May Issue (2014)

THE FRANKLYS SINNERGOD JOHNNY RAYGE INGRID FROSLAND THE SACREBLUES BAND HODA MOHAJERANI

MAY 2014

DIMESTORE RECORDINGS – THE RUBY SESSIONS – SINÉAD WHITE

THE 14 MANC TANK

6

4

8

INGRID FROSLAND

10

12

THE SACREBLUES BAND

Scene & Heard 16-17 18-19 20

Dimestore Recordings The Ruby Sessions Sinead White

21-34 35-54 56-59 60

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

JOHNNY RAYGE

13

9

HODA

EDITORIAL 133,906 people read the April issue of Unsigned & Independent last month. That was a huge landmark for us here and we want to express our sincere heartfelt thanks to all of our readers for their support and for helping us to achieve that amazing number. But at Unsigned & Independent it is also a huge team effort and that shows in what we achieved last month.

This month’s issue also sees another landmark as Mineral will be the first artist from 359 Music to appear on the cover of any magazine in the world. That is something that we are very honoured to be able to say. “The French Connection” will also continue to put the spotlight on French artist and this time we have an interview with The Sacreblues Band. Our international network also has interviews with London band The Franklys and Iranian singer/songwriter Hoda. We have also got a special edition of The Manc Tank with Dave Beech to celebrate the first year of his column.

Other interviews include Johnny Rayge and two from Joe Loftus in Liverpool with Sinnergod and Norwegian singer/songwriter Ingrid Frosland.

We also have industry advice from Johnny Dwinnell as well as four excellent videos in this month’s 4x4 which is streaming on our official YouTube channel.

We caught some excellent live music this month at Dimestore Recordings and the Ruby Sessions, while another highlight for us was catching Sinéad White play her first gig with a full band in Whelan’s on April 26th. All those live reviews are in the Scene & Heard section.

Album reviews are also of our usual high standard with We Cut Corners, Kid Coy and The Stoney Brokes featuring among the Irish selection this month. While we have EP reviews from Old Hannah, The Eulogys, Elastic Sleep and more. International albums include Nightworkers, Owls And The Swamp, Odonis Odonis and more, while we have EP reviews from F16s, LAYLA and many others.

Phillip Ó’Baoighealláin Editor-In-Chief

MINERAL photos by Nicol Depsis

H

ow did the band originally come together?

CRAIG: Myself and Thierry were signed to the same publisher in France. We got asked to be involved in another artist’s project as writers. We got along really well and shared the same references in music and literature. Thierry played me some of his music and in fact the first song he played me was called “Mineral” and I loved it. We decided to meet up as soon as we could in his studio in Paris and try some writing together. A couple of months later we met up and did a week of writing/recording that went really well and we decided to form a band. We wanted to add some femininity to the music and Thierry suggested Sophie. She came to the studio and added some vocals to a couple of tracks and it really worked great. We asked her to join the band and thankfully she agreed. Damien is someone I have worked with and known for over ten years. He’s a great engineer and technician. When we realised we needed someone for the mix and to help translate the songs to a live stage he was the first person we called. Again thankfully he said yes.

Even though you got together in January 2012, you released “Plastic Ekphrastic” in October last year. The production shows no signs of it being rushed through either. Though that would appear to be a brief period for putting the album together, how long did you actually spend working on it?

again. S. Armelle, our singer, also had his own project, it's a little bit our Nico. Damien is very mysterious on it. We suspected him to mount his own band of K pop to submit the planet on his Asian charm!

The big thing that happened last year was getting signed to Alan McGee’s 359 label. That was out of a list of 2,500 potential acts that you were chosen as one of the six acts that he wanted to launch the label with. How much of a big deal was that for you to know that he had so much faith in your band?

CRAIG: Creation Records were one of the things that myself and Thierry bonded over when we first met. We both love “Giant Steps” by The Boo Radleys and “Loveless” by My Bloody Valentine along with “Screamadelica” and countless other classic albums the label released. So to be part of Alan’s new label right at the start was a huge thrill and honour for us. When I called Thierry to tell him Alan wanted to sign the band we both whooped with joy...it was a beautiful day!

One of the promises that he made was that he would have albums released by all six acts by November of last year and he delivered on it. When you hear that from someone with his standing in the industry what kind of an impression does it give you as a band?

CRAIG: We had originally planned to work with a different director from France but unfortunately at the last minute he was unable to do it. We then had to find someone super-fast as the deadline for the release was looming. Andy was then recommended and we just sent him the song with a brief explanation of the song and he had an idea straight away.

It’s kind of surreal and fun which is exactly what we were aiming for with the song.

It is also a top tune. When you recorded it did you immediately decide upon releasing it as a single or was that something that came along further down the line?

CRAIG: When we first recorded it we all felt it could be great future single. Later on when we delivered the album to Alan McGee and 359 Music the general consensus was that was the first single…the other idea was to release the 13 minutes Atom as the single which I would have been happy to go with but c’est la vie.

Touring is also something that is a big thing for Mineral as a band. You seem to be on the road as often as you can. How important is it for you as a band to be continuously performing in front of a crowd?

CRAIG: We spent the best part of a year writing songs but also working on the production of the tracks as we went along. We compiled quite a lot of material…somewhere in the region of 20 songs. I would lay down my vocals/guitar etc. and when we were happy with them Sophie would come in and add her parts.

Thierry would then work on the tracks alone until he felt they were at a level he was happy with. He would send me the tracks, we would discuss what was needed and I would go to Paris and we would make the required changes. When the offer of a deal from 359 Music came (in May 2013) we then had to decide on the album tracks. Thierry and Damien then set about mixing them as quickly as possible as we were now working to a schedule. It really helped the process knowing we had a release date for the album and gave it a real sense of purpose.

CRAIG: It’s hugely important as a band to tour, especially these days when money is so tight and competition for everything is so fierce. It’s also a great way to develop as a cohesive unit and will play a big part in the development of our second album. It’s almost impossible to know what an audience like before getting out there and playing the songs live. From all the live shows we now have a clearer idea of what works live and where we want to go with the next album.

Was any of that album already in place pre-Mineral or did it all come together after the band had formed?

CRAIG: Yeah there has been some great ones...Dublin was grer great along with ST.Lo but for me the best gig we’ve done done so far was the Bus Palladium in Paris. The audience audience was really warm and knew the album and and we fed off that energy. It was a great gig.

Has there been any stand out gigs in the last 12 months that you will look back as memorable? And why?

CRAIG: The first song of Thierry’s I heard was called “Mineral” and was sung in French. We kept the music and it became “Cynical” on the album we kept Mineral for the band’s name. “Love Divine” was something I had for a while but sounded way different to the version on the album. Everything else was written as Mineral music.

Myself and Thierry discussed a lot the importance of a band having its own identity. A lot of the bands we both loved Kraftwerk, Pixies, Beach Boys, Talking Heads, Aphex Twin - had their own unique sound and we aspired to achieve that from the beginning. It was probably the only kind of manifesto we had when we started… trying to find our own universe.

The other thing that is noted is that it is very much an album that has a sense of identity. Who did you work with on the production side of things and what did they bring to the process overall?

CRAIG: Myself and Thierry discussed a lot the importance of a band having its own identity. A lot of the bands we both loved - Kraftwerk, Pixies, Beach Boys, Talking Heads, Aphex Twin - had their own unique sound and we aspired to achieve that from the beginning. It was probably the only kind of manifesto we had when we started… trying to find our own universe.

Having three vocalists really helped us to find it I believe.

Also with myself and Sophie sharing lead vocals it opened up a world of possibilities in terms of dynamic and narrative.

Thierry is a very talented producer as well as a composer. He spent a lot of time chopping and changing the sound to make it what it became. Damien also played a big role in the mixing of the record. So apart from the mastering everything else on the album was handled by the band.

THIERRY: We also did a great gig recently at the International in Paris. Some people were naked and totally crazy. We were on the moon. It's always easier to play in front of a warm audience. The A.B in Brussels was great too.

It seems that the album is the finished article, so was it a smooth transition working with them from an artistic and musical perspective?

CRAIG: Yeah it was really a pleasure to work with the guys on this record. Sophie always brings something totally unique to every song and I’m always blown away by her voice. Thierry is a super-talented guy who works quickly which I love to do but he’s also extremely disciplined when it comes to the production side.

All 3 of the guys love and listen to a vast amount of new and old music and it’s a real pleasure to work with people as passionate about music as myself.

You were in Power of Dreams and Archive beforehand.

How much of a benefit does the experience of being in a successful band stand you when you start a new project musically?

CRAIG: I learnt so much from being in both of those bands. From Power of Dreams I learnt how to play live and the importance of touring. With Archive I learnt a lot about working in the studio on songs and the importance of editing and re-editing and actually spending time listening to works in progress until they reached a place you were happy to release them.

Were any of the others in bands before Mineral?

THIERRY: I had a band at 18, but we was so in disagreement about the direction to take that we finally slugged it before signing anything either. After that, I thought it best to work alone. As I made some musicals studies, I did a lot of music for theatre, dance and soundtracks. I always did pop songs in parallel, more than requires that coercion by the way, but I was too shy and lazy for searching a record company. I was waiting for a click. It took Craig to give me the impetus to join a band

When you look back at the last 12 months what do you take away from it that means the most?

CRAIG: It was a very brave and bold thing to do and I really admire Alan and Cherry Reds balls to do that. Especially as it is getting harder and harder to get a label to release anything these days. For me it showed Alan to be still a maverick and someone who’s not afraid to stand by what he believes in and take a risk.

Did that bring a certain degree of pressure for you as a band to deliver your album also?

CRAIG: Yeah but a nice pressure. Knowing that the guy who discovered The Jesus and Mary Chain and Oasis was waiting for us to deliver an album to him was beautiful.

Your video for “Serial Monkey” was something that you were also pleased with. Who was the director that you worked with on it?

CRAIG: The director is an English guy called Andy Squif. He was someone the label recommended and had worked with in the past. He did a really good job in a very short space of time and we were very pleased with the video.

What was the concept for the video?

-5-

CRAIG: Finishing our debut album and getting it released worldwide by 359 Music was really special. To then have people send messages and emails to say how much they love the album from places like Japan is the icing on the cake. It’s been a great 12 months for us as a band.

What is in store for the rest of 2014 for the band?

CRAIG: We are already planning and working on our second album. We want to have it finished by September/October of this year with some new material released on EP’s before then too. The album will then be released we hope January 2015. We don’t want to be a band that releases an album every 3 years. It’s important for us to develop and be productive and creative and consistently good.

THIERRY: We know perfectly what we want on the artistic side so it's time to go back to work.

Will there be any festivals that you will be appearing at over the summer?

CRAIG: Yes. It is definitely in the plans to play some festivals this year…we hope to announce some of those very soon!

THE FRANKLYS are one of those bands that can make you give a damn. They are a London based band with a hint of Sweden and New York added to their mix. As a result they are fast becoming fixed on the radar of everyone for the right reasons. We caught up with Zoe Biggs to talk music and here is what she had to say – In our March issue last year we reviewed your self-titled EP and we gave it a thoroughly deserved 9/10. It also made the final 10 of our editor’s picks for our 2013 compilation of best international EPs. You now have a new single being released called “Puppet”. What is the song about?

The song is about being kept waiting on someone, like they have a hold over you and are ‘pulling your strings’ almost.

People have commented that it has a lot going for it in terms of how it sounds. What were you going for when you began to actually bring the song together?

When we write we don’t really go for a specific sound or think ‘oh we must write a song that sounds like this’. I think the riff was already in place and then we built around it. For the overall sound, once we find something that works together we know it.

In terms of where your sound finds itself on this track, do you see it as a departure from your first EP, in the same vein or something that occupies a middle ground?

I feel like this is a step-up from our EP. Don’t get me wrong, I’m still very proud of our EP, but I feel that ‘Puppet’ shows a different level to what we can write.

It’s still us, it still has the ‘red thread’ (like, a common theme) so that you know its The Franklys, but there’s just something else about it.

The recording in the studio was done on 2” tape.

That puts an added bit of pressure on you to get things right when you play, but at the same time

it requires a degree of discipline from you as a band to get it right collectively. As a band, when The Franklys play live you always seem to be a band who are all on the same page. When you look back at it now what did you find to be the main pros and cons from that process?

Recording on 2” tape was on the one hand, a daunting prospect but on the other, an exciting one. Daunting because there’s that pressure to get things exactly right when you record (especially for Nicole on the drums) and you also have to trust that everyone else will get it right too. It was exciting to hear the warmth of the sound generated by using 2” tape, and for me it was a completely new experience.

Do you see anything now when you play live that has seen you become better performers out of it?

I think we’re always a very tight unit when we perform live, and the recording process helped that definitely.

But, the fact that we work so well together live anyway meant that recording on tape was quite ideal for us in the first place.

One of the other things that you have done with the single is release “Imaginarium” as the b-side.

That is kind of an old-school thing to do. A lot of artists tend not to take that little bit of due consideration nowadays when they release a single. Why did you opt for the added touch there?

We all love ‘Imaginarium’. It’s got a great combination of darkness and a bittersweet feel to it. It was the natural choice for a b-side because the warmth of the vinyl sound really suits the song in itself. We opted for a b-side so it was like an authentic 7 inch – no point in having just an A side. There’s more for people to listen to this way.

Would it be safe to say that a lot of your musical influences would be old-school bands?

There is definitely an ‘old school’ influence in our sound and approach to things. Of course there are current

-6-

bands and artists that influence our sound too. It’s good to have many inspirations to draw from. You don’t want to be a copy of someone else, but you can pay a compliment to them by acknowledging their influence.

Who would they be? Are they the kind of bands that you aspire to be?

For me, I guess the most ‘old school’ band that influences me is The Runaways. I also like older artists like Buddy Holly and Eddie Cochran. The seeming simplicity of their songs is deceptive. I think as a band we’re quite similar to The Runaways, though maybe they were a bit of a heavier sound than us. In terms of attitude, and a certain toughness, we’re pretty close. Other ‘old school’ influences are ‘The Who’ and ‘Led Zeppelin’.

Do you think bands back then were more important in terms of how they changed the landscape musically when compared to bands today?

Not necessarily. It seems like a lot of the music you see (or hear rather!) in the mainstream these days is treated like just another product. People want something instant. They want it for free, and it’s a case of quantity over quality. Unfortunately a lot of people just listen to what they’re told to, and not actually think for themselves. There are bands and artists out there that are trying, and in small ways are changing the landscape, but it’s hard to start a ‘revolution’ if there’s no belief behind it. Ironically, just the fact that we’re girls and play in a rock band seems to be the most revolutionary thing for some people I’ve met. Maybe we’re changing the landscape that way. It’s sort of sad if that is the case…

It seems each generation has that one band that comes along and seems to become a sign of the times. Be that the Beatles in the 1960s or Nirvana in the 1990s. Do you think that kind of phenomenon is consigned to the past in the technological age we are now living in or do you think we are just waiting for that one band to come out of nowhere to be the game changer?

Photo by Emmet O'Malley

I really hope not. I think with those sort of things it’s not just the band or the music, it’s also a combination of (among other things) fashion, art and a feeling towards the political state of the time. For me, the last big wave like this was back in around 2004/5. You had Yeah Yeah Yeahs, The Libertines, The Strokes, Long Blondes, Franz Ferdinand to name but a few. I’d listen to these and others on the bus to school and felt there was really a cohesive force behind all this. I’m not sure that ‘waiting’ for something like this is the best way to describe it. The way these things can begin is to go out and discover bands, art etc. for yourself. Get passionate about it, and share your experiences. It’s possible for it to happen again, but it has to be done on your own terms, and not because you think it’s the ‘cool’ thing to do.

You recently toured Sweden. That was a mini tour that saw you take in three gigs in Stockholm, Gothenburg and Växjö. During which you played as support to STREETS OF MARS. How did those gigs come about?

Just through an old friend, he knew the guys at Streets Of Mars needed a support band and thought of us, which was nice.

When you look back at how tight you all are now do you see a big change?

Definitely. We’re constantly working to improve our performance and skills. I think you always have to be working to be better and to push yourself. If you’re just satisfied with where you and what you’re doing then you’re not really ever going to move forward. I’m naturally quite a lazy person, but I feel like the other girls motivate me and push me to improve and think of things I’d never take the time to think about otherwise.

How do you see the past 12 months in terms of what went right for you as a band? What lies ahead for the rest of 2014?

We have been really fortunate the past 12 months in terms of the opportunities we’ve had. We have worked really hard for everything and are really grateful to everyone who has helped us along the way. Releasing

our debut EP, recording and releasing our first video, touring American and Sweden and playing lots of great gigs has been amazing. We’ve just released our new single – ‘Puppet’ with an accompanying new video, which was so much fun to film. Now we’re concentrating on writing more new material, and with a few festivals coming up. We are just looking forward to playing more gigs, meeting more great people and just having a laugh together.

How did you find playing to a crowd that far away from home?

Fun! Everyone was so friendly and really receptive.

Of the three gigs which one stood out the most and why?

All of the gigs were fun. Stockholm was great because it was the first time I’d played in Sweden and the crowd was really welcoming. It was also the first time we’d seen Streets Of Mars perform, and really enjoyed them.

Gothenburg was cool because Jen and Fanny grew up in a town not too far from there so lots of their family and old school friends came down to see us, which gave it a really good atmosphere. My favourite gig was in Växjö. The place was packed and both us and Streets Of Mars got such a terrific reception…it was such a good night!

That was not your first time to play that far away from home, given that you toured the US towards the end of last year. That experience can count for a lot when you are on the road. When you compare the trip to Sweden to America what stands you good stead for being on the road from having done it already?

Both trips were amazing. America we were a bit more out on our own, making our own way from city to city and organising where to stay etc etc. In Sweden we were lucky enough to have the great guys from Streets Of Mars to take care of a few more things, which felt luxurious. I think it’s a learning curve each time we travel somewhere. We know we can take care of

-7-

ourselves and look out for one another. It’s also great that we all get along really well when we’re out on tour.

We know each other inside out pretty much. It can be very tiring on the road, but as we’re all there together we keep each other going.

Are there any plans to go back to America and tour again?

That would be amazing. We’d love to make it to the West Coast next time. So hopefully we can work something out.

The band has been together for a good while now. When you look back over the highs and lows you must realise that it is all worth it. What is an interesting point of note is that three of you are from different parts of the world, so how did the band eventually come together?

Jen and Fanny moved to London from Sweden a few years back and were playing in a band together. I was trying to figure out how I could be most like Joan Jett and get a band together back home near Milton Keynes.

I found these guys via the power of the internet. And we found Nicole via the power of a party. That’s pretty much it!

Were you all in other bands beforehand?

Jen and Fanny had played in a band over in Sweden, before they moved to London. Actually, they came over with that band to begin with. I’ve heard some of their old stuff and it’s pretty cool. Nicole has played with a ton of bands – both in America and over here. You name a band and she’s probably played in it at some point!

Where did the band play their first ever gig?

Our first gig together was at The 100 Club on Oxford Street. Such an amazing night! We sold it out and got some brilliant feedback. Everyone there was so nice, and, despite being so nervous, I had a blast.

Interview with Joe Loftus Recently I have been destined for something different. Something that will interest me that is different from the drizzle and droll we hear on the radio day in, day out. So I explored locally and found Sinnergod – an alternative and incredibly atmospheric metal band based in Wigan who has played with the likes of Misfits, Bam Margera’s CKY and Blaze Bayley. I was intrigued and sent them a message – after which, we got speaking.

You’ve been going since 2001, tell me a little bit more about that. What’s it like being in an unsigned band for 13 years? And why have you remained unsigned - if there is a reason?

It kinda took us nearly a decade to find ourselves, find a natural progression music/song writing wise. I'm a perfectionist so I spent a lot of time going through member after member until we became solid enough to show the public. As for the unsigned bit....it has never bothered us. I know many a signed artist who never saw the benefits of being backed apart from the marketing side of it...but the way the industry is now, the majority of people can do it themselves through Facebook and other social networks.

Well I'd say that’s definitely the best way to be. Far better than being known by everybody for something that is only a small portion of what you want it to be! Talking of the natural progression, I've seen an interview with you on YouTube where you state your biggest

influences where the likes of Iron Maiden and others. However after listening to your music it is unquestionably different from these bands.

So would you say that this is again a part of a natural progression and that you have finally found your own distinct sound?

Our influences range from all sides whether it be metal or indie to electronic etc. Iron Maiden was just an ultimate influence to us all as it’s what we grew up on - what got us into rock! Just because we were influenced by them doesn't mean we wanna jump around on stage galloping about waving a union jack....although that would be pretty cool. When we first started our sound was quite dark but we’ve grown more to the melodic style which we avoided in the past as it was an 'uncool' thing to do...but as you mature as a songwriter you grow a pair of balls with it as well.

So who would you say are some of your biggest influences at the minute?

There isn't anyone about at the moment for me personally that I’d say were influential.

Metal is very stale, very boring, very...samey; but there are a few bands around recently that stand out from the crowd, bands such as Avatar, Hell and The Birthday Massacre...all of whom deserve success.

It’s crazy how people just lust to listen to the same old shit all the time. It’s the same with every art

-8-

form really though isn't it. After The Beatles there were millions of Beatles copycats...after The Catcher in the Rye there were a hundred Catchers in the Rye. But beforehand there was nothing alike it and nobody knew the difference between good and bad. They just want the same old shit constantly which is as Basquiat states SAMO. I'd say you definitely have a different sound though which to me is all I’m really interested in in music. So anyway, where are you currently aiming towards with Sinnergod?

Our aim is to spread the word - pure and simple; to keep writing, to keep playing live. There are so many bands doing what we're doing who never get noticed and that’s sad and frustrating but we keep going because we love doing it.

Regardless of whether we ever land a record deal or not we can happily look back and say 'we played with The Misfits' 'We released a song with Blaze Bayley' that shit is real and we did it all ourselves.

This shit is very real! Well congratulations from me. That’s far more an achievement than so many others around. The likes of X Factor winners with sob stories and so and so but anyway! It's been a pleasure to speak to you Sinnergod! And I want to wish you the best of luck for the future on behalf of everyone at Unsigned & Independent.

You can find out more on the band at: https://www.facebook.com/sinnergod

Johnny Rayge The big thing that is happening for you now is that your album is set to be released. I suppose that it goes without saying how satisfying it must be for you to finally see it come together as well. When is it going to be released?

Very excited to say it is next month on the 13th of June at the Button factory. I‘m one who thinks that’s a lucky date before you ask, and it’s a super venue……support will be from The Glasshouse Boys ,Deco Greene and Sinead White. It is going to be absolutely brilliant.

How long has the album been in the works and what can we expect from this album?

It’s been a long old slog what with the daily dollar grind, but I would say about three years since recording started. It’s been real fits and starts, twists and turns to the end.

Some songs span back a whole decade though crazy as it sounds.

On a personal level though how pleased are you with it?

Honestly ecstatic. I am really, really pleased. It is by far the best thing I have managed to produce and I got to work with some incredible people in some incredible places. I am really happy. I think it’s kind of magical.

And on an artistic level how pleased are you of it?

For me it was a real exploration of where I could go emotionally so again very happy because it’s the culmination of some special things.

Unlike most musicians you didn’t grow up in a musical environment at all.

Your exposure was very limited and minimal. Yet you managed to become self-taught in ten different musical instruments. Tell us a little about how that all managed to come about.

True. It is strange, I was raised around books. We never had music playing at home, other than my father who played on the piano constantly, alone, jamming away, sometimes humming. My mother was not musical at all. Honestly I think it’s the island. Ireland is mystical and music pervades its very air. So as an artist here I think it is impossible to avoid its pull and not to be seduced. I have a really long anecdote

about how music came my way, a wonderful but long one; it involves the Gaelteacht and Inis Oírr and a long friendship. But it is too long for this column.

Did that environment shape your decision to become an artist or do you think music was something that was more of a natural calling for you?

I have no idea what where or how I was born an artist. It is a total and utter mystery, yet it was just always the case.

There’s a family tale of how when I was 8 I told my cousins I was going to be a famous writer or musician. I started writing poems and songs about 12 and really feel my first work, which I can still play. I created it at 13, in Irish class and in English.

What does playing with a full band behind you add to things when you are performing live?

It is phenomenal; I love music and love the interaction on stage with other artists…the whole concept and reality of it. I always compare it to surfing…you just catch a wave. In fact improv is how I began and where I find great joy.

-9-

What other benefits does having a band to work with give you?

For me it is all good when I perform. Be it alone, with one, with two, with a band, a big band like we will have at the launch is massive. It is always a thrill.

Having weighed up the pros and cons of both sides of the argument there was talk of a name change.

What was the final point in the decision not to down that route?

I wouldn’t call it a name change. It is just this album always felt a little different to the things I have done before, and attachment comes and goes, Armas is my name and means a lot to me. It was my Grandfather’s name who I never met, nor did his daughter, my mother. He passed on in the Fino Russian war….he lives on now I guess… so it seemed appropriate because it is like we made the album together…Armas: Vigil, has a nice ring, don’t you think?

The album launch will be held on Friday June 13th at The Button Factory.

I

spent the twenty-sixth of April pondering whilst watching the rain fall.

The rain was heavy and the wind was wild. Blowing the trees, the bushes, the flowers and everything that happened to get in its way. It wasn’t summer just yet but the papers wrote that it was going to be the hottest in years. As I sat there just continuously procrastinating as I do most days I happened to stumble across the enigmatic local talent of Ingrid Frosland. Born in Norway but making a living from playing music in Liverpool I was ecstatic to find her. I listened to a couple of her tracks on soundcloud before discovering that she was playing that same night in the Korova Bar in the city centre just after completing her tour of Norway days earlier. So I took the train down alone. It wasn’t the prettiest of train journeys; I was damp from the rainfall and caught in a constant shiver from the drizzle. As I stepped off the train I was greeted by that all too familiar city vibe of rush and organised chaos as it swallowed and devoured me whole as I walked on past the streetlights in a night which was only just beginning.

I wasn’t the first person in the world to pass the bouncers and step down the stairs into the previously entitled underground bunker of a venue. There was a decent sized crowd in the place all wearing beards and Topman attire but they were good I guess – just trying to have a good night. As always I bought myself a beer and waited for Ingrid to come onto the stage and as she did so I gazed up in anticipation not quite knowing what to expect. She opened up with “Walking Backwards” in all of its touching and emotional glory. When you think that this is Ingrid’s second language it really is quite inspiring. The deliberate high pitched harmonies really added to the aura of an atmospheric and soul-stirring concoction of Sinead O’Connor meets Damien Rice – at someplace like the top of a West of Ireland mountain, one night in November.

The crowd seemed pleased. They were not the biggest crowd I had ever seen crammed inside of the Clockwork Orange influenced Korova Bar but what on earth does that tell you? Nothing much. Nothing more than the fact that we were all lucky to be witnesses to this music. But the crowd swayed to the songs as they were sang and strung aloud in a haze of half drunken appreciation.

However to me, it wasn’t until Ingrid played ‘Last Hope Sound’ that I was fully satisfied with what I travelled through the rain for. ‘Last Hope Sound’ is a beautiful but haunting cacophony of romanticized heart break in noise. A three minute portrayal of emotive lyrical and musical brilliance. A representation of all that is great in music. And my fellow acquaintances in the crowd seemed to value this soul cry just as much as I did as they were loosened up into trance like states, osculating from

- 10 -

side to side in an uncontrollable depiction of appreciation like waves bouncing back and forth against the rocks of an old and stony pier. It was then that the songs continued –one after another-, all of which just buttered us up as spectators to Ingrid and then the final chord of “Taking You With Me” was played as the piano player of the band danced like a madwoman in a frenzied state of fulfilment. And then the crowd cheered and cheered as I strolled towards Ingrid – seeping through the crowd -and asked for a short interview.

She accepted and we got talking!

Review / Interview by Joe Loftus Photo by Jogeir Daae Mæland Ingrid, I know you've been touring your home of Norway very recently.

Tell me about it. How’s it been?

It’s been great! We were on tour for nine days, with three days in the studio and six gigs all around Norway, which was great, because I got to see a lot of the country that I’ve never seen before. And we got to record three tracks in a studio on a beach in Ålesund, surrounded by the ocean on all sides. Recording there was so relaxing and inspirational, and we met so many wonderful people on the tour!

Has anything eventful happened?

Apparently, there was a seal swimming around the studio area, so when we weren’t recording, we were off looking for the seal.

We didn’t end up seeing it though. Other than that, we had loads of long drives, like the 10-hour drive from Ålesund to Bergen and we forgot a guitar at one of the venues we played at. Throughout the tour, we met so many fantastic people who made us feel so welcome wherever we went!

I’ve been singing for as long as I can remember, but I wasn’t planning on doing it for a living, so I started studying sports at a university in Norway. But during that year at uni, I just felt like something was missing, and I realized that I had to give it a try.

Who are your biggest influences as a singer and musician?

Being a Norwegian living in England, my music is highly influenced by being far away from home. My biggest influences are Norwegian artists Marit Larsen and Thomas Dybdahl, and more international bands and artists, such as Daughter, Bon Iver, Coldplay and Regina Spektor.

Where does your biggest inspiration for song writing come from?

What happens to me and the people I’m surrounded by in everyday life inspires me. I can also find inspiration by going for a walk or travelling.

Travelling alone is great for inspiration!

That’s great! What made you want to become a musician?

- 11 -

What's the song writing process usually like from start to finish?

My song writing process varies from song to song. Sometimes I just decide that I’m going to write a song, and I sit down, and I write it from start to finish. Other times I have a chorus or a verse ready, but I have to work really hard for the longest of times to make it into a song.

Is there anything fresh going on at the minute?

We’ve just been in the studio, so within the next month’s I’ll be releasing some new tracks that I’m really excited about, and that I can’t wait to show you!

And finally, where are you aspiring to?

If I can make a living from playing music for a few years, I'll be a very happy girl.

I'm hoping to release an album or two with my original tracks, and I'd love to tour around Europe, and maybe play festivals throughout the world. That would have been amazing.

THE SACREBLUES BAND We are continuing on with our second part of The French Connection. THE SACREBLUES BAND happens to be one of the most exciting prospects that are currently to be found on the Dublin and Irish unsigned circuit. Their live shows guarantee a level of select innovation and intimacy which cries out of the Parisian highlights of The Olympia scene in its glorious days. We caught up with them to talk about their recent EP and everything music. Here is what they had to say.

“Say What You Say” is your new EP. We loved it when we first heard it and it remains an office favourite for us here at U&I. We reviewed it in our March issue and it got a deserved 10/10 from us. In terms of recording that EP what was completely different in terms of the experience overall when compared with how recording “Une Fois Pour Toutes” went?

First of all thanks a million for the glowing review of “Say What You Say”. It's heart-warming. Merci Beaucoup. In terms of recording, we were more comfortable in the studio and since we had gigged quite a bit since the previous EP (i.e. “Une Fois Pour Toutes”), we were more confident in how to approach the tunes.

How long was the recording process overall? Was it staggered in stages or did you spend a dedicated period in a studio to work on it? And with the current EP where did you record it?

half of the band. A lot of the time, Mélissa comes up with a melody, and we then work on giving it structure, lyrics, and harmonize it all. We come from very different musical backgrounds, so it's safe to say that the final outcome has little to do with the original idea that the one or the other may have had in mind.

The blues influences show on the EP, but there is an eclectic nature on show, in particular on “Handyman”.

While on “These Are The Things” it all has a country feel about everything.

Who would be the artists that you would consider as an influence on you and do you see any of that reflected on the tracks?

John's a fan of rather heavy rock, so if you feel that there's any Slayer influence in our sound, I guess we'd all be very surprised!

I (John) listen to an awful lot of blues, but I don't think we sound bluesy at all. No, seriously, this may sound like we're the worst presumptuous brats on earth, but we don't feel that the people we listen to dictate what we play. I (Mélissa) listen to a lot of vocal jazz and I'm an absolute Beatles nerd, but the stuff we play I wouldn't call jazzy or Beatlesy (I wish it were, though!). We however like our country classics, Tom Paxton, Danny Gatton, Les Paul, and Johnny Cash.

How did The Sacreblues Band come together in the first place?

We went to Gerry Bennett's Rhy studio in Co. Meath, again, for two days, since we were very happy with the results we got the first time round. Everything was relaxed and homely and this really allowed us to take it easy when experimenting with creating a more layered sound. Since we're essentially a two-piece, we have to overdub tracks on top of a live guide in the studio.

Mélissa put an ad on Gumtree. She had just arrived in Ireland and wanted to jam with no pressure. John had left his previous band only a couple of days before he replied to the ad, and the rest is a mystery. We guess we just got on well and now that Mélissa knows how to make a decent cup of tea, the band is more serious than ever.

Even though the two experiences were different, of the two, was it harder to make the first EP or the second?

What is the unsigned French music scene like?

We wouldn't say it was hard to make either of them, but we definitely knew what to expect to get more out of ourselves when recording “Say What You Say”: we knew how quickly we could work in the studio, and we had more trust in Gerry the second time round, as we knew he'd get it right.

How does the creative process and the song writing process work for you as a band?

We have no established process; one would come up with a rough idea, a melody line, a chord sequence, and share with the other

Vibrant. There's a lot going on in Paris and thank god outside of the big city as well. The scene is mostly rock and indie pop, and the countless festivals you have in France bring the fun to a new level.

When was the last time that you played back home?

Four years ago! We should gig in France sometime, that would be fun, but the pun in our band name would be lost in translation we're afraid.

Are there any aspects of the scene/culture there that are

- 12 -

specifically French that you miss?

Likewise, are there any aspects of the scene/culture in Ireland that can’t be found back home?

I (Mélissa) miss the “café-concert” scene a lot, in Ireland you don't have the equivalent of the French café with its tiny private stage, where the audience would sit rather quietly sipping some fancy liquors and singing along in Franglish. The thing Ireland has that France surely can't pretend to have is an amazing proportion of truly talented people. Seriously, go to any singer songwriter night in Dublin, you can expect to be blown away by complete strangers, singing from their guts like superstars and then going back to sip their pint with the audience. Crazy.

Is there anything that you are beginning to see rub off on you artistically that you would consider a direct result of broadened horizons from playing abroad?

Again one question for the Frog (!), John hasn't played abroad since 1998. I (Mélissa) am now comfortable with bilingualism in a single song. Before I moved to Ireland, I never wrote songs and did not perform as a singer songwriter. Playing in Ireland, more stage time, listening to the locals made this possible, or at least were the trigger to my song writing. Merci l'Irlande!

Not in terms of releasing live performance footage, but video seems to be a format that you have yet to embrace as a band. Are there any plans for you to make a video and if so, for what track?

Of course we'd love to do a video, but for now time and money are lacking. We would love to make a proper video for “A T'ausculter le Nombril” and one for “Handyman” as well, this would be really cool.

What is next for you in terms of music for the band?

We're constantly writing new material that we experiment with on stage. We will hopefully record an album and hope to release this in early 2015. We'll put together a Fund It campaign to try and make this a reality. Magnifique, non?

You have been selected and confirmed to play at YouBloom 2014. Are there any other confirmed appearances for you at festivals and gigs over the summer?

We're really looking forward to performing at YouBloom in June. The festival is an amazing platform for independent musicians to learn, share and network. We've been in touch with some other festival organizers too and we're keeping fingers crossed. A bientôt!

Where have you recorded and what did being there contribute to the artistic process?

We recorded at Feedback Studios in Vienna, Austria, with the wonderfully talented Oliver “Ollmann” Brunbauer. He’s a highly talented sound engineer with a compulsion for analogue gear and good espressos! Ollman’s studio has a very personal vibe, so we felt very much at home during the production Your family fled from Iran during the 1979 revolution.

That displacement saw you live in Paris before you came to settle in London which couldn’t have been an easy transition for you all to adjust to. What was that like for you growing up and the rest of your family?

Whew! Big question! It was very difficult for my family, as it was for the majority of Iranians. Most Iranians did not immigrate from choice or for economic advantage. Iranians have generally continued to live outside of Iran with a “myth of return”, so to speak. Growing up, I often heard the phrase “Inshallah, we’ll go back next year.” For many of us, that “year” never came. I adapted pretty well - bullying, racism, and Thatcher aside! But in the course of my growing up, there was of course, a considerable amount of personal and cultural conflict.

How did that experience come to define you and how much of it comes through in your music?

Well, I came to realize that the greatest people are those whose humanity is not fragmented by external conditions. And that there have been and continue to be, in both cultures, inspirational figures who defied the status quo, stood up to “the powers that be” and who did that through art, music and mysticism. Independent thought is integral to true and lasting cultural change. At the time, it is nearly always considered “counter-cultural” and dangerous to the establishment, whether it be in the poetry of a 9th century Persian Sufi saint, such as Mansur al-Hallaj, who was cut to pieces, burnt with his ashes thrown to the wind on charges of heresy, or be it Malcolm X, John Lennon or the Sex Pistols. How much of it “comes through” in my music is not for me to decide. But I can say that I write and sing what I feel, observe and think, whether it’s “approved” of in content or style.

Do you think that you came to find music or did music come to find you?

I grew up with Persian classical music sung and played in the family. Then my hippie American sister in-law came to visit with her guitar and Joni Mitchell-esque voice singing Joan Baez, Jefferson Airplane and Dylan songs. Then I discovered vinyl. So you could say we found one another.

And what did it offer you when you began to get into music?

HODA

It offered me protection, companionship, strength, inspiration.

Music offered me escape, but not in the negative sense of denial. Rather, a release from illusion into reality.

What was it like to discover Western music like that and how defining an experience was it for you?

Every musician describes their music as a journey.

For Iranian artist Hoda Mohajerani hers is one that is as interesting as it is personal. We sat down and chatted to her about her experiences growing up during a revolution, retaining an identity from this and how they have related to her music as well as discussing her new single “Exhale”.

It was also given the thumbs up and seal of approval from a rock veteran. Who was that and what did they actually ay? How did that make you feel when they did say that to you about your music?

Your new single “Exhale” is due for release on May 26th. What is the song about?

What they said was: “We haven’t really heard anything like this (“Exhale”) and do you realize how difficult it is to pull-off a 7min song (“No Surrender”) - you have not wasted a single moment on it” It made me feel grateful. It made me smile. And it made me want to pull my (very, very long) album with “parts” rather than titles out of the drawer.

Since I began writing more on the electric guitar my lyrics have moved more towards describing emotions and images, rather than specific personal narrative. It’s about recognizing and being present in the moment. This is when everything is happening….live and direct.

It is also a double A-side. What is the second song about?

“No Surrender” was written on my Martin, so you can tell that there is more storytelling there, but the message is universal: It’s not the end until it’s the end...Don’t give up.

That is something that is regarded as a bit of an old-fashioned thing to do with a release because it is not something that you see much of anymore in the age of i-Tunes and downloads. Why did you decide upon releasing it as a double A-side over going for two separate releases?

Well, I’m an old-fashioned girl that way. I have always loved buying a single or a record and obsessively listening to both sides. If we use literature as metaphor, then today’s approach to music is like tearing out and collecting pages from books and thinking we’re well read. It’s become “a penny a pop”, so to speak. “Exhale” and “No Surrender” offer a complete story, together.

I never reveal a source. Here’s a clue though: The Cult & Ozzy Osbourne.

Speaking of which, “Arrivals” was released back in 2011 and “Raging Waves” followed that in 2012. How much of a progression is this new material from that period musically and does any of it retain your artistic identity from then or are we talking about a whole new animal in terms of how it sounds?

That’s a good question. “Arrivals” was precisely that: An arrival to the beginning of my musical journey. It was a musical processing of sorts of my history and identity up to that point. It also paid homage to my singer-songwriter, folk-rock roots. “Raging Waves” was more developed in its production and began to show some of the other elements I have wanted to realize in my music. However, “Exhale” and “No Surrender” are the closest I’ve come to realising what I hear in my head. It’s more edgy, more layered, gritty...and there’s more playfulness.

- 13 -

Hmmm… I’ve personally never considered music in terms of “Western” or “Eastern”, though I am aware that these terms remain commonplace. Music is communication. Communication is the necessary result of sentience. I felt the artists’ emotions in their music long before I could speak English. And I felt myself feeling and it was OKAY to feel. There was mutual acknowledgement between the artist and the audience regardless of language, age, gender, race, time or location. It was a pivotal experience.

You list influences from Bob Dylan, Led Zeppelin, Pink Floyd to Ricki Lee Jones and The Clash as influences on you. It seems that music wasn’t just a passing interest but something that connected to you on a level that went beyond the artistic side of things for you.

Who else spoke to you through music at that time in your life?

The Persian singer, Parisa. Muddy Waters, Jimi Hendrix, Janis Joplin, Black Sabbath, Marianne Faithfull, Tom Waits, Velvet Underground, Sex Pistols, Joy Division, Bowie.

Why do you think it was music that helped you find yourself at that time and nothing else?

I think it was for many reasons. One is that if you are genuinely listening then you will hear those who are genuinely sharing their experiences/investigations/emotions with you through their music. Another reason was that I could be alone and part of the whole with music. You could say that music met my need for both distinction and unity.

What else will be in store for you in terms of playing live that your fans can look forward to?

We’re in production not performance mode right now. But both the band and myself occasionally get the “live bug” and do a flash gig! A mini tour is planned to follow the release of the EP. News and gig dates are all regularly posted on our homepage: www.hodamusic.com and Facebook page.

THE MANC TANK

Column by David Beech

Somehow or another, a whole year has gone by since I started writing for U&I and a lot has happened in those 12 months; I graduated, got fatter, saw some amazing bands and got fatter still. One thing which hasn't changed however is the constant outpouring of good, quality music that comes out of Manchester. Now given that I can only feature one band a month, there's been plenty of top acts that I've had to pass on, so it seems only fair that I take this opportunity to big up some of the bands which didn't quite make my column, but could have done quite easily.

Jeremiah Ferrari With their foundations firmly set in the traditional roots/reggae movement fused together with elements of ska and calypso, Jeremiah Ferrari prove themselves to be a far cry from Manchester's assumed indie heritage. Soulful vocals and upstrokes make for an ultimate party band, but that shouldn't detract from the solid song-writing and genuinely catchy melodies that perpetuate the band's music. Their live shows too, are fantastic.

Check out: Jazz Cigarette

The Gramotones

Another end of the spectrum now, The Gramotones' sound is a rich and melodic pop affair flecked with moments of solid indie and occasional camp theatrics. Having recently earned themselves a support slot on Paul Weller's forthcoming European tour, it's obvious that the band are going in the right direction; their lavish vocal melodies are steeped the '60s, affording the band a timelessness not often seen in such a relatively young act.

International Artists

Check out: M62

Feed the Kid Feed the Kid uphold an undeniable sense of bucolic with their emotionally-driven folk building on the same foundations as bands such as Bear's Den. Those anticipating the Mumford and Sons branded arena folk will be disappointed however as there is a definite and appealing roughness at play, which one can assume is an aesthetic decision given the polish over the anthemic 'Fellaheen'.

Check out: Kerry

No Hot Ashes Reasonably new to the Manchester scene, No Hot Ashes fuse together funk with infectious indie that's hard not to sit up and take notice of. Championed by the illusive promoter/podcaster Mr Peeps it won't be long before No Hot Ashes follow in a similar direction to the likes of Puppet Rebellion; their music is more danceable than Pup Reb's but equally as solid in execution. Expect big things over the next few months.

Check out: Skeleton

The Backhanders The Backhanders first caught my attention towards the end of last year, as much for their haircuts as for their melodic fusion of both punk and mod sounds. Seemingly causing a bit of a stir on the unsigned scene around Manchester at the moment, it's easy to see why. As the band flit from Stone Roses/Oasis-esque heady Brit-pop to two-tone tinged punk, it's not hard to imagine a rowdy Manc crowd thoroughly enjoying themselves to this band.

Check out: Don't Let Your Man Know

46 --- 14

Lucky T. Jackson Cheating a bit with this one, but the band, in this iteration at least, haven't been together all that long. With some members formerly of Manc band The Quangos, Lucky T. Jackson are fortunate enough in that they have people with a vested interest in them almost right off the bat. Having seen their debut gig at The Whisky Jar, I felt almost obligated to include them; their infectious blend of contemporary indie and sugary '60s harmonies proving too much of a draw not to mention. Potential for a full column piece in the coming months for sure.

International Artists

Check out: This Particular Girl

Stolen Haven

Having seen Stolen Haven live a couple of times now, I know for a fact that they're one of the most promising live bands coming up in Manchester at the moment; their solid no nonsense indie earning them support slots with the likes of Puppet Rebellion. While their overall sound is nothing new, the confidence they have in themselves makes for some solid song-writing that just can't be ignored. Quiet on the release front of late, we can presume new things will emerge later this year.

Check out: Decent Shoes

International Artists

The Lottery Winners 'Born in Salford, raised on romance' proclaims the Facebook page of The Lottery Winners, and from the first moments of hearing their bubblegum indie-pop, it's obvious how true that is. This is a band who don't so much wear their heart on their sleeve as wave it like a flag above their heads. You can almost imagine that this is what Morrissey might have sounded like had someone introduced him to Prozac.

Check out: I Only Want to Be With You

The Bluntskins

Not quite the usual fare here,The Bluntskins are one of Manchester's best hip-hop outfits who make their appreciation of cannabis culture known. Made up of two rappers, Bill Sykes and Cheech, and completed by producer DJ Pro P, the trio use a mixture of beats, bars and samples, resulting in a heady combination that just begs to blaze to. The lyrical content might not be to everyone's tastes, as might not the fractured but expertly mixed backing tracks, but for those who appreciate a little indulgence from time to time, or just like some good old fashioned hip-hop, then they could do far worse than checking out The Bluntskins.

Check out: High As A Helicopter

Kult Country

Part of Sways Records, (whose roster once boasted MONEY), Kult Country are a band without boundaries. Their music, though hard to pin down, draws from the likes of My Bloody Valentine, but isn't completely indebted to them, fusing together shoegaze and noise with elements of sparse post-punk and futuristic techno. It's an odd combination, but it's an exciting one, and we can hope to see far more of them this year, as they aim to follow in the footsteps of their previous label mates.

Check out: Slowburn

--46 15--

DIMESTORE RECORDINGS Sweeney’s Bar (Thursday May 8th) Due to further commitments taking priority over the night’s proceedings we didn’t catch every band playing tonight as we were forced to leave early. However we did manage to catch four of the acts who played live tonight and they all delivered the goods when they got up on stage. The first band we managed to catch was DUBLIN CITY ROUNDERS. They immediately stood out for us because of their image. A guitarist dressed like a line dancer accompanied by a Teddy boy punk playing a double bass is something that would grab anyone’s attention. However we judge artists here at U&I on what matters- the music.

DUBLIN CITY ROUNDERS

A cover of FATS DOMINO’S “Ain’t That A Shame” eased them into their set and was then followed up by “My Ass Is Saved”. Despite the title it proves far removed from being novelty. The hurried bustle carries it in a highly determined way. Added to that is the pace which also has a neat say in everything here. The double bass injects it with a savoury kick that shows teeth. With “Rock’N’Roll Man” the candid side of things bursts through neatly. There is a deep foray felt here that takes over on the running. The delivery is applied with neat aplomb and resolve. In return the strong way that it holds fires up the performance from the intent shown. There is a Deep South feel that matches the offbeat feel of “Mr. Johnston Turned Me Loose”. There is a dark and morose showing in the rhythm that has a foreboding sense to it that lifts the stern offering that it comes to be in the end.

“Travelling Man” is a nice and fast number. There is a steadiness brought to it that bears a certified flair. The vocals match the skittish turn on show. Straight shooting and provided for well in the country leanings in the overall breakdown gives it a sense of direction. The bass is hardy and felt on “Best Boots On The Bus” weather the dandy side of things. It brims with purpose and the offbeat feel is what gives it charm. The meander also provides for it in the fraught feel of the running. There is a hurried feel to their closing number “Mistreated Blues”. Things have an opportune feel that takes hold expertly and allows them to run with everything quite well. Overall they gain from the robust showing that is locked down here.

...............................................................................................................................

This next band impressed us for all the right reasons and got things underway with “Pure”. This is a showy number that is built with precision that tightly comes to pass. The frayed pick up on the pace holds a dark loom over it all, while the New Wave touches serve it well form how they handle the delivery. The sunken feel on show with “Boulevard” suits the discourse here. It is ushered in before picking up in a neat way. Brought around squarely the steadfast drumming also provides well in the showing. There is also a sense of bravado in the steely feel of the barren vocals which the song’s tempo neatly gravitates toward. “Dust” is shapely and there is real class denoted from the hints in the playing.

Maintaining the rhythm provides it all with a catchy sensibility that rises high here and goes the distance by a considerable margin. What is also picked up on is the nu-disco chic on show.

The teeming feel to their music is effectively pursued on “By The Water”. This yields a fine return for the band. The guitar resonates fashionably on it and provides the calling with an essence. The sonar echo in the background is a nice touch as well that enhances the nouveau appeal. The opening of “I Will Go” grabs you. The vivid intent shown takes flight with that as an accelerant for the rhythm to build upon. It all holds tightly. The vocals play their part well here with the active showing that pieces it all together. There is a particularly different direction that is more ambitious with “Chemistry”. The expression here is of a high standard. The desirable sense of release found in the process is darker and carefully lines out. The serious feel of the tone wraps tightly around this in a reputable way. They closed with “Silence”. It is all brought through in a rather select way. What is motioned from the play neatly carries it through. Somewhat inviting in terms of how that process serves it all gives it all a more deliberated feel as it all breaks through. It leads to a point of significance in terms of scope that is handled expertly.

- 16 -

TELL NO FOXX

There is a pleasing feel to the guitar of “Let It Burn” that brings an Americana feel through. This styling deliberately lends to the running. It configures on the rhythm in a telling way and allows them to mark their territory here. Things are tracked in a smooth way that goes the distance. “Crazy Jane The Hurricane” is a great sing with a great title. This snappy tune is well versed and the raw unbridled feel shows well as it is let off the hook. It progresses neatly. How it plays is akin to something that would be best described as the bastard child of a New York punk song and a mariachi tune. The abject style is noted here and the refined feel weathers through with grit. The drive and intent of “148” build the song in a deliberate way. This takes of decisively with the consistency that is felt in the running. The resolve is what gives it a good calling as it ignites everything.

THE FURIOUS HAZE

The finesse turns on the style on “The Devil’s Sugar” in a big way. This is direct and sharp. It is floored by how opportunely it opens up as a whole. The vocals match p and show that everything has been well taken stock of here. Then a cover of “Come Together” by THE BEATLES proved its worth and paved the way for their last song “I Remember You”. This is a charity single they have recently released with all proceeds going to The Simon Community. The song itself has a nice showing here. They give their all on it and the sheltered attributes are called out just right. There is also a feverishly good calling to be found in the vocals. The freedom of expression in the performance captures the essence of it all in the dalliances of the playing arcs and champions this superbly.

...............................................................................................................................

An untitled offering sent them on their way. The ensemble style that they have signifies everything about them that works and the dalliance of the rhythm collects cleanly alongside the fluid feel of the tempo. It all leads to something figurative. The patient way that it is all lead in is done with the right amount of emphasis placed on building the play. Their second track “Richard Parker” correlates towards a hardened sound. The progression is expertly handled with the playing arcs flitting between in a truly marvellous way.

They show they are masters of their craft here with his because it showcases what matters most – the music. “Constantinople” is lead in from the effective turn on the intro. The correct amount of flair shows in concentrated bursts that are tracked in a well-intended way. The appreciation for their craft shows in the playing ability. It has a fluid scope and range on show. The languid points in the running give it a more noted presence. These virtues are extolled and invested in the rich alternative side of their performance.

“Cornflakes” is a truly boisterous offering that immediately grabs you. A lean fortitude resides on this that is smartly threaded through. The composure in the delivery gets everything right. The margins within which it all operates provide it with a sense of purpose that is guided through tellingly. “OK Commuter” is one half of a shared double a-side with Punch Face Champions that was recently released. The chagrin feel of this wraps around it and is worked through splendidly. The pick-up guides the sense of resolve in a fine way. The smash and grab feel of the tracking is a card that is played well here. The air is electrified by the performances. They closed out with “Vigo”. The clean cut is exercised in the firm hold on the handling. The controlled delivery lights up on this one in a big way. Broadened by the definition that is conveyed in the loaded delivery, they exemplify a truly high standard that relays everything toward something of importance in the performance. This is regulated by the tracking in a highly relevant way here that also gives it purpose.

- 17 -

BETWEEN SCREAMS

THE RUBY SESSIONS Doyle’s Pub (8-5-2014)

This was our first time to see this band play and they were considerably lighter in their usual complement by having three members play tonight. The stripped back and minimal feel grounds the delivery on “Got To Go”. It is harmonised in a splendid way that ushers in the solitary aspects in a noted way, while the beleaguered feel is handled quite effectively. But it still retains something robust and active in the live showing that pushes out tellingly. There is a HALL AND OATES comparison to things with “My Rock”. Enigmatic with the one word delivery that shares delivery responsibilities between both singers is very intriguing, while the monosyllabic feel in the rhythm coaxes this out in a way that displays depth in how it is all concentrated. Yet the sedate feel also adds a 70’s vibe to it all.

ZASKA

The proven feel that they have comes to pass on “Walls”. There is something smooth and direct to the delivery that comes to pass tellingly on the overall tracking here. But it is the flow of the acoustic guitar that gives it all a sense of purpose. They lead into “In Your Own Sweet Time” without missing a beat. This seemed to give the two songs a completed feel of progress. This is a showing that has it all together when it comes to being a live performer as well. The deadened feel of it gets under the playing and carries the hardened feel through. They closed out with “The Tower”. The flit from the guitar is a steady precedent on the intro which brings a casual motion to it all that neatly brings it all to pass. The changeover of both singers is achieved with a relative comfort that bequeaths it all in a highly appreciative way.

Up next from the band is their EP launch at The Sugar Club on May 17th.

...............................................................................................................................

An air of international apparel was in the air tonight at the Ruby Sessions and Vermont artist RACHEL RIES was next.

Playing here as part of a five week tour to promote her new album “Ghost Of A Gardener” she also brought a nice little touch of class by bringing some homemade jam on the night. The opening line of her first song “Adrian” is excellent. There is a clever and eloquent reach to how the lyrics build the song. The fine and listless quality of her voice gifts it a comfortable forlorn feel that is exercised well from the pick up on the rhythm. After that came “Holiest Day”. The vivid telling in the song catches the sentiment in a coveted way that keeps it going forward. The guitar plays askew to the delivery in a way that pushes the formation on show through with a fine contended all round feel that aligns to give it all a true sense of purpose.

Her eccentric inclinations show favourably on “Never You Mind”. They light it up. The lazy, casual feel gives it a neat hustle, while the polka slows it down. Whimsical in all the right places it is a tune that leaves the right impression.

The rhythm then proceeds to carry across urgently. The lyrics unfurl in a material way while the drag of the guitar is prominently felt. How it is applied brings something to the mix that is intelligent and smart but with a refinement to it.

The final song from her on the night was “Ghost”. The lost cause theme of the song is apparent. Given a bountiful feel as it beds down in the performance also finds the substance in the process. The essence and how it is located here never lets go when it takes hold.

- 18 -

RACHEL RIES

It is not every day that you are granted an audience at The Ruby Sessions for the purpose of the Mexican Ambassador but that is what happened for SIMPLIFIRES. That is because their journey involves Cork via Mexico for the duo taking to the stage tonight. Their set got going with “Stabilise To Explore”. The acoustic guitar plays away while the electric writhes away to give it all a distal manner. The stabilised feel of the running is sealed from this solid showing and it weathers well in the overall performance.

The clicking of the fingers located the atmosphere in the audience participation on “Wrong”. The smooth feel peters out and fills the air while the guitar comes in and charges everything furthermore. While on the whole it has an old school rock’n’roll feel, it is the hardened drawl in the vocals that add to it. They bring a TALKING HEADS comparison to things for all the right reasons.

The spark of creativity adds to the proven feel of “So It Happened”. This is a catchy number that is kept in check all the way through. The pleasance of the tone and delivery sound out everything in a way that works and develop everything in a highly impressionable way. They gradually lead everything in on their closing tune “Don’t Give Up On Love”. The song is stoked with a genuine caress in the rhythm. How it coasts along has fine remedial coming to pass about it all. It is a bright and surly effort that brings a heartfelt pressing when and where it is needed.

SIMPLIFIRES

...............................................................................................................................

CORNER BOY

There is no let up from the band as they get straight down to business with “Sunlight”. This grabs you. The bluegrass kick and lightning quick pomp convince here. The pomp that they have on stage here very much shows them to be the real deal. A soulful offering comes to pass with “Move To Paris”. The vocals wrap around it whole the sharp aspects drop down to hit hard and give it impact. The soulful canter is also particularly felt. The sheer bliss of it makes it a privilege to have a front seat to see them play live. Maintaining their proven hardened showing is “True North”.

The delicate poise in the arrangement generously provides for it all. The conviction of their overall live performance lays down a fine marker that they keep in check with all of the elements on show.

The plucky feel of “Ghost Town City” brings a broad and sallow feel that carefully carries the song away. But in how it is all pieced together shows you how marvellous they are as a live band. They then left the stage and walked out into the audience for their final two songs. Taking inspiration for a chapter in James Joyce’s “Ulysses” is “Onyx The Sun”. With them situated in the crowd this offering was very much at home. The romanticised feel fashionably objectifies the subject matter. This in turn brings it all through with the pertinent showing tapering to it all in a way that levels out brilliantly in the live delivery. Framing things delicately is their closing number “Go Soft Into The Night”. It is a majestic turn that is softly framed. The sincerity adds to the virtuous feel of the running. Again the close and intimate setting of upstairs in Doyle’s on a Tuesday evening makes you appreciate it further, while the passive meander in the vocals also play a key part in the delivery.

Up next from the band is a gig in Whelan’s on May 22nd.

- 19 -

SINÉAD WHITE

@ Whelan’s (Saturday, April 26th)

The dalliance on show with “Confusion” makes its way through passively. The departure to everything fastens a more determined conviction that comes to pass as it is all followed through. What is measured here is doled out in a very upfront way that gathers everything kindly in the delivery. The arrangement of the piano adds a distinguished turn to “Do You Know”. The probability to it all weighs in comfortably. But what is also noted is the sincerity that

......................................................................................................

Something of a late addition to our magazine given the general running of our live reviews is always for a week or so, but we made an exception this time around because this was one gig that we has been highly anticipated by a lot of people on the Irish music scene. There is strength of depth to her as an artist as much as there is about her as a performer which is underlined on “Flat Battery”. This opens with the guitar holding firm and standing out for the right reasons as it courses through. The sturdy turn that is collected with telling grace refines everything in an effective way that is enhanced further from the double bass. A spry flurry neatly aligns the piano and guitar on “Lies”. Those additional touches make what is on show rather fanciful. As a liver performer she settles into this and owns the song as much as her empowering performance owns the stage she is playing upon tonight. The sultry “Mouth Trumpet” came next and is brought in with an apparent togetherness to it all. Her kooky style brims away behind it all in an impressive way giving it all a cursive beatnik feel that is souped up in a highly conclusive way.

- 20 -

comes across as this makes the performance all the more believable from what is invested in it all from her. “Runaway” has a more noted pick up. Yet there is a reserved kick behind it that lends to the tempo in a favourable way. Given heft by this, her vocals are also considerably felt here and they bring a necessary degree of consequence about it all.

Her cover of CHASE NOVA’s “I’m Not Gonna Write You”.

While he may be an unknown entity at the moment that doesn’t mean he is not appreciated by his peers. This has a hint of NINA SIMONE about it. That vibe comes to pass in the chic showing with the skip in the step of the rhythm. Her performance sails along here in a way that is reasoned well from the concise way that the delivery is worked. A stellar tune is what she clearly has on her hands with “Poor Little Rich Boy”. There is an importance about it that calibrates well. Of a high calibre from the off, it also proves her pedigree as a songwriter from how it is all worked out from the off.

The kazoos were dispersed for “I Know It”. This has sass that is pegged down from how the kazoo and acoustic guitar melt into the flow. There is something in the jest of the song that brings a charm all of its own alongside the fanciful tumble.

While it has a somewhat cartoonish feel about it that is actually one of the qualities that seals in the rich and lavish flavour that is there by intent. Sold on the back of this, but her whole set tonight was a smooth transition and her first outing with a full band behind her.

Photography by Eric Cooper

Irish Artists KID COY Resolute

“September” keeps the synth neatly in check, while the soft embrace in tone is reflected in the tempo and assured feel of the vocals. It has a tidy degree of weight tied to it that also serves the hint of ambition behind it rather well.

There is an obtuse skip that sits comfortably with the looming feel that grows into the delivery of “Sun God”.

This commands a great deal from the graceful showing that neatly ignites the requisite qualities of the tune. While “Resolute” is the title track of the album, it also has that tranquil styling about it that is rather commendable.

Things branch out and become more expansive with the running, yet things are embraced furthermore from an instrumental perspective, which is now seeing the album develop.

“Another Choice” also carries itself across with a fine resolve. The steadiness of the delivery gradually builds the track. With the patience instilled here cleanly picking up the pace allows the best to be brought out in the process from the heart provided.

Now things move up a considerable level when it comes to “Wrong Side Of Town”. This is solid from the beginning. The enamoured retro feel displays their indie credentials.

Purposeful and highly innovative in the right measures, the rotund showing drops down selectively and correctly ushers everything through.

They step up to the plate with this one.

“Love Buzz” is cut from the same cloth.

But they are two sides of the same coin because this one has a higher progressive countenance. With their next track “The Blank Page” you really take note of how good they are. The

10 richness to the texture is highly innovative and settles into the delivery in scintillating form. The determined focus comes together on it and there is no let up or reprieve from the brilliance displayed.

“Hope” clicks into gear and the candid calypso feel sets everything in motion. How well formed the playing arcs show gives everything room to operate. The tracking is expertly done and the sweet resolve of the vocals moves you when you hear this. It has ‘tune’ written all over it. The distal feel of “Mood Swinging” takes flight and provides a sensible degree of poise to the opening. The lucid feel encapsulated gives it an ethereal quality that allows the ensemble characteristics to be fully realised in the layered the approach that comes to pass. “Watching Waiting” follows that up. The neat way that the rhythm climbs stands out. Nothing comes up short here from the delivery, with the shallow weight of the tracking determining a lot of the right qualities as much as it builds atmosphere from how it resides. The final track on the album is “Stage Fright” and an honest virtue flows forth with real sincerity. It is a nimble offering that then picks up with a degree of presence that focuses the overall execution. The leaner trappings find their way in an opportune way that lifts it all.

- 21 -

THE STONEY BROKES Something Irrelevant

The kooky style of the eponymous opening track lingers on it in a telling way.

The overall spirit of the delivery is there to be found in how the traipsed vocals and tempo combine formidably. The slight TexMex feel on the intro to “I’m Not Dying” sees things through with a fanciful aplomb. An energised pomp gives the delivery a distinct raw cut that bides well from the off. It also retains that scatty and offbeat style of the band in generous measures.

Softer in the approach from the acoustic guitar and its prominence on the intro is “Robinhood”. This passive number is carefully played in.

The forlorn sentiment catches everything quite fancifully and proves their ability as songwriter’s in its maturity.

The fashionably hip “Gentleman Callers” turns on the style in a big way. The upbeat skip in the tempo melts into the rhythm. The progression picks up and accommodates the souped up beatnik feel in the offering finely. It shows what they are about musically in the right way. Grabbing you as the emotion poured out on the vocals is “Make Me New”.

The purity here is necessitated on all fronts. Be that in the melody or the finesse expressed from the tone of the arrangement. This exudes class from the off. Then “The Fear” sees them revert back

10 to their leaner form. The guitar drives through hard and it has a marked sense of urgency all round. The deeper feel is picked up on with the sharpness of the bass and drumming.

“Girl Don’t Sleep” has an unbridled punk feel in how it sounds that proves a big draw. The handling and tracking are brilliant here. They bring a solid focal point for everything to build around and there is a hardened feel on show in the bridge that is very much on the money as they cut loose. The autonomy factored into the mix on “The Dealer’s Hand” gives the running a deserved lift. The gritty feel of the guitar resonates highly, but the steady and even flow draws you in here as much as the chagrin delivery that defines it. The way it is all chased down as it closes is superb.

The poise that “Counting The Days” opens with takes stock of things.

Then it has a sturdier stamp beckoned forth as it picks up that is highly impressive. It yields a suitable fluidity that carries through on the tracking.

The 60’s feel on show with “You Don’t See Me” really carries you away.

The euphoric feel generates a level of warmth that shows in the attractive aspects on show. Everything is carried off cleanly here with the smooth transition from start to finish not an over demanding one.

- 22 -

I DRAW SLOW

White Wave Chapel The graceful feel to the opening of the album is defined by “All Souls”. The determined fortitude found in the running gives it a distinction which adds heart.

The tempo and lyrics mirror each other in a way that also enhances the charm of the overall delivery. Their inviting and steady quality makes itself felt on “Don’t She Run”. It is maintained invitingly, but the vocals also grant it a warranted appreciation that adds to the overall haughty feel rising in the delivery.

Things take a more intricate direction with “Souvenirs”.

The tender aspects filter through eventfully, with the soothing quality of the vocals outlining the sincerity of the performance as they are pushed across.

The folk influences are immediately apparent when “Now You’re Gone” comes to pass. The sincerity that comes to pass is enhanced further from how they evocatively meet with the tempo. A marked change in direction serves “The Captain” well. With the more upbeat and fluid showing they fashion a comfortable tune with a real sense of hustle to it. Next tune “Grand Hotel” tailors the purity in the delivery as a whole. All the elements on show fall into place by design. Giving it a more rounded feel in return it also has an inviting appeal from how the choice elements on show sit.

9 Their wholesome Americana feel gets souped up on “Oh My Honey”.

Sweeping you up in the perpetual side of the styling, it proves itself with the level of consistency in the procession. Angling in these attributes provides it all with a tidy showing that gets beneath the delivery in a sturdy way. Things hold back when it comes to “Springtime”, giving it all a more subdued feel. How it is all delivered corners the opportune side of things figuratively. That sees a more grounded definition in the running that provides honestly from the sentiment on show. “Valentine” is lead in expertly. How things fall into place proves their pedigree, while the substance to be found resides there with a fine level of intent to it all.

A hint of a more 60’s revival vibe neatly filters through the rhythm of “Hide And Seek”. Things proceed to pick up with a stoked and telling determination. The hard keel is fastened down to keep the fluidity in tandem which stands it good stead. That optimism shows again on “Whiskey Mirrors” and the reflective romanticisms trapped in the running. The shared vocals find an added finesse that dutifully gathers on the harmony. An able bodied tangibility comes to pass which gives “Bread And Butter” a broader appeal. This takes flight fancifully on all fronts with the flair on show providing for the delivery overall in a smart way. The album closes out deservedly with “Old Wars”. The considerate qualities bear down on this in a welcoming way. They stillness is held intact from the sullen lull the breakdown brings. All in all, the band lays down a fine marker here with this album.

- 23 -

We Cut Corners Think Nothing

A motherly feel comes over in an assured and esteemed manner on “Wallflowers”.

The purity and beauty to be found procures an innate dalliance that fixes upon the sentiment in a truly sublime way. From here the inviting qualities of the song displayed in the brilliance all come to pass and set up the rest of the album. The explosive “Blue” is a truly outstanding piece of work.

This is the type of song that inspires artists to take up music. To say it is brilliant is to undervalue it with a superlative.

With “Best Friend” they carry that off again. There is a hip feel to it but the substance is very much superior to the style, and the emphasis underlines this. The unbridled feel simmering within the harangued nature muscles through unapologetically without feeling forced in the process.

Things have a slighter casual feel on “Mammals”. The calypso elements enhance the tidy feel of the flow. It then picks up with a harder edge that breaks down sharply and stares down everything, while also keeping track of the appealing side. It is excellent. A more looming presence is felt on “Maybe In The Future” and resides on this in a fanciful way. Yet it doesn’t sell itself short with the forlorn sentiment adding a comfortably numb sense of awareness in the reflective side of the lyrics. “This Is Then” sees a return to their

9 more full on approach. Teeming with vibrancy at the right points, this is a tune managed and tracked by a band that is very much at the top of their game. The high ebb and flow gives it what it needs. The receptive feel of the intro to “Overtures” is highly fashionable and followed up by generous measures of playing. This gives everything a graceful temperament that is willed on by the shared vocals. The sharpness of the tracking wraps around the tempo to fire up everything.

A more personal feel is noted on “Every Thief”. The sullen nature and lull of the track are pieced together concisely. This is what makes the appreciative aspects on show effective as. It all hinges on this but how it picks up has a brazen lustre to it that is astounding to hear.

One of those tunes that has brilliant written all over it is “YKK”. It is incredibly catchy, but this is invested smartly and they trade on it rather than allow it define them. What is occupied in the delivery sells it well.

The emotive side of things is executed finely on final track “Hunger”.

Retained and enhanced in equal measure by how well the string arrangement coursing behind supports it, this is a softer tune that is highly effective. The textured feel is a neat attribute and everything seems to fit comfortably as well.

- 24 -

THE MATINÉE IDLES A Festival Of Colours

“If There Was…” with its crowning piano builds in a telling way. The backing behind the arrangement is picked up on giving it an eager invitingness. The change of direction in the playing arc gives it a second coming that denotes true brilliance at work. Following that is “Your Silence, My Ego” catches the splendour in the enigmatic touches on show. In turn there is something in the expression that is intriguing and alluring in perfect tandem. That candid approach here is a carefully measured indulgence which gives the end product a proven feel.

With “All In” they take stock of their tranquil leanings in a highly effective way. A neat ebb and flow is processed into the running which commands everything. The precision of the play connects with the emotive heft in the delivery and sweeps the listener up in the process.

Broadened by the expansive opening, “As You Are” then builds steadily on that promise show. There is an intuitive feel about it from the rhythm, texture and the lyrical context, but the vocals are also channelled on this in a way that brilliantly brings it all forward. A more secured feel flows on “Fallen Angels, Stoned & Drunk”. The emotive showing gives the demeanour a high emotive showing. These intricacies are pieced together impressively and more than

10

hold their own on this one. Things seem to hang back on “She Said” but it is something that proves kind to the track. The tempo operates in a stable framing which suitably pairs up with the patient substance of the reflective nature shown in the content and subject matter. The drum and bass aspects of “When It All Comes Down” have more weight to them and they are felt more prominently here.

Yet they bring balance to how it all operates. As it branches out the expertise in the tracking is noted from how the intricacies are accommodated as it takes flight and their class is apparent from the form shown.

There are a lot things called out on “Everything” and they get it right each time. They impress highly with the overall delivery. The hardened stance that is generated in the pick-up is an excellent trait. They are not found lacking with the burst of ambition that is also felt on this one. They embrace a more expressive approach on “A Festival Of Colours”. Here there is an allowance for the sound to be developed form a slightly progressive approach. The piano has a very pronounced feel as well as holding on everything in an intricate way which grants a lot of appeal to this one. A remix of “Someone, Somewhere” proves itself and doesn’t feel out of place by its inclusion. If anything it proves a shrewd choice for its inclusion in the running here. The album closes with “Wonderful”. Here there is a lot on show. There is strength in depth denoted from the context of the lyrics, while the placid feel of the tempo comfortably sits alongside this in a fortunate way. What is yielded from the arrangement overall carries the beauty of the song and does so in an excellent manner in the breakdown. This is a great album and will probably feature on a number of “Best of 2014” lists.

- 25 -

EOIN GLACKIN

Rain Finally Came There is a pristine feel to the opening track “Dancing Anymore” that is quite promising. The sweet keepsake feel of the delivery falls upon it in a way that warrants praise. As a result the warmth comparatively travels through and brings a warranted transition that comes to pass easily. After that is “Rain Finally Came” and this has a higher hold felt in the rhythm. The eloquent way it is ushered through is knowingly processed and the staggered flow sees it right.

With the vocals accompanying the way it takes flight gives it a marked air of distinction that is tellingly brought through. A zest is granted to “New World Blue” that is contained and contained in a bountiful way. The avenues that carry across have a rich folk feel that is rich in texture and volume. As a result the delivery gets caught up in the running in a bold way that finds its way easily enough.

The fraught feel of the acoustic guitar plays a smart role in building “Mrs Campbell”. There is something heartening about the malcontent in the sentiment that makes the reflective side of the lyrics more effective. It is a strength that it calls upon in a reliable way. How “Last Night In This Town” is stacked gets a lot of things right. It is all performed with an air of sincerity that falls out in the song comfortably.

The resolve of the vocals is also kind to it all and the marriage of it to the tempo is

8 what sees it all through commendably. There is a more contrived feel to the concise way “”What Am I To You?” The soul searching that goes on in the lyrics tentatively finds its way through, while the violin that rides high adds a more abject side of conviction to it all that stokes the delivery notably. Then we get to “No One Had A Light” which has a more urgent presence. The tempo busies itself accordingly, while the lonesome feel of the context is impressive.

There is a strong showing to how smart it is all arranged but the level of musicianship begins to mark the progression of the album in the right way.

Then he hones it in with “Everyone Is Goin’”. Things are taken stock in a bright way and it locks this down expertly. It shades everything by being a more encompassing effort but all of that comes to sit right on it. There is a free feel about how the flow of it is all maintained and the best in the tune transpires from this in a comfortable way.

With “Whatever It Was” there is a smart and neat feel that catches everything in the right way from how it is traced. The fragility of his voice resides comfortably on this one also. The interestingly titled “Ninja Turtles (With The Wind)” is a reflective effort that is handsome and shapely. It runs with this and contains it all within the structure on show. It is a commendable effort and leads the album neatly into closing number “The Hour’s Gone Too Late (For Holding Hands)”. This moves through and takes stock of everything. While the romanticised context homes in on the right attributes in an acceptable way. What it brings to the surface of the tune etches something of substance to it all that retains the consistency that has come to pass on the album as a whole.

- 26 -

B & THE HONEY BOY Forgotten Books

The sense of abandon on opening track “The Band That Saved My Life” really shows. It is a tune that has a terrific sense of scope and ambition that is carried through by a suitable arrangement and vocal range. That comfortably lays down a fine marker and is followed up by “Forgotten Books”. The hearty feel of this carries through in a tight way. The resolve is built in the lyrical context before it then opens out with a true sense of splendour. This is nothing short of excellent. A more passive feel neatly finds its place on “I Got You”.

While nothing like the Sonny and Cher classic it does carry itself through in a way that is closely influenced you feel. It does have a high calling about it that duly brings out the best in it and traps in the pleasantries.

They shape things with a more urgent passing on “Now & Then”. This develops a presence instantly, with the shades of Nashville and country collecting upon it in a very determined way. It is a well layered effort with the awareness about it that brings it all through brilliantly. They develop a more placid stance with “Far Away From Love”. This gathers in a rather select way.

The neatness in the caricatures that carry across in the stray glances of the play light it up in the right way. “Pillar Of The Community” finds its feet and sets off with a degree of charm

8 enamouring the overall delivery. That is well applied and the trustful demeanour of it finds its way commendably. With the keener showing as it steps out everything that needs to fall into place does so. They embrace a more expansive/progressive attempt with “So Many Tears”. A decree is noted in terms of how bold it all comes to be in the delivery. But it is the tangible feel of the rhythm that grabs you right.

A more prominent blues feel gives “Overcome” a deserved sense of heft. The unforgiving feel of it gets underneath that running, while the big showing is there from how the vocals and arrangement grow in stature before embracing a gospel flow. This is a great tune that is marked out for all the right reasons here. With “True Believers” they lean towards a rock side that confidently grows in stature. The sense of release found from the leaner showing here meets this unbridled sense that catches it all figuratively. This is building the progression of the album in the right way. The hustle of “Image On My Retina” is something of a 60’s revival that grants everything a fine degree of momentum. The way is let of the hook is an excellent display of making a great tune and letting the music do the talking – and they certainly don’t mince their words here.

The final track is “Nothin’ But A Fool”. It draws a comparison on the opening with The Rolling Stones classic “Angie” in terms of how the rhythm sees it all through. It is all brought through in the terms of the band which is a good thing. It also has longing in the process that suits it, while the vocals are quite determined overall.

- 27 -

PAUL BYRNE

Cruel And Tender Ways “Walk A Mile” has a tumble that is rather apt. It brings the whole of the rhythm through in a neat way that has the right amount of weight behind it. It lights up with the vocals really finding their place. There is a Motown meets Scott Walker vibe going on with “No Fixed Destination”. The clean way it is all shouldered carries through in a select way that makes good use of how it is all laid out. Then the brass comes to prominence on “I’ve Got You”. The easy listening processes collect on it and they seem to fix to the maturity of the delivery rather well. It has a broadened sense of appeal from this approach. “Only You” has a derivative in the guitar riff that brings in the intro neatly. A slight drop off is felt here from the softer approach in the build. The homely feel of it stays the course with the proven aspects coming to pass easily.

There is a tidy turn going on with “Now You Are Gone”. It all comes together with the relative ease that has been present from the offset of the album. However a fair criticism that could be levelled against it is that the tempo lacks something to set it apart even though it holds together well. On a lighter note “Heaven” really sees a fine marker laid down. This passive feel of the flow deliberates tightly and resides on it in a welcoming way. The mood and tone are quite specific, but suitably so

8

and are akin to love songs of a bygone age. The piano drifts in on “How To Come Back To You”. It realises a great deal that comes to pass in a dignified way. The ambience falls fortunately upon it all and is particularly felt with the later progression because it exemplifies the more urgent aspects in an ambitious way.

A ROY ORBISON vibe is given off on “Keeper Of My Heart”. The guitar adds a sense of determined reach from how it is applied here.

There is a Tex Mex showing in the sheltered feel of the rhythm that freely runs through it in a way that brings a sense of determination that becomes prominently felt. That sees a lot of things fall into the right places here. How the intro to “Give Me Something” comes to pass has a sense of the hit and miss about it, but there is a lot that it gets right as it progresses. It holds onto the tight showing and allows a freedom of expression on the playing that cuts loose firmly. This is what pulls it through in the end but it does so with enough to spare.

The impressive “Papillon” guides things through. The expressive side of things comes to pass neatly alongside the colourful and passive pristine showing in the neat flourishes of the playing. This suits the reflective cut of the delivery overall.

The last song here is “Save Me”. The oriental touches in the arrangement give the scope a more prominent showing. They are also quite select and fall upon it in a telling way. It is a big number in a way and closes proceedings without looking out of place.

- 28 -

NEW SECRET WEAPON

New Secret Weapon They get their freak on with “The Freak”. It is an effort that entertains the progressive leanings of their sound. Playing in with a broadened scope and sense of being allows the indulgence here to be carefully administered.

Allowing for the heavier drift in their style is “Tea Party”. The bass is able to parlay upon it a funky derivative that neatly correlates the tempo in its entirety. It is a humble enough effort that attempts to be ambitious and doesn’t necessarily fall short in the approach either. The catchy and funky style of “Look At The State Of It” is high on the cool factor. It adds something measured in the flow. Vocally it is also a strong showing and stares it all down agreeably.

A more expressive side is found on “You’re Still Losing”. There is a lucid ambience in the showing that creates the right degree of atmosphere form how the music is expelled in the delivery. The finite way that the expressive side meanders is somewhat highbrow but comes around in a justified way. The half-way point is reached with “Wild One”. The mellow feel of the tempo carries across and the mood of the song is tracked.

There is a lean showing about it that finds its way through in the arcs with a certain prowess that is comfortably numb. Scatty and fixed accordingly on the

8 intro is “I Draw Fire Watch”. There is a purposeful sounding out by it all that boxes clever. It all comes through and connects with a sense of disenchantment hiding away on the undertone that is fixed in a noted way from how it is all chased down.

“Rose” sees their style take a more withdrawn and measured approach that allows the lay qualities of their sound to develop more. It is the album’s token long player and fills out nicely. There is a sense of roadhouse to it, but also a more alternative organic alongside that. The two contrasts in style give it all a sense of identity. What transpires on “Head Melt Radar” picks up formidably from the closed down feel of the intro. It is hardened and has a reasoned resolve that completes the overall running with a steadfast progressive structure that is impressive. Competent and leveraging a controlled aggression in the delivery is “The Epic Of Gilgamesh”. The high pitch of the vocals operates on it all cleanly with their overall distribution cleverly coming to pass. The vibrancy of it is locked in with the resonance from the completed sense of structure that they develop collectively. The last track is the suitably impressive “Funeral Marsh”. It has a haunting sense of solitude about it that welcomes in the angst that drags across the delivery. The sense of nihilism in the nature that comes to pass in the reflective aspects and turns on show is suited to it all. Whether it is there by intent or design, the end product colludes with it all in a certified way that is rather effective.

- 29 -

Irish Artists

SUGAR CANE FLAME Sugar Cane Flame Enlightened by the spring in its step is “Rascal”. There is something that is fully realised in how it all shapes up.

The virtuous fell of it is rather apparent and the stirrings of the arrangement romanticise things furthermore.

Vocally raw, it has a fine undertaken by the band with a fine troubadour styling about it all. A more pronounced feel configures on “Not Quite”. There is a steady and urgent draw to the rhythm that weathers everything in a critical way. While it also branches out in a fanciful way with the harmonised vocals also finding their place finely.

“An Ode To Shannon Hoon” comes next. This is another select tune that bides well. A warmth and sincerity dictates the running, while on the whole it has a proven face value that is intriguing to hear on it. The balanced hold of it all resides and has a tasteful residual presence that soaks it all up.

“Jesus, The Devil In Me” is such an excellent track. From the off the hardened blues style of the running quickens to it, while the determined feel of the delivery boxes clever when it all picks up. The hard angle of it provides well and also shows a clear intent that shelters everything comfortably, while also displaying a fine level of certainty.

9

..........................................................................................................................

ELASTIC SLEEP Leave You

A highly expressive auteur is first picked up on with “Leave You”. The urgency that then succeeds the expressive feel is well judged. There is a steady feel about the delivery that readies itself in a blissful way that the band embraces cleanly. It is done so well here that it fits the sound like a second skin. “I Found Love” sees them find a hopeful place (pun intended) with the drag from the rhythm. The promise shown in the opening is maintained and the vocals offer a fitting anomic feel. A withdrawn autonomy is there to be found in the running that provides well for it, and proves sheer bliss as it opens out. The gothic style of it is quite apparent and proves a big draw on this one. Again there is a dark and expressive side to be picked up on from the fluid motion on show with “Deep And Blue”. It sits highly and the neat ambience that is created also builds scope. It is an intelligent showing from a band that is clearly unafraid of embracing their expressive side. The nihilist feel of it is very impressive.

Harking back to a different direction with “Tzar Bomba (No More Tears)” sees the loaded feel of their sound carry across. The stray and raw feel is there to be picked up on in the delivery, while the structure seems to accommodate two different playing arcs simultaneously yet not in a way that distracts or comes across as pretentious. Instead it offers an insight into a talented band very much at the top of their game. A wintered feel is felt from the emotive calling of the vocals on “Splish”. The patient virtues of the song are well tracked and placed here. However it is how it transcends as it progresses that really captures the essence of the band’s intent. A stray whistle opens “Stay” and piques the interest finely. The candid and casual feel of this sis lovingly played in, with a whimsical nuance collected in the overall fluid motion on show. The sparse intricacies added as filler enhance the experience and the stark confines of the play that are present. A looming presence is laid out on it that is able to trap everything in a relevant way.

10 - 30 -

FLOOR STAFF The Good Luck

The handsome feel of the retro styling brings around “The Guest” in a welcome way. There is a solid footing to be found in the rhythm, but it is supported by lyrics of substance. The vocals also send it on its way with the right backing. After that comes “Good Luck”. A patient style builds the intro, which is in some ways out of sync which is highly effective. Then a harmonised tranquillity presents itself in the vocals before the run of the rhythm is locked in. It is the gradual way it is all processed that very much proves the qualities they have as a band.

On “Owe Everything” there is a more honest feeling to be picked up on the tracking. The vocals pour out with sincerity and this gives the song a fine degree of reach. The worth is finely measured by how it is all called out and the arrangement is a more encompassing affair here that is a proven turn that it benefits greatly from but it is a catchy tune to boot. A neatly is felt on the opening guitar licks to “The Oldest Mind”. It is a figurative effort with refined touches in the right places. The sheltered vocals carry the nature of the lyrical content in an ample way, while the comfortably numb grey areas of the song are a strong calling as they make their presence felt on this one. It is a stark tune that avoids the pitfalls of meandering off into the wrong direction.

Things are seen out by “Funeral March”. The soft bequeathed feel of the vocals get beneath the running here and it all branches out with a real sense of purpose when this occurs. The neat nuances enhanced the playing, while the weight that is felt from how lean it becomes doesn’t overburden the tempo, structure or overall delivery. In fact it proves the making of it all.

9

..........................................................................................................................

LET’S SET SAIL Marbles

Judged smartly from the application of the acoustic guitar is what gives “Boats” a calling that is answered with the utmost of intent and ease. The intricate way that the shared harmony falls into place along with the lyrics perfectly crafts the tune, while the fine way that it is all explored delves into the right areas as it is attempted. “Marbles On The Shore” is a bit hit and miss because in some places there is a lack of depth. This sees part of it come across flat.

What does work on it is there to be found in how it is released and focused. It is the later progression that is the finer half of the song and is carried with a fine sense of ambition in the approach, which it is lacking somewhat at the beginning. Not that it lets it down completely, but just that it is not necessarily there.

Spread out with a better sense of distribution is “Arrival”, but it is seems to lack direction. The overlapping vocals prove a distraction at times making it hard to focus on what you are listening to. It makes it hard to form an appreciation and the inconclusive side of things is down to this you feel. “Fossil” is the fourth and final track. It is a long player that goes the distance, with the performance merging all of the overlapping play together. That the consistency is gotten right this time round serves it well because it gives the hardened intent room to operate without it coming across as being out of place. This is a fine effort and you sense the deliberation in the conviction of the delivery.

8 - 31 -

THE SOUR SEEDS Find You First

There is an excellent draw from the electric guitar on “Find You First”. After that the vocals fall kindly from the well versed lyrics.

All in all the slick way that it has about it all shows and it is a dangerous invite that it displays. Second track “Troubles” has a forlorn pitch from the lonesome guitar that is strung. The pull from the frenetic bass pumps up the delivery, while there is also something assured and languid that is unrelenting as it drags across when it all gets going. Chagrin guitar work brings “St James Infirmary” into the game. A robust tune that has a clever knowing about how good it is from the slick way it operates. The firm hold and drive of the rhythm extends across it deliberately.

How it suffices gives the urgency on the surface a resolute calling that is steered through in a highly effective way.

The fourth track here is “Try and this is a great tune. Everything falls into place on this with a flawless display of musicianship. The kindled feel of the rhythm is expertly judged as it traps everything necessary, while the structure of the arrangement sits well within the framework that marks it out for all the right reasons. It is brilliant when it gets going and there is no selling it short either with the due way it is all carried through.

9

..........................................................................................................................

THE EULOGYS Hush

“World Send” gets proceedings underway on this four track EP. The detailed feel of the freestyle vocals drive it on and give it volume. The steadiness of the playing behind it in the tempo then locates what is necessary for it to complete the transition.

It has a justified expression which allows it build in an unabridged fashion that is relative to everything on show. With “175” the monastic feel of the intro is rather intriguing before the synthesised feel of the delivery traipses through. There is an engaging sense of expression, but the vocals also have a say in proceedings. Definition is another thing that is finely picked up on in the running and it is another fine feature that they are able to direct towards their music that produces the right results each time.

The lucid configuration of the rhythm is finely observed on “Prisms”. It is a track that takes stock of the ambience in the overtures that relax into the playing. There is a fine degree of weight to it as it is all ushered in which realises a lot of things in the process. Neatly arranged and the smart showing about it catches things in a trusting way which blends neatly into the background on this one. In a strange move, the title track “Hush” is the final track on the running order. The grand opening is felt from the synthesised sound that rises steadily on the intro. The song matures in a gradual way and the intricacies of the playing are exacted in a neat way here. It steadies everything and has a defined way that meets well with it all aspects that are on show. It is quite select and applied in a way that characterises the neatness of the forays they attempt to pull off.

9 - 32 -

GREG CLIFFORD Sun Of The Jackal

The Elavator days are revisited with “Who Do You Think You’re Fooling?” Here the minimalist and stripped back feel of the EP gets it right and the reworking of the approach here doesn’t veer in the wrong direction. There is a careful splendour residing in the eventual feel of the delivery that gets a lot right from beginning to end. After that comes “The Tempest Within”. The fervent feel of the rhythm is gracefully handled. As a result there is an even temperament that collects on all fronts with a purity also befalling the delivery. It rallies everything to a fair point of focus that really brings out the best in the delivery. The sharp feel of the acoustic guitar wiles away in the exchanges quite figuratively. The practical flight of it is all rather select and the gentile flow of his voice is comfortable and gives a sense of release to everything from how it reasons the management of the delivery.

A more urgent feel clocks in on “Frozen In Time”, but it firmly holds back to allow the ebb and flow collect. The clear way that it is threaded through suits the honesty that he has a live performer. It is a steady offering and one that comes to pass with distinction. His voices neatly on this and is a big draw. “Relic Of The Past” is a very becoming song. It opens out with a feint perspective deliberated in the rhythm that is commendably traced.

With the select feel of the guitar everything has a projection that suitably develops everything be design.

The playing gains are rather satisfactory on “Unfinished Endings”. The heartfelt context of the delivery is expressed evenly. There is a slight hint of “Sunday Morning Call” by Oasis about it in certain points in the later stages, but it is not levelled against it in a bad way.

The final track is “Can’t Run Anymore”. Marked by a maturity found on the opening line, it takes it and runs with it. It is a very steady tune that raises his game. The richness of the metaphors in the lyrics comes to pass in a defined way that suits the reflective nature. The string arrangement behind it is kind to it and so too his voice.

He delivers a very accomplished EP here.

9

..........................................................................................................................

OLD HANNAH Irish Boys A beautiful tune that is impeccably tracked is how to best describe “Irish Boys”. The ballad qualities seal in an honest servitude that is impeccably played. The diligence in the cursive feel is finely applied with the rich texture standing out for all the right reasons. It is an inspired tune that stays with you for all the right reasons. The lay qualities of “Saro Jane” are softly threaded through.

There is something coveted in the sensibilities on show that is fortuitous. It all comes to pass from how they situate everything collectively here. The vocals lay it all down honestly, but it is a neat tune with a finesse carried off that impresses credibly.

The last track here is “Sail Away”.

The worth of the band is found in the proven tracking of this. Classified by how well it runs from start to finish it is a splendid folk song. The neat application of bluegrass gives the banjo a fine kick that marks the urgency with a clear deliberation.

Even though this is a mere three tracks it is very much the epitome of quality over quantity.

10 - 33 -

International Acts

BROTHER MONK The Coffee Shop Review by Valerie Scanlon

The 15 track album is an indie/folk/Christian pop mix, with a mellow smooth sound similar to Jason Mraz. The mellow and smooth “There’s A Way” kicks off the album .The vocals are very much monotone on the entire album and songs are all very similar which I believe can make it hard to listen to the entire album as it is very repetitive and drawn out. It is an upbeat song with a catchy chorus and ditty beat. It is a very Christian pop theme is a constant occurrence. Track two “You” is an acoustic love song. The vocals are gentle with a very slight rasp. While this is acoustic guitar based the addition of the violin appreciates the sound. “The Gift” comes next. The strong religious context of the Lord’s sacrifice makes it just a pop infused hymn, with the vocals similar to a whisper enhancing the lyrical meaning with the chorus based around the word Hallelujah.

Next up is “Fallin’” which is all about falling in love. This has a rock edge to it with the track being based around drums and electric guitar. It features an anonymous female singer which gives it a nice tone and is one of the more upbeat numbers on the album.

Fifth track “I Want You To Know” is another influenced by the religious overtones. The acoustic guitar is felt with the vocals. The repetition of the album shows again with “Ridiculous”. At this stage listening to the album I am struggling to get through the rest of the album, which is not a good sign after only so few songs.

A duet follows with “I Keep Seeing “. Similar to Evanescence singer Amy Lee, the vocalist brings a freshness to the album and grabs your attention. It is a gentle, harmony driven track based around the piano. “She Is Yours” opens with the sound of paper being ripped and thrown away. Seeming to be about a love letter to from a man to another man suggest this woman is made for him and it is him she wants.

10 The sound effect insinuates several attempts at the letter but it still sounds like the others. Based around violin and guitar is “Because You’re Mine”. This is a love song with a real pop chord structure.

Then “Sidelines” follows and this song just blends in with the others.

There is nothing here to grab your attention. It is another acoustic track but the entire structure is too dissimilar.

“Race (I Feel Fine)” is the opposite. The difference in sound catches your attention. It has a real indie intro with great guitar riffs and heavy drums. “The Promise” is a great true acoustic intro. You pick up on the vocal changes compared to the gospel choir/gentle sound in other songs, he take on a real rasp and power in his voice, but again it has a religious meaning. “Nights of Peace” sings about praying for someone’s ease and the want for freedom, which could be interpreted as a metaphor for death or a change in life. This is probably the most religious laden song on the album. His voice invests in the depressed to give it a melancholy feel that then becomes bi-lingual. The second last track “In Your Presence” has a strong pop/acoustic intro; the song has a strong rock inspired guitar riff, which is gives it a necessary uplifting feel after the previous track. The album finishes with “Love You To Death”. The accordion on the intro sees it all in and then the vocals have a marked change in direction. It comes undone with the vocals almost being shouted to evoke the passion of the delivery. This is a hard album to get through with a lot of repetition meeting a few upbeat songs along the way. The themes of falling in love are truthful and descriptive within fine structures, but they are let down by the boring and tiresome points on the album too frequently.

- 34 -

THE CLOUDS ARE GHOSTS Fractures

Review by Wynona Grant

Here is a band who are probably the closest thing to a new BellX1 you will hear, and that is meant without trying to confine them to an “anti-original” stereotype. The tracks filling their latest album are the type of sounds people pay crazy money on festival tickets for. It is built around a collection of tunes that evoke that whole main stage atmosphere of soaring anthems led by choruses that are just captured and taken away from a crowd of people…yeah, that’s these guys with the right exposure.

“Fifty Four” opens on a steady and gentle few seconds of slight guitar picking, before breaking into an alternative “poppy” taste of indie rock leaving “won’t leave you alone” playing over and over in your head. Some standout tracks are included in the running as well. With “Marionettes”, “Blue” and “Lavender Hour” all bringing a certain freshness and depth to them. Approaching the end of the album with “Lavender Hour” things roll out to show a melodic and

VIA AUDIO

Natural Language Review by Wynona Grant

9 things roll out to show a melodic and smooth track at work that sums up what is best about the entire album. It is something that rounds out the final three tracks of the album in fact. “Decimeters” draws on the nostalgic approach and this tone closes everything.

The fitting farewell vibes are a true calling and invitingly felt with the lyric “the velvet curtain is coming down on us all” which says it all. Overall this is a beautifully executed album from a band to watch out for.

7

VIA AUDIO are a recommendation that come to us through the combined efforts of our New York and Boston based music networks. “Natural Language” is their latest album and is one expressing a fresh, contemporary sound of a Pop structured Rock nature.

Opening track “For Your Consideration” gets it off to a strong start with the fine vocals of Jessica Martins gliding across a balanced instrumental platform.

“Reservoir”, the second track on the album is the one to hear. It’s one tune to raise the bar. A more eerie sounding Kodaline comes to mind with the less quirky Indie, more alternative sound. The vocals are relaxing and easy to listen to with the music just complementing it entirely.

“Bite” takes on a funkier role. The feel of the bass is more prominently felt on the rhythm that slides across the face of the rock side of things. With it being less chilled, this track is an upbeat flourish of feel-good in a mere three minutes of playing. The shortest track on the album, ‘Mint Condition’ takes the tempo down a notch again, which brings the vocals back on top of the gentle way that the electric guitar peaks. This is one of the more free flowing tracks on the album but it is a nice show of talent from the band on it though.

Moving towards the end of the album, the mood of the songs lifts in an interesting burst. Both “Too Good To Be True” and “Boat” play as if they were written and intended for an entirely mindset to the rest of the album, but it is an approach that works. The final two tracks “Luz” and “Too Close For Comfort” express what the band do best. This shows both times with the impressive lyrical approach here that complements the subtle instrumental additions.

- 35 -

USED CASSETTES

8

Users

Review by Valerie Scanlon

Used Cassettes are a band based in Seoul, Korea comprising on Danny Arens, Matthew Spence, Patrick Walsh and Ollie Walker.

With Sonic Youth and The Replacements credited as influences of the band’s sound they are described as an indie/alternative rock band. This is the first full album and follows the success of their EP “They Were Individuals”. The intro to the album is “Cohen (I Miss You)”. It is an almost instrumental track sounding like a White Stripes number that is drum led with haunting whispering vocals mixed with gang chanting. It leads you perfectly into “The Raven” which is a perfect indie/rock mix with the lead singer sounding like Mick Jagger and the awesome guitar riffs similar to Thin Lizzy.

“Heart of Silver” is introduced by a wailing electric guitar and perfect vocals; his voice is incredible with range from Low to Falsetto in a second. The clear pronunciation is defined. On to “Friday Night” and again it is a great indie/rock mix. The intro has a sound similar to The Kooks, with the vocals again perfecting something that is very much Brit Pop. Fifth track “White Broncos” is a heavy drum led affair with the vocals almost completely sung in monotone. Sounding as if it is all spoken there is a drum solo in this track which is incredible. The wailing electric guitar matched with layered screeching backing vocals is a great infusion. Again things embrace the monotone with “Take It Back”. This influence is there with the excellent guitar riffs and ends on an awesome solo. Next up ‘Desire’ has a fantastic melody and rhythm found from how the guitar chord structure and drums mesh perfectly together. This makes pure alternative rock.

The intro to “Sofia” is almost like an Oasis track. The vocals are softer but the raw sound to match the gentle vocals works perfectly.

PINK MEXICO Review by Jamie Kelly

7

Ending after four minutes it then gets a second lease of life with another fine guitar solo. For the next two minutes that is all you hear mixed with some drums, but the electric guitar takes centre stage. The final track “Costa Rica (Song for Pete)”has an intro that evokes a vivid image of a Costa Rican beach. The lyrical content subsides with references to waves crashing and the conversation taking place. In fact the song is based on this voice clip and a constant repetition of ‘I want to go to Costa Rica’ with the guitar playing the main part and a jingle from a tambourine providing it with a summer flair. This album is a great alternative/indie/rock album; the vocals are always pitch perfect and clear when mixed with fantastic guitar playing and even more awesome drums. Yet the album has very much a British sound going on.

song playing over in my head all day after my first listen. The third track is called ‘Daisyface’. This tune seems to be a bit of an anthem.

This is found from how the drums and guitar go together in the verses that is very complimentary to the song, but also the added a boost when they break into the chorus.

A more energetic start is called out on “Shrub Fuse”. It has a distant feel to it, but I think it lacks a little impact and variation. The song pretty much ends the way it started with little change between. The fifth song on the album is called “…”. I think it is appropriately named as … is all that can really be said for it. It is some sort of recording of the band playing, only reversed. It’s a strange sound and it is puzzling as to why it was included on the album. “Paperclip Toothpick” is the next. I really liked the intro to this. I thought the vocals were excellent and were really complemented by the guitar work. This breaks into full flow and again the vocals sustain a high level throughout. There is a lot of energy invested, even a small guitar solo towards the end.

The first track on this album is entitled “Seabird” starts off with some steady guitar work that sets out a foundation for the rest.

The drums and vocals come in to send this on its way. I thought the vocals on this track were particularly good. The next track is called “A Head Full Of Slime”. Things again come in with some steady guitar. This has a bit more variation to it than the last one. The vocals in the chorus are very catchy and I found this

The next track is entitled “Mold". At only 1:43 it is short and sweet but packed full of energy. For such a short track it was one of my favourites on the album. It’s really explosive and surely must be great live. The next song is called “Hussy Woofer”. This starts out with a fantastic vocal performance. This is probably the most powerful offering on the album. It sees the band in top gear throughout with a small guitar solo sending it out at the end. The last track is called “Not Alone”. This is quite toned down in comparison to the rest of the album. It is fairly chilled out and doesn’t really develop into much. I thought this was a great way to end the album though. It gave a little variation that I think the album had lacked previously. The first few songs sounded very alike and repetitive but it picked up greatly toward the end. Overall a pretty good album, but it just lacked some further variation.

- 36 -

OWLS OF THE SWAMP Atlas

With delicate poise “The Hypnotist” has something pronounced about it that is rather efficient. The deft manner of the arrangement carries across on the softened flow and cushions the arrangement overall. It keeps it all together while the closeness of the vocals falls equally as kind upon it all. A more sombre tone is picked up with “Garden”. This has a fervent motion to it all that accommodates the tranquil side of the delivery rather deliberately. It has a broadened feel to it all that filters through as it all collects.

The third track here is “Closer Now”. It is pretty conclusive from the off. The calming feel and flow of it resides where it should and as a result it closes around it in a figurative manner that gives the grandeur of it all a platform.

With “Shapeshifter” there is a spry feel that is highly appealing. The intro draws you in in a relative way that drives it forward. The humble feel of the vocals also gives it shape, while the lyrical context adds a degree of class with the metaphorical attributes on show. The sheltered feel of “The Fall” fashions something of intent from the pacified calling.

Tranquil and kindly in terms of transition, the little touches acquit themselves well with the synthesised and electronica aspects on show in the background. The sense of indifference about it carries it all across calmly.

9 A listless feel encompasses “Shelter” from the intro and it is followed through with a high level of determination. It is allowed to breathe and when done it is all readied in a way that builds from the source here.

That resolve is there to be found and it creates an expanse in this one that allows the sheltered side of the styling go the distance.

Again there is a strong emphasis placed on developing things from a musical perspective with “Restless”. In turn the lighter feel of the song is evenly tracked. The ripples in the current guide everything through in a passive way that manages it all superbly from the off. It takes it all in. With “Going Home” it is a more prominent feel from the arrangement while still holding true to form. The splendour of it runs behind it all without things straying off track. A weathered feel beckons the best out of it and the longing in the sentiment catches a spirited hook that takes over in a defined way. A more opportune handling comes through by design on “Water Song”. The grandiose tone is refined and exhibits a closeness to touch that is rather apparent. The partial feel of the tune is relayed and used to great effective.

There is a lucid showing to “Grandfather Clock” that lights it all up. It has a resolute stature in terms of how defined it all is as it comes to pass. The steady nature of the delivery and vocals are developed to reflect this, while the harmony that is traipsed in the process catches the sentiment and stirs the emotive side of it with a great sense of apparel that completes it all.

- 37 -

DEATH VALLEY GIRLS Sweet Venom

Since we first heard this Los Angeles based band we have been fans here at U&I. They pull no punches with “No Reason”. The rock side is threaded through giving a hint of raw reasoning in the reckoning. This falls into place with a remarkable showing of heft. The angled feel drives this through with a collected sense of purpose that serves it well. That is identified again with “Sanitarium Blues” in an exact way. The fine way it is handled drives it through sensibly. The askew traits also provide it will a descriptive presence that lights it up in the right way.

Allowed to build around a rhythm that plays like a pumped up version of “Sunshine Superman” by Donovan is “Arrow”. This is really cool and clean. The sleek way it rolls out adds dramatic effect and is Oscar worthy.

The luminous draw of “Get Home” gets underneath the delivery in an assured way.

The tidy composure of the song dissipates in a comfortable way. The forlorn feel of the vocals enhance the emotional side of things without over indulging. It is a comfortable showing that is naturally processed from how it is laid out. The drumming extolls on “Shadow” before meeting up with the guitar. The delivery is stared down from how it is tracked, while the high pitch of the vocals also grabs your attention for the right

9 reasons. The catchy beat keeps it grounded and completes it all in a justified way that proves its worth. They then proceed to develop their music with “Paradise Blues”. They show they are more than a one trick pony with a fine turn of ambition meeting ability. More expansive from how it hangs with the lingering qualities appropriating the lavish qualities by providing suitably for it from beginning to end.

What you are left with is an admirable effort undoubtedly, but it is the clear and concise way it is carried off that impresses most.

Channelling a raw emotive derivative allows “Run Run Rocky” to hang back. The causal prowess on show is regulated before the harder showing in the tone smartly steps it all out. The confident way it is done sees them get their swag on in the process and this lights it up in a big way. Yet they hang back on it in a sufficient way so as not to allow them lose the run of themselves either. With “Red Glare” they clock in with a sensible tune. They get stuck into things but keep it on a considered approach that suits it all. The checked feel of the guitar and drums provide it all with a fine turn that sees it right.

The last tune here is “Girlfriend”. The vitriol feel of this has an anthemic quality from the off. Fashionably accounted for, the catchy drift of the guitar rolls across with scant regard. This reckless abandon also offers it a sense of completion on account of how comfortable it sits on the overall running.

- 38 -

SIR MADAM

Crooked Teeth The catchy way that opening track “Crooked Teeth” builds gets under the playing and provides a fine sense of purpose to it all.

The resounding feel of the guitar drives it on with verve. Then added to the mix is the urgency that clings tightly to it amidst the withdrawn feel of the vocals, and you realise that you are listening to something important.

“Black Moon” is the second track on the album and is carried off with despondency in part. This gets going with a more inspired drag and the secondary direction of the delivery passes over in the committed way it reaches out and shakes things up.

They then procure a favourable sentiment on “My Dear My Darling”. The fanciful way it is carried off is reminiscent of “In The Flesh” by BLONDIE. There is a romantic notion to it, but it is served better by the more hardened showing than the sentiment. That they both serve it so well is a big draw here.

Neatly titled “Gotcha Wantcha” has the stones.

The tentative way that the guitar cuts across processes the direction of everything.

It guides everything through with a hardy resolve that is also met with a deluge of rich guitar licks that stoke it. It is a juicy effort with a distinguished determination collected in

8

the rhythm that is praiseworthy. Hanging back in terms of approach is “Dorothy May”. It provides a fortunate calling for it that drives it on. A ballad of sorts that paints a pretty picture even if it is short and sweet in terms of running time. Vying for attention is “Decent Man”. It has an unrelenting sensibility about it all as it slips into gear. The controlled feel of the flow is noted here and it brings a celebrated feel to the withdrawn underplay at work. It is a top drawer tune that wears its heart on its sleeve.

Hitting the ground running is “Man Down”. It is a steady affair that is paced neatly. As a result the loaded feel of the delivery is called out without feeling laboured. The clean showing of it gathers further appeal by procuring the lazy feel in the guitar alongside the more active telling of the lyrics. How it grows in stature pieces everything together. A justified apparel resides on “Come Around” that sees things through. Clocking in off the back of that coolness personified in the rhythm keeps the focus of everything on track. It is bested by the finer points in the running that improve the settled feel in a thorough way. The last song on the album is “Love Song”.

The light expression in the sound carries across deliberately. As such the overall formation here is rather clear and distinct. The pace picks up cleanly, with the sense of raw autonomy riding high from what is on show. The fanciful flight at the beginning provides tellingly for it all and it is the clean way it is all followed through that matters here.

- 39 -

ODONIS ODONIS Hard Boiled Soft Boiled

A slight interlude gets the album going with “Tension”, which is then followed up by “Are We Friends”. The smart run of the drumming machine skips through to make the appeal a foregone conclusion. The fibre of everything is ingrained in the substantial manner that the urgency is built upon here. It is so full on that it is impossible not to admire it.

It has a dark retro fibre running through. The hyperactive feel of “Order In The Court” lands squarely. The lift guarantees it a high formation in the rhythm.

The eccentricities in the vocals also heighten the appeal. With “New Obsession” there is a full on New Wave feel about it all that is expertly rolled out.

They build a wall of sound on it that directs the disenchanted feel of their sound towards a conclusion. It is a great track from start to finish.

and that is a fair assessment when “Mr Smith” is taken on merit.

There is an involved feel to the sound here but they also feed through a side of it that is completely raw. The angst is projected in the driving feel of the rhythm here but it also has a slick side to it that shows it is more than the sum of its parts. Building in a considerable way from the intro is “Release” and it is another interlude. That is then followed by “Angus Mountain”. Neatly developed overtures give an intuitive feel that collects in a really impressive way. The select way that this is concentrated returns kindly for the overall delivery in the form of a top drawer tune.

The casual drag of the guitar on “Breathing Hard” marries well with the melting feel of the vocals.

There is an apparent desolation that comes across here. The shoegazer feel of it is accounted for in a fanciful but it goes beyond that. It speaks volumes about how good this band is that they are able to call this their own. Perhaps this band is too punk for punk

The bounce in the stride sets “Office Sluts” apart. The roar of the guitar controls everything in a fanciful way. There tapered feel of the vocals also falls kindly here. As a result there is a sobriety to the delivery that is masterful to hear. The languid calling of “Highnote” gives way on the intro and is completed by the addition of the synthesised beat. It harnesses a rich vein of form that bursts forth in a stylish way, but runs with a determination and focus that is blissful to hear. Sweet number “Transmission From The Moon” transfixes a telecast to the intro that combines well with the alternative delivery. It is a proven ensemble piece all the more for it. The final track here is “Alexa Wait” which has a residual appeal.

The drum and bass combine effectively and provide well for everything in terms of providing it with depth. It is an honest endeavour that defines everything about the band for all the right reasons.

10

- 40 -

NIGHTWORKERS Sleep Generation

The slick feel of the guitar formulates on the breakdown of opening track “Wake up #88”. There is a gritty determination to it all that correlates in an all-consuming manner that screams “Greed is good”.

This shows no reprieve and is all the better for it because it sees them cut loose superbly. They keep the locked and loaded feel of everything in check with “No Reason”. It bears down on everything in a sharp way that concerns itself with developing the flow.

This is a good call because it has a vibrancy about it that falls into place and carries it all through sharply. The harmonica fills out the opening of “Daydreamer” and a rich Americana tune begins to blossom. A conjecture neatly aligns in the playing here that steers it through. The lyrics are also highly impressive.

core and this shows from how it gives a basis to it all. This approach is mirrored on “The Circle”. Fittingly drawing on the expressive side of things comfortably gives a fine return on what they invest artistically. The psychedelic musings circulate along with the broadened stride that fills out on it. The temperament of it is also rather specific in that regard. Served by a blistering guitar riff is “Clean”. The noted way it is all arranged is what gives it purpose. There is a fluid way to it all that guides it to a point of certainty while allowing the expressive side of things come to pass in a way that is just as well reasoned. The resolve of it all provides it with a fine sense of worth.

“Just Like Everyone Else” sees the pace pick up with a chic turn about it all. There are candid turnings about the way it all takes flight, with the sharpness of the beat falling into place magnificently. Here the volume of what is brought through is very much on the money. A hint of an alternative/progressive side begins to make itself felt with “Hide”. An introverted offering that then branches out with some very clean guitar licks alongside the psychedelic turnings. It has an apparent creativity at its

The way things gather on “Morphose” embraces a more defined sense of structure and tone to the rest of the album. It is sharp but the focus is laboured towards the languid flow in a way that captures the robust feel of everything yet allows an expansive side to deliberate alongside it. It is a more balanced and fluid effort that presents itself on “We’re Conditioned”. Here there is a staunch intent from the vocals and they lean into the performance to give it a high yield. It is a haze of playing that is granted appreciation from how it is conditioned, but there is a side of it that is also reasoned finely in the direction. Next track “Soul” is a fantastic offering. The timely feel of the careful opening sees it all progress toward a tune of fine eventuality as it closes. The sturdy process that is tracked taps into the potential as it brings it all home. This is high in the wow factor and brilliantly allowed to express itself. The album is then brought to a close with “Just Like Everyone Else”. The bounce in the rhythm gives it an inspired kick, while the laid back way that it flies is truly excellent. The adoration that finds its way through in the pitch stands tall and sees them strut their stuff with that reckless abandon that is reserved for those who earn the right.

10

- 41 -

With a steady monthly readership now of over 110,000 that continues to grow, Unsigned & Independent is one of the fastest growing online magazines in the world.

Our ethos is all about bringing music together. That is why it pays to advertise with U&I…because our target audience is your target audience.

ADVERTISING RATES : FULL PAGE - €150 (excl. V.A.T.) Double page - €200 (excl. V.A.T.) Two pages - €200 (excl. V.A.T.) ½ page advert - €100 (excl. V.A.T.) Contact us: sales@uandimusicagency.com

International Artists

L AY L A

Yellow Circles EP Review by Valerie Scanlon

“Yellow Circles” is the latest EP from English singer-songwriter L A Y L A, real name ‘Josephine Vander Gucht’, who also found fame under the guise of Jose Vanders. Fortunately her talent will keep her successful regardless of the name she performs under, this artist writes honest music based around sultry vocals and piano. All of the tracks are based around the piano similar to songbird ‘Norah Jones’ early work..

The first track on the EP is the eponymous “Yellow Circles” which has an air of Ellie Goulding mixed with Gabrielle Aplin.

Her voice is soft and beautiful with that exact pronunciation of words, making the clarity in the lyrics come across so perfectly.

The song has a summer vibe with the ‘Yellow Circles’ almost in reference to the sun adding a deft jingle making it a light, uplifting and elegant tune in the process. “Dynamite” is track number two. It again has the catchy beat along with the chorus, which had me singing along after the first listen. This song is very much pop with awesome jazz like guitar riffs, piano and a touch of the violin.

Third track “The Fall” has that slow monotone singing a style associated with Lana Del Ray. Again it is another catchy song, with the incredible vocals backed with great music. All the songs may be catchy, but each is different in its own way. Between the different vocal styles, the music itself all has piano as a base. But it also has a great mix of other instruments on show. The pure and gentle “Oh My Love” closes the EP. The sultry vocals half way through see it become a sort of duet between her and the anonymous male vocalist, which adds great meaning to the lyrics as the title suggests. It also has that dream sequence rhythm to it almost as if it’s a lullaby.

8

I look forward to hearing more from L A Y L A. This EP is just a taste of how talented this artist is and it will be great to see her expand and grow. In short, she is my kind of artist.

..........................................................................................................................

ELLA JANES

Many Miles Away Review by Valerie Scanlon

Track one “Turn Again Lane” is an acoustic track with a real folk flair to it, with the main instruments used are a banjo and mouth organ, her vocals are very much country style with the smooth transition between each word almost like rambling. The second track “Helen” is a powerful song about her parent’s divorce, written from her father’s perspective. Again her voice, smooth and soft with a bongo being the main percussion, makes everything very descriptive and allows her voice to exude pain and heartache.

“Tombée Du Ciel”, as the title suggests is sung in French and thanks to my little French and google translate I have translated it to ‘Windfall’. With the literal translation being ‘Tombée’= Fall, ‘Du’= Of and ‘Ciel’=Sky. The song is a chant d’amour with the traditional phrasing and diction drawing comparisons with EDITH PIAF. Fourth track “Many Miles Away” is another love song which seems to be about a past romance she had when living ‘Many Miles Away’. Her voice reflects the smile she seems to have when singing about this person. It has that French sound to it again with a violin featuring as things wind down.

“Peter Pan” is by far the most honest and painful of songs. It is again about her father and the divorce. The song sees her father as a man who flew away to start a new life in the US and leaving his ‘Wendy’ behind. She cries out painfully ‘and leave your Wendy darling to grow while you try to never die’ – showing the gentle and pure qualities of her voice, which is fitting when singing about a childhood fairy-tale.

7

The EP has a general recurring theme of her parent’s divorce and her move to France, yet each song is soft and pure s with some real country/folk flavour to them which give it that Gallic flavour.

-- 46 43 --

THE F16S

Kaleidoscope The interest is garnered from the prelude that opens the EP. After that the assured feel of the running is secured from the expansive feel that lets out on “Light Bulb”. The clean way the vocals reside here adds an additional touch that is reasoned strongly on the delivery. Keeping things ticking over sensibly draws you in and the charm presides over everything sensibly as it picks up cleverly.

“Avalanche” sees them put down a fine marker that keeps everything in focus. The distinguished calling provides a resolute calling in the vocals that is highly descriptive. The adulation of the running is superbly called out and comes to pass in the distribution squarely.

A telecast of Martin Luther’s King famous speech opens over the intro of the play, which then gives way for the scatty running to sensibly reside and bring it all through. It has a shapely fashion about it that complements the catchy side. The impact that is created moves along here with a degree of attitude and swagger that is quite welcome. Getting underneath the delivery in a refined way is “Who Robbed The Rogue” which in turn connects in a defined way. There is a convergence on the tempo that sees the spry feel find its calling alongside the material aspects of the tune that gets behind everything tellingly. There is a concerted appeal on show with “My Shallow Lover” in the inviting feel of the tempo. On closer inspection there is a sense of despondence and anger to be found in the lyrics.

But it never meanders away toward being an angst driven song. Instead they keep a dignified hold over everything that sells it without selling out. Closing things out is “Nuke”. They get down to business with how the flow takes shape. This is what sends it home on the controlled skip in the beat. It resides in a solvent way that embraces the guitar and drumming combo to brilliant effect.

9

..........................................................................................................................

PINK ELEPHANTS

Sartre Had A Bad Day” This San Diego three piece get things going with their shoegazer style apparent and keenly felt on “Stay Alive”. They track everything in the rhythm in a neat way that pins down the appeal with no margin for error.

The languid feel of it is given the right consideration to allow the ebb and flow come to prominence.

After that comes “Don’t You Go”. They seem to steer the direction toward a kindled feel with how it runs. The withdrawn feel is allowed to set a precedent that signifies the balance between intent and expression on a musical level. They keep the focus of everything in check with the rhythm.

The acoustic guitar gives “I Stepped Into You” a lithe folk feel that they cleanly embrace. The casual feel of the track is dispersed among the displaced calling in a realised way. The bold strokes light up on it in a consequential way that is interesting to hear.

8 - 44 -

NIGHT DRIVE Position I

Review by Caitríona McKenna “Position I” is a 5-track, electro/synth-laced EP from Austin/Houston based duo Night Drive. The electro, synth-pop genre isn’t usually my cup of tea, yet I liked this.

“Position I” has an interesting, almost futuristic sound with some funky and psychedelic moments thrown in, which intrigued me. The whole EP sounds like it would do well on the Made In Chelsea soundtrack, weird as that sounds (that’s a compliment – they always have an amazing soundtrack!

Don’t judge me), or on the soundtrack to an 80s rom-com.

Take “No Plans” for instance; this has a strong retro 80s influence, akin to the soundtrack to a Michael J. Fox rom-com back in the Secret of My Success days, or even on films of the likes of Pretty In Pink spring to mind for some reason.

The tracks are fun and bubbly with awesome beats and vibrancy to them. A variety of instruments feature without overcrowding the vocals. My favourite track was “Nocturnal”.

The songs are aptly named, because this track even feels darker from the opening notes with a heavier and deeper feel throughout. I just loved it. It’s such a sexy and seductive song with a beat that washes over and captures you. It builds to an intense climax that would definitely get your heart rate going on the dance floor. This is totally orgasmic musically.

The vocals are impressive throughout the EP, and though unique and lending Night Drive their own sound, I couldn’t help but get a bit of a Chris Martin vibe at times – particularly on “Sea Of Light”, which reminded me a bit of Coldplay’s “Viva La Vida”. I also noted hints of David Bowie influences in the vocals, especially on “After Dark.” Though I enjoyed this EP, I did mention that synth isn’t usually my cup of tea, and this is due to the fact that I feel it can make a lot of songs sound similar. This was something that I picked up on while listening to “After Dark”, but this is just a minor problem. The guys currently have a new remix EP out of the same name (After Dark) which features this track and 3 remixes of it by THE PENELOPES, ORTHY and BAGHEERA. Overall, “Position I” is a nice EP, not necessarily to be taken seriously. It’s a fun, dance EP, yet chilled at the same time. This gets the thumbs up from me.

8

..........................................................................................................................

NEPTUNE SAFARI Night Trip

Review by Caitríona McKenna “Night Trip”is an EP from French, Nu Disco band Neptune Safari consisting of 3 original tracks and 3 remixes of track 1.Beautifully described as a logbook “divided in three portions like stars of a constellation [Neptune Safari aka Dorian] followed to come back home. The journey was not made alone since [Dorian] was accompanied by the lovely voice of the English singer Clara La San. Some will be blown away and others will travel with Neptune, but the EP guarantees an unearthly experience.” The opening track “Morning Sun” featuring Clara La San is interesting and futuristic with a 90’s dance sound mixed with a hint of 70’s funk. It features pleasing lyrics and vocals alongside a chilled vibe, yet it would still work in a nightclub. I found it was reminiscent in parts of “Ladies Night” by Atomic Kitten or “Spinning Around” by Kylie Minogue because of how it feels. Title track “Night Trip” has a different sound to “Morning Sun”, and is purely instrumental. Relaxed by pleasant piano and drums with a bit of a jazz sound, the nice vibes counteract a good, steady beat throughout. Perfect easy listening with cocktails and would do nicely playing in a trendy bar – it just sounds sophisticated and somewhat seductive. “Pyxis” has a different sound again with a bit of a techno/synthesised vibe that is also solely instrumental. It is funky like the opening track with a similar feel and beat, and just as dance floor-worthy. It has that 70’s sound again and I can imagine people doing the hustle to it.

The 3 remixes of “Morning Sun” all have very different sounds and influences – the first being a remix by Funk LeBlanc. It’s louder and more in your face; the electric guitar is incorporated; it’s made a bit dancier and reminded me of “Rather Be” by Clean Bandit at parts. The second is remixed by Edward Newgate. The penny drops on this one – literally. This is the sound effect we first hear at the beginning and throughout. It has a bit more of a techno vibe, and the lyrics are a bit too fast - the way they were mixed sounds like it’s a CD with a scratch on it which is a bit annoying. It still has a good dance beat, but it’s not my favourite of the remixes. The final remix is by Rise and Fool, and again they adopt it as their own and make it sound completely different at the beginning. Blessed by a good beat and they let the vocals shine through a lot, with a gentle synthesised fizz that steadies the funky beat in the background throughout – I like it.

The whole EP has a thorough showing, rather resonant of Daft Punk, and is very well composed with good track positioning giving the laid back feel a good flow. The tracks complement each other, even with the remixes. Overall, it’s a laid back, easy listening EP with instruments that pop, blip and fizz in the background throughout.

I get that Dorian was trying to show his creativity in terms of track composition and a range of different remixes rather than with an array of content – it’s artistic, and clear he has fun with it saying “When I produce, I am a child in his garden shack, it feels like I’m in control of a spaceship going through space,” but let’s be honest - if it weren’t for “Night Trip” and “Pyxis”, this would just be an EP of one track in four different ways. It’s repetitive, and although it is creative and artistic, it can kind of come across as the opposite and somewhat unoriginal. A bit more track variety would be nice – a load of remixes of one track doesn’t count. It is still a beautiful piece of work and wonderfully produced though. Très bien.

7 - 45 -

L AY L A

Black Mud

Review by Valerie Scanlon This five track EP is the excellent follow up to “Yellow Circles”. “Smokestacks” is a big production track but still has her instrument of choice piano. With the big beats it is less acoustic than her previous work but it is gaining quite a lot of interest online. The track is just a fantastic mix of several instruments matched with her pure and gentle vocals that balance out perfectly.

Second track “Black Mud” is more like her previous work on Yellow Circles. Her pure and sweet voice is so sweet, with less of a big band feel lets you really hear her vocals and piano which is the backbone. It also heightened by the brass featured. Fans of Gabrielle Aplin will enjoy L A Y L A. On “Immortal” there is a greater mix of several instruments again with brass, drums and piano this song providing an incredibly catchy backing. The backing vocals also suit her tone superbly.

Produced by ANT WEST, “Red Heart” sees his input in its most prominent way. The intro is completely stripped back with just some soft electric guitar and piano building it all toward a great chorus. The approach of the instrumental here combines with her vocals perfectly. Final track ‘Holes’ has a great vocal flow to it that almost sounds like a poetry reading.

This builds into a great song including a string section. A purity and elegance is found for everything from the vocals, lyrics and the instruments. The almost haunting feeling of her voice whispers across the background to enhance the appeal here.

8

All the songs here have great substance with the piano completing each one. Her voice is just superb and the comparison to other female artists is rightly merited.

As I said, it is a fantastic follow up to her previous EP.

..........................................................................................................................

THE ACTIONS Indefensible

This London band has a dark side to their style that pours out on “The Echo”. It all sits in place and the clean way that it glazes over on everything in the tempo excites. How the urgency builds has a clever exactness to it that necessitates all of the running, while commandeering a New Wave feel in the other nuances that show in the details here. The synthesised feel to “Counting All Days” counteracts everything prominently. The noir in the organic has an allure that flirts its way through superbly.

The focus to everything is vibrant. How it is all expressed defines everything and comfortably slips into gear to produce a thorough feel that branches out tellingly here.

The disco feel is cursive here and this also stands it good stead.

9 - 46 -

The eponymous “indefensible” is next. There is a large ensemble feel from the detailed intro and its long running time. This leads it into a state of flux that is very interesting to hear. Rather illustrated by the way it lingers, the track has a sense of risqué to it that hangs on this inviting quality tellingly. “So Still” opens with a disparate feel. There is a sharp tinge to this that equates well, while the revered vocals seem to usher in an autonomy that stirs it all. As shown in the way they allow things to progress musically in the later stages. The fifth and final track here is called “Clouding Over (Part1)”. It develops in a very interesting way, The slick and morbid feel of the play loops carry over everything in a Lynchian way that catches something dystopian and stoic in the process. Highly invested and charged it embraces an alternative leaning that is equally cumbersome and collected.

BURNSIDE ELEVEN Cheap Diamonds #1 Review by Valerie Scanlon

Signed to Black Totem Records, Burnside Eleven aka (Théophile Paris) is a French one man band. All his songs are rich with electric guitar riffs and foot drum as to be expected .The first track is “Serotonin Blues” and kicks off with an awesome guitar riff that meets an uneven mix of cymbals. The heavy drum beat which is common isn’t mastered and mixed separately so you are getting all instruments sound straight away. While this can make it quite loud and messy his voice ties the track together. It is based around the lack of Serotonin which I have to say matches the painful sound in Théophile’s voice perfectly. He has that almost effortless voice that sees words just roll off his tongue and form sentences. “Rotten Flesh” processes a pure live vibe that is backed up by the guitar riff. The vocals are almost drowned out by the music itself. He almost fades into the background and you completely focus on the music. Third track ‘”Old Morpheen Moon” kicks into being off the back of a smooth classic rock intro. The vocals are layered in such a way that it is almost an echo giving you a haunting sound.

The final track ‘”Runaway Cat” has a different sound to the others. We are introduced to a banjo which lightens the song and adds a new flavour. It has a melody on guitar and banjo which makes sound like a traditional Greek song. It is similar to the others but yet completely different because of the impact that the banjo proves to bring. It ends on a happier melody in contrast to the dark and depressing showing in the lyrics. There are not many one man bands to be found, Burnside Eleven will stand out and be known because of this. He has excellent timing and rhythm, his voice orchestrates pain and distress, but is still enjoyable to listen to.

7

..........................................................................................................................

LION THE WEAK Nights Out

This hangs in a superb way from the off. The dressy feel of “Wasted Words” sees them turn on the style in a very big way as it hides behind the causal approach. The slick feel of the guitar builds on the rhythm in a highly deliberate way. That commands the running and gives it all a neat preparedness that gives it reach without feeling artificial.

“Fell For You” is superb. The guitar that rolls out the intro, which immediately grabs you, is then replaced by a synthesised flow. There is a New Wave calling about it that takes hold fashionably. This is a knockout effort with the shapely bristle of things commanded by a band very much on top of their game you feel.

9 - 47 -

The third track here is “To Dahlia” which is carefully considered on all fronts. There is an inviting feel that anchors to the delivery and traces the outline in a fortunate way that turns it all on a sixpence.

It is that requisite feel and how it sits on the flow that drives it all forward.

DAISY VICTORIA Heart Full Of Beef Review by Jamie Kelly

The first track on this starts off with a nice little guitar riff that sets the tone to build on. When the vocals come in the build-up starts with the drums eventually joining in as the song fires into full flow.

The guitar work really stood out to me on this.

“Macbeth To My Lady” has a very catchy rhythm.

Like the previous track the guitar melodies carry the song’s atmosphere. The vocal performance on this is also very good. Things break down toward the end before jumping back in for an outro.

With “Cloth” the slow intro from the guitar at the start is very effective. This song has a very distinct sound that stood out for me. The last section is very interesting; the outro is quite tantalising and weird in a very good way. The fourth song is called “Secret Garden Path”. I found this to be relaxing. It has a smooth flow that is complemented by a great performance from the singer, both vocally and lyrically. The small runs that the lead guitar does throughout the second half really added to the whole song as a completed work. It gave off a strong sense of completion. The last number is called ‘Tree’. This is a great ender to a great E.P. This brings you on a journey through the bands world. I think ‘epic’ is the only word I can use to describe it. If you were to listen to just one track off this E.P go for this one. It has many different phases and sounds. The atmosphere changes throughout the song as well. It is very well structured and put together. Overall I thought this was great, I look forward to hearing more from Daisy in the future.

9

..........................................................................................................................

OLYMPIA FIELDS Apollo Cries

Review by Wynona Grant This is the second EP from the Rennes outfit and it sings on an upbeat Indie tangent. There is something to it that balances short of a short of a less clean cut Saint Raymond meets The 1975, and their sound is really on track for quite big things.

Opening track “Another Scapegoat” shows this well with the etching electric guitar riffs in time with the variety of soaring rustic vocals. This is the perfect tonic to set everything off on a positive note. Title track “Apollo Cries” sits very much in the driving seat and takes one for the team. It is a beautiful track that follows up on a long instrumentally flourishing intro before breaking down into something that comes to pass with chanting vocals resting on wispy guitars. It eventually fills in the blanks as the drums and hooky breaks come back into play.

9 - 48 -

One song that really stands out is closing track “Rainbow Man”. Here the dreamy pop vibe is captured in a distinct way. The indie foundation joins up with this as the melody plays out and sends it off with

BANQUISE

People Under The Sun Review by Wynona Grant

For a debut EP, “People Under The Sun” is as good a starting point as Banquise could have hoped for. It’s electronic pop entailing dreamy synth and contents are ones to be admired.

The first of six tracks is a mere intro.

A few synth bursts, vocally absent, short and sweet.

Moving onto the first real track of the EP, “Be Cool”, gets you moving. Be that singing along, tapping your feet - whatever you’re into. That is because the flowing vocals are mirror images of a spot on pop song. Title track “People Under The Sun” is quite a mellow track. All the elements are taken down a notch, which turns it into a really smooth, easy-listening track. The final offering “Abroad” is by far the standout track on this release. It has this simple and minimal approach but the little thing that it does, it does extremely well and this is what is crucial. The simple way the rhythmic beats are keyed in underneath the gentle vocals give it the perfect ending.

8

..........................................................................................................................

HIS MAJESTY MDMM

Review by Wynona Grant This was an EP took me a bit by surprise. It’s essentially a mix of rock, pop and a bit of soul thrown in. It opens on an upbeat note with “Shooting Stars”. This is the sort of song that would have you on your feet after a few drinks, but I’m not sure it’s the sound you’d listen to any other time. If mood-dependent music exists, this is it. “Madame, Je Suis Tout Joyeux” is a fun track to be completely frank. It’s just an uplifting fun combination of sounds. It provides for it well with a chorus with potential to get caught up in your head and never leave, but it’s not overloaded with quality song writing.

“MDMM”, the title track is probably the best track on this four track player. It’s the first time I really saw in depth any quality in the make-up of the track. And, in saying that, it’s really only the quirky instrumentals flying the flag here. “Even For You” ultimately just closes everything in the same way it all started - on a slightly confused note. Not that there is a lack of talent from this band, but just that there is nothing to hold your attention here.

5 - 49 -

THE VIBES Dust Trail

This seven track EP from the Liverpool band gets going with “Rambling Man”. Hitting the ground in a hardened way enriches the pace, but the licks of the blues play out in the guitar with a fine abandon to them. The clicks in the delivery call it out neatly and give it a determination that adds to the kick here. A more amble effort flows with “Bad News”. There is a deeper feel to the tone that culminates cleverly here and here they seem to put a proper emphasis on developing the play. That is the saving grace here because the context is lacking a fuller cohesive feel in places. They expend things in a robust way with the rock side of things angled in fittingly on “Evil Mind”.

This is a marked improvement actually and proves their worth in the right way. The exactness of the delivery is fashionable applied and brings through the right amount of balance from what is on show here.

They again pick up the standard with “Red Motor”.

Catchy and showy in terms of the flair that is picked up and on show here, they let it all cut loose without it feeling pushed. It is the natural way it is duly angled here that catches everything by intent. It is also sharply felt as the tempo pushes it out with a raw heel about it all that is brilliantly touched on. “I’m Gonna Shake You” is a smooth operator. The tidy feel about it is there to be picked up on, while the lyrics and vocal delivery seem to melt into it in a sweet way. While not a guaranteed classic by any means, it is still a fine showing that denotes promise and ability, and perhaps is not necessarily the finished article either. Then they delve back into their more appreciative style with “Spectating The Blues”. It builds steadily and catches the expansive turn in the showing quite well. The generous feel of the playing adds an appreciation to the texture and flow here. It is almost a full ensemble piece but the vocals come in and the roadhouse feel is completed from their showing. The last track is “Rock And Roll”. They leather into the delivery and load it with pace. The feverish feel of the delivery all comes to reside smartly and finely. The clean feel of it suits the mean, brash tone that gives it swagger.

7

..........................................................................................................................

NIGHT FLOWERS Night Flowers

Announcing their arrival sums up the intro to “Bound”. It is big on arrangement and scope before hanging back to allow a more cursive vocal align on the delivery. The expressive contentment comes over on it all to give it a fine calling that gets under the ebb and flow.

This is damn fine and the proven feel of it really grabs your attention. Then they move up a gear with “Embers”. There is something about how it all collects that shows a well gauged approach at work.

The shoegazer definition falls out on this one with a degree of certainty and youthful perseverance in the skip of the tempo.

The sublime style that they have is honed on “Neverlands”. The dreamy feel of the running is an enigmatic turn which transpires on account of an excellent all round showing. The neat pick up on the guitar that drops down is a fine touch which demonstrates the artistic temperament as much as it does a lavish tune. With “Summer Rain” they again produce the goods. What you are immediately impressed with is how the easily lock into the running on this one.

It is a more determined showing from them that hinges on a more direct approach musically. The vocals harmonise on it in a diligent way that sits well with the spirited running on show, proving they are the real deal in the process.

10 - 50 -

THE BROKEN OPIUM TABLE The Jobseeker Blues Review by Jamie Kelly

The first track here is the title track “Jobseeker Blues”. This is quite an eerie song. The electro sound combined with spoken words creates an intense atmosphere. The track doesn’t develop much, but it sustains high atmosphere throughout. The next track is entitled “Freakshow” and starts off with more buzz than the previous. It has a comfortable flow that radiates a relaxed vibe throughout. Again the spoken word vocals give it a hint of intensity. Next offering “Did I Dance” has a bit more of an edge to it. The added overdriven guitar gives this song bite. This makes it stand out and it is quite a slow song overall, yet again it doesn’t really seem to develop into anything. Like the previous tracks it is quite intense lyrically.

The fourth song is called ‘Secrets And Lies”. If found this song to be humble, and it bobs along pleasantly throughout. This lyrics of the song are political, giving things a bit of extra depth and meaning. Overall it is a good track that is quite reminiscent of THE GORILLAZ. Things get quite trippy with “Elephant In The Room” and I would advise headphones for added enjoyment. The song is fairly slow throughout which creates such a strong atmosphere. The use of synthesisers is very effective here. The last track is called “The Insomniacs”. Again this is rather trippy with a euphoric feel to it. The strings toward the end give it a bit of dynamic but overall it doesn’t change much. Altogether I thought this E.P was pretty good but lacked variation throughout each song, but the sound is quite unique in general so it balances out well.

7

..........................................................................................................................

DREAMERS DOSE Sparkle and Crush Review by Jamie Kelly Opening with “It Is Meant To Be This Way” gives a distinct flow to everything. The chorus stood out to me as a hook that would catch any listener’s ear. This song is well put together, radiating a sense of completion and fullness. The next track is entitled “And When Will You Get Enough”. This is a great tune. It has some great melodies throughout, on both guitar and vocals. But it is also very dynamic. It goes through different moods and atmospheres and is just a great song overall.

Third track “Interlude” has a neat little intro to it. The bass line that carries the song iss superb and provides it all with a solid foundation. Overall I thought that it was a great track that has some great radio potential. The last song on the E.P is entitled “Strawberry Cough”. This is a slow number that becomes quite a ballad in its own right. The lead guitar work gave some great character and emotion to proceedings. It is very atmospheric and provides a deserved ending to a great E.P. The L.P version is due for release soon and is eagerly awaited by us and the fans.

8 - 51 -

STONE HOUSE VIOLETS Raptura

Review by Jamie Kelly

This Glasgow five piece get it all going with “Falling Forever”. This song starts out with high energy levels. From the first thirty seconds a great impression is given off about how the band will sound. The song is upbeat throughout and fades out with a sweet guitar solo. The next song is called ‘Rapture’. This is a bit more laid back and has an easier flow to contend with that is softer on the ears. The repetition throughout the chorus gives it a catchy hook. The lead guitar work throughout stood out, it was really good.

On “One Of Those Days” they bring the energy down a notch. It is quite a ballad in its own right. Again the lead guitar work is impressive on this and builds up to a climatic ending. Overall a good track that gives the E.P a bit of variation and dynamic. The last track is called “Vampire” The vocal performance on this track stood out to me. The upbeat tempo gives the song a little boost. It is very catchy throughout and a good closer.

7

Overall it is a good EP, although I thought the sound lacked a little bit of originality.

..........................................................................................................................

THE ODDMENS Sin Of Pride

A focus is channelled on the eponymous opening track that couples neatly with an offbeat roadhouse feel in the sound that carries through in the background neatly. The spry feel of the guitar tantalisingly brings out a lot of the right amount of appeal and charm, while also allowing for a delectable carriage in terms of embracing a side that dares to express itself creatively. The harder feel of the blues channelled on “One Out Of Twenty” gets down to business.

Again the roadhouse feel of things is exemplified from the flourishes of organ playing in the background.

How hard they grind things out here has a kindling that guides it all through with a reserved feel and flair that both combine to full effect here.

“Half Never Yours” carries their identity more than the others. The Gallic overtures are noted and they sensibly line up here. Emotively driven and brought through in a select way, the smooth feel of it all is processed in a closed manner that allows something disciplined to be felt in the delivery and arrangement that pull it all through.

9 - 52 -

CONTRIBUTORS WANTED At U&I Music Magazine we are committed to supporting music at a grass roots level.This is the core ethos of what we have built everything upon.Our magazine is growing fast.

We currently have an online readership of over 110,000 monthly, which is steadily increasing We are looking for people with a genuine talent for writing and a real passion for music to join our team. This can be in the form of writing about live music, features, interviews or music reviews. As we are very receptive to the ideas our staff being involved with U&I Music Magazine presents an opportunity to have a valued input in what you are working on.

These positions are on an intern basis but could lead to a possible summer position reviewing at music festivals for the right candidates

International Artists WORK DRUGS Insurgents This is one of those tunes deserving of repeat listening. The synth and retro aspects are highly appealing here, while the seductive appeal of the vocals reside alongside the lyrics to harness the sharp appeal of everything. Catchy and blessed with a cursive presence as the tempo steps out this could very well be the tune of the summer.

10

BABY STRANGE Distance Yourself

10

This Glaswegian band is fast on the rise and it is tunes like this that are the cause. The slick running of tapers a withdrawn urgency that neatly picks up. The dependent resolve of the guitar resonates in a truly blinding way that formulates in a telling way, but also merges style and substance to devastating effect as they cut loose.

International Artists

I KNOW LEOPARD Daisy Eyes

The essential feel of this offering from the Sydney band has a high appeal. The brisk and shapely rhythm that they throw themselves into produces the right results. The lazy candidness fills out with a high degree of merit and aplomb. It all collects smartly and allows the expressive side to fall into place in a way that is denoted by the ease of appeal in the hazy feel of the running.

9

GOODBYE STRANGER Miles Away�

7

The noir feel of this enriches the delivery and creates a noted ambience. What is also present is an ambience that proves conclusive to how it sits with the electro trappings on show. There is also a sense of Avant Garde to this that is highly revered and sets into everything neatly. It is also what brings everything around in such a conclusive and expressive way. The later progression is also quite glorious and felt accordingly.

KALANDRA Onto The Fire/Rest Your Soul The first of this double a-side is rather significantly felt. The steady rise of everything comes to pass in a noted way that resides alongside the comfortable way it is all presented. It travels well and keeps the bespoke enchantment central to the delivery clearly in focus while allowing the song grow in stature. The second track could be described as folk-rock and embraces things on a musical level in more depth. The arrangement is excellent with the superb tracking giving it a suitable framework. The haunting stillness of the vocals comes to prominence in a savoury way that sits well with the more urgent pick up on the rhythm when it comes in.

8

LOLA COLT Vacant Hearts

10

This is a tune that has a determined air of grace to it all. The requisite way that the reach is extendedv on the delivery is very interesting to hear. The steadied feel and flow to it all pieces everything together that allows for the more expansive feel in the later progression and urgency to reside in a welcomed way. This is a song that is high on substance and the wow factor.

- 46 - 54- -

VILLIERS The Dancer

International Artists

Intriguing and proving its worth from the opening line. The smart elements of this collect tellingly and are processed cleanly. The ambient and fluid feel of the tempo enriches it all, while on the whole it is represented squarely by a broadened feel that enriches everything completely.

9

THE MODES Risk Taker

8

The smooth lick of the guitar shows the blues influence and input in the cut of the rhythm. The raw and withdrawn vocals have a drawl that seems to denote a gritty feel here. This flows in an eventful way and makes the song take flight while at the same time keeping it grounded.

VANN MUSIC Tina

International Artists

This is a glorious tune. Rich in volume and texture, there is something steady in the clear way it all takes flight. Patiently built proves to be a shrewd move here because when it all comes together it shows. The tidy skip blends into the rhythm while the retro feel that it has goes a long way because it provides solidly for this. Another excellent tune from an Irish band that we tipped before anyone else and they haven’t disappointed here.

10

DETACHMENTS The Promenade

9

The noir feel of this enriches the delivery and creates a noted ambience. What is also present is an ambience that proves conclusive to how it sits with the electro trappings on show. There is also a sense of Avant Garde to this that is highly revered and sets into everything neatly. It is also what brings everything around in such a conclusive and expressive way. The later progression is also quite glorious and felt accordingly.

WISE GIRL Just Won’t Do Figuratively pulled through on the sentiment that fronts it all, this song has a learned feel that is thorough and carefully applied. It unfurls cautiously and as a result the entire tempo has a cursive meander that kindly fills out on the running. It is tracked in a neat way with an open showing that is exacted squarely from how the vocals hang back.

8

JINGO Home

9

This is fronted by a smart and deep feel. There is something fraught in the kooky way that the rhythm falls across that traps everything by design. Even a careful analysis of the lyrics shows how developed it is in terms of content, and that the sophisticated showing it comes to possess comes across as cleanly as it does deserves all the merit that is warranted because it spreads out in a lush way.

- 46 - 55 -

JOHNNY RAYGE Not Without You

International Artists

The intricate feel of the piano bellows out here and then his voice peruses through with a fine hint of sincerity. Something closes around the intimacy in the delivery that is rather formidable, while the harder heft of the intention serves it all in good fashion.

The warmth and hard resolve combine well and allow it to find its feet clearly on its own terms..

9

THE JONES RIVAL Uncle Frank�

9

The laid back feel of this catches a spirited drive. The sharp way that the groove is focussed in the delivery lets a lot of things loose that work for it. It has a clever pull about it all that formulates the delivery in a way that is chic, highly realised and, above all, considerably hip.

KASSASSIN STREET The Royal Handkerchief

International Artists

You feel the psychedelic influence pouring out of the guitar on this one. It immediately grabs your attention. This has a highly inventive and fresh feel to the tempo, with the direction consistently following a direct course that is impressive. The vocals are well reasoned on this one too and complement the lyrical content in a truly deserving manner. One of the best tunes we have heard this year.

10

GHOST ESTATES In Your Dreams

9

The sharp feel of the pace wakes you up to this song. The generous way that the delivery runs with it all keeps the focus of everything on track and carries the song through from the off. It brims with appeal while the steady manner backing everything up allows the necessary weight to fashionably push through.

SALT ASHES Somebody There is a lush feel to the electro beat on this that enhances the seductive appeal of the delivery. The keepsake feel of the vocals meander through in a way that concentrate a sultry flow that blends into the entire overall flow. The ebb and flow have a distinct temperament that pulses through with a defined sense of flair and cool that combine in a highly effective way. This is excellent.

HODA Exhale

9

We have been fans of this Iranian artist for a long time and this has a fine sense of autonomy about it. The rhythm is pushed out and the layered feel of everything accommodates the playing arcs to allow it to step out at key moments. The urgency angled in gives it drive, while there is a consistency to how it flows that carries the edgier feel of the vocals and delivery finely.

- 46 - - 56

10

JAKE EVANS This Is Life There is a gratuitous feel about how the sound builds here. Opening with a fine drive from the guitar, the small electronica bursts in the background put a neat touch to the symphony that provides additionally for the substance. It has a consistency and is tracked finely. The harsh feel of the vocals sits neatly with the timings and also sees them come up with the goods in a way that gives a good account of everything.

International Artists

8

DEM FOOLS Shape Of My Life This is a song that wears its heart on its sleeve. Collectively all of the elements fall into place and help forge the appeal. The noteworthy feel and drive of the song is focused by an apparent high level of playing ability and attention to detail in the arrangement. The augmented feel of the vocals also provide it with a comfortable pitch that matches everything that is laid out in the delivery.

9

International Artists

THE SONS Relic Taken over by the piano on the intro the song builds in a commendable way. An even flow is noted, but the strength of the song is summoned from the vocals. They comfortable lean into the performance and give it all a real sense of grandeur. That is a token attribute that provides a steady structure for everything, while the ample way the delivery climbs denotes a true refinement that comes to pass in a brilliantly way that conveys the feeling and emotion superbly.

10

FEMMEPOP The Promenade

8

Eased into the intro, the song has a relaxed feel to it that collects in a minute way.

The synth begins to build around the tempo in an even way, and the confined feel of the running carries it through patiently. It differs from previous offerings because of its more reflective stance and stationary calling, but it also puts a correct amount of emphasis on developing the structure from a more strict focus on content. But it loses nothing in the process in terms of appreciation.

LEON OF ATHENS Global There is a texture in how this moves across that is impressive. The allure of the vocals hangs off in a way that catches the imagination, while the steadfast pull of the rhythm keeps everything in check as it flows through. The warmth of the tune closes around everything and proves the making of it here by driving it all through with a neat sense of purpose. Everything falls into place by design and shows a track in the hands of a band who know what to do with it.

-- 46 57 --

10

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

At U&I we work with 91 co-ops across 48 countries and the music network that the recommendation comes from is indicated in brackets.

A BAND CALLED QUINN "Forget About It" (Glasgow)

THE FRANKLYS "Puppet" (London)

BLACK BOOKS- "The Big Idea" (Austin)

THE REPEAT OFFENDERS "Lose Control" (London)

NEXT ISSUE: - The Hot Sprockets - Shy Lips U& I Mus ic Magazine 26 K ings Inn S treet Dublin 1 Editor-In-Chief: Phillip Ó’ Baoighealláin Deputy Editor: Greg Clifford Writing Staff: Wynona Grant Jamie Kelly Caitríona McKenna Valerie Scanlon Liverpool Correspondent: Joe Loftus

- Wise Girls - The Manc Tank - The French Connection - Scarlet - Album & EP Reviews - Single Reviews

Manchester Correspondent: Dave Beech

- Scene & Heard

U&I Gigs Photographers: Eric Cooper Dom Marceleno

- June 4x4 Interested in advertising with U&I?

Plus more...

Contact: sales@uandimusicagency.com