds up there is a clever sense of context called upon that accommodates the evident allure which gives it so much purpose. After that comes ‘Waiting For The Night’ and it is another solid showing. That is matched by the steady way the electronic elements allow it to build. The opus aspects in the instrumental are contended with in solid fashion and break down on the delivery abjectly.

Next track ‘Snaps’ is a somewhat leftfield affair. The able way it is crafted shows a considerable sense of contention. Then the vocals and the arrangement begin to merge.

That seamless transition is expressed tentatively and the acceleration in the vocals fleshes out the delivery. Given a formidable heft along the way it is favourably processed in lieu of its Avant Garde apparel. A lot of what makes this EP work is the diversification on show and that is certainly the case with ‘Not Yours’. You note the sophistication in how the vibrancy and individuality commands the performance. That gives the dynamic an intrinsic degree of altruism that is sharply contended with. Closing it out is ‘Let’s Make A Deal’. An enveloped effort that combines vocal harmonies passively at the beginning, there is an added sense of presence correlated in the playing arcs. The structures are rich in definition but they corner a minimalist trapping that gives it a post wave beatnik vibe that is interestingly layered.

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YEEVS

How To Harken Back ‘Rebound’ is the opening track here and it amounts to something of substance. There is a developed sense if ambience that is highly developed in the robust monotony of the tempo. It filters through in a concentrated way which holds down the solemn attributes. Also ably playing into the process is the grunge feel of the vocals that are quite latent as opposed to being heavy and hard on. But in the token shoegaze style of the hazy sound it commits firmly upon the delivery. Things flow in a more upbeat fashion with ‘Cycle As The Deal Goes Down’. This is a bit leftfield but has a sense of cool factored into the identity. Confirming it as a song for the cool kids is the sense of exclusive given off by the detrimental flow of the vocals. Also giving it a lean figuration is the dragged guitar riffs which hold their own. There is a true diligence to be found on ‘Marked Dirt’. The listless calling is something that proves a big draw. The narrowing of the sound is transitioned upon proceedings in a way that is very giving. Especially as the progression picks up and that shoegazer style comes to the fore. It is rich in indie sensibilities but the dalliance of the rhythm fixes upon this in a true way of note.

The deft flourish on the intro to ‘Novocaine’ is met by a splendid allure as things get moving. There is a heft in the sound as it all comes to pass but it moves in a fluid motion that brilliantly brings the tempo into line. This is such a smart tune that it is impossible not to get caught up in the flow. It also draws Smashing Pumpkins comparisons. ‘Thousand Yard Stare’ has this sunken stupor that carries it all off. It is sharp and highly relevant, but the dynamics of it are carefully withdrawn here. The beat toils away with a stern sense of indifference which adds class and proves to be a big draw here. ‘Talkin’ Rain’ is the last track and there is a collected feel to it that is rich. Again the blues feel here is rather latent and it envelops the sound in a way that is quite stark. But it is the causal feel that it imbues the delivery with that is incredibly well processed here. It steadies things but also concentrates a steadier sense upon everything that gives it more reach.

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GRACE KELLY Lost Boy

Things open up on the right side of pop with ‘Perfect Psycho’. There is a fine balance between how the lyrics flaunt a lighter touch in places and take things to a more mature precedent. Things are guided through with that context in mind and it is a light track but one that does keep things in focus. Next up is ‘Lost Boy’ and this is a much improved offering. She seems more comfortable in the delivery here. You get caught up in this for all the right reasons. That charm offensive that takes hold, replete with the attractive quality of the whistling, is anything but a by-the-numbers affair. The melodic sensibility holds in a taut way and that drifts across in a haze of relevance that slips through. ‘Waste Time (Love Don’t)’ lays down a marker. The opening bass hook alongside the doo wop allure that the rhythm is bathed in fastens to the track as it all steps out. The neat way that the song is arranged adheres to an outline that is richly condensed. What cuts across here is a really impressive tune that endears as much as it embraces the soulful approach laid out for it.

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A big draw from all the tracks here is ‘Wildfire’. Here she serves it all up with a stirring vocal performance that is controlled and direct. But there is a desirable appeal located from the inspired way she gives it her all here.

This is a big number and it impacts accordingly. You sense that there is an awareness of that fact because there is a heightened sense of purpose that is followed through suitably. You are floored straight away as ‘Not Gonna Cry’. This is a strong track. The indie worth if it at the start draws comparisons with Gossip. It has that nuanced disco chic to the way it sounds, however it doesn’t live up to the promise. It seems to deviate toward a safe tune instead, which is a shame. It fairs well in that regard but it doesn’t offer anything to proceedings that stands out.

Some acoustic flair is brought to pass with ‘Black Eye’.

There is something to be said for the inspired way that the reflective lyrics play their part. It is an astute number.

The tidy way it is aligned imagines something with a delirious vanguard about it, yet it is pursued in a grounded way that departs from the keepsake opening.

This is a strong track and does see the EP close out in style.

PORT ISLA

In The Long Run There is a good sense of expectation to be found on the opening track ‘In the Long Run’. It builds and there is an amenable transition to how the elements all come together. It has that indie pop running which is in vogue at the moment but it is also carefully arranged to elevate above being overly generic. As the delivery piques it sees things paly through with an esteemed foray pushing it out that sees things going the distance here. Second track ‘Runaway’ also has a clever sense of flight about it. The vocals are cleverly processed, with the backing harmony felt out and it has this hallowed turning about it that is easy to appreciate. It is calculated but it all comes together in a way that is very much on the money as it falls into place.

‘Volcano’ actually sees them up their game it must be said. Things actually display a more concrete sense of development in how the catchy hooks preside here. That is apparent but the tidy sway of the rhythm is really what is the making here on the chorus. There is final track added with ‘Crusoe’ but it is an ensemble piece that if anything is merely filler.

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THE UGLY FAÇADE Many Waters

This recommendation from our music network in Austin, Texas catches everything just right on opening track ‘Living It’. What is called upon in the lyrical narrative suits the colder calling and the sound relayed marries well to this. It is numb to a certain degree and it plays to that approach squarely. Adding the electronica to the mix takes it leftfield at the right moment also. Then there is a paunch to the sound with the EDM sound combining with the guitar riff on ‘Killer’. It lives up to the name. The Post Wave apparel that comes through in the organic here works. It is given a gritty sense of texture that hangs off everything leanly but correlates in a way that gives the vocals some additional elevation.

Perhaps ‘Stranded’ suffers from the misfortune of having to follow next, but it is limp in places. It also feels unfinished because there is something lax about the lyrics. They really lack depth and they are rather bland.

Likewise the vocals are also strained and it could be attributed to the lack of substance here. This feels laboured on all fronts. After that comes ‘Just Another Little Bitty Suicide’.

Here they bring things through by playing to their strengths. They grasp a realisation here and that is kept in check. Again the gritty and chagrin styling gives it a darker fervour and the revelry in the lyrics light it up explicitly.

With their closing track ‘Many Waters’ they light it all up. This opens with a stirring vocal blessed with depth. The sedate progression though takes away from it somewhat and it loses some ground from that approach. The vibrant touches form the EDM do stack up though.

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DEAD PROFESSIONAL Young Hardware

‘Downtown At Sundown’ plays like the song that Robert Palmer recorded. That is there to be admired in the rhythm, the shapely tempo and the vocals. It is as if he inhabits from beyond the grave. On its own merits the band ups the ante here with what they bring to the mix and fit around the approach. The shoot the breeze feel of it is matched by style meeting substance and there is a slight retro exuberance to it. They gain stoke everything immeasurably with how cool ‘You Heard What You Wanted’ comes to be. This is another effort of sheer brilliance and the casual way it flows washes over you in a way that takes you along for the ride. The neatness of the vocals adds charm here and set a precedent.

The journeyman feel of ‘Call Me A Doctor’ asserts itself upon the delivery in a way that provides a great deal. There is a splendid cut to the developed reach on show that sends it on its way.

In some ways it has a sedate calling but that is where it plays to its true strengths. It is an absolutely brilliant tune. It is then followed by ‘I’m In The Dark’. Again they pull something out of the top drawer here that blows you away.

Right from the start it lays down a fine marker.

But it matches this is sweet fashion as everything falls into place. In terms of letting the music do the talking for them this says everything you need to know. Closing things is ‘Sweet Surrender In The Bitter End’. The docile manner of the vocals toils away expertly alongside the withdrawn calling of the arrangement. It is impressively garnered. The latent tone of the tempo creates a somnambulistic lull that is carefully figured out and has all the makings of a band destined for bigger things.

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TANGERINE Behemoth

This is this Seattle band’s third EP and it is an incredible offering indeed. The divine way ‘You’ll Always Be Lonely’ comes at you draws you to in. It is highly inventive and attractive in equal measure. The loose fit of the rhythm holds with determination. But how they exert control in the direction sees them embrace that charm offensive by turning on the style.

That is completed by a dream pop relativity that gathers a formidable indie calling. Some bands ooze cool and that is certainly the case with ‘Tidal Wave’. This is presented cleverly. The concise calibration serves it well and situates something darling in the vocals’ rich charm. It is all brought around in a way that is demanding of appreciation. ‘Nothing Better’ thrills by embracing a retro calling from the off. The pursed vocals are delectable. What they add is highly becoming but there is a true sense of wonderment found in how captivating this feels. In particular the way it takes flight also captures something incredibly chic that is masterfully hip in equal fashion.

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There is something to ‘I Fell Down’ which embraces a sense of teenage angst. But this approach is kind to it in the timeless way the play comes to pass. It has this 50’s feel about it that harks back to the days that rock’n’roll was born. In how it comes in it imparts that in a virtuous way with dragged guitar riffs prominently populating the arrangement. They revert back to the catchier indulgence of their sound with ‘Tiny Islands’.

The big roll of the guitar energises it and it is a high standard yet again, with a wanton appreciation to be picked up on the casual drift that meets edgier apparel in the latter progression. By abandoning the catchier feel of everything with ‘Runes’ a mature approach then pays off. Here there is a prominent focus to how it is all layered. But they also bring it across in a way that shows them to be comfortable in doing so. The last track here is ‘Northern Line’ and this is the standout track on the EP. That speaks volumes for how good it is. With the telling way the lyrics seem to convey the heart it takes you along for the ride. It brings a partiality that rings true.

THE BRAHMS Meraki

They very much keep their eyes on the prize with what is on show with ‘Homerun’. The catchy hooks in the guitar are pitched expertly and the invigoration found in the quickening of the pace is smart. The other aspect that works effectively here is the latent Reggae influence also worked into the equation. It is mirrored by how the vocals are approached, but they also inhabit something with modernity to it that is trapped in the sound. After that we come to ‘Lovers’. Again there is a calculated sense of worth found from how it hits the ground. They located the lovely aspects here and it is an approached that is treasured. They seem to allow it to blanket the sound in a considerate way that is consummate throughout.

On third track ‘She Moves’ the conjecture in the rhythm resides brilliantly. The Reggae influence is stringer here and the abiding way it furnishes the delivery is quite something. Also noted here is the smooth way things get down to business.

That certifies the structures and holds firm. Then they keep things on track with the catchy and spry intro of ‘Golden’. This has a neater intent to it but it has a sense of purpose that brings it all around. The well-reasoned vocals hold their own.

Able and content in terms of fluidity, things have a determination about them which gets behind the playing in a prevailing way through and through. The last addition to a fine EP is ‘Windsor’. Again this has a pop charm about it that is matched by a fine playing concentration.

This leans more to a calypso styling though and that Caribbean influence is highly apparent. The fluid motions and trapping galvanise the showing brilliantly. It is inspiring to hear as things wrap around the delivery in such a loyally committed fashion.

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IN HOURS Shadows

Things open with a foray with ‘First Steps’. It cuts its teeth as an ensemble piece and the high narrative of the instrumental work on show is impressive. As the calm influence of the vocals blanket everything it moves forward and has a noted sense to how it is all redeemed that suits the calm demeanour on show. ‘Dark has a steady décor to the pace. It picks up in a way of prominence. Adding zest to the way it runs is the catchy way that the vocals are delivered. In how it all combines it becomes a pop affair by proxy in places but does so in a way that fleshes everything out in solid fashion.

Engineered to locate the right stuff is ‘Just Dance’. It is hard to pigeonhole the band in terms of sound. This is a sufficient tune that is tracked, albeit somewhat difficult to get behind because it hasn’t got the vocals down pat completely. They are a bit misaligned in a way but alongside the scatty sensibility of the delivery and how it sounds they fit. The overall breakdown here embraces nuanced indie and does it comfortably. ‘Summertime’ is something that calls the shots. The shades of cool close down the play in a sharp way. It is impressive and what is yielded from the approach transcends the sense of contemporary here for all the right reasons and ends up taking the direction where it needs to go. The closing track here is ‘Ghosts’ and it is cut from a fine cloth. There is a refined showing to how the running steps out. In the sedate touches it holds with a principality lingering over the tempo. The careful way it is all staged sees the soothing derivative of the guitar linger over the tempo but do so in a way that adds weight and presence. It feels rather astute from how fleshed out it is overall.

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KARATE DANCER Jyu Kumite

From the lightness of touch that the vocals convey here there is a lot to admire from how the softer edge is pushed on ‘You Don’t Know Me’. This approach seems to develop a sense of contention as the urgency is dropped in but it carefully measures the arrangement overall. It also comes on the back of a collective whim that the vocals benefit from completely. What is also impressive is the oriental hints imbued in the rhythm which add contention.

‘Hellaven’ just grabs you on the intro. It has this chic that is all of its own makings. There is a great deal to admire here in the contemporary sense because it has it all. The enigmatic way the music plays out speaks volumes in that regard and it is handled sweetly. What is located in the vocals also harden the identity of the track in a prominent way and as it gets down to the task at hand it is extremely impressive with the potency all attributed to how direct it is.

Then they seem to capture a sense of nouveau disco chic on ‘From The Stars’. This is innovative and it has a captivating sense of chic that is expressed in the strong impact at the music garners. Collectively it is highly progressive but the refined cut allows it to inhabit something mainstream but the musical landscape affords it an exclusive ‘for the cool kids’ vibe at the same time.

Fourth track ‘Main Roads’ retains that consistency in developing things from a musical perspective.

The intricate appreciation shows talent meeting ability in a fundamental way here. How that is comfortably walked in showcases something that is a true wonder to have the privilege to hear. In the cursive synth calling they also provide a sense of resolve for it all that is compact enough to carry it all through but developed enough to leave you in awe.

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MADISON

Wonderland ‘Something Coming On’ is a tune that is high on indie credibility. As such it is able to flirt with the side of pop that allows the contention in the running add an impressive degree of heft to the dynamics of the delivery. The vocals have a coveted distinction, but it is the secondary quickening in the latter progression that diversifies everything in a forthright way and holds it impressively through and through. Again there is a slick dynamic to the rhythm on ‘That Fever’. It abounds in a way that prevails and the shimmy of the vocals sees this walk the walk. As the catchy hooks come to pass there is a committed sense of excellence to the production as well. A nuanced Tex Mex riff also drops in and out smartly, but it has an allure to it that is highly considered and seductive in way that doesn’t restrict making the tune accessible.

9

Another great tune follows with ‘Summertime Daydream’. The favourably way that the lyrics engage a pop calling is noted. But what is deserving of praise in that regard is the impressive way there is some consideration put into them. They have a sense of contention and that is a reflection for what they offer here. It all rides in on a neat ebb and flow that smartens the tempo as it all settles into a comfortable groove all of its own making. Up next we have ‘Bodies Floating’. This sees a formidable retro charm located in the beat. But it is imbued with a notable touch of class in how it comes to pass. This has a smart hook in the catchy sense but the vocals are also the aspect that complete. Consider it a track of two halves that would feel somewhat incomplete without the other. That is a showing of how clever this is and how it is fleshed out in the right sense of the word also. Things are closed out with ‘Wonderland’. Big hooks in the rhythm are met by the prevailing worth of the vocal harmony.

What is located in the performance is quite specific and lands accordingly. While not necessarily having the same degree of impact as the others it does hold up when considered beside them.

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SINGLES

REVIEWS

International Artists

AFFAIRS Brothers Immediately impressing from the off, here is a tune that follows an astute sense of direction. The endearing worth that is added from the synthesised touches is further accentuated by the sober tone that the vocals impart upon the delivery. There is also a steady countenance found in the rhythm which bears down on the delivery in a formidable way. It carries the rotund weight in a way that comfortably transitions with the lyrical structures to keep everything contained in the process.

9

LOLA IN SLACKS Tramlines

10

This Glasgow band has everyone talking about them and they have been on the U&I radar for some time too. What they have come up with here is pure gold. The movement of the vocals imparts upon it in a Marianne Faithful way from how it provides a soft allure, but the vocals have that charming observation found in Lou Reed’s musings. The sunken calibration of the instrumentation also shades it with a wonderful sense of cool. What works is the real air of cool that comes through and it retains a committed sense of appreciation in all the right places. Get on this.

International Artists

JESSICA SMITH 50/50

While not deviating from the approach or offering anything novel, this is a pop tune that doesn’t necessary fail with that showing. Although it may not offer anything new per sé, it is built around a solid showing in the arrangement. The mechanics of which gives the tempo an even sense of fluid motion which complements the direction that the vocals also follow. It is somewhat standard fare but it is above the average standard at the same time. What is missing is that catchy hook.

7

DEATH IN THE AFTERNOON Let Go

9

The intro here is a glorious one that borders on perfection. It sees the track get down to business straight away with a well checked showing of pace on the intro. That then holds off and the deviation in the tempo reflects how calculated the nouveau disco touches are when they come back in. What is presented is an indie tune but it finds something chic in the refined vocals that impart a stellar sense of vogue upon proceedings that galvanises everything explicitly, but keeps it cool.

STARR BLAZERZ Found That Soul This is a track that benefits from how the industrialised post wave influences add to the mix. The heavier synth and drum beat lock down the tempo. What also adds to the ambience in a suitable manner is how the darker allure of the collective showing works. Hints of Cabaret Voltaire and other acts are apparent in the approach here, but there is a modernity that pulls it through in a way that flirts with a pop aspect without fully embracing that. There is a volatile countenance to this which is also kept in check and gives the control a decadent sense of purpose.

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APRIL TOWERS A Little Bit Of Fear

10

What is concentrated on this track is incredibly hip and fashionable. The clever way the Nottingham duo somehow embrace a retro calling with the way things pick up on the chorus shows a tightness and a fine eye for building a solid track. The cursive beat corners the structures in a way that wonderfully weighs in with the countenance of the tempo. It drives it but also adds urgency and vitality with the shapely demeanour that comfortably finds expression in the vocals.

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RUAIRÍ AND THE OWLS Lying Eyes

This is a tune steeped in real prowess. The comfortable orchestration of movement is confirmed with the spacious trappings of the arrangement, with the committed and intricate piano calling giving it affirmation. This transition lights up with the electronica aspects worked into the mix.

As a duet it impresses because it avoids those pretentious inclinations that are standard fare. It is so more inviting for the daring way the individual identity is exerted in the musical sense.

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THE LULU RAES Burnout

10

How this is brought through shows an underrated level of appreciation that patiently builds. Then when it finds flight, subtle comparisons with ELO are made. The effective way that the string arrangement opens up the song gives the tempo volume, shape and a clever degree of pace. Yet it never deviates from the outlines in any way. This merely feeds into an already stellar tune but it is that added cherry on top when it comes into the mix.

THE ELECTRIC LAZARUS

A Pretty Face Can Only Get You So Far

International Artists

Straight away the heavy weight of the rhythm bears down on the delivery giving it contention, but it also has the good sense to recognise that it needs to let the vocals carry across. As such there is a neat calling that balances everything. It is the guitar that drives it but there is a clever showing to how the vocals give it further context. The lean derivative of the rhythm mirrored has the necessary bite which helps hold the ground as everything pushes on through.

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LOVE SIGNS

Not Used To Losing

9

In the darling sensibilities of this song a lot of things are done right. There is a careful appreciation found in the vocals. A somewhat Kirsty MacColl-esque quality catches everything in an inspired way on that front. That meets well with the candid consistency in the rhythm and there is a joyous air of confidence to how this one is carried through. It sits well with how it is outlined overall and the cursive manner of the playing folds also adds something that invigorates the tune in a forthright way. It is the execution that really defines this tune for all the right reasons.

DELAMERE Heart

This is a big showing from a band that has been on the U&I radar for some time. There is a lot captured in the appreciated structures here. The electronic flourishes gift it presence but it is the vocals that truly carry it all off. The sedate tone reflects how the ambitious reach of the band is expressed here but it doesn’t see then over extend to reach for something beyond them. If anything what it really shows is what they can do in the context of a musical setting. It is the high standard of it all that takes your breath away because it matches scope with ability in a prevailing way.

10

LITTLE XS FOR EYES Funk Island

10

Here is a tune to really treasure because something like this doesn’t come around too often.

The opening is incredibly rich in terms of what the harmony holds, but it is the funky and fashionable nouveau disco flourish in the tempo that really leaves its mark. The calypso foray that also comes across corners a wonderful sense of commitment but also invigorates the song by processing everything in an intricate manner that very much showcases the heightened appreciation on show.

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PALACE WINTER Menton

You get caught up in this track straight away. The cool countenance of the shoegazer flourishes in the rhythm hidden away catch everything in an inspired way. This capably gives the running momentum without falling short. With the pique of the vocals also feeling out the song, everything about it has a flawless display. The deft manner of resolve adds a sense of urgency that is collected in such a concentrated way that this one goes to the proverbial eleven. This is a true top drawer effort.

9

WILSN

Walking For Days

10

Straight away you are hooked by this. The beat alone is worth the admission but how her voice closes around this is absolutely amazing to hear. Everything is caressed on the delivery and the way it seems to feel out the music gives it an additional timely sense of distinction. It has such a wonderful of prowess in the play that it just blows you away and leaves you wanting more. This is an absolute knock out tune that seriously raises the bar for all the right reasons.

A.D.K.O.B. Glue

International Artists

A highly imaginative tune indeed and it has a strong calling from how innovative it all is.

There is an indie calling that undoubtedly comes across but it seems to also embrace a light leftfield leaning with the emergence of flight in the tempo. It has a bespoke dynamic that is clued in strongly from the instrumental layout and it is something that is easily appreciated because of what this brings to the mix. The steady flow of the tempo drives the delivery by giving it an assured presence.

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INSPIRED & THE SLEEP In My Labyrinth Mind

10

We have been wrapped up in this tune all month and it easy to see way. The clever feel of the catchy hooks tidied away draw you in, but then it is the flitting between playing arcs that shows how good it is in the artistic sense. In the exchanges it seems to embrace a sense of Northern Soul that is tellingly placed paramount in the tempo and it just envelops the delivery as a whole in a way of distinct euphoria that is a joy to behold.

GIRL FRIEND

Good Morning We have been admiring this band all year and they again come up trumps. This seems to concentrate a lighter European pop kitsch into the mix that is highly effective. It gives the rhythm a solid sense of countenance and as the vocals come in over this the play soaks it all up. It is rather refined and the careful calculation of the delivery leaves its mark for all the right reasons.

The high end of the dynamic on show brings it all through in a way that is tellingly bathed in a nouveau chic.

GEMS Soak

8

This is incredibly lavish but it holds in a way that takes you along for the ride. The ambient context pulling it through is inviting alongside the electronic structures on show. Yet behind the dulcet vocals that give it a lay quality is an intricate detail in the appreciated worth of the instrumental workings. The inventiveness of the ebb and flow here hold up under scrutiny and it is that approach that breathes life into the track in such an ethereal way that it doesn’t go unnoticed.

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8

SIDEKICK ENVY Stop Me

This band from Trinidad & Tobago offer a lot here. The good calling in the rock is doled out generously. That hangs off the guitar riffs and they happen upon an opine sensibility with the vocals. Yet the bridge is a full on affair that is broken down squarely. Creatively the work on show is all there and it has that sunken indie derivative that flirts with progressive elements comfortably.

8

THE LOW COUNTRIES Sun Street

8

Warming to the slow burner feel of the song, there is a closeness to it that carries through. It is rather select and the tidy tumble is kneaded through in a way that places everything at the fore. It is supple in a certain context. That gives the saunter a sense of temerity and it is paced squarely to give the rousing conditioning of the delivery a further sense of heightened appreciation.

KITTY

Killer Eyes

International Artists

This draws a darker calling but does so in a way that offers a sense of seclusion. That isolation in the delivery gives the vocals a more abject sense of licence. The tempo follows an outline that is let through in a cursive way. It is able to give the working dynamic a sense of contention. While it is back on scope it also provides well for giving her a platform to show off her range too.

8

I SET THE SEA ON FIRE Pareidolia

10

This is a glorious tune that ticks all the boxes. It has thins leftfield pinch in the sound that seals the deal. That ostensibly drives the harder guitar forays through with due diligence. The regulation in the tempo against the lay feel of the vocal cut also handles a passive showing with real prominence. As the diligent impact is doled out there is a serious sense of contention abounding here that capture a disenfranchised essence but gives the yearning a lean sense of guidance and focus.

BLOOMS Secrets

In this offering Louise Cunnane retains that signature bewitching quality her music has become known for. It starts of sedately and that allure has a warranted sense of the inviting about it. As the lyrics take hold the innate closeness becomes apparent. The ornate maturity gifts it a serene footing and the becoming way that this develops the scope of the delivery broadens everything on show. But it is the cherished and pursed becoming fortitude located in that calling that sells you here.

9

PINK FILM Trouble

9

Straight away there is a kick to the rhythm that galvanises everything in a strong way before hanging back to allow a casual demeanour carry a charm offensive through in the tempo. This is present in the guitar riffs and the leverage calling of the vocals suit the stooped canter that is locked down in the running. It is all carefully weighed up. The way the playing elements are supported give it a relative touch and they seems to chase that down in the steady way it is all processed.

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QUINN ERWIN Iron & Wood

Getting into things straight away there is a glorious synth texture to the sound . Then the vocals commit and they build in a sense of formidable quality to how it is all processed. It contains the focus and how the shots are called is pertinently tracked. There is a procedural temperament to the arrangement but what it accommodates here is quite sufficiently carved out from that approach. Things sit neatly here and come across by proxy on account of that.

8

ORPHAN BOY

Money To Money

9

A class tune should always open as it means to go on. That is the case here. Hardened by the shake of the drumming on the intro the prospective way that the song steadily climbs sets it up accurately. Then there is a catchy hook to be found in how it is carried off here has a warranted sense of authority. From that showing the band comes to own everything on show.

GALANTS

Seventeen

International Artists

Another great Irish band firmly fixed on everyone’s radar again come up trumps with the second of their planned trinity of releases. The sparse feel of the guitar adds to the derivative in a knowing way. The arcs on show have an opulent sense of reach that channels everything through masterfully. The rotund qualities owe a lot to how it is all chased down. The competent way the guitar shifts are leaned into very much become the making of the dynamic here.

9

MONO SIDEBOARDS

Time Goes Backwards For Frank

8

This Liverpool band have a nice tidy tune on their hands here. There is a stationary feel to the vocals that suits the lighter flourish in the tempo. Things have a tight contention abounding in what is on show. That steps out in a steady way and the handling is quite selective here. In the harmony there is a savoury appeal that is walked in. That provides the track with little touch of magic to be honest and it gives it a little pique that suits the comfortable charm locked down.

MEN OF TWENTY

Down By Your Side Here is an even tune. The careful calibrations in the tempo paly their part. It is a bit sedate in place which hinders it somewhat at times. Then you have the other moments which contrast against that as they channel The Killers in places. That is noted in the way the flight turns it all on. How it opens is very impressive and the tidy touches count for a great deal that give it lift in the right places. What it does lose ground is the slight formulaic aspects that show them trying to emulate instead of focusing more trying to innovate.

7

FROLIK

Wallflower

9

When we first began listening to this track we were impressed by how everything follows through. The steady plusses of the delivery hold. But there is also a grounded consistency that develops the sound with the synth. This is all kept in tandem and the passive calling nurtured commendably runs its course. The effective yield in the transition comes to pass and there is an oriental fixation that comes through as it closes that adds a heightened sense of invigoration here.

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

OF MONTREAL 'Last Rites At The Jane Hotel' (USA)

KING KONG COMPANY 'Spacehopper' (Ireland)

KASSASSIN STREET 'Radio Silence' (UK)

WARDANCE 'Free Radicals' (London)