Unsigned & Independent (August 2015)

AUGUST 2015

WILDFLOWERS LAUREN BIRD THE RUBY SESSIONS SAUCY SUNDAYS

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SCENE & HEARD 9-10 The Ruby Sessions 11-13 Saucy Sundays 14-15 Kendal Calling 17-35 36-40 42-47 49

Album Reviews EP Reviews Single Reviews August 4x4

Lauren Bird

Bristol/Brighton based Wildflowers release their debut album ‘On the Inside’ and first single from the album ‘Another Millions Miles’ simultaneously on August 28th. Their music is Sixties Americana played through the filter of British folk. The band is made up of sisters, Siddy and Kit Bennett, along with James Ashbury and Kendal Sant. They wear their influences on their sleeves. The Mamas and Papas, Crosby, Stills, Nash & Young, Carole King and Janis Joplin are all clearly audible. Though Siddy’s vocals are uncannily similar to those of Kirsty MacColl. They signed with Detroit’s’ Original 1265 Recordings last year after appearing at the SXSW festival in Texas and spent the rest of the year recording their debut album. They’ve been described as ‘the bastard children of Fleetwood Mac and the Eagles’ and that’s not far off their sound. The album sounds like it could have been recorded by a bunch of Haight-Ashbury hippies if they had gotten their hands on modern recording equipment.

How did you end up in Detroit?

Lead singer Siddy told U&I about the recording of the album, her musical upbringing, and her musical idols.

The experience of having lived there is amazing. I love it except it gets very cold. It was minus 30. But the people there, because it's been so downtrodden, the way everyone clubs together and they're so positive and upbeat. And the music out there is amazing… its true rock n roll. They've got so much to sing about, real stuff to be mad about. So the music scene I love; and all the musicians.

You were playing in London during the week?

Yeah we played a little show in Camden. It was an all girls night with all female fronted bands. It was cool because Camden is a nice place to hang out.

You recorded the album in America. How did that all come about and work out?

We did it half and half. We did some of it in Brighton and we did some in Detroit, taking the files over.

We were in SXSW. We played there last year. A record label came down and saw us and we got signed. They are based in Detroit. We played a few shows back there and ended up loving the city. It's really underrated. It's got a bad rep but it's actually really cool and there's loads of amazing stuff happening there. So we were half there and half here last year whilst we were getting all the album stuff done.

Listening to the music it sounds like that your spiritual home.

Yeah, I love England but it's nice going between the two. I do love the music out there, particularly the east coast stuff. I don't really have a spiritual home. I live everywhere.

Anywhere and everywhere. As long as I keep moving it's all good.

You had an nomadic lifestyle growing up.

Whenever most people hear of Detroit over here it's usually bad news, particularly with the economy. But our co-op over there would indicate otherwise. What is your take on everything over there?

Yeah, for me it's like witnessing something like the 60s. It's a big revival because everything got to rock bottom. It’s now being recreated in an amazing, interesting way. I feel lucky to have experienced it. It's quite mad what's going on; the businesses, the people, the communities. It's really cool.

The album is out the end of the month. It is something that has been in the works for a long time.

It's out August 28th and the single comes out at the same time.

That's about the crossover to America, about how much I wanted to go before I’d ever been.

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Yeah that's right. People ask where you are from and I don't know. Is it where you're born? ‘Cos I haven't lived there. I moved around every couple of years. I don't really have a hometown so I don't know where I’m from. ‘Cos I’ve always moved round my whole life. I get bored after about six months in the one place.

You have a tour coming up too.

Yeah were supporting the Keston Cobblers Club. They're a bit like us. They've an American-y crossed with English sound, kind of like the Lumineers but British folk as well. We’re doing a whole tour with them and then we have three dates in November in Brighton, Bristol and London which are gonna be our headline shows. And then we’ll be going on tour again in Jan and Feb for the whole album.

It'll be a full UK tour. I've never been to Ireland and I really want to go and be in those pubs jamming. I love Celtic stuff as well. I need to go there and tour around. We can bring the accordion and learn loads of stuff from the musicians there.

Plus they know how to party over there.

I think you would go down well here.

We have one song called ‘Friends’ that people always say sounds like that Kirsty MacColl song with the Pogues but that's probably a timing thing, it's in 6/8 and has an accordion. It's the tempo more than the sound. I always get compared to Kirsty. Maybe its cos I listened to her dad, Ewan MacColl. Growing up he was a big influence.

You had the ‘Race to Glasto’ this year.

Siddy- That was awesome. Our fans requested where we would play. We ended up playing one girl’s garden at Hadrian's Wall, and we played an amazing pub in the middle of Scotland. In the middle of nowhere. Lots of people came along and sang, and each day we got closer to Glastonbury.

It sounds like you captured the spirit of Glastonbury.

You've got to let go at Glastonbury and not have schedules or anything. You get lost. You go round the corner and see something amazing. That's my spiritual homeland. Just madness and mayhem. That's definitely the spirit of our band.

It's my favourite place in the world. I always think the ticket price is so expensive and then when I’m there I think I'd pay 500 pounds for this! It's so worth it. You get a good 5 days. It's like a holiday. It is constant fun from Wednesday morning til Monday. You can get cheap food too. It makes me sad that it’s over. Waiting a whole year again. Last year I hit it really hard on the Saturday night for Dolly Parton. I love her and I was watching her and kept falling asleep standing up.

Everyone was emotionally broken down and crying, and after Dolly I just crashed for a couple of days. We’d booked a flight to Detroit for right after Glastonbury so I got home and packed on the Monday, which was hell, got on the flight first thing Tuesday and slept the whole way there for an 8 hour flight. Normally you're sat on the plane wondering what to do to pass the time but that time I just passed out.

You and James write the songs.

I write the words and the melodies. James will sit there patiently and come up with chords and stuff or he'll write a riff and I’ll sing over the top. And Kit joins in a lot especially if we're stuck and don't know where to take it. She’ll come and do it. And we all work together to work out the harmonies. It’s a group effort. The lyrics on the album are what's going on inside my head at the time.

You and Kit have been playing together a long time.

Me and Kit used to tour the UK when we were really young, just the two of us. She had an MR2 and we used to cruise round playing everywhere and anywhere. Then I met James four or five years ago and we started writing together. We got Wildflowers together three years ago. We joined forces and then found Kendal at an open mic playing some blues guitar and harmonica and that was it. Me and Kit, we’ve sung together since we were two or three. Our family used to go to France for holidays, and we lived in France for a bit. One of my sisters would write us harmonies that we would all sing.

We’d listen to the Beach Boys. We had this one Beach Boys tape and we'd all work out the harmonies. We were constantly singing together.

Like the Von Trapps?

I know! That was my favourite musical. Kit didn't like musicals as much. I was always trying to get everyone singing the Von Trapp stuff but it was just me. My dad was a jazz musician. My eldest sister Flora used to write us plays.

We used to think that we had to do it. So we all had our parts and our songs and we performed these full length plays that we had rehearsed and written. I remember thinking

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“Christmas is coming so we have to do it!” We thought it was our duty. That’s what comes of having no TV. If you could have any guest on your album, who would it be?

Jimi Hendrix would be pretty sweet to have on your album.

That’s probably quite obvious. I’m sure everyone would pick him.

There’s a good reason for that.

Yeah he’s great. I would have loved to do a duet with Amy Winehouse. I loved her stuff. I would love to have played with The Eagles. Bob Dylan, back in the day, not now. Janis Joplin.

I heard you're a big fan of Jagged Little Pill.

Oh yes, would love to duet with Alanis Morissette. That could still be possible. But Alanis is so ridiculously amazing that I’d be like “can I bang a drum or something whilst you sing.” I’d be slightly intimidated by her. She is a feisty woman. That album had the lyrics on the inside and I used to read them. I was about eight, maybe even younger. I would read them and rehearse them til I knew them off by heart, press play on the album and sing every single word. I swear it shaped me as a human being how much I listened to those words. They sink in when you're a kid. When I think about it, I remember singing along to these gritty relationship songs when I was seven. I used to love the swear words too because you love a bit of swearing when you're a kid. She was a huge hero of mine.

And I like the more modern stuff like Lumineers and First Aid Kit. Their album was the first in ages where every song is awesome. Most albums have like four or five songs that you love but that is all killer, no filler.

OUR FRIENDS IN THE NORTH

Photo by Conor Kerr In terms of how an artist’s career progresses the last 18 months or so have been very productive for you in terms of output. In May last year you released your debut EP and now you are set for your first headline gig with the release of your new single ‘Goodbye, Good Luck’. That is obviously off the back of a great degree of hard work and honing your craft as a musician. How would you view everything that has happened in that period for you?

Being a musician has always been what I wanted to do since I knew what music was, but it took me quite a while to admit that to myself and others around me. I spent many years writing songs in my bedroom and that is as far as they went. I got a lot of validation from a singing teacher called Caroline Pugh who really pushed me to put my songs into the world and once I started playing open mics there was no going back. The last 18 months have been truly great for me; the EP went to number one on the acoustic Bandcamp chart the day after I released it and seeing people care about my songs and hearing such positive feedback has been the catalyst for me to keep pushing onwards. It all happened after I graduated too so it has been nice to have the time now to write more music.

My view on everything that has happened though is pure disbelief honestly…I have just been trying to say yes to any opportunity that arises and if it keeps going this way I’ll be happy.

But at the moment everything is all about your new single. You got to record the track by winning the Chordblossom Kickstart 2015 competition.

There was a high standard of competition playing at the final too so you were in good company.

LAUREN BIRD Nobody was as shocked as I was to win! I was the only solo artist on the night, which I saw as a bit of a disadvantage. The running order of the final put me between the two bands, Death By Monkeys and Foreign Affairs so I was very worried about going onstage and completely killing the crowd’s vibe.

What did you think of the standard of the other artists who performed on the night as well?

All the finalists were great on the night but once I got onstage and started playing I felt something click with the crowd.

When you were announced as a finalist did you think you would go all the way and win it outright or did you think that one of the other acts would pip you to it?

Everyone was so lovely and supportive that when I got offstage I said to my friend that I was happy not to win because the gig was so great. But, winning was a huge cherry on top and a massive shock, all the photos are hilarious because I just look bewildered.

What does a platform like the Chordblossom competition mean to an emerging artist like yourself?

It means a great deal to me to have the backing of such a great website that people use to discover new local music.

I entered the competition to get on their radar and the guys have been so helpful to me and have been promoting me as much as they can. That is important for an emerging artist because as much as it is wholeheartedly

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about the music for me, my preference is for people to hear it too!

Your gig at The Bar With No Name is also going to be your first headline gig. How much are you looking forward to it? Who will be supporting you on the night?

I am really excited for it but I’m also pretty nervous about pulling a crowd. Ciara O’Neill and Isobel Anderson are supporting, they are both brilliant singer-songwriters and I sort of feel like I should be supporting them. I hope enough people come down because it will be a brilliant night of original music and I’m so proud of the single, it would be great to get to celebrate it with as many people as possible.

It goes without saying that there must be some degree of being overwhelmed by it being your first headline gig, but you have to make that first step as a performer sometime. That has more positives than negatives when you weigh it all up. Has winning the Kickstart competition given you an added sense of conviction that you may not have necessarily had before?

Yeah, it is quite overwhelming but I hope it is the first of many. I always thought I was alright at music and my family and friends said nice things but then you watch shows like The X Factor, were these poor people come in and audition after their friends and family have told them they are great and they end up being tone deaf. So that was always a fear, that everyone was just being nice.

Then things like winning Kickstart and the EP doing well makes me believe that maybe I am good enough to pursue

this further, it is either that or everyone is being nice on a more elaborate scale!

In terms of the artists that really got you into the process as a whole musically – writing, recording, performing and so on- who would you cite as the main influences on you as a musician?

I am and have always been obsessed with music, so it is hard to pinpoint a few specifically but I’d say it is an amalgamation of a lot. I always loved Green Day and Billie Joe Armstrong’s writing and the way he uses simple chord progressions as a basis for great and memorable melodies. There are also just a lot of female singer-songwriters and musicians that I admire: Alanis Morissette, Regina Spektor, Lauren O’Connell, Sara Bareilles, Annie Clark (St. Vincent), Ingrid Michaelson, Linda Perry, Hayley Williams (Paramore)… I could go on forever.

In terms of recording I really love Dan Romer as a producer and he would be at the top of my list of who I would love to work with. Recently I’ve been inspired a lot

by Tune-Yards’ first album “Bird Brains” too because Merrill actually recorded and mixed the entire thing herself using Audacity, which is a free software. That reminds me not to get lazy! I suppose then I also have to mention that I started playing music at 7 when I was given a viola at school and spent a lot of time playing in orchestras, so I come from a bit of a classical background and I find that helps because I understand music and how to write melodies. Sorry, that was a very longwinded answer!

In terms of the local music scene in Strabane it may not have that many decent venues to perform at but it is certainly a very good place for original artists at present. Where would you feel most at home when you are playing a gig locally?

Unfortunately there are actually very few outlets to perform original music in Strabane lately, especially for singer-songwriters so I don’t often get a lot of gigs at home. I have played a few times though and they have all been lovely but I do like the vibe at the acoustic nights in The Alley bar because people really do come down to listen and that is always welcomed by me. Considering there aren’t a lot of outlets recently, Strabane is still producing a lot of original music especially with Freak’s and White Male Actors who are both brilliant bands!

But outside of Strabane you have been taking in a lot of gigs in Belfast. You played The Menagerie and then you have played Belnash, to name two of your gigs there. How important is it to spread your wings as an artist and play outside your hometown?

There is just more gig opportunities for me outside of Strabane. I was living in Belfast up until last summer so my first gigs were there and because of that I have more connections that will book me there. Though I do think it is good to play as many places as possible to grow a fanbase. I would love to eventually be able to say I’ve played in every county but that will take me quite a bit I reckon, I think I can only tick off five so far.

In March you performed at Belnash and played with Don Henry. Did he give you any advice? Did you learn anything from that experience that has stood you good stead in the long run?

I adored playing at Belnash. I was lucky enough to play an in the round session with Simon Murphy and Don Henry who has won a Grammy so I was a little scared at first. It was an incredible experience to have a Grammy winner start improvising a guitar part over my song and he was so nice. I unfortunately did not get to talk to him as much as I wanted to but we briefly spoke and he told me that he loved my songs and to keep at it. Belnash was great in general though because a lot of the audience are songwriters too and that’s actually where I met Ciara O’Neill who is supporting me on the 28th. It’s just nice to meet people that do what you do and are at different stages in their career, it showed me that it is definitely possible.

They say that you should never meet your heroes but are there any idols you would like to play with and why?

I’ve actually been pretty lucky and have met a few of my heroes and that phrase hasn’t applied so far. I have met St. Vincent, Regina Spektor, Sara Bareilles and Ingrid Michaelson and it would be a dream to play with any one of them because I admire them so much. I would love to get a guitar lesson from St. Vincent and get some ukulele tips from Ingrid and Sara. Regina for me was probably the most starstruck I’ve ever been because I think her songwriting is incredible. I guess I would love to co-write with her the most. Though I would also just love to go sing karaoke with Lady Gaga because that would be a massive one off my bucket list!

When you played The Menagerie in January last year that would have been when you were taking the first tentative steps in establishing yourself as

an artist. How different was the experience then of being a full time musician to playing on the college circuit?

Yeah, The Menagerie gig was my first proper non-open mic gig and that came about because Scream Blue Murmur were at an open mic and asked me to play a short set of originals to support them the next week. I usually played guitar at open mics but that week I took the ukulele. It was the first time I was offered a gig for my own material and also the first time I got paid to play my own songs, it sort of solidified for me that the uke should be my core instrument. It was very scary and I do remember worrying that I was going to disappoint the band and my parents who were seeing me play for the first time.

Did you feel that you had to prove something to yourself on a personal level when you started off or did you just want to see where the music would take you and assess things after a certain period?

Most of my friends who went that night have said they’ve seen a massive improvement since that gig, mainly on a confidence level because I could barely speak on stage never mind sing that night but they asked me back a couple more times so I must not have been that bad. I still feel like I’m waiting to see where this music thing takes me and I keep saying I’ll assess it again in the future but truthfully I’d still be writing music if nobody was listening because it’s all I am really good for.

You also have something of a love affair with Derry. What is that all about?

I just love Derry! I think it is lovely and the people have been so nice to me the few times I have played there. It’s also the place I got my first experiences seeing bands because it wasn’t too far from Strabane and loads of people played at The Nerve Centre.

How do you compare the music scene in Derry and Belfast to home?

I haven’t had enough experience at home or in Derry to answer that very well but I think Bennigans in Derry is doing a great job in showcasing original music at the minute. They have a few nights dedicated to original music that run all year long, whereas the main place for original music in Strabane currently is The Alley open mic nights, which only run in the summer. Belfast I think has a few more opportunities to play so that’s why I get more gigs there. In terms of crowds though, Derry and Strabane have very attentive audiences that genuinely seem to care about original music but then I love the banter from Belfast crowds and it’s always fun to win a crowd over. There is also a lot of buzz and great music coming from all three but I think Derry and Belfast have slightly more opportunities to showcase it right now.

You have also played in Dublin on a regular basis too. We caught you playing live in The Twisted Pepper back in June when you supported Hannah In The Wars. What do you make of our music scene here and how does it compare to the music scene up North?

My heart is in Dublin. I go to a lot of concerts and usually go see them in Dublin because I love the atmosphere there.

It’s somewhere I want to play in a lot more but I haven’t had many opportunities to yet. I have only played twice in Dublin so it’s hard to compare it to the North because I have played way more up here. Though the two gigs I played, once in The Song Room in The Globe Bar and then supporting Hannah In The Wars (who I adore!!!) in The Twister Pepper were great. I need to just keep applying for things there because the music scene in Dublin is thriving and I really want to be a part of it too!

What is your opinion of what is happening down here In Dublin?

I think Dublin has a lot of opportunities for up and coming singer-songwriters, which is great and there are many places I want to get a slot in but haven’t been able to yet. Hopefully in the future!

The single is what has taken up your main focus as of late. You recorded it at Millbank Studios.

Who was involved with you in the background in terms of production etc. and what did they add to the process as a whole that you recognise as being their input or influence?

I worked with Michael Mormecha and James Lyttle at Millbank. Michael was really great at arranging and there were so many instruments at our fingertips. We just jammed out the track with him on drums and he came up with this unusual beat that I just adored so he tracked that and then we discussed ways of filling out the space.

He thought it was best to avoid the stereotypical band set up because the ukulele is such a core part of my sound and he didn’t want to take away from that. So we just laid down some claps, he laid down more percussion and I sang some harmony and improvised a keyboard part.

When it all came together it sounded really great and then James mixed it. I could not be happier with the outcome and I want it to inform the way I arrange the rest of my

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tracks in the future. I would love to work with them again because they set the bar pretty high.

Did the experience of recording your EP last year prove beneficial in any way to how everything worked this time around?

Recording the first EP I think was a good stepping-stone.

I recorded it in a small studio with Éamonn Ó Dochartaigh and I played every part except the drums.

Then Megan Joyce recorded my friend Hazel Blackwood playing drums at Queen’s University studio. I learned a lot from that experience, mainly not to record the drums AFTER everything else was done but it worked out pretty well in the end. I also learned that things don’t have to be perfect because I am quite a perfectionist and sometimes the imperfections make the song more authentic. I’m still working on that bit though!

For your previous EP you had six tracks – ‘Morning’, ‘Tonight’, ‘Cycles’, ‘Ode To Anxiety’, ‘The Way Out’, ‘Goodbye, Good Luck’- but why choose ‘Goodbye, Good Luck’ to be a single over the others?

I just always felt like ‘Goodbye, Good Luck’ never got the chance it deserved because I never did a single with the last EP. I just put it out for free on Bandcamp. I went to a meeting with Davy Matchett at Third Bar and he told me that it’s ok to rerecord a song if you feel like it didn’t reach its full potential or the amount of people you hoped it would. Though I do love all the songs, I feel like they were fully realised on the EP. I had no real idea how to arrange ‘Goodbye, Good Luck’ whereas I had a lot of ideas for the others. So stepping in the studio with Michael and James and getting a fresh take on it I think was for the best.

The artwork on your EP was drawn by Erin McDevitt. This gave it a rather neat and eclectic feel in the visual sense that was quite fitting to the music. How would you describe your music?

I’m glad you noticed that because I wanted the artwork to represent the music and I loved what Erin did. I bounced some ideas past her, she drew up all those little birds and they were just perfect. I felt the EP itself was very honest lyrically and some of the arrangements I chose to be sort of rough to represent that, a few were just one take. I feel like I’m quite bad at describing my music but I would say it is a sort of pop/folk hybrid and lyrically quite confessional. If you listen to my EP you will probably know me pretty well by the end, which is scary in a sense but also nice when people relate.

You have also scored two films ‘Why Are You Sad’ and ‘Demi’. At the moment everyone is talking about how streaming seems to be in vogue, but sync is another viable revenue stream for artists in terms of how the dynamics of the industry currently work. But what is your take on sync and do you think it is something that has more to offer artists than streaming does?

Yeah, I studied music at university with a focus on electroacoustic composition so I’ve been using that side of music for film along with writing original songs as well.

Technically speaking I feel like syncing has more to offer musicians like me who aren’t in the charts because streaming pays shockingly badly unless you are getting thousands of streams a month. Personally I am a fan of both as a listener though. I do buy a lot of music on iTunes, sync my iPod still and listen to that when I’m driving but I also have recently been using Apple Music which is saving me money on buying albums when I can’t really afford to. In this day and age though it is harder to get people to pay for music, which is why I put my first EP out for free because why would people buy an EP from an artist they’ve never heard of? My hope is that if they get the first EP for free then they might pay for the next.

Though that also works for streaming because my music is on Spotify and Apple Music and it is a good way for people to discover it for the first time. Basically I’m on the fence!

You also worked on ‘With You’ with Megan Joyce.

Are you more inclined to work solo or, if you can, find the right artist to collaborate with?

I actually wrote ‘With You’ myself but Megan recorded it and helped me arrange it. She also recorded the drums on the EP. I trust her opinion a lot though so I bounce ideas off her and am constantly asking her questions. I do find I’m more inclined to work solo though, on lyrics especially because they are usually very personal to me. I collaborated a bit more working on the films actually because the director of both, Caris Rianne, always has strong ideas for the music and the songs. She might give me a topic to write about or on the last film I worked on with her called “Demi”, we collaborated on the lyrics to one of the songs that features. That is slightly different though because those songs are usually written from the perspective of a character so I find it easier to let go of lyrics and be open to others. I do hope that eventually though I will be able to let go a little bit more and be less of a control freak about my songs. It worked well at Millbank when I trusted Michael’s ideas for the arrangement. Also, again, if Regina Spektor wants to co-write with me, she is very welcome!

They may be four schoolboys going into their final year in school, but Dublin band The Klares have been together since 2011. Despite their age they have already released two EPs in that time.

They followed up 2013’s ‘Dirty Birds’ release with the highly impressive ‘Cookoo’ this year.

That lead us here at U&I to declare that they could very well be the first Irish band in a generation to get excited about.

The traditional set up of guitars, bass and drums is deployed in an exhilarating and effusive manner. They've drawn comparisons to early Arctic Monkeys and make no bones about the influence of the Sheffield quartet on their sound.

Andy, Jordan, Eoin, and Cormac won the Schools Award in Hot Press’ The Big Break 2015 and ‘Cookoo’ is a major leap forward for them in terms of production and songwriting. You get the feeling that they are still finding their own true voice but the music they are making now puts many of their older, more established peers to shame. This is what young people making music should sound like; full of infectious enthusiasm, beat heavy, and righteously raucous.

We spoke to the Klares as their final summer holidays faded from view.

Will you go full time into music?

The two EPs have done well. Are there any plans for an album?

Andy: Yes definitely.

Jordan: That’s the plan, yeah.

Andy: We don’t have any immediate plans for an album.

You were winners of Schools Award in The Big Break 2015. Tell us about that experience.

Cormac: There are no plans for an album as of yet.

We're just writing for the moment.

Andy: We were delighted that we won and it was brilliant having a page interview in Hot Press too.

Eoin: Hopefully we can get an album together in the next two years or so. All we just need are the right songs and the right time.

Eoin: It was amazing. Disappointed that we could only do unplugged songs but a great experience altogether.

Jordan: We’re going to focus on our live performance and song writing for the next while.

Jordan: It was excellent to be part of the competition but unreal to win.

What next for the band?

Cormac: It was amazing to be in a competition with so many talented artists, and even better to win!

Andy: Just keep gigging and getting better as a live act.

We’ll continue writing as well.

Tell us a bit about the songwriting process for The Klares. Who brings the initial ideas? Is there much jamming involved and time in the rehearsal room?

Jordan: We’re at the early stages with MCD, which is great.

Andy: Usually one of us will come up with an idea and the rest of us will do our own thing over that.

Cormac: Andy usually will come to rehearsal with a riff or chord pattern then we all work around the idea to birth a new song.

Eoin: Gigs, gigs, gigs! Do as many as possible and hopefully something will come.

Cormac: Gigging as much as possible and getting through the Leaving Cert.

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

Where does the name come from?

Eoin: Not sure…we were fucking around with names for a while and eventually said we had to stick with something so we put a bunch of letters together.

Cormac: Our lead singer Andy wrote it down and we all thought it looked cool.

Are you all still in school this year?

Cormac: Unfortunately yes!

Jordan: We’re starting 6th year. We’re all in the same school which makes things easier.

What are your plans for what to do when you leave school?

Cormac: Taking a gap year to give music a full go.

Andy: Yeah keep making music and gigging.

You’ve done two EPs now. Was there a big difference between the two recordings in terms of what you had learned the previous time?Jordan: When we’re all focussed it does come together pretty quickly.

Andy: In an ideal world I’d love to play with artists like Jake Bugg or Arctic Monkeys but in saying that a group like the Hot Sprockets would be pretty cool to play with.

Andy: Yes we felt in control much more when recording the second EP and really knew what we were doing in the studio.

Eoin: Noel Gallagher.

Eoin: The first EP is much more produced while the second EP has a more 'live' sound.

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

Cormac: For the first EP we really had no knowledge of production or what sound we wanted, thankfully this time around we were able to co-produce Cookoo with David Montuy to get the sound we desired.

Andy: The Beatles were fucking huge and known everywhere. Imagine.

Jordan: We had a lot more involvement in Cookoo and we got the result we wanted which is a more mature sound.

Jordan: Van McCann.

Cormac: Alex Turner, Van McCann and Bob Hall.

Jordan: Oasis were huge and did whatever they wanted.

Eoin: Arctic Monkeys.

Cormac: I’d have to say Arctic Monkeys too.

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by Joe Loftus

Bisch Nadar E.P I write these words with the aftermath of last night’s Carling still lingering on my tongue. Two pints turned into three, and three into the ever evident more. As Fitzgerald once muttered: First the man has a drink, then the drink has a drink, then the drink has the man...

As debut EP’s go, the self-titled Bisch Nadar, is about as good as they get. At the time of this review, the EP was still very much 'in the mix' (to the extent that it actually lacks any vocals whatsoever). However, considering every track made a very interesting listen I am only driven to intense excitement, awaiting the final mix of the E.P to be released.

Bisch Nadar everybody.

Friends As the very tip and turn of Friends begins I am reminded of ‘At The Drive In’. ‘Friends’ is a Liverpudlian collaboration of ‘At The Drive In’ and ‘Portugal’. ‘The Man’, on steroids.

The somewhat simplistic riff is beautiful in all its glorious simplicity. And as the climax comes forth, the brilliance of such a song is only further portrayed. I am reminded of Ireland in the summer. Standing on the cliffs as the ever distant sun beats down. ‘Friends’ is a wholly fantastic collaboration of chords and drums. The chords reach those places those hearts seek to go whereas the drums find those complex beats you want to tap along to but you just can't get it right. However as the end of the song shines more and more into the impending future the power of Bisch Nadar becomes so very real. There is something very melancholic in the diminuendo of the song just before 'the beast', as Don Henley sings, that is Bisch Nadar, screams forth in all its power to drive ‘Friends’ to an end.

Heyha I remember some two or three years ago, a video was posted on Facebook by Bisch Nadar's Rathbone. In it was a short 20 second clip. As I realised just a few weeks back, that twenty second clip, which featured a riff of some sort, went onto become ‘Heyha’. Similarily to ‘Friends’, ‘Heyha’ begins with a relatively simple but incredibly repetitive riff but then the imploding begins. As keys join the guitar and drums yet another element of brilliance is added. A somewhat Jazz inspired fusion in the midst of the structured chaos. And then it is all kicked to shit. Driven forth with rage and power. The conclusion of the composition. A cacophony of unpredictable anger. The squeal of a guitar and the beauty of silence.

Grate As I play ‘Grate’ once more three thoughts pass through my mind. The first being, do I use the cheesy pun, ‘Grat’e is great... The second is, this is very original. Whereas the third is simply, Bisch Nadar is a fantastic EP. But back to my second thought. ‘Grate’ is wholly fresh. I can say it reminds me of Steely Dan, Colosseum II and the likes but in all honesty it is just Bisch Nadar. A common trend is consistent throughout the EP. All the songs are incredibly repetitive but this is something that preys on the ear. It makes a fine pleasure to listen to. And another similarity, I begin to notice on a later listen, is the melancholia hidden distantly in the backdrop of chords, notes, and beats. On the 1:06 mark there is a sadness rife within Bisch Nadar.

Some of the chord choices and their accompanying keys are just plagued with grief. I am reminded of Moving Hearts. But it makes a brilliant listen. Something fresh and challenging.

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Oscar I have left ‘Oscar’ to last. It is my favourite track on the E.P and therefore it sincerely deserves to be imprinted on my reader's mind as they come to the climatic end of my review.

As the drums allow the guitar to seep through, into the mix, in the opening few seconds of Oscar I am filled with excitement because I know what is to follow. I am not usually stuck for words. I was always the kid that got moved around the class for talking too much. It never worked. I just struck up a conversation with the next guy. But ‘Oscar’ leaves me stuck for words. It is a composition of strong Jazz fusion but also of post-punk. It really is Steely Dan meets Portugal. The Man. The thing I love most dearly about Bisch Nadar, and something that becomes very real and evident through ‘Oscar’, is the utter unpredictability of their songs.

You're listening one minute, nodding your head as chord follows chord, but then it doesn't go to the place where you think it's going to go. The beat might change or the major may become a minor or power may be replaced with precision. It is purely beautiful to listen to. An innocent and somewhat ethnic vibe comes forward out of the abyss at the 1:55 mark.

Sakamoto immediately springs to mind. But of course, the innocent beauty that lives does not exist for long as that ever typical Bisch Nadar power and darkness and sinister brilliance builds and builds and builds until a climax, similar to that only of ‘Hotel California’, lurks forcefully onto the scene and pollutes the innocent beauty with its pain, its anger and its might. Silence.

I truly cannot fathom a greater debut E.P.

THE RUBY SESSIONS Doyle’s Bar (25-8-2015)

SEAN MCCOMISH Having already released his debut EP ‘The First Step’ before he played his first gig, this Wexford artist was playing at The Ruby Sessions for the first time, which incidentally, happened to be only his second ever gig. That said, his lack of experience did show in places here tonight. He opened things with ‘Something About You’. What comes to pass here has a neat groove in the right places. The pedal work that comes into the mix is well worked in and it seems to add a fine calling to how it adds texture to his playing.

His second song ‘Red Pen Writing’ has a high pitch to it, yet he is able to retain something loose in the motion. There is however an over reliance on the commitment in the performance. Here you just sense that it is too much and it is overdone, where it may have benefitted from a ‘less is more’ kind of approach at times. That said, he does deserve credit for what he showed live and it needs to be taken into consideration that he is still trying to find his feet as a live performer and this could be part of him finding what works and so forth. Holding the pedal work to task again is ‘Enough’. Yet there is a lack of development on show. It is however fair to note that he holds it in a steady manner. That allows him to come into the performance on his own terms and it is because of this that you can see there is some potential in him as a live performer.

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COLM LYNCH

One of the great things about reviewing The Ruby Sessions is that you get to see great artists perform, but when you get to see them on more than one occasion that is something of an added bonus. We have seen this next artist play – both as a solo performer and with his band Watson ACE – and tonight he was here in the former. Things got underway with ‘Search For Sanctuary’ and it quickly secures the pleasance in the melodic qualities as everything spills out. There is a strong uplift as his voice consolidates something integral which adds up. That convincing degree of depth corners the refined aspects superbly, but with an equal showing of subtlety. Again retaining that sophistication is ‘Sweet Nothings And Forget-MeNots’. Here the processing of the softer leanings renders a sense of completion upon the lyrics. The pick up on the vocals is also carefully realised and duly adds to the appreciation present in a notable way As an artist there is always something composed about his set that is again picked up on with ‘Little Avalanche’. The rhythm here is rather astute and it allows him to bring the tender aspects to heel as he sings. It is a smart and opportune effort that richly carves out something solid. Despite the long title, ‘It’s The Lies She Tells That Makes The Man’ possess a sterling sense of joie-de-vivre which brings a faithful virtue through. This is quite the positive number and has an added sense of determination that steps out in a steady way. He also commands a sense of belief that pours out with a real confirmation behind it.

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WE WERE GIANTS Playing a stripped down set here tonight was another band that we have interviewed in the pages of our magazine and it was a really impressive set from these guys. They were making their debut here tonight but on the strength of tonight’s performance it should be the first of many. The acoustic version of ‘All I Want’ suits the song. The way that they captured the intimacy here very much cornered something modest. With the sleight of hand on show the build is one that settles into the delivery. It is commendable and the harmony is a trait that is brilliantly checked. Following that came ‘Beautiful Magic’.

This is a slow song that is very enamoured. It is descriptive enough though to elevate it above its peers because there is an intelligent making in the dynamic that completes the delivery as a whole. That soothing transition is fixed in the running in a foremost way and the terms of the song become all the more endearing for the approach.

They acquire a somewhat more urgent pique with ‘River’. This is desirable in how it determines the hardened showing as things pick up. That manner of dictating terms picks up and you are sold on how the volume is condensed in the delivery.

This is incredibly interesting to see in an acoustic setting so it can only whet the appetite further to imagine it being played with a full band behind it. Inviting audience participation is a brave move for any band to do but they pulled it off with ‘Satellites’. This is a formidable track and should become a signature tune for the band in the near future. We discovered this band back in 2012 and with this effort they harness the intricate qualities in a way that realises their potential in an explicit way.

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NAOISE ROO

This was the second act on night is another who has been on the U&I Radar for some time and who we were finally getting the chance to see play live for the first time. What an enigmatic performance too it must be said and that was a consistent trait that was held in tandem from the off. ‘Oh Son’ is one such effort that exudes class. Withdrawn in terms of the calling, a fabulous measurement is found in the leftfield attributes on show. The sultry allure of the movement sees the noir follow through and adds a rich vein of class to it all. The classy opening riff of ‘Whore’ neatly pulls you in. With the empowering call of the lyrics it finds something truly capable for the delivery. It is a feminine quality that shines and adds a level of contention to the context in a practical way.

She then proceeds to embrace the isolation with ‘For You’ which prevails in her performance overall. There is a devout richness called forth from that approach which is embraced in the alternative sense. As such it is granted a foremost sense of style that really showcases how much consideration has gone into the layout on this one. All good things must come to an end and so it proved to be with her final track ‘Sheets’. In some ways this eases into a beatnik calling from the opening that is competed furthermore with the vocals.

She expels this in a deft manner and that adds to the appeal of the sexualised lyrics. It corners an inspirational zest that is zappy and highly referential without overly committing itself to what is considered from the performance as a whole here.

We have also reviewed Naoise Roo’s album ‘Lilith’ in this month’s issue as well.

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SAUCY SUNDAYS The Grand Social (23-8-2015)

CARINA DENGLER The reputation that Saucy Sundays has built up since 2010 is not just down to the fact that it is well run as a club night, but it owes a great deal to its ability to give passing musicians the opportunity to play a gig when they are in Dublin. Hailing from Munich, Carina Dengler is playing on the circuit between now and October and we liked what we saw from her here this evening. She is a comfortable performer when she gets a guitar in her hand and that is trait that cleverly collects with ‘I’ll Be On The Road Again’. As a result the cleaner qualities collect on show cling to that trait in the delivery. This is clever in terms of representation, and maybe in some ways a bit too light, but it is followed through in a way that takes it where it needs to go. From the competence found in the opening line ‘Shadow Of A Smile’ has a prevailing quality that paints the outlines in a fine light. It becomes rather steady in that regard with the rotund notions of the tempo connecting well with what is displayed in the overall delivery.

‘My Life’ then takes her set into a more upbeat calling but there is so much more to it than what is initially on show.

The provident kick in the rhythm adds urgency. It becomes rather fanciful with how she focuses on the positives and this is what gives it substance. That then complements the open aspects of the delivery in a fortunate way. She then corners something sufficiently sombre with ‘Life’. This is a brief offering but the philosophical calling is duly noted.

Prevailing from the off is her last song ‘High Above’. This allows the cautious observations to find depth. The good way it is all lead in grows in stature as it motors along. Overall it is a tidy effort worth the sum of its parts because this gives it a good indie calling.

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NIAMH REGAN

There are those moments when you review a live act and you see something that you can only describe as magic. Here this was certainly the case and opening her set was ‘Come Down’.

The excellent quality of her voice immediately grabs you and gives everything about her a wonderful sense of presence. This is confirmed furthermore with how she grew into the song.

There was a pristine element to the dandy attributes of the guitar which enabled a lustre fall into place alongside everything on show. Again she closed in on a strong opening with ‘Small Garden’, but this also confirmed her credentials as a songwriter. The wondrous aspects of the tune fall into place expertly. This seems to steal something in the process that holds kindly to allow the best of everything come through.

As a musician she has an abundant level of ability and the confident manner that she ushers all of this in with ‘The Rain’ is easily picked up on. There is something commendable to how this one moves and she comes to own it. The growth in stature realises what is necessary for the performance from the flitting between an urgent to a more stationary calling.

After that came her own take on the folk song ‘Bury Me Beneath The Willow Tree’ before the consistency in the set becomes retained by ‘The Sweetest Drop’. This presents in a way that is humble and virtuous in equal measure, but becomes loaded when it takes flight. That considerate showing also comes across in an equally committed fashion. This allows the deftness of the measured aspects accentuate in the poignant touches that are stolen in rather neat pockets of play.

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MICK DUFFY Having recorded his latest album in the same LA studio as Elliot Smith, it was somewhat refreshing to discover this artist for the first time. Duly noting the absence of a drummer in his set, his first song ‘Alone With Love’ draws comparisons with Squeeze from the tempo.

There is a fundamental drive to the guitar and this gives it a raw compatibility that is felt out in the showing. How it collects has a sense of distinction. How he runs with it makes it the comfortable opening number it comes to be. Ably benefitting from the kick to it is ‘I’m Still Here’. The balance between the bass and guitar adds fluidity. The vocals also reside in a way that is comfortably brought to bear, but this is done over the sounds. That reflects how well laid out it is and it cleanly follows that outline to great effect.

Channelling his inner Paul Weller on third track ‘Into A New Day’ gives the correlation focus. This takes flight in a way that is graceful in that regard and catches everything appropriately. It is a safe tune but it is played with intent. Rounding on the guitar in the diligent manner is what gives the intro to ‘Photograph’ a fitting degree of scope. There is also a high reference to the heyday of the Britpop era here and it travels well off the back of this in the approach. The substance too is noted from how the lyrics sit so well on this one. What is presented on ‘Paper Moon’ is sufficient, but you also sense that it would work equally as well with a full band behind it. There is a steady control exerted over everything and it becomes eventual in a considered way.

That adds contention. How it draws out the delivery in the controlled tempo gives it worth but he comfortably gets behind this one.

Reverting to something with a more noted sense of form is ‘The Getaway’. Here he taps into something more inspired. This allows the keepsake turning to work in his favour. He seems to reconcile everything in a way that draws a Crowded House comparison as the bridge closes it out. His final offering was another substantial effort in the shape of ‘Electric Rainbow’. Here he pries the best from it which helps hold it up. The leaner way that the guitar is angled is mirrored by the sharpness of the vocals. That equates well with overall dynamic here even if it is somewhat short in part.

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AINE DUFFY

Joined by The Hypnotist for her set was Aine Duffy and with ‘Ask John’ there is notoriety called upon that is carefully considered. The synth alongside the guitar finds a smart degree of contention that hints at New Wave influences meeting a Trent Reznor design. That sense of modernity gives it gravitas. She displays an ability to hold notes with a classical range and that sophistication is channelled smartly. There is a big calling to ‘I Don’t Think You’re Ready’. In some ways there is an influence of opera about it and the sampling of ‘Bootlylicious’ by Destiny’s Child gives it some kitsch. While not necessarily camp it is pumped up in a ‘Euro’ style. Given good countenance from the playing elements, ‘Don’t Do Much’ prevails.

Everything is caught right by the visible presence of the committed vocals.

This was a set noted for its diversity and on ‘Won’t Go’ there is a good and strong movement to the tempo. This locks in on a Reggae calling, but the synth enriches the texture. It lines up with the guitar and vocals as the calypso styling releases the value placed upon it all with the right approach here. Then that is mirrored in some respects from the pop calling of ‘Lean On’. This is also engaging and fuelled by a formidable calculation of the delivery’s elements in an exact way.

The impact of ‘Red On You’ powers it along. There is a European slant noted on the sound that could easily sit well with some of the acts we have seen recommended to us through our Russian network. Yet that industrial organic is betrayed by the Balearic intent that comes through from the touches on the bridge. That elevates it a more catchy level but affords it something more secure in doing so.

Deliberating finely over ‘Does Anybody Love You’ are darker hints.

That tech noir temperament is chased down with an apparent efficiency that branches out in a specific way that nurtures that in an integral sense. They saved the best until last with ‘Rudimental’. Here the drum and bass combination really works. It gives it all an urban calling that is rather slick. That garage dynamic adds up here and the fundamental manner that the vocals work over it is also well handled.

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KEVIN RYAN AND THE BLACK FRIDAYS This next band brought something to the night’s proceedings that made people take note of them for all the right reasons.

There is a specific neatness that comes off their opening number ‘Lay My Body’ that is very committed and polished. The level of instrument work on show is quite lavish. It all moves in a way that makes good use of what they have collectively, while the vocals are also rather neat it must be said. Another tune that bodes well is ‘Whatever Happens’. This is steady and the fine sense of resolve turns things up a notch. It has a commendable sense of urgency and this is a powerful consideration in terms of how they engage and work the crowd.

It all comes together with ‘Counting On You’. This has a fine accomplishment about it all that is an ever present quality. It also shows how tight they are as a band in the enigmatic sense.

There is a handsome characteristic brought through with ‘This Town’. From the snappy drumstick intro, a breeze of harmonica is added that carefully lays out the spacing. That level of the splendour spills out in a celebratory way when it gets going.

Here it holds up and it is also noteworthy for the degree of calibration that finely takes the direction where it is intended.

‘Wait’ is a top drawer effort that hits in a calculated way. What it is noted for is how it brings a reputable level of style and substance to proceedings. Yet here it is gauged in a committed way which draws a comparison with another band we once saw in their early, unsigned days – The Lumineers. To bow out from tonight’s showing they played ‘We’re Away’. Not only is it appropriately titled somewhat but the acoustic guitar feeds it all with a clean showing of pace. This accompanies the piano in a graceful way that lets it all out impressively as the clever exchanges in the tempo give it lift.

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THE NORTH LOTTS Relative newcomers to the music scene, and this may have been only their second gig, but whatever may have been rough around the edges in their set certainly didn’t detract in any way in our opinion. As they turn on the hardened calling of their opening number ‘Picture Of Jesus’ this is mirrored in the vocals. That contention drops back to a demure calling in the direction. That countenance between arcs works in both approaches and channels the grunge calling across on the chorus. Retaining a token shoegazer countenance is ‘Butterfly Stampede’. The somewhat sullen call from the tempo meets a whip and resonance on the bridge. That enables the contemporary style in a well-structured sense. They develop ‘The Score’ in a way that adds a languished allure to the tempo. This is very even and works the urgency into the delivery in a residual way that is keenly felt.

With the proven flourish coming through at the start, ‘City Of Dream’ adds a blues cut that is welcoming. It gives the overall aesthetic a sharper feel. That steely resolve also adds up with how it marries to the vocal delivery. But the most impressive point of note here is how their set has progressed in tandem with the variation of style musically. Drifting across in a way that makes the most if the harshness that lingers on the undertone is ‘Bring Me To Life’. It has an isolated and remote countenance that is embraced in a forthright way in the calling. The distal allure of the vocals is seen through with a serious degree of precedence. That is confirmed furthermore by the engaging way that the rock leaning of the secondary progression are processed.

A detached number then follows suit in the form of ‘Mid-Life’. Here the lyrics match that by finding the tenacity in the rhythm while avoiding the melancholic pitfalls. That is all owed in part to the pitch in the dynamics which play their part exceptionally well. Their last song ‘Reason’ shoots straight. The confirmation of presence is guaranteed by the presence of the opening. Everything meets the determination of the performance head on but it is also a contentious showing with strength of depth. As such, the Scott Walker showmanship doesn’t fall flat when it is pulled out of the bag.

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GRAMOTONES

WATC

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PSB

CHMAKERS

30th June - 2nd Aug 2015 Photos by Sheri Denson - 15 -

ALBUM REVIEWS CFIT

Throwaway Survival Machine This is another fine Irish band releasing their sophomore album and it all begins with the alternative styling of ‘Salvo’.

What is fixed in the contemporary setting of this ensemble interlude works well and accentuates the calling accordingly. After that comes ‘Dust Silhouettes’. What stands out immediately is the psychedelic modernity in the sound because it furnishes it with definition. How the layering works in terms of developing scope is an incredible assault on the aural senses.

The diversity of the album is confirmed with the ambient tone of ‘Don’t Be Discouraged’. How the development is carried is encouraging and the select trappings corner the harder edge in a relative way. What is also encouraging is the transitional worth which gives it a neater mainstream crossover that still adheres to the principles of it keeping an “outsider” sense of identity. With the greatness of the calypso factored into the rhythm, ‘Bloodinbloodout’ achieves something that is quite catchy. The encouraging way that the tempo wraps around this interlude does leave you wanting more. What follows with ‘Aprés Moi, le Déluge’ reflects the band’s philosophy for incorporating an emphasis on developing the sound of their sound. Here the orchestration of the arrangement finds something fundamental and artistically rich that is realised from how it

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envelops everything in the musical sense. Two interludes follow in succession. The first of which, ‘Toska’, is a very pleasing effort. The soft calling of the harmony elevates the ambience in an exclusive way.

Unafraid of pushing things on a musical level is something that is a signature calling of the band and it shows again for all the right reasons with ‘All That Is Solid Melts Into Air’. Bringing a committed leftfield distinction to the fold is ‘The Lack Of Shark’. From that approach there is a prevailing sense of commitment in the artistry of the alternative calling.

It is distinct and the way it feeds in to the relativity of all the elements centres those traits by allowing the innovation come to the fore in a committed way as the differing direction of the playing arcs takes it where it needs to go.

Penultimate track ‘Vitamin C’ feels like a denouement in every sense of the word. The foreboding way that the darker undertone kicks in brings a coveted sense of richness. But what is finalised in the showing here is outstanding. What is confirmed here speaks volumes and avoids anything pretentious. Such is the splendour on show that really feels like lightning captured in a bottle when it reaches its crescendo. ‘Tell Me I’m Okay’ closes everything. The intro feels appropriate with the solitary piano and vocal accompaniment working in tandem. What is great about this track is how it encompasses the leftfield stylings while also keeping it all in focus in a mainstream way.

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OLIVER COLE

Year Of The Bird This is an excellent offering from the former Turn frontman and it shows with the opening track ‘Helium Heart’. The soft showing that is felt out meets a harder showing that adds finesse to the Americana leanings. That is confirmed by the way the impact hardens the delivery to offer an interesting contrast to the spacious and keepsake qualities.

Again the sleight of hand to the playing is highly effective on ‘I’ll Be Your Shelter’.

Employing a careful diligence reverberates kindly in his voice and validates the calling. That is noted in the lyrical narrative which adds a defined sense of depth. He balances the isolated elements in a refined way which is cleverly confirmed.

Following through on the strong calling found in ‘Golden Leaf’ channels the sentiment. This is captured formidably in the vocals. As a result, the prevailing worth is projected in a thorough manner deserving of appreciation.

The album itself is one with a noted appreciation for the acoustic aspects, and it shows again as he channels his best Neil Finn on ‘Wide Open’. In all respects that comparison is rather fitting.

The mild breakdown is comfortably processed and connects well with how it imposes itself on the delivery as a whole. That prevailing worth is mirrored in the earnest reflections of ‘Robert’. Here he covets the

9 mature showing and it deliberates kindly over proceedings. This brings a value to the lay quality that steers the partial qualities impressively.

Next track ‘Ah Ooh Ooh’ is the album’s best and deserves to be released as a single. The bespoke nature is intrinsically noted and accentuates as the movement is fastened down. That is highly fashionable and pulls you in emphatically. Following that is ‘The Happy Prince’. This is a duet that is ably assisted by the presentable distinction of the vocals of Gemma Hayes. The lightness in the oeuvre overall is delicately framed by both vocal performances and the flight is factored in with real precision from how the acoustic guitar plays its part.

With the beautiful and sweeping way that ‘Magnolia’ opens it brings a degree of fortitude forth. An incredibly captivating tune, the tempo marries to the musical side of things in a prevailing way. This has a lush quality that is mindfully factored in and it is an effort that really sees him play to his strengths. You sense that the best have been saved for last with the closing three tracks and ‘Year Of The Bird’. Even though it clocks in at over 8 minutes it never feels over stretched. What carries it all off is the excellent level of distinction that abounds from its very essence. This is an outstanding tune from beginning to end.

Closing the album is an ensemble piece that is called ‘Helium Heart Intro’. It is a sedate bit of music and, albeit brief, it does carry a warranted degree of worth that does fit in with the overall aesthetic of the album.

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NEON ATLAS

Graffiti Reality What is displayed in this nine track sophomore album sets this Cork band apart from their contemporaries for all the right reasons. The American derivative, which becomes a constant throughout, is embraced on opening track ‘Panic Button’.

Hitting the ground running, everything is caught in such a proactive manner that suitable comparisons with the early work of Foo Fighters sit right. The resonance of determined guitar adds volume in a fundamental way. A secondary grunge feel is noted from the undertone on ‘Get Up’ on the intro. Yet the direction holds off on embracing that fully. This results in the progression leading the track into a heightened direction with the drum and bass combination providing well alongside the outline. That sullen touch again comes to the fore on ‘Effigy’. Everything that lingers happens upon the forlorn calling in an accentuated way. This neatness turns on the spacious calling of the arrangement in a prevailing way that locks down the shoegaze qualities in a highly realised manner. It is this approach that everything benefits from.

Coming in off the back of a strong opening is ‘I Never Felt So Good’ and the passive temperament of the delivery works extremely well.

Located in the lightness of touch is a darling conversion that draws you in. From how that develops the sound it also affords it the right

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degree of impact which is favourably brought through. You appreciate the casual essence of the delivery all the more on repeat listening.

Displaying a somewhat docile calling, but dragging things through with a raw sense of maturity is ‘Punch Drunk’. That showcases a defining quality that is somewhat signature of the album overall. The proficiency of weight prevails in a committed fashion by bringing things full circle with the configuration of the lay characteristics on show. From how the quickened showing of pace on the intro, ‘Stars And Echoes’ appropriately takes flight. Here the intro is clean but the determination kindly meets the higher urgency. That realises the potential on the overall way that the breakdown connects.

The high production values come through on ‘You Do It Well’. This exudes confidence and is denoted furthermore by the capable way that the rhythm steps out. In some ways there is a slight New Order feel to the affluent merits of the delivery which corner a more abject indie style that the other tracks don’t necessarily have in such abundance. After that comes the eponymous ‘Graffiti Reality’. How the vocals meet with the drudged guitar neatly gives it shape. There is something deadly to how this bides its time and picks up. The overall execution here is top drawer. Despite it retaining a reserved feel it branches out in a defined way that necessitates everything by design sufficiently. The album’s closing track is ‘Velocity’. Enabled by a capable jouiessence, it is another tidy tune which locates the comparative. It is all chased down in the fluid movement of the rhythm but also displays a formidable New Wave sentiment that is somewhat faux but also highly engaging from how it is stowed away in the delivery.

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VOLTAIRE TWINS Milky Way

What this Melbourne duo has produced is a true work of art. The New Wave disco fervour of ‘I’m Awake’ takes it to the next level with the modernity that is developed in the retro apparel. It stems from that lustre of the hip-hop interchanges in a truly captivating way.

Second track ‘Goodnight, Spirit’ has a determination that is focused from the prevailing weight that appreciates furthermore in the progression. It has an alternative trapping in the lighter way the tempo traipses through which is a fundamental signature of the stylish oeuvre they are noted for. One of those tracks that sit on the right side of pop then follows with ‘Long Weekend’. It has a clean showing yet there is a contention that falls kindly by design – in some ways it draws suitable comparisons with The Cardigans by being cool in a way that is carried off in a way that allows the music do the talking.

Exuding excellence from the off is next track ‘This Is The Place’. The retro keel aside everything rests on the joie-de-vivre that steals everything. That is matched by the assured footing that pieces everything together wonderfully from the off which retains consistency.

This is so hip that you are drawn to it like a moth to a flame. The New Wave approach of ‘Glass Tooth’ is rather subtle. The noir of the synthesised calling seized

10 upon in the showing is done in a way that isn’t overbearing. That gives it a neat underrated flourish that garners in appreciation. You warm to the album by this point and that appreciation is confirmed furthermore with ‘Modern Gore’. It offers a lot, but the movement is what really impresses. Leaning more on the retro apparel sees it become more distinct by fleshing it out comfortably. Despite toning down the sense of modernity of previous tracks it corners something with a more distinct nouveau disco chic that is elegant and stylish.

Checking everything right is ‘Slow Down’. The evident sense of purpose checked in the breakdown calls the shots passively and displays a promising level of intelligence in the deft touches accentuated in the movement of the string section. There is no mistaking what ‘Black Beach’ has going for it. Galvanised by the efficiency of the volume on show, proceedings are given a confirmed bearing by the sultry positioning of the vocals. They resonate and give it a tidy confirmation overall that connects well as it lingers. Bolder in the approach, but retaining their identity musically is ‘Mystery Flight’.

The more select demeanour on show keeps it grounded. It is a hardy affair undoubtedly, but it fairs well from how everything connects.

Touching on a cautious approach with the intro is ‘You Are The End’.

There is a degree of animation in the vocals and electronica trappings that is rather candid. There is a fine sense of scope to the arrangement when those aspects are considered, but it is the lighter way it all travels that very much proves the making here.

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GOLDBOOT

BLACKWHITEGOLD Hailing from Las Vegas, this duo act presents an explosive take on disco pop that is sure to excite. There is a true and pure groove on show, which as they cite on their website, is influenced by the likes of Michael Jackson, The Killers, Jamiroquai and Prince. The disco vibe is established from the off with the albums opener ‘Got The Heat’. A key facet of this moving and atmospheric number is the vocal delivery and how well the two timbres merge. The sound is big and the textures plentiful, but the band also embrace dynamic shape, while some of the vocal sound effects applied are comparable to Daft Punk. ‘URMYLOVE’ follows and again embraces a club soundworld.

‘Everytime I Come Down’ further establishes their synth based approach and their ear for sculpting the right sounds and tones. The Scissor Sisters spring to mind as the track unfolds.

Again the vocal delivery and performance must be acknowledged and appreciated, as does the overall production. ‘Wild Feelings’ then takes up the mantle and packs a significant punch. The track fuses disco, indie pop and funk, while brass samples show development in their sound.

‘Luv What You Got’ is pure Las Vegas glitz and glamour, as the track exudes an attitude akin to Michael Jackson and Prince. The

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grammar and spelling freaks among us may cringe due to the text-speak title but the band more than make up for this with their musical credentials, as syncopated rhythms and beats are embraced and utilized. ‘Heat City Heart’ kicks off like a Mark Bolan track before their signature disco indie pop sound prevails and comes to fore. The chorus also amalgamates a more British rock approach briefly, thus conveying their flexibility and diverse nature. The pounding bassdrum makes this track ideal for the dance-floor. Few could resist the charm of this number.

‘Pretty Cold’ sets off like a lo-fi sample before the track unfolds.

Although revealing their style and ability this number flags a bit and leaves less of an impact. The aptly titled ‘Synthesizer’, given their approach, has a real Saturday Night Fever vibe. The string samples are a nice touch and are in keeping this this genre as a whole. However, the chorus descends into what is effectively a decent Eurovision entry from Eastern Europe. ‘Close The Door’ then opens with a mysterious air and atmosphere and continues to exude a certain sinister, disconcerting feel as the track progresses.

The electronic toms during the chorus are typical of this style but work wonderfully, as syncopated, almost ethnic, drum pattern are interwoven.

Overall GoldBoot are a most proficient outfit, who embrace disco in a modern context and setting. Although, a bit of a mixed bag this in an interesting listen. The stand out track being ‘Got The Heat’, which represents the band at their best and does their musicality justice.

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WILDFLOWERS On The Inside

There is something to the inviting call of the layering that steadies ‘take Me Home’. This impressively combines the tempo, texture and lyrics in a manner that contains both the urgency but also allows the urgency to collect in a way that corners the precision with a marked degree of intent. Again the heightened approach displayed with ‘Edge Of The Road’ adds a suitable dynamic that embraces a solid sense of contention. The pace presides affluently and is followed through in a way that keeps the intrinsic styling of everything on track but also defines the lighter folk trappings fondly.

From the off the accentuated pull of ‘Another Million Miles’ mirrors those folk sensibilities but brings a level of subtlety to proceedings with the kick alongside the more tender considerations of the lyrics.

There is a revelry also noted in how the compact side of the delivery is handled and brought to bear.

After the softer opening gives way, ‘Trust’ fires the album up.

In that leaner calling everything is caught right. The switch between styles works exceptionally well, and the flitting between the two neatly adds a sense of contention when it takes flight. From the leaner calling there is a salvo found on ‘Friends’. Somehow the soothing joie-de-vivre that carries a brazen wonderment in a Pogues/Kirsty McCall sort of fashion that is undeniably fashionable. That classical aspect in the sound is touched upon in a way that carries forth the finesse. Refining the procured calling furthermore is ‘On The Inside’. Here the band dig deep to really pull out a top drawer effort. All the elements

10 are carefully composed, while the performance draws strength from the lyrical narrative which gives the delivery the impetus it deserves. Delicately considering the countenance in the ebb and flow carefully matures everything on show with ‘Let It Go’. There is a lot of quality in show in the harmony which adds a wholesome sense of charm that is immediately engaging. There is a stellar sense of realisation here that sees the track embrace its full potential in an emphatic way. How this abounds really calls the shots.

Cornering a fine degree of smart and charming on ‘100 Personalities’ adds an air of confidence that is explicitly felt. How it is kneaded through adds to the contention, and, as such, contains the fanciful aspects in a distinctive way. The sturdy opening on show with ‘Where The Flowers Don’t Grow’ kicks it all off and it is retained throughout. What is commendable here is the clever way that the song is structured to allow the consistency of the playing arcs to reside in equilibrium with the steady call of the vocals.

‘Fall Out Of Favour’ is cut from a very fine cloth. With the level of ability displayed here everything warrants appreciation. In some ways things are played safe, but this only serves to track the maturity in a commendable fashion. How the shots are called here sees the band play to their strengths.

This is again the case with the formidable showing that ‘Chemistry’ has written all over it. You can’t mistake the sturdy calling on show and it is a fine positive to pick up on. The closing track is the rather sedate ‘Skyscrapers’. The richness presiding in the lyrical metaphors stands it good stead. But alongside that is a carefully orchestrated deftness of touch in the arrangement. It is the diligent way that it all comes together which prevails here in a forthright way that deservedly closes the album.

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ICICLE

Theorems Presented off the back of some formidable funkiness is the opening track ‘Queue Me’.

This is an effective instrumental piece that chases down the urgency by channelling a fluid sense of expression that is met with equal determination.

There is a countenance found on ‘The Angels Forgot How To Fly’ that is brilliantly cornered.

This coasts along on two fronts. Firstly there is a steely resolve to the lyrical narrative that adds essence; while the second is the brilliant sense of definition locked down by the determination of the delivery.

Then the direction shifts with ‘Tattoo Cross Your Heart’. The rudimentary way everything falls into place adds class.

What is located in the piano adds class and that sense of realisation determines a lot from how it is factored into the equation. It is a dynamic that prevails in a prominent way with the brilliance considered from start to finish.

Brokering the neat and tidy aspects of the running holds firm on ‘Time Is Not On Your Side’. Almost as if they have been directly influenced by Mr. Scruff, the rhythm has a freer sense of definition that is attractive. The abundant way the latent Bossa Nova imparts is a clean transition. They embrace a formidable leftfield showing with ‘I Am An Ant’ forging a sense of modernity in the breakdown. A fractured garage style quickens the pace but also sees something underground harnessed.

Alongside the telling electronica this is something that exemplifies true diversity without detracting from the overall appreciation of the album.

10 From there it reverts to a more sophisticated showing as ‘Moonwalker’ embraces a distinctly different calling. The salvo of the guitar riff seizes upon the potential, while there is a bonafide appreciation for how the vocals add character. What is also attractive is the formidable way the layering comes to pass. Another fine ensemble piece follows with ‘U-Turn’ retaining the high standard from how it oozes class. It is followed by the lightness of touch that serves ‘Ready To Steer’ rather well as it teases out a characteristic affirmation that is steady and imposing in equal measure. That steers the delivery. The high rise tempo sits right with the vocal delivery and gifts it a most redeeming quality for everything that is on show. Bringing the album back into darker territory is ‘Chasing The Clouds’ which has a rich noir value on show. This draws comparisons with Nine Inch Nails and a mid-1990’s David Bowie. How this clocks in walks the walk and talks the talk. Yet vocally it also draws suitable comparisons with the solo work of Ian Brown.

Remaining in that same territory is ‘Coke, Popcorn And Bubblegum’ and it feels like the other side of that same coin. It bleeds class. The pick-up is an absolute knock out here and it is full of volume. The electronic intricacies showcase the high production values and, even though there is a lot on show, it cleanly runs with everything. That then brings us to ‘On And On’ which channels the alt-indie cool in abundance. The smooth way the bass hooks travel lace it with class and what it strives for is well within reach. The best is saved for last with ‘Calma Calma’. It is hard to find a superlative that does it justice. You can imagine how anthemic this is live but it is an absorbing tune that is deserving of appreciation. The eastern mysticism in the rhythm is amazing to hear, but the confident way it is delivered owes everything to how it is designed.

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THE JACKALS People

This is a great album indeed.

The expressive realisation found on opening track ‘Eyes Awaken’ favourably gives it distinction and character. Yet the resolved expression consistently blankets everything with brilliant application. It becomes all the more endearing from that approach.

A considerate approach to developing the sound confirms the lay value found in the delivery on ‘Raspberry Moon’.

The dandy skip in the pace confidently steps out and takes you along for the ride, but in how it lands that catchy fervour it imbues the running with an able degree of substance.

Playing with the lightness of touch on ‘Call Out Melloburd’ raises standards. This collects in a tidy manner but displays a fluid sense of maturity in terms of context which takes hold and carries everything through with glorious satisfaction.

Harnessing a solid sense of 60’s revisionist footing brings out the best in ‘Ghost Soul Traffic’.

This transition is contended with on all fronts and holds its own. The revelry of the tempo alongside the smooth vocals oozes class and are expelled expertly as they combine. The weighted ambience is something that ‘Can’t Leave The City’ considers sweetly in terms of finding a solid sense of contention. Yet the passive calling gets behind the delivery formidably in how it is superbly processed.

Bringing something more spirited is the dandy calling of ‘Just To Pass The Pleasant Time’. A fine marker is laid down in the opening line and it gives it licence to build from there. The ensuing sweetness on show is a calculated one that has a token roadhouse blues undertone alongside the sleight of psychedelic cursively running through.

10 The prevailing depth on show with the intro sees ‘Dancin’ Round The Nails’ commit to an artistically heightened sense of development. The revered sophistication patiently built accommodates the tender warmth that is concentrated in the vocals. It is a captivating effort defined by the meeting of urgency and depth. This bestows a deserved benevolence upon everything.

Then things are met with the quickened pace of ‘Two Heads’ which comes to call the shots with distinction. This harder calling is laced with Southern influences and could very much have come from the Delta. After that comes the excellent ‘Where The Face Of Angels Lay’. It literally peels away with the deliberation offering an accentuated flourish which comprehends the dynamics on show in a way that breathes life into proceedings. In the sedate surroundings it draws strength and truly comes together with real pedigree.

Another genuine effort comes next in the form of ‘Gold Gift From Paris’.

Again there is a careful weight placed with the procedural alignment of the arrangement. It holds favourably as it concentrates the refinement in a way that raises an already considerable game. It is steady and neat which helps it prevail furthermore in a way that draws suitable Pink Floyd comparisons.

Finding absolution with ‘Waiting On The Man With The Sun’ sees them exert a steely resolve upon the delivery. This gives the overall feel bite and the taut way it is sent through corners it all with a prevailing necessity that suitably invigorates the railroad calling of the undertone.

The album closes with ‘Dust’ and when it settles (pun intended) it is another great effort deserving of inclusion. The sweeping way that the countenance is ushered in exemplifies a longing and appreciation for their craft. This develops a warranted approval as the layering allows a free rein come to the fore that is blistering and brilliant in equal measure.

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STRANGE BABES Strange Babes

Strange Babes started off as a side project but subsequently morphed into quite a force and considerably talented 3-piece outfit. Doors opened for the group when the Kiwi Sam McCarthy moved to LA to follow his musical dreams.

His previous musical compositions focused on synth textures, but Strange Babes on the other hand embrace neo60s guitars and sitars. They fuse modern aspects and touches of The Beach Boys, The Byrds and Teenage Fanclub in what is a reverb-laden dream like soundworld.

‘Holiday’ gets proceedings underway and truly is the perfect opener. Its alluring style and sound captures the listener’s attention and maintains it. The track is an apt introduction to what motivates and stimulates this band musically. ‘Feel The Same’ embraces sitars thus creating a very psychedelic atmosphere. This 60s vibe is presented against a simple and repetitive drumbeat. The drumbeat however is exactly what the track needs and is the perfect hypnotic foundation layer. The approach is akin to Kasabian’s take on this style and genre.

‘This Ain’t Love’ follows and is comparable to The Coral and their lush, romantic 60s ballads. The vocal delivery is fitting and showcases their astute ability. The pronounced Paul McCartney-esque bass line is a winner for me also!

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‘Learn’ is another sun-soaked, festival feel good offering. The tracks are to the point and easy to grow fond of. This is also the case with ‘Come Back Around’, which has a video to it on Youtube and Vimeo.

The charm lies in its simplicity. ‘Maybe One Day’ follows on from where the previous track left off. However, at this stage the sound is becoming very samey and predictable. Although the track is of a high standard it’d be nice if the band released the shackles and pushed their chosen soundworld a little further, even by possibly including additional organ textures or percussive instruments?

‘Forever’ opens with a pedal bass note, which is quite a cool touch.

This track is exactly what the album is calling out for at this stage of proceedings, as a Tame Impala meets Temples vibe is sensed. The track itself is a festival anthem and deserves to reach a wider audience for sure. ‘Sun’ is then another track with similar force and intent. The midway LP lull is certainly rectified at this point, as bigger, cosmic guitars take centre stage during a skilled solo section.

Lyrically this is a song that fellow musicians and creators can relate to too.

‘Be This Way’ is a poignant, short, reflective number, which offers us a different side to the band as they treat us to a more intimate moment. ‘Visions’, which closes out the LP, then has a Beatles meets Oasis feel to it and is a track I dig very much. The harmonies are well executed and offer a nice contrast to the effect used on the lead vocal.

This is for sure a potential single. It would be wonderful to hear the band explore this approach more in the future!

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SUNRISE DEVICE

Fake Love, False Hope All Sunrise Device music is written, recorded and produced by the impressive Aaron Molyneaux, who embraces a synthesis of indie electronica and neo-80s pop.

The album opens with the wonderful ‘Your Eyes’. Synth drones and passionate vocals are the driving force here, as the true emotion and anguish is palpable throughout. The electronic drum breakdown towards the end tricks the listener into a false conclusion, only to kick back in with a crescendo and emotive lift before the tracks fades out, leaving a lasting impression on the audience. These hooks and clever touches are a key feature of the creation.

‘Tonight’ explores pop melodies and simplicity to great effect! The heavy synth bass sounds are interwoven magically around and in-between tickling piano timbres and melodic motifs. This is the kind of song that lends itself to retro 80s films akin to the Drive soundtrack.

‘Soft Lies’ follows and sets off with a rather laid back atmosphere through the use of sparse electronic drumbeats, while synth pad drones create an air of poignancy. ‘I Lost My Heart In Space’ follows a similar formula but packs a more significant punch. Although an instrumental, it evokes quite the response within the listener.

Up next is ‘The Modern Love’ which focuses on a more ethnic, world sound. An interesting fusion is established with the composer incorporating aspects of his

8 take on neo-80s. This is an impressive number, made all the more notable due to the fact Molyneaux wrote, recorded, mix and produced the entire LP! ‘Amotion’ presents a more dance floor approach due to the heavy prominent sub bass drum and the arpeggiated synth chords. Traces of trancy Kasabian (off their first LP) is sensed. The sound is also akin to later Kraftwerk compositions. All round this is majestic music, as is the next offering – ‘Waves’. This is another song with cinematic purpose, due to its emotive motifs and heavy, dominating presence. Although relatively short with a running time of 1:49, the composer gets across his point and intentions superbly.

‘Solaris’ then opens with an almost spacey hypnotic quality. Similar to the previous track, it is an instrumental soundscape with a short running time. Like most of the work on offer, simplicity and minimalism is embraced, as this piece comes across like an extract from a Terry Riley or Steve Reich composition. ‘All For You’ returns to more orthodox synth pop, while the lead vocal re-enters. A dance floor groove and vibe is established, before melodies comparable to New Order come to the fore. ‘Tree Of Life’, another instrumental, then concludes the LP. Overall this is quite an accomplished collection of songs, which are screaming out to be used in a soundtrack. Molyneaux comes across as a very talented musician who is on the verge of shaping his own voice and niche. Enjoy his sounds and keep an eye out for this dude in the future!

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THE HARD GROUND Triptych

The Hard Ground, hailing from Cork, serve up a quirky alt pop rock album that exudes both character and originality. This is their 2nd album release and displays their hard work, development and just how strong the Cork music scene is! The album itself is the culmination of 3 EPs the band released between May 2014 and April 2015, hence the album’s fitting title. A ‘triptych’ is a work of art or musical works divided into 3 sections or parts, which are hung or appreciated together as a whole.

Setting the LP in motion is ‘Belles and Beaux’. Here we are treated to a very atmospheric number, which allows space for the vocals and skilled harmonies to come to the forefront. Also worthy of a special mention is the tom drum rhythmic pattern, which lays down an effective and hypnotic pattern and foundation. ‘Ashes’ then turns its attention to a raunchier rocking sound, as touches of The Black Keys are on display. The vocal performance and delivery is most fitting and leaves a real lasting impression. The vocal interplay, harmonies and trading of lead singer becomes the 4-pieces signature sound and approach, and holds the listeners attention.

Up next is the band’s latest single, ‘Two by Two’. The band also recently released an impressive video for this track, which was directed by Pat Kiernan. ‘Two by Two’ is a shrewd and emotional track that features a juxtaposition of sweet pop melodies and rock riffs.

This contrast is synonymous with the group and is most savored throughout. ‘Spies’ is an intimate, stripped back number.

The sound here is a fusion of Irish and American folk ballads, but presented in a more original, ‘lush’ context,

9 primarily focusing on a duet between vocal and electric guitar. As the track progresses a beautiful instrumental section unfolds. Washy cymbal hits and synth textures create a poignant yet uplifting cinematic soundworld.

Although the track is a bit of a slow burner this wonderful instrumental interlude is a highlight on the album for me.

‘Capon’s charm lies in its dream like pop harmonies and traded lead vocal entries. The contrast between the alluring female timbre and the gravel of the male voice really is a fantastic amalgamation! This again is showcased during ‘Coin Toss’. As a result of this LP being 3 different EPs combined, there is at times a loss of focus or cohesion, for want of a better word. ‘Deep in Green’ suffers in ways due to this. ‘All in Time’ follows and is an interesting composition, which again makes a virtue of contrasting musical aspects and timbres. The chorus of this number is a strong moment on the EP, which has a jovial yet haunting quality. The snare roll drumbeat is also a fine touch here.

‘Pucker’ kicks off with a modern pop tune vibe, showcasing how diverse and musically flexible this band is. They really offer something for everyone! As the track unfolds they return to their lush alt rock sassy style. ‘Winter’ is then an intimate offering combining proficient vocals and cosmic tones and textures. ‘Young’ and ‘On The Never’ further solidify what this band are all about; true expression and making music that satiates their musical needs, drive and interests. All round their exertions and efforts have to be applauded and recognized.

To close out the album we are treated to one more number in the form of ‘Short Song (Bonus Track)’. It serves as a drawing of the curtains. A reflective coda of sorts. It’s a beautiful way to conclude an intriguing album that has musicality in abundance. An Irish band very much worth checking out!!

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THE SEE SEE

Once, Forever & Again The See See, of London, are a neo-60s psychedelic outfit, who acknowledge the past masters in a sound that is most endearing.

‘Once, Forever & Again’ kick starts the LP in fine fashion, with charming, almost baroque like organ, setting the scene and mood nicely.

A quirky 60s pop number ensues, equipped with the obligatory dream like harmonies and guitar solo. The eccentricity of The Small Faces, and the general English psychedelic way, can be felt. ‘400 Miles’ is then more reflective and less jovial. This is effectively a 60s psychedelic pop ballad akin to The Byrds. The song ebbs and flows nicely culminating in a regal classicalesque coda revealing the musicianship of the group ‘Mary Anne’ enters the fray like slap in the face! It shows the band are well able to mix it up, as they turn up the distortion and riff it up! The Small Faces influence is again felt, while traces of The Who exist through the use of the acoustic guitar strumming, tempo change and juxtaposition of styles and dynamic contrast. Up next is the ‘The Rain & The Snow’, which opens by showcasing proficient lead guitar playing akin to Robbie Krieger of The Doors. In fact the opening measures of this number are like a fusion of The Doors and The Yardbirds. The 60s sound is again embraced;

10 with clever tremolo guitar touches and strikes providing subtle but effective hooks. This song builds brilliantly in the chorus through the use of charming backing vocals synonymous with this genre.

‘Over & Under’ sets off slightly differently, which is good to see, as we are treated to a more a 90s interpretation of 60s sensibilities. However, the band maintains cohesion, which solidifies how assured they are of their sound, style and intentions. Overall this is yet again a very impressive and moving number. The same can be said for ‘Sun Arrows’, which sets off akin to The Verve, before the bands signature backing vocals take centre stage. This is a rather hypnotic trippy offering, which works quite well at the halfway point of the LP, almost serving as the coda to the old school Side A. ‘Let Me Be The One’ carries on with similar intent and purpose, as does ‘The Evil Clutch Of Dawn 7’. These numbers deserve to be brought to the attention of larger crowds, but alas I fear this genre, albeit a loved one of mine, may no longer have the pulling power.

‘Jenny’ is then a beautiful kaleidoscope of textures, tones and timbres, which mixes the vibe up shrewdly, before ‘Featherman’ and ‘Song For Billy Nova’ close out the LP superbly. Although the group recognizes the likes of Love, The Beatles’ and Buffalo Springfield, to name but a few, they do not wish to settle for being a carbon copy.

They incorporate their own touches and forge a neo-fusion sound that is most appealing.

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CASPER BLANCA

My Favourite Colour Is Gold

We have been big fans of this Danish artist here at U&I for some time and this album shows why.

After the ‘Intro’ gives way the urgency of the album is apparent on ‘Tug Of War’. The steady guitar rhythm that is leaned into grants it a degree of comfort which leads on through in a controlled manner. Steady and gradual in terms of the progression, ‘I’m On A Drug Called Charlie Sheen’ is another committed showing which teases everything through superbly. The graduated climb corners a harder expression that sits prominently and allows the blues handling to sweetly cruise through.

But it is all found in that opening riff truth be told.

‘The Art Of Being Seduced’ then follows and this also boxes clever with the adjutant allure of the lay vocals blanketing the delivery in a way that presides finely over the playing. The scintillating way the lucid aspects linger give it a suitably rich calling and the checked beat is of an incredibly high standard which commits to the track in a prevailing way through and through.

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The way that ‘Revealing A Magic Trick’ kindly finds its calling is wonderful to hear. Here there is a resolute texture to everything on show. This sees an ascending stature fill out the track and the bespoke calling is dutifully loyal to what the arrangement is able to coax from it also. The high standard of the album is maintained with ‘Billy The Kid Ain’t Got Nothing On Me’. Exuding a confidence in the running this is another harder showing that benefits from the compact qualities that course through it.

His cover of Sandy Blue’s ‘Drive ‘N’ Let Go’ works by intention and sets up ‘Still Got The Blanca’. There is a high rise to this which owes a lot to how the dynamics are considered in the overall layout. What sets it apart from the other tracks is the concentration of play which fosters a prominent tenacity as much as it allows the song room to breathe in how the delivery is unleashed. ‘Come Down/Calm Down’ is almost perfect. The steadfast attributes contribute to the appreciation here in the right way. The spacious allure is felt out and it resides by design fairly with the depth of the lyrical narrative providing a solid degree of completion that takes you along for the ride.

That it is included towards the end of the album is a shrewd move indeed. The outro at the end is a nice addition and just adds a veneer that is signifies the class act the album is overall.

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HACKMONOCUT

The Sum Of My Parts Taking a flirtation with murder ballad qualities, the album’s opening track ‘Days Of Roses’ is an accomplished effort indeed.

The urgency closed in on harnesses the urgency of the tune and it prevails because of this approach.

What is considered in the lyrics hides away in a way that brings the temperament of the tune to the fore and embraces the angst. ‘Dead Born Sister’ has a stark calling and it is contained. There is a strained resolve to the sullen ambience which encroaches upon the delivery in a fixed way. This is exacted and it gives everything a notoriety that is duly considered and holds up. Then the album adopts a leaner showing with ‘Leech’ committing a raw cut to proceedings. The fetching drag of guitar is met with an edgy call and the drumming adds a hardened front. It dresses it all up and the underground call prevails here and bears down in a determined way, but holds a formidable degree of presence from how it is considered in the latter progressions.

Channelling his inner Nick Cave is ‘Love Letter’. The bereft feel of everything is very much on the money with the darkened derivative finding solace in how it imparts upon the delivery as a whole.

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What sends this all up is the reflective notions on romance that channel a true intent. This is what realises the sensibility by intent.

Lead on in from a careful countenance is ‘Now’. What is faithfully handled here props it up but it has a fine level of orchestration to the play. As such it plays through with the secondary calling tellingly giving the focus a rotund basis that develops in the artistry.

Then we come to ‘Scarlet’. The broader intro denotes scope in the arrangement and it presents in an attractive way. In the demure calling of the piano it patiently plays out and then the solitary attributes of the lyrics capture the sentiment in a wonderful way.

There is a calibration to it that is subtle and rich in equal measure.

Told from the perspective of the subject, ‘The Ripper’ is a fulfilled effort indeed. While it is only hinted at that this is the famous Whitechapel murders, the open interpretation plays a rich card.

The steady saunter is carefully crafted and the backing harmony adds to the poignant drift that takes it full circle. You are taken aback by the full on charge of ‘Used Love’. The way that the pace is pursued hardens the approach and it is mindful of this from the off. The committed way that the leaner calling is considered here situates the right level of alternative development and brings it to bear on proceedings with prominence. ‘We Better Look Away’ also moves the album in the right direction. The obtuse feel of the guitar moves through the arrangement in a hardened way that looks the part. That dangerously curtails everything in a wanton way that pulls no punches either.

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LINDI ORTEGA

Faded Gloryville With this being the third time we have reviewed an album by this Toronto native, in our opinion she just goes from strength to strength as an artist. The darling sensitivity of ‘Ashes’ carries things through in a heartened way. She also draws upon something in the lingering demeanour that adds up. The bereft touches in the harder showing also play their part considerably well. One thing that she is noted for is her ability to capture the heart in her songs and this evident on the poignancy of ‘Faded Gloryville’. The committed observations of her songwriting elevate the romantic side of this song and alongside the country styling of the arrangement it is carefully chased down.

Initially there is something of a whimsical calling to ‘Tell It Like It Is’ but it matures in a steadfast way.

The darling way that this plays through is equally as conclusive a showing and provides the album with an attractive track indeed that is blessed with a high calling.

Off the sleight of hand that carries ‘Someday Soon’ through there is a committed virtue to her vocals that captivate. The stray sensibility of movement adds to the romance. Her soothing vocals, met with a fine backing from John Paul White, commit a

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true sense of class to how this works as a duet. Then the album visits an old school approach with her version of The Bee Gee’s classic ‘To Love Somebody’. It hits home in a way that has a Motown appeal to how it is reworked and that sees her put her own stamp on it. Tidying up things is ‘When You Ain’t Home’.

The signature calling of here earlier album is carried across but it leaves a lasting impression. The empowering way it is all expressed has a countenance to it plays through in a charming manner in equal measure.

Again there is a formidable sense of proficiency to how ‘RunDown Neighbourhood’ turns on the charm. It has this fondness that adds character and it brims with quality which keeps it on track. In the darling sensibilities captured it also proactively engages something old school that is glorious and akin to the hey-day of the greats from Sun Studios. ‘I Ain’t The Girl’ is another great offering. The tactile placing of the piano builds the rhythm appropriately but there is character found here in abundance. Then the sharper turn of pace collected on ‘Run Amuck’ sees it take flight. It has these imperative flourishes of Americana fixed to the delivery that is brought through in a way that is rather token. With the harder showing to close it really seals the deal. ‘Half Moon’ closes things out and it is a bereft number that captures that quality succinctly. The tender allure of her voice alongside the softer lyrics shines here. What is captured is simply beautiful and leaves you hanging on every word - 31 -

NAOISE ROO Lilith

Poetry in motion best describes the album’s opening track ‘Uh Oh’ because it is an excellent number that lays down a fine marker. The determined weight of the delivery is confirmed by an intelligent lyrical showing but it is treated appropriately with how the edgier side is brought through. The conformation of the alternative sense of resolve is highly fashionable. Straight away the enamoured richness of ‘Stand In Black’ projects a sullen ambience that invigorates the showing. A candid leftfield calling bellow out with sullen abandon to give it a stylish noir tint, but is teased out in a becoming manner from the befitting value her vocals add to the mix. The poignancy of ‘Almost Perfect’ reflects the sense of loss on a personal level. It comes through in the exemplified way that only the hurt can. But it is carefully imagined and locates an apparent sense of the real, but the sweeping ebb and flow gives it an imperative attractiveness which neatly exerts itself upon proceedings.

An empowering effort follows with ‘Whore’ and it is more feminine than feminist. The underlying sexualisation dresses it up even if the subjugation is apparent.

That steeps the song in a degree of honesty as the perspective carefully bridged brings a telling sense of honesty through. Drifting through with a neat sense of isolation in the rhythm

10 is ‘For You/Postcard’. This forges a sense of isolation in the identity of the track. It has an absorbing characteristic in the faded distinction that her performance prevails in. The high artistic merit on show locates the worth in such a faithful manner to keep this long player on track. Dropping a more urgent track into the album’s mix is ‘Oh Son’.

Here the deadened tempo neatly cornered checks in. It offers a broader calling to proceedings that speaks volumes but is a truly magnificent effort from beginning to end.

Noted by the spry confirmation in the build-up is ‘Sheets’ and the overall competence that demonstrated draws comparisons with ‘Back To Black’ by Amy Winehouse. The subtle way that the jazz undertone brokers everything keeps it steadily on track. Kneading the compact showing is the cradling of the drum and bass that is courteous to her vocal range. But where it works it lands squarely. Again there is a beckoning from the solitary front noted on ‘Sing To You’ that commendably envelops the development of the track in a truly splendid way. As that rich allure beckons everything forth she plays with the eccentricities on show and this remonstrates in a tactile way that adds to the texture. It all plays like Pulp’s ‘This Is Hardcore’. Seeped in a sunken catatonic adds character and it feels sullen but it also imparts a sense of purpose upon it all. It is majestic in a way that sits upright despite the withdrawn fervour that is so apparent. The closing track here is ‘Tie Me Up, Tie Me Down’. It is the perfect marriage of vocals and intuitive piano because it minimalises everything but it is highly favourable from the approach. This is what keeps it on course and the provision of the showing here is highly commendable.

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NORTHERN UPROAR Hey Samurai!

This is an album with a predominant exuberance found on each track. The way ‘24hrs 24 Days’ cuts loose connects well with the listener. It has a prominent calling that prevails with the high dynamic cornered as it finds its groove and chases it all down. The direction change is distinctly picked up on as ‘Chasing Demons’ favourably carries across on a Latin whim. The rich acoustic guitar fairs well and the intricacy drops a classic referential tidily upon the breakdown. That partial quality is highly attractive.

With third track ‘Outlaws Robbing Trains’ they again come up trumps. As the electronic nuances inch their way across the leaner vocals run riot as they round upon the delivery. This is also an intelligent tune that is tracked in a way that mirrors that calling.

Then a softer and tender calling carries ‘Jackals’ through. The approach is taken stock of and it channels a sense of splendour through that captures the warmth.

The keepsake manner of the delivery presses ahead by closing around this and it nurtures the delivery in a truly proficient manner. ‘Keep Getting Away’ doesn’t add up as well though because it feels laboured. Granted, the outline is pleasing and it leads from a musical perspective in a mature way but the lightness of touch on show here lacks urgency. That shortcoming is made up for on ‘Everlasting Rain’. Hiding away on the rhythm is a true showing

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of class. That enamoured calling is rich in countenance and the way it fits upon the structure gives it sass. The invigorating Bossa Nova sway imbues the smooth handling with class in abundance. Then there is a twee formation as the piano and guitar combine on the intro to ‘Last Call’. Then it picks up in a way that chases everything down. Overall it is rather steady and that calling is leveraged in a prominent way that accommodates the diligence in the lightness of touch on show.

There is a lot to be said for the stylish slant displayed with ‘Samurai’ because it is so comfortably processed. The arresting turn of the vocals locates a definitive trait, while there are subtle jazz touches checked in the delivery. This is a track characterised by the lightness of touch in places which brings composure as it rides it all out. They drop a real bomb with ‘Start It All Again’ that seduces you immediately. The clarity of movement is excellent. This is a dynamic that imparts a wonderful standard upon proceedings with the Latin influence holding firm in the tempo. Then there is the token way the vocals are expelled and they give it a deeper sense of meaning that is finely called out.

Representing a true sense of the real is ‘Yesterday’s Gone, Tomorrow’s Not Promised’. There is a refined feel on show here with the demeanour of the build giving it shape in a conclusive way. That is balanced and the prevailing worth of the delivery sits well in a way that shows.

The curtain falls on a fine album with ‘Rodriguez The Bull’. It is a secret track and it is a wonderful gem. it has a fanfare incorporated into the structuring which teases the charm but emerges triumphantly with a sense of style meeting substance.

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THE BOHICAS

The Making Of As the outline of ‘I Do It For Your Love’ commits the album you are suitably impressed. The splendour of the guitar elevates the touches on show but it has a strong indie precedent which is somewhat old school. Yet how this is handled demonstrates modernity in equal measure.

Another track meeting with approval is ‘To Die For’. In the committed way they invest themselves they secure a committed presence that promotes the best values the delivery has to offer. The slick resonance has a brash overture that tears through impressively. Keeping the air of cool is ‘Only You’. This keeps them on top of their game with the neat way the lyrics turns on the style also deviating toward a latent ELO vibe about it in places, but it also factors in their own signature. This adds to the body of work but brings a somewhat retro vibe that is fresh. The hard rock grandeur of ‘Girlfriend’ procures a steady and finely deliberated effort.

How the pick-up on the pace languishes takes you along for the ride. This is where the band very much brings their “A” game and it shows in a big way for all the right reasons.

The album’s eponymous track then follows and ‘The Making Of’ is a cracking offering indeed.

The intense weight of the running spreads out evenly. The result is a top drawer effort blessed with a catchy allure and balanced by a determined showing in how the delivery all comes through. After that they charge along with ‘Where You At’. This neatly checks the pace with a high countenance on show that lines up. Adding presence here in an able bodied way is the vocals and what they are able to add to the mix enhances it furthermore.

Overall, it has a mobile cut that motors along on cruise control

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when it gets going. Blessing the album with retro apparel is the outstanding ‘XXX’. Not only is it a track that leaves its mark but it has volume in abundance and carries this through in a way with a neat underground notoriety about it in places.

In some way ‘Swarm’ has an explicit calling that is off the hook. Playing in a post-punk fashion it takes off with a highly energised pomp but centres on a raw and edgy calling that is high octane. This fuels it abundantly and the expertise called upon sees nothing fall short. Contained in a foremost way is ‘Red Raw’ and it has a candid calling that patiently builds. As such it feels like a Nirvana-esque effort in so many ways but holds its own rather than being art imitating art by sitting above a grunge call exclusively. Again they get straight down to business with ‘Upside Down And Inside Out’ and do it with real flair. This is an excellent track and the suitable way that style and substance meet gives it lift. The drive is secured from this approach and fastened suitably to the high octane feel that breaks down squarely. With how ‘Somehow You Know What I Mean’ seems to come down hard on the running it operates in a smart fashion. The feverish allure of the lyrics commits something darling but also formidable. The heft of the sound behind the vocals enhances the delivery in a foremost way and it is contained in an equally sharp way that keeps it real.

There are two bonus tracks on the album. The first of which is ‘In The Mood’ and has a rough contention about it from the off. That sees them throw themselves into the running with a cool deliberation that suits the loaded approach of the delivery. The second is ‘Rewind Replay’. It is a raw and unbridled effort and could easily have slotted in on the original track listing without feeling out of place.

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STRANGE FICTION Orange

It is a confident opening that sets everything in place with ‘Tease Her’. The upright way that the flight is factored into the equation takes it home.

Adding appeal is the spry fluency of the rhythm guitar which hides a slightly raw and unbridled approach to the play that works well. Feeding in an indie disco chic is ‘Jacko’ and it is the lighter way the intro seems to flirt with the guitar riffs gives it a lean hold. It is a bit light in places and lacks any cohesion at certain points, but when and where it settles into the groove gives the delivery a backing to compensate for the shortcomings. Smoother in how it opens is ‘Not Good Enough’ and it is what carries it through. The neatness of the delivery accentuates those tender moments and holds it together.

The developed guitar work on ‘All It Meant’ opens smartly.

They fall off in a way and this allows a more rotund focus shift to the vocals. It closes in a hardened way and the progression from how it opens to how it closes does have a sense of closure about it in an artistic sense. ‘Tic Toc On Powder’ remonstrates in a way that clocks in. The subrock call of the delivery is let out in a fortunate way with a hardy resolve rounded on.

That token aspect assuages in a completed way but still has something that lacks cohesion about it overall. ‘Remember Me’ though, well this is a little bit different. It stands out for the right reasons and the development on show is

7 something with a true countenance about it. While the bridge itself is another richly worked attribute that shows the band command something on this one that arrives in a telling way when it adds to the dynamic. That is mirrored again with ‘Icarus’ Last Night’ holding its own. The electronica nuances add to this in an appreciated way and the commanding way the urgency is brought to bear grows in stature.

It is a clever tune from the off with no let up shown.

Ably cornering a lucid referential in the tempo is ‘Fisherman’s Truth’ and it has an easy going fervour about it that slips into gear. It retains that steady influence in the running in a committed way. As such the clean way it is driven has a sense of guidance that is provided well for in the delivery as a whole. How ‘The Glitch’ picks up proactively procures something forthright which drives it on. The forward momentum of the intro is maintained, but the drop down is also an aspect worth mentioning here because it is taken into consideration in equal measure which gives the tune a fine sense of contrast. The inconsistencies of the album show again with ‘Spell’. It does have a projection but that is not necessarily enough here because there is a lack of substance behind it. The deliberation in the play is good but it is let down by the weaker showing.

The album’s closing track ‘Another Chance’ has a good fundamental located in the play. That flourishes with the appreciated and descript manner of the arrangement and it has an alternative value that resides squarely. That gives it choice apparel and it has an apparent servitude locked down that works favourably.

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EP

Irish Artists REVIEWS

SHAKEDOWN STOCKHOLM The Reality Of Truth

All in all there is a lit to admire for this EP. As the pensive ‘If I Were The Devil’ builds there is a noted appreciation that is backed up by everything. The lyrical content raises the bar and the drive is secured in the process from the arrangement. How everything in the delivery is teed up leads on in off the back of this approach rather favourably and impacts accordingly. In the subtle nuanced approach of ‘Nothing Like Abel’ there is a conclusive allure on show. It feeds in steadily and the relative way that the lingering touches find their calling draws you in.

As the spacious allure commits to the delivery it graduates the calling with a neater sense of proficiency which is comfortably handled.

What this band are capable of shows yet again on ‘Peninsula Of Love’. With the detailed way that the songwriting side of things is taken into consideration it draws strength. It holds firm and the urgency of the tempo orchestrates the calling in an apparent way that is stellar. The way it is pieced together allows the elements play their parts respectively and it then leads on into a bridge that really brings it full circle. Living up to its name is ‘Reverie’ and it has an indie calling that is rather prominent. Yet there is a catchy side shown here and it takes flight in a committed way with real flair. The checked pace sits well here by design and it accommodates the vocals to allow the reach of the delivery come across in a tantalising manner by design. They capture the emotive side of things correctly on ‘Who Says I?’ This sees a broader and more demure determination take hold, but it has a conviction located in the performance which adds value. Supple aspects carry the endearing qualities here and are done so in a way that adds up.

With the conviction applied on all fronts it becomes a number with real presence and it concentrates that into an end product that is outstanding from the second that very first chord is struck.

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BEWARE OF YOU Self Portaits

We caught this band playing live earlier this year at Gigonometry before all the hype around began. But we could see that night that they had potential and it shows on this EP. Their style is very American and the opening track ‘All I Know’ hones in on this with real aplomb. The raw cut neatly processes that approach in a suitable manner which gets everything right. The slow burn feel of the vocals retains this prominently, which the lyrical approach benefits from as it take pride of place. With second track ‘Control’ it lives up to its name. The intro is keyed in with fine strokes and the leaner way it takes flight offers a superb degree of countenance which is effectively worked. It draws upon the taut rhythm in a prevailing way. The panache of the delivery breaks down the rhythm in a way that adds composure.

‘I Can’t Explain’ is one of those songs that gets behind the track in an explicit way but gauges a freer sense of expression in how it steps out. That results in everything falling into place by design. Thought his has a considerate flourish in the rhythm which is commanded and doled out in a way that very much takes precedent here. Energised by the concentration of the pomp showcases just how excellent they are as a band. The potential is realised with ‘I’ll Forget You’ as a result of this approach. An appealing conjecture toils away effortlessly but the underrated maturity fixed also has mobility to it that counteracts the aesthetic squarely. It checks a lot of boxes and the contention draws you in. Completing proceedings is ‘Losing Game’. The tangent of guitars provides it with an outline that accommodates the approach and the fashionable take off. It hardens the showing in a subtle way but the endearing worth is also factored in with the right balance of lyrical appreciation.

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HIGH TINY HAIRS High Tiny Hairs

‘Chaos Ensues’ opens up proceedings and pulls you in. This is articulate, innovative and refreshing in equal measure. That trinity shapes this bit what defines it is the kitsch that draws everything from a fine perspective. The vocals have an adulated appeal that draw comparisons with little know punk band X-Ray Specs and it is all carried through in a way that is fundamentally brilliant. ‘First World Problems’ is utterly brilliant. The sensible way it is arranged gives it presence, but the roadhouse subtleties of the organ carry it through in a way that has a rhetoric that is impeccable. Against the raw undercut comes ‘Ghost Shadow’. It imbues the running with a grainy stature that develops in an interesting light.

With the faux lipstick lesbianism in the lyrics ‘Girl like U’ comes across as a tune with a tidy sense of purpose. That is commanded from the off and the obscure breakdown has a propensity to the movement that is intrinsically reliant. ‘Night Time Wander’ garners in a way that is fundamental. The flush guitar showing is a strong feature and the offbeat calling is a considered trait because it closes around the play in a determined way that opens it all up.

Completely in tune with the charm offensive that the pockets of play deliver on is final track ‘Redd Room’. Another outstanding effort which oozes class it has a paunch to the guitar tempo that is edgy and the uneven countenance prevails in a truly forthright manner from the off and retains in a consistent manner.

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MAN GOES HUMAN Man Goes Human

We turn to our India network for this experimental outfit from New Delhi and it all gets going with ‘Baba Black Sheep’. The shapely experimental approach yields rich rewards here. The extolled leftfield qualities heighten this one and it is rather explicit too but it avoids a pretentious pitfall. Rather it is set out in a way that carefully crafts those qualities with a mean intent.

After that comes the accentuation of the minute touch which ‘EEEEE’ manages so expertly. It marches along and the outline of the play sees it slip away. But it hangs back in an endearing allure. Then the alluring value of ‘Fading’ locates a remote calling. That is pensive somewhat but the shapely worth of the acoustic guitar closes it all down with a courteous endeavour that gets under the running with telling appraisal and fortitude. But it brokers that against a more urgent close that steals everything out from underneath the cautious build up that precedes the conclusion.

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Diversifying the overall sound with a rock calling ‘I’d’, yet retaining the alternative character with distinction allows the seven minute running time to go the distance in an interesting way. There is a committed turn from the vocals which adds something considerable to the end product, but where it draws strength is the alternative aspect called upon so informatively.

Clocking in with a fluid guitar riff and then building upon it in a way that piques interest is ‘Leave Me Or Love Me’. The contention is marked out in a solid way, but where it really finds form is the manner of the vocals and lyrics that give it front. Then comes ‘No See’ which sees a retro apparel excellently cornered.

Bending everything to the whim of the band also breaks it down evenly but it is big on presence and this guides it on through. It is extensively built and the transition in the dynamic carefully rides high. The last track here is ‘Together For Eternity’ and it is a fluid effort. What the referential expression brings to the fold is keenly felt but done so in a soft way.

ZURICH

Small Wars This opens with the outstanding hit of ‘Chemical’ and then proceeds toward an attractive sense of confidence pulled through with the vocals. An energised effort, there is a conclusive pomp that the tethered aspects so greatly align with. The intelligent way the lyrics tie together really comes up trumps and there is volume to the collective way it all adds up. That committed modernity in the sound is highly referential and stands it good stead by design. Again the excellence prevails with ‘Alone’. The harder derivative of the tempo captures something enigmatic in the flight that is contended with fully. The compact manner of the delivery does offer a sense of contention that is incredibly fluid.

Next off the same conveyor belt of brilliance is ‘Small Wars’. The insular derivative of the sound rides it out and it hardens the showing. But that precedent is one that necessitates over the delivery in a controlled manner. As a result the demeanour is honed in on and it further appreciates with how the lyrics capture a point of relevance that is brought to bear as everything plays through.

Continuing with the higher necessitation is ‘Invisible Man’. Somehow there is an open interpretation to the lyrics that is handled smartly.

The obsessive suggestion flirts with a dark side without fully embracing it but gives the lyrics an added dimension. It is the perspective from which the delivery finds its calling and the latter progression does embrace that organic in a more fundamental manner which is steady and committed. And the EP is completed by ‘Menace’.

Here the showing is one that fits around an alternative structure which is carefully processed.

This is enabled by the off key nuances that filter through but the heavier drum and bass aspects in the sound are another plus. It is the edgier and fleeting cut that adds a suitable dynamic from which it lingers so effectively.

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ILANA J

Free Falling From The Ground The quaint value of ‘England’ catches the right showing of pop but blesses it with a neat indie countenance. In terms of the lightness of touch it presides over everything here in a neat way. As such it seems to harness a contentment that fills out in a glorified way and it concentrates those neat touches with a forward determination. ‘I Believe In Love’ is a more prominent showing and it also retains a looser allure that is contained in the lucid arrangement. The positive lyrics add colour but there is a tendency to lean toward style over substance in that regard and it is hindered in some aspects by that approach with it holding the lighter touch so prominently.

The throes of ‘In The End’ have an evident sense of expression that is courteous in the way it is enriched by the stillness. It locates a platform for the vocals and the bespoke value of this tune is neatly tracked and held.

The EP is too formulaic in places and it is felt with ‘Paper Planes’. There is a lack of development on this track and the by the numbers approach doesn’t do anything much.

Granted there is a catchy presence in the tempo and the synth is a rich endeavour, but it is the apparent way it comes up short that it loses marks. Again there is a steady hand on the guitar with ‘Sing’. It is songs like this where she is in her element really. The lay attentiveness is a big draw here and imbues it with a touching sentiment that adds revelry. The final track here is ‘Smoke’ and it is quite good. How it gathers momentum is carefully gauged. The chorus is where it works, while the second verse is too soft and it doesn’t give any sense of continuation, but it is the chorus and how it gathers that is the saving grace here.

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VYNCE Waves

The first track on this EP by VYNCE is called ‘April showers’. I really liked the start. The guitar and bass really sit in well with each other and create a really sweet intro. The little stop with the cowbell is perfect, The title is well inserted into the chorus. It has a strange dynamic to it because the chorus is a bit more toned down than the verses. In no way a bad thing, just good to note the contrast. The song is well arranged, perfect for the genre. Overall I thought it was pretty good. The second track is the title track of the EP – ‘Waves’. Like the first track this has a really cool intro; it’s very ambient and makes you eager to hear what has to come. The first thing that jumped out at me was the pre-chorus/chorus because it’s super catchy, I really like the way it draws you in the first time round. There is a cool build up section toward the end, it’s very ambient, it almost mirrors the atmosphere heard at the start of the song. It flows well into an outro section that fades out the song.

This brings us onto song three; ‘Saint Lucia’. This starts out with a nice intro; a reoccurring theme on this EP. I really liked the inclusion of the vocals on this intro. At around a minute and a half in the song kicks into life in a really delicate way, super enjoyed that. One thing that I really liked about this was the stages it goes through. It is always building and getting more intense. It’s like three different sections that come together and make the song into a story.

Very dynamic, and very well arranged. This brings us onto the last track on the EP; ‘Not My Girlfriend’.

This seems a little more ‘commercial’ than the other three. I thought it’s a very well worked song, the pre-chorus is really catchy and very classic for a genre like this. Full of little hooks that get people involved in the delivery. Seems like a real crowd pleaser. It’s short and sweet, with lots of repetition making it very catchy. I really enjoyed the notes used to finish the song, great ending. Listen out for it.

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MILLIONS Millions

The first track on this three song EP is entitled; ‘Nineteen’. It opens up with a suspense building drum beat. The bass quickly comes in over the top and brings the song to life. This song is full of little features that I really enjoyed. There’s this cool ascending and descending run that comes in and out that generates a good vibe. I felt like the build up toward the end was a little drawn out and a tad anticlimactic. This brings us to track two ‘Clementine’. I liked the vibe to this overall. The change in time signature gives the song a little contrast musically to the first. Which is always good. The vocal melody was the stand out hook for me, especially in the chorus. I can imagine this becoming a radio favourite. It’s incredibly catchy and easily finds its way into your head for the day.

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At only three tracks long this brings us to the final track on the EP; ‘Always’. This has a sweet little drum intro. Immediately after it the song kicks into full flow. The main melody that gets repeated throughout the verse is great. It’s almost just an inflection on a word but it gives the song real character and a distinctive sound. We were very nearly treated with a guitar solo towards the end, but what seemed like the cusp of a face melter turned out to be just smoke and mirrors.

NIGHTJACKET Eternal Phase

The first track here is called ‘Sun in Spring’. I loved the start of this.

The phaser accompanied by the guitar drenched in reverb with a little hint of delay creates the perfect atmosphere. Vocalist Holland Belle does a really good job of blending her vocal tone with the vibe.

The song is very well pieced together; all the parts have nice transitions. The guitar solo even blends in with the vocal melody.

Top notch musicianship on show here. Onto track two; ‘The Right Way To Fall’. This opens with some erratic guitar sounds, it’s like a phasing delay. It creates a bit of a hostile atmosphere that is pretty much immediately extinguished when the acoustic guitar comes in over the top. All of a sudden it all blends in together and creates a lovely, relaxed atmosphere. The lyrical content is quite deep, but effective. It suits the sound. It actually kind of reminded me of Norah Jones. The song doesn’t change too much throughout but its consistent quality makes this a great track.

This brings us onto track three; ‘It’s Alright’. This has a little more of a bluegrass/country feel.. One part that jumped out at me was the guitar phrase at around forty eight seconds in. I must have listened to it twenty times; I thought it was superb. It repeats again at around three minutes, I really loved it. There is a nice little guitar solo towards the end, not very technically outstanding but respectful. It suits the music very well and doesn’t break out of the smokey atmosphere that has built up. The next track is the title track – ‘Eternal Phase’. This opens up with a more alternative vibe to it, the guitar is overdriven and heavy. The minimalistic approach that the drums have keeps it all in with the same vibe from the rest of the album. I really enjoyed the vocals on this track. They had a bit more power to them; it lifted the whole song up. Without making too many direct comparisons I thought this track was very reminiscent of the band The Cranberries. I think something that was very important to this was the dynamic of the dry ride the drummer was using. It created the floaty vibe that you get when listening. It is particularly predominant toward the end. This brings us to ‘Never Gonna Live My Love Away’. This one starts out with the acoustic guitar playing a long side what can only be described as a twangy electric guitar. This had a bit of a ballad feel to it. The combination of the vocal melody in the chorus and the little approach notes that the guitar plays give it this sort of vibe. I liked the bridge section toward the end with the overdriven guitar. It added a bit of grunt. Although for some reason it did feel a small bit out of place.

This brings us onto the last track ‘I Hope I Have This Dream’. The song opens up with just vocals accompanied by an acoustic guitar.

It creates a really nice platform to build on. The drums come in and keep with the dynamic by playing lightly and side sticking it. I thought the introduction of the electric guitar was perfect. It comes in just after the one minute mark to great effect. It is then set into full flow. It sustains the dreamy vibe that even intertwines with the name and subject. I thought the little guitar runs that start to appear in the background of the were fantastic because they all build up to this really great guitar outro.

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TEN SLEEP

No Place Like House This six track EP by Canadian outfit Ten Sleep start off with a whopper track – ‘May’. The song starts out with some faced paced arpeggiated chords. Then it leaps forward with huge energy after the intro. There is a really fun melody that comes in over the top of the guitar and drums, I’m not sure what instrument it is. It comes in and out throughout almost like a chorus. The whole track is very upbeat and reassuring. Then comes ‘Yellow Paper’. This starts off with a very raw intro, like a rehearsal space count in. The first thing that hits me about this is how erratic the music is. It’s all very unpredictable with lots of ups and downs. The bass line is quite interesting throughout and is something not necessarily common in this genre. The way the vocal melody is mirrored on the guitar was really effective, or vice versa. It stood out to me as the main hook of the track overall. This brings us to ‘Table Talk’. This opens up with a short guitar intro, the rest of the band jump in on top to layer it up quite quickly. The phrase that the guitar plays for the intro remains the main theme throughout. Just after the minute mark there is this little breakdown section that really stood out as a highlight. It was very well executed and provided it a bit of dynamic. I also liked the way the drummer picked up onto double time on the hats for the outro, it again provided something standout and dynamic.

The next track is track number four and it’s called ‘Mesopotomia’. This song has a strange intro that is very unusual. It sounds like guitar has an octave effect that you just can’t put your finger on. I really enjoyed it though because I like unusual. The little lick that finishes up each of the phrases was super. I think my favourite thing about this track is the guitar lines as they’re kind of non-stop on this one. It’s like a consistent trail of notes, not a lot of chordy playing, which is great. The song got a little bit repetitive towards the end, but the melody is well reinforced which is good. This brings us to track five ‘Hide Away’. This opens up with a drum intro, fast paced. I liked the anti-climactic nature of it, as opposed to everyone jumping in on top. It all tones down for a good atmosphere. This same vibe pretty much continues throughout. There is a break toward the end where we are brought a little breakdown followed by a guitar solo of sorts. This brings us to the last track ‘Sunslinger’. Another nice guitar intro brings this to life. I really liked the drums on this track. The beat is quite abnormal and slung around the kit a lot. In a tight way that sounds really good. The vocal melody is r very dynamic and effective. I particularly liked the end of the chorus. The last minute or so contains a really effective outro, no drums and the inclusion of claps and backing vocals give the track the perfect sound to finish on. It was impressive and super catchy.

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SINGLES

REVIEWS

International Artists

GOLD JACKS Take It Back From the initial opening the progression is marked in a truly definitive way. That builds the scope of the arrangement in a conclusive way that creates a sedate tune but it contains it all within a displaced sense of ambience that is built upon a solid foundation of play. The high value of the instrumental work carries everything through and gives the alternative calling a substantial derivative that is carried through in a well measured way on all fronts.

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MELTYBRAINS? The Vine

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Firstly there is a high sense of creativity at work here. That allows the band to engage the musical side of things in a stylish manner that is confirmed by how it is all fronted. The ornate trappings of the arrangement are a fundamental aspect from which the development of the music all comes to the fore. From the approach there are heightened aspects located in the rhythm which stem form that creative endeavour, while enveloping it all in a way that realises the totality of everything on show.

International Artists

RIOT TAPES Hello Insanity

Instantly there is a sterling sense of prowess about this track. The intro collects the urgency and that is met with a formidable intent that catches everything expertly. The retro panache of the tracking lights it up with a high degree of proficiency that is incredibly magnetic. It leads to the tempo adding a noted hard shouldering, while there is a lot to be said for the smouldering panache of the vocals of Elaine Doyle on

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THE WITCH TRIALS Virginia

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Fast becoming one of the best live bands on the Dublin circuit, this next offering from the band embraces their signature psychedelic allure. The lament of rhythm favourable marries to the sedate ambience projected. This commits an isolation to proceedings that is completed by the pick-up of the harder showing in the latter progression. In terms of how well layered it is it shows a band at the top of their game. This is a track so good it would make you believe there is a Santa Clause because when you hear it you will think Christmas has come early.

DUBLIN CITY ROUNDERS This is a stylish double A- side that has an apparent pleasance to it. The lay feel of ‘You Were Easy And I Was Hard’ commits everything. That is channelled through in the tempo, and the astute lyrics add character that sits well with the Jim Reeves vocal styling. That offers a committed sense of release in the country styling that accentuates the classical sensibilities. ‘The Fool’ has a token traipse in the beat that brings the grandiose showing to the fore. Here the delectable bass and guitar combo rocks in and that languished Teddy Boy styling neatly calls the shots, but it is framed in equal measure by the pressing value of the lyrical content.

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GEMS Living As A Ghost

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Released as the first single off their forthcoming debut album ‘Kill The One You Love’ this has everything about the duo that has made us fans since they started off. In the contained passivity of the vocals there resides an existential purity. That is galvanised by the finesse of the synthesised elements of the rhythm. The steady way it steps out carefully gauges that and the acceleration of pace when the playing piques is a sturdy calculation in so many ways. The appetite is duly whetted in anticipation for what their album has to offer if this is an indication of the standard.

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THE BLOOD RED MOUNTAIN BAND This is a bit of a slow burner but when it falls into place it does so in a way that works. The warmth and sentiment admirably add in a way that is cleanly processed. But where it derives something of inspirational note is how it all takes off. The mindful way the folk leanings are trapped gives it a confident boost which is lead in smartly and brought full circle.

8

GRAINNE HUNT

7

There is an intricate stillness to this track that is rather splendid. How it is embraced promotes a keepsake quality that is of fine note. The broader definition of the piano adds a sullen weight and this is procured in the movement to give it all something settled in terms of graceful apparel. The structure of it is ably accommodated in the throes present and that is where the partial value is found.

JINGO

International Artists

Once you hear this track play you are immediately hooked. The presentable way the alternative affirmations are doled out cleverly brings a sense of innovation to bear on proceedings. The playing arcs bring a validation that is exerted with true prominence. Yet it is more than just direct. It adheres to a smart design and the innovation of the band comes through in a way that is comfortably identifiable here. They pitch the tune in a way that truly sees them play to their strengths here.

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SARAH BEATRICE

9

A song that is cleverly built, it has something of a formidable quality in how the musical aspects are carefully considered. The result linger of the dragged guitar seems to create a lucid ambience alongside the latter progression. Yet it is done in a neat way that matures the overall sound in how it is transitioned. The referential context of the lyrics does fall short a bit, but there is enough in the overall delivery to give the dynamics a propensity that works extremely well.

SAINT TIIMBRE What this song brings through in the nouveau disco chic oozes confidence. That is confirmed by the grandiose texture of the synthesised rhythm and the overall execution here is simply brilliant. The consideration for the fluidity coaxes the track’s quality through. The steady way it is motioned is mirrored in the abject purity of the vocals and they seem to chaperone the delivery as a whole in a way that carries a majestic level of worth across. This is an outstanding tune with underground apparel that is remedied correctly from how pleasing it sounds overall and is carried off.

9

PUPPET REBELLION

8

This is an esteemed tune that prevails from the off. There is a clean connection between the compact showing and the relevant way that everything takes flight. It has a high end of indie credibility alongside this showing that is carefully processed. As such the impact of the tune is felt but so too is admiration for how fluid the Caribbean countenance of the rhythm and undertone combine. How this feeds into the overall showing adds a neat touch of class.

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LUMEN

What Will Life Make Of Me Blessed with a fine underground vibe, this is a tune that is carried through with true vigour.

Hints of cool collect on the tempo and the even structures. The clever way that the rhythm builds embraces a stern sense of the coveted but also corners the appeal of the distant feel trapped in the music. Akin to the clever way that bands like The Cure could corner the romance in the unfashionable, this is a tune cut from a very similar cloth which grows in stature on repeat listening.

98

NEW YORK TOURISTS Call

8

The collected way that this tune is eased in carefully tracks everything and it has an edge to it that is incredibly sharp. Yet there is also a countenance to the sensible way this builds. This sees the brash signature of the indie calibre fit around the arrangement in a telling way. As such the breakdown from the dynamics is one that is felt in a magnificent way but also cut loose with a fine degree of controlled demonstrated in the way it is all exacted.

AUTOPSY BOYS

Song For Deborah

International Artists

Inspired by B-movies, this is a rather interesting track indeed. The lingering synth on the intro gives it a kitsch calling and, along with the voice-over, it has an ultra feel that is reliantly called upon. That intro sets it all up and in the strong leftfield calling has hints of New Wave playing through in the structures. This is consistent and the playing arcs accommodate a distinct level of variety here that really takes it places, yet demonstrate a fine level of innovation from how it is all carefully laid on.

10 9

THE WINACHI TRIBE Plant The Seed

10

Oozing class and sophistication from the off, this corners the indie disco chic in a manner that is telling. The nouveau distinction carried through in the rhythm is of such an impeccable standard that it does get you moving. That timeless appeal smartly calls the shots by settling into a steady groove that has a truly telling pedigree that is dangerously cool. In the even manner of the vocals there is also a becoming quality that plays the part equally well. This is a tune that sets the bar high and is a real gem to have on any playlist.

Get on this now!

HANNAH AND THE WARS Only Wanna

We saw this New Zealand artist perform in Dublin this summer and this song has a tender showing that corners something real. You sense that at the core it comes from a real place. Yet there is a majestic consideration to how the scope and range of the instrumental work on the arrangement. It grants upon the delivery a valuable outline and the deftness of the flight is something that evaluates this accordingly. The end result is a soft and tender offering that evaluates the sombre tone in an earnest way much to the value of the end product on show. It is the splendour that sells you here.

8

CAVEMOUTH Deep Water

9

Getting down to business straight away, this has a confident swagger that is evenly called from the definitive way that the groove is traced. That deep calling is felt from the catchy guitar riff and bass hook that combine to truly devastating effect. Everything cleanly collects, and with the saxophone factored into the mix there is a true joie-de-vivre that results from how it is all processed. Add in the appreciation for the shared vocals and how they are traded on and you have a truly underrated gem.

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BOURBON STREET BEAT Crossing On A Bend

As this opens there is an apparent vogue carved out in the rhythm. How this works alongside the quickened tracking of the rhythm is impressive and it captures a timely quality that is intrinsically down to the way it is carefully laid out. That results in a calculated showing that takes flight in a steadfast way that demonstrates a fine understanding and appreciation for the blues. The refined calling of the vocals on the delivery sit well and give it a settled showing before it again picks up. Yet there is a practicality to everything on show that works suitably well.

8

THE QUINCH EXPERIMENT IRL

7

Off the back of the intro there is a strong opening and it considers the synth calling rather well. There is a sedate structure on show that embraces a pop calling. It errs on the right side of that though and is smartly contained. It does have a club feel about it though and that mainstream apparel is treated accordingly, but played accordingly. As a result it is hindered from that approach and the lyrics mirror this, but it still has a resolute sense of value found from what is presented.

FUTURE LOVE HANGOVER Family

International Artists

Described as a ‘robot-ballad’, what comes through on this offering from this Sydney based artist Jack Prest is rather supple. The finite touches of electronica harness a degree of sophistication which justifies the appreciation here. There is a taut remnant that echoes in the vocals and it benefits from the post-production work that gives it a processed chic over a natural one. This seems to locate the barren calling of the track in a way that teases something specific from the more remote showing.

8

NICK PES

California

8

There is a nice vibe to this tune that you can certainly dig. It does give it drive and there is an intelligent showing to the way it moves. In a lot of ways there is a charming sense of appeal to the steady calling here, much like the 1990’s classic ‘Children’ by Robert Miles. It has that choice wonderment that is somehow walked in but retains a subtle showing of style over substance that makes it work. That is found in the unassuming call of the breakdown which gets it right.

TWO JACKALS Foxglove

This is certainly an alternative track. The focus is undeniably on the gothic/industrial New Wave countenance. That gives it a dark organic that seeps through in a proactive sense as much as it does musically in the progressive leaning. It is a fundamental track that is schooled in the alternative and that is evident from the committed texture of the play that corners those attributes in an undeterred fashion from the off. Adding resolve is the isolation of the track which pays off in a due way as everything plays through in the withdrawn fashion set out by design.

7

YAWNING DOG Plastic

8

This is a track with a fine standard that holds sway over proceedings from the off. What that brings to proceedings has a galvanised showing as the guitar pummels away to drive it all on.

The relative manner that it cuts through is finely detailed. That allows the casual demeanour of the vocal delivery commit something raw to proceedings graduates the steady demeanour of the tracking. It executes the rock leanings of the band but also posits some indie credibility upon it that falls favourably.

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ARMSTRONG Just Cause

After the unsteady intro this displays aspects that are rather rotund. For that it becomes a better song and the ‘rough around the edges’ feel to it works rather well in that regard. What comes through in the committed sense holds the urgency of the tempo in a steady way. That displays a commitment that sees all the playing aspects gel with the vocals to give it what it needs. It has a taut showing that denotes a neat DIY feel to the delivery which sits well as it all comes together.

7

DONAL QUINN

9

The follow up to ‘Hand On Your Heart’ this follows it in the same energetic styling but also transitions something of real value in terms of how it holds it all down. The lyrics add a warranted sense of invigoration. How that aligns with the bursts of pace on the rhythm give it an upbeat showing that is rather dynamic by design, but it oozes confidence in a way that adds magnetism.

BANDITO REY Juicy Fruit

International Artists

Armed with a dangerous sense of intent locked away in the guitar work, this Liverpool band shows a serious degree of contention in the approach. The high manner of the urgency comes across in the delivery and the energetic pomp, akin to an early Kasabian, is highly stylised.

The intro is also impressive and it serves to give it direction when it begins to pick up. The standard on show is one with a keen eye on developing the catchy side but matching it with something of substance, and it works.

8

DREEMERS Alone

8

Even though it opens in a somewhat languid manner there is a harder calling in the undertone. That is then met with a knowing sense of prowess as things pick up in a harder way.

This fashions a guitar rich drive to the dynamics that steps out with prominence. It is evenly balanced and the pomp that collects in the tempo processes a side to everything that has bite, but brilliantly gives the overall showing a sense of solidification that carries it all the way through with nothing falling short.

STAR HORSE Straight away the first song on this double A-side truly stands out. The impeccable allure of the dreamy shoegazer fervour is tracked in an intimate way. The orchestration of the arrangement has this delectable sheen to it that carefully brings out the higher value of the elements with a true sense of totality. It reaches a crescendo that takes your breath away with the purity on show. The second track is another fine effort that also embraces a shoegazer apparel in a finite way. You do appreciate the texture and styling here because it fits everything so brilliantly. The pursed vocals linger here in a way that truly steals a march as it touches out the song so deliberately. It is euphoric and the highly relevant way that the catatonic structure of the arrangement suitably encompasses the overall orchestration would make Phil Spector proud. This is truly excellent.

10

THE CLOX History

9

From the fond pull of the opening chords this displays an apparent level of appreciation in the musical sense. The resulting worth of the song is found in the balanced way that the rhythm travels. It still retains a committed precedence that feels out the more urgent attributes in the delivery. They are kept on course with a formidable urgency collecting in the latter progression that develops the sound in a highly valued way. It keeps it on course and the countenance between both approaches doesn’t lose anything in the process.

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BACK BACK FORWARD PUNCH Settle The Score

With the even way that the EDM aspects of the sound are considered there is something of a club feel to this track. This is a trait that works favourably here. The harder feel of the drum and bass combo in the sound gives it a compact showing, and it is also capably framed. Fluid loops come in over this and add their own stamp to it, but the fluidity is something that lacks consistency in part. Despite the shortcomings it does have a subtle old-school feel to it that makes it easy to appreciate.

7

PLEASURE HOUSE Like A Drug

8

This is a nice tune. It follows an obvious outline and the strong opening line calls the shots. Around that the rhythm builds in a steady way that holds a selective appeal in the way it turns on the style. There is a languid distinction to the vocals but what is the really impressive facet here is the way that the groovy side of things adds a countenance. The nouveau chic of the rhythm gives everything a determined lift that takes it places. It is very steady but catchy in equal measure.

FICTION PARC

Remember The Radio

International Artists

There is something about this duet that leaves its mark. The feel that comes off here is one that leaves you with the impression that this is a musician’s piece of music. The way that the elements fall into place fosters that assessment in a deliberate way. The ambient movement of the tempo adds a stillness that develops the tone and it gives the grandiose aspects a sheltered demeanour that is equally abstract and fundamental in how it is all pulled off.

8

THE FONTAINES Your Coat

9

This tidy tune steps out with a calypso concentration evenly brought through in the foray of the delivery. They seem to chase this down in a content manner that accommodates the even flow of the vocals. Yet it has this charming upbeat ebb and flow that conspires by design in the breakdown. It has something going for it in terms of how it plays the part here and the charged calling of the handling doesn’t skip over on anything either. Rather it highlights the attention to detail in the play admirably and gives it a solid sense of contention.

CENTREFOLD Debauchery

Straight away you pick up on the obvious intent here. This is a flawless tune that captures an intended dynamic in the way it moves. The smooth way it drops out of the harder showing is smart, while there is a condensed characteristic in the sound that accommodates something indie but with a harder calling. The disco chic concentrations also grow in stature and there is a commanding sense of direction to how they impact on the delivery as a whole.

SOUTHERN HOLIDAY Stay The Night

7

Overall this is a somewhat twee effort. That assessment is made from the formulaic way it plays out. This is by the numbers yet it does have a neat countenance to it that lights it up in the right way. That is kind to the delivery overall because it accommodates the safer showing in the pop call by retaining a sense of consistency in the broader scope displayed in the arrangement. It is comfortably layered and that sees it through in a considered way that is apparent from the off.

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This is the August 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.

THE WITCH TRIALS ‘Wonderland’ (Dublin)

THE DIG ‘Made My Bed’ (New York)

WHITE REAPER ‘Cool’ (USA)

INDIA MILL ‘Dont Please Me (England)