Unsigned & Independent (June 2015)

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JUNE 2015

Little Xs For Eyes Jointpop And The Golden Choir Barry Sutton The Mighty Stef Orphan Boy Our Friends In The North

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OUR FRIENDS PETER DORANIN THE NORTH

Last month’s readership: 178,390

U& I Mus ic Magazine 26 K ings Inn S treet Dublin 1 Editor-In-Chief: Phillip Ó’ Baoighealláin Deputy Editor: Greg Clifford

EDITORIAL And so we come into the summer of 2015 and the sun is shining…but we also have an incredible issue jam packed with some of the best new music recommended to us albums, EP and single reviews.

We have also got some incredible interviews this month as

Writing Staff: Jamie Kelly Sean Brennan Marky Edison Liverpool Correspondent: Joe Loftus Manchester Correspondent: Dave Beech

among other things with us.

U&I Gigs Photographers: Eric Cooper Dom Marceleno

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in the pipeline and we should see them begin to take shape over the coming months.

of the best emerging music around.

LITTLE Xs

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Photo by Ruth Medjber

FOR EYES

LITTLE XS FOR EYES are one of those gems that are currently to be found on the Irish independent music circuit.

Be it the darling pop sensibilities of their music or their impeccable credential as a live band they have been marked out by everyone as a band that you have to track down.

Everything is looking up for the band with the release of their sophomore album ‘Everywhere Else’ receiving wide critical acclaim and teeing them up for an impressive summer of live gigs. We caught up with Bennie Reilly to get down to the nitty gritty of everything going on with the band.

We should start with what has everyone talking about you at the moment and that is the new album ‘Everywhere Else’. It is an album that is pop but at the same time is not pop.

It is one of those hard ones to define or pigeonhole. How would you describe the album in terms of how it sounds?

We call it pop because the songs follow certain pop criteria – they're bouncy, catchy and mostly upbeat with lots of hooks. The lyrics and themes of love and escape are personal, sometimes dark but they're clear and relate-able. Maybe it's not pop where the rhythms, instrumentation and vocal arrangements are intricate and unpredictable, or where the structure of the song is a bit unconventional? I think over-all it is a pop album but with an alternative flair.

One of the other interesting things about the album is how it marks a progression collectively. With your first album ‘S.A.D.’ things leaned towards a more instrumental approach but this time out it seems to have a focus on a more synthesised sound more. Did you set out to deliberately make an album with a totally different sense of direction this time around or is it a reflection of a natural progression for your sound more so than a deliberate attempt to push the proverbial envelope?

It was definitely a natural progression. A reflection of the mutual pop influences of the members in the band at a particular time.

We've developed and shifted quite a bit since we started out; our first EP released in 2007 was heavily folk influenced but when writing S.A.D I was starting to lean toward pop, 50s and 60s pop in particular but with synths sneaking in. After releasing S.A.D I started to write more songs with synths to the forefront rather than my guitar. Harry joined the band at that point too and I think with his distinctive, hooky bass playing style and pop-sensibility he was the final piece in our pop jigsaw. We started to develop the songs for Everywhere Else as a band of six synth-pop enthusiasts.

When did you begin taking the first steps to writing and recording the album? And how long was the process as a whole overall from start to finish?

We began working on the new material in 2013, not long after S.A.D. was released but it was April 2014 before we started

recording. We had initially planned to record and engineer the album ourselves and got about half way through before deciding that it was too much work. It took a bit of time then to decide on and book a studio, and to get some cash together so that's where the delay came but that extra time did give us the opportunity to fine-tune the songs we had and to write one more (Funk Island) so I think it was probably meant to be.

With the new sound on this album has that changed how the song writing dynamics work for the band?

The songwriting process hasn't really changed but there is currently a great harmony between the styles and influences of each band member and that has really flavoured our sound.

The album is one that has been critically acclaimed. We reviewed it in last month’s issue and gave it 10/10. In terms of you being an unsigned band, did that give you the freedom to make the album that you wanted to make?

We call all the shots when making our music; I can't really imagine doing it any other way. I don't think I would respond well to being advised on a certain type of song to write or sound to have. I've never written a song to suit a certain vibe or set of rules ...songs just sort of spill out whenever and however they want to.

Sometimes I think it would be interesting to work with a producer, to see how that might alter or enhance the songs structurally but I think we pretty much nailed it with Everywhere Else. It's just how I hoped it would sound. I don't think there's anything I would change.

The launch night for the album was a spectacular gig we must admit. We had not seen you guys play live before but you certainly lived up to the hype in our opinion. In terms of playing at Whelan’s it would seem that you wanted to get the right venue for the launch as much as you wanted to get the album out there for your fans. Were you pleased to see that you played to a full house that night?

That gig was like a massive, happy exhale after a year of held breath! It really was a great gig for us. The size and excitement of the crowd immediately put all our doubts to rest and we just had a ball.

With the new tracks and sound, how have you found the reaction from your fans? How did it feel to get the tracks out there before a live audience as opposed to hearing them in the studio?

Well we had been playing most of the album tracks at gigs before they were recorded. We noticed straight away that the new material in our set was getting a good response, it really stood out and that was reassuring and gave us confidence when it came to recording.

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What also caught our attention off the back of the album has been the video for ‘Logical Love’. The tune itself has a rich retro feel about it but the video also has a charm offensive in the VHS aesthetic.

But it is also a concept that is incredibly novel. What was the thinking behind the concept for the video and how did it go down with you as a band when it was pitched to you?

I have to admit when Spiceburger first pitched the vampire idea to us I was a bit surprised... vampires? Where had that come from? But then I listened to the song a few times with that imagery in mind and it started to make perfect sense. The retro, montage style of the video really suits the pace and vibe of the song, and then there's the vampire whose trying to deal with his “illogical” longing for the sun – it's fun but a little bit dark, just like the song.

Have you guys started working on album number three yet?

Not yet, but I have been writing a lot so there are plenty of songs on stand-by if we do decide to make a third.

‘I don't think I would respond well to being advised on a certain type of song to write or sound to have. I've never written a song to suit a certain vibe or set of rules ...songs just sort of spill out whenever and however they want to...’

You have been on the Irish circuit for a long time now, but how did the band initially get together?

Little Xs For Eyes has existed for almost ten years! Davey and I formed the band back in 2006. We had both been guitarists in bands which broke up (Life After Modelling / Ellison 9) and had both started to write solo material but we decided to join forces and get some of our musical friends involved. Michelle is one of the original Xs but many valued band members have come and gone since then (including Sorcha Brennan from Sleep Thieves and Al Higgins of Le Galaxie …that’s some pretty high profile alumni!). In total there have been 11 Little Xs. We are now beginning to come into festival season. Will people be able to see you guys live anywhere this summer?

We've just played BARE in the Woods and we played Inspirefest earlier this month…but we are also playing the Homebeats Tree Haus stage at Body&Soul.

JOINTPOP In 2012 we were put onto a very cool band via our music network in Trinidad And Tobago who go by the name of Jointpop. Since then we have kept a keen eye on the band because they very much have something about them that marks them out as a serious band with the music to match. They have recently released the follow up to their 2013 album ‘Pot Hounds’ with Quicksand. We caught up with frontman Gary Hector to talk about the new album and everything else that they have going on and here’s what he had to say The new album ‘Quicksand’ is the follow up to your 2013 album ‘The Pot Hounds’.

One of the key things stands out on this album is that it is a more mature offering in a lot of ways. Is that a deliberate theme that you wanted to bring with this album or is it purely by coincidence?

Well it really comes down to the band gaining confidence, momentum and self-belief. This present line up has been together for 9 years and Quicksand is it's 4th album, so all aspects from the song-writing, arrangements, understanding and performance are more solid and mature. So it’s more down to pure growth.

To follow up your previous album with this one inside a two year period is impressive. Was that down to any of this album being material that didn’t make it on to ‘The Pot Hounds’ or was the process as a whole an entirely new affair from start to finish?

All through the years, we only write songs once we decide we want to make a new album.

I can’t recall ever writing the odd song in-between albums. It’s just not the way we work. So 12 new songs were written for Quicksand and then we recorded a cover of

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‘London's Burning’ by The Clash, of course we used Trinidad's Burning as the lyric.

As the sound is so different on the album, was that change in direction something you set out before you began recording or did it start to come about once you got into studio and began getting down to business?

A few things happened during the writing and recording process. Firstly, I really pushed and encouraged the keyboard player Phil Hill into writing songs or song sections, and that is all over the record. Then the rest of the band quickly caught on to the feel and vibe of the songs. Then to add to that, the choice of recording studio, which was really an estate country house on the East Coast of Trinidad, where we set up all the gear from Eclipse Audio Studio, which is owned by Dion Camacho , the drummer. The sound and feel of the album got the final touches from the

producer Paul Kimble. So we all lived at the house for two weeks just recording and having fun, cooking, playing cards, darts, football, drinks, laughs, working on our short game for golf and other assorted Island habits.

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

The video was directed by an Englishman living in Trinidad called Badger Smith, and produced by SASI Caribbean, which includes Badger's wife Sara and her Sister Simone Camps. They expressed an interest in working with us and the song, we had some discussions and he explained his direction and we went for it over a three day period and we all worked well together.

It is also a wonderful tune in its own right. We drew comparisons with Elton John et al when we first heard it play.

But the video also captures the heart of the song. How pleased were you when you saw the end product?

We could tell from the start that it would be top class, just in the way they work. Very smooth and flowing, just the way we like it.

We can’t stand Labour, which is why we are in a rock n roll band. The first viewing of the final cut had no problems or changes from the band and we were all very pleased. That says a lot as we are not generally a video band.

This is the first video which includes us in nine years.

With that reflecting the maturity of the album are there any songs on Quicksand that have more significance than any of the others?

I tend to look at the album as a whole component versus the songs. That is why we only write songs when we decide to make an album. So it’s always album title first, then build on the theme and its surroundings. So once ‘Quicksand’ stuck in my head, I'm off to work on lyrics, chords and melody. You can either sink or survive quicksand, so it’s a bit about both. The band, individuals, the country, the world is in quicksand. So sink or chill.

Another person who was involved with the album was Paul Kimble. Coming from Seattle must have meant that his level of experience as much as his expertise was a real added bonus for you getting the album made. What was it like working with him and how did he contribute to what you wanted to achieve with the album?

Paul Kimble was a massive part of this album.

He is the bass player and producer of one of my all-time favourite bands, Grant Lee Buffalo. I saw them live in San Francisco way back in 1993 and followed them since, including Grant's solo work. Paul also produced the brilliant soundtrack for the cult classic movie ‘The Velvet Goldmine’. One day I just saw his name on Facebook, so I sent a friend request, and we started chatting and that led to him agreeing to produce the album.

I had him on hold for a few months as we had to find some creative ways and means to find funds for the entire production costs for the

album. From the moment I picked him up at the Trinidad airport, 20 minutes late of course in true Island style, I knew it was going to work as he started going on about how cool this record would be and that he just wanted us to all have fun and enjoy the process. His basic motto was ‘Shut the fuck up and play or sing or whatever’. That was exactly what we needed at that time in our journey as a band.

It is also not your first album. If you were to compare first album ‘Port Of Spain’ to your latest how do you think you have grown as a band in that time?

Each of the seven albums means a lot to us.

We keep pushing ourselves to keep positive progression as we go along. Not to mention, being a band with no label and management, with no one to ‘answer to’, we can do whatever we like. That can be a problem, but it’s more exciting that way. It is what keeps us alive.

That also makes you a band that saw the early days of the internet. Given how it has shaped the music industry and the music business in so many ways what do you see as the main pros and cons?

I only recently found out how to send attachments, download files and all that, and still struggle with most things online.

The internet is a big plus for us being so far away from the main music capitals and it helped us gain an International following via press, radio and tours. It’s safe to say if the internet goes away now, so too would Jointpop on the international level. The downside is very obvious in that it’s so much to digest, but we’d much rather be one of the things you can find and then say yes or no too.

Where do you see the future of everything for musicians in an online digital world of music?

Hard to say, it may only get harder and harder, but people will always make music and people will always decide.

You might be from Trinidad but you are familiar with the music scene in the UK and you have played this side of the pond before. What did you make of the music scene over there?

We toured the UK in 2006, 2008 and 2011.

Obviously it’s much different and bigger than the scene here at home. It’s got history and all the infrastructure set up. We do notice lots of bands in the UK taking it for granted as they are all based there. When they hear our stories of what we go through at home and what it takes for us to get to the UK, we can actually feel them cringe.

Did you have many musical influences from British bands growing up?

Yes for sure, growing up we had lots of British Music influences. For me, that goes from the 60's invasion bands, The Beatles, The Stones, The Kinks, The Who to the seventies Hard Rock styles of Black Sabbath, Led Zeppelin to Bowie, T Rex, to The Clash, The Sex Pistols, Then to The Smiths, The Cure, The Stone Roses, Pulp,

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Supergrass, The Libertines. Lots of British bands.

Do you have any immediate plans to return to play again?

We are looking to do so again in October 2015 to promote the Quicksand album. We are always planning. The fact is ,we can’t get any bigger in Trinidad and Tobago. That's just the way it is, and it won’t change. We respect that.

Our music at home is mostly Calypso, Soca, Steel-pan, reggae and Top 40 hits, and that's just fine, the rhythm of the Islands. So we will be forever underground, we can’t change that. So touring the UK, Europe and USA is our lifeline as Quicksand. It is easier said than done, but that's what we do.

You took in Liverpool on one of your trips. What was that like for you on a personal level and what did it mean to you from the perspective of being a musician?

‘...he (Paul Kimble - Producer) started going on about how cool this record would be and that he just wanted us to all have fun and enjoy the process.

His basic motto was ‘Shut the fuck up and play or sing or whatever’. That was exactly what we needed at that time in our journey as a band...’

I am a rock n roll historian. I have tons of books and documentaries. I consider myself more a Rock’n’Roller than a musician. Once we got to Liverpool, and we stayed for 4 days, I set about the city…Matthew Street, The Cavern and everything. Openly admitting I cried outside the Cavern in the rain smoking a cigarette and listening to ‘Eleanor Rigby’. It was amazing to see the hold the Beatles still got on Liverpool. It’s all over the place. I knew that, but seeing and feeling it was something else.

What else is in store for the band through the summer?

We will continue to promote the album internationally ,play gigs in Trinidad and Tobago. We will also be working out the funding mysteries to get to the UK and Europe in October 2015. That tour funding part won’t be fun, believe me, as the so called singer as manager, but the word is if you just chill and don't panic, you would get out of the quicksand somehow.

RADIO

Radio Room are a band that we had the pleasure of seeing play a few weeks back at The Fluffy Noise and we thoroughly enjoyed their set. From talking with the band that night about everything they have going on it is clear that they are going to be a band that will generate a lot of buzz off the back of their eagerly awaited debut album 92|93.

Having reviewed their album in our May issue we decided to find out more about what else they have going on caught up with Robbie Murphy to talk about a lot of cool stuff…one of which was working with Steve Albini who has worked with bands such as Nirvana in the past. Here’s how it all went down.

First things first guys, we have to say that we thoroughly enjoyed your album. From the opening track ‘What You Heard’ all the way through to ‘Curtain Call’ it has this rawness running through it that meets a progressive calling. Was that the sound that you were always going for?

When we were writing the music we aimed to make it very stripped back. Before the album we heard we were a band that had a reputation for layers and more while recording, so we really wanted to not build on that element and produce something that was more accessible and raw to the listener. We're very happy a lot of people have been passing comments on how they feel the atmosphere in it. It's really enjoyable to see someone kind of suss what you're at as a band.

routine that you were familiar with bring the sense of discipline that is necessary when you go into the studio to do something like this?

The dynamics that come through on the album are there to be picked up on. But how does the songwriting process as a whole work for you guys as a band?

Overall, how long has this album been in the works for you guys?

When we're writing music it usually starts with a jam followed by a conversation. Ideas will flow in the room and we let it free flow for a good amount of time before we stop and say ‘ok, where's this going?’ We write more through feeling than anything else.

Did any of that change for you during the making of this record or did having a

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With the album, it kind of went slightly different.

There was a constant sense of sitting down and thinking ‘do you think there's enough going on here? How good can we get this part?’ There's certainly a level of strictness before letting a track go on an album.

We started in summer 2013 when Collie's parents went away for like two weeks and Robbie decided 2013 would be the best time to write about what was going on. It was very natural, we chilled and lived with each for more than two weeks and it all came together pretty fast. We set deadlines for certain songs and kept the ball rolling constantly.

We were talking last week… how it's weird that you write music in 2013 and people enjoy it in 2015. We find it all mad really.

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The title of the album is ‘92||93’. Would you say that it is an album that would sound more like that period in the early 90’s or something that is more in tune with your contemporaries or the artists who have influenced you musically?

The album title is interpreted numerous ways so far, it's so interesting seeing what people take it as. In this sense, I think the album has a lot of 90s/early 2000s influences. We tried our best to pull away from trends that are current. Breaking the mould, as they say.

You have also issued the album as a limited edition vinyl pressing. It seems that vinyl is big news these days and it is very much in fashion. We would be inclined to think it never went out of fashion. But do you think the vinyl charts will be something that could re-invigorate the importance of the charts once again or do you think the way people consume music today has changed the landscape for the charts too much for them to ever return to the heyday they once enjoyed?

I think people want music and they want it fast.

Vinyl is a beautiful thing to capture that moment where when you listen to an album it's special.

You have to get up, put it on, and if you want to switch album you've to make physical movements to do so - you'd be surprised at how much a difference music making you do things physically has. When you compare it with digital music it's quick and it's fast - you have all the music you want at a slight touch of a button. You listen to 20 seconds of a song and skip it instantly; with vinyl you're sitting down and embracing it more. I don't think it'll ever go back to what it was…it's only a certain few keeping it alive. But it's a pleasant thought that people still indulge in it.

The other big thing about your album is that you got to work with Mr. Steve Albini.

It goes without saying that working with someone of his standing is a bit of a big deal. It is a huge deal in fact when you consider the bands he has worked with in the past include Nirvana and The Pixies.

How did he come to be involved with you in the first place?

The idea of Albini working on the record came up a lot more causal than we would have thought. It was like ‘hey you know what, this record would sound cool if it was recorded by Steve Albini’ towards the end of the writing sessions.

What was he like to work with?

Now that it is finished and it is out there where does it rank for the band in terms of achievement?

We've done some mad things as a band - I remember a guy telling us when we were in school we wouldn't last a year, that stands out when talking about this stuff - but this is without a doubt up there. It's an accumulation of everything since our bands inception and means a lot to us. I think when we're rating achievements people always think ‘was it playing on front of 1,000 people?’ or something like that. But to us it's always something personal. Releasing an album was the biggest to us.

We'll take it as it comes.

The band got together in 2011, but who were the influences on you all?

Our influences are always changing, but when we started it was very obvious bands I guess - bands like Arctic Monkeys, The Libertines, Nirvana, Blink-182. Bands you listen to as a kid. I remember swapping all those CDs with our friends before downloading music. You were the cool kid if you had a big collection of CDs to loan out.

Steve was incredibly awesome to work with. The album unravelled around us. He had some great words of wisdom and never got too involved with our music, he doesn't believe in such a thing.

If you know what Steve Albini is about you'll enjoy the experience more.

You are quoted as saying that you learned a lot from the experience of working alongside him. In terms of what you learned from him what is that you can say you have taken away from it that has meant the most to you that speaks to you on a musician’s level?

The thing is you're going into a big studio with a big producer and you're surrounded by big names - Foo Fighters were in a week before us for example - you're talking about all this and then you look back at your friends and family talking about it and it becomes a ‘thing’. When we got there there was some kind of pressure on us to produce something, as if we needed to make some kind of award winning record because of all this. I think Steve felt that within the first two tracks we recorded, we ended up re-recording them the next day.

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So we sat down and talked with him for ages about the music industry – the Nirvana questions that he probably hates answering, the questions about bands we're fans of who have recorded with him, and general laughs about music. You can't get that from any other studio or producer - that edge being taken off by a guy you've heard so much from and he's right in front of you helping you out. I think he put the importance of the album together in a few sentences: "This is your album and you're gonna take it to your graves" - pretty much letting us know we should do it for us and only us.

There were no half measures when you started working with him and you flew out to Chicago to finish the recording. Did going over there to record take you out of your comfort zone in any way?

Going to Chicago to record added a slight bit of pressure, the comfort zone was certainly escaped however, we're a band that's all about that and enjoyed that challenge. It was very, very cold though.

We interviewed The North Sea last month and they recorded their album in two weeks in France. Their frontman Eoin Kenny said that gave them a greater sense of focus because it put them under pressure in a good way because it made them realise how valuable the recording time was for them. As such it seemed to make them tighter when they got into the studio to record. Did recording the album over there have a positive effect on you guys that you might not necessarily have had if you had recorded it in Dublin or somewhere more close to home?

Your surroundings are a big thing in recording music. I think you can certainly hear/feel the difference when I listen back to the tracks. We've only recorded EPs in Dublin, so it was all very fast and pacey – in Chicago we had a lot more time to relax and not make too many cutthroat on the spot decisions that could have possibly affected the album.

The recording process was very old school.

None of it was digital. It was all done on tape.

There were no computers or plug-ins. Did you find that you developed more as a band from that experience?

In a way that can impact on your playing style in the studio in ways you don’t realise. Have you noticed any of that input coming through now in your live shows that you recognise as been directly from the Chicago experience?

It certainly made our album a lot tighter live! When we play those songs it's like second nature. We spent so many hours on each track in Chicago, playing them through as a band numerous times until we got that perfect take. Now when we play gigs it's like you don't even think about it anymore, we can produce so much more energy because of the confidence we have playing them live.

A year ago you supported La Dispute in Whelan’s…fast forward a full 12 months almost and the band are featured on The Huffington Post website. How would you describe the past year for you all?

The past year has been really amazing. The biggest difference is the people who have come over and talked to us at shows or contacted us letting us know they enjoy our music.

We've grown closer the past year and have shared a lot of experiences we didn't think we would. We're happy so many people are taking to us now and relating to our music - there's always something special about our songs meaning something to someone you don't know.

What lies ahead for you guys for the summer and beyond that?

Now the album is out, we have just dropped our debut video for "What You Heard", and then we're gonna gig our hearts out and continue writing music that matters.

AND THE GOLDEN C Thank God for an alcoholic family. After three quick pints of undoubtedly the worst Guinness I have ever had the privilege of slurping up onto my tongue in the Bramley Moore, I looked at the clock. It was quarter to three. The Probes were on at three. Did I leave now or have another pint. I left. And Thank God. When my tipsy legs delivered me to The Cavern Stage, And The Golden Choir were preaching the last of their set ‘Angelina’ I stood in awe, wholly mesmerised by the emotive cacophony. Some statements are brash, and this next one may seem to be so. And The Golden Choir is the best band I have ever heard. They are on a par with The Prayer Boat and with Defeater: but that is on a par of unbeatable greatness. As the set concluded Tobias, the bands only member, went to stroll past me, but I stopped him and we spoke in broken English about his brilliance before he gave me his email address. This is the interview which followed, after weeks of listening to his most recent album constantly and continuously. However, before we go any further, let me urge you to listen to And The Golden Choir. Just a short few minutes on YouTube searching for ‘My Transformation’ or ‘Angelina’ and when you come across the music it will blow your mind.

Tobias, for once I truly don't know where to start with my questions. I am wholly puzzled. I guess we could start at the beginning though. Tell me about yourself and how you came to music?

I remember, being five or six years old, sitting on the couch in our living room early in the morning before school, I sat there and heard the morning radio program with 80's music. I deeply remember Culture Club's ‘Karma Chameleon’ and Madonna's ‘Lucky Star“.

I was singing along in a fantasy language and drumming along on an imaginary drum set… every day it was the same hassle, when my parents came and said: ‘c’mon let’s go, it’s time for school’ - I got very sad and cried. When I was seven years old I found my father’s old guitar in the attic… from this moment on I played guitar alongside the songs on the radio - and in my head I was the biggest rock star you could imagine.

I founded my first band in 1989; we were called The Overshade; a darkwave industrial band with two synthesizers and an Atari computer. We sounded like a collection of the darkest moments of Depeche Mode.

Four years later I played bass in a grunge rock band and in 1998 I founded a new-Berlin noise rock band called Delbo with two friends. I played guitar. Up until this point all projects were just first steps, but Delbo was the first proper band with a label, and a lot of big tours in Germany, Austria and Switzerland. Delbo sounded like early Motorpsycho, Sunny Day Real Estate or in its quite moments like The Codeine And Blonde Redhead. Around this time I started to gather first experience as a recording engineer and producer and in 2001 I built my own studio in Berlin. In 2003 I founded the band Klez.e because I wanted to be a singer in a band! Klez.e was the name of a computer virus at that time. It's a band in the influenced by bands like Radiohead, Kashmir or The Notwist.

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During the time between our own records and tours I worked with many bands in the studio as a producer and earned the name ‘Indie Pope’ from German music journalism. I produced albums for me and my drummer, Phillip Boa And The Voodoo Club, Slut, Jaki Liebezeit from Can and so many more great bands. My sound was never a typical German sound because I find most German music quite boring. So after being a singer in a band, my next idea was to create a project with only myself. Completely without other opinions or other musicians and so in I started And The Golden Choir in 2009. The songwriting to my first song ‘The Transformation’ started without a song- or even an idea for a melody. I just got behind the drum set and played for four minutes. Then something random occurred. After a minute or so I changed the drum line into another pattern that i thought could be a chorus…

And The Golden Choir was born and a lonesome journey began inside of me.

I know you were only very young as the Berlin Wall fell. Did that impact you at all? It must have to have two entirely unique cultures colliding at once.

Yes. I was thirteen when the wall came down. It was a very strange situation. I came from the east part of the city and socialism turned into capitalism. At first it felt great- Coca Cola was there. Everything was available and the world was now a paradise for us. A friend of mine described it this way:

by Joe Loftus

To me, your songs are undeniably brilliant.

And if I am to be honest with you then I'll have to say that you are the finest artist I have heard in all my time as a music journalist. You are incredibly different in all aspects of your music. However one thing really stands out to me, your lyrics. I love to read them as I listen to your songs and watch as the story unfolds.

There is a sinister simplicity in them which I love. It is like Celine or Beckett. They are utterly haunting yet very innocent at the same time. A whole array of raw emotion and anecdotes, written in almost Biblical prose, comes through. How do you go about writing your lyrics?

Thank You very much and yes, I am still waiting for Godot!

It is a little bit of everything you said...my lyrics are little stories decorated with tiny strange things you wouldn’t expect. A sort of amalgamation of invented ‘what if’ situations.

An important book for me was Max Frisch's ‘Mein Name Sei Gantenbein’. I read it in 1996. The main character Gantenbein acts in many different roles.

At one point he pretends to be blind, and even manages to get a medical attestation for that.

Everyone believes him, even his wife...therefore he is able to spot his wife’s secret lover, because they don’t even try to hide in front of his eyes...

There also seems to be a lot of personal touches in your lyrics which I adore. It is not like that other shit that people sing to sound arty or peculiar. Your lyrics are truly emotive.

To what extent does your own life inspire your words?

CHOIR He once bought a remote controlled car in a toy store because he was completely overwhelmed to see those things really work without a cable. In East Germany all remote controlled cars only worked with a short and boring cable. Unpacking the thing at home he realized, that the thing was just wrapped in a way you couldn’t see the cable, but it also was there. What a disappointment. That was the first contact with capitalism.

But years after that, there was an upcoming sub culture in Berlin. I remember going to secret tekkno and dark wave parties. It was a good spirit, a good energy… far away from the mainstream.

Who are your biggest influences? I remember speaking to you after your gig in Liverpool and telling you how you sounded so unique. Like Jeff Buckley, like Anthony and the Johnsons, but also like Emmett Tinley - God bless Emmett Tinley.

As you have so rightly said I´m a big fan of Jeff Buckley…especially his voice. But my all-time favourite band would be The Cure. I´m very sure they have had some influence over the melodies in my music. And also The Black- Arounds Me. I think another big influence is the band Dead Can Dance. They experiment with many old traditional instruments and that's one reason why I started to use unusual instruments…but another recent influential input would be PJ Harvey’s recent album ‘Let England Shake’.

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Hmmm...of course, it’s one of the main topics in this project… to find out more about who I am. Like my own psychotherapy if you will. In that sense it’s a good thing to be just on your own sometimes! I find a lot of pieces to a puzzle inside of me and all the stories are being created when those pieces of the puzzle come together. At the same time, the whole picture does not give away the various forms of the pieces.

What has been the hardest thing you've had to go through as an artist?

On the album i played all instruments myself. My live concept is to play on my own too. My different alter egos are pressed on a vinyl record which I call ‘the band’.

Once during a festival the wind blew the record players needle from the vinyl gain and again. The songs got interrupted constantly. The wind scratched my tracks. It was very annoying but a little bit funny at the same time.

What has been the greatest thing you've gone through as an artist?

At the moment the greatest thing is to go on this journey with And The Golden Choir. I drive in my little car with all my instruments, my vinyl records from show to show, from one country to another. I love it. I seem to have arrived to a place where I always wanted to be.

What is your philosophy on life?

To live.

What is the aim for And The Golden Choir?

I’m playing some festivals this summer and I´m working on the second album. The next step is to bring my music to France, to Benelux, and to England. The Liverpool Sound City Festival was really great and I look forward to doing more in England.

Photos by Kaye Kim

BARRY SUTTON ''There she goes, there she goes again...'

If you don't know Barry Sutton's name, you will certainly recognise his guitar work. The heavenly chimes of the La's signature song called many to the dancefloor throughout the late 80's and early 90's.

At a time when clubs and teenage discos were soundtracked by Stock, Aitken, & Waterman, Sutton helped bring the guitar back into pop music. The band had moptop hair, baggy clothes, and overt sixties influences long before those things came back into vogue. They lit the touch paper that would explode into the music popularly known as Madchester and Britpop.

He now plays with his band Beatnik Hurricane featuring a rotating roster of musicians including former bandmates from the La's.

Sutton has been a fixture on the Liverpool music scene for nearly 30 years. The band recently played a residency in the Everyman Bistro where they would invite guest musicians from wide ranging genres to join them for epic jam sessions.

U&I had a chat with the legendary Liverpudlian

when Beatnik Hurricane played Sweeney’s Mongrel in Dublin. And here is what he had to say to our reporter Marky Edison.

You roadied for The Fall back in the day. That seems like as good a place as any to learn your trade as a musician. How did that come about?

What kind of lessons did you learn there?

Excellent question, one you may regret asking because of the length of the response. Mark E. Smith was and always will be a huge influence on what I do, as a role model for integrity, originality and attitude. Last year when I was gigging over here with Dundalk’s favourite son, and friend of ours, Jinx Lennon, I was talking at length about The Fall and what they mean today. I worked for them 1983-86 after a chance meeting post-gig in Liverpool. Talking to Steve Hanley and Karl Burns, the two totally wired drummers, my Marshmallow Overcoat band-mate Lol Geoghegan asked if they wanted any roadies. ‘Unpaid ones, yeah.’ That was the invite, so we hitched to Leicester Poly, snorted half their amphetamines, drank gallons of free lager and set up a couple of cymbal stands. We did this for the next 3 years, watching our favourite band at the peak of their powers…razor-sharp, wired and hilariously brilliant.

And still inspirational from the distance of thirty plus

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years. Plus, Mark may not suffer fools gladly, but he was lovely with us. Paternal even. Always made sure we had money, somewhere to sleep. One time in 1997, I saw him outside a gig in Liverpool, poor as a church mouse because the guest list was full, he paid £30 out of his own pocket to get me and a mate in; the Mark of the Smith.

The genius of The Fall was reclaiming the avant-garde for ordinary people. Listening to C n’ C S Mithering, Slates, Wings, New Big Prinz etc., I feel that Mark is our Dylan. A working class northerner who had a revolutionary attitude to language and performance.

The first time I saw them was April ’82, I know, I don’t look old enough, flattery will get you everywhere. Mark came onstage in a pair of Farah straight leg kecks, 70’s bomber jacket and old man black vinyl slip-ons, like a complete reject, and played the most awe-inspiring, relentless, mesmerising, downright fucking REAL music I had ever heard. Fuck the peacock posturing.

And that’s the enduring lesson. Bands like U2 and Kings of Leon make me physically sick with their flatulent, flag waving, heroic emptiness. Ask this; what relevance does this stuff have to my day to day life? Tell me YOUR story. That is the lesson. Watching this night after night has burnt a no sell-out, no compromise, integrity is everything ethos, consolidated by hanging out with Lee

Mavers. And explaining why I don’t have a career, ha!

But what I do is worth a million phoney showbiz wanks, a plethora of 6 month X Factor tabloid puppet car-crashes. I play from the heart and am liberated with each beat. The rest is just stuff.

So as a psychedelic kid growing up in Liverpool in the early eighties, The Fall sounded the same as what my life looked and felt like; dank, haunted, sarcastic, angry, drug-warped but ultimately delivered with a redemptive fire and black humour and, crucially, uber-REAL. Some people get high to get away from reality. They are the addicts. Others want to understand reality, evolve and expand their consciousness. I really cannot abide sugar-coated, romantic, soft-tinted angles on anything. Therefore, Jinx is the real heir to Mark’s crown in the modern day, I love the way he turns language. Forgive The Cunts, Fight Diabetes, Balaclava Boys, Gobshite in the House and Bubble Electrician are genius, venom, tempo, fire and talks about everyday stuff that we have all experienced, girls with hard faces in baseball caps, small time coke dealers getting battered, Neanderthal bosses working out their petty grudges on overworked staff. And from a natural angle, ranting Irish rage, real lingo and laser-guided Dundalk humour. Alex Turner was good for five minutes and although I like Arctic Monkeys, the slick, overproduced quiff fantasy soundtrack is not keepin’ it real in my book. Finally, I have to say the last time I saw The Fall in 2011, Mark was just a mess, which made me angry. Time to retire and become a writer, maybe? So, those are the lessons and brought into local context too. Just wow.

Jeff Buckley favoured live music and said that the best musical moments were those that dissipated in the air like smoke.

Considering the length and breadth of your career, there is a relative paucity of studio recordings of you. Is that something deliberate on your part? Is live music more important to you?

Not planned, wish I was clever enough to have a thirty year enigma strategy. Plenty of stuff on YouTube involving Smaller, Marshmallow Overcoat, Book, The La’s, The Walking Seeds, Mirrorball and Beatnik Hurricane, if people care to look. Not Cast. Thank Christ. La’s-Lite for the hard of thinking.

Live is very important because it’s the funnest thing, especially when the women get down with it. Libido ritual shamanism. Yeah, real Friday night stuff.

Just like druids of groove without the robes. Not that I have anything against them. In fact, that was the follow-up single to Sultans of Swing until the Illuminati brainwashed Knopfler. Hypnotism, trancing. Lately, I have ditched playing the guitar and concentrated on performance, running round, having a boogie, you know. Outside the venue.

Stuff that happens in the moment can be transcendent but equally can happen in the studio. Scope for collective improvisation is key to Beatnik Hurricane. The La’s meant a year of playing the same, admittedly brilliant, songs in exactly the same way and in the same order, night after night.

Been there, done that. I can honestly say that every Beatnik gig has been unique; we are UNABLE to play a song the same way twice. Not more important, I love studio too and you can have a scream there PLUS product to impress your friends with. Creativity and performance are subject to the laws of diminishing returns. To be in the moment, it helps if you don’t know what’s coming next. No autopilots here. And as for Jeff, never treat the word of a drunk who drowned swimming in the Mississippi as gospel. So in short, what was the question again?

Newry and, apparently, I am an honorary Dundalk mod. And that Dave Keenan, randomly appearing in Liverpool means we have equally randomly appeared in Ireland. Someone told me he has a virus. No, wait. His song El Paso gives people a virus. That’s it. He is a good friend and I will be blackmailing him to join the Beatniks in a medley of South American national anthems that close our set.

We play with our friends in Liverpool all the time. We had Dave McCabe (ex The Zutons) playing bass for us the other week. I am not really into the fantasy band idea. Hell, I’ve shared a stage with Mark Smith, Lee Mavers, Arthur Lee, Gary Lucas from The Magic Band.

And I’m no musical snob, if people can groove, I’m there. We already have amazing musicians that we play with on a weekly basis; Cammy and Mick ‘Badjazz’ Marshall are stellar guitarists (Stella?), Leon is a groovy bass playin’ cat and Kid Hurricane defies his ID to lay down indestructible grooves. Phil Lucking and Martin Smith are amazing trumpet payers and we have enough in the way of groove, swing, improvisation and fire to fill hours up with unpredictable, uncharted FUN. I had an idea that we should be a kind of house band, along the lines of a bebop group from mid-fifties New York, 52nd Street vibe re-imagined for the twenty first century, which means guest spots. Our friends’ bands in Liverpool like The Probes and The Floormen (check them out), brothers in groove, have a similar mentality. They are jammers, they invite people up. The Floormen have actually backed me as a singer and fleetingly BECAME Beatnik Hurricane. Check these cats out; they are the future of Liverpool music.

You had a number of hits with different bands. The normal career trajectory would have been to pursue further hits with new bands but you have taken it in another direction. What’s your musical motivation in that regard?

Hits? No, I didn’t. Anyhoo, I didn’t know how to sell out, and it looks and sounds frightfully dull.

Motivation? Having a laugh. And liberating my soul.

But not necessarily in that order.

What guitars and gear are you using these days?

Other people’s.

You have released a number of songs, mostly instrumentals, on YouTube. Is that something we can expect more of?

I honestly don’t know. See how we feel.

I cannot stand the whole ‘four lads playing the same gig over and over’ mentality. New processes please. You do what you’ve always done, you get what you’ve always got. New solutions towards a new music. Otherwise, fuck off and listen to The Dave Clark Five until Kingdom Come, in a different room. Lee Mavers’ best quote; ‘We haven’t heard music yet.’ So wise, the possibilities are endless, go and make them happen. Throw the past away, it stinks.

Listen, when I’m in Ireland, I play until my fingers bleed and I am collapsing with exhaustion. People are with you here before you’ve played a note. English audiences, even Scouse ones, are too cool for school. Both sides of my ancestors are from this side, my great nana was from Ballina in Mayo. I got a fright when I rocked up there randomly working in 1996 to discover a broken-down council estate in the middle of nowhere with horses running around freely. I had visions of a quaint Ballykissangel-style village. Ha! Devvo’d, not descended from the Kings of Eire then.

Have you any festival appearances planned this summer? What is your favourite festival to play, or that you would like to play?

Festivals ain’t my thing. If I thought it was a good idea to pay top dollar in order to hang around with a load of wired young people with no social skills listening to shit mainstream music in a muddy field, I’d consider making an appointment with Dignitas. I like WOMAD, though.

Played one with The La’s and worked at one with The Fall. Eclectic, loads of jazz and folk. I’m sure I’d have a ball at Glasto, but I don’t really dig modern rock and pop.

On the subject of festivals; Imagine you are curating a festival of your own. You can have anyone, living or dead, perform at it. It can be music, spoken word, anything you would like to see at a festival. Who would be on your line-up?

Captain Beefheart circa 1969, James Brown a la Jungle Groove, Can, John Martyn, Fela Kuti, Scriabin, Bill Hicks as compere, Charlie Parker, Aretha Franklin, Thelonious Monk, Pentangle, Pil playing Metal Box, Camus reading The Fall, The actual Fall (1981), Howlin’ Wolf, Tinawiren, Chopin, Beck, Roni Size, 13th Floor Elevators, Bo Diddley, Nusrat Fateh Ali Khan, Lennie Tristano, Davey Graham, Louis-Ferdinand Celine running the first aid tent, The Who ’68, Syd Barrett, King Tubby Sound System, Wigan Casino DJs, Paco Pena, Stevie Wonder ’77, Debussy, Stravinsky conducting the early ballets (Rite Of Spring, Firebird and Petrushka), Miles Davis ’59, The Stooges circa Raw Power, Stax Review featuring Wilson Pickett, Sam n’ Dave, Otis Redding and others.

What can people expect from a Beatnik Hurricane gig?

What are your future plans for Beatnik Hurricane? Apart from live performing what would be the best vehicle for the band?

Unexpect the expected. This is the band that dragged a twenty stone hen night girl in a cocktail dress, broken sling backs, flashing bunny ears with

Beatnik Hurricane are Groucho Marxists-socialism in one-liners, and a Mercedes Benz. Thank you.

You often bring guest musicians in to jam with the band. Who would you ideally like to have a session with?

Jinx as he is cut from a similar Axminster offcut as us. Proof? He picked me up from Dublin airport last year with Payback by James Brown blasting. That’s our kind of groove. Meant to happen last time he was in Liverpool but there was a contractual dispute with a promoter. Jimi Stafford (from Dundalk’s now defunct Rollers) guested with us in

mascara cascading down her face to play one note for half an hour to replace our bass player who had sprinted off into the night overcome with showbiz paranoia. Not everyone we invite up is a musician. And yes, collaboration and a collective mentality is part of our thing. At any given moment, YOU could be a Beatnik, and probably are, setting us apart from everyone else.

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The Mighty Stef began as a solo act for Stefan Murphy. After playing with The Subtonics and wanting to branch out into more personal fare, Stef began playing shows over a decade ago.

Regular support slots with the Republic of Loose and The Things gave him plenty of live exposure and debut album ‘The Sins Of Sainte Catherine' got valuable airplay on national radio.

That album and follow-up ‘100 Midnights' garnered Stef a sizable following at home and abroad, and cemented his sound and songwriting style. It sounded like nothing else on the Irish independent scene at that time. Comparisons to Tom Waits, Nick Cave, Leonard Cohen, Mark Lanegan, and Neil Young were never far away.

The Mighty Stef stood out from the singersongwriters that abound in Dublin, and from the local indie and rock scenes with eclectic influences and gritty realism melded with fantasy. The albums are laden with murder ballads, sea shanties, traditional ballads and cabaret tunes.

Where other Dublin songwriters can come off like a caricature, Stef's broad musical palette sidesteps that fate. The blend of American and Irish roots traditions adds the authenticity that others lack.

In 2010, he was joined by the remnants of Humanzi for the Release of 'The Mighty Stef and the Baptists' album. It was his first time playing with a regular band since the Subtonics and he formed lasting bonds with bassist Gary Lonergan and drummer Brian Gallagher. The time had come for The Mighty Stef to cease being a solo artist and to become a band. The butterfly that emerged from that chrysalis saw Murphy and Lonergan joined by Brian Farrell on drums and Dan Fitzpatrick on lead guitar; Gallagher having left in the meantime to pursue other interests. The band set out to find a suitable producer for their new music and sent demos to Alain Johannes, known for his work with Queens of the Stone Age and Mark Lanegan among others. Johannes liked what he heard and the band set about raising funds for a lengthy sojourn to Los Angeles where they recorded 2015's Year of the Horse.

Marky Edison caught up with The Mighty Stef for U&I in the run up to their UK tour and here is how it all went down.

I first heard you through The Things over a decade ago. Do you have any particular memories of that time? And of playing with them?

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Marky Edison caught up with The Mighty Stef for U&I in the run up to their UK tour and here is how it all went down.

I first heard you through The Things over a decade ago. Do you have any particular memories of that time? And of playing with them?

Yes. Great memories, The Things were great friends of mine, all the guys still are. It was the support and encouragement I got from some playing solo shows with them that laid the foundation to The Mighty Stef. We used to get fucked up in all four corners of the country together on a weekly basis. They were wild and special times.

You played a cover of Chapel lane on the Big Monster Love tribute album. How did that come about? Your music and his are quite different but you both share a similarly broad range of influences and a love of Irish music. Was that a factor when you were asked to do it?

The guys from Popical Island got in touch with me and just asked me to be involved. I ended up not giving it my very best shot due to time and circumstance. I recorded it in my hotel room on some solo tour in Germany…I was glad they deemed it usable in the end because it’s a lovely song.

Review by Marky Edison

The Mighty Stef began as a solo project but is a full band now. The impact of that change is clear on the new album in terms of overall sound and also in the songwriting. You’ve said previously that your burden has been lightened by having the others’ input. Was it hard to accept their contribution initially? Do you feel more comfortable now giving up some control over the songs?

Not really, I was crying out for a wave of band members to come in and want to get their hands dirty in that way.

When we recorded the previous record 'The Mighty Stef and the Baptist' Gary Lonergan, Brian Gallagher, Colm Rutledge and Shaun Mulrooney, then called Humanzi, not only provided my backing band but totally took the arrangements out of my hands. That was the beginning of my love of collaboration. Gary still remains in the group.

Many bands today make a concerted effort to make a ‘cohesive’ album with a consistency of feel and timbre on each song on the album. You seem to make a similar effort to bring a disparity of genres from one song to the next, while remaining recognisably the same band. It’s a rare approach to recording these days. Bands like the Beatles revelled in it. Is this deliberate? Do you find that more interesting than a more 'cohesive' album?

I try to be cohesive then, deliberately or otherwise, I lose my way, I get sucked into the songs, we all do. We try to discover what the song needs and then roll with that. I find that my lyrics and storyboarding of songs provide more cohesion than the sounds used. I could be wrong though.

Playing covers is a great way of bonding with your bandmates, and with audiences. We’ve enjoyed seeing videos posted online of The Mighty Stef playing classic rock covers like She Sells Sanctuary & Waiting for the Man. Can we expect to hear more of those, or other covers, in your future shows?

Yeah, I love covers. The band enjoys playing covers. We know tunes, from the Beastie Boys 'Sabotage' to ‘Heroin’ by the Velvets, anything goes really. But we usually limit it to one or two per gig.

There was a substantial gap between the last record and Year of the Horse. Was that a conscious decision?

In this case, no. It just took as long as it took.

There was a long time too between the recording and release of the album. Fight Like Apes are just now releasing their third album a full 2

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years after it was recorded. Do you think this type of delayed release could become normal for independent bands trying to branch out and reach a wider audience? You must have had a lot of preparation to do in the interim, what was involved? What were the advantages for the band in having that kind of build-up to the release?

I know and love Fight Like Apes. I remember talking to them about the creative process around the time both parties were dreaming up their new records. Bands these days have to be careful not to release prematurely. When you spend all your time, money, and energy on getting something together that you love you just owe it to yourself to put it out at the right time.

You wrote this album 2 years ago, and have been playing, touring and, presumably, writing with the band in the meantime. You've said that Year of the horse was partly written backstage and in soundchecks. Is there another album waiting to be recorded already?

There are a lot of ideas floating around in the cosmos. Some great bass and guitar riffs being exchanged during sound checks, and loads of thoughts in my cloudy, tired, old brain starting to form into lyric ideas. Nothing cohesive as yet.

The Year of the Horse is out now in Ireland and in the UK in June and was reviewed in our April issue.

Sweden CAJSA SIIK With this artist it is not only the accentuation on show in her work but the artistry that is also paramount. That is a consistency that is retained but also procures a refinement that ably embraces the alternative trappings without losing anything in the process. That approach piques your interest when you come across her music but what also stands it good stead is the impressive level of distinction present in the variation.

DOWNTOWN JUDY need to be about heartbreak. What shows is an invested by her is incredibly dynamic. The high standard that is consistently maintained exudes confidence but impresses an array of diversification that absolves all of the music in how it connects with you on the many apparent levels at work.

FLORA CASH There is no denying the engaging prowess that this duo possesses in abundance. The clever layering at work in the dynamics adds up conclusively in the end product time and time again. In the token Scandinavian flourishes everything is contained majestically but they also follow through on their own terms. It is impeccably innate and the calling that they have is one that remedies everything intelligently.

STRANDED MERMAID There is a sense of the cinematic to how this band embraces a telling sense of resolution in terms of scope with how they build their arrangements. The depth of the tempo each time is one that has a high level of detail and texture. It is that bold approach to creating things on an artistic level that sees them rewarded for being bold in the endeavour each time. We have been truly mesmerised by this band since they were first recommended to us and they are a firm office favourite here at U&I.

Ă„LVEN The graceful calling of what this duo can turn on is spellbinding. The bucolic sentiment alongside the ethereal perseveres in an attentive way. This is further confirmed by the absolved way it imparts upon you. But there is a carefully crafted detail of each tune that reflects how invested they become when they undertake the process of crafting such brilliant music.

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JULIA VERO Another fine female artist who we have taken a keen interest in, she delivers a highly engaging brand of music that is high in indie credibility but also holds to a suitable sense of pop. That is equally measured each time and the way that everything seems to line up in her music draws you in. The attractive weight in the retro leanings are ably accompanied by a suitable sense of modernity in how the develop from a structured point of view and find their calling in a suitably engaging way each time.

LITTLE CHILDREN Here is another Swedish band that exudes brilliance in the execution of their music. Each track that they have is carefully considered. The apt placement of equilibrium comes to bear in a true way of note. In the understated attraction of the vocals they also corner something incredibly cool and yet they are unafraid to add additional aspects to the mix in terms of layering, nuanced elements and so forth to further develop the appreciation for what they set out to do on an artistic level.

MOODBLANC With their engaging pop sensibilities at times and there diversified approach on other tracks, there is a lot to admire about them. They adopt a somewhat leisurely approach to things but that is something they are incredibly comfortable with. It is the way that they also procure a definitive allure on each track and retain their signature that convinces you about this band in a big way.

PARISIAN PASS There is a concise call about this band that hedges everything in the breakdown of their style against a calculated calling. The becoming way that they coat their style with something that retains the crossover between indie and pop without feeling flawed reflects their Scandinavian sensibilities in some regard. But judged on merit they also have something industrious to be found that carries through in the end product.

MARIGOLD Taking the honour of Best International single for 2014, this exceptional band are infinitely blessed with a wonderful level of ability that is reflected in the richness that comes though time and time again when you listen to their music. The high standard is retained as much as the shift in the music offers a more open calling to what they set out to achieve and they are very much a band that have a great degree of potential.

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THE MANC TANK

by Dave Beech

Orphan Boy From Cleethorpes, to Manchester, then back again, taking in just about every spit 'n' sawdust venue and dive bar they came across in the process, Orphan Boy's story isn't a glamorous one. It is however, one which proves the resilience and determination of those in the industry who are both undervalued and under-appreciated.

Coastal Tones, Orphan Boy's third and latest album, is also a testament to this. Conceived after the end of an indefinite hiatus, it's a product of a band who have found a new lease of life, brought about through their relocation back to Cleethorpes, as well as the inevitable progression of age (the band having turned 30 in the time between records). Perhaps most obvious however, is the very definite sense of cohesion that flows throughout the album; whilst the band's previous releases weren't so disjointed as to be considered fractured, they were products of their time, best viewed with a strong sense of nostalgia and a warm can of Red Stripe. Coastal Tones however is both timely and timeless, a collection of tracks that not only shows the band as they are now, but also offers a slight insight in to the direction the band are heading in the future.

We caught up with front-man Rob in order to find out a little bit more about what the future holds in store for Orphan Boy. Hi Rob, thanks for having a chat with us. First of all, could you tell us a bit about Orphan Boy and who does what?

Orphan Boy are a four-piece band from Cleethorpes, N.E. Lincs, consisting of myself (singer, guitar and keys), Paul Smith (bass, singer), Sam Carlton (keys, guitar, sax) and Chris Day (drums). We originally formed as a three piece (minus Sam) in 2005, moved to Manchester, signed to Concrete Recordings, released two albums, moved home, declared an indefinite hiatus in 2011 and then reformed in 2012 to create our third album which is ace. We are best known for driving very long distances in very small cars.

You just released your third album Coastal Tones, what has the reception been like?

The reception has been very positive indeed. Particularly in terms of the reviews (your own review duly noted; many thanks!). There are some great songs on the first two albums but they don't tie together as a body of work as well as this one does. It just feels like the kind of focused, conceptualised

record that you can make when you've got the time to plan it and play around with it. We were able to do that because we were recording it in-house, with Sam producing.

As a record, it feels quite removed from your previous albums, in that they were interested in urban environments and the narratives contained therein, while Coastal Tones feels more rural, even bucolic.

Why do you think this is? Does it stem from the band's relocating back to Cleethorpes? Similarly how did that relocation help or influence the band?

I think relocating definitely helped, because it put us back in touch with all of those places and opened up a whole new batch of ideas. After writing the tracks 'Harbour Lights' and 'A180 Song' for Passion, Pain & Loyalty, I realised how much it meant to the native Orphanites to hear all of this local imagery in the songs. It matters to people from Grimsby and Cleethorpes because it's an isolated place with little in the way of cultural identity. So when people from other parts of the UK take an interest in the places in the songs, in the sleepy coastal road out of Cleethorpes, or the looming industries north of Grimsby, it means that we're doing our little bit to give it that identity.

the point where you quickly know what works and what doesn't, and how to fix what works and where else you could go with it. So over the years you continually hone your craft; until the point comes where you run out of ideas and the creative spark has gone. But that hasn't happened yet.

You're just about to release the album's second single 'From the Provinces'. What's the story behind that?

It's a call to arms for provincial towns. Bands in these places are not as isolated as they once were, thanks to the digital revolution. They don't have to move to London and hope that a major label spots them. They can build an infrastructure in their home towns, self-record, self-promote, "rewrite the nondescript, redraft the manuscript, rewire the network and emancipate the ill-equipped..." It's still hard to make any money, but it's much easier to make things happen and create your own story. You don't have to spend your musical adventure grasping at shadows or tucked away in a cupboard while some major label decides whether to release you or not.

You called it a day in 2011 after an 'implosion'. Do you think that period influenced Coastal Tones? If so, how?

There's several occasions of spoken-word on the album. Is this something you've always wanted to try, or was it something that just felt right including on this record?

That period is kind of what I'm singing about in Beats Like Distant Tides. It's that feeling of having left, or lost something, and being lacking in direction. But that thing is still there in the distance; it hasn't gone and promises to return.

It comes from listening to Tom Waits, John Cooper Clarke and Jarvis Cocker, and to a lesser extent, Kevin Rowland, The Clash, Ballboy and Madonna, who all add spoken word to music brilliantly. But it's not something you hear in music generally, although I think it's so effective if you can get the delivery right. I'm hoping that is also the first time in history that someone has name-checked Ballboy and Madonna in the same sentence.

The farewell show you did back then was supposed to give the band closure after you split but that wasn't the case. What was it that you left you feeling that there was still more to come?

Orphan Boy as a band has matured quite considerably between albums. How important do you think that was to the writing and recording process of the record as well?

A lot of our early writing was done independently; e.g. me or Smithy would bring a song to rehearsal. Over time it's become more collaborative. We will jam through ideas, record them onto iPhones, email them back and forth, listen, jam it again; then repeat this several times over until we have the song how we want it. Then I take it away and finish the lyrics and it's ready to record. When you've been through the long process of writing and recording an album a couple of times you get to

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Once we started rehearsing again, it was the potential of the music that spurred us on. If the music had been inferior then there is no way we would have dragged ourselves back into the fight. Plus, our old label Concrete still believed in us and we had a new manager, Ronnie Lee, and new member, Sam, who have brought new ideas to the party.

Where do you think Orphan Boy are now, and perhaps more importantly, where do you see yourselves heading?

We're where we've always been. Outside the house party, looking in through the windows, fishing around in the gardens, lighting the occasional fire, sharing the occasional cigarette with one of the guests. Sometimes the sun cuts through the clouds and it seems like the garden is pretty special. And then other times it rains. But we're okay out here; it's what we're used to.

by Joe Loftus

Helena Ní Mhaoláin Mullins - Our Friends In The North (Part 4)

For the second half of ‘Our Friends In The North’ that is concentrating on media outlets that sup-port artists at an unsigned and independent level we are also shining the spotlight on BRTV. This is another fantastic resource available to emerging artists which focuses on their music through a video based platform. Now in its third season we caught up with presenter Helena Ní Mhaoláin Mullins to talk all about it.

What was it that inspired to develop a platform to showcase the local talent in the north of the country?

Living in Dundalk, I’ve seen so many talented singer/songwriters and artists that find it very hard to showcase their work due to lack of funding or resources. I contacted Padraig Finnegan, owner of BRTV, when I was finished my degree in order to gain more experience in front of camera. We then concentrated on local singer/songwriters for the half hour show and I thoroughly enjoyed the experience of meeting these great acts. It’s inspiring to work with people who are driven and motivated, and I suppose that in itself inspires me to do the work that I do in networking with like-minded people.

We are very familiar with a number of the artists that you have featured on the show and you are not an outsider looking in when it comes to knowing which up and coming artists are out there. Having seen what the Dublin scene has to offer are there any other artists you have seen play that you would like to have appear on your show as guests?

I’ve had acts mostly from Louth on The Music Show on BRTV but some came from further afield such as Davie Furey from Meath fusing traditional roots with contemporary folk and rock, who was commended by Christy Moore and Phil Coulter on his latest album. We also had Seanie Vaughan, another fantastic folk/rock singer/songwriter, from Clifden, Galway in with us and we had The Voice of Ireland winner 2014, Brendan McCahey, who was bril-liant. It was great to get a wide range of acts. We tried to keep the genre as broad as we possibly could to open the viewer’s minds and we also showcased higher profile acts with those acts with a limited following in order to increase their viewership.

It is an incredible achievement to be able to reach the landmark of having finished your third season.

The caliber of music from the guests this season has been incredibly high and there has even been the emergence of new local artists on the show such as Orwells ’84 and Donal Quinn. When it comes to selecting the artists that you want as guests on the show are you familiar with them from having seen them play on the local music scene or do people recommend them to you?

I tried to go with bands and artists who I knew are good and would deliver on the day. We also looked up artists who were recommended to us and we got a lot of acts requesting to be on the show. There was considerable research involved and we tried to get two acts with similar enough in genre on the same show but who also had their own individual streak.

It was hard work but I think it worked out well for the acts and for BRTV. Are you looking to keep it exclusively focused on local talent or are you planning to make the next season a more inclusive affair for the musicians who you would like to have on as guest?

I think it’s important to keep a platform like the Music Show on BRTV inclusive to a certain extent. We have been quite open-minded with acts from country to trad and rock to pop. Also definitely we tried to focus on local talent and it is great to get higher profile acts on the same show as those only starting out. It was great, for example, to have David Keenan before he was a viral sensation after Christmas and the views shot up for that show and Permanent Deja Vu expanded on their audience as they were on the same half hour slot as him. The idea is that each act does an 8 minute interview and then showcases one of their songs. But because the acts are back-to-back on the half hour show they are then able to expand their audience because the followers of one band will watch the show and then discover another artist that they may not have come across before then.

What does filming it in the Glen Gat Guest House add to the overall fell of the show?

It gives it continuity. My parents run and own the Glen Gat Guesthouse. I’ve been lucky to have them support me on this venture in particular. It creates a buzz in the house & many guests are intrigued when they see the set up, which again

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creates a wider audience for the artists we get in.

In terms of how you put together each season, do you run them on a week-by-week basis or are the shows pre-recorded and then edited to go out as a seasonal show in the traditional sense?

We pre-record the shows and try to get them out once a week but we took a little break over Christmas as people were away and it was important to have some family time too.

You have a background in media but is there anyone else involved with you on the show behind the scenes or is it strictly a one-woman show all the way?

Padraig, the founder of BRTV records and edits the shows but I mostly did the research and book the guests in. It was challenging at times if a guest pulled out or a dead-line came but we always worked it out and we worked well together, which is very important when working in media.

You are also involved with The Seven O’Clock show on TV3. Will you be planning to bring some of the elements of the music from your own show to work alongside how things work there?

I absolutely love working on The Seven O Clock Show. It has such a great variety from top chefs to excellent celeb interviews and it has quirky segments too. With its prime-time slot it’s doing really well and I am learning so much on a daily basis. Most recently they have started a slot called the Seven Sessions to start your weekend off every Friday and we kicked off with Paddy Casey- who is a great act to start with! I’d love to get some acts that I’ve worked with on that slot so we will see.

In terms of season four how is that currently progressing and have you confirmed any of the guests?

I have to say that filming season three was a great experience and I’ve met such talented people while shooting with BRTV. There is nothing set in stone yet for season four. I am working for the next four months or so with TV3 and I don’t know what the future holds but I would like to work with new acts and help out where I can.

So we will have to wait and see for now.

NEW VALLEY WOLVES

ROLLIN’ EMPIRE KEVIN RYAN

COLUMBIA MILLS

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OTHERKIN

Photos by Peter O'Hanlon

RSAG

THE ESKIES - 21 -

THE WINTERS

5 DOLLAR SHAKES

THE MINUTES

Photos by Peter O'Hanlon

RACKHOUSE PILFER

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WYVERN LINGO CULT CALLED MAN

S

JAPE AMAZING APPLES

LITTLE HOURS

WOOD BURNING SAVAGES - 23 -

THE RUBY SESSIONS Doyle’s Bar (23-6-2015)

EMILY HACKETT It seems as if this week we have been invaded by an influx of American artists on the Dublin music scene. Having seen two at Saucy Sundays we also caught two fine US musicians tonight here in Doyle’s. The first of which was Nashville’s Emily Hackett. There was a noted sense of reliability called on in her first song ‘Kick’ that has a kindness about it. She also kindles a level of sincerity from how it all plays out.

There is also a rather clean cut stowed away in the pick-up that sees the finesse shine through. A fondness is noted with ‘Gave ‘Em Away’ that is carefully traced. That sees her performance happen upon something by design that is gracefully called out by the lyrics. It is all kept together and, as such, has a deeper derivative at source that is fixed in their reflections. But what also adds commitment here is the pursed feel of her vocals.

You are immediately drawn to ‘Bad Weather’ and it is all finely brought to bear. She finds a capable level of resilience as it comes to pass. This also warrants a degree of conviction that bears down on her performance in a most savoury way.

‘The Part They Don’t Tell You’ was her final song on the night. It is a tidy tune that grants a richer volume upon the metaphors used. This is a trait that is tellingly worked. She commands the delivery here with a neat and inward calling tastefully worked that brings it all full circle.

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KEENAN DONOVAN

Leading into his set with a knowing sense of technique was ‘It’s Alright’ and this was done in a highly capable way. The showing here imbues it all with a solid sense of lift that is finely chased down. What is projected here neatly holds presence in equal measure. You then sense a heavier precedent with his next song ‘You’ll Never Find Love’ and he also brings a sterner sense of composure that is confirmed by how he brandishes the guitar here. That is obtained in the opening line and that honesty called upon adds credibility to his integrity as an artist.

He followed that up with a happier love song in the shape of ‘Venice Beach’. The beholden calling is something that he keeps close at hand. Savouring this approach sees it all played just right. The softness is handled extremely well and finds the time to develop the guitar work. What is cornered in the tenderness treasures something in the lamentation. That is what catches the weight behind the delivery but he comfortably runs with it at the same time.

To close things out he played ‘My Unsuckling Wine’. Alongside the hardy kick to the tempo everything is exacted in the right way here. The strength of how it is all motioned through is also on show in the lyrics as much as it is the music. That consideration is what sees it travel in the steady way that it does.

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SAUCY SUNDAYS The Grand Social (21-6-2015)

KATE VARGAS As soon as this New Mexico artist began singing we were enamoured. There is a gravelly tone to her voice that is scintillating to hear. The distinguished showing that it contains comes to fruition on ‘Throw The Devil Back’ in a way that immediately places the prowess of her performance at the fore.

As to the song itself it retains something of a faithful calling. There is a flow that comes through in the guitar here that is smartly considered alongside the emancipation that seeps forth from the lyrics. That is a quality that adds to an already credible performance furthermore. After the superb opening line of ‘If You Love Me’ a comprehensive degree of truth proceeds to abound in the delivery. How it is brought through is impeccably considered. The tidy and effective work of the guitar, alongside the whistling, is lean and adds sophisticated sense of worth to the lyrics that is intuitively brought to bear.

You have to admire her next song ‘Call Back The Dogs’ for how classy it is. From the darling parlance in the rhythm everything is keyed through in a way that is seductive and held accountable in the approach. The clarity in the precision allows you to pick apart the delivery and savour everything individually in how it all breaks down. Her voice is again something that adds character here in a timely way. Taking inspiration from a morbid American ghost story is ‘Mama Watch Me Sink’ but told from the drowned kid’s perspective. That allows her to find the depth (pardon the pun) in the lyrics and it is collected in an exceptional way. The proven consequence of everything on a collected level breathes life into it. That is reflected from how the listless qualities come to bear and the resounding way this adds worth to an already stylish performance. What heightens that on an artistic level is how the guitar drops away on the chorus for added effect. She closed out with another clean number called ‘Down To The Soul’. This prevails with the movement in the flight. How that is handled here is presented in a way that captures her voice.

As such the dynamic is reflected in the showing as it lights everything up in a pristine way. It was a brilliant performance to see in fact.

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BLUEPRINTS OF THE HEART This Massachusetts duo was the second American act taking to the stage here this evening in The Grand Social. ‘We Can’t Go Back’ got things underway. After the steady opening there is deftness to the delivery that cleverly accommodates the vocals. The shared harmony is noted because this collects squarely and tellingly measures the outline of the performance. What hangs off the approach in an abject way with ‘We’ll Be Fine’ is more levelled. However it is far too light. The concentration here plays too procedural. However there is a saving grace from the capo on the rhythm guitar because it handles the softer calling suitably and keeps things afloat somewhat.

For all intents and purposes ’11:11’ sounds too familiar and doesn’t offer anything in the way of departure to their set. It is essentially American and takes on that pop calling of bands of that calibre- from Goo Goo Dolls right through to Plain White Ts and countless more – which doesn’t necessarily build calibre. However the urgency picks up in the calling in a way that is carefully considered. Guiding things through with the honest virtue of the performance sees ‘Lost Boys’ work well from the off. In some ways this inner calling develops their style. The over reliance on the similar way it develops to their other songs can be overlooked because the yearning in the lyrics is something concrete that manages to hold it all together. A song about living in the moment closed everything with ‘Here And Now’. There is a noted sense of release to this one. It sees the softer and tender showing come through passively but in a viable way that takes it places.

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By some coincidence this was the first time that this Dublin band was playing an acoustic set and we just happened to be there for the occasion. Things got going with ‘Getaway’ and the lean draw of the guitar is carefully considered in the riff work on show. That is ably complemented by the addition of the tambourine in the showing.

Narratively things are rather tense and that countenance pushes the delivery forward as the vocals comfortably sit upon the performance. Wily and very well paced is ‘Start Again’. They confidently turn on the hard shoulder of the working here and that is where the high end of their capability tellingly shows. They then embrace the richness in the texture that is accrued tastefully on their next track ‘Deadly Moon’. It brings with it all a fervent and darker allure. Transfixed by this there is a subtle context of Americana also brought through from how the guitar is played here. It is desirable and the spacious calling adheres to a compact showing that brings a neat contrast between the two aspects.

Described as ‘the only love song’ in their set came ‘Air Tight’ and it is neatly laid out. There is an honesty found in the reflection here that travels well in the lyrical sense. That allows the delivery of the song to be extensive without becoming overbearing in any way.

‘Fire Hose’ is very impressive and is attentive in the sense that it brings a great deal through in the steadiness of the pace. The high pitch in the vocals is also a nice calling and they both combine extremely well here. The pace is something that fills out well and the way that everything follows the outline is delivered quite well.

How they break into everything on ‘Crush’ sees everything take flight sensibly. That is what gives it a lift and the raw showing here more than holds its own. But there was also a sense of animation called out from the performance that reflected how invested the lead singer was here. And there was their last song ‘Maybe Its’ Me’.

Honed in the guitar is a graceful temperament. This gives it a somewhat light pop calling that suggests there is more potential to it with a full band backing it up. It is also settled by the rather intelligent worth of the lyrics.

DRIVE BY EDEN

Up next from this band is a gig in Whelan’s on Friday, July 17th.

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ALBUM REVIEWS MONGOOSE Mongoose

There are those bands we see from time to time live on the Irish circuit who we take special note of and Mongoose is one such band. The opening track ‘Woman On The Beat’ finds a rich and fluid salvo in the tempo. Although the harmonies fall into place, it is the highly affluent vocals that confidently drive this on. The sensible calling of the melody adds a sense of pizzazz to ‘Right Side’ that is brokered cleanly. The steady and intricate turn of charm add up here. The neatness of the arrangement is clear and becoming which fixes something passive to the running that is confidently carried off. The confidence surging through ‘The Bottom Line’ shows how good this band is collectively.

There is a rally about this collected from the off and they brilliantly just run with it.

Ably assisted by the languid calling on the intro is ‘Featherkisses’. That breathes a Mediterranean hue into the delivery from the instrumental work. The settled nature is one that is expertly concentrated and brought to bear in a most subtle way as it plays out. It closes out in a way of note also. Then comes ‘Breathe’. The air of cool about it has a jazz sensibility that is addressed in a formal way. You appreciate the way the vocals are imparted here because they accentuate the classy element on show superbly. That is what gives it a gilded calling yet this is cornered in a sheltered way that adds up from how it is framed altogether.

You pick up on the stationary weight of ‘Drifting’. It seems to provide something conclusive, yet highly referential, from how the softness of the song blankets the

10 delivery. What falls into place has a neat and modest degree of lift and heart in equal measure which comes off in a committed way that catches everything right. With ‘Slow-Burning Feeling’ they seem to bring a completed sense of maturity through. Everything is of an impeccable standard, which combines intricate nature of the musicianship with the moving vocals of Molly O’Mahony in a way that lines up everything with real commitment.

We selected the video for ‘Two Birds’ as an editor’s pick in our March 4x4 and it is a song with a glorious sense of refinement. The soft structures play their part, while the tempo has a commendable degree of worth located at the core which doesn’t go unnoticed. It is a beautiful tune in its own right that agreeable finds the heart in the delivery. What can only be best described as a damn fine tune comes ‘Can I See You Tonight’. This has a welcoming sense of urgency about it. How that deliberates on the bearing here is nicely judged but there is a bearing of the soul noted in the lyrics that showcases an earnest vocal performance that draws inspiration from that.

Something seeps through on ‘Bright Horizon’ that fixes a lucid calling alongside a latent Americana drift in the guitar. It is a minimalist tune that is tracked in an endearing way. But it cleverly develops into a folk tune with a degree of modernity found in the play that gives it lift. Fittingly titled ‘Goodbye Song’ is the last track here. The a cappella approach is very inviting. There is no mastering to this and that rawness is very impressive. Not just because it is a bold move but because the harmony coming through feels like a completion when compared alongside the opening track.

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SOME KIND OF ILLNESS Some Kind Of Illness

Some Kind Of Illness are an unsigned indie outfit from Manchester. ‘The Test Of Time’ sets up an air of reflection and isolation akin to the music of Vini Reilly & The Durutti Column, also of Manchester. The opening album track is certainly alluring and has the feel of a sparse film soundtrack, due to its hypnotic and unassuming character.

‘Angel Breakdown’ then again sets a melancholic scene, as a sampled voice over, presumably from a film, philosophizes over ‘kindness’ itself.

‘Stars’ follows and is similar in nature to Chris Bell, formerly of Big Star, and his acoustic heartfelt compositions. The ethereal soundworld created draws and captivates the listener, while almost fragile vocals express emotions that run in tandem with its accompaniment. Up next is the romantic and moving ‘Maple Leaf’ (feat. Daisy Davies). The music creates a cosmic, yet somnolent atmosphere, while traces of Brian Eno’s film music can be sensed.

This is the perfect album to kick back and switch off too.

‘The Light’ reintroduces vocals in what is an innocent, poignant song.

The vocals are understated and have anastute slapback delay effect that is akin to

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John Lennon’s solo material. The music itself is beautiful, but it appears that the acoustic guitar ‘peaks’ a bit unintentionally during the chorus. However, this in the context of the album’s nature and feel is ultimately a minor issue.

‘And Live’ further instills a film soundtrack by including more sampled voices. Its approach is similar to the subtler interlude pieces that feature on Pink Floyd’s ‘The Wall’ that also include voices from the film itself. ‘You Have To Laugh’ then follows a similar path except for the inclusion of a drumbeat at the halfway point. However, for me the timbre of the percussion cheapens the overall sound and in fact fights with the previously established groove. ‘My Shadow In The Maze’ sees vocals added to the fray again. I enjoy how the band breaks the LP up into instrumentals, sampled film voices and then more orthodox songs. The song, albeit it is attractive, is rather bland and doesn’t offer anything new. Even a slight change of instrumentation or vocal harmony could really serve as an important hook that may seduce the listener further. ‘Rush To Wait’ is once more an appealing musical interlude, which displays the fact the band know they’re sound and what they wish to project.

Bringing the LP to a close is ‘Fool Man Runaway’ (feat. Caoilfhionn Rose), which has a beauty epitomized by the prominent piano. It also has a sonic quality similar to that of Blur’s ‘You’re So Great’, in which the charm lies in the fact it sounds like a demo or B-side.

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THE ESKIES

After The Sherry Went Round With this album, the Parish has been well represented because it doesn’t disappoint. The bereft, almost Parisian-esque calling of ‘After The Sherry Went Round’ kicks it all off before the folk candescence is doled out with real splendour on ‘When The Storm Came’.

There is a fortitude that brings out the goodness with devotion here. The execution in the breakdown keeps the compact showing intact and is again mirrored with ‘Fever’. Here though a prominent polka calling is found in the pressing arcs. The quickened pace is also finely turned on here and the vocals also bear down with an equal degree of conviction.

They channel a sense of formidable heft through on ‘Eloise’. This in turn garners a virtual appeal and the casual brace adopted is testament to their fine calibre because everything crafted has a true air of distinction. In lieu of the superb ebb and flow to the rhythm, ‘Tear Along The Line’ captures a fine sense of poignancy that is called upon in an astutely measured way when things are slowed down.

That allows the tender loss of the lyrical narrative to impact strongly and bring a level of maturity through in the process that is highly welcomed. Retaining the high determination allows the playing to get beneath ‘Down

By The River’ conclusively. It not only boxes clever but it brings a fashionable splendour through that drives it on. The sterner sentiment, coupled with some subtle jazz elements factored in, accentuates ‘Chin Up Jack’ modestly. However, it is inviting and the tracking seems to keep the

9

loaded feel in check as the spry aspects take hold and shape the delivery blissfully.

Then the album moves up a gear with the Southern gospel calling of ‘Jesus Don’t Save Me’. The sophistication on show is carefully considered and there is a timeless Charleston influence playing behind the delivery in the undertone that adds zest. That is observed in a way that impressively brings everything full circle without anything feeling forced or unbalanced. The depth of the lyrics on ‘Heave Away’ give it maturity, while the descriptive way it is all pieced together holds its own. How the lean countenance is met with the clear sense of direction is highly realised. Arguably the most collected track on the album, ‘Wild, Wild Heart’ is one, which hits the ground running, but does so in a measured way. The proven front exudes confidence from every pore and you appreciate the production values here because they are equally on the money.

There is a chaste element at work on ‘Thelma Erve’ in the tempo that is chased down in a lean way that adds to the refinement of the delivery.

That is favourably called upon and sits right with the collective showing overall. The vocal harmonies keep in sync but there is a pensive quality that seems to develop as the song progresses in that regard which is duly noted. ‘Rapture And Revelry’ plays in a rather remedial way. The lightness of touch is a thorough one and the replete formations in the tempo are delivered carefully.

As such there is a neat degree of class about it all and it abounds in a modest way that falls favourably by design. Bonus track ‘Jailhouse Sun’ hits the ground just right. The careful and calculated way it is all laid out takes you along for the ride. The well checked sense of fluidity alongside the intensity is what really works here and it shows for all the right reasons.

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NEMES

I Carry Your Heart Nemes, pronounced "knee-miss", from Boston serve up their debut offering.

The LP’s title was inspired by an E.E. Cummings poem and the songs selected for the album are intended to best represent the theme ‘I Carry Your Heart’. ‘Everest Isle’ kicks off with a crowd sing-along vocal coupled with instrumentation reminiscent of a folky Mumford & Sons number. It is a powerful and emotive track, with the violin astutely reflecting the sentiments of the text. Emphasis was clearly placed on production here, resulting in a very professional soundscape. It’s only shortcomings would be that it at times sticks too closely to the Mumford & Sons/modern folk song formula, with the obligatory stops and dynamic shifts during the verses and the final chorus. It wouldn’t be the most original song, but it will certainly appeal to the ears of many!

Up next we have the group’s take on blues through the proficient ‘Black Streak’. The track commences with electric violin pizzicatos before the full ensemble enters the fray. Although the 12-bar blues model is at times decadent and often dated, Nemes manage to put their own stamp on the genre and cultivate a track that is rather authentic. ‘Butterfly’ then offers something slightly different again, in which we see the group attempt a pop/indie rock number. The vocals are

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pristine and the harmonies are well worked and executed. The violin once again shines through and displays great skill. ‘Blue Rose’ opens with a lonesome, reflective piano part, accompanied by cymbal washes. The romantic number is a slow burner and unfortunately fails to really stir the emotions. It’s a fair attempt, but maybe the band excels more with livelier compositions? ‘99 Cars’ is a rather dull affair also. Although the musicality that is on display see the track come unfortunately across as being more of a filler.

‘Wrong’ is a more upbeat song, equipped with many textures and drive. American college pop rock is an apt description here. ‘White Dress’ is a poignant number in which they display their ability to mix it up and explore more subtle nuances. ‘Walk Me Down’ sets off with a more aggressive approach, in which the vocals exhibit intent. The distorted effect applied to the vocals is very much savoured here. ‘Say A Prayer’ then reverts back to their more intimate folk sound.

Sometimes the shifts are pretty extreme and at times some of the tracks sound like different bands, much like a compilation album.

However, this can also be seen as a positive with the band showcasing their flexibility because music doesn’t always have to be categorized.

‘Tengo Nada’ is somewhat a fusion between rock, country and Eastern folk music, before ‘5 Minutes’ brings the album to a close. This is a very tasty and accomplished piece of music. The band must also be applauded for a fine lyrical effort. Nemes’ debut offering truly is an eclectic mixed bag, but there is something for everyone here.

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YOUNG WONDER Birth

With the sparse and spatial temperament of ‘Salt Of The Earth’ there is a sultry bucolic sensibility found. The bespoke vocals provide an additional element to the layering of a brief tune that considers all of the playing elements on a practical level. However the hardened steering of ‘Intergalactic’ announces everything more prominently.

The expansive intro frames the track and gives it a sense of direction that is carefully adhered to. But it also has this explicit oeuvre in the alternative calling that traipses through. That prominently accentuates everything on show in the movement. Calling upon an oriental influence is ‘To You’ and proves highly referential. You really admire the retro expression as that is factored into the equation so diligently. There is a clear and developed sense of prowess on show as much as there is a degree of innovation.

The allure of fourth track ‘St. Verena’ exemplifies a desirable sense of the exquisite. The rotund sound is made all the more impressive by the nuanced inclusion of Arabic folk elements. The steady nature delivered finds accountability from the measured showing that builds upon everything. The diversification of this album confirms its brilliance and is underlined with ‘Moonlight’.

This sees them engage a nouveau pop calling to fine effect. The synthesised elements, alongside how it is fleshed out, lay it all out in a way that transfixes you as it is all brought full circle. Opening with scope, ‘Enchanted’ then moves away from that with a transition in the intricacy. This

10 is coveted and adds something resurgent that unfurls as the pace begins to quicken in an acquired way. This really takes you along for the ride and the chaste calling is an outstanding consideration from how it is handled.

It is the select feel of ‘Sweet Dreaming’ that really stands out. There is largesse on show in the synthesised elements here but the rich retro overflow is not overly prominent. As such the lingering presence is fashionable and tidy but also imbued with a distinct chic. The keen configuration of ‘Hear Our Cry’ gets beneath the flight in an abstract way.

That materialises in the breakdown, while the freestyle vocals of Marce Reazon are an excellent addition. The layout here is very much on the money and it showcases such amazing dexterity on so many fronts that you are spellbound. Some more guest vocals appear with Sacred Animals popping up on ‘Time’. Again this seems to adhere to a more cautious approach with a softer texture enveloping everything most impressively.

While there is tranquillity on show the firm approach undertaken is relayed accordingly in the music.

The potency of the tempo appropirately imbues ‘Je Ne Sais Pas’. The subtle 80’s playing arcs add composure, which is furthermore completed by the segue in the darling vocals on show. That sense of completeness makes it more than the sum of its parts. Again that high degree of intricacy in the dynamic adds to ‘Birth’ in a relevant way. The spacious calling addinga sense of purity is secured by the combination of the warmth and vocals combination in the delivery. This outstanding album is closed by ‘Táim Tuirseach’. The lullaby-esque feel of it adds a conclusive feel that is welcome and equally well played as an interlude, with the awning of the as gaeilge locating the heart.

This is one of those albums that you just don’t want to reach the end of because it is sheer brilliance.

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SINCE ALWAYS Consequences

Since Always, hailing from Houston TX, are a 3-piece post-rock, shoe-gazer outfit.

The band gets straight to work on ‘The Underground’.

The track is a real signal of intent and becomes rather hypnotic as Laila Ashleigh Mendoza’s vocals and lyrics capture the imagination.

There is character and mysticism on show throughout, epitomized by how the vocal performance and hooky guitar parts are interwoven. ‘Metronome’ follows and again alludes to darker undertones without ever being too clichéd or predictable. Moments of this track are akin to Radiohead’s ‘The Bends’, particularly the rhythmic stops during the chorus. The song itself reveals artistry, however I’d have slight question marks over the recording itself and production, as aspects on show are a touch demo like, while the overall sound world is at times ‘murky’.

‘Under The Gun’ again has the airy early Radiohead/90s vibe. Although there are limitations within this style, at least the band stick to their ‘guns’ and have crafted a sound that works for them and that they feel comfortable within to express themselves.

The electric counter melodic parts are worth particular praise here and maintain the interest throughout.

‘Reunite’ then has a narcotic, trance like quality, comparable to Mazzy Star fused with U2, yet more sinister and strung out. The composition certainly works and is a solid album track.

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Following on from this, ‘Dark Of The Room’ commences with a Joy Division-esque ‘down-stroke’ driving bass riff, before a more familiar American rock sound unfolds. Again the vocals have a peculiarity, in terms of effect, that stand out to the listener. The timbre of the vocal is interesting. However, on evaluation, I would say the vocals could be louder in the mix and the words enunciated a touch clearer, to allow them evoke an emotional connection within the listener.

‘The Executioner’ further states what this band has to offer and the sound they relish performing. However, their songs are at times formulaic and could do with possibly expanding upon or altering the standard song/structure model? ‘Kids’ then comes along and presents itself as a dreamy cosmic number. The harmonic progression and approach strikes a chord within the listener and is certainly their most evocative number so far on the LP. ‘Panic’ starts off rather subtly and crescendos throughout, maybe intentionally conveying how panic grows within one before escalating and taking over the person? ‘Nothing Stays’ is up next and generally offers nothing new, in what is ultimately filler material on this LP. It is at times tedious and takes too long to state what it’s all about.

Following on from this we have ‘Choices’, which acts as an instrumental interlude. It breaks up proceedings a bit and would work very well as part of a film’s soundtrack. ‘Consequences’ and ‘White Noise’ bring the album to a close, with the later being quite a moving and heartfelt effort.

For the most part, the band has their sound and intentions in check.

Some of the tracks drag a fraction and production could be more seriously considered for future recordings. The group has interesting ideas, but is yet to truly unlock the potential that lies within them.

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WE, THE OCEANOGRAPHERS @ventures One

Highly recommended to us via our musical friends in Dundalk we found this album to be one of incredible merit. There is an intimacy that comes right through on ‘Overcoming Foxes’. The delicate poise of the showing embraces an intricate and alternative calling that neatly abides alongside the tender aspects. It imparts a contented sense of closeness that provides real poise upon the circumstantial worth found here. Armed with a more rotund sense is ‘Dream Of Spring’ but the intro is then developed extensively. The incredible level of innovation found in the approach adds a compelling sense of diversification as the opulent layering gives it a sedate calling. The diverse appeal is retained as the synthesised elements offer an inspired partiality on ‘Same Old Story’. It is quite bohemian in some respects because it displays a fearless approach to being experimental. This in turn heightens the tune by seeing the off-kilter aspects bring a sense of the remedial from how this track duly cuts its teeth.

As the attractiveness of the tempo opens ‘This Is Why’ the referential texture of the bass line steadies the running. The timid vocals, courtesy of Conal McIntyre, also garner a select appeal which provides it with a neat

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sense of stature. The prominence of the distal apparel on show is one of the true telling traits that draw you in. While allowing a more sensitive approach to be factored into things on ‘Starlight Starbright’, from how it is laid out it has a lingering worth but there is also a longing found in the lyrics. What they allow to be captured in the vocals allows a romanticised yearning akin to something that plays out like Lou Reed meets Neil Young. The sixth track on the album is ‘The Ocean’. What comes through in the remedial context of the rhythm equates well. The spacious trappings are handled well and frame the relevance in an abounding way that sits rather well with the patient positioning that is here by design.

How well the exquisite touches are gauged on ‘Altoeen’ finds the minute essence extremely well. In the telling way the spacious side is considered the alternative leanings stand out. Yet this also carries itself off in a way that takes the withdrawn calling in a proactive direction. That artistic consideration is where it finds perspective in the right sense. Everything about ‘You’ll Be So Much Brighter’ falls into place with flair. The strength of this tune marks it out as the album’s best track. It is rather leftfield and the roboticised tracing of the vocals imbues it with a softened affluence that suits the orchestration on show considerably well.

With final track ‘Cats And Dogs’ the free flow gives it a spirited calling. This cleanly makes its way through from the off with a fine degree of determination. If there is a slight criticism to be found on this it is the ending and how it cuts out.

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A Curious Dose There is a knowing sense of the upbeat in the exemplary way ‘Horror Chord’ finds an air of confidence that is up to the task. This feels its way through in the tempo and vocals in equal measure. As it clicks into gear, along with the casual flair on show, there is also a lavish folk styling neatly portrayed in the handling.

With a more obtuse styling about it comes ‘Shake’. Yet this is a becoming effort which comes smartly though off the back of how it is laid out. The lyrical depth adds a mature temerity that is ably embraced and reflected as it all comes full circle. Then the steady fervour of the album’s folk leanings is brought to bear with ‘Bottom Of The Stairs’. The equal showing of sophistication alongside the practicality held is highly attractive. This adheres to a steadfast principle that allows the nostalgia in the lingering moments play their part brilliantly.

Taking the album into a more mature direction, and with slight hints of Portishead about it, is ‘Still Of The Night’. What is added by the ambient touches on show is a stark sensibility.

That lonesome derivative is matched by the haunting vocals, which blankets the overall delivery with a more grounded sense of context that still adheres to their folk calling in the latter progression. Kindly inviting a comparison with Donna Summer’s ‘I Feel Love’ as it

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opens is ‘The Gab of The Geese’ but it really is an excellent song. The confident way that it breaks through corners a sense of presence that is all of its own making. That saunter, coupled with the running time, furnish it with a neat providence that is highly admirable. Retaining the intricacy in the close measures is ‘Sister Drifts’. That is a result of the highly developed feel of the instrumental work. The volume in the collective showing reflects that careful gauging by leveraging everything cleanly against the texture in the structures for the delivery as a whole.

Sharp and straight to the point is ‘Town Of Misery’. In some ways it invites a suitable comparison to KT Tunstall because of the readied way it takes flight alongside the pursed vocals. That traces the softer outline of the delivery and runs with it. This leads to an abundant fervour making its way through that yields something productive in how it shapes the song. Brimming with an old-school charm is ‘Lonely Eyes’. That approach leaves a fanciful mark but also allows the country influences come to pass. This is a diverse album and it is noted from how ‘Which Way’ comes to pass. The effective use of the audio on the vocals draws you in with the longing adds an attractive hardness that is steered through off the back of a fine level of musicianship.

That is what gives everything the conclusive showing it deserves and sets up the album’s closing track ‘Time Flies’ rather finely. This is another distinguished effort with a stationary sense to it that is rather subtle. How it is layered brings that through and that fanciful side takes over in a delicate way that suitably closes the album out.

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THE SUNPILOTS

King Of The Sugarcoated Tongues The album follows a narrative and the first song that showcases this is ‘3 Minutes To Midnight’. The rock styling is confidently dropped in and met with a neat counterbalance as it does so. It is a free flowing effort, albeit a little light in places, but the differing direction of the playing arcs accommodate the more ambitious approach that they are aiming for here.

The vocals are highly pitched which ably drive it on. Then comes ‘King Of The Sugarcoated Tongues’.

Here the comparisons with Muse are made because there is a mainstream alternative calling exerted.

The controlled showing factors a high appreciation into the richness of the guitar work that dominates the arrangement here alongside the extravagance.

The third chapter is ‘The Captain’ and it catches the enigmatic side of the band nicely. There is a pleasantry to the rhythm that is tracked exquisitely and brings the revelry through in the play. It is again laid out on the right side of alternative and that formidably captures the heft as things charge ahead, but it also follows a noted sense of direction. ‘God Science’ continues this approach. Constructing the song in a detailed way gives the wall of sound a precedent that desirably

7 embraces a more detailed approach. In a way this is a heavy listen at times and may have benefitted from a lightness of touch here and there.

Moving the album into the second half is ‘Sex And TV’. Things kick off in a way that carefully gauges the progress of the track. It is all faced down and the numb way it is seen through follows what is set out. The urgency is leaned into here in a way that also brings something conclusive through in the compact execution here. The ambient calling is taken stock of with ‘Rain’. That lingers tellingly and adds a more detailed calling that is equally morose as it is expansive. That sees a settled calling listlessly come to pass, and is mirrored by the sullen transition in the lyrics and the fixed deadening of the tempo. Yet there is an eccentric side found that also adds bite. The grounded flight of ‘The Piper’s Mirror’ is one that gets behind the delivery. In the flushed guitar work alongside the high pitch of the vocals the edgier apparel is played through neatly. The rich and token alternative side of the styling sits well here and carries it all off comfortably. Y ou feel the funkier side of things muscle their way through on ‘Exodus’. It also brings a latent 90’s indie calling through as well which passes over the delivery easily enough. There is a lack of context in a slight sense here but it is made up by the more layered approach to things on an instrumental level that takes pride of place.

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ORPHAN BOY Coastal Tones

From the dulcet chimes of an ice cream van fading out comes the more industrial organic of the opening track ‘Beats Like Distant Tides’.

The flushes in the tempo exude necessity over extravagance in a way that conclusively announces its arrival. This rich organic invitingly hanging over everything gives it a calculated sense of weight.

That glorified ascendency in the structures again comes to pass on ‘Sunken Hearts’.

This is realised in how the running elevating the orchestration blankets the sound with a patient quality that exemplifies the apparent richness in the showing.

Developing the play furthermore is ‘Transpennine’. The lucid trappings diversifying the delivery and the slowed down vocals linger tellingly.

When things pick up the result is a measured and appropriated approach which brings everything full circle. That neatly locks down the bustle in the rhythm in a way that is neat and equal in clever measure.

Blessed with an opening to fall in love with is ‘On A Personal Skyline’. In terms of it being chic the calling also locks things down in a way that keeps it all together. That provides well for the workings in the delivery but fronts it with a steady footing that shows real smarts at the same time.

Found in the makings of ‘From The Provinces’ is something that stands

10 out for the right reasons. The captivating mechanics merge seamlessly with the fluidity. There is a quantifiable excellence pushed out vocally which raises the standard of this tune to the plinths of greatness. Coming through with a telling sense of grandeur is ‘Money To Money’. How the harder calling is fleshed out careens through in the steadfast control of the guitar work. The confidence played through is exuded in the delivery as a whole.

The level of musicianship present on ‘Clover’ further complements the album. The full-on calling is doled out in a way that exerts itself but is also balanced by the virtuous calling here. That impact gives the flight a latent touch but also brings out the best from what is on show to leave you wanting more. Things slow down in a more refined way with ‘Bury Your Stars’. That is neatly exemplified and mirrored by the loaded pick up on the quickened pace which satisfactorily lays down a marker when it kicks in, while the handling on show also revels in the momentum.

The representation of the album is confirmed by the eponymous ‘Coastal Tones’. In the shallow showing resides a sense of depth. That is deliberated by how the commanding and expressive side poured out here pushes it along expertly. The album closes with ‘Thirtysomething Love Ballad’. The dogged context of the spoken word narrative calls life as it is, but alongside the synth beat feels like a working class Pet Shop Boys because of the observations called out.

That adds passion found in the everyday and deserves to be admired because it also shows a very distinct influence by bands such as Pulp et al. But that is a deserved comparison on account of how good it is.

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STOOP KIDS

Already Out Of Time Stoop Kid, of New Orleans, are a self-proclaimed ‘modern, psychedelic jukebox’. There sound is an authentic fusion of hip-hop, surf rock and jazz.

The impressive ‘17:35’ gets the album underway. The infectious track opens with a 1950s doo-wop vocal melody akin to ‘Stand By Me’ but certainly not a lazy knockoff. The lyrics are direct and most pertinent, as they exam the modern, formulaic life. The Beach Boys influence is felt in a very strong way due to the vocal pad harmonies, while the singing in the verse is comparable to Outkast; A very imposing and appealing single indeed, with a sound like a rapping rat pack!

‘Me’ is up next and opens with a Hammond organ sound similar to Procol Harum. This instrumental composition really is outstanding! There is much musicality on display here and dynamic understanding is revealed throughout, as they seamlessly jump between genres. Proficiency in their respective instruments is also apparent. ‘Velvet Slide ft J.O’ follows and is a number akin to Beck and his hybrid style. Again the lyrics warrant a special mention, while the band draw on many influences, which is most exciting for the listener.

10 ‘Tucked In’ has a soulful jazz feel, while in a modern context before ‘Padiddle’ is set upon us. The track opens wonderfully with a sampled string score before the hip-hop approach is applied. This style is very difficult to pigeon hold in terms of genre, which is a great thing to say as a music fan. They are inspired by so many sources and amalgamate these to create something that is genuinely original. Even though they touch on many genres, their sound has cohesion and continuity. ‘Cup’ then opens up in a rather innocent and whimsical way, similar to later Brian Wilson (The Beach Boys) compositions. The sound is ‘large’, and many textures feature without the music ever becoming unclear and crowded.

Space and musical understanding is certainly present in abundance. Around the halfway point of the track the drum groove shifts wonderfully, serving as a real hook, which further drives home the lyrics in which the vocalist admits longingly, and possibly sardonically, ‘I should read more poetry, I should read more novels’.

‘Happy Birthday’ is another track that exudes real professionalism.

Here the vocal performance is akin to Eminem during the verse as the words are rolled off effectively. But the chorus is the real key moment, as the vocalist attacks it like Outkast would. Again they display a great understanding of the importance of dynamics in music. The subtle guitar entries are also a highlight worthy of applause. ‘Look Around’ and ‘i’ effectively bring this hugely impressive LP to a close; the latter being an instrumental that has the 1950s American vibe present again as the curtains close on the album. Do yourself a favour and check this LP out now!!!

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SUNRISE DEVICE

Fake Love, False Hope There is an impeccable presence about opening track ‘Your Eyes’ that is carefully gauged. The select retro majesty provides a canon here that is finely coaxed through in the rhythm. The resulting distinction is calmly projected alongside the softer style but is done with an incredible degree of merit.

The sterling retro feel of the album is again present on ‘Tonight’. This veers on the clever side of pop. The synth beats stowed away have a transitional quality to them that is evenly spaced, while the softer vocals play it safe but do so by design as opposed to being formulaic.

The downtempo ambience of ‘Soft Lies’ catches everything just right. In the fraught feel the withdrawn risibility of the delivery seems to fit around the arrangement in a way that gives it a little bit of added class.

The rich texture of ‘I Lost My Heart In Space’ is a smart calling. It retreats somewhat, but that gives the way it plays a treatised sense of completion that feels absolute. In the panoramic sense it holds up and the definition on show in the arrangement encompasses a great deal of scope. We them come to ‘This Modern Love’. Highly developed in places, this is something that matches both an alternative calling with artistic merit. The lush

7 vocals also play their part and they further imbue the appreciated context with a heightened level of faithfulness that is rather appropriate. With how the New Wave style is captured on ‘Amotion’ the deferred calling adds a heightened sense of resolve. In the distal qualities of the tempo you are aware of how it is all processed but it still emits an emotive transience that gets underneath the elevation squarely. The resulting procurement of the synthesised trappings on the bridge is of an impeccable standard and signals the fuller progression for their inclusion.

How ‘Waves’ launches into the euphoric accountability does so with a knowing sense of awareness. That holds its own, but the deeper vocals embrace that New Wave calling in a more understated way that is richly evaluated on all fronts. Yet the richness of the retro appeal also galvanises this and the patient ebb and flow also gives it as much drive. Then we come to ‘Solaris’. How the rhythm collects here is more realised and slightly hypnotic. The high trance sound here is instantly recognisable and seems to embrace a more alternative calling but still feels relative to the album from how it further complements everything.

The step out in the rhythm of ‘All For You’ is noted immediately.

This is more of a pop affair but it has a solid sense of substance about it. You sense the 8-bit tempo playing away on it and it is somewhat of the school of Kraut if anything, but that is what gives it flair. ‘Tree Of Life’ closes the album and is nothing more than an instrumental piece.

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KID HARLEQUIN Wired

The opening track ‘War Inside My Head’ is one that benefits from the alternative feel. In essence it is a recording of an ambush but the backing of the track cuts out smartly as ‘Burn It Down’ then comes into play. The broader scope of the arrangement is finely checked but it admirably retains a leftfield sense of identity. The subtle borrowing of lyrics from John Lennon’s ‘Jealous Guy’ also work and the drudged togetherness of the tracking brings everything full circle. A richer industrial calling is on show with ‘Wired’. This adds modernity along with the New Wave showing and deepens the style of the album by adding a leaner degree of weight in the breakdown. After that comes a version of Bowie’s ‘I’m Afraid Of Americans’ that is par for the course.

With the subtle synth added to the mix there is an astute factoring to ‘Have To Let Go’ that gives it an added push. The stray feel reflects a Nine Inch Nails influence here but in a conclusive way. The consistency retained in the tracking aids the texture and allows the delivery to dutifully embrace the hardened calling. That is repeated on ‘Drain All Your Colours’. But it brings a laboured feel because there

7 is nothing of note here that develops the tune. It feels stationary even though the harder showing holds back on nothing. But it is rather plaid and leaves you noting how it comes up short. They make up for it with ‘What Have I Become’. Even though it is an interlude you acknowledge the strong Avant Garde feel on show.

As the sophistication of the passive showing bides away on ‘Natural Habits’ the latent rock calling smartly creeps in. That imbues the layering with something extra. Musically it attempts to develop their artistic side in the right way. The cautious vocals accentuate the tempo deliberately by adding presence. With ‘Bilateral’ that matured progression is retained. The consistency of the ebb and flow nurtures the pensive attributes and gives the shoegaze fervour accountability in the process. While the intro is diligent, the referential showing ties everything together and is sweetly delivered from the off. Next track ‘Pigs’ sees them get down to business. It is a raw effort and the leaner vocals on the chorus justifiably hold their own. Initially it doesn’t amount to anything too specific but as things pick up it deservedly moves up a gear. The final track in the album is ‘No Light At The End’ is arguably the most alternative. But it doesn’t necessarily adhere to that approach because there is a grunge/indie element present in the hybrid contextualisation. As such it makes everything rounded and gives it a more deliberated sense of purpose that closes proceedings rather fittingly.

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MAY NAM Anacol Jut

The opening telecast of ‘Why Are You Whispering’ suggests that this is something that will be an art-house affair in some ways and it proves to be the case. There is a steady motion in the synth elements which occupies something spacious and comes through in a proven way, albeit one that can prove divisive, but it also renders the kraut elements of the music at the fore in a relevant way.

After that comes ‘We Shake Sperando’. Again the synthesised elements are embraced in a manner that furnishes it with a solid sense of expression. In how it conceptualises the texturing the direction of the playing arcs takes on a finite calling accordingly.

Third track ‘Fretka Domi’ embraces Afro Celt beats amongst others. Imparted in the refined aspects is a sterling degree of expression which proceeds to envelop everything in a composite manner that is befitting of how it is all laid out.

The drum and bass aspects are explicitly prolific on ‘Puppu Tanz’.

They hold steadily and the guiding vocals linger

7 over it astutely. The shape of the track is one that has an obtuse calling and lingering feel about it. But there is also a presence to it that keeps in tandem with the open showing in the more forlorn appreciation that works here. After that comes ‘Get Dudeskeit’. It is a rather steady affair. The braced calling builds it accordingly and allows the richness in the texture pass through. Yet it is how it closes that showcases just how good it really is by judging the run of the tempo sweetly.

The darker organic heightens ‘Oy Riki’. The imperative way it is fashioned rises up to meet the expectation. There is nothing necessarily more to it than that though. Hiding away on ‘Arjen The Seal’ is a sense of retro that is somewhat inviting. It is played with effectively as well. That is reflected by the noted way the beat seems to furnish the delivery with an abundant presence. In how it collects everything finds a sense of reach and embraces the alternative calling intently.

The final track here is ‘All You Said’. This is a morose tune and the barren landscape conjured from how it sounds plays to that calling in a highly relevant way. The overtures of the arrangement accommodate the isolated orchestration kindly and the process as a whole is one that embraces an ambivalent sense of expressionism in the Zionist sense.

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SINÉAD WHITE Finally

Having first turned up on our radar in 2012 in her early days after leaving Explosions On The Runway we have seen a lot of this artist on the live circuit since. With her debut album she tentatively takes those proverbial first steps that should lead to a deserved career in music. The telling sense of layering present on opening track ‘Better’ is comfortably necessitated. She collects herself in the delivery in a way that few artists are capable of. This corners the essence by considering everything in the transition of the breakdown in a natural way. A staple of her live shows is ‘Flat Battery’ and is deservedly included.

Reflected alongside the urgency is a hardened calling.

Yet the chorus also encompasses a higher level of detail in the arrangement, both in terms of how she imparts her presence and the nuanced background elements that add spatially.

Her third track ‘Do You Know’ comes in off the back of the intricate piano work which allows the emotion to weigh in. This captures the lyrical narrative. While the approach is cautious it also exposes a vulnerability that locates a sense of the real.

Ably embraced in the jazz sophistication that makes its way through is ‘Rollercoaster Man’. Then the charisma is heightened with the appeal of the beatnik eccentricities.

That showcases her array as a performer because the upbeat showing has a subtle sense of movement to it that is kept in sync with the timeless

10 apparel. She seems content to push the envelope here. Incredibly interesting in how ‘Runaway’ leaves the lyrics open to interpretation draws you in. Told from the perspective of the other woman and her inability to comprehend the affair gives it depth. Framed in the minimalist approach of the guitar the song closes with emancipation in a feminist context whereby she deems him not worthy of her and calls the shots by ending it. On further analysis this is a song about girl power. You are floored by the slick showing of ‘Poor Little Rich Boy’. What brings it together is obvious from the off. That high standard, coupled with the dynamic of her vocal range, is employed excellently and sees her sail through with flying colours.

With the supple drift of the piano saturating the sound on ‘Sometimes’ it also displays a noted sense of excellence when the worth of the lyrics come in to the equation. Collectively the ebb and flow fleshes out the delivery in a way that mounts up. This becomes equally impressive and gets better on repeat listening. Acquitted by the somewhat sleight of hand that is brought to bear with the leftfield improvisation in the progression is ‘Mouth Trumpet’. With the kitsch calling it becomes highly engaging and carried off with a telling degree of competency that takes you along for the ride. Considering the weight of the folk showing adds a serene touch with ‘Closing Doors’. Those touches are evident in the softness of the calling and imbue it with something captivating in a forthright way. Again there is a confidence running through final track ‘The End’. Alongside the steady way the tempo climbs everything clicks into gear. The added hardy call of her voice confirms an additional sense of the fortunate that keeps it all grounded at the same time as it opens it all up. It is that completed sense on show that helps it all click into gear.

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AMAZING APPLES A Little Sense

There is a neat sense of representation on show with the album’s opening track ‘On Your Own’. Making fine use of the instrumental array at their disposal sees everything drawn in a conclusive way. Alongside the representation here is a neat way to it that picks up and displays a more urgent consideration that retains that calling in moderation.

With second song ‘Lullaby’ things are dutifully brought through. The listless calling of the vocals filters through.

Alongside this demure everything feels eventful, but even in that sense there is an over-reliance on playing it safe. You feel it loses ground from that approach because it is too light. ‘ Hiding Place’ is a richer affair that corners a steady mix of folk and mainstream deliberation in the running.

The compact showing employs the urgency and they get the best out of it all, but that is steered through with an air of confidence that is suitably tracked on all fronts.

There is a strong trad calling embraced with ‘Where He Fell’ which keeps a sharp eye you feel on processing something with a commercial appeal in the showing. The neat ascendancy taking hold caters to that sense of splendour, cornering the picturesque apparel in the rhythm while giving the lyrics weight. It is with ‘Jack And Jill’ that things move

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away from the somewhat twee character that has been omnipresent.

Here they embrace their folk influences in a way that flourishes. The music and the grandiose sentiment prime the delivery immaculately.

This is a marked improvement and showcases what they are about when they are on top of their game. Coming after that is ‘The Slide’. A solitary dobro riff adds an Americana calling that soothes the transition. You are transfixed here with the influence of acts such as The Waterboys hinted at. What fares well is built around an easy going style but furnished by the rich array of instrumental work on show.

Embracing that same approach is ‘World Without End’. That is brought around by extending the sense of connectivity in how it all gains ground. The bridge deadens everything and adds a haunting resolve. The highly calculated maturity of the tracking iprogresses from the somewhat weaker mainstream opening tracks in a big way.

With ‘Two Steps’ the haunting melancholy sits well alongside the sharp distinction. In the vocals something is trapped which further enhances the appreciated touches as the bridge collects. You see what has been invested from the band here. ‘Skins’ seems to confirm that the album is moving sensibly in the right direction. The staid feel adds worth and the imbued countenance of the rhythm moves steadfastly within the outlines of a rich folk endeavour. That is matched with the faultless propensity in the display. ‘Battle’ also sees them draw a line of contention that is matched by the commitment. The absence of the folk calling gives this a calling that sounds more indie.

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THE NORTH SEA Anniversary

This album has everyone talking for all the right reasons. As the opening salvo of ‘I Promise’ deliberates the texture and layering of the guitar work bleed commitment. Then Eoin Kenny’s vocals take control and linger here in a way that commands your attention. Yet how it is all expertly layered equally balances every element. You can see how polished the album is with the intro of ‘December’. The low gravitas of the vocal delivery resides tellingly, while the tactile turning of the tempo is also impressively fluid.

That intuitively brings it all full circle and after just two songs in you are immediately hooked. ‘In Love’ gloriously impacts on the senses. Drawn in the post-punk outlines is an urgency that flits reliably between the lighter touches and the raw undercurrent.

The creativity brought full circle corners the apparel in a way that lights it up explicitly..

It is the honesty on show with ‘Drinking Alone’ that takes everything up another level. Maintained in the delivery is a sense of worth called upon in the lyrics that imbues it with worth. That realisation of depth finds its calling in a fundamental way that tiptoes across the romanticised calling of the darkened lyrics. It is that freedom of expression that follows up on the promise suggested in the intro and

10 floors you when you hear it. A barren sleight of hand carries ‘All This For Nothing’. The ambient longing transcends to become a tour-de-force that calls the shots by its own volition. In the deadened pique the fashionable calling steadiest the direction of the post-punk affluence with a latent shoegazer touch. Chasing down the adroit feel of the tempo superbly is ‘Vulnerable’. The taut aspects of the tempo are processed in a procedural way that is highly defined. This really counts for a great deal and the resilient turning here is one that is confidently measured and doesn’t fall short.

With the graceful allure of ‘Our Flaws’ the direction retreats inward slightly. The composure does retain the qualities that form the band’s identity. With the interjection between the sedate temerity and the brash guitar that bellows mildly the calculating calling does not go amiss. That same approach is mirrored on ‘Against The Ropes’. Here they cut loose more and comprehensively go the distance. Even though it is one of the bands earliest songs it has gotten better with age. Enabled by the solid sense of maturity that collects in the delivery is ‘Belong’. The lean foray doled is somewhat anthemic. The laden weight of the delivery is carefully carried across in how it all plays out. Just from the opening riff alone ‘Decay’ has everything going it. A solid sense of contention spills forth in the concentration here. This fills out with sophistication, merit and above all else, substance. It is excellence personified in the form of just one track. This is a real contender. Overall, this is one of the best Irish albums you will ever hear in your life!

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EP

Irish Artists REVIEWS

PRETTY BEAST Content

‘Raid’ kicks everything off, and fittingly like its title, it arrives as if it has just kicked your door in. The impact is there and maintained in a way that very much embraces the raw calling that is set out for it here.

Everything adds up. While the smart exchanges in the guitar work carry it through there is a noted presence to be found from the drumming which readies the showing with real menace. ‘Born’ then follows and feels as if it is cut from the same cloth. There is a more developed aspect to what is on show here and that is carried through with merit. The difference here is that they seem to take stock of things and that materialises in the weight of the delivery. By going for the jugular here they display a worthwhile degree of conviction that feels appropriate alongside the delivery as a whole.

Then we come to ‘So Cold’. Loaded with pace, but also smartly checked, there is a nouveau indie calling at work here that is rather chic. The fashionable bursts in the rhythm come through in a commanding way that is rather confident. There are no prisoners taken with the approach and it sets up the more New Wave organic of ‘Trying It’ to close the EP out with another very strong showing. The harder sound here, alongside the lyrical narrative, adds up smartly in how it is all readied. What is also taken into consideration here are the electronic elements which clock in comprehensively and help to further the extensive sense of drive and control that is already on show.

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CHARLIE BRONSON Charlie Bronson

If punk were to merge with shoegazer then ‘Same Ol’ Same Old’ could probably be considered something of a bastard child in that regard. The languid calling of the guitar work drifts through comparatively but there is also a raw undercut about how everything is placed. That is tailored in a bit of an unbridled fashion and adds a jarring conclusiveness to the vocals that are finely brought to bear. Wallowing in a sense of self-referential mire is ‘Elevate, Alleviate’. What is cleverly checked here is the texture of the tempo. It is angled across in a way that cleverly collects and processes all of the right touches as it embraces something that flirts with an alternative leaning but pulls it back to nestle somewhere that is somewhat exclusive in how it shies away from being mainstream.

Following through with a reggae sentiment off the back of the intro is ‘Bare Necessity’. The rather limber flow of the rhythm traps everything in a relevant way. The steady calling is then promoted further by the vocals and the overall refined movement is one that is cleverly kept together. Initially you think ‘Speedfreaks’ is adopting an alternative calling but in fact it hitches a more emphatic and casual demeanour through in the playing instead. The layered calling of the beat is calculated. As such this emits a stellar groove in the guitar riff but also allows a high sense of expression come to pass in doing so. The overall management of it is excellent. Things also adopt a leftfield leaning with ‘Djuwana Storm’. Heralded in the approach is a deftness of touch akin to The Velvet Underground in that it has a charm offensive while also indulging in something innovative that is all about pushing the envelope. It works here, albeit somewhat feeling a bit too loose in places, but it works how it should. When they take it to a formidable close that comes out of nowhere and makes you reassess what you are hearing.

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SKY WHITE TIGER Child Of Fire

Having come highly recommended to us via our New York music network, when we first played this EP in the U&I office it became something of an enigmatic listen.

There is the tidy interlude of ‘Lady Rain’ to begin with and it is then followed up by ‘Common’. This is gloriously expressive. Not only are there elements of soul and electronica at work, but they seem to be styled in a way that occupies a middle ground of its own calling. The expressive texture of the rhythm presents a cacophony of bliss that is a fine assault on the aural senses from how the movement accentuates everything without over-complicating. Then the candid, and somewhat whimsical, allure of ‘4EVA’ kicks back but also marks out a sense of integrity in the latent urgency. The lean traits collect with a faux pensiveness in the rhythm that is broad but conscious of the necessitation of scope it needs to afford the delivery.

Again there is a solemn sense of depth captured on ‘I Might Be Wrong’. While it is arranged to lead with a solid sense of resolve in places it feels disjointed, but on closer inspection you see where it connects. That allows a transparent texture blanket the feel here but also cradles the more kneaded aspects in the execution. Landing just right is ‘Don’t Matter Much’. Here that you see the intricacy that has people raving. That is absolute here and isconfirmed by how the dalliance of the piano. While there is nothing specifically standing out per se the controlled element confirms potential. Building on that is ‘Heartbeat’. Not only does the approach harden, but it also sees credibility come through as the other electronic aspects transition. What shows from how they fall into place is incredibly confident and sees performance is brought full circle. The revolution that brings it through those 360 degrees sees an amalgamation of elements develop the playing arcs with diversification. Final track ‘Child Of Fire’ again finds prowess in an enduring way.

What leaves a telling mark though is the body of work presented. It marks a sense of everything being confirmed with the crescendo in the rhythm. All of the precision, along with vocal calling, is of an impeccable standard and processed with a supreme sense of deliberation.

9

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GIRLFRIEND

Arrive Alone, Leave Alone The style of this Manchester band is one that cleverly applies a pop sensibility alongside a highly defined indie chic. That comes to the fore on ‘Monte Carlo’ as the derivative of the keyboard opens it, but it is the smooth transition of the track that impresses. The narrowed calling of how it sounds is implicit to what garners appeal. The chic rhetoric is also something that moves it comprehensively and the somewhat stationary aspects allow the more upbeat nuances to play their part excellently. After that comes ‘You Lead The Way’. With how the approach steps out there is a noted confidence to the strident showing here. As the chaste apparel of the vocals draw upon it that concentrates a richer nouveau that is equalised by the steady calling.

8

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In the attentive appreciation that shows with ‘Style And Substance’ it sees the retro leanings come through in a calculated way. Addressed in the delivery is a wonderful degree of handling that realises a great deal in the demeanour. The electronica calling is one that addresses everything but allows something sedate to carry across in the flight of the tracking that is hard to find fault with. They close out with ‘Stop’ and this is another clever tune. The patience of the inward styling of the vocals adds up. That is carefully assessed and the pensive hold of the rhythm is also quite maternal, but it also infuses the handling with a sterling level of balance that is incorporated into the dynamic formidably. Given direction from the approach here there is a mark left that also sees them up their game on an artistic level.

THE SNEAKY NIXONS The Coup De Grace

The love affair that U&I have with Liverpool and its music scene is well known and this EP is from another band who underline what the city’s current unsigned scene has to offer. Smashing it from the off is ‘Let’s Talk About Girls’. Content in the handling there is also a raw cut that surges through with the edgy apparel remonstrated in the guitar and drumming combo. That sees the delivery muscle its way in off the back of the play commendably. We fell in love with ‘Baby Just Do What You Want To!’ from the very first time we heard it and that affection hasn’t gone away. It is another tune that has a heightened calling but also suggests that it will still hold its relevance twenty years from now. Third track ‘Thick Thin And Thinner’ calls upon elements of The Clash with how it runs. The punk leanings are clocked but placed secondary to the emphasis on developing the versed calling instead.

That is what gives it an earnest dependability and very much showcases everything that suggests they could be a band to watch in 2015.

‘Riverside’ again calls on the curt styling of their guitar work to impressive effect. Then it proceeds to pick up with an inspired calling that is telling. The energised pomp embraces something celebratory that is not sold short. Instead the inspired drift sees them get down to business in a way that lets the music do the talking. As the brash off the hook staple of the delivery drives ‘Love Is A Funny Thing’ it brims with a telling degree of presence. What is called upon here is formidable, polished and above all else, dangerous. When a band can turn it on like this you have to sit up and take note.

The hooks in the guitar neatly carry an air of confidence to them but they match it with substance.

Again the impressive intent of ‘Dietary Requirements’ provides an energetic pomp that is explicitly called on.

The hardened showing, with the resounding presence of the leaner calling, shows in the interjected layering.

This developed progression, akin to an almost post punk era throwback, comes across in a prolific way but it is the galvanised strutting of the rhythm guitar here that really is the making of it all. What is also capably retained is that intrinsic sense of Britishness in the identity.

10

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GLEEMER

No Goodbyes Initially there is a pandering to opening track ‘Workout’ that seems to display an inner calling that is somewhat laboured. The derivative if the lingering guitar riffs dally across before the harder calling of the arrangement commendably kicks in. As such there is a larger degree of prominence resolutely stirred from the vocals, even though they retain that stationary worth. It is that settled working here that very much provides the delivery with a latent New Wave organic that is highly pragmatic in its execution. ‘Shoulder Pads’ is also cut from a fine cloth. Though here there is a heightened sense of refinement about everything on show. The well-reasoned spacing of the arrangement allows the scope of the delivery to be conveyed in a realised way. That carries a shifting temperament in the rhythm that is kept in flux and the straggled leaning also adds a flushed overtone to the end product.

Peeling away in a latent shoegazer apparel is ‘Party Girls’ but it is incredibly rich in texture.

The warranted volume of the spacing holds up here. In the weathered feel of the vocals there resides a weary call that turns on the style remarkably well. The deadened process in the dynamic is emphatic yet also steadily puts the vacant charm to the fore from how it all operates. Last out of the blocks here is ‘Cooler’. Collected in the ambience is an innate wonderment that s rather dark. The noir in the ambience is condensed finely but what is located in the vocals really pulls it through with a chaste appeal to the texture.

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ROLLING BLACKOUTS Talk Tight

Review by Jamie Kelly This opens up with the song ‘Wither With You’. It comes in with a steady upbeat pace. That gives it a happy little buzz.

The melodies that come in and out during the song are nice and catchy as they give it a good lift and change in dynamic. I’m not sure that I’m a huge fan of the vocals but that’s just down to personal taste. Overall it is a pretty good track. Next up is ‘Wide Eyes’ and opens up with a synth accompanied by a high tempo drum beat. It gives everything a different vibe to the first one. While it doesn’t change too much throughout, the title of the song ‘Wide Eyes’ is repeated to good effect in the choruses that creates a bit of a hook. Like the first track the lead guitar melodies are really catchy and add to the overall sound. There’s even a guitar solo that wraps things up toward the end. This brings us to third track ‘Heard You’re Moving’. As it starts out with a bit of a country sound the acoustic guitar gives it a nice flow. Again the lead guitar jumps out at me as being the main attraction because it carries the song through sections and dictates the overall groove. It’s almost like an interlude between the different sections. Although a little repetitive I really liked the chorus and seemed to have it well stuck in my head after listening.

After that comes ‘Clean Slate’. The intro to this was very old school, bass and drums to get things rolling. The lead guitar lick that’s repeated around the one minute mark is really cool. I liked the structure. It was a little less traditional and more contemporary. The verse and chorus flow in and out of each other effortlessly which really works. What I thought was cool was how the build-up hit a climax and then tones itself back down again for the outro.

This brings us to the last track ‘Tender Is The Neck’. This starts off delicately. With the good atmosphere it is hard to tell if it is positive or negative. The lead guitar rhythm really works. The line that accompanies the vocal track is great. It complements the vocals and gives distinction to the sound and character. Probably my favourite track on the EP because I really liked the section at about three minutes where the two guitars were playing in and out of each other.

8

Overall I thought this was a great EP. If you’re into the ‘soft punk’ type of genre then this will be right up your street.

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THE FAME RIOT Dust Funk

Review by Jamie Kelly The first thing that hit me when I listened to this was the ‘pop’ element of the music. The way the songs are structured and produced is very typical of a main stream chart topper which is not something we normally get here at U&I. The first track on this EP is called ‘Try To Be Better’. This starts off with the foundations of a dance song. There are lots of nice little melodies that phase in and out throughout. The best part for me was the chorus because it was top notch. The vocal harmonies really reinforced it and brought it to life. Nest up is ‘Physical Altercation’. This opens up with a trance kind of vibe and is a little more toned down in comparison. The vocal performance really stands out again, with every chorus perfectly suited to the genre. This brings us to track three ‘Limits’. When this starts it is notably a few beats per minute slower than the first two, adding a nice bit of dynamic to the EP. The melody that plays in the background of this song is quite discrete, but it’s still there and it’s really catchy. This same melody is reinforced to good effect later and as it breaks down toward the end it offers a bit of change that is quite repetitive in truth.

‘Heart Stray’ opens up with a little synth intro which plays a nice melody that sets the tone and key for the track to follow. The vocals are fairly fast paced. There’s no messing around and it’s very straight to the point. In truth the melody that plays at the end of the verses reminds me of something I would have heard at a teenage disco in the early 00’s. I’m not sure if I really like it or if I’m just getting some sort of nostalgic flashback here. It was pretty much the highlight for me. It is followed up by ‘Get Lost’. It starts off with a fade in of the beat that is to accompany the rest of the song. The synth line that syncopates with the vocal track works well. It gives a lot of depth to the sound which is very gritty synth.

There wasn’t much change throughout and I found myself struggling to pick out features. This brings us to track six ‘I Like The Way You Move’.

This has a really nice groove to it found in the drums playing a shuffle beat with a bit of swing to it. It gives a different vibe to previous tracks on the EP. I really liked the way the title was used to catapult the delivery into the chorus. The orchestral parts in the chorus give it a vintage feel that I really enjoyed. Again I’m finding a little bit of a lack of variety. It’s very much the same from start to finish. This brings us onto the last track on the EP ‘Let My Heart Go’. This cool intro that the line the synth plays is an instant hook and draws the listener in. The drums come in over the top and quickly change into a half time beat that gives everything a deep vibe. Things break down a bit in the middle, but again it doesn’t change too much throughout, something that seems to be a common trait throughout the EP. The chorus is stuck on repeat for the last minute and a half which does get boring if I am being honest.

7

Overall I thought this was a really good EP. I’m not a huge ‘pop’ fan, but the songs are easy to appreciate for what they are. As stand-alone tracks any one of these could end up top of the charts as each song is incredibly radio friendly. The way that they’re structured, with their repeated hooks etc. made it a bit difficult to really enjoy each track one after another. But overall for what it is, this is great stuff.

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THE VEGAN LEATHER This House

Review by Jamie Kelly From the start of ‘This House’ it is evident that this is going to be an interesting listen. The song opens up with a lot of energy and what can only be described as a ‘Fun’ feel to it.

The melody is really catchy. I really liked the female vocal on this, in particular her very dreamy voice. I also thought the drumming was really tight, and whether it was programmed or not remains a mystery. It breaks down towards the end, and when it does it’s pretty sweet with really interesting sounds going on throughout. The second track is called ‘The Knife’. This starts off a little different and has more of a band feel to it than a computer, for the most part anyway. The unconventional vocals add distinction. It’s more spoken word, but in a singing way, it’s good. The groove is really tight and very refined dynamically throughout. I particularly enjoyed the bit at the end where there’s a little synth solo over the guitar track.

We then come to ‘The Bottom Of The Ocean’. This is a great number - instrumental, very funky and groovy. It’s one of those songs that instantly gets your head bobbing up and down. It’s incredibly catchy and the vibe is somewhat infectious. The section that comes in around the two minute mark is immaculate I cannot stress more how much I enjoyed it. I think I could see this one going into my everyday playlist as it’s such a joy to listen to. This brings us on to track four ‘Days Go By’. This has a bit more of a traditional dance vibe on show. The beat is steady throughout, while the backing is very floaty and lucid. It doesn’t change too much throughout and it is quite tame in comparison to the previous tracks. The vocals get a little repetitive but I think that’s the idea here. For that it is still a cool tune that fits well on the EP. And so we arrive at the last track ‘Your House’. Perhaps some kind of reference to the first track ‘This house’. The song opens up beautifully, almost creating a sunrise in your head. it sustains this and keeps you in the moment for two minutes. It’s not really much of a song as much as just an outro. Yet it is pretty cool and a nice touch because it wraps the whole thing up well.

8

Overall I actually really enjoyed this. It’s very groovy and has a good chill element to it. Good listen for anyone just looking to chill and listen to some tunes. I really enjoyed track three, would definitely advise a listen to that no matter what genre you’re into.

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LIFE

I Knew I Was A Rat Review by Jamie Kelly

This short EP by Alt Rock band LIFE opens up with the high octane track ‘GO GO GO’. From the get go this is pretty intense. I liked the fast pace of the vocals. It gives a sense of urgency to the sound. There is a high level of musicianship that radiates off this. All the members seem to be very in tune with each other dynamically.

Short and sweet, the song ended rather abruptly to great effect. Again, ‘All Your Friends’ is quite short, but to good effect. This one is packed with energy. The main riff that is used throughout the verse is good. It is very catchy and very typical of the genre which is why it fits well. One thing that seems to jump out at me is the vocal melodies throughout. They give it a real hook. They’re easy to follow and repeated throughout until the end.

This brings us to third track ‘Take Off With You’. This has a slightly different vibe to it. It sounds a little more advanced and refined than the first two. I really liked the production on show. The first two tracks were recorded by a different engineer, not something you’d often see on one release. This song seems a little more commercial.

It’s a little less hardcore than the first two. The repetition of the chorus worked really well and I knew the words by the end. The chorus was enhanced by the catchy backing vocals that come in at the end of each line. I liked the little guitar interludes, particularly in the first minute of. The synth sounds that came in post chorus were cool too.

This brings us to the last track ‘Crawling’. This sounded slightly thin to me. It lacked the depth and energy heard previously. I’m not sure if it’s the recording or the song itself, it’s almost like someone scooped the mids out of the mix. I really liked the guitar in the chorus and they kind of bounce off the vocals in a way that worked really well. I did find this a little repetitive. There isn’t much to it apart from the chorus. There’s a guitar solo toward the end, with a lack of backing it again sounds quite thin. It does however flow nicely into a cool outro that wraps up the EP well.

7

Overall I thought this was a cool EP. I thought it started stronger than it finished and it didn’t really carry the intensity the whole way through.

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DAISY VICTORIA Nobody Dies

A very clean effort indeed best describes ‘Nobody Dies’.

As an opening track it lays down a fine marker. The requisite manner of her vocals commands something exceptional in the way it is delivered. Yet the essence of the arrangement, with the soothing climatic allure of the synthesised string sections stirs the calling in an affluent way but also imbues it with a clean pedigree that shows true class. This is how alternative music can be expressed without being an indulgence. After that comes ‘Blue Arc’. Again there is a credible amount of versatility on show in the layering. That deservedly welcomes the distal showing and her voice exerts a sexuality across that is impressive as it traipses across. Yet it also corners a subtle underground calling that is accentuated in the openness in a way that befalls the soft sense of expression in a way that is slightly rampant.

As the lingering call of the solitude makes its way through on ‘Ammonite, there is a sense of finesse to it all that is clever. The steadfast precision to how the elements align denotes a knowing sense of artistry. That corners a somewhat chaste appeal that is highly compelling because of the latent Avant Garde leanings.

Yet there is a noted sense of the more urgent drawn across in the deadening of the ebb and flow. That cleverly shepherds the performance and brings the more extravagant touches in the background to the fore.

Things move up a gear with ‘Coals’. The taut feel of the bass and guitar sharply dig in here, yet it has a noir feel that embraces a New Wave calling but doesn’t let it sit upon it. Instead it feels as if that is a clever flirtation that takes what it wants and that is what comes to own the song instead. With ‘Another Sky’ the leftfield calling is handled in the intro. That encompasses the delivery with a richer sense of texture and then the apparel of the vocals draw across it in a way that is incredibly disciplined and sultry. That faithful leaning bridges everything in the delivery by bringing the playing aspects together. The lightness of touch in contrast to the somewhat weighty calling moves it all in a telling way. This artist could very well be one to watch.

10

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CANDIDS Love

Coming via The French Connection, this impressive outfit from Nantes turn on the style in a big way with the opening track ‘Coma’. From the off it seems to have a contentment to it that steers everything. That direction is equally cursive and the appreciation in the guitar work brings a 60’s revisionist styling through with real accomplishment. That confidence is not only exuded but directed squarely. That panache that they have for developing good solid tunes around guitar riffs abounds furthermore on ‘Young’. Again there is a noted revelry in how the sharp and tactile run of the rhythm gets it all moving. How that holds is exquisitely considered and catchy. There is no denying the Gallic flair on show because it also corners a degree of charm that meets with the substance of their approach.

With ‘Sun’ they take the direction of the EP a step further. Here the electronica/synth based prominence of their sound is highly engaging. The churn of the guitar work in the background is also rich and the post-modern feel of the lo-fi characteristics saturating the sound are incredibly felt. The impressive prowess that fills the delivery out is also quite compact and the distribution of everything, with the sedate rise of the vocals also nursed well, gives it everything it needs. Then we come to ‘Love’ and again it is rather proven. The lighter handling here gifts the pick up a solid sense of contention as the pace quickens. The fluidity on show is carefully crafted, yet lean in a calculated way. There is a sense of the fantastic as the vocals also peter out here. Not only are they a dynamic that finds a brilliant calling but they have something that is apparently flush.

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SPRING KING ‘City’ is a formidable track indeed. Imbued with prowess there is a raw undertone that sharply cuts across in the guitar and bass riffs. The solemn way that the movement, in a casual sense, is exercised, draws something strong through that is finely fashioned from the off. In the spirited way that it is all brought through it also holds in a steadfast way that is defiant. In the incredibly catchy way that ‘Dream Boy’ takes off there is a solid sense of fluidity. With the emphatic way it is tracked it finds itself on solid footing. The lean backing of the beat is solid and the bridge is also suitably impressive.

The we come to ‘They’re Coming After You’. As the lucid qualities linger here it produces something catatonic. That lavished a telling touch of class, with the dreampop angling of the guitar in the breakdown holding its own.

That sedate nature is one that envelops the running in a way that is commensurate and a testament to just how it holds its own. With the added barking of a dog in the background on the intro you are drawn to ‘Early Bird’ for its enigmatic approach. The referential way it runs is quite splendidly drawn out and it leads neatly into ‘In All This Murk And Dirt’. As the final track sets off it embraces a defined maturity that sits upright. Doled out with certainty is the skill of the songwriting here. As everything comes full circle the heightening of all the aspects on show provide it with purpose that draws upon a noted sense of maturity in a highly realised way. The plentiful feel of the delivery as it all makes its way through is brilliantly put on show.

10

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SUSY SUN

Wanderlust The opening track is one that comprehends the title of the EP in a forthright way. That wanderlust located in the arrangement as a whole is chased down by the ebb and flow of the arrangement. That is suitably engaging with strong string overtures alongside the piano enriching the outline, while her voice imparts a softness that bequeaths something in the showing here that is met with a sense of revelry from how the pace picks up and stokes the delivery. The secondary pop feel of ‘Down’ actually betrays what you initially think of it. The lyrics also pull the harder side of things towards the front but it is the supple, and in some ways ornate, temperament that pulls things cleverly in that regard. It is a carefully gauged pop effort though. The breakdown of ‘Love Thing’ displays a heartfelt degree of sincerity. As expected it is a love sing but it quite pleasing to hear as well, even if it strays on the safe side a bit too much. But it displays enough to warrant an appreciation on account of the abject way it is structured with the playing developed in a conclusive way.

The welcoming display of musicality that is the interlude titled ‘Piano Impromptu’ plays its part well. After that comes ‘Never Again’ and it retains that subject matter of lost love and lament. There is a cumbersome calling to how the arrangement is drawn here and that retains an intricacy that shifts through with the weighted dynamics of the piano.

Her voice is a tidy inclusion here and it adds a solid sense of absolution that suits the soothing temperament played across so beautifully.

Although ‘Grey Skies’ doesn’t diversify it does impress. In the handling there is an air of confidence that projects evenly a balance between intent and delivery. The able bodied showing is one that brings all this through and concludes the EP in a way that is cleverly brokered when the detail of the arrangement is considered for the context as a whole.

7 - 51 -

MICHAELA WOODS

Scratched Out Features Things begin with the enigmatic hold of the hardened calling of the acoustic guitar that gives ‘Coffee & Cigarettes’ its calling. That refinement is matched by the propensity of her vocals which underline the worth of the song from how they are relayed. That astute calling also meets well with the fluidity in the movement. The development of her style is tailored to suit on ‘Untitled’. The consistency displayed rounds out the ethereal sensibilities. That fortunately finds a fitting sense of resolve in the transition. But it is the sober derivative that displays real expertise.

As ‘Not So Natural Disaster’ takes hold you note how distinguished a songwriter this artist is.

Akin to Joni Mitchell, she somehow caresses the earnest virtue of the song with the immeasurable worth of the metaphorical calling. It is all controlled and the development keeps the intention paramount as it closes. She then comprehends the emotive yet again with ‘Metaphorical Heart Surgery’. But here it is approached in a way that suits the composure and the wayward characteristics that take hold.

Things drift through, but not aimlessly. Instead the lingering style present proves intoxicating and seamless draws you in with every fibre of its being. Opening with a more noted sense from the jarred intent is ‘I Spill Ink Like I Do Blood’.

However there is a resolve to the open pouring of the vocals here that somehow bring a better understanding of dynamic in how they are represented in the breakdown. That also confirms her awareness of the spatial in the poetic and well-versed operation that finds its calling here.

9

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SLOPPY KISS SOIRÉE Scallywag Syndrome

The first track here, ‘Sloppy Kiss Soirée’, is one that hits the ground running. If you were to try and describe the sound on show you would say the punk styling is one that mixes a slag into the running and draws the urgency through in the guitar and drumming rhythm. The solid ebb and flow commanding the worth of the delivery is tellingly pitched here and they continue with that trajectory on ‘Baby Sitar’. It has that underground calling but when the pace quickens it also takes hold in a shapely way. It has an inspired lift to the rhythm that abundantly ticks all the boxes.

Somehow it also corners a spirited Ramones styling that is equally unpolished and classic punk. What a tune indeed.

9

Again they angled in something incredibly sweet with ‘Evil Twin Brother’. You are just wrapped up in this from the off. The catchy hooks necessitate an unbridled degree of solid conviction that is met with an energetic sense of conviction. Rolled out in a way that takes no prisoners is ‘Amusement Park’. Pun intended, but this takes you along for the ride in a duly prolific way. It goes all out and there is nothing let up in the delivery, yet it has a comprehensive array found in the alternative second half of the track that brings it to an erratic left of centre pastiche that is not pretentious. The closing number here is ‘Toxic Surf Party’. Again it is a highly entertaining effort, embracing more of a post-punk calling that suitably draws a comparison with Adam And The Ants.

Brandished with aplomb it is something that interjects differing playing arcs in the delivery but also locates the intent in a way that keeps the raw cut clearly in focus.

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BALLET

Sunday With this seven track EP there is a lot of promise shown from this Israel band and confirmed furthermore by the kitsch derivative of opening track ‘Claim Your Space Then Chill’. This is emphatically cool. The noted way everything embraces the alternative leanings gives it a further underrated stature. It is immensely experimental but the handling retains a subtle temerity. Keeping a balance between mainstream and leftfield is ‘Just The Way You Look’. A galvanised semblance of electronica fused with indie extremes combines impressively.

However ‘Nothing Changes’ sees them lose ground.

It seems to lack the impact slightly but it is approached differently. In the guitar work the exchanges revert to something that rests between post-60’s revisionist and pre-mod in styling. That carefully plods along with an openly traipsed allure channelled through in the configurations.

‘Sniffy Da Sniff Sniff’ showcases how diverse the EP is in terms of the track listing. The heightened intro has an astute hazy conjecture that is big on presence.

This brims with an alternative cool and tellingly languishes to build the indifference of the handling expertly into the mix. Another track that hangs excellently is ‘I Think It’s Better This Way’. The listless processing provides it with weight and the hardened delivery executed comes from this approach. Yet there is an overarching psychedelic subtlety which really gives it panache. The savoury way it is brought together is impeccably sharp.

Initially ‘Stress And Low’ starts off mellow but progresses tellingly as the psychedelic touches play in. There is a retained charisma about the performance that catches everything fondly.

‘Amazing’ is the last track and it is an expansive number. The deluge in the instrumentalism in turn orchestrates a telling notoriety alongside some fine ensemble work. It is engineered to allow for this indulgence and provides the EP with food for thought as it underlines the assessment of them being a musician’s musician.

9

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THE HEAVNS

‘Those Were The Days’ fittingly carries across with an unpolished sense about it all. The drawl of the vocals is drowned out somewhat by the raw carriage of the guitar work. It is a heady smorgasbord of playing that filters through. It is very rough around the edges and this digresses in a way that you can either take or leave. It is a bold approach that refreshingly lets the music do the talking. However on ‘Gravitas’ the same trick is pulled twice and it could have benefitted from being properly mastered because the lo-fi calling is one that loses itself at times. In some ways the delivery is immutable with the vocals falling away too easily. That is a shame because the breakdown of the playing is highly reputable and it deserves some proper production because it does show potential.

The sepia dream tone that their sound is coated in comes to pass with ‘Off With My Head’. This is again a very raw sounding tune that has a quickened pace on show. The dynamics provide it all with a true sense of worth when it picks up.

That is a real bonus here but what is also a saving grace is the salvo that connects when it does show bite. The rounding of the drum and guitar combo immediately stands for something on ‘What I Have’. The lingering vocals, somewhat disjointed and drowned out in a distal way, are hard to make out at times. When they do drop in they droop lazily over proceedings and that leering projection is also a divisive feature here. But when the rhythm drops down to mirror this it is highly inventive. Fifth track ‘Thousand Summers’ is inventive. Aplomb is a word that best suits the delivery here. In the disregarded way it is all projected there is a taut demeanour that cleverly puts it all into focus and how it comes full circle is incredibly admirable.

7 - 53 -

NUMBER STATION Back Seat

Don’t let the title fool you because the sophomore effort from this Melbourne band firmly puts them in the driving seat with opening track ‘The Money’ being an outstanding effort. The high referential feel of the synthesised tracking lights it all up. While there is a telling refinement about the vocals that carefully sashays across here with a casual demeanour called upon that is tellingly prolific. What is checked on the bridge also works through with an incredible air of confidence. For a song with such a laid back feel to it there is an incredible degree of momentum also factored in. With the opening bass hook alone you sense that ‘Get Out Of Your Own Way’ is going to be a song with a certified degree of cool about it. And it doesn’t disappoint. How everything works here is almost flawless. Balanced in the flight is a noted deliberation that moves with an incredible sense of bravado.

You are floored by just how good ‘Want You To Know’ is. In the upbeat considerations of the track it seems to take stock of a telling nouveau that condense the spry nou disco apparel in a way that is seriously impressive. That it holds in such a consistent manner also sees the vocals filter through in an equally resounding way. With a sleight of hand that draws a Hall & Oates comparison is ‘Our Friends’. They draw upon this in a big way and dig deep to pull out something incredibly top drawer. The contrasting pop styling here gives it credibility in a rather fortunate way. The last song ‘Way Down Low’ brings the anti-climax. The absence of the pomp is noted but it is not a complete washout. Instead it builds on the arrangement and shows another side to the band in an artistic sense. With the clean way everything is felt out here they do offer an incredible insightful showing and one that is highly alternative. That is what diversifies the cut in such an explicit way that the withdrawn texture of the vocals seem to blanket the delivery in a fashionable way that is overtly kept in check.

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BOREAL WOOD 26

The careful outline of ‘Twenty Six’ radiates a full sense of camaraderie. The noted framing of the vocals is distinct. With their laboured whim things are enveloped by a telling ardency that proves highly referential. But it also has this rather clever nuance to it that is a heightened form of retro that is highly innovative and treated accordingly. Holding a finite sense of absolution at the core is ‘Unheard Prayers’. The shared vocals immediately press upon the delivery. The strong shoegazer apparel is also carefully constructed and brings with it all a telling sense of scope that is fantastic as it invitingly makes its way through. The supple appeal of this track is carefully condensed and as such it adds to the conclusive weight that bears down on the running with such practicality.

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Comfortable with the running is ‘Let It Go’. It is attentively worked. In the electronic aspects they provide a prevailing sense of indie sensibility. Alongside the lo-fi pitch of the vocals there is a telling degree of animosity on show that sees them get lost in the music. It is that approach here that captures the flair of the track in such an enigmatic way. The closing track here is ‘Cold Night’ and it is a long player that clocks in at over six minutes. In the passive sense it embraces an anomic calling.

That rests neatly with how it is all condensed into something so well streamed that it wholly diversifies the four tracks on show superbly.

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PENROSE

Live For The Dream With a lavish 60’s revisionist allure, ‘See You Again’ is one of those tracks with a captivating allure found in the play. That is a quality that is rather forthright but the candid demeanour of everything collectively is felt out in a way that adds to the way everything is tidied way. With how it falls into place there is an undeniable chic demeanour that is majestic as much as it rich in calibre. After that we come to ‘Melody’.

Again this has a vibrant kick about it that is sternly kept in check. The rhythm is colourful here and the tidy shape of the melody is also noted for all the right reasons. A rather safe tune in some respects, but it is not a by-the-numbers affair. Instead it is a clever number and that approach is one that very much gets the best out of everything on show here. ‘Harmony’ sees them come up with the goods. The maturity in the songwriting comes to pass and how everything comes full circle, with the scope of the play meeting an ambitious approach, really draws you in and confirms the sense of purpose that they have in the artistic sense.

Final track ‘Where You Go Now’ is a more agreeable affair. The observation in the lyrics is a bit Beatles-esque in how it writes about home as much as it reflects. But how it progresses draws a more suitable comparison with Primal Scream because it is blessed with an indie calling. The way the handling steadies the delivery coaxes the worth through in an appreciated way but also sees a long bridge play across here that is stellar.

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COLOMBIA MILLS The Perfect Day

‘The Advanced Stages Of Out Of Control’ very much embraces something in a shoegazer apparel that is carried off but it also departs from that style in equal measure. There is a sense of accomplishment to the breakdown that denotes a finite sense of discipline in the process. The way it is framed fills out in a way that certifies that assessment with the steady calling of the tempo falling into place alongside the hazy play. In some ways ‘Same Shame’ feels like a natural extension because it also deliberates with the chagrin of the guitar work permeating over the delivery in a grounded way. The sway of the song seeps through with a hint of relativity that is tidily matched by the context of the vocals. What is paramount in the partial aspects of the song add a heightened sense of patience that is called upon impressively.

The application of the synth alongside the drumming gives ‘The Perfect Day’ a neat electronica calling. This is acutely measured and the deferred styling here creeps up on the tempo in a way that is caught smartly. Channelled thorough in the arrangement is a replete sense of urgency. That is fuelled by the vocals and there sparse deliberation, with their Bono-esque hue, captures something rather specific that draws you in like a moth to the proverbial flame. Off all the tracks on show here ‘History’ is the one that stands out the most. With the subtle psychedelic reach that underplays the delivery there is a chaste calling here that confidently works. Also adding gravitas is the drift of the guitar riff alongside the steady motion of the drumming.

How the arrangement collects as a whole is rather secure and that gives the holding a sense of refinement that is highly relevant in so many ways here. The latter progression to close is nothing short of excellent as they bring the full on calling of their electronica styling to bear.

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Cookoo ‘Cookoo’ is a really impressive tune that defies the age of this band. the edgy way it hits the ground running adds a hardened sensibility to proceedings that very much adds a formidable degree of heft, yet how they play it doesn’t miss a trick. It is explosive, and dare we say it, they could very well be the first Irish band in a generation to actually get excited about. That assessment is again underlined by the cool punk reverie of ‘Make You Feel Alive’. So fluid, but at the same time it retains a sense of raw that adds bite. Not only is it a swirling fanfare of guitar and drum resonance, but it is all incredibly practical which tethers a novel underground calling to it that feels genuine.

There is a remedial degree in the showing to ‘Dress To Impress’ as it opens but it develops with a noted sense of prowess. That sees it right and the way it corners the urgency as the delivery comes together copes with that in a practical way. You sense that this is something that was made to be played live because it really has an invigorated value about it that is fronted explicitly. Showing they are no one trick pony is ‘Armenian Bodyshop’. This is felt out and retains a maturity that marks it out for all the right reasons. All the abundant trappings come through when the quickening of the pace comes off yet there is a dynamic behind it that adds presence. A very valuable inclusion to the EP it must be said.

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Gracefully With Haste The first song here is ‘Vienna’ and with the smooth demeanour on show you sense that it is a song that means something to him. The clever way it all works through, coupled with the meandering allure of the tempo in the chorus, is highly attractive. Considered alongside the approach is a formidable degree of charm that meets with an equally impressive hilt as the balanced projection comes to pass. It is not just a clean tune but it also leverages something resolved toward the end product that stands it good stead. As the relativity of ‘Treasure Chest’ comes to pass it is also delivered with a fine measure of gusto. That bends the delivery to his will and the way his vocals are relayed here also thread through a fine sense of artistic decorum that pours out intrinsically. Quite charming in its own right is ‘One Last Dance’. In how it plays out it has a resounding quality that is matched by the apparent worth of the song. The closeness, alongside the tidy showing, is a careful consideration that is relayed with a sense of conviction that is processed amicably but also in a way that allows a sense of freedom come to pass in a commanding way.

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‘If You Don’t Mind’ has a gritty calling that sends it on its way. The harder appeal here is obvious. That is leaned into comfortably and the way things catch fire is highly inventive. The fundamental way it is all called upon is matched by the prominence of the arrangement which tellingly traces a heightened sense of appreciation in the musical sense that doesn’t go unnoticed here. How ‘In Search Of Something’ is walked through has this pensive pang about the vocals.

With the sincerity added from that it is followed up and the pace quickens in a steadier motion as well. Carried off in the flight is an equally realised sense of worth that very much takes it where it needs to go. The final track ‘Hannah & The Cobblestones’ prevails by embracing the fonder worth of the song. The piano adds something highly conclusive and the bespoke nature is cleverly considered here throughout.

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OLD HANNAH

Iron And Wood ‘West’ is a neat tune indeed. The class that radiates from the country/folk sensibilities carry a refined sense of distinguished character it must be said. In the sharper aspects of the lyrics there is a calling found that is resolute and impresses accordingly.

That referential feel is steered through and backed up by the playing behind it in an undeniably fine way. After that comes ‘Oh My Love’. With the bereft mood of the tone tracked in a comparative way the deadened showing is one that is handled proficiently. What holds in the ambience imbues it with a soulful sense of reach that sweetly picks up.

In the bittersweet reflections there is substance, but it is more lament that tinges of regret that provide for it here. This is why the accountability on show is so emotive and kind to the performance.

With how the residual and timely warmth of ‘Boats’ comes to pass there is an elaborate passivity on show. That is retained by the softness of touch that lifts the delivery, but the slow way it is eased in also reasons everything well. You appreciate how well it is chased down even though it doesn’t necessarily have an apparent show of pace. Instead it is just outlined correctly and the delivery processes that in the tempo in a way that leverages everything in a nimble way. ‘With You I Ride’ is a track that finds its way. A somewhat pensive tune with a lonesome reflection at the heart, things pick up as the banjo adds fluidity to the pace. It is confirmed when as it motors along and the way it all lights up. They save the best ‘til last with ‘Iron And Wood’. Immediately everything gets beneath the playing in a tight way and that furnishes it with a phenomenally well gauged sense of pace that is also highly shaped. The leaner calling of the vocals also fit around it and you are taken along for the ride from the off with everything chased down superbly.

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LATE NIGHT TROUBLES Late Night Troubles

The first track off this EP showcases a fine standard with ‘Hope’ holding a very cursive feel by the way it is all designed. Adding to the consideration here is a choice proliferation in the songwriting that also adds a neat sense of resolve. In how that adds depth it also takes into account a degree of sincerity at source which is relayed in the vocals, but backed up by how the music adds muscle. We then come to ‘One By One’. Again there is a high degree of appreciation in the rock influences here. The steadfast rhythm is sweetly tracked and the morose calling of the vocals languishes superbly here. That in turn closes around the sedate styling in a proven way which neatly falls into place by design. There is a finite sense to the texture, which offers a great insight into the band as much as it does the music.

‘Cathedral’ embraces a vacant calling and that is something that changes the direction in a noted way. The increased sense of appreciation yields something specific that the forlorn calling finds comfort in. That numbness is somewhat direct but it is also expressed in a way that is warranted because it is here that the heart is to be found from how the song is drawn out overall. Things are closed by ‘Problem’. The more intricate handling on the opening is met by the soft calling of the vocals. This is necessitated in a way that inches through with a fine sense of precision that is expressed in a token way. That magnanimous approach brings the virtue of the delivery through in a token way and the dynamic at work is one that gradually builds in a clean manner. The ambience maintained throughout is also felt in a specific way.

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YEAR OF THE FIERY HORSE Flâneur

There is a high sense of relevance to how ‘Isabelle’ is schooled in a somewhat leftfield style. It is progressive but also has a kitsch that merges with the electronic elements in the alternative allure here. That orchestration is assertive though and the realisation that carries it through is one that airs on the side of creativity over caution. ‘The Flâneur’ is another out there tune. Channelled here is something novel that avoids being pretentious. While not easy to initially take to the way that the dots join together allows you to see the bigger picture in the progression. It rightly touches out the raw aspects with eloquence and keeps it tight.

With ‘Midnight In Montmartre’ is carefully played as well. The steady synthesised elements in the tempo drop in and out with aplomb yet it is also cleanly pitched which gives it more presence over appeal, but that is nothing to really find fault with. The last track here is ‘Library/Party’ and there is a maudlin feel about the intro that is then welcomed by a warm harmony in the vocals. It is very tidy and the extra touch of class in the accordion gives it a vaudevillian flavour that adds something textured to the neatness relayed through the delivery. The chanting gives it a finer touch as well and it is overall a very fine effort that travels in an open way.

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ANIMAL SCIENCE Ansci EP III

We are familiar with this New Jersey alternative outfit from their previous releases. This one gets underway with ‘Miss You More’. The pensive lead from the intro builds it formally and it progresses cleanly. The expansive temerity is carefully cornered and keeps things in check by following a steadier outline. It doesn’t overly develop anything though which is a shame. Getting down to things with a spirited sense of revelry is ‘Need Your Heart’. This careens along with a raw edge at the heart of the delivery. The remedial underground calling is lean and shows something unpolished that is virtuous for being presented in the manner that it is. It has a slight K-POP feel to it that is interesting and that comparison is felt on ‘Lonely Saturday’ as well. You feel it is a flirtation though but this is more expansive. The patient temperament draws you in neatly. It is saturated by the stillness of the elemental touches which linger smartly by design.

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‘The Best Of You’ sees the embracing of a grandiose pop calling but also deviate from that in the alternative sense. The impressive way the leftfield values are retained in the approach are savoured in a way that commendably works its way through. What works here is something that is all about being bold and experimental which is what you get. The home schooling technique adds something impressive to the lo-fi value of ‘Fight Night’ that closes around it smartly. The latent shoegazer style very much comes to the fore here and it is highly credible. That underground calling is trapped in a way that breaks down squarely and the commanding way it is brought to bear warrants appreciation.

LOLA COLT

Away From The Water Breathing life into ‘Driving Mr Johnny’ is the harder reach of the sound. That justifiably deadens everything while the lingering allure of the vocals also set a precedent that flirts with the Tex Mex/Americana influence in the sound. The lustre displayed holds sway here but the real value is found in the alternative aspects of the approach which fill out commendably and add a broader sense form how boldly they are felt. The morose ideals are adhered to on ‘Highway’ which illuminates in a highly fashionable sense. How the aggressive worth of the vocals is brought to bear is matched by the intensity in the lyrical narrative. They embrace that calling rigorously and it is brilliantly felt in every aspect of the track that can be picked up on. But it is how it progresses to something with a latent allure that shows how sophisticated it is.

Third track ‘Moonlight’ is also a highly solemn affair. The way the movement of the tempo drifts across is highly impartial but the rhythm guitar and drumming combo suitably corner the derivative necessary. That fleshes it out and with how the limited vocals come across you appreciate the fullness of it as a body of work all the more. The closing track here is ‘Vacant Hearts’ and in the backing of the drumming it branches out. This reverts to the earlier Americana leaning of their sound and is heavier too. But it also balanced finely, in particular as the sturdy weight sees it pick up.

The contours of the delivery are relayed in a way that carries it through. Nothing is shied away in the vocal sense and it carefully carries itself with true distinction.

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GREEN CIRCLES

Morning After Blues What you expect from the title is delivered favourably by this Newcastle band. The consistent steady appeal of ‘Morning After Blues’ echoes that sentiment. This plays like a statement of intent but also has a carefree demeanour called out in the vocals. The comfortable way that the style is embraced is noted and there is a sedate allure to the vocals that enriches the appeal here. ‘Turn It Up’ shows how clued in this band is. How the high end of the delivery works allows the tracking feed in. Angled in the psychedelic touches you also see how more diversified they want to be with their approach. As such there is a parlance here that underlines the true worth in a consistent way that keeps it all in check.

Things ease off somewhat with ‘Turned To Stone’, which is a shame. However there is a favourable showing to the arrangement because it is a more embracing affair that attempts to develop their sound. That overemphasis is at the cost of the urgency but what is left standing is more developed and processed in a more appreciated way.

The opening riff to ‘North Of The North’ sees a T-Rex inspired calling come to the fore. This is maintained in the lead guitar and it steadily works through with high effect. The way the volume rides in fashions something incredibly relevant and suggests that the attempt at pushing the envelope previously will be followed by a more heightened showing in future releases.

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THE ROTARIES On The Outs

The stellar sense of cool adds something suave to the overall delivery of ‘Bicycle Girl’. That somewhat romanticises the muse here. In how everything pours out there is a hip credential that is factored into the equation in a forthright way. But it steadily weaves its way through with the rhythm mirroring that approach in a way that finds a clean sense of concession on all fronts. Then you come to ‘On The Outs’. Immediately this hits the ground running with a noted sense of solid contention spilling forth off the back off a rather solid intro. The interchange of the key strokes in the guitars comfortably sees the running through. The high calling of the urgency is specific here and the purveyed calling is one that is both punk and mainstream cool.

It is not just the way that ‘You Had Me’ boxes clever that draws you in but it has this joie de vivre that inhabits the delivery in an influential way. The steady way that the rhythm comes to pass is let out with a formidable sense of charm that carefully meets the calculated aspects of the handling. It is invigorating with the appeal located in the whimsical delectability of everything that is brought through. You sense the influence of bands from New York Dolls, The Ramones all the way through to The Strokes pulling away on ‘Town Light’. It is invigorating to hear and the careful way that is finds purpose lets the music do the talking. There is a confidence in the stature here that also resides in the indifferent projection of the delivery but this is where it really comes into being. This is nothing short of excellence personified from how they get it on. The last track here is ‘Dog’. A strong intro, with a token display of volume in the way it piques, draws you to it. Then it proceeds to lock down a telling sense of the vacant simultaneously with the open way it is all relayed. That is what gives it a knowing degree of relevance and you have to admire the band for how they build this one too.

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RACHEL MALLIN

The Persistence Of Vision The first track that comes to pass is ‘Noise Of The Night’. It is a highly detailed tune that superbly tracks the movement. The spatial awareness is clever and that allows the absolute qualities in the dissipation move across so selectively here that it heightens the progressive traits. Yet the immersion in that regard gets beneath the play and retains the fluidity by execution. The more open showing seems to concentrate the anomic scale of the delivery in a calculated way on ‘Razorback’.

What is steadied in the ornate movement is worked well. There is a convincing pull to the vocals here which keep their distance by design, but don’t detract from allowing the listener to appreciate the music.

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Projecting a rich blues influence in an empowering way is ‘Sleep Easy’. It has a candid whim about it and this doesn’t hinder it nor does it see anything really expand in an artistic sense. It is still a good tune though and is treated rather well in the context what it achieves in the musical sense. Final track ‘Most Folks’ is more precise. The formation on the intro gradually comes to pass in a committed way. In the attentive structure of the vocals things come to pass in a wholesome way yet also imbue it with a grandiose stature in what the lyrics observe. That ethereal feel blankets the delivery in a consummate way that is distinctly relevant.

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THE BAD YEARS Beautiful Liar

This was the second EP that failed to make the cut for our May issue and it is an adorable collection of four tracks from another fine recommendation that come to us via our Los Angeles music network. The delightful whim of first track ‘Beautiful Liar’ draws a suitable comparison with The Cardigans on account of how cleanly felt out it all is. The wonderment of the traipsed calling in the delivery gives so generously here. How that seamlessly melts with the desirable aspects is what adds real heart here. Second song out of the traps here is the heartfelt ‘Pieces’. Such care and precision are present here but the way that the bridge accentuates the cool exterior is just immaculately factored in. That it fixes this becoming trait to the delivery as whole showcase the real potential and promise that this band have in spades.

When you hear the virtuous 60’s revisionist tidings on ‘Giving Up’ it makes you sit up and take note. There is a faultless display here and the bespoke nature of the tracking is impeccable. The texture aligns alongside the dreamy tempo with commanding deliberation.

The slow, lingering integrity is something that is beyond compare. The fourth track here is ‘After Me’ and it is a formidable effort as much as the other three tracks. The essence of cool quickens here in a way of true consequence.

The bereft touch of the guitar riff drifts across and the choice demeanour that splendidly filters through is magnificent in every regard.

This is just one of the best EPs to ever grace the pages of our magazine. Get on this.

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FIRE DEPARTMENT CLUB Best Intuition

Due to memory constraints in last month’s issue this was one of two EPs that didn’t make the final cut. However the brilliance of the indie-disco calling that prevails on opening track ‘Never Learn’ is followed through neatly. The steady apparel called upon gets behind the vocals in a fulfilled way but it is really the pitch of the lead guitar as it riffs away that draws you in. The chic touches are catered for here and invitingly leads next track ‘Pitfall’ to come through.

The nou disco beat of this one is also projected with authority. In some ways the retro apparel of it is keenly noted but it is developed in a way that denotes the modernity of the band dynamics. There is a precision keyed in as it steps out that radiates class and it abounds in a way that is explicitly noted.

A lighter effort follows with ‘Let It Roll’ but they also embrace the pop calling here in a way that is a big draw. That develops a further sense of reach and although it opens without a lack of urgency in comparison to the first two tracks there is a developed sense of urgency about it. That is a prevailing trait and it follows a good course of outline that benefits everything when the bigger picture is looked at. With the checked keel of the drumming and guitar combo comes ‘Fall From Grace’. The fluid tempo has purpose and the inviting way it is projected tellingly eases through. It stays true to the outline in spite of a weakened calling in places.

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THE BIG GONE

And How She Gave Me Life The seven tracks on show from this LA outfit are very cool indeed. The first of which is ‘Charla Jive’. The majesty of the rotund aspects hit you full on. It lies somewhere between the leftfield cool of Lou Reed’s solo material and alongside the mainstream credibility of Talking Heads. It is highly impressive and the innovation is invested in a paramount way that develops everything conclusively. Keeping it exclusively for the cool kids is ‘Worst Job’. The shared harmony alongside the relative ease of the satisfying drift follows through in the tempo in a way that is exacted with a degree of finesse. It is quite shapely and that is abundantly factored in here right from the off. Despite them being a Californian band there is a very CBGB cut to how ‘Sitting/Shaking’ sounds. It does have a viable presence and the clever way that the underground allure of it is located is a highly engaging call. They make it smartly though. With the flit of the flight here there is an undeniable sense of chic that adds shape and allows them embrace the more expressive touches in the latter progression with put losing anything in the process as it closes out.

Checked in smartly off the back of the guitar riff on the intro is ‘Getaway Hustler’. Here you kind of feel an impasse in the viable sense. That is subtle and they are highly mindful of that in their approach. The quickening is sharp but retains that identity of being non-establishment that is quite cool. With the modest lament giving it a more withdrawn calling is ‘Waste Time’. This is a more introverted track and plays in a comprehensive manner that reflects this. There is a careful level of appreciation called out with ‘Until Tomorrow’. That high state of sedation is wonderfully called upon and it adds to the tone of the delivery expertly. The gentle fixation in the vocals are kept within the margins of play in a highly descript manner that shows. The final track here is ‘Waiting On My Man’.

The unexpected country styling catches you off guard but it is merely an observation. That sees a sense of charm and dependability fall across the running in a very impressive way. This is a clever tune and its inclusion enhances your appreciation for the EP.

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MPV

In Lust We Trust The dynamic at work on opening song ‘Mister Sister’ serves it well. What the Detroit band accomplishes with the approach is one that captures an enigmatic presence in the juvenile cut of the delivery. It is felt firmly in the breakdown. The hardened drive of the guitar and drumming give it a distinct Garage band appeal and it is that apparel at source that it derives inspiration from. They then promote a more mature calling on ‘Real Good Time’.

That diversified showing makes the difference but it also sees the mechanics of the play develop furthermore. The sweetness in the execution extolls a rather stellar sense of worth but seems to call upon it in a way that is highly fashionable as much as it is underrated.

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The mean streak that they are able to call upon with conviction is embraced again with ‘Wrong Girl’. The way they reliantly get behind the delivery gives it a leaner calling and that investment develops the EP in a direct way. It is a trait that is resoundingly carried over on the final track ‘In My Dreams’. Here they very much show that they can deliver. On this one there is a practical sense of worth alongside all of the elements on show. That suitably sees the doling out of the delivery as a whole step up to the plate because here they give a good representation of themselves as a band. The viable scope in the arrangement isn’t complicated either and the deeper lyrical texture also operates with a high degree of relativity.

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TWO HANDS Two Hands

The way that the vocals of frontman Tom Stock impart on the opening track ‘Barely Know You’ has this Robert Smith appeal about them. They are essentially British but also quite burly in their own regard. The replete calling of how this opens is also impeccable and the delivery seems to consciously float the attractiveness of the tune in a temperamental way that then proceeds to pick up in a way that comfortably comes full circle as the approach hardens.

Equally withdrawn and full on in equal measure is ‘Follow’. What is parked at the front of the delivery here is a developed sensibility that follows a more urgent outline. That in turn fixes a derivative upon it that is matched by the lingering shoegazer touches in the rhythm that add countenance from the careful way they are considered in the context of the execution. The shift in the tempo is rather direct on ‘Even Want To Know’. It finds an intrinsic value to how everything adds up. There is a noted deftness of touch to the supple traits embraced. In the deadened projection it also concerns itself with getting that just right. This is a great London band to discover if you are big into your indie.

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WOZNIAK Auster

Having recently been enthralled by what this Edinburgh band can do when we saw them play live in Dublin recently we have been looking forward to hearing this EP since. The lavish shoegazer apparel that they are noted for makes its way through on ‘Snow Effect’ with real temerity. The textured alignment of all the playing elements teasingly works its magic and the affluent saunter is one that is equally immersive and sedated. Yet it hardens as the progression brings it to a more solid close that is finely considered in the showing. ‘Wings Of Pegasus’ is a full on ensemble affair that is rich and bold in equal measure. The hard trappings do provide well here and that projection sees the band digress squarely.

After that comes ‘Gospel Of Infinity’. How this is brought around makes good governance of the choice cut in the slag of the guitar work. The resolved way it is all pitched is upright and feeds into the more spatially realised elements that necessitate here by design. At over eight minutes ‘Hester + Zelda’ goes the distance in a pragmatic way. The differing play of the arcs is a comprehensive display that is felt out properly. This feeds into the overall aesthetic in a way that capitalises on the somewhat numb ambiguity of the music that addresses the delivery. In doing so the approach adds credibility while allowing a more expansive effort come to the fore also.

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SINGLES

REVIEWS

International Artists

THE JACKOBINS Waiting For The Sun A great tune indeed. From the off it exudes a tidy countenance in the rhythm which recognises something in how the electronica condenses the indie calling to produce something that assaults the senses just right. The vocals are commanded in an equally specific way that is controlled in a way that denotes confidence but also finds the substance in the bittersweet conjecture of the lyrics. In how it all comes full circle you are left impressed- and rightly so.

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KASSASSIN STREET To Be Young

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This is a gloriously rich tune that holds its own from the off. With the sleak turn of pace it comfortably comes through. Yet there is a slight of hand about it that flirts with a retro calling in places that adds an additional touch that is pleasing on the ear. What is also cornered in the sharper pick-up is a subtle undertone that feels like Kim Wilde’s ‘Kids In America’ in places. It is very clever on all fronts and showcases why they are one of the most promising new bands around.

International Artists

AVEC SANS Resonate

The industrialised organic of the electronica here dissipates in a manner that fits the spacious apparel around the track. Combined with the perused call of the vocals there is a deft touch to the tracking which cleverly pieces everything together. There is an inspired bearing cornered when it does come full circle and that understated apparel traps the warmth of the vocals in a sedate way that is highly attractive, but, above all else, capable of holding in a way that bears relevance to the compact calling that holds smartly.

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RAINY DAY WOMEN Are You Coming Home?

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You immediately fall in love with this tune. The dreamy warmth of the vocals alongside the tempo is certified with a glorious degree of richness that is highly valued. In the detail of the savoury apparel it all embraces an alternative calling that traipses through to provide the tune with an attractiveness that is backed up in a stellar fashion. In the lightness of touch it also finds the essence which is mirrored by all the aspects of an utterly brilliant delivery.

LORIS Crazy This is another excellent offering from this Belfast band. From the cautious approach of the opening it has a procedural allure as it progresses. The flit between the highly realised aspects of the tracking to the Balearic nuances that are later added to the mix in the secondary progressions are what makes the tune. Ripe perhaps for remixes this summer, it still has a lot of credibility found in how the dynamics all hold their own here to leave more than enough for the listener to appreciate.

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YES SUNSHINE No No No

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Set in place off the back off the raucous intro, the calculated urgency of the delivery is one that is loaded with a trajectory in the pace that is met with a full in showing of guitar and drumming. Things then fall away carefully and show a calculated ebb and flow that is highly dynamic. The raw and unbridled compact draws comparison with a ‘This Is It’ era The Strokes at the same time. What a tune.

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MAUI

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International Artists

The style and grooves shake this up in a dirty way. That is drawn in a way that is hard on the shouldering but not overbearing. In the approach a lot of the dynamics are easy to pick out in the sound - from the ample drumming through to the bite of the lead and rhythm guitar working in tandem – there is a lot found in the outline here to appease anyone who appreciates good indie.

The bridge is appropriated and leans things towards a more progressive influence as it closes out too.

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ZEN PROJECT Searching

7

What is presented here is a bit light in places and as such it initially feels laboured in the vocals. But staying with the track rewards the listener. What works rather well here and compensates for the lack of bite is a reasoned detail in the playing. The catchy hook in the running lands squarely and the eventful pull of what is on show draws on a strong sense of contention in that regard which processes the music astutely.

SHORT SKIRTS Long John

International Artists

This is quite a determined tune. That is confirmed by the charged up feel of the guitar elements which land firmly and allows for the underground apparel in the cut come to the fore. This is jettisoned with an astonishing level of accuracy, with the pleasing leaner derivative in the vocals being suitably measured alongside the churning of the edgier guitar work on show. It is pitched in a way that lets the music do the talking and bears down considerably well by being up to the task.

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LUNA KICKS Tightrope

8

The heady candescence of what is on offer from this Sheffield band prowls across in a way that is met with a sensible feeling out of the delivery. The smooth transition of the vocals in contrast to the deadened mooting of the rhythm framing the outline makes for an interesting listening. The kooky chanting alongside the riffs and bass line adds up commendably. With the leaner tracking commanded in a way that suggests there is a lot more to come from this band.

OCTOBER DANCE Tropical Eyes

Blending the nou disco approach with a neater credential that also embraces an indie conjecture showcases a real progression in the end product from this Danish band. Drawing inspiration in the manner that they do invigorates this track in a suitably fashionable way. In the calculated acquisition of how the vocals are diligently factored into the mix you bear witness to something that has cool written all over it but also develops a post-modern sense of retro in how it all comes full circle.

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DISCO PUNKS My Beat Jesus

10

One of the best acts currently emerging on the Irish scene showcases what they are about with their sophomore single. A dedication shines through in the music here. It is a gloriously rich calling and the emphatic definition in the retro turn of style sees things get down to business. Calling upon influences both modern and old-skool – CSS, Arcade Fire and Gary Numan are possibly hinted at- in how it all sounds provide it with some solid pedigree it must be said. They run with it and the air of confidence on show is highly innovative in equal measure.

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SONS OF RICO

What Am I Doing Here?

Alongside the ELO aspirations that this band have in abundance, what is cornered in the trajectory here keeps it all on track. They locate that with certainty and the dynamic here is fluid. What takes hold is shaped in a highly defined way, but the steady way that the rhythm is brought around also adds a conclusive sense of the rotund that keeps it grounded.

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MY TRIBE YOUR TRIBE Will To Survive

9

This opens in an absolved way to denote an alternative style at work. This is undertaken in the approach with the withdrawn intro but it also embraces a large sense of connectivity as the elements begin to come together. With the detail in the impartial censure there is a landscape to the arrangement that is both broad and prevailing in how well thought out it is collectively. This is something that steadies itself on the right side of the leftfield transition.

The electronica elements present confirm this but it is also rather spatially dynamic in equal measure.

DAVE MORRISSEY Joey Had To Fly

With the placing of the opening line comfortably alongside the acoustic guitar International there is a sweet autumnal value called upon in the reflection. The lament is something that suitably chases the running down but also hangs back in a more refined manner. That lightness of touch adds sweetly to the movement and imparts sensibly upon the delivery as a whole.

Artists

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ONLY GIRL Remains

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We have admired this London artist for some time and her soulful voice is what carries this tune. How this is approached goes down well. The eventful way things begin to take hold is enabled credibly by the composition of the arrangement. That in turn helps the cautious approach in the build by allowing the sedate settlement in the touches to build it up. Also, the backing vocals add a distinction to it that is also of the making here in a way of true note.

Not Thinking Of You What is approached here is somewhat formulaic but it is also reasoned well. The pop calling is considered and the way it is all projected comes through with that approach in mind. You do sense that has been too paramount however because the production feels a bit too reliant on the post-mastering and not enough on the development of the music. What is presented though holds tidily and situates in a way that is accentuated in a confirmed way, even if it plays it too safe.

Outside

9

With how the rhythm rises from the intro alone there is an unquantified level of brilliance at work here. There is also an ELO feel to the tempo when it begins to take hold because it garners that neatness of appreciation in places. The quickened pace is something that pumps through this in a lasting way and the effective way that it impacts retains a solid sense of worth throughout.

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7

POWERS

Beat Of My Drum/Loved By You This double A-s ide showcases just how good a duo they happen to be. The first half of this is an excellent pop tune that is carefully crafted. How it travels is impeccable. With the sense of release that comes through in the rhythm the angled nouveau that adds to the beat shows how calculated the overall layout at work is. The exacted prowess that shapes their second track considerably well is comfortably eased across. It is on a par with its contemporaries which equally works against it, but what is displayed here is incredibly committed and puts them at the front.

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KING KONG COMPANY Space Hopper

10

The first single off their eagerly awaited new album is excellently opened. The synthesised and high octane push of their signature style is present here. The gradual way this builds denotes a maturity at work that progresses their sound. Yet they also collect a higher state of relevance in the tracking here that embraces that indie credibility and factors it in with a highly galvanised call that shows the influence of Tim Holmes behind the scenes.

CASPER BLANCA

My Favourite Colour Is Gold This is by the numbers to a certain extent, but the important thing is that itInternational all adds up. The defined drive of the guitar adds to the rhythm in a commendable way. While the added certainty is confirmed from how the vocals also come through and take control here. The hardy resolve of the tune is tracked in a way that controls the leaner trajectory in a way that is fittingly fleshed out.

Artists

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CASUAL STRANGERS Kangarang

7

This is an interesting offering from this Austin, Texas band. The opening is very experimental. Bold in fact, with the intro eschewing a sterling sense of commanding gravitas from the off that is highly detailed. The drawl of the ensemble specifics tie it down and the leveraged feel of the committed playing in the arcs adds a deftness that presides over everything in a stoic way but is matched by the endeavour.

JOSH MICHAELS

Out Of The Deep End This is a light song and doesn’t attempt to be anything more. That sees it settle into its own and the residing tone of the song is delivered to fit around that approach. The piano shapes it and it just follows through without pushing anything per se, but there is a comfortable degree of intent to the performance that shows investment. The lamentation is descript enough to give it a higher calling though but it does play things safe and that is where it comes up short.

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GO FIASCO

Master Crime

10

There is a degree of propensity at work here. The stoic calling of the introduction refines the delivery and then it transgresses favourably with the leaner pick up incredibly impressive. The steady beat that fixes itself from the orchestration is enhanced furthermore by the committed showing in the vocals. They add a confidence that bears down finely here. But the coup de grace here is the way it all lingers with such majesty when it takes flight. This is nothing short of sheer brilliance.

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This is the June 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.

I’M YOUR VINYL ‘Erase It’ (Dublin)

THE BLUE RUIN ‘Hit Hard’ (Sweden)

TOTAL BABES ‘Heydays’ (Ohio)

THE MONDAY PROJECT ‘Bus Stop Boy’ (London)