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12 Scene & Heard 13-16 Dimestore Recordings 17-18 The Ruby Sessions 19-20 Saucy Sundays 21-30 31-50 51-54 55

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


Stephanie Rainey

U& I Mus ic Magazine 26 K ings Inn S treet Dublin 1

EDITORIAL This month’s cover features an amazing band from San Diego underground vibe about their sound which also spills out into

Editor-In-Chief: Phillip Ó’ Baoighealláin

we have also included their new album for good measure. Other interviews include Hawk and Stephanie Rainey, who are

Deputy Editor: Greg Clifford

number of occasions. This month’s Manc Tank sees Dave Beech talk with Delamere. While our Liverpool network sees Joe

Writing Staff: Jamie Kelly Caitríona McKenna Valerie Scanlon

Speaking of Liverpool, we will be making an appearance at Hope Fest on the 20th. We will also be using that as an

Liverpool Correspondent: Joe Loftus

Unsigned & Independent. As to regards our other pipeline projects we have entered into a partnership with SETV which

Manchester Correspondent: Dave Beech

right way has us very excited.

U&I Gigs Photographers: Eric Cooper Dom Marceleno Interested in advertising with U&I? Contact: sales@unsignedandindependent.com

To this month’s issue and the music because that is what

Buchananan (New York), Lisa Alma (Denmark), Animalia (Toronto) and other parts of the world via our network. This magazine we are very humbled to feel part of something so big. This month’s issue is what is always about – new music from that great act you have always been looking for somewhere inside.

Let’s talk dirty......

everyone is d HAWK Everyone Is Dirty is a band that came to our attention for all the right reasons. Since then we have been keeping a close eye on their progress and checking out their music. We first heard them and immediately drew a comparison with Garbage for them being one of those bands with style and substance that only the really cool kids got to discover before everyone else. We got to chat with lead singer Sivan Lioncub to talk about everything that has been going on for the band, and to get a little insight about the unsigned music scene in California at the same time. If you look back on the last 12 months for you as a band it has most certainly been a lot of hard work. Another thing that could be considered as a good starting point would be receiving your first ever radio play on 105.3 in September last year and then it all coming full circle this month with the release of your first album. Has that been a point of significance that you have taken note of? When we heard ‘Mama No’ on the radio we were giddy. A year later, we are done with a body of work. When Aaron Axelsen played it, it wasn't even mastered or anything. It was so exciting to hear a song that we made in our house on the radio station that we grew up listening to. Since then he's played ‘Devastate’ and ‘Isn't It Great’ too, all of which are on our new record. I love radio. It's an out of control music experience, right? Radio's in charge of me. I just won tickets to an Arvo Part concert on KALX, our local college radio station. That's what happens when you listen to radio. So we will get to the album now. From the point of being an artist and keeping the creativity going,

were there any songs that came into being from the experience as a whole that made it on to the final track listing?

You finally wrapped up everything recording wise for the album on June 28th. Overall, how long did the recording process go on for?

Everything about the album came into being because of an experience. We write from experience. The album is called Dying Is Fun. Which is very much how I'm feeling right now. We are all inching towards our death, from the moment we are born. The point is that life is going to throw some serious shit at you if you are so lucky to be living. And throughout the miracle, from that one sperm reaching that egg all the way to the final breath, we should be having as much fun as we can possibly have. My grandpa Henry, a holocaust survivor whose entire family was killed, tells jokes and sings all day long. Every time I talk to him on the phone he says "live for today! You never know what will happen tomorrow".

We recorded the album over the course of the past year and a half, but some of these songs Chris and I have been playing on porches in Oakland and Brooklyn for longer.

Of the tracks that you had going into the studio did the final version differ in any way from how they originally sounded? And if so, which track(s) and what was the difference between the original version(s) in comparison to what they recording process enhanced the finished version. A song is a process that never stops. The version that is on the album is just the version we are at right now. Like, we recorded ‘California’ first at Different Fur in SF with Patrick Brown as part of our Converse Rubbertracks project. The recording we made at Different Fur was really cool- raw, bright and aggressive. We released it as a single, and then we re-recorded it again at home in a different tempo and with a different kind of special sense. It was still ghoulish but felt more light and dreamy or something. You should listen to both versions back to back and see what you think.


Where did you record it and who has worked with you on the production side of things? We recorded the album at our house mostly. Chris is an engineer, and he records us. We are recording all the time. Tony sets up his drum kit in the living room, Chris places the microphones, Tyler's locked in the bedroom with his mammoth bass amp and I'm in the kitchen making a giant pot of soup. Our life is a constant state of recording songs. Everyone who has ever made an album has always felt a sense of pride from seeing all their hard work pay off. How did you find the process overall? I always feel extremely euphoric when we finish a song. Finishing an album is an unfamiliar feeling to me. It feels kind of scary. I imagine it being similar to how an architect feels when standing and gazing up at a building he just created. It lives on its own, and it is separate from me now. It's also a goodbye in a way. Has been signed with Tricycle Records afforded you the freedom to get the album that you have wanted out there? And what has it meant to have their support behind you at the same time? We met Julie (Tricycle) at one of our shows at Bottom of

In January truthaboutmusic.com described your sound as something that updates ‘the dreamy, How would you describe the sound that you have as a band? It's difficult for musicians to describe their music in words. I think that's the music writer's job. People have described our music as psych, rock, art-rock, garage, pop, orchestral, shoe-gaze, dream pop, horror…blah blah blah. To me it sounds like Everyone Is Dirty. In terms of the music you listened to growing up, be that shared and your individual tastes, how much of those artists do you see coming through in your own sound now? And what aspects of your sound that you would uniquely considered as your own identity would you in some way attribute to what they imparted upon you in a musical sense? And what shows in your music that comes directly from your own experiences? Tony, Chris, Tyler and I have all had different life experiences and are influenced by different artists. My biggest influences are Jimi Hendrix, Billie Holiday, Miles Davis, Mick Ronson, Arvo Part, Greig, Sibelius, and a handful of artists and poets, Andy Warhol, Richard Avedon, Langston Hughes, Lewis Carroll, William Blake and Emily Dickinson to name a few. But the songs we write come from inside us, and our bubble. I'm probably most influenced by my band-mates. Chris and I share a musical brain. Chris is a tone-freak and his sense of

dirty Photo by Julie Bruchard the Hill. After we played she came up and introduced herself and gave me a giant hug. It was really good timing because ‘Dying Is Fun’ was already in the last stages of being finished. The next day I sent it to her to listen to. I think she liked it because now she's pressing vinyl for us. And the coolest part is that it’s red. Julie's been extremely supportive of our ideas, and since we met has done everything she can to help us. When you released ‘Dirtbag Side Effect’ in November last year did you know that you would be here today promoting your album? We were all hoping to get this group of songs out there. When we released ‘Dirtbag Side-Effect’ we were in the middle of recording Dying Is Fun. We thought we'd be done with it in May but it took a few months longer than we expected. Having released that, what lessons were learned about how important it is to promote a release? Videos are fun and cool. We made a video for ‘Dirtbag Side-Effect’, didn't spend a dime just shot it on our phones and then edited it at home. We got a ton of attention from it. I keep on learning that good ideas are more valuable than good gear. That was released in November and you followed it up with the video for it in February. Will there be any other video releases planned to coincide with the launch of the album? We have video ideas for each one of these songs. We probably won't be able to do all of them, but definitely a few.

and catch live or check out? Hell yes! Here's my short list: Annie Girl & The Flight, Once and Future Band, Ash Reiter, The Light Thieves, Brasil, Li Xi, Papercuts, The Cellar Doors, Sugar Candy Mountain, The Electric Magpie and False Priest. To name a few. You have also played at some pretty cool venues as well. The Bicycle Works would be one in April that springs to mind. Are there any other venues that you particularly like to play and why? I like alternative spaces. Pehrspace in Los Angeles is an art gallery where we've played a few times. Hickey Fest was a dreamy three days out in the forest in Leggett California. In Oakland our favourite spots are The Night Light and The Stork Club. Small spots where friends meet. I'm excited to check out Leo's, a new spot right in front of our rehearsal space on Telegraph and 55th. In addition to the album it has been a very eventful summer for you in terms of touring and being on the road. Would it be safe to say that you are a band who is very much in their element when you are playing live? We love playing live. Every show is totally different. The room, the people, it always feels unpredictable and exciting. Recording is that secret private kind of fun you have all alone in your room, and playing live is an intimate experience we get to have out in the open with a bunch of strangers.

People have described our music as psych, rock, art-rock, garage, pop, orchestral, shoe-gaze, dream pop, horror…blah blah blah. To me it sounds like Everyone Is Dirty. harmony is insane. He's taught me a lot about arrangement. We listen to music together constantly. Tony's drumming is so exciting to me. I'm playing in a band with my favorite drummer. I can't wait to get up there and share the stage with him every single time we play. Tyler brings a sense of melody to the bass that never would have occurred to me from a rhythm instrument.

The ‘Hot’n’Bothered’ tour was something that you undertook in July. That was a lot of gigs and travelling which saw you continuously on the go from the 2nd of July to the 17th inclusive. When you immerse yourself in a tour you are certainly a band who commit to it all the way. Was it a case of gig, travel, gig, travel eat, sleep, rinse and repeat?

How did you come by the name for the band?

That's the gist of it. Not a lot of rinsing.

Everyone is dirty is a comforting thought that reminds me that we are all human and no one is better than anyone else. When I'm feeling small, hurt, guilty, or when I'm looking at myself through the eyes of others and I don't like what I see, remembering that everyone is dirty helps me accept myself. We are all sinners, we are all freaks, so we might as well embraceit. It reminds me of what Jimi Hendrix sang, I'm going to wave my freak flag high, HIGH.

Having finished it now, how pleased where you that you went for the tour in such a full on way?

You have gigged with a lot of good bands too on the circuit locally. You can list excellent bands such as Annie Girl and The Flight, French Cassettes, Ash Reiter, Li Xi as acts that you have shared the bill with. How healthy is the local music scene in Oakland? I'm super proud of our city and its music scene. Even with the raping and pillaging of the city of SF by Google and Zynga and all those other monsters, music still reigns in the Bay Area. I urge musicians to stay and fight rather than move away in disgust. SF, Berkeley and Oakland are special places deserving of love, care and respect. Are there any other bands deserving of an honourable mention that our readers should try


We never half-ass anything. Everything we do is full on! Your New Mexico gig was played at 7,000ft above sea level. As a band where does that one rate as your experiences? Santa Fe was pretty special. We played at The Santa Fe University of Art and Design. It was a small space run by true believers. They took us in and we shared some beers and some pizza. Someone gave me a fuzzy ball. Albuquerque was full of lightning, and a kind soul gave me a black sparkly violin as a gift. New Mexico, thank you! What else is in store for you after you put out the album? We are looking forward to touring The Pacific Northwest in December. I've never been up there. And we are already working on our next album. We have a handful of singles we want to record and release in the coming months that we play live. Buggy, Window I, Mermaid, and Silver & White to name a few. If you see us play you'll know what I'm talking about.

HAWK HAWK are an exciting prospect who are currently dividing their time between London and Ireland. The signs very much point to them being a band who are very much on the up for all the right reasons. We managed to catch up with lead singer Julie Hough to talk to her about all things band related. Since February and right through until now it has been a very busy and equally productive period for you as a band. If you haven’t been gigging, you have been touring and in between that you have been recording new material. Has all of this been part of a plan or has it just been a case of the environment and circumstances you now find yourselves in as a band lending itself to a creative phase for you collectively? A lot of the decisions we make come down to momentum. If we work for six months on an EP and don't have our next few next few milestones plotted, it's easy for your adrenaline to drop as soon as it's released. We try to always have something in the diary that we're excited about, and hopefully that feeds into what people hear in our music and at our shows. How has the process with this EP gone in comparison with your earlier release this year ‘Sum Of All Things’? Have you worked with the same people in the production process or has it been a totally different set of people in the background on this one?

The way we approach songwriting kind of changes from song to song. We’ve yet to hit a pattern anyway. These days we have a lot more trial and error stages in the studio, bouncing off ideas and seeing where they take us. But Matt and I still do a lot of writing separately from one another too, and sometimes present ideas that are close to complete. Matt records and produces all of our songs; as they become more expansive, it’s opened a lot of doors for where he takes the tracks in terms of production. That will make two releases inside a year, alongside your double a-side ‘Hush/Antidote’ in June. So that is a lot to take on. That obviously brings with it a great deal of pressure but what are the positives that you take from that? If it brings pressure then I think we are all determined that it’s worth it. We are not ones for complaining about the “pressures of being creative”. (I have little patience for that to be honest). We are really lucky to have had the support we’ve had from our manager and other music peers, and the only way to do that justice is to stay positive and energetic. Momentum, like I say. How did the band together? Did it happen before or after you moved to London? I actually started writing songs after I moved to London. The first time I played an open mic night, at The Hideaway in Archway, Matt was working


at the desk! It was a really nervous performance. Like, really! But Matt had lots of positive things to say after and a few open mics later we were making plans to work on some songs together. We had a great first year releasing my solo EP and getting some really great support and press. But I think we both had a lot of other ideas for the newer songs that couldn’t be fulfilled by an acoustic duo. When Sam and Chris joined, that’s when our sound really came together. It’s opened doors to the different influences we have, and changed the way we write. I think you can still hear folk elements, but it’s a million miles from where we started. When you made the decision to move to London was that from an ambitious point of view or from the point where you wanted to grow as an artist? Honestly, I had a very far-off dream of possibly endeavouring on a music career and an entirely separate dream of ‘just living somewhere new for a bit’. As one does. It didn’t really occur to me that one would lead to the other until I got here and realised ‘shit, there is actually music being created all around me.’ I met lots of total novices like myself at The Hideaway, and others like Matt and Chris, who had been on the London music scene for a few years. It became kind of a pool of creative energy and excitement. There was a lot of support and good advice going around. And an immeasurable amount of wine.

Photo by Chris Davison

How have you found the music scene in London in comparison to back here in Ireland and Dublin? The thing we always notice in Ireland is that people are not defined by their tastes. Audience are more open about what you present to them, and warmer in their response. I think in London is very scene-driven, and you meet more disillusioned listeners. You recently played at The Ruby Sessions. It is very much something that is an establishment on the music scene here. Is there anything in the UK that you have played or would like to play that would be on a similar par? We’ve played a few Sofar Sounds gigs around England, and most recently in Cardiff. Their idea is ‘Songs From a Room’- always stripped back, and always donation-only. Usually in someone’s live room! Their shows are hosted all around the world, and broadcast online. I have no doubt they will pop up in Ireland before we know it. This year has seen you travel a lot with frequent trips between here and the UK to play gigs. How good is it to get back home to play gigs over here? Do you have any particular venues that you like to play at and why?

It is so good to be back. I think Sam and I are definitely biased here. We always get to pop in and stay with our families, and get fed as if we haven’t had a decent meal since the last time we were home. One of the highlights of being on tour is brown bread. It might actually be THE highlight of being on tour. As well as releasing your EP ‘The Sum Of All Things’ in February you also premiered your video for the title track on clashmusic.com. That is a trend that we are seeing more and more of with artists today. You could view that as a sign of the times in a way, but despite MTV losing its relevance in the last 10 years, how crucial is video still as a platform for emerging artists today? I think videos are just as relevant as ever. It’s only the media platform that has changed. Videos still break new artists all the time. The major difference is that with online video, the playing-field is more level than ever, and this can only be a good thing. It’s given us a chance to work amazing art directors and add new dimension to our music. If this was still the MTV era, I’m not sure we would have had those chances. It is now 8 years since Top Of The Pops went off the air. Do the charts still hold any relevance today or has the accessibility of music more or less made them redundant? Another trend that has now come to pass is


the inclusion of streaming for chart positioning. Do you think that is an indication of where the consumer trend for music is now going or will downloading music to own still be capable of holding its own in the years to come? I don’t know how laughable this will be in ten years’ time, but I think downloading will still be very relevant. But I don’t think that charts will ever have the hold on listeners that it had before. There are so many alternative ways of finding new music, and sharing how it affects you. The way we discover music is more fluid and interactive than ever. You have been announced for Hard Working Class Heroes this year. Where else have you been gigging over the summer and where else will you be gigging in the near future? Yes, we are super excited to be on the line-up! Over the summer, we’ve done a lot of hopping back and forth between London and Dublin. The highlight has probably been the Veta Records night at The Sebright Arms to launch ‘Antidote/Hush’. We had no idea until after the show, but people had been turned away because it was sold out! Our next big excursion will be the Irish tour later in September with In The Willows. http://www.hawkofficial.com http://www.breakingtunes.com/hawk https://www.facebook.com/HAWKOFFICIAL

Since your first single ‘The One’ was released it has certainly been what you could a journey when you consider how long this EP has been in the works for you. But it has been an interesting ride none the less. Overall though, from writing to recording, how long have you been working on the EP?

Ian is a great friend of mine and I couldn't be prouder of what he's achieved with the record label. I suppose in my own way I am my own label. I am a completely independent artist which any musician will tell you is tough. It's expensive and you really have to keep motivated. I'm just very fortunate to be surrounded by great friends who happen to be amazing musicians so I'm very grateful for that.

It's definitely been a journey getting from the first single to this EP. After releasing ‘The One’ I was at a bit of a crossroads in terms of where I wanted the sound to go so I took a step back to work on some new songs and develop my style a bit more. I'm really happy with where it's at now and so it was the right decision to take a break. I think as a solo artist it's a little harder to nail down a sound when you’re relying on session musicians to come in and play your songs. When you have a band around you all the time it's easier to develop a sound faster because you have four or five people on the same wavelength, so for me it was important to figure that out before I continued on. This EP has taken about 8 months to record. I recorded and produced it all at home with Gary Keane and Sarah Power so we had that band vibe going on and the sound really fell into place. We had such a great time doing it and we're really proud of the end result.

Would it be the challenge or the freedom to be creative that would motivate you more?

Can you talk us through what some of the songs are about? Would there be any specific track or tracks that hold some significance for you on a personal or artistic level that you are really glad to see make it on there? We originally recorded seven songs so it was tough to pick the final four to put on. On a basic level the tracks are love songs and in the end the EP turned out to be like a love story from start to finish, from meeting somebody, the ups and downs you face and inevitably losing them. One of the tracks that means the most to me would probably be ‘Please Don't Go’. It's quite a sad track that is about losing somebody close to you. I wrote it after someone close to me spent a long time in hospital. They were getting better but every day I was walking past people who weren't and to see their families watch them fade away just struck a chord with me and I knew I had to write something about it. It's the track that makes me feel the most even when I'm playing it live. Sometimes I'm close to tears at the end of it. As we have said it has been some time since your first single was released. How have you grown as a writer and a performer since then? Have there been any experiences that have lent themselves really well to your writing in the form of any songs? I've grown a lot as a writer and performer I think. Experience is everything in music. With every gig you get more confident. With every recording you learn more about how to get the sounds that you want. In terms of writing I'm growing all the time. I think my songs are better now, there's so much growth in the style and it's changing and progressing all the time. That is what I love most about being a musician. The EP has been mixed from London and then mastered in Los Angeles. So that brings a real sense of international kudos about it all. Who were the people that worked with you on the record behind the scenes at the mixing and mastering stage? The EP was recorded and produced at home. Myself, Sarah Power and Gary Keane worked on it. I then sent it to London to be mixed by a guy called Richard Rainey (funnily enough, no relation). He's worked with lots of bands including U2 and Paul McCartney. It was a great opportunity to work with him and he did an amazing job. Then I got in contact with an insanely high profile mastering engineer named Brian 'Big Bass' Gardener. He agreed to work me and he transformed the tracks even more. He's worked with everybody from Macklemore and Will.I.Am to The Beach Boys. That was an amazing experience. Another thing that works extremely well for you as a musician is your working relationship with Gary Keane. You seem to have this excellent understanding of each other when you both play together. How did that partnership originally come about? Myself and Gary work insanely well together. We just understand each other musically and you don't find that very often. Myself and Gary were in music college together and we started working together there. Does that ever lead to you bouncing ideas off each other for new tracks or do you work on it first before bringing to the other one? My writing style is quite different from Gary's which I think is a good thing for collaboration. We do bounce a lot of ideas off each other. I'll show him something and we generally start looking at the production early on. This makes life much easier when I bring it to the live band. Two artists that you have also supported in the last year have been Ian O’Doherty and Kodakid. You played with Ian at his first gig where he played with his full band. When you look at what he is now doing with Fat Of The Land Records is that something that you would aspire to as an independent artist?

I don't know if either the challenge or the freedom would motivate me to stay independent. I think it would be great to get signed to even a small label just to take some of the pressure off. There's a lot of work involved in managing, recording and producing yourself. So I think I'd personally prefer to go with a label in the end. You can also say that Kodakid have also very much gotten their stuff together with their album which they released earlier this year. Did it make you anxious somewhat while all that was going on around you while you were waiting to release your EP? Kodakid are a great band. I played with them a few months ago in Cork. I have only heard them live and they were excellent. I think I used to get a bit anxious when I saw what other bands were doing but in the end you have to get to a point where you're happy, and more importantly, ready to put something out. I've grown a lot and I think there's great comfort in feeling like what you've done is exactly how you wanted it to turn out. You are an artist from Cork. Recently The Pav closed its doors. Having been an institution in Cork for so long and a real landmark on the music scene what will its loss mean to the unsigned scene in that part of the country? It's such a pity that Pav closed down. I think everybody was in shock when that happened. It will definitely be missed because it was a perfect venue for slightly bigger acts that would draw a large crowd. Hopefully it will re-open and we can all get behind it when it does. We have already mentioned that you have been a well travelled artist. In the past you have played at Indie Week Toronto. How did audiences over there react to your music? We got an amazing reaction in Canada. The venues were great over there and people are seriously into their live music. I can't wait to go back there. How did the experience of playing Indie week over here compare with playing over there? I've played two Indie Weeks in Ireland since that trip and both were amazing. Irish audiences are the best in the world and they are great to engage with the music. You also met Glen Matlock from The Sex Pistols as well. Did he give you any advice? I took a drive with Glen Matlock completely by chance. Nothing crazy happened! I think we ended up talking about coffee - rock and roll to the last! He was lovely though and he gave an interview afterwards which was seriously good. He's had a crazy journey! What will be next for you after you launch the EP this month? Will there be any other releases to follow? I fully intend to keep moving forward. I'll be promoting this EP until Christmas and then I hope to have something else out in January. More than likely another EP. I'm excited for people to hear this batch of songs, September 18th can't come fast enough.


‘Experience is everything in music’



by David Beech

DELAMERE A little over 12 months ago, I stumbled across a band from Stoke called Delamere and whilst their Twitter bio said very little, their overall sound spoke volumes; blistering choruses were interspersed with delicate verses whilst the lyricism, wrought with dark sincerity, gave the band a huge edge over the majority of their contemporaries. Sure, the production on some early releases lacked the polish of later tracks, but the same can be said for every band at that stage, and the rough edges only served to add to the band's appeal. Indeed, such was the impression Delamere had on me that I tipped them for label backing within a year and whilst I might have been out on my prediction by a month or so, sure enough, earlier this year Manchester's own Scruff of the Neck Records signed the band, aiding them in the release of previous single 'Do You Want Me?' which was met with much acclaim.

Looking forward however, Delamere are to set to release their second single through the label, the atmospheric 'Headstrong'. A step in a more electronic direction, 'Headstrong' sees the band seguing in to the moody atmospheric sounds enjoyed by the likes of local lads The Slow Readers Club. It might be a slight change in direction, but it also marks the full realisation of the step up in confidence that was teased on their previous single. Okay, so they might not be from Manchester per se (in fact, they're not at all), but being signed by Scruff of the Neck, and playing a good majority of their gigs in the city, means they're adopted Mancs by all accounts, and that's what matters. With a development deal in place with Scruff of the Neck, as well as their forthcoming single to look forward to, it seems all things are go for Delamere and with 2014 being the year that it has been for the band, we can only speculate and cross our fingers for what 2015 will have in store for them.

- 10 -

Hi guys, thanks for having a chat with us ahead of your single launch. First of all, you recently signed with Scruff of the Neck, have you found it's opened any doors to you as a band, which might have otherwise remained closed? Everything is still pretty new at the minute and we’re still all working towards our goals so it is hard to say if any doors have been opened as such. Both band and label are very busy with the next step at the minute so maybe this question would be better asked at a later date. I suppose one major factor that has come straight from this and that’s management. We’re now managed by MTE management which will work alongside the label, so that’s pretty exciting. It's more than just signing to a label deal though. You've also entered in to a 'development deal' with the company. Can you tell us what this entails and what it means for Delamere? The best way to put this I suppose is that a straight up recording contract would simply mean that we record and the label puts it out, the development deal on the other hand is pretty much what it says, obviously the recording and putting out of music is there but with the added bonus of the band being developed to a higher standard which can cover anything from fan base to the performances. This is all in place to ideally be ready for a major label to just pick it up from where it is at for the next major big step. Obviously coming from Stoke you're not a Manchester band, but we have adopted Delamere as one of our own. What is it about the city that kept you coming back and gigging? Why not opt for Birmingham or Nottingham? We all love Manchester, as kids it was the city we’d travel to, to watch all the big touring bands, the sort of bands that would never come to Stoke. Manchester holds a little bit of magic for us, every gig, every meeting with Scruff, we look forward to coming here. Usually I ask a band to name a couple of Manchester-based bands our readers might not be familiar with, but since we're bending the rules this month, any bands from either Manchester or Stoke you think our readers should be checking out? There’s too many good bands in Manchester to start listing, but we played with this Manchester band in Stoke and were instantly attracted to their music, they’re called ‘Flesh’ and it’s a real live show to witness, check them out! There is also a good scene in Stoke and a few good bands, our friends play in Manchester quite a bit and are worth checking out they’re called ‘Camp Stag’, also check out ‘Moitessier’, we challenge anyone to watch them live and not to tap a toe! Your latest single 'Headstrong' is due out in a week and it's a little different than your previous output, what's the story behind it? There’s no particular story to this song but the meaning about it is all in the title. It’s purely about knowing what you want and going for it. There’s a quite a poppy/dancey vibe to this

and this just came about during the writing process and instead of trying to hone it to our usual sound, we just start running with it and quite enjoyed it! You also premiered a video for it earlier this week. How was the process of making a video? Have you done it before? We made a video before for ‘Do You Want Me’, but this was our first performance video and we thoroughly enjoyed it. Ash probably more than anyone - the lad had a stiff neck from all the head banging. Perhaps more importantly, how long were you up on that roof for and did you have permission? I remember being bollocked on more than one occasion for...enjoying a similar view, though admittedly under-age drinking is probably frowned upon more than making a music video! Haha, yeah it wasn’t too bad…we had it all done in one night. Scruff arranged it and it was on the roof of the double tree Hilton in the city centre. There wasn’t any time to even enjoy the view with a beer, we had a tight schedule and the director wasn’t letting anyone mess it up.

every time we write we always try and better the last so it is quite hard to say at this time. Ash's beard is becoming a source of envy for fans and critics alike. How can we be sure it doesn't have some sort of ulterior motive, and that the momentum behind you as a band isn't just the first stages of some beardy world domination plan? I don’t think we can never be too sure, Ash is famous for coming out with ridiculous statements, but since the beard got massive and covered his mouth, he’s started talking sense, sounds like beard has actually grown its own mouth over Ash’s, or the fibres have embedded themselves into his brain. Either way we prefer this guy! Forthcoming album aside, have you got any other plans in the pipeline? All talk at the minute like we said earlier, but the next 12 months look very exciting, more recording, more songs, new EP’s and possible tours. Lots of work to do and we can’t wait. Finally, any exclusive news you'd like to leave our readers with, or parting words of wisdom to bestow on them?

Now you've got a label behind you, thoughts must be drifting more and more to than inevitable first album. Any plans for that yet? Have there been any ew tracks written or titles thrown about?

Firstly never, ever, ever bring piss to a shit fight!!! Secondly, we’ll be releasing a B side to ‘Headstrong’, entitled ‘Criminals’. This is nothing like we’ve ever written. It’ll go up on our Soundcloud and will be on limited CD singles we’ll be selling at our shows. You heard it here first.

The album’s been discussed and it will happen but it’s a way off at the minute. We’ve got some good songs that we’re happy with but

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An interview with Jack Greene of THE PROBES – Joe Loftus When I first sat down in my college’s philosophy class it’s safe to say I was shocked when I first heard Jack Greene. I think we must have been trying to get to know one another and the teacher asked something like “who’s your favourite bands?” and then some poor soul probably all nervous and anxious stuttered “Oasis” to which the fuckless Jack Greene proclaimed loudly ‘OASIS ARE FUCKING SHIT!’. As you can probably tell, Jack wasn’t a stranger to the class for long. I first went out to see Jack’s band The Probes just less than a year ago but I remember it incredibly well. Maguire’s Pizza Bar in Liverpool. Half stoned madness and beauty. I was shocked and remain so to this day. Every time I see The Probes it is a new but equally brilliant experience. It’s like a car crash between German Krautrock and punk but they both happen to have Captain Beefheart on the radio at the moment of impact. I had been planning on an interview with this band for a long while. And here it is. They are genuinely one of the finest young bands out there at the minute. We'll begin at the beginning, how did the band form Jack? Well all four of us were all in the same year group in the same school and we just naturally came together through social and artistic circumstance I suppose. Justin, Ray and I were all taught guitar by the same tutor hired by the school, so sometimes our lessons would cross and this is where I first heard Ray play. To a certain extent, music was a vital part of school life for all of us. I feel that although music at a young, curricular level is taught in a rigid, absolutist and very inexpressive context we still managed to make the best of the facilities and equipment.

What is it that inspires you to write songs and to dedicate your adolescent life to it? There is no inspiration in the dedication. It’s more down to my commitment to music being a natural, pure, loving flow set in motion by the realisation that it’s the only thing I'm any good at so I'm fucked if I do anything else. Inspiration for creativity is a combination of many things. Some of these things may be as follows; changes in life perspective, contextualising experience (whether it be direct or hypothetical), tension, frustration at lack of playing together, direct experience of something "other" in a spiritual context and the list could go on. And writing songs is a venting process, a conversion of energy from one form into another. You have to rid yourself of all these different energies we absorb through the experience of these external stimuli. It’s the same principal as applied when describing that energy simply cannot be destroyed; only have its form changed. This is essentially The Law of Conversion explaining how music is made. That’s fascinating stuff. Who was it that originally influenced you so much to the extent that you realised music was what you wanted to do?

Yeah ‘Here’s three chords, start a band’. So since the formation of the band, have your influences changed? Yes. I'm influenced by everything I hear, and what I hear is constantly changing due to a self-perpetuating network of music thanks to the internet and well informed people. However as far as influences go, Kevin Parker (the man behind Tame Impala) is a beacon for the growing and surging new wave of music that is happening now. Parker is influential not just in his actual sound, but in the whole approach to music. The most effective music is made by artists who disregard any formulae that has gone before them, such as; The Beatles, Captain Beefheart and Kevin Parker. What has been the highlight of your time in The Probes so far? I am going to have to go for supporting Echo and the Bunnymen.

International Artists

What has been the hardest time you've had with The Probes so far? None really - as of yet.

There is no one person that inspired me to make music. I suppose my guitar teacher Eddie Harrison is someone to thank as I don't think I would've got very far on the guitar under anyone else's tuition. He was more of a guide than a tutor, letting me make my own mistakes and progressions in a very natural way, on my own terms. It was only when I started listening to gritty punk music did I think that I could make music and be any good. Punk gave me a grounded DIY ethos to music and made me realise that not giving a fuck really did have its benefits.

Guerilla Garden


Where are you aiming? No particular aims. Just to keep creating new sounds, evolve in variation and to let everything happen on a natural level. Nothing so far has been anticipated so why try? However, one day I would like at least some of the music we make to give people a good feeling that they can't get out of any other music. A uniqueness if you like.

DIMESTORE RECORDINGS Sweeney’s Bar (11-09-2014)

LOKYE The first artist taking to the stage tonight was Detroit rapper Lokye and he warmed things up with a brief a capella track called ‘Samurai Hum’. There is not a lot to comment on because it does exactly what it says on the tin and clocks in at under a minute. His next track however benefits from being stripped back. ‘Rolling And Smoking’ weaves its way through. What is stowed away has an exuberance and relativity. This in turn brings a predilection in the stirrings that is both positive and peaceful. A richness in the electronica on show with ‘Faeces’ seems to animate the running. This is an expressive tune that is not rap per se. There is a sense of a derogatory calling to be found. The Avant Garde side of things is acknowledged and that is crafted from the way the lyrics are crafted and preside here. Things then take a more comprehensive approach with the heavy drum and bass combo on show with ‘People Just Trying To Be People’. The garage feel in the tempo brings with it an innate underground vibe that stacks up in the breakdown. The mantra of ‘Love Me Not’ is dismissive. It is a failed attempt at a love song, which he freely admitted at the end. That sees it come across as a weak tune and he then confesses to putting it in for fun. But doing so took away the credibility of his performance up to that point. That aside, his closing number ‘Good Vibrations’ atones for this. The richness of the hip hop reverb gets behind it in a way that catches on in a clean way.

............................................................................................................................... THE SHAKER HYMN

We hadn’t seen this band play before but from what we saw of them they certainly displayed enough to warrant seeing them again. What sells you on the band is found in the way they stow away the rhythm on ‘Waters Of Sea Change’. That in turn brings a tapered sense of relevance forthright through. It opens comfortably and sets up everything. The tidy way it hangs back helps make this happen. The sensibility comes through on ‘You Taste Like Nothing’. It eases off everything just right. How the operation is carried through is very slick indeed and it shows. The progressive trappings traipse across on ‘Hunter And The Headman’ and they lead it all through by giving it a fitting morose calling. That positions itself in an affirmed manner that cuts through and provides it all with the necessary bite. There is a token feel to the sensibility on show with ‘Whore In The Head’. What is laid off in the patient calling sensibly shows. The vocals as well are very much in sync. They preside over the tune and the music slips away smartly. In doing so it brings a curt degree of solitude that very much leaves its mark and plays the part accordingly. They then seem to turn on something smart as the funky side is rounded on for ‘Sucking It out’. Things are given a lean showing that presses ahead with the catchy curve but it yields something in a truly telling way that gets the best out of it all. There is a fine degree of strength to be found in the lyrics which confirms it as a well figured effort on all fronts. A Santana-esque vibe careens off ‘The Runaway’ with justification from the richness of the texture. That is rather savoury and holds with an honourable precision that is championed by the collective way that it all holds together. It is high in composure and that erstwhile showing in the tracking underlines this. The high appeal is rather steadfast and comes full circle as everything is laid out on the bridge. Again they display a sense of understanding for how to make a great tune from an Americana calling with ‘Hang From Your Heart’. The demeanour on show is rather tasteful in how it sounds. Things pick up and fill out on this one in a way that has an explicit manner that all adds

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From the very first chord that was struck you got the sense that here is a band that know how to mark their territory. The bustle rings out and packs a punch with ‘Trip And Chase’. Along the way this brings with it a confirmed mean streak that fits the sound. There are comparisons with The Jam but the roadhouse feel is secured by the organ playing behind that adds an impressive touch. They then bring another tight tune through with ‘Invino Veritas’. This has a true sense of urgency about it and the chagrin vibe is again chased down. The way they box clever on this one benefits from the full on showing that they have collectively. There is an undeniable level of ability on show that backs it all up handsomely. This is a showing that wonderfully collects and produces a solid piece of work in the process. The lightning fast running on show to ‘The Truth You Know’ impresses. Stylish and inspired by the lyrics it a prevailing effort that comes up with the goods. The confidence projects in the showmanship which is built upon in a way that is all kept in tandem. There is more of a token flow in the rhythm when it comes to ‘Strung Out Bad’. Yet it is clinical and has a brazen hold on show. That develops into a neat precision that catches fire with the 60’s revisionist vibe that comes through. It is a full on calling when the instrumental side needs to be taken into account. They up their already considerable game with ‘Down On Your Luck’. This is chic and polished and the guitar riffs on everything in a telling way. The swagger of the band is confirmed as they find their groove. What they do on stage here tonight electrifies everything in a commendable way which goes on to become a full on affair on the bridge. ‘Carrie Ann’ is fuelled by the manner of how it all gels. The organ selectively secures a timely functionality that is provided for by all intentions. This is a majesty that is befitting and carried off with flashes of brilliance that suggest a tight CCR influence at work behind the scenes. They closed out with a rich wonderment in the wall of sound that builds. The pockets are textured and sold on the volume that resides. It puts the band in the spotlight for the way that the accountable style meets with substance. What equates here in the loose running enhances the appeal as much as the air of confidence garnered in the playing. The psychedelic flourishes are a big draw.

............................................................................................................................... FUNZO

Hip hop was a big thing about what tonight was all about at Dimestore and Funzo was the next act to take to the stage. He recently released an album which has been reviewed in this month’s issue. A neat shoot the breeze feel brings some credibility to proceedings with ‘Drunk’ and gives it all face value. This is a bright tune which has an assertive bounce in the rhythm. After that a reggae influence feeds into things in a favourable way on the rhythm, of ‘Rocking’ and he seems to make the most of this. The highly active breakdown is a smart calling that is confidently carried off. This gives over to everything in a well determined way and holds with relevance. The lyrical content guides it all through and as it is all brought together the tune ticks over. Another positive number followed with ‘Me And Her’. The harmony on show in the opening soothes over everything in an attractive way. Then the tune takes flight and retains that solid urgency in a fashionable way. ‘Take Some Time’ becomes a more uptempo affair and the real deal stirrings come through. It has a hardy showing that is energised. While the pop tune side of this shows, it does so in the right way. The catchy lift on show projects fairly. Things take on an off kilter feel in the rhythm with ‘Never Be Like Them’. This is a respectable number from beginning to end and it is efficiently laid out. The chorus and presence cleverly connect here. The manner of it all is efficiently laid out. The dark side of social networking is the subject matter for ‘Stalk This Way’. It is a remedial tune none the less and what comes to pass has languid sense of relativity to it all. The eccentricity on show necessitates all of that with an inspired calling to match. The combination of his collaboration with Boss Level here tonight sees them go all out on ‘Do You Love Me?’ Things are proactively fronted here with a high standard very much bringing forth the conclusion of it all. This is full of zest and it contends with his in a way that pockets the charm of it all in a thorough and well laid out way. Then an electronic beat creates a solid manner to things with the final track ‘Figure It Out’. That bounce is rather deliberate and is built on in the approach. That singularity converses in the rhythm. They are very much ahead of the game with this one and he shows that he knows what he is about when he takes to the stage. This is something that has now set him apart from his contemporaries in a way that they should take note of.

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CLIVE EDGAR BRYCE This duo owned things from the very second they began to play. There is a striking impact secured in their opening number ‘Ice Age Happens’. That raw sensibility hits hard and fast. No reprieve is given and the brash punk feel collects in the transition. They then give it their all with ‘Percy’ and it truly is a full on affair. The balance in the heavy calling neatly projects and the pace is a managed in a way that is par for the course. There is a hint of bile spewed forth that commendably works. A wall of noise prevails on ‘Spoilt Rotten’ but is marked with an upturn in how it runs. The sturdy tracking keeps hold and that firm standing has the running to match. In the groove of ‘Like Yo Yos’ things are led into a more charged up affair. Everything is souped up in a way that is relative. The spirited and harsh calling meets well with the tone. How it is brandished has flair but there are no misgiving or shortcomings in how it liberates the tune. The delivery of ‘Resignation’ sees the combo of the drumming and guitar blanket the delivery in a superb way. The angst in the vocals provide it all with drive. That is a prominence that is secured from how it holds. There is an off the hook showing to this one that sees them own the stage. The mosh qualities that hide away on ‘Teeth Excretion’ come through to full effect. They are kept in check and harden the showing from the approach. This is a lean and tempered calling that satisfied the baying crowd from how it ran. A prevailing front corners something in the full on showing of ‘Bidet’. The hard and accomplished feel of the delivery provides well with the pace and it balances the tune out. How it comes across is something that is more post wave Punk. They closed out with another off the hook effort called ‘Blistered Fist’. It is anthemic and rebellious. That is an unapologetic purity that is addressed sensibly in the delivery. What it signals is the intent of the context and you sit up to take note for all the right reasons.

............................................................................................................................... HECTOR BIZERK

Glaswegian hip hop outfit HECTOR BIZERK brought the curtain down on the night’s proceedings. That side of things is eased into on their provisional opener ‘Burst Love’. The concise manner of how the rhythm builds imparts in a fundamental way that captures the imagination. There is a developed sense of reach in the consistency, despite it being a demure number, which opens fortunately in the lyrics. The percussive cut of ‘Orchestrate’ walks things through. The ska resonance is held in the right way here. What is concrete is how it is all set out. The pace is eventful and well laid out by the zest that shows. There is something of a formal declaration in the lyrics of ‘Bury the Hatchet’. The breakneck speed of the vocal delivery gives it an off kilter touch. That is then characterised by a high standard form the musical front and it becomes a tune of great stature as it gets going in the chorus. They then turn on the style with the elegantly catchy ‘Fingerprints’. The rhythm offers a lot and hides a hint of retro appeal that steps out favourably. There is volume to be found in the rhythm from the improvised touches. They wear their hearts on their sleeves as they fasten things down to the administration of the hardened rhythm. Superb movement is again on show with ‘Welcome To Nowhere’. The calypso tempo excellently develops the objective here. The beats are dropped and the overall execution is excellent. From top to bottom there is an excellent standard in this catchy number. ‘The Bigger Picture’ features on their current EP. They have a very comfortable front man which shows here. The beats are dropped in a way that has panache, while the running captures the beat. The feel about the band now shows that they are very much the business. They answer a reggae calling with ‘Colombus’ and that gives the refined maturity a softer calling. The chorus collects here in the harder showing. This is what characteristically builds the tune. The quantified appeal deposited in the delivery really gets it going with the buoyed showing. They signed off for the evening with ‘Part At A&E’. Again this has an energised vibe going for it that sees the rushes in the tempo leave their mark. The pumped up calling identifies well with what it strives for. What a set and what a great band who flew the flag well tonight.

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

JANE FRASER And so another Tuesday night takes us on our travels to Doyle’s for The Ruby Sessions. Tonight’s line-up had three acts take to the stage from behind the famous velvet curtain but as always it was a case of quality over quantity. The first of tonight’s trinity was Jane Fraser and she really brought an air of confidence to her performance. Taking nothing away from her music and artistic ability, but she also displayed an incredible amount of stage presence with each tune she delivered. That was shown with her first effort, which was the rather soft ‘Home’. Here the song is guided in and the sophistication on show from the slowed down calling manages all the characteristics effectively. The rather forlorn lyrics collect upon it in a fitting way, while the sombre and light touches add a distinct touch of class. She then manages to catch something imperfect with ‘Raven’. The face value of a true artist at work here shows. The weathered attributes are edged out in a fitting way. The beautiful and touching side of her performance captures the fleeting elements truly. That ethereal feel ensuing distils the sense of loss and sorrow in a sentimental way that works alongside her voice. On her next offering ‘Eugene’s Song’ there is a sense of eccentricity in the air from her contorted mannerisms. But they only come about on account of how into things she gets and it draws you to her as a performer here. This is a polished showing and one that sits well from the off. The intimacy is caged here and shows an artist who belongs on the stage. The animated side of things capture an essence in the showing to fully underline this. A version of Feist’s ‘There’s A Limit To Your Love’ rang true and set things up to be closed out with ‘Mon Cherie’. There is a video to follow soon and it is a song that smartly falls into place. The wanton calling is nurtured in a way that is expertly judged. In how it is done you sense the longing in the sincerity here. That proven maturity necessitates the abject reach, and her charisma in turn then worked the crowd. Just to be sitting there taking it all in was a joy to behold.

............................................................................................................................... JOHN PAUL MCCORLEY

We have managed to see Amidships on occasion and they are a band with a fully enveloped presence about their live sets. Tonight frontman John Paul McCorley took to the stage for a solo set and in his opening tune ‘A Scene Repeats’ an excellent inclination falls in the most fortunate manner from the off. As Shakespeare once wrote ‘Heavy hangs the head that wears the crown’, but if you wear to exercise some artistic licence and replace head with heart you would see that line come to life. Things are realised here with the rather forsaken sense of conviction that is on show. With second tune ‘Shake’ brings a kick to proceedings. The opening line breathes life into this one and it easily takes flight. How it is laid out embraces this and carries the positive attributes forward in a telling manner. The saunter that carries it off is excellent but what really stood out here were the moments he stood back from the microphone. Yet his voice still bellowed out and filled the room and that wowed everyone who was there. The twee showing of ‘Oceans And Layers’ is highly effective. This is a practical number that is served well from how it all falls into place. The timely ebb and flow are selective in equal measure. But it is traced in a fanciful manner that provides well from the heightened sense of appreciation on show. That gives it an earnest touch that is filtered through along with the whispered tone. His closing song of the night was also being given its first ever performance. What is found in the open showing readies ‘Brother Be Still’ in a conservative way. This is dealt in a kind way and holds steadily in the delivery. The lull in his voice accommodates the more loving qualities that are beckoned. You see the investment in the performance throughout here with all four songs and this had the crowd baying for more.

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This Edinburgh artist has been on a bit of a mini tour here in Ireland to promote her recently released EP ‘When You Are Gone’. Shortly after walking out from behind the curtain she engaged the audience and in the exchange of friendlies a voice from the back rang out ‘I am Kat too….I am from Toronto’ which went down well with everyone concerned. She got it all underway with ‘Weatherman’ and her voice immediately endears. There is accuracy in the softly ushered manner that brings it through. The folk wonderment is applied sensibly. In doing so she captures the intuitive side of the performance and basks in it. That is what gives things a depth of showing that is clever and inviting. After that came revenge track ‘Sorry’. This is rather assertive. The empowered side of the personal is used to great effect. This is a truly emotional and inspiring song

Third tune ‘Frozen Smile’ is a partial and spry number that is held together in the approach. There is a lot of appraisal here. The subject matter is about an affair and this bears down well in the delivery. It is something that shows and, in doing so, seems to cast a hint of darkness across everything. This is hinted at in the morose trappings but it is a feature that is highly befitting the tone. The character of ‘Sweet November’ is brought through in a clear manner from the lingering traits that ready it all. That sweetness of touch is well traced. In hearing it you immediately warm to her performance on account of this graceful calling. It is one of the reasons why everything falls into place, but the lonesome side of things is noted here. It is what adds the real weight to the song.

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SAUCY SUNDAYS The Grand Social (07-09-2014)

ETC COLLECTIVE Albeit only two members, there was nothing lost in the effectiveness from their showing. They opened proceedings with ‘Etc’ which is based around a poem. It is a cracking tune that gets down to business. The fiddle meeting with the acoustic guitar here provides an interesting combination. That lends it a lean showing and in the lyrics they fly secure the presence needed. Overall it is an effort steeped in a sense of normality that is well thought out, even it does have an insular feel about it. With ‘Malaise’ they demonstrate they fasten something about the flow of the tune that is rather practical and seasoned. The eventual ebb and flow brings some bustle to the lyrical context and this is triumphantly granted from the approach. An ode to space travel and the impending Mars expeditions provide ‘Forget The Origin’ with a formidable basis that leaves it all the more open to interpretation in the metaphorical sense. The song itself is quite new but it is a relatively easy going one that is pleasing on the ear. Things pick up in terms of pace with ‘Sucker For Reaction’. Here the play is brushed out and it has an endless drive that is very becoming. This is a reckoning that is smartly chased down in the running, which in turn allows the folk influences to merge well with the ensuing flow in an enlightened fashion. ‘Aliens And Witches’ is one of those efforts that unfurls tidily as the whole of the song progresses. How it unfurls captures a real sense of splendour. The bustle in the guitar in turn breathes life in to the tune and brings a solid sense of pleasantry through in the process. A lot admirably falls into place with the opening line of ‘Vitamins And Wine’. This imparts a richness upon the delivery and gives it all a much realised calling that suits the smart styling of the lyrics. What comes through also has a whimsical sense about it and sees them close out cleverly. Their final track was ‘While You Were Being Entertained’ and it is a layered effort with a neat sense of grandeur about the way things fall into place. That is a considerable showing and the delivery reposes in a way that has a coveted composure from the minimalist calling that is rather steady. This is engaging and it captures the true essence in the delivery that is laboured by design but also has leaner moments which convey the emotional heft when required.

............................................................................................................................... RAPHAELS

We have been seeing a lot of this band on the Dublin circuit as of late and we have included their video for ‘Monkey Dancing On A Razorblade’ as an editor’s pick in the U&I September 4x4. They are an accomplished band none the less and this shows with the way they seek out delight in the performance of their opening track ‘Shadows Uncast By the Sun’. It is an enriched number and there is a lot substance in show in the way it is all carried off. Lyrically it has a great deal going for it in the composure and the derivative of the tempo is also highly appealing. The interestingly titled ‘I Swear To God I’m Not Seeing Things Anymore’ is marked by a clear spring in the step. There is a sense of belief to be found about them and the expertise squarely shows in the way it is all brought together. It is a catchy number with a sheen about the running that catches the elective touches in the right way. ‘Freeze’ is a new song from the band and one that has a lot to admire in how the rhythm runs. There are slight hints of New Wave passivity going on which gives the direction a good calling. That is a gratification that comes through in the confident stature as it closes. Things slow down with ‘Scars’ and bring a real good calling to proceedings. It is coated in an elegant precision from the relativity that transfixes in the playing. This clearly shows in the delivery and the sunken attributes are fairly considered here and provide a lot of scope in the process. They let it off the hook with their cover of ‘Kids’ by MGMT and it allowed their final tune ‘Revolution’ come to pass excellently. This is a tune with a great deal to admire. The flow necessitates the patient playing arcs, but it is inspired by the fresh touch on show in the vocals. The trappings here very much reap what they sew. This is a band that seems to improve each time I see them. But here they have a song with a voice all of its own that is absolved by the becoming way it all comes together, which shows in the way the bridge is pieced together.

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THE GRAND WAKE It was our first time to hear this band but there was something scintillating about ‘Death Knell’. Here there is an apparent manner that catches the assertive calling in the build. That is cornered in a way that denotes real poise in doing so and that is what allows the stray attributes to evenly disperse. There are hints of a 60’s revisionist vibe on show with ‘Muse’. They appear to saddle up to the delivery in a believable way. It is a passive number which benefits from this fashionable approach, while there is a sense of greatness to be found in the noted pick up that closes this one out. Things take on a sober becoming with ‘Cure’. That is a manner that takes it over in a defining way that carries weight. How it all comes through counts. The drumming is another sharper inclusion on show and there are hints of The Waterboys in the narrowed calling. How it breaks down carries the full weight and helps open up the tune in a contemporary and fluid manner. We then see another solemn effort come to pass in the withdrawn sentiment of ‘Dry Land’. The delivery falls into place with real heart to it. The way it goes the distance maintains composure and it is an interesting effort that fittingly closes in a manner befitting the delivery as a whole. They get straight into things with ‘Suffragettes’. You are again drawn to the 60’s texture but there are obvious hints of charisma coming through in the delivery. The keyboard instils a wonderful electronica lull in the sound. That enriches the texture on show and grows in stature. It is a substantial tune that is very becoming. In their final effort ‘Natives’ there is something akin to the spirit of Jeff Buckley channelled through. It is an ornate calling but the tangibility to be found in the slowed down tempo enriches this. The metaphors provide a wealth upon it all and grant it the licence it deserves, while the glockenspiel is a soft calling that is planted squarely.

............................................................................................................................... SHE SPEAKS

Here again we came across a band for the first time who left a fine impression upon us. They opened with a tune that has relevance to it called ‘Rock Yourself To Sleep’ and that is angled in rather comfortably. There is a deep and serious showing about the delivery that is well figured out. The vocals here and the image of the band show some serious considerations, but what impresses most is the west coast undertone here. The raw charge of ‘Blue Eyes’ betrays any preconceptions about the title. The true whip that comes off the guitar is noted, but there is dark side that encroaches here somewhat. The quirky showing in the delivery collects evenly and is ignited by those touches in a favourable way. But they also show that they have a comfortable stage presence. ‘The Fear’ is a tune that has a selective calling. The kitsch showing is one that makes the grade. In how everything adds up there is a lot that falls favourably. Nothing is there by chance and the animated callings are also spot on. Then the caged feeling of ‘We Are Waiting’ weighs in appropriately. Here they accommodate this on all fronts. While the song itself has a stagnant and patient side that is a slight bit off. They then hit hard and fast, which is one of their real strengths, on ‘Magic’. This is catchy and has a lean showing that nestles the intent and urgency in a secure way. The running has the right measure of elaboration in how it all comes off. In the secondary way that all moves and comes together the impressive side of things is secured all the more. One of the things standing this band good stead is their ability so shape their songs off the back of a good opening. That shows again on ‘Eyes Lock’. The delivery is something that touches out neatly with the rock side of things well considered and catered for. The bridge again underlines the showmanship but it is met with the right level of ability in doing so. Their next track, ‘Sweet’, was the pick of the bunch. The opening has a rich disco vibe which gets down to business. What impresses here is the clean feel about how it clocks in. They then progress away from this one and easily find their calling in doing so. The little drift on the lead guitar holds firm on ‘Sun Falls’, yet it still feels as if it is missing something. There is a bland feel to the lyrics also. However what does work is the collective showing despite those minor flaw. The second verse improves the delivery and does bring a more heightened reference to the chorus. What shows here is a fluid tempo but they go all out with it and it is a big closing number that goes the distance.

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Rhythm & Pals The opening track ‘Tony Bailey’ provides plenty of scope from the synthesised aspects. That aids the flight, while the lo-fi vocals appreciate further from how they provide a suitable touch of flair that is also explicitly called in the musical sense. Moving up a considerable gear is ‘Send Goodvibes Only’. This has a proven worth in the enigmatic processing which lights up with a candid flourish. The catchy tempo also clocks in sensibly from start to finish. In how it is laid out the urgency meets with the shoegazer flow in a hip way that denotes style meeting substance in a big way. Snapping into life on the intro is ‘Little Gem’. The sense of purpose is provided and from there it impressively takes flight. The pert and neat touch in the tempo is catered for in a straight talking way, while there is a lot considered in the listless way it all hangs off this. Fourth track ‘Bozo Vs Slug’ is a raw affair that you feel. They seem to inject it with a sense of determination. Take nothing away from how unbridled it feels, they display the characteristics of a band in their pomp here for all the right reasons. It feels punk and plays accordingly. ‘Whisper’ makes you go ‘Wow’. This is a superb interlude that leaves you wanting more. The telecast stirrings of ‘Do Dah’ create a suitable

10 ambience. The lateral way it plays out implicitly embraces the contemporary. The steady wonderment in the rhythm is inspired. It is from here that the arrangement builds to a more encompassing one with relevance. Charging along on the back of its own drive is ‘Clipper 61’. It clings to a shoegazer cool in the vocals, while the surging feel of the delivery embraces that in a chic way. It holds together and gels from the off to devastating effect. A 60’s revisionist vibe washes over ‘Madeline’ which seals in the quality. Here the structure fastens to everything a sense of direction that is rich in texture and substance. The arcs are comfortably traced. What is done in their casting adds resolve in equal measure to the tempered flow. Following that balanced number is ‘Hatcher’. The marked change in direction works extremely well. The vocals have a lay quality to them that is fresh, while the innovation is there in the enigmatic practicality on show in the reckless abandon of the delivery. Shaking things up again is ‘Car #9’. It is very settled in doing so with the drive off the guitar and drums combining to great effect. This is an empowered offering very much kept in check. The album finishes with ‘Electric Chainsaw (Can’t Get It Out Of My Head). This excellent closes the album in a way that leaves you wanting more. The chaste lullaby qualities in the rhythm are a hearty showing for it in all the right ways, while the dreamy vocals envelop it comfortably. - 21 -


The Great Lonesome The tidy turn of the intro on show with ‘Beginning Of The End’ settles the album before getting going with ‘When It’s Over’. The configuration here has a charming pop sensibility in places, while the carnivalé feel in the tempo rides in high with the pick up on show that takes flight convincingly. The opening line of ‘Amour Fou’ lays down a fine marker. The sensibilities impress as both style and substance meet explicitly. It cleverly marches to its own beat. Things take on tender showing with ‘Take Some Time’. This endearing effort is one that comes through formidably. The harmony on the intro alone is worth the admission fee, but delivery sees a best foot put forward in the approach. The learned touches are excellently applied and this is a tune carried off with true aplomb. A slightly offbeat running shows in the rhythm on ‘The Window Song’ for all the right reasons. The catchy hooks light up and bring it around impressively. What comes across in the grounded approach and emphasis comes to pass favourably as it takes off. Proving its worth is ‘Me And Her’ and this is another charming effort. But it has a brazen flow in the neatness of the accompanying lyrics. That sense of purpose adorns the workings impeccably, but the control on show is also noted. A piano opens ‘Black Sheep’ before a jazzed up affair takes over. The almost rumba-like tumble is fastened to the running in a concerted way. That practical showing brandished the sweeping flow and is quantified by the pleasance of the vocals as they lay across it in a realised way. ‘Never Be Like Them’ indulges jazz to create a hybrid sound in the backing track that is comfortably processed. The tune itself has a carefree approach that appropriates fashionably. The pep here exemplifies an artist very much in his element and this provides the album with temerity to elevate status deserving of serious consideration for its

10 musical merit. A sense of reckoning is keenly felt with ‘Pop Secret’. UB40 comparisons are drawn because it writes its own cheque for the rich reggae stirrings directed. It is highly impressive and gathered in a way that shows true talent at work. The token feel of ‘Flower In My Coat’ romanticises everything in a way that the listener connects with. It is a rich effort that sees the album turn another corner in the right way, but also hangs back in a way that is a testament to how good a song it is. A daring and darker upgrade comes with ‘Stalk This Way’. The modernity traced in the lyrics provides a true sense of worth, while the tracking of the tempo also balances everything. Hanging back in its own right is ‘A Very Nice Day’. This is excellent from the off. Demonstrated here is a sense of belief and that relays formidably into one of the album’s standout tracks. The sentiment is brought back to a more conditional one with ‘Just A Thought’. The makings of the track are to be found easily. The smart delivery works in tandem with the layout overall, but takes note by deliberately bringing the processes in a deliberate manner. He keeps in line with the reflective on ‘We Didn’t Waste It’. The notions of heartbreak are realised in the mature showing here. That tasteful approach squanders nothing. He pries the emotive in a weathered way, but you also feel the intent as he does so. Setting the album up to close out is ‘Listen Here’. The drum machine cleverly opens things and sets it off. The apparent patience in the build serves it well. There is a harboured feel enriched from how it hangs back, and the statement of intent in the lyrics depicts a sense of being happy with one’s solitude as a defence mechanism. Again the sense of solitude is celebrated in the lyrical narrative of ‘Never Win’. The sombre calling is excellently gauged and it affords an allowance for the song to step out under a broadened calling. How ‘Bit On The Side’ is lead in is neatly done. The opening steadies and the hip hop influences expectedly come to pass in a way that boldly shows. A lay assurance is also provided in the neat keepsake calling and this sets things up finely to close out on ‘Now I Know’. This again takes stock of the importance of the layout and arrangement to good effect. It is a heady effort but one that retains a consistency in how it breaks down. It provides the album with a testament that it richly deserves.

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The Dublin electronica outfit’s sophomore album has a determined calling from the off with the opening track ‘I Feel Hollow’. Spatially it is clearly defined, and that in turn provides something solemn that fixes comparatively to the calling. It resides in a textured way that fills out the darker attributes. The drumming on the intro to ‘Salo’ is par for the course and provides the makings of the tune comfortably. The assured and confident New Wave breaks things down in a highly proactive way which displays a fine level of musicianship in the process. ‘Dead Cat Bounce’ opens with an affirmation in the vocals. It then procures an alluring and trippy sound that is dependably factored in. The closed off aspects of the delivery prevail as they come off, while the encompassing ebb and flow plays in with an eventuality throughout. The bounce in the step with ‘Scatter’ keeps things fresh. The funk embraced in the tone is tellingly brought to bear. This is a rotund sounding effort and they handsomely leverage all of the play on this one. A chic and elegant feel to things on ‘Levan’ works wonders. The synth coaxes a blindingly good retro appeal. Then the vocals come in and it feels like Pink Floyd’s ‘A Brick In The Wall’ from how it all fits together. This is a tune that benefits from the lean progression. With ‘Profit’ the

9 drum and bass approach engaged procures ska and reggae elements fancifully in the mix. There is vibrancy to the way it hits that falls into place in a distinguished way that very much marches to its own beat. The electronica influences ride high on ‘Half Light’ and the clever anticipation tellingly evolves the sound. The consistency procured allows the savoury flow to motion the track through in a forward manner that is high in discourse but one which leaves a lasting impression from how tastefully it comes together. How they fasten things down on ‘It’s Never Free’ lingers in the explicit calling. There is a sense of things coming full circle with the patient way it builds and bides its time well. The added competence in the neat structures also shows. From the off, their next tune ‘Deireadh’ rains down with confidence. The minted feel of this is expertly judged in how it breaks into a stride that keeps this firmly in check, with the as gaeilge touches a nice application. We then come to ‘Solution’ and ‘Sustain’ as the last two tracks on the album. The former is heavier on the drum and bass callings, but does it in a way that is commendable. It also merges a progressive slant to the procession that works on a considerable level. The latter track is an effective number. The stoic impression finds a telling sense of worth that is kneaded to fine effect. How the rhythm is tracked gives the outline a traipsed feel that is impressive and practical in equal measures.

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PREACHERS SON 10 Stories Tall

From the surge coming off the intro to ‘Jericho’ a graceful manner befalls the tune that also capably holds its own. The heady and hardened guitar fleshed out cleanly picks up in the tempo and is cleverly provided for by design. The richness of the blues washes over everything in a prevailing way with ‘Come On’. It provides a catchy hook that filters through with a reckless abandon that tidily rounds it all up. It is on ‘Angel’ where things move up a gear. The well configured roadhouse feel hangs back by design. The maturity in the lyrics breathing life into the delivery as a whole absolves this by embracing it formidably. The playing licks are also very tight. The tone develops a darker calling on ‘Johnny’s Alright’ that picks up the running in a defined way that resides well. It is a communicated trait that carries across on one hand, but with the differing direction of the arcs, it seems to give it licence to bed in when that occurs. ‘Weeping World’ is a track that is becoming in its own right. The reach is impressive here. With how it is laid out the flow is accommodated accordingly. Again there is a hint of a solemn calling in the undertone, but the rhythm is projected in a way that embraces the rock side full on. This is a great tune from start to finish. ‘Unbroken’ cleanly pulls you in. With the Americana texture sliding through in the delivery heightened by the virtue of Brian Hogan’s vocals. The sincerity is confirmed from how it all carries across. At the core here is an impressive

8 stillness that provides it with a hardened heart. It is followed by ‘Hands A Bleedin’’ which takes the direction of the album toward an alternative calling. Minimalist trappings also seem to fall into place and play their part, but it is the contemporary aspects that inspire this one so tellingly. They then return to their comfort zone with ‘Lead’. This is lead in with a seasoned guitar derivative that prevails in worthwhile manner. The condensed structure of the play defines this one. It has a lingering calling that is very full on, but highly practical in the approach also. There is a depth to ‘Another Day’. The lo-fi characteristics in how it sounds are well worked, but the shared vocals here seem to process another level in the running collectively. It is backed up in an eventual way that procures a select sense of balance effectively. ‘Sophie’s Song’ closes around the passive in a sensible way. There is an earnest and forthright manner about this one that seems to impart upon it naturally. The steadfast motion of the rhythm also comes off handsomely and it is a song that displays what it intends to and nothing more. In ‘Not The Only One’ the spirit of their previous album ‘Love, Life & Limb’ makes itself present. It very much cuts things down with the harder showing, but it doesn’t lose the run of itself. The bounce provided decisively gives it drive and it is also full on but with the right amount of consideration. Standing tall is ‘Somebody Down’. All the playing elements, the blues nuances in the background included, keep it on course. It builds and has an anthemic pull about it as well that comes around on the inside and takes it where it needs to go in the chorus. The final track here is ‘Woman’. It is a soft and tender offering that goes where it needs to. The performance and delivery are assured from the warmth and tenderness, which is why it runs as comfortably as it does.

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CHRIS HAZE World Outside

A brief intro warms the album up and then it begins to flow commensurate with ‘The Path’. The select manner of how his voice purses through presses the lyrics. It readies the softened approach and the minimalist calling in the instrumental catches all the acoustic formations impressively. It is a song that takes hold and retains that consistency. Leading on from the opening is ‘Questions’ and it has this residual pleasantry going for it. In the tempo it acclimatises to the delivery and there is an investment in the delivery from him that catches the chaste attributes considerably well. The potent way the reach is developed is another fine offering here that is highly effective. Fourth track on the album is ‘Never Seen Enough’ and it is guided through in a neat way. The emotive side of things line up alongside the reflective attributes. It is a sentimental number and the lyrics tide it over appropriately, which in turn endears the more genteel calling appropriately. On ‘Somewhere New’ the album becomes more engaging. Here there is a more ambitious approach that has reach. The balanced scope in the running allows it to take flight and the arrangement very much comes through in a proactive way. Again things show ambition and diversify with ‘Forgiven Memory’. The production values are on show and the synthesised

8 showing push through. The freestyle and beatbox vocals imbue it with purpose and the manner in how they are exacted come to settle the tune resoundingly. Overall it is a well pieced together tune and it shows. There is a high sense of the personal about ‘Over And Over’. That is remedied in the inviting way that it all moves. The soft call projected confirms the pleasance in a way that relates well with the listener. In the intricacies it seems to come into its own with an impeccable level of maturity in doing so. What comes to pass on ‘Away She Flies’ exudes a fine touch of class about it all from the off. The closeness of how he draws from it allows him to realise a lot. Yet in the pockets of playing there is an exacted showing that bides well and it has a fine attention to detail coursing through the tempo as a result. Next track on the album ‘Be Free’ closes around the narrative. There is a forlorn outline in the lyrics that is rather sombre, but prevails with the positive message behind them. It has a firm sense of weight despite the tidy tidings of how it comes across. The album is closed out by ‘Notions’. Armed with a light kick in the guitar it is ably processed from a playing perspective. The comprehensive approach in the vocals give it a deliberation that comes across smartly from the off. The affirmed beatbox calling meets the meander of the rhythm and they prove a defining combination. - 25 -


Ghost’s Parade Opening track ‘Hijack’ is a joy to behold. An air of confidence carries through in the rhythm which provides it with a controlled direction. That effectiveness also allows the tempo to step out in a majestic manner. Things have a somewhat enigmatic calling from the opening on ‘Falling Debris’. As it progresses things comfortably come to pass. The somewhat taut restraint and enigmatic side lead things towards a more upbeat calling that fits the delivery as a whole. With third track ‘Dug Up From The Underground’ the fluidity stands everything good stead. The consistency in the texture has a highly detailed and flush feel that rises with a lean assurance to it. The manner in how it matches with the lyrics and vocals showcases a tune of very fine merit indeed. There is a foreboding sensibility in the handling on show with ‘Sirens Call’. This allows things to hang back fashionably and the patience that is found in the calling lights it up in a sublime manner. The poise that meanders through the rhythm also certifies a marked sense of appreciation that grows in stature. You immediately warm to ‘Food For The Soul’. The intro has a sense of gentry about it and this sway brings a charismatic touch to proceedings. The lean showing rolls along with determination and consistency, but what draws you is the urgency of the resolve which confirms the progression from the opening excellently. A lingering sense of poignancy hangs over the ambience on ‘Weasel’s Hammer’. This incubates the dark side of the tune before the hardened side picks up. How

8 this all comes together shines and the approach comfortably flits between the two styles. That warmth and lift considerably imbue it with heart. The next track ‘Ghost Parade’ has an obscure vein about it and it patiently lingers. The comfortably numb ambience is appropriately touched on. It is a gracious tune and the rock side is considerably well judged here. The necessary sense of affirmation is called upon in how it diligently steps out. After that comes ‘Kerosene’ and the avowed manner of the opening progresses from a lucid calling into a sturdy approach. The enigmatic allure of the vocals radiates in an alluring way. Overall it is a tune that very much produces the goods with distinction. That lucid tiding presides over ‘It Rings True’. The bluegrass calling in the tempo expels a rich sense of appeal that meets with grounded substance as it breaks into stride. The figurative aspects on show add charm in their own right. ‘Caked In Sin’ is a hard hitter number from the off. It is a short number but one that is blessed with impact. Things fall into place here and the urgency carries through with real confidence. Then there is a reversion to the more stoic calling in the poise of the opening on ‘Afterglow’. The shared vocals create a harmonised stirring and in the arrangement things find resolve in the bespoke flow. It does fell somewhat laboured but that is by design, which goes a long way for everything lining up. We then come to ‘In The Fold’ and there is a reach presiding over things. Here the depth is found and then it seems to become more engaging in a rather choice way as the rhythm comes in to play. The album closes on ‘Stream Of Consciousness’ which has a mark of departure from how it sounds. It is engaging in its own right and is embraced accordingly. The nimble motion on show commands the delivery and rich texture with devotion.

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Irish Artists

WYVERN LINGO The Widow Knows The eponymous opening track is the real deal. The passive stirrings are comfortably realised alongside the folk trappings yet things also hold a fine sense of innovation that elevate it from being considered as another also ran in the current crop of pretenders to the now abdicated MUMFORD AND SONS throne. The harmonies reside tellingly with a consistency in the lyrical structure allowing them tee up the delivery. Things take a solemn turn with ‘Fairytale’ which adds to the effective draw by hanging back. It is a courteous approach that is handled explicitly to give the overtures something to call their own. As the acoustic guitar filters through on ‘Snow’ you warm to it (no pun intended). It is a conclusive showing that contains a sense of intimacy in the earnest reach. The guidance travelling through by the approach grows in stature as the song plays out. The face value on show here appreciates everything in the approach. ‘Tricks’ is also cut from a fine cloth. The satisfying vocal harmony admirably merges with the tempo. There is a steady running that gives the overall running a suitable risibility. From there they also fashion a slightly upbeat trapping that splendidly gets underneath the delivery but also accommodates the hardened turning. Things close out with ‘Used’. From the minimalist intro things are replete in the splendour. That is completed from the emancipation of the lyrical context. It is the strongest track on the EP and shows the collective ability they have as a trio.


.......................................................................................................................... REID

Fractures A fine sense of reverence is cleverly considered on the opening track ‘Fracture’ which features SLOW SKIES on the vocals. The revered way it is pieced together shows in the textured residual flow. The even tempo guides the delivery through as a whole towards a splendid point of conclusion. ‘Singapore’ seeks out something in the opening. Keyed in with an upbeat pitch in the undertone, behind it is a casual sense of bearing that admirably comes to pass. The reaches of the synth cornered give it reach but also a precision of depth that holds. Third track ‘Tarnished’ features WOMEN’S HOUR. Again the electronic elements give the delivery grandeur. The bigger structures comfortably accommodate the intention and as a result the scope and scale don’t go unrewarded. The oriental flushes are a neat touch in the later progression. Allowing the play to develop is ‘Standing By’ and it comes to pass in a way that is smartly completed. Avoiding monotony with the curt trappings of the sound sees the passive nature of the running come through alongside the ethereal flow sensibly procured from the off. Supported by SAMUEL MASON for ‘Scars’ settles a morose tone upon proceedings. The intro has a chaste appeal at its core that is tasteful. The ebb and flow is consistent with the vocals on this one which consolidate it all in a forward fashion at the same time. The final track here is ‘Geometry’. The rich synthesised feel that comes off the intro builds it in an intelligent way. There is a consideration about it that the pick-up benefits from tremendously. It is one of those tunes that go the distance and it has this comedown feel to it that is akin to the ROBERT MILES classic ‘Children’ at the same time.

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PIGSASPEOPLE The Plot Against Future Plans ‘Rooks’ opens things for the Belfast band and they show that they have lost none of their flair for losing themselves in the full on approach of their rock leanings. Here their sound has progressed from ‘Idles&Us’ but kept their sense of identity. Detailed by the rock and alternative styling allows them to invest in things on a musical level with an assured degree of conviction. It is all carried through on ‘Bleeder’ with a more ballast approach creating a more upbeat tempo that hits hard and fast. It is loaded with pace and this is etched across before the timely way they seem to get down to the task at hand. How things collect provides it all with intent. This is then processed in the music and settles across everything with real distinction. Bringing everything to the mix is ‘Rashida’. The hard and urgent scope on show in the opening draws you in. The full on way they develop the sound naturally picks up. A disenfranchised calling is found in the lyrics creates an aura of despondence and in turn this relays quite deliberately in the running as a whole. Here is a band leaning towards their metal influences and ‘After The Destroyer’ commendably acknowledges this. Though it is an interlude it sets the middling of the EP up for the closing second half. ‘The Duke Of Flies’ is almost an ensemble piece. The lyrics come to pass very late in tune. As a result the listener is drawn to the arrangement and how the playing is laid out, which is something that stands it all good stead. Then on ‘Dismemberments’ it is all about getting straight down to the task at hand. The fine way it takes flight is catchy and loaded with pace. This is a tune that is tailor made for a mosh pit and you immediately envision that as it opens out. It is also a good tune and carries through in a decisive way from how committed they seem to be with the delivery as a whole. On ‘Foundling’ the marked maturity in the sound, and from their previous EP, shows. This is the tune that makes you take note of the potential that they have. Among the outlines of the track resides a solid degree of substance that allows all the playing elements to fall into place. The closing number here is ‘Those Rocks Have Hearts’. It is a very ambitious tune that pieces things together in a way that takes the direction and focus away from the metal standard of the rest. The consideration in the offering meets a wonderful sense of worth and it has a Mott The Hoople vibe going for it. It takes you aback because it seems to come out of nowhere but it is a great tune none the less.


.......................................................................................................................... THE HARD GROUND Triptych 2

A fine sense of reverence is cleverly considered on the opening track ‘Fracture’ which features SLOW SKIES on the vocals. The revered way it is pieced together shows in the textured residual flow. The even tempo guides the delivery through as a whole towards a splendid point of conclusion. ‘Singapore’ seeks out something in the opening. Keyed in with an upbeat pitch in the undertone, behind it is a casual sense of bearing that admirably comes to pass. The reaches of the synth cornered give it reach but also a precision of depth that holds. Third track ‘Tarnished’ features WOMEN’S HOUR. Again the electronic elements give the delivery grandeur. The bigger structures comfortably accommodate the intention and as a result the scope and scale don’t go unrewarded. The oriental flushes are a neat touch in the later progression. ‘Deep In Green’ holds in a certified way. The confident structures allow things to develop in a telling sense. The neatness of it prevails, while the hushed vocals seal in the allure. The way it is all painted commendably finds form but it is all done by design. The breakdown of ‘All In Time’ converges upon a solemn calling. The tame attributes are eased into being from the passive approach adopted. Then a lay Tex-Mex flow comes to pass and washes over everything. Here the way it is all represented is rather effect with the affluence coming to pass alongside the differing playing arcs to fine effect.

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STEPHANIE RAINEY Half Of Me The calling of ‘All For You’ is assured from the arrangement which is well received from how the piano and softened flow of everything seem to fall into place. It is a motivation that seems to comfortably allow everything come together with a distinguished flair. Yet there is a developed emphasis placed upon building the arrangement which carries the scope in an affirmed manner. After that comes ‘Half Of Me’ and this is another select tune that comes to life from how realised it all becomes. The build on show is a steady one and it easily takes flight. The taut side of things is encased in the emotion, while the lyrics denote some serious song writing at work. This shows in a dependable way which is allowed to breathe and that attentive approach stirs the heart of the song. With ‘What You’re Missing’ you are taken aback by the impact that is consistently tracked. It has a bereft feel that is touched out in a capable manner that can accommodate the hardened showing with a graceful sense of purpose from beginning to end. It is a tune that goes places and takes you with it. The fourth track here is ‘ Please Don’t Go’ and it is a slower effort. The manner in how it is all laid out catches the reflective side of everything expertly. There is sensitivity in the narrative that seeps through and in doing so allows you in. It has a pleasing ebb and flow which narrow in the delivery to fine effect.


.......................................................................................................................... THE REVERSE The Forty Steps

A savoury hold takes over on the first track ‘I Think I do’. It is something that bears down well when things begin to take off and it comes full circle in a way that leads it places. The country sensibilities add a timely versing upon proceedings that is laid out in a defined way and give the song heart. After that comes ‘The Thief And The Fallen Leaf’. What stands it good stead is the weathered calling that impressively attunes to the running in a deft way. It keeps the running on a strong course and the overt tidings carry it through with a stirring sense of accomplishment. ‘Last New Year’s Eve’ seems to find true from the off. It has a heartened approach and the withdrawn flow meanders through here. The timely way that it is all carried off regards the approach in a careful way and it seems to lean on a steady calling to fine effect. The arrangement gets a lot right which provides it all with a direction to work off. With ‘Park Bench’ they then seem to allow the song to develop in its own way. The slow build in the guitar meets with a listless reflection that takes it all in. The relativity shows and neatly comes to pass with grandeur in its own right. Final track ‘The Forty Steps’ has an enriched calling. The sparse fluidity meets well with the guitar and piano tracking. In the process it picks up neatly and the leaner tracking skips through in a delightful way. The fortunate figuration on show marks time in a way that keeps it all in check.

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THE WHEREABOUTS I Don’t Care We featured this band on the cover of our February issue and their star has been on the rise ever since. The rough and ready feel of ‘I Don’t Care’ meets a high 60’s vibe. The skiffle qualities denote something very cool in the process and they work through it to excellent effect. The nuanced way that they carry it all off is impeccable. Coming off the back of that is ‘Money & Fame’. The brash steering of the running drives it on. Resonating guitar riffs whip it in to shape, while the select manner of the vocals lights it all up as they are carried off on the back of some incredibly sharp lyrics. Here the band very much keeps the running in check. Then we come to ‘Let Go Of The Brakes’ and the rich blues influence is anticipated in the expression. The harmonica and all the other elements build the anticipation in the delivery. In doing so they seem to fasten it all together with true style but it seems to capture the spirit of the intentions superbly. From the opening, ‘We’re On The Run’ hits the ground running. The focus and sharpness shows something slick but it is backed up by the substance on show. The clean way the vocals seem to spill forth capture the charge and intensify it all to excellent effect. ‘Emmaline’ is blessed with a solid intro that grabs you in the way that great tunes can. But in the manner it drops down they seem to have a Beach Boys vibe going on. The glossy appeal abounds but it is incredibly fluid with the playing allowed to develop being the reason that they comfortably find their groove. You get taken up with ‘Roadrunner’ from the off. It is a confident number that the band comfortably piece together. The American influences come to pass on this one and this has a rich texture to it that is mirrored by final track ‘Don’t Bring Me Down’. The shuffle in the running is practical but what impresses the most here is the way things cleverly get underneath the showing from the off. A catchy rhythm tolls away here but it is not a case of carefree meandering. Instead it follows direction and focus and settles down to the task at hand with real aplomb.


.......................................................................................................................... DR MINDFLIP

Every Waking Moment Here is an EP that has a large degree of contemporary elements at work but they seem to work to fine effect. The slide on show carries through on ‘Rootless’ and the jazz style works in an impressive way. It moves through in a determined way but one that engages an approach that is all about the expression. Coming off the back of that is ‘All Time Low’. The telecast vocals seem to enhance the enigmatic touches on the intro. The upbeat tempo carries through with a sense of ease that relatively comes to pass and is rattled off in an inspired way that cleverly comes to pass. The third track ‘Took A Walk’ has an unmistakeable jazz feel about it all. The relativity in the structures comes together and carries everything off in an impressive way. The traipsed feel of the vocals is an additional touch of charm that conveys the artistic merit fairly. The final track is ‘Grey Day’ and shows a more cautious approach at work. The neat flow of the intro situates that in a virtuous way. It is kneaded through in a passive way and they seem to focus it all in how it seems to draw it out before adding a sense of urgency in the later progressions.

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International Acts


‘I Ain’t Owing You’ has a rather splendid charm going for it. This is a knowing trait that is traded on in the charming feel to how the rhythm runs and holds over the tempo. Her voice spills out comfortably and keeps in time with the running. After that comes ‘You Can Run’. The 60’s revisionist vibe serves it well. The catchy allure procured in the delivery warms you to it and it imbues things with a stylish sense of substance in the process. ‘Goin’ My Way’ is more affirmative. The delightful revelry that comes through matches the intent. It has something in the handling that is sweetly considered, while there is a lot going for it from the emphasis placed on developing the play. ‘I Can Do Without You’ is again a capable tune that embraces a 60’s tone. The pop sensibilities also show smarts here in the volume and appreciation that does a lot for the tune as a whole. There is a comparison with Dusty Springfield on ‘Happy With You’. The upbeat tempo has substance, while there is a clean pair of heels shown in the way it carries through. But it is an endeavour with a hardened sense of urgency about it. Then ‘You Gotta Let Go’ brings a reverence to proceedings. Here a high level of musicianship comes to pass. This is felt and noted from all fronts in terms of how this is pieced together. But it has an intelligent whip to it.

upon a comfortable reach in the arrangement. Steady on its feet, there is a great deal going for it in terms of the able bodied way that it comes across. Hiding away on it is a clean showing and the play mirrors this fancifully. Then the upbeat ‘I’ll Give You Girlie Rock’N’Roll’ holds firm and fast. The pop sensibilities are considered with affirmation. The unfaltering way it plays through pays its dues in the approach. Reverting back to the 60’s styling is ‘Privacy’. In the realisation of the song’s lyrics and narrative is something that cleverly comes to pass. The cool way the rhythm flows provides it with drive and it does have a high retro appeal in how much of a throwback it comes across as. ‘Sixteen Again’ lays away something that has a slight shoegazer meets pop feel about it. The soft touches in the vocals see to this. It has this inspired hook in the catchy showings that sits on the right side of appreciation. After that comes ‘Brown Eyed Drummer Boy. It has a hint of country in places, while the best is drawn from the way that the instrumental side of things is laid on here. It is catchy and clean, while on the whole it seems to be a tune that holds its own superbly from the off.

‘The Price You Pay’ seems to have a hint of The Carpenters going for it. The comparisons are made from the sheltered and comfortable conveyance of everything in the lyrics. The breakdown in has a sense of control, while the precision in the flow takes account of this and relays it sufficiently. Next song ‘Okay’ happens

Keeping an old school sensibility in check is ‘Tommy K’. The piano immediately grabs you and the opening line has an affirmed showing that carefully takes stock of the hardened approach of the context. This sense of intent marks it out in a good way. With ‘You Make Me Feel At Home’ there is a feverish calling to proceedings. The blues pick up runs through fancifully. That American showing is unmistaken and it is an influence that imbues it from the core. The last track is ‘Lookin’ Through You’ and is also cut from the same cloth. It wears it well and the trusted way that is steers things keeps hold of the delivery with no fear. In return the arrangement carries off in an appreciated way, with her vocals and the production values also showing in the pass for the right reasons here.


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EVERYONE IS DIRTY Dying Is Fun Adorning our cover this month is Everyone Is Dirty and they have certainly come up with the goods here. The album opens with the first chord of ‘Dirtbag Side Effect’ and confirms the underground aspirations. This is felt but matched by the substance of the music which speaks volumes. There is indifference and abandonment spiriting everything along which is very American but the disenchanted calling equally speaks volumes. The tidy flow to the intro ‘California’ gives way and the face value of the tune comes through with the urgent pick up. This has a progressive tint to it that catches a suave shoegazer burn in the rhythm. Again the drive of the track is what seduces the listener. ‘Meltyface’ is a melodic effort that comes together selectively. There is something about the tempo that boxes clever. That catchy sleight of hand in the running is what sells you on this tune. The lucid intro of ‘Mama, No!!!’ is greeted by a superb chaste vocal delivery. The entire track is highly fashionable and goes somewhere impressive. The lay grunge attributes meeting the neat psychedelic approach provide texture which brings everything full circle. Things have an impartial and endearing flow on ‘I’m Okay’. The mature sound is shepherded by a dark lingering in the lyrical content that meets

10 the urgency of the delivery head on. This is a charged tune and marks a departure in the direction musically but still covets the identity of the band in the process. It hits hard and fast with no let up without falling short. ‘I Was Born’ then reverts back to their shoegazer style. This has a comfortable showing with a lot of front. The playing margins seem to coax this through in the flourishes, while the vocals provide a degree of sass that imparts a natural organic into the process. There is a glorified feel squarely planted with the opening of ‘Lost Thing’ that brilliantly grabs you. The minimalist drag of the rhythm and vocals conjure up something sublime. How this anomic tune is pieced together defines how good this band is when they are on top of their game. There is no mistaking the slick feel that radiates on ‘Devastate’. The bass line falls kindly here before things pick up with the blistering all out feel of the arrangement. The flit between both approaches very much goes the distance and proves their credentials. You are then pulled in by ‘Isn’t It Great’. There is a developed lustre in the tone of the track that is followed through. The impartial tempo kneads the tracking in a reserved way which travels well. But the lean resolve provides it with mettle and adds the necessary bite. The album closes out with ‘Cheesecake II’ and this is a handsome tune blessed with a sharpness that cuts through the raw qualities expertly. The uplifting tempo provides inspiration while there is a casual affluence in the delivery as a whole that catches everything right.

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STUDIO 69 El Studio 69 A solid sense of 60’s revisionist vibrancy is entrusted upon the opening track ‘Go Go Train’. The touches from the organ add a rich roadhouse feel to proceedings, while the eccentricities on show provide for it all in a most kind way alongside the progressive rock overtures. That is repeated on ‘Incendie Volontaire’ with the whip smart sensibilities securing a sense of chic in the process. The bounce from the funk carries it through and the rhythm is relayed expertly. It all touches out and is carried off with a clever showing that signifies the arrival of the band. Again the eccentric calling meets something that has a hint of ska in the flavour with ‘Take My Hand’. This has a justified appreciation and the rhythm envelops a lot from the playing to formidable effect. This is a superb tune that has an immense calling in the details and takes you away with the band. They again delve into an alternative direction with ‘Il Elle Juste Lá’. The progressive elements flourish here and the strong emphasis on development accommodates a lot of directional changes but loses nothing in the process. Here there is a true appreciation on show and this crafts the tune accordingly. The full on guitar approach works effectively on ‘Quand Le

9 Diable Va’. The expansive trappings add to the temperament of the flow in a determined way, while the tempo brings a sense of menace to proceedings. How that nails down the hardened side is keenly felt. We then come to ‘Oh It’s Foggy’ and the broadened feel is confirmed from the piano that makes its way through. The softer calling captures the essence deliberately, while there is a detailed build called upon from the classical sensibilities that holds true. Then things just become a souped up affair with the tremendous heft on show with ‘Lady Lady’. It is a tour-de-force with a high degree of practicality in the catchy trappings. That calling gives it a formidability that is contended with smartly. The debonair punk feel to it catches everything just right. As the guitar rolls out on ‘Major & Co’ you are taken along for the ride. It has a spirit and grace to it that resides where it should. The passionate manner of the delivery has a raw cut that also falls into place favourably, but gives it a justified appeal from the rough around the edges feel that ensues. The contrast between that and next song ‘Overdoze’ is wonderful. Here the punk edge is replaced by a more affluent delivery. The structure has a dandy 60’s vibe and sees them play to their strengths from how readily they embrace it. ‘L’absence’ is a long player that closes the album out. The dignified opening impresses in a telling way. What is invested from a playing perspective provides them with a comfortable affair to sign off on in a big way.

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LETTING UP DESPITE GREAT FAULTS Neon Steadily fused together with the intro is ‘Shift’ which allows you to appreciate the depth and appreciation from how it flows. This layered approach steadies things and accommodates the hushed vocals in a deserved manner. It is a tune that closes in on itself expertly and sets up the rest of the album. Again there is a neat foray in the intro on show with ‘Wrapped’ which formidably captures the nou disco beats. This is a sweeping tune .comfortable in the catchy showings but it is equally grounded in style and substance. Hitting the ground running is ‘Automatic’. The sense of purpose is found in the urgency, but what is rewarding here is the tapered manner that things adhere to. It is rich in texture with the synthesised trappings enriching the delivery deservedly. They keep things ticking over on ‘Gold’. This is loaded with pace and the headstrong assured tracking fills out the rhythm in a desirable way. What drives this forward in a desirable way is the neat New Wave graces that meet with a slight shoegazer push. They embrace the retro callings significantly on ‘Ride’. The outline of the running here is more encompassing on an instrumental level, and what abounds has a fine indie sensibility at its core. The vocals are equally as fitting and leave their mark here. ‘Yours’ and ‘Secrets’ are two

10 interludes midway through the album. The former is a morose calling, while the latter has a more upbeat tempo working in its favour. The contrast between the two suggests two promising works in progress. ‘Legends’ opens with flair. This is an imaginative offering that carries across with the imagination in the rhythm. The determination is a chic calling but what impresses most is the choice background touches that shine brightly. They prominently enhance the aura that the tune possesses. Then their sound takes on a darker tone with ‘Bishops’. This is an effort that comes full circle almost immediately. The seduction is completed by the confident showing, while the passivity of the vocals etched across is highly endearing and it commendably grows in stature. There is a loaded feel as they turn on the style with ‘Disappear’. The underground permutations are confirmed here and it brims with class. The opening line follows up on the promise felt on the intro and things cleverly hold with no quarter given on a blistering track that appreciates further as it progresses. A more EDM focused effort follows with ‘Gravity’. This is a sensible synthesised effort that sensibly takes account of the texture in a favourable way. We then come to ‘Ecru’ which has a refined fell to how it opens. The expansive manner that things build upon develops the structure commendably and as an ensemble piece it doesn’t feel out of place. The album closes out with the excellent ‘Reprise’. The shuffle in the rhythm gets you moving and it has a real New Order vibe going for it. This is an excellent tune that you gravitate towards for all the right reasons. The blissful calling of the tracking adds to the appeal and it is a rich tune from start to finish. - 34 -

DAVID HARBOTTLE & FREYA JONES with THE FRIENDLY CATS Cutthorpe Hill We caught these guys when they played at The Ruby Sessions last month and opening track ‘Ramble’ is a tidy tune with a sturdy kick about the tempo, but the sophistication also spills forth commendably. That is underlined by the flustered calling of the delivery that fronts it in an imaginative way. Then things harbour a more passive side with ‘Malcolm’. The begotten touches are exquisite, while the proactive draw of the narrative is vividly depicted. The slow crawl of the delivery provides a saunter and the trumpet bellowed out endears it that little bit furthermore to capture the poignancy. Third track ‘Lay Down Beside Me’ implicitly calls the heartened traits. This soft calling is confirmed from how it takes flight, with the vocals spilling out alongside the compact side firmly called upon. It is an inspired opening that gathers up the delivery on show with ‘Igor’s Wedding’. The vitality in the running catches the folk side just right, while the pleasing way it runs, albeit it short and sweet leaves you wanting more. Following that comes ‘Lift Up Your Flag’ and has an ornate calling on show. The opening line secures that, but it has this rich vein in the flow that carries through commendably. The fanfare created with the brass

8 section here is excellently considered and gives it purpose. Retaining a loyalty to the title is ‘Two Young Lovers’. The calm calling here is open and assured, while the shared vocals harmonises the tune to fine effect. It is a tune where everything presides over it in a fitting fashion, be it vocals, arrangement or structure, it all fits by design. There is a seasoned attribute that rides high on ‘Carry On You Fisherman’. Yet it is the lonesome yearning that gives it focus and a calling. What is also great about this one is the way it all picks up as it closes out. Then the classic ‘Spanish Ladies’ gets a run on the album with the band’s own slant put on proceedings. After that comes ‘Goodnight Sweetheart’. The tidy manner of the guitar on the intro feeds into things fairly. The reliable way the vocals combine is a good calling because it ushers in the lyrics in a rather selective way. There is a goodness that prevails which provides it with character. Then we come to the closing track ‘Lest We Forget’ and it is a resounding effort. The listless qualities are tracked implicitly with the piano building on this tellingly. It is a resounding tune that is pieced together appropriately. The rotund flow of things are confirmed and it is a small number but one that builds in a resounding way that befits its brief running time.

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STUDIO 69 El Studio 69 A solid sense of 60’s revisionist vibrancy is entrusted upon the opening track ‘Go Go Train’. The touches from the organ add a rich roadhouse feel to proceedings, while the eccentricities on show provide for it all in a most kind way alongside the progressive rock overtures. That is repeated on ‘Incendie Volontaire’ with the whip smart sensibilities securing a sense of chic in the process. The bounce from the funk carries it through and the rhythm is relayed expertly. It all touches out and is carried off with a clever showing that signifies the arrival of the band. Again the eccentric calling meets something that has a hint of ska in the flavour with ‘Take My Hand’. This has a justified appreciation and the rhythm envelops a lot from the playing to formidable effect. This is a superb tune that has an immense calling in the details and takes you away with the band. They again delve into an alternative direction with ‘Il Elle Juste Lá’. The progressive elements flourish here and the strong emphasis on development accommodates a lot of directional changes but loses nothing in the process. Here there is a true appreciation on show and this crafts the tune accordingly. The full on guitar approach works effectively on ‘Quand Le

9 Diable Va’. The expansive trappings add to the temperament of the flow in a determined way, while the tempo brings a sense of menace to proceedings. How that nails down the hardened side is keenly felt. We then come to ‘Oh It’s Foggy’ and the broadened feel is confirmed from the piano that makes its way through. The softer calling captures the essence deliberately, while there is a detailed build called upon from the classical sensibilities that holds true. Then things just become a souped up affair with the tremendous heft on show with ‘Lady Lady’. It is a tour-de-force with a high degree of practicality in the catchy trappings. That calling gives it a formidability that is contended with smartly. The debonair punk feel to it catches everything just right. As the guitar rolls out on ‘Major & Co’ you are taken along for the ride. It has a spirit and grace to it that resides where it should. The passionate manner of the delivery has a raw cut that also falls into place favourably, but gives it a justified appeal from the rough around the edges feel that ensues. The contrast between that and next song ‘Overdoze’ is wonderful. Here the punk edge is replaced by a more affluent delivery. The structure has a dandy 60’s vibe and sees them play to their strengths from how readily they embrace it. ‘L’absence’ is a long player that closes the album out. The dignified opening impresses in a telling way. What is invested from a playing perspective provides them with a comfortable affair to sign off on in a big way.

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DEAD HORSE ONE Without Love We Perish

A dalliance envelop the opening track ‘Hopper’ from the distinguished play if the guitars. From that approach there unbridled flow and scope come to settle upon the shoegazer attributes when the vocals come in. It is a sweet and textured calling in the right way. The raw and unpolished feel stirs ‘I Love My Man’. In the trappings is a mean streak that is brought through, but it is so catchy and compact. The high and lean way it drifts through by design provides it with a sense of liberation that sweeps you up in the process. Third track ‘Raven’ gets down to business. A true joie de vivre comes to pass with this one. That gives it a tangible reckoning that makes the most of the disenfranchised feel on show. With ‘By My Side’ things steadily come to pass. The longing rolled out has a residual presence which shapes everything. The passive way it is called upon stays the course and the harder showing is comfortably built around this. Again the guitar closes things out but it is a careful consideration that is savoured to excellent effect. The world fades away when you get lost in ‘Never Be Your Lover’. This has a reckless abandonment about it that holds in a formidable way. It rides

10 high and has a stellar accountability going for it. The sharp beat of the drumming bears down considerably and the anomic styling here is impeccable. It is quite the resounding tune indeed. Then comes ‘Undone’ and this is a bitching good tune. How it sits grabs you in the way that great music should. The brash guitar hanging back triggers that response and it flows with a clear intent – to let the music do the talking. Things then become somewhat progressive but with an enamoured showing on ‘Blackwood’. There is a sincerity that spills forth in the lyrics. A saunter is kindled in a considerable way, but the stray and minimalist way the rhythm drags through has something choice that falls upon with distinction. The chill wave sentiment of ‘Teen’ works wonders. It is one of those enigmatic tunes that is impeccable. How the delivery is coaxed has a spirited definition that falls into place. The lavish demeanour is one to savour and it nestles in a way that harbours all the intentions of the delivery expertly. The album closes out with ‘Wicker’ and this is a rather haunting tune. The tone on the intro seems to confirm the darker calling. The mood of it befits the lyrics. There is a suitable apathy built within the structure here that carries through in the details to excellent effect.

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THE LUCKY FACE Follow, Unfollow The ska offering found on first track ‘If I Can’t Have You, Nobody Else Can’ is rather charming. The depth is found in the keepsake way it carries through. It has a rather noted drift on show that is sparingly teased through. They catch something imaginative which integrates ska and indie. This again presents in the uplifting fit to ‘A Fine Line’ and the spirited appeal is confirmed with the sass pouring through. ‘The Reason Why’ is a positive number and comprehends this in the arrangement. What is collectively shown is able bodied and flushes out the playing considerably. A real strong vocal showing cements the appreciation here alongside the accompanying marked distinction. Things move direction and have a country sensibility on show with ‘Give It To Someone’. Again they play it well and the clever resolve on show necessitates the structure of delivery. Howthey get down to the task at hand it is a comfortable showing that brings a sense of belief to accompany the diversified way the album shifts. ‘#RIPCELEBRITY’ travels effectively. The relevance of the social commentary is on the money, while it catches a side in how it is versed that elevates it above being considered pastiche. The album’s title track comes next and ‘Follow,Unfollow’ has an electronica lustre. It cleanly seems to express the roboticised organic to impart

8 some New Wave sensibilities that fit the direction the album is now moving in. Then we come to ‘Falling Out With Your Friend’s Girl’. Here is a tune with a solid sense of contention. It is well figured out and the smartness of the tracking holds with a solid degree of consistency throughout. A refrain pushes through on ‘Something In The Way You Sigh’ that suits the softer calling. It has a dignified placing that richly moves through and leads from the off. The hospitable country margins accommodate the delivery as a whole which the band feel comfortable with. You are immediately drawn to how they pick up the pace on ‘Feel Like Falling In Love’. The makings of the song fuel it, while in how it embraces the lightness of touch inspiration is found. This clever tune follows a somewhat formulaic approach but backs it up with an impressive showing. Then we come to ‘Fry You In My Mind’. The high arrangement is kind to it, while the soothing saunter of the vocals also caress the delivery impressively. What that does is make up for the lighter shortcomings but it doesn’t detract from it being praised on merit as a whole. Ebbing away in a tidy way is ‘You Never Really Know ‘Til You Know’ that is very giving to the song. This bolsters the hardened showing and the railroad attributes harboured are respectable. They effectively frame the running and it is a song that has an engaging zest going for it as well. Penultimate track ‘Flee And Be Free’ has a Parisian flair in the saunter of the rhythm. The absolved showing comes through and it is charismatically bound to the tune in a listless way. It permeates and the volume displayed comes full circle with a comprehensive zest to it all. The closing tune here is ‘Midnight, My Time’ and has the makings of a closer in all the right ways. The generous way they pursue the musical side of things plants things squarely on this one and it suffices in how it drifts through.

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YOUNG SUMMER Siren The boundless flow of the opening track ‘Striking Distance’ holds firm. There is a token appreciation in the distal quality, while behind it the electronica safely procures things. The patience stirring it is favourably accomplished and finds a place to call home in the splendour. The loom of the rhythm to ‘Blood Love’ gets among things expertly. The manner in how it blends to the tune allowing the progression to step out is excellently considered. It rises in a steadfast way and this is maintained throughout the delivery. Synthesised music is a feature of their sound and it is called out on ‘Taken’. A keen appreciation in the morose tone hangs back properly, allowing the vocals imbue it with presence. The mindful approach as a whole shows and here the expertise is made to count for a great deal on a musical level. How the direction of ‘Sons Of Lightning’ moves seems to encompass a more daring approach. What is fastened in the sound is very desirable. The sullen tracking sits well with all the elements on this one. The choice aspects are noted and expertly brought to bear. Screaming retro is ‘Leave Your Love’. In the ethereal flow of the rhythm is a spry 80’s feel. What takes over in the delivery and vocals underlines this, but it is also a highly capable effort deserving of merit in its own right. The tidy drum beat on the intro to ‘Fever Dream’

10 allows it to take off cleanly. It is lead in all the way and that is a refined touch that listlessly steadies the running. Again it sees them play the settled card in their music but it is able bodied in how it comes to pass. Next song ‘Severing Ties’ gathers everything in an abrupt fashion that is wisely considered. The listless showing in the delivery has a withdrawn drag and indifference in the feel that is highly inviting. Then the lush electronica overtones blanket it with a rich wall of sound. Marked by the maturity in the lyrical content is ‘Waves That Rolled You Under’. The rich sense of metaphor that runs through is selective and breathes life into the delivery from how it all touches on the intent. That carries through in the delivery as a whole. With ‘Propeller’ things are called out in the piano. The rise of the tempo delicately falls into place, while the harmony entices the listener in a highly inviting way. That is carried off and the professional showing to the tune doesn’t go unnoticed. Guided by an attentive sense of atonement is ‘Siren’. There is a chic flow neatly pieced together, while the running here is one that benefits from that understated showing. It has a lingering quality that is rich in volume. This is what gets the best from the song here. The worth of things is proven on ‘Cage’. The unbridled running in the delivery is stared down, and what is obtained in the process is highly inspired. The background touches in the sound are an undeniable appreciated aspect that fall into place by design. With the album’s closing track ‘Classless Kids’, the ornate trappings of the sound offer a lot. The refrain from the opening line sweetens the delivery and sweeps the song through. The befitting way it is all pieced together is a startling effort to the end.

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Colorado Youth Only Instinct

There is something that reposes in the playing deposits on first track ‘Tricks’ that transfixes the listener in the choice way it builds. There is a steadfast patience in the calling that traipses through with a clever sense of indifference that comes to be defined by the manner in how the arrangement comes together as a whole. The intro on ‘Gila’ wows you. The rich Americana texture goes the distance, while the weight of the song unfolds in a rich way by design in the soulful way it converses. Next up is ‘Eva’ and it is a tune which steps out nonchalantly. Yet it holds a tight resolve in the movement that is fashionable. The vulnerable showing carries across in a way that pays its dues in how it marries to the tune as a whole. Here is a band who can make good use of the softer callings of their tracks and that shows again on ‘The Moon’. The listless ebb and flow embraces the context, while the bluegrass management of the tune gets beneath the running and sets in handsomely. A bit more mainstream in how it runs is ‘Its Only Instinct’ but it lifts off in a relevant way. The intrinsic showing reasons well and it rises in a lean way. The responsive way they rhythm comes together catches things in a clean way that offers a lot.

10 They keep to a sheltered calling on ‘The Lucky Ones’. In how it is fastened to the delivery brings everything into focus. Things are cleanly brought through with flair on ‘Drop Me’. How the rhythm is pursued has largesse about it that picks up in an accomplished way. This superb showing is what drives it on. Cautiously opening is ‘Fare You Well’. The open flow that abides on it here has a true grace about it all. The opaque feel here is rather contemporary yet it is tailored in a way that lets out in a rather opine way which suits immeasurably. Then things hinder to a process that catches flight in a neat way with the tidings on ‘Come, Girl’. It comes good in a determined way from the off and how it catches you off guard is a welcome surprise. Here there is a sense of substance that grows in stature with the realised way it all lines up. A taut sensibility manifests in the delivery on show with ‘When It’s All Said And Done’, yet as it progresses it evens out. The light reach in the vocals affirms this to great effect, while on the whole there is a fray to the grounding here that neatly pulls it together. Provided well with heart from this, it is a tune that notably develops and brings everything full circle in a comfortable way that lets the music do the talking.

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International Artists

BEAST PATROL Unarm Yourself

This is one of those bands that grab you from the off. The rich retro calling of ‘Unarm Yourself’ carries through with a direct trajectory in the tempo, while the seasoned intent of the delivery as a whole is nothing short of brilliant. As a result they produce the goods and you are immediately drawn to this because of what it cleverly brings through. Coming after that is the equally impressive ‘Distant Grandeur’. The distinction in the trappings are cleverly manoeuvred bringing a manifest essence that is expressed in a dutiful way that lights up with a rich texture and abandon weighing in behind it all. The sharpness of the bridge and its highly engaging overtures is also something that sits upright here and stirs it passionately. Again they prove their mettle with the truly inspired ‘Lullabye’. How bespoke the amble rhythm feels as it closes around the delivery is explicitly taken note of. Also found in the taut and seasoned demeanour is a highly appreciated breakdown in the tempo that is high on detail as much as it is rich in texture. The soothing vocals are also apparent and lock in the right degree of necessity that is unbridled and impressive all the more for how pure it comes across in the transition and overall break down. The retained calling of their last song ‘Backface’ has flashes of faithfulness as it picks up. The electrifying way it concludes the EP is one of those ‘fuck me’ moments when you hear it for the first time. The charge in the rhythm musters the calling of their intent in a truly remarkable way, but what also gets underneath the playing leads in and follows through with such determination that it knocks more than just your socks off. It leaves you wanting more and that is just the way good music should be.


.......................................................................................................................... WISEGIRL

Sing Me To Sleep There is a consistency about the first track ‘Don’t Go’. What is considered is rather concise. The appropriated darling side of the lyrics is considered in a way that allows the gentle and bespoke quality to affect things in a positive way. The carefree skip in the guitar also splendidly endears the keepsake side of the delivery leaving nothing to fall short. The nuances that gather in the background also aid the inspired pull by holding their own. The vocals purse through on ‘Just Won’t Do’. It is a tune that is steady and offers a great deal that sits right, The saunter of the vocal arrangement is one that defers the right touch of class upon the delivery and lights the song up. The thorough and careful threading on show makes do with relish. The lay showing that works through enables the delivery to come full circle in an exact and conclusive way. The EP is completed by ‘Sing Me To Sleep’ and the delirious and fanciful flight sees it get by with a high showing of resolve. It is well managed and the patient calling taking hold is one that retains a consistency despite the pop sensibilities that are evident. Overall for a three track EP it is one that does get a lot right, while the detail in the playing is something that carries across in the high end of the delivery each time.

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Review by Jamie Kelly Centrefolds are a four-piece band from Bristol, England. ‘Fashion’ is their seven track EP that was released February of 2014 and it all gets underway with ‘Aquaplane’. This band have a very unique sound that shines through on this first track. The vocal performance on show is great, while the lyrics have a really smooth flow to them and are performed to the highest level. The backing vocals are also strong and effective, especially at the end of the track. The instruments complement the vocal melody’s groove really well and it is a good track overall. I really enjoyed the bit of electro thrown in toward the end. The next song is called ’15 Minutes Of Fame’. This starts out with some electro that sets the tone and vocals aren’t far behind. This is full of energy and it radiates from every note. Again the vocal performance on show is very strong. There is quite a commercial vibe to this track and it has good radio potential. We then come to title track ‘Fashion’. This opens out with some synth worthy of a Tiesto track. It’s not long before the rest of the band pile in on top and we get the sound that we are accustomed to from these guys. I really liked the tempo change in the middle because it gave things a bit more depth. The electro element of the band came through a lot more here. ‘Release The Hounds’ is a tune which opens up with some vocals beat with effects which works pretty well. The vocal melody in the chorus is a real hook that implements the title very well. When you hear it you can envisage a massive crowd singing along. This is an incredibly one with a real hook that, again, has very strong radio potential. The next song is called ‘Fresh Air’. This song opens up with a catchy guitar riff accompanied by a quirky drum beat to hold it together. The bass really stood out for me because it gave it the good presence that some songs previous had lacked. With ‘Alright’ things open up a little more commercially than the others. It has an almost generic vibe to the sound at the start. As it progresses, the band’s organic sound starts to implant itself a bit more in the song turning it into a great little track throughout. I particularly liked the breakdown towards the end as it gave a bit of character to the song as a whole. This brings us to the last track entitled ‘Jennifer’. It starts out with a high paced intro but it is not long before the band pile in on top to inject some energy into proceedings. The chorus is very catchy, and similar to others the title is well implemented into the chorus to create a hook for the listener. The song builds up to give a climatic end to what is a solid EP offering.


.......................................................................................................................... LAGO


Review by Jamie Kelly

This is a strange one. The opening track is called ‘Trigger’ was one I really liked. It seems a bit weird when it starts off but your ears quickly become accustomed to it. It’s very strong musically; the style of singing is just a bit strange. I thought it was a very powerful offering, especially toward the end as it gets very intense. The second track is entitled ‘Fountain Of Youth’. This is a great number with a lot going on. The style of singing really sets into this one. It is very strong in all aspects; lyrically, vocally and instrumentally. There is a real groove to it that gets the head nodding. The synth solo toward the end then really wraps everything up. The outro was quality as well. The third and fourth tracks on this EP are actually a remixes of the first track ‘Trigger’. The first one is quite different in comparison to the original track. It’s all very electro-funk, almost in Daft Punk territory. Very progressive and slow to build. Quite interesting over all. The last track then, also a remix of ‘Trigger’ was again quite interesting. This one stuck to the original a bit more. Although if I was to be entirely honest I didn’t care for it that much. It had an element of someone just messing about on music producing software. I feel that the song had a lot more potential, shown in the first remix on the EP. I thought that overall the EP was pretty decent. The tracks are well written and well put together I would have preferred to have heard a four track offering with the remixes as bonus tracks or something along those lines. That is where they fell down here in my opinion.

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Make A Shadow

Review by Jamie Kelly The first track on this five track EP is called ‘Desire’. I have to say I was really blown away by this track. The vocals are superb, both lyrically and from a performance perspective. There is something quite sinister about this. Although I’m not sure what it is, I just know that it gives it that vibe. There is a tasty guitar solo toward the end to top it off which gives it a very powerful vibe. After that comes ‘Go’. Again the vocals stand out and give great depth to the sound. The use of backing vocals really works. The heavy riff that bursts in then gives great effect. I think all round this song is brilliant, it has so many desirable traits; power, depth and musicianship all beat into one. Three is the magic number and this applies to third track ‘Make A Shadow’. The vocals are again fantastic. The lyrics almost bring you on a journey, which helps you feel a real connection to the singer when you’re listening. Her voice is so enticing. The fast paced vocals in the chorus are really catchy and give it quite the hook. Next we come to ‘Heart Heart Head’. This song is fantastic and lyrically very powerful. The strings and wind instruments that produce the melodies throughout the first half are really effective. It sounds brilliant and gives the song such a heavy atmosphere. The last track on this EP is called ‘The Morning After’. This opens up with some really powerful lyrics. It’s like she speaks directly into your soul. The guitar work was very colourful as well. There are some really nice tones behind the spoken word vocals. There is so much emotion in the singer’s voice it’s crazy. It’s quite a soothing song to listen to. Overall I thought this EP was absolutely brilliant. Fantastic on so many levels. Meg’s voice is superb and the instruments around her compliment her style so well. It is also extremely well produced. You seriously recognise that up to the highest standard possible. That is why it gets a well-deserved full marks from me.


.......................................................................................................................... THE DEDICATED NOTHINGS Running Away

Review by Jamie Kelly

The dedicated nothings are a band three piece band from Barcelona, Spain. The first track on this EP is the eponymous ‘Running Away’. The song opens out with an atmospheric guitar riff and sets the foundations for the drums to come and build on. It’s not long before the vocals come in and we get a real taste of what this band is about. The vocals are quite mono-tone, however it suits the style of music well. This was a good track overall. The second is ‘Love Me Girls’. This starts out with high energy levels, erupting upon the listeners ears. I found this one to be a lot more melodic than the first. Which in turn is very giving of dynamics to the songs as an item. It breaks down a bit toward the end before coming back in to finish on a high. I thought the use of backing vocals was very effective here. Next we come to ‘Here We Are’. I found this to be very catchy. The lead guitar melody throughout the song is a real hook. The vocal melody also bounces off the guitar well. This was a good effort despite being quite repetitive. This brings us to the last track on the EP ‘Ain’t Got Words’. This is also very catchy and I found it to be quite strong lyrically. It is also very well put together. The first half is really good and then it just explodes with energy. It makes for a very climatic ending to the EP overall. Although this is really not my genre I can really appreciate the various elements that have led to this bands success. I don’t think it’ll be long before The Dedicated Nothings are hitting it big.

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Mouth Full Of Teeth Review by Joe Loftus

The rich texture of the electronica is enhanced furthermore by the eccentricities on show with ‘Stifling’. Overall it is a telling effort that finds its calling among the dark overture in the artistic expression. It is a rich tune from the approach and the synthesised attributes give it reach. That is again a factor that is syphoned to fine effect with ‘Cosmic Swaying’. Neat chill wave attributes collect in the progressive calling to very fine effect on this one. Then comes ‘Firebug’ and the coveted showing of the rhythm drifts across in a way that denotes a sense of emancipation. A heartened allure comes full circle in the intoxicating drift here that patiently realises everything in the process. Stirring ‘Agitated’ is a rich 8-bit synthesised rhythm which has a retro kick. Majestic in its own right it has an organic sense of noir that is lavish and sophisticated in equal measures. That sets a precedent that embraces the alternative trappings with the necessary verve and ingenuity in the flow. A displaced calling resonates on ‘What Do You Want’ and it seems to settle upon the delivery in a telling way. The loose and calm expression engages everything but also places upon it all a stillness that appreciates all the more from the lay manner it offers a calling to the delivery. Distinctly guided by the blanket of sound that permeates in the structure is ‘Space Penetration 2000’. The seamless ebb and flow locates a refined calling and the sexualised context offers a lot. Amplified in the progressive feminised lyrics things find a commendable calling and it is driven on in a forward manner from this approach. Fleshed out by the reach is ‘Forgotten’. The approach seems to fasten to the dropped down manner of the tidings comfortably, while the harmony of the vocals endears to it to heighten the appreciation in the way it all falls together. Things move up a considerable gear with final track ‘See’. Arguably the only mainstream track here but one that saves the best until last and are not out of place. Tapered by the minimalist flashes of play allow it to retain the contemporary identity but also process the catchy side with real distinction.


.......................................................................................................................... ZEN PROJECT Revolution

Review by Joe Loftus A four way car crash between the Counting Crows, Oasis, The Stone Roses and The Magic Numbers is one way I’d describe Zen Projects first E.P and considering the band have only been going for a couple of months, that is most definitely a good fucking start. I won’t talk you through every song individually because I am certain that everybody has a different perspective however I will state that my favourite song on the E.P is Bad Kind of Love, but then again after giving this EP several listens it is still hard to tell whether it is or not. ‘Bad Kind of Love’ sounds beautiful through headphones; incredibly tight drums thrown into a cacophony of madness with a great bass line and sharp guitar. It has an American feel to it a little like Golden Smog or so combined with typical northern sociolect such as ‘down the pan’ as well as a ‘road song’ feel to it. I can just imagine myself driving along one of those filmic American highways in a roofless Cadillac with Bad Kind of Love booming. With ‘Politics’ everything differs greatly from Bad Kind of Love. It has a far more Manchester 80’s, 90’s feel to it. The likes of the Happy Mondays, Stone Roses and Oasis can all be heard quite simply through this track. In a way I can also hear some really different bands in this song such as Coheed and Cambria, more specifically through the vocals. This is a real feel good song – I suppose it’s ironic that it is named ‘Politics’. It all shows with ‘Revolution’, which, again is surprisingly incredibly different from the other songs on the EP and this is something I really like about Zen Project. You can hear so simply the collaborations of different influences flying in from every corner with a great touch of individuality in the frying pan as well. Far too many influences to list but this makes or an interesting listen. Perhaps this is because the band is so fresh on the music scene - they are yet to find their own unique style but I am sure they are close. The likes of the Blitz Kids spring to mind through ‘Revolution’.


Now I will just wait and lust and look forward to hearing what they will produce in the next couple of months.

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You immediately recognise something in the vocal appreciation of ‘Erotic Market’ which opens proceedings here. Elaborate interchanges in the running seek out the comparative aspects and implicitly break down the track, while the casual interjection of it all carries through with real vigour. They again seem to embrace an expressive side on ‘Identity’. Credible for the way it seems to draw kindly on the innate touches on show that carefully consider the contemporary approach adopted. In the reflective showing they get behind it all in a holistic way that weaves through with a richness to it that is considerably worth more than the sum of its parts. Remaining loyal to their offbeat leanings is ’30 Seconds’. Manic flushes stop it in a deadened way but it has a languid identity that blends things together in a figurative way that leaves a lasting impression. The way they grab the intention is a blissful showing and the fearless way they further the expressive side grows on you. ‘Rumblin’’ seems to situate a hip hop calling in a lingering way. The breakdown here feels manifest destiny because it goes deep and has all the trimmings of a great track. Accentuated flashes in the play work their magic but it is fired up and goes the distance. The accompanying remixes that fill out the track are also excellent additions that add to the equation in their own right.


.......................................................................................................................... FELT TIP

Simple Things Wondrous opening track ‘Simple Things’ holds to something formulaic in the intro before stepping out in a truly smart fashion. Here the paunch in the tempo guides it through in a practical way. The charm of the vocals is a choice application and garners in a deliberate way that pursues things magnificently from the second it comes to pass. The lithe draw of the bass on ‘Love Or Pity’ alongside the reticent hold of the vocals brings everything into the fold. The nuanced handling here cleverly develops the reach and yet they retain a consummate romantic steering that excellently toils away. The kind way that ‘How Do I Feel’ lights up is amazing. There is a real zest pumping through on this one and the apparent trajectory that it takes from the opening keeps it all in focus. In the showing here is an agreeable sensibility that catches an inspired outline that is entirely by design. Somewhat morose is ‘Milk & Honey’ and it seems to draw a comparison with Franz Ferdinand’s earlier material. The casual way it all resides has an air of confidence and Avant Garde leanings that come together in a tidy manner. The enigmatic approach procures the right degree of animosity and artistic integrity. A token hold comes over on the showing of ‘No Idea’ which gears up everything in a grounded way. The acknowledged way that the rhythm touches out addresses this in a choice way which smartly comes full circle. The final track here is ‘I Don’t Ever’ and the forlorn touches on show catch something just right in the delivery. It is an open tune with a wonderful sense of resolve in the balanced approach commendably bringing through all of the running. It holds firm and fast, while the elegant way it materialises is a true testament to the ability of the band.

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Things close in around the exalted flow of ‘Artery’. It is a full on showing and there is an unbridled existence about it all that is akin to the later work of Pulp. You sense that they may be an influence here but the barren landscape of the song could just as easily reflect any number of great Northern bands, and would feel just as at home in their hands. After that withdrawn calling comes another suitably sparse offering with ‘Here I Begin’. It has a lonesome calling that displays in a way that suggests it is comfortable in its own skin. The requisite lonesome surroundings of the track come to pass in a telling vein that is longing and rich in texture. Spurred by the deft guitar that lingers on the calling of the intro is ‘Starting Over’ which then meets with the drumming to point it all in the right direction. The shoegazer sensibility borders on greatness and they develop the ambient undertone with a measurable display. It starts from where it intends to and gathers in a reliable way that also displays their potential to admirable effect. The light way the looms carry across on the rhythm add effect. The closing track is ‘Carry To The End’. Simmering away on this in the tempo is a select effect that matches what is intended quite closely. The withdrawn flow occupies something considerate in the undertone that is safely processed but has a daring face value that is in harmony with the rest of the EP and contributes accordingly, which is why it sits so well as it all carries off.


.......................................................................................................................... KATIE BUCHANAN Go

Hitching up is the opening track ‘Shake Down’ which has a refined splendour that is rather humble. The grounded way it catches the pop sensibilities meets well with the sober reach of the more revered deposits. It is a fine and fanciful effort that commendably finds its calling. Then comes ‘Go’ and the soulful predilection brings a sense of warmth that lights it all up in a conclusive manner. The rich texture sees things through and comes across in a lasting way. That is what is engaging to hear on the track and she displays a smart understanding of that in the approach. Her next song ‘At Least I’ holds it all together. The shapely prominence of things doesn’t sell itself short. Treated accordingly, the cumbersome and bold showing gives it lift which is brokered in a way that goes the distance. Her vocals also hold in a capable manner on this one that opens it all up in a clever manner. ‘Falling Away’ is the most developed track on the EP in terms of the layout of the arrangement. A lot is given back from the investment with the lavish sentiment forsaking it in the right way. Things have a tasteful reposing as it all falls away that fits around the tune in a bespoke way that is commendable. The closing number here is ‘Casting Waves’ and plays a pop card that is held close which result in it developing. The ornate structure and upbeat tempo comes in and plays its part with determination as the seasoned rhythm and tracking begin to pick up expertly.

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Our friends in our Swiss network are responsible for sending this excellent act our way. The kind way that blues is processed entertains their inspirations on ‘Chocolate Woman’. Here is a tune that is bossed expertly from the off and the handling on show excels. The mindful way that the tougher side of things is carried across has a strong sense of resolve that beckons things forth. In the clean handling things grow in stature but that is secured by the manner the vocals find their calling. An aspiring tune follows with ‘21st Century Witch’. Centred in the tune is a solid sense of practicality from how it is laid out. Then another consideration is the vocals and their impartiality which suits the context of the lyrical narrative. Here the intention of the band is realised and it is a joy to behold. With ‘Pagan Hill’ the novel approach sees them achieve a sense of catharsis on a musical level. This has a freedom of expression that makes them a musician’s musician on account of the high calibre of expression on show in the delivery. The gentle stirring of the intro to ‘Sunday Drama’ graduates and picks up with a hint of bluegrass flair about it all. Then it steadies to become something with Eastern European coincidences about it all that see it right as an ensemble piece. Kindling hints of Krishna values is ‘Move’. The resolve plays in with the liberated philosophies of the song. It seems to trade on that efficiently when it all picks up the rhythm. The inspired way that things are all caught follow through in a way that is groovy and neatly layered. In the way it is approach things are leaned on to excellent effect. The purity of the delivery catches the inspired calling by design and hedges things in a way that explodes. Then they bow out with ‘Strike Me (hate yourself)’. Here there is a transition in the tempo that is freely expressed. It takes it all in and the blues and rock combo is one that is a splendid marriage indeed. How that gifts it all a lean foundation shows the glorious side of this band when they lose themselves in their music. On the bridge they hint at psychedelic and alternative influences which are dignified in their calling.


.......................................................................................................................... THE BUNS

The True Story Of Molly Jin & June Cooper ‘Learn How To Lie’ leans on a hardened calling but it also steps out with a comfortable and contentious roll off the back of the guitar. The funky calling idly hangs across on this one and it sexualises the drift in a way that finds a true calling for it that sensibly takes flight but also feels at home simultaneously. On ‘One More Shot’ things abound in a way that has a cumbersome charm that is all of its own makings. It is all motioned across with a sense of relativity as it fires off. The charged approach is a measured one that has a bereft drift that picks it all up in a becoming way that exemplifies a level approach bringing forth what is set out in the delivery. The French vocals of ‘Cassidy’ pour out with a fabulous sense of accomplishment to them. The classic touches assure it of relevance in that respect. What is also an intriguing attraction is the coveted way the Americana style of the arrangement connects with this. Then we come to ‘Over Me’. The pick up on show is more hardened and fastens something that has a mainstream appeal that shapes the running. It has a weathered and chaste calling in the vocals that washes over everything in an inspired way as it commendably begins to gather momentum. The title track is the closer here. ‘The True Story Of Molly Jin & June Cooper’ is something innovative in its own right. The raw calling of the delivery takes it in a punk direction. Angled in with a gritty determination it is allowed to develop in its own right and this is why it never loses focus.

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Oh Darling, Lets Be Adventurers The blissful way that the opening track ‘Oh Darling’ develops is built upon a solid foundation. Here the lucid styling in the arrangement is excellent. It defines the beat and tempo in a comfortable nuanced way that moves through the song with extreme relevance and draws you in immediately. The excellence carries through on ‘When I Know’. Here her voice is a comfortable addition that purses through with a listless persuasion that seduces the listener. In the trappings of the layered construction is an impressive level of musicality that is as close to perfection as you will ever hear. Persuasive in a telling way is ‘Magic Power’ and the synthesised beats very much find their calling on this one. The spatial demeanour is one that refines things with a consistent texture that is brilliantly secured. While the baying tone of the vocals materialises in a succinct way that provides it with a listless touch that empowers everything in a way that rightfully impacts. The closing track here is ‘Bittersweet’ and it is a carefully considered effort. The darker loom resides over it in a way that is carefully deliberated. As a result it garners in a bespoke way on all fronts. The narrative depiction here marries to the layout superbly. This is one of those EPs that you come across that you cherish.


.......................................................................................................................... POLAR MAPS Polar Maps

Opening in a hopeful manner is ‘Home’. It grows in a comfortable way and holds with a sense of persuasion. Then things pick up in a collective way that carries through in a sensible way, while they pertain to keep it all together with the lightness of being in the tidy touches on show. A brash feel is developed with the guitar on ‘Open Your Heart And Soul’ and carries through accordingly. The weight is a steady application and keeps hold of the contented side of things that wile away here. Somewhat sedate it opens out with a hardened approach that doesn’t over indulge. Lucid trappings disperse on ‘Stay Here With Me’ and formulate in a way that channels the narrower aspects to fine effect. Freed by that sensibility edges out the track and is carried across with the more bereft feel of the timely showing with distinction. Risible offering ‘Not On Your Life’ gets into things from the opening. Confirmed by the taut showing sees things develop in a sensible way. That holds true and the clean configuration carries through with a deft manner that matters in a way that is held accountable. Lighter in the flow is ‘Your Story’. The opening line is rather smart and eases the rest of the song around a suitable structure on all fronts. The relativity of it all is rather fashionable and the break down is one that takes account of what is stowed away quite tellingly. After that comes ‘Pick Me Up’ as the closing track. It is a seasoned tune with a quaint sense of urgency taken stock of. The differing playing arcs see it through commendably, while there is a tidy departure on show that picks up handsomely.

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Picking up in a considerably lean way is first track ‘Don’t Wanna Be Me’. Kept in check here is the pace, while the loaded feel of the delivery has a commendable showing that pushes that out in a way that perceives of a reckless abandon but also signals the intent of the band in an impressive way from the get go. A somewhat deadened sound flows through ‘Factory’. The development is a keener approach here which processes the leaner cut figuratively. It lights up and comes together as it all takes off with the handling very much showing the intent of the band in the right way. There is a childish feel to ‘Jimmy’s Got A Secret’ which is brandished in a way that collars the appeal here. The obvious way it is fixed in the approach keeps a simple tune in course and plays accordingly. No more and no less than that really. Heading into the play from the off is ‘First Date’ and it has a slight ska feel about the undertone. Yet the whimsical style carries it off in a subtle way with the clever pinch of the sound coming through. The steady manner of the delivery stands out for all the right reasons here. Then we come to ‘Get Some’ which hangs across in an excellent way. Here the raw side of things feels at home. The true worth of everything deliberates in a reckless way that is fashionably fused together with the guitar work on show. Then that bereft drift cuts across on final track ‘Starting Over Again’ allowing them to lose themselves in their music and take you along for the ride. Not a misguided effort in any way, the lean and unbridled flushes in the play confirm that, but instead something that has a high accountability running through it from beginning to end that very much goes the distance. superbly. This is one of those EPs that you come across that you cherish.


.......................................................................................................................... WILD LEAVES Wind And Rain

This New York band adopts deftness in their folk styling that is impressive. What is felt on ‘Everyone’ fastens a sense of indifference in the playing folds that engages a sense of solitude. In the confines of the structure this is accommodated and harbours a yearning that is rich and effective. It builds with a stray factoring but never loses sight as things are very much kept in focus throughout. Pertaining to a waltz that bodes well with a free Americana deliberation in the handling is ‘To Be Free’. The richness of expression that carries across on this one fastens everything together. It has a longing and endearment about it all that leads in commendably. The depth of the tone stands it good stead and it draws inspiration from it in the distal calling that lets the listener in. Third track ‘Lost Wisdom’ has a whimsical conditioning that leaves a lasting impression from how it is framed. The handling is an inspired turn here that shepherds the delivery in the exchanges fancifully. How it intercuts with the vocals builds it into something of relevance with a true sense of reach. This New York band adopts deftness in their folk styling that is impressive. What is felt on ‘Everyone’ fastens a sense of indifference in the playing folds that engages a sense of solitude. In the confines of the structure this is accommodated and harbours a yearning that is rich and effective. It builds with a stray factoring but never loses sight as things are very much kept in focus throughout. Pertaining to a waltz that bodes well with a free Americana deliberation in the handling is ‘To Be Free’. The richness of expression that carries across on this one fastens everything together. It has a longing and endearment about it all that leads in commendably. The depth of the tone stands it good stead and it draws inspiration from it in the distal calling that lets the listener in. Third track ‘Lost Wisdom’ has a whimsical conditioning that leaves a lasting impression from how it is framed. The handling is an inspired turn here that shepherds the delivery in the exchanges fancifully. How it intercuts with the vocals builds it into something of relevance with a true sense of reach.

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The Best Damn Ride Here is an artist with a true sense of accomplishment marked out in the layered tune that is the opening effort ‘The Way Life Is’. What is contained in the flushes of the playing keeps it all on course and the progressive keel is marked impressively, while the standard of lyrical content creatively comes to life from how well versed it is. ‘Tongue Tied’ is a darling tune that exudes a firm sensibility. The catchy derivative falls fortunately by design while there is a comparative level of comfort in the way it carries through here. Sitting in a deadened way that comes to life is ‘Summer’s Day Runaway’. This is a rich tune that catches the extravagance in the tempo superbly. What a tune and it confirms all the hype and potential that she has as an artist. It is a blistering effort that breaks away superbly. Easing in to everything is ‘Falter Baby’ that brings everything through full circle. It all falls into place by design. The unfaltering manner of it is impressive while the context and deliberation of it as a whole sells you. How well fronted it is completed when it takes flight. One of those tracks that make your day and it is followed by the sweet ‘Running My Mouth’. Here there is a robust meeting between content and delivery that marks the intent in the outline expertly. What is tidied away saunters through explicitly and it plays like a charm throughout. Two bonus tracks on the EP also deserve mention. Both are live recordings and the first is ‘Why Are You Waiting?’ which favourably comes to pass. The strength in the acoustic guitar calls it all out in a way that then proceeds to open up in a well versed way that absolves everything in a committed way. The second is ‘Wearing Your Kiss’. The more detailed flow fills out on this one in a way that carries across with distinction. The forsaken attributes lead it to a point of conclusion and they carry a longing in the right sense. It is a tune with a kind sense of worth on show but keeps the refined showing in place by design.


.......................................................................................................................... LUKE PAULO AND THE GRAPEFRUIT Mirrors

The clear cabaret feel on show with ‘Clear Water’ goes some way for drawing you in. It holds a high sense of referential that is self-medicated in the dropped down delivery that plays like a dream. The murder ballad sensibilities have aplomb and clearly process the delivery in a similar fashion. Fleshed out with a lighter jazz flow is ‘Eyes At The Window’, yet the noir aspects are tailored in their own eccentric way here. Life seems to run through it all in a realised way yet it seems to have an offbeat appeal that grows in stature on further repeat playing. With ‘Beads On The Floor’ you do make a Nick Cave comparison for all the right reasons. The sunken way things are threaded through crafts things in a beautiful manner that is rather enigmatic. This is amassed in a tantamount way which hangs off everything excellently and provides fully in the deadened approach.

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Moving up a gear is ‘Crazy Like You’ and it confidently breaks into stride. The Tex Mex stirrings fall across here and play like a dream. The strong sense of resolve is heartened and is availed of in a conclusive way that lights the tune up deservedly. Then we come to ‘Hey Annie’. This is a clever tune and it is carried across fancifully. How it draws from this is more than a by-the-numbers approach as initially suggested because it is a detailed tune with a lustre about it all that commendably comes full circle. Then we close out with the excellently titled ‘A Summer That Lasts Forever’, which has this delectable romanticism about it that falls gracefully into place. The exquisite touches mindfully caress the narrative and the sense of loss rightfully sits in a central way on the running. It is a fine closing track that sees things out in a moving way.

International Artists HEAVY PETTING ZOO Crash The urgency on show from the off drives the rhythm through, while a rotund calling in the flourishes bring forth a tune deserving of repeat playing. The closed off feel of the tune is nurtured in the grounding that specifically catches things forthright. The licks in the guitar also play like a dream here and show a band with something going for them for all the right reasons with this one.




Here things come to pass immediately from the pressing resolve of the intro. The rich calling of the synth adds texture which then traipses across in a commendable way. Hiding away in the tempo is a lavish calling that is turned on with a marked distinction to bring it all together. While the discourse of the vocals also plays in with imagination which brings it all together.

International Artists


Here is a band that are beginning to garner a deserved following on the Irish music scene. This is a tune that has shades of genius about it, with the face value secured from the wanton distinction that develops in the approach. The sullen drift on show in the tempo focuses all of this and it allows it all to step out in an enable way that makes the best use of the effective way it is pieced together.


IAN O’DOHERTY Heartbeats Shifting


There is a presiding heartfelt sentiment about how his vocals spill out here. The sincerity denoted brings upon it all a deliberate sense of exclusivity. The manner in how his voice clings to the delivery brings through the celebratory intention to full effect, while a lot is there to be admire from his voice in its own right. As a single it is a very clever choice because it has steadfastness in the attributes that carry across in a determined way.

DIRTY DISHES Thank You Come Again It is an affair that gets straight down to the task at hand from this Boston band. In some ways they embrace a shoegazer approach but enhance that further by developing a harder calling in the ornate structures on show. The solicited calling of the vocals cuts through it in a celebratory way that catches that disenchanted flow superbly and allows the rock to be laid on generously here.


STORYFOLD The Lost And The Lonely Here is another act currently on the Irish circuit gradually making their way onto the radar of the right people. What gathers here tapers the sound to something practical and it takes flight. The passive competence in the lyrics carry a sense of worth that is rich in volume. Adding to that is an additional touch in the tempo that brings it all through with purpose and intent. A rewarding tune to listen to and the full album will be reviewed in next month’s issue.

- 46 - 51- -

ECHOTAPE Whiskey Bar

International Artists

This is catchy and it picks up in a neat way. The chanting is an aspect that carries it all through with good fortune. Yet they deliberate in the playing in a descriptive way which finds a bountiful calling that keeps it all moving. It is a radio friendly offering but is not something that sells short either. Instead it is something that has been carefully developed, albeit with that in mind, but it still backs it up with the right degree of ability on show.




This is a welcoming effort from this Dublin band. A relevant showing is carefully considered in the heavier trappings as it opens out. That brings things together in an opportune way while enveloping it all in a lavish wall of sound that carefully holds its own. The detailed and deliberate way that it sails through is well devised which in turn develops the sound in a focused way. A great tune all the way.

DALARO Empty Apartments A grounding follows on from the rich synthesised opening. Then it seems to lean International towards a more glorious calling as the tune progresses. It has a candid flow while the arrangement itself seems to invest a lot of the right attributes in a telling way that proves worthy of appreciation. The soothing backing vocals on the chorus capture and exploit the pop potential of the track to fine effect.





Here is a tune with a lot to say about itself. The stray running here is one thing to admire, but with the glorious way things meet and converge in a musical sense play to excellent effect. The dramatic reaches and expansive building catch an inspired calling throughout and provide everything with the right nuances of New Wave distinction that carry across in a tasteful manner. That the track provides so well from the approach is what seals in the appreciation here.

CORNER BOY Morning, Morning A conclusive tune indeed from the very second it gets going. This brims with an impressive number of traits. The folk side of things moves upwards and the hardened roll in the rhythm is something that boxes clever. In the inspired manner it comes full circle you are very much taken aback by how impressive a showing it is. Here is one of the most promising bands currently on the Irish circuit delivering ion said promise but still showing that there is more to come from them.



You’re Not Alone/ Nowhere Left To Run


This is a double side with the title track being a New Wave effort. The synthesised virtues of the song are realised in a determined way. The vocals also spill out favourably. It begins patiently before the formation of the play very much brings it through with a determined resolve. The other track is ‘Man On Fire’ has a more enriched texture that is subtle in how it is considered. A referential feel takes over from the very second the vocals spill out. There is a dark and gothic procurement on show as well, and that crosses over with the organic flow that is impeccably measured. The dark side of their style is an indulgence here more so than a defining quality.


THE NEW UNION Believe In Nothing

International We have been fans of this band for some time here at U&I and they come up with the goods here with this number. The lo-fi sensibilities fastened in the rhythm step out and casually generate into a stride of pride. The laboured calypso flow on show in the rhythm is another aspect of the delivery that plays like a dream. Overall the calibration of everything here neatly rings true and holds firm.



MOSAICS Recursive


Don’t be fooled by the intro here as hanging around for the rest of the tune rewards you for your patience. Here is a tune that is commendably pieced together from how it begins to let out. It has a resolve about it that reaches for something deep that is elaborate and blessed with certainty. How that contemporary showing carries on through allows the music side to develop interestingly.

THE ROLLERS No Reply/You’re The Same

International Artists

Here the two tracks show why the North of the country seems to be the place to go for music. The guitar shuffles across on this and bosses proceedings. How it does it on the first track is matched by the unbridled confidence on show that expertly collects throughout from the off. Then it does feel a little repetitive with the rhythm second time around. However things hold firm and fast and this is another shapely offering that thunders along and hits you with the impacts full on when you hear it.




You seem to listen to something that borrows from Christy Moore’s ‘Ride On’ in how the tempo flows. It is a very haunting derivative secured in the electronica elements. Confirmed by the lightness of the vocals the tune itself carries through off the back of those sparse calling to excellent effect.

LITTLE XS FOR EYES Love Gets Lost We have been playing this tune a lot here in our office since we first heard it. There is a clean showing in the pop sensibilities that is carefully addressed. Stowed away in the running is the momentum which formidably comes together. It is a delightful tune that is spread out in an even way that tellingly comes together with a select fondness in the tone being the making of it all in a defined way.




This is a beautiful tune with a languid calling in the structure that settles upon it all to give it a richness of texture. It carries through in an abiding way that caresses the softer touches in a way that intuitively accommodates the pedestrian weight of the delivery in a way that elevates it in terms of appreciation and volume. It plays to the emotional virtue with great temerity also.



International Artists

The maturity on the opening here falls into place and the charged angst in the vocals plays like a charm in the process. That is a refined feature here. What also travels here is the taut manner that the reach is deliberated from the excellent structure in the sunken feel of the playing. This is another excellent tune from a band that seem to be impressing furthermore with each new release. Here that impeccable standard is maintained.


THE BALCONY STARS The Last Word On Your Lips


One of our favourite Liverpool bands here at U&I, we love this tune. The embracing of the withdrawn tempo allows things to catch fire in a deliberated way. But it has a savoury ebb and flow that necessitates a New Wave structure yet adheres to a playing style the suggest so much more. A casual demeanour adds to the swagger here as it gets going and it is cemented by the consistency that sets it free. What a fantastic tune through and through.


International Artists

Another fine Manchester band that we are admirers of here at U&I have come up with the goods with this one. The sunken manner that things pass by has a serenity to it that is impressive. The neat way it steadily builds allows the playing arcs to fill out on the tune. It is a very showy affair and one that seems to rest assured from the careful way that the weighted touches fall into place. It is no surprise that it has been getting a lot of airplay recently because it is well deserved.


JOHNNY STEWART Ain’t Love A Beautiful Thing


Here is a tune bathed in blues influences that comes through with a determined flow that cuts on the inside. The sturdy resolve slides across here in the guitar riffs. Catchy and lean, but also thoughtfully measured in the approach it is amplified furthermore by the real consistency that is locked in on the running. It retains that in a positive manner but at the same time provides it with bite.

INSIDE RIOT Glass Mansions This is a full on affair. Rather American and embracing of a West Coast approach with the development hindering in the guitar sound. That provides it with good intentions, but not enough to detract from the somewhat by the numbers feel. However it does have a consistency in the tracking and the shared vocals are in sync in the later progression. That points it in the right direction and is exacted in an impressive way.



First Punch


‘First Punch’ has definitely shown another side of his music. It has hints of Sparklehorse and Oasis as well as some Toploader thrown into the aura of mystery, darkness and reminiscent happy sadness. The chord structure has the ability to create an atmosphere in one’s mind. It has hints of childlike innocence amongst its sincere enigmatic vibes.


This is the September 2014 4x4. It is an editor's pick of four videos by four artists selected from four of our music networks. At U&I we work with 94 co-ops across 49 countries and the music network that the recommendation comes from is indicated in brackets.

FLOOR STAFF "The Guest" (Dublin)

LOLA DEMO "Let's Pretend We're In Love With Each Other"


RAPHAELS "Monkey Dancing On A Razorblade"


GANGS "Daisy" (Dublin)

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