Page 51


Never Had A Dream Somehow ‘I’ll Wait’ lights up with a fundamental appreciation in the weight of the playing. This is calculated in the tidy lull in the guitar borrows somewhat from the guitar riff of ‘I Wanna Be Adored’ by The Stone Roses but does enough to mark it as a departure. It brings an air of confidence across in the running weight that toils tellingly. The rich endeavour of the overall appreciation captures this and the fragrant softer virtue in the vocals extends the reach. ‘Up In The Sky’ is put through the motions. The process here is one that captures an essence that richly bestows upon it a neat sense of virtue. It is refined but they also clever apply an urgency in the underlying touch. How the tempo encroaches reflects the implicit level of detail that denotes their fine level of musicianship. As the spry countenanced step of ‘Never Had A Dream’ comes to pass the attentive display of character blows you away. Leveraging this approach against an apparent definition of scope the brilliance is followed through. While in the rhythm the catchy hooks light up the arrangement and take you along for the ride. It is a tune that revels in the bewitching twilight of the sound. What is asked of the band impressively shows with the final track ‘So Far, So Deep’. Again they achieve a sense of parity in the careful way the structured and the steady offset of the tracking is deliberately keyed in from the off. Collectively it is a resounding tune that is superbly tracked to get the best from the approach.


.......................................................................................................................... HALEY HEYNDERICKX Fish Eyes

Again we turn to our Portland, Oregon music network for our next recommendation and what a fine EP this is. As the proven hold in the showing comes to pass with ‘Drinking Song’ there is a delightful keel to her voice that imparts something lavish upon the delivery. The intertwining value of the tune is edged neatly by the lingering value. It imparts this telling virtue in the lingering aspects of the sunken derivative in the rhythm that adds something equally animated and intimate in the process. The largesse of the sound dominates the effectual flourish in the tempo on ‘First, I’m Sorry’. The detail of the lyrics captivates a vivid imagery and it emphasises a passionate yearning in the process. Whether it is infatuation or not is open to interpretation but there is a melancholic virtue to the showing that provides it with an artistry all of her own makings.


Picking out the sadness on ‘Fish Eyes’ gives it subjectivity that comes from experience. This is a saving grace and the subtle way the ‘downer’ quality of the track is so diligently relayed takes you along for the ride. Again the due diligence that has been ever present shows on the closing track ‘Sane’. This is an accomplished effort. It ventures into an area of wanderlust that equates tellingly on each stroke. Yet this deadens the resolve in a calculated fashion and represents everything that is excellent about the EP when considered as a whole.

-- 46 51 --

Unsigned & Independent (February 2016)  

We now come to the February 2016 issue of U&I which features interviews with two artists from our India music network - The Koniac Net and O...