MUTEMATH
Armistice
Three years on from the birth of their self-titled full-length debut, Mutemath’s second album, “Armistice”had some heady heights to live up to upon its recent release. “Mutemath” was a modern classic of alternative rock, liberally sprinkled with inspirational melodies, effervescent experimentation, and, in “Typical” a song hooky enough to captain a pirate ship.
So, where from there? Well, it seems, in to a time of struggle and band tension, as an original batch of songs for a follow up record were scrapped, and producer Dennis Herring was brought in to oversee troubled sessions. So, should there be a fear that “Armistice” fails to build upon the strengths of its’ predecessor?
Far from it. Every inch of “Armistice” feels just right. The songs are sleeker, more concise, but within there lie layer upon layer of nuance, be it in a vocal inflexion, a synth glitch, or an effect-laden guitar part. From opener, “The Nerve”, you know you’re in for a satisfying listen. All the elements which make Mutemath such an astonishing band are firmly in place: Greg Hill’s inventive, angular guitar work (see the title track, “Spotlight” and “Burden” as key examples), the elastic bass of Roy Mitchell-Cardenas, Paul Meany’s textured keyboard and Rhodes work, his (much more confident and strident sounding this time round) silky tenor and, to these ears at least, the thing that sets the band apart: Darren King’s exceptional drumming. King uses the drums not just as a rhythmic instrument, but as a melodic counterpoint to the rest of the band, alternately driving a song like “Goodbye” with it’s insistent groove, and powering through on “Electrify” as he vies to be the centre of attention. And that’s without mentioning the astounding closer, “Burden” which has more twists and turns than most bands manage in a whole album.
This is the sound of a band growing comfortable in its own skin, and realising the potential contained within. At the same time it is a glorious example of focused creativity. While, lyrically, Christian themes are subtle rather than front and centre, it is undeniable that this is one of the most exciting albums made by a bunch of Christian guys you’ll hear in many a long year.
Review by Haydon Spencely
LTTM Rating 5 out of 5 Stars
Wednesday 26 August 2009
Monday 24 August 2009
Ted Barnes Interview
Ted Barnes
Interview
Wednesday 9th of July 2008
By Haydon SGreetings to you Ted, how are you this fine day?
All is well today, thank you! Looking after my 15 month old son at the moment while his mum who is an artist is working.
You've had quite a musical past (some would say the past is being surpassed by your present) can you give a run-down of how your career's gone so far?
It's been a varied old thing so far and one that I stumbled into quite late on. I always have played but never expected it to become a career. When I was a teenager I was heavily into Irish traditional music so I bought myself a bouzouki and used to play in sessions and the like. When I was 24 I decided to move to London and study instrument making and it was only then that I started to play more regularly. I formed a band called 'Junction' which played Irish music fused with a whole load of influences. On the whole we were dodgy but we did have some fine moments!
It was then that I met my long-term writing partner Ali Friend who was the double bass player in Red Snapper. Through him I met Beth Orton. She really liked the way I played and we forged a writing/ playing relationship that lasted over 10 years, 3 albums and plenty of air miles! From there I formed Clayhill with Ali and a singer I had long admired called Gavin Clark who was in Sunhouse. We dragged him out of early retirement to write 3 albums and an EP together and we are presently writing our fourth.
While working with Beth I began writing my own material and have released 3 albums including Portal Nou. There have been highs and lows but overall it's been a joy that I was not expecting, it's tough surviving in the music business and somehow as each year goes by I chalk up another one! Highly expecting the carpet to be pulled from under my feet at some stage. I still feel I have lots more material to write so I hope I can keep on this path.
So you've got a new record out soon, Portal Nou. How does it feel to be standing on the edge of the new release?
It's always odd with any release unless you have major backing. In particular with my solo albums, as they have always come out on independents [labels] and this is on my own label, you sometimes have to remind yourself it's happening. All I know is as an artist it is essential to make statements of a time and place in your life and so I find it hard to move on creatively unless that release happens. I have been very lucky that this has always happened, but with Portal Nou its release got really dragged out due to label stuff until eventually I thought I would just do it myself. I am excited about this as the extra time meant I met Sebastian Rogers while touring with Catherine Feeney and he remixed the whole record which added a whole new life to it.
Its always interesting to see how your work is received although I have been very lucky with my first 2 albums which received very favourable press! Pity that does not equate in to sales!
How was the process of making the record?
It was quite painless this time! Sometimes an album will have a tricky phase but this one was quite pleasant throughout. I wanted it to be honest. I was just trying to come into a happier emotional place in my life and part of that was finding less strained ways of working, trying to be more spontaneous and living with first takes etc instead of losing the plot in perfectionism. I have struggled with this in the past and I am now constantly working on myself to achieve this. You realise this when you notice that you are always trying to achieve that freedom you had in a demo.
One thing that stands out for me about Portal Nou is how intricate it is, but simultaneously how immediate it is. This, to me, seems quite unusual, especially in an album which is largely instrumental. What motivates the sounds you've gone for on this record?
It's the usual really, I am a hoarders of instruments and junk and pretend to play a lot of them. I wanted it too be more fresh, as I explained above, so I went for first takes etc. I wanted it to be more rhythmic, driving. I wanted it to be short and more song based, even the instrumentals taking on that structure. And sound wise even though they are quite layered I wanted to be able to justify every sound and part.
Can you give us some of your musical influences?
There are many, but my main ones, I have to confess, are the people I work with, Ali Friend in particular. All the musicians that you click with must all be hung on to, they are worth their weight in gold! But on a non-sentimental note I had a dodgy youth into prog rock, then discovered Irish Traditional, then in to songwriters and for quite a few years I seem to be getting in to more and more obscure instrumental music. Band-wise it's Tin Hat Trio, Rickie Lee Jones, French 30s stuff, Max De Warderner, Fourtet, Yann Tiersen, Sparklehorse etc.
Portal Nou has quite a selection of guests, particularly guest vocalists. How did these collaborations come about?
Kathryn, Beth and Gavin I have worked with previously so it felt natural.
Dan had become a friend and Francoiz I searched out having loved her solo albums. Basically when I write a song I can hear a particular voice singing it and so I will seek that out. I have been very lucky to bring all this together. For me it was about it still being cohesive. I used to love the fact in the dance world they would do this on an album and I could never work out why in other areas its not encouraged.
You're putting the album out on your own label, Mornington Records. As The Mag is a website for unsigned/independent artists, do you have any advice for anyone considering a similar endeavour?
Go for it and do it. I do think it is only worth doing if you have 2 possible scenarios going on a) your gigging loads and so you can sell at gigs or if you don't have that b) make sure that you have a great press office and distributor involved. The latter was my option because I cannot afford to take a seven piece band on the road and so it was essential to fill out all the forms and do the release properly. If I was young and gigging I would probably side step the bureaucracy and go for full financial results!
You've been a member of the rather splendid Clayhill for a few years now. Can you give any clues as to if/when we might see more material and/or a tour or three from you guys?
There are no clues I am afraid. Last year was hard for us, even though we started an album. This was left in limbo since Gavin has been working with Unkle, and then we both went on to record his solo album. We have started again [on the Clayhill record] and the songs are written and sounding great but I'm afraid it's still no clearer as to when they will see light of day.
Gavin's solo will be out later in the year.
Are there any new bands/artists you think our readers owe it to themselves to check out?
I have to confess I've fallen for the media hype and love Bon Iver at the moment. Taken By Trees. Rachael Unthank and the Winterset, The Pascales and Amuna have all been played a lot.
Do you have any career highlights you'd like to share?
Many. My last solo gig at The Luminaire in London was a beautiful thing!
Main stage Glastonbury with Beth, supporting Kathryn Williams with Clayhill, touring Australia with Beth and doing a West Coast of Ireland pub tour with her. There are also too many friend/ band mate moments that are so special too mention.
Any particular lowlights?
Many. The last Clayhill tour was really hard. But probably my favourite was playing to an audience of a plastic guide dog for the blind statue with my band Junction and being told to turn down as the dogs couldn't hear their owner's whistle. All the gigs where you're talked over, and one where I got punched by a squadie!
What does the rest of 2008 hold for Ted Barnes?
Releasing this album at last. Debuting it on the SouthBank on September 27th, which is very exciting and a bit of a dream come true. Releasing Gavin's solo album and touring it. Hoping that Shane [Meadows]'s new film which it is the soundtrack for does well. Starting a new solo album. Trying to earn some money. Share looking after my son with my partner and remain in a better place!!
Any final thoughts?
Not really!! Only to thank you for this interview and hope I survive in this business to do another one with the next release!!
http://www.the-mag.me.uk/Music/Articles/Item/Ted-Barnes-Interview-20080709/
Luke Leighfield Interview
Luke Leighfield
Interview
Tuesday 17th of June 2008
By Haydon SGreetings Mr Leighfield, please introduce yourself.
Hi, I'm Luke, I'm twenty-years-old and I originally come from the lovely town of Upton upon Severn in Worcestershire.
Am I right in thinking that you can often be found in Southampton at the moment? Any favourite haunts?
Yep, I'm at uni there at the moment. I don't really get to go out much because I'm either playing a gig or I'm at someone else's, but I can sometimes be found in the library or my bedroom. I also missed out the obvious one which is The Joiners, probably my favourite small venue in the UK.
You're currently on your second album, Fan the Flames. Can you tell us a bit about the recording process for that record?
Basically I spent three weeks in my drummer's music room laying it down, whilst playing gigs most of those nights. It was pretty gruelling and by the time I came to do vocals I was very tired, which maybe shows, but I didn't have the money to do anything more fancy, and I didn't have the time to spend longer on it. We recorded the piano at my old school in Gloucester 'cause there was a nice grand piano there, and we went to London to do the brass with a few friends I have down there. Friends and associates played all the stuff that I couldn't, like guitar, strings, wind instruments etc.
The last thing to go on was gang vocals which I did with Sam Isaac and Stephen and Peter from Tellison. It was wicked, like we were in a pop punk band or something! Dan, my drummer, mixed it all and then we got it mastered elsewhere. Job done.
Your new single, 'If You Haven't Got Anything to Say' is out soon. What inspired that song?
That song was inspired by all the cover stories for the latest 'hot band' where the article would just talk about how they used to practice in their garage (how punk rock) or about their singer's drug habit. It's all so tired and boring, and it was never about the music, 'cause when you strip away their stale image there's nothing left. It also takes a dig at bands with rich kids in who try to succeed by buying the best equipment, which still can't mask any discrepancies in the music. The song was basically me telling myself to persevere through all this crap that's going on, because if I keep working hard then my time will come too, and hopefully I'll have more of a story to tell than all those generic indie bands.
Tell us about the Radio 1 love you've been getting recently.
Um, Huw Stephens played me a few times and let me do a live session. He's the only one to play me as far as I know! He's a lovely lovely man.
You have a label too, right? Get Got Need. What led you to setting that up?
How have you found the process of working for yourself in the crowded UK marketplace?
Well I wanted to release all of Sam Isaac's old demos, which we did with Eighteen Nine : Early Recordings. Obviously it then provided a platform for me to do my own stuff too. It now means I can help out other bands I like too, like Tim and Sam. The marketplace isn't really that crowded, people always need new music!
Are you on the lookout for new bands to sign, and if so, how can people get in contact?
Yep, always. www.myspace.com/gotgotneedrecords
What motivates you to write songs?
The main things I've written about in the past are love (aw) and things like thinking positively and working hard. I basically write about my life, so the first album was concerned with a break-up I went through, whereas the second one was written in the middle of touring where I needed motivation to persevere with what I was doing.
Which bands/artists have been influential in your development as a musician?
Something Corporate and Ben Folds are the reason I write on piano. At the moment my biggest influence is The Rocket Summer, an American guy who writes really happy pop rock with a funk edge. He's amazing. I listen to loads of different kinds of music and try to put it all together in a fresh way that hasn't been heard before. I don't consciously try and emulate a certain artist.
Are there any new bands/artists our readers should look out for?
Yep, reppin' some UK! Sam Isaac, Tellison, Tim and Sam's Tim and the Sam Band with Tim and Sam, Tanaou. I think all of those guys are going to break into the mainstream soon. I also love Dave House, Kid Cosmic, and basically all the bands in my top friends on Myspace. They're all good people, working hard and making great music.
Any career highlights or lowlights so far?
The Radio 1 session was cool. I've had so many good gigs and bad gigs that it's impossible to choose specific ones! I love playing full band though. My two favourite full bands shows were probably at The Spitz in London with Sam and Tellison in September '07, and also this March at The Borderline in London with Sam Isaac.
What does the rest of 2008 hold for Luke Leighfield?
I'm going to demo another album which I'm dead excited about. This one is going to feature some gospel elements! Apart from that, lots more gigging and that's about it. I'm also going to finish my bloody degree!
Any last thoughts?
It's time for breakfast.
http://www.the-mag.me.uk/Music/Articles/Item/Luke-Leighfield-Interview-20080617/
Last Action Hero Interview
Last Action Hero
Interview
Wednesday 11th of June 2008
By Haydon SSo, you're Last Action Hero huh? What does that entail?
Well, at the moment, it's just me... making music that I love to listen to... and trying to get it out there for other people to hear it too. Maybe one day it will get to involve a full orchestra and an array of other musicians, but for now, It's just me and my cobbled together selection of synths and samplers with a few other bits too.
Your new album, Glitter Hotel, is out now for free download from www.glitterhotel.com - what led to you deciding to put it out for free?
I played with loads of ideas when deciding how to release the album, but in the end I went with the free MP3 option. It felt like the most natural.
There seems to be a lot of pressure these days for bands to have their music on iTunes, or to have CD's and T-shirts and Shoe Laces and piles of other crap to sell after gigs. And it all comes down to trying to make money - but since when was it all about making money?!
I guess I'm trying to approach it from the other angle. I love the music I'm making and I want it to be heard by as many people as possible. So if that means giving it away free, then I will. You sure as hell won't catch me seeing t-shirts after a gig either. Giving away stickers, sure! but selling self-branded crap?! no way. Having said that... if you see me after a gig and feel compelled to buy something, make mine a Sailor Jerry's and cola - that'll do nicely.
How would you describe your music?
It's pop music. I simply love pop music and I'm so glad that we're living in times where pop is no longer a dirty word. There's a lot of brilliant artists out there making some really amazing pop music again and it's exciting. When it comes to what I'm making, there's plenty of electro in the mix too.
What sort of artists and bands have influenced what you're doing?
Loads. If you're talking about my early music life, I remember becoming obsessed with wanting to hear 'Don't You Want Me Baby?' by the Human League on the radio all the time. I remember I'd heard it once, and it was all I wanted them to play. Then the first album I brought was Different Class by Pulp on tape from Woolworths. The first single I brought was 'Love Me For A Reason' by Boyzone. Quite how I arrived at that combination, I've no idea!
My parents were big John Denver, Simon and Garfunkel and Black Sabbath fans - a slightly odd mix!
I was introduced to Ryan Adams a few years ago and have been obsessed ever since. I was listening to Joni Mitchell and Janis Joplin quite a bit when I wrote parts of the album too. There are some pretty obvious influences in what Ed Banger Records are putting out at the moment as well. Plus some less obvious influences too... the Yeah Yeah Yeahs, Bloc Party, The Subways... I listen to so much music and all of it informs what I do in different ways.
Highlights so far?
There have been some pretty hectic gigs, they certainly top the list of my favourite experiences. I've just found out I'm going to be played on BBC 6 Music sometime soon too, that's pretty cool.
Your live show is creating a bit of a buzz. Describe the LAH live experience for us.
For me, a live show is about creating something exciting, not just with music, but in the whole aesthetic and the performance too. I like to make a bit of effort with the staging and costumes. For my first few shows I had a sequined High School Musical Top that I'd brought from the Disney Store (largest girls size they sold) and had cut the sleeves off just to get in to it.
Generally, it tends to get a bit messy on stage. I have a bit of a habit for breaking things and sending stuff flying across the stage. For some reason, last Saturday night, I decided it was a great idea to have candles on stage.
Apparently, watching a guy nearly set fire to himself repeatedly is quite engrossing.
What's with this 'Sex Me Here' malarkey then?
Yeah, that! I've got in to a bit of trouble with that. Basically, the song and the stickers came about at the same time and it was just a way to promote myself. But it got a bit out of hand when my friend came back from a trip abroad with pictures of stickers on a variety of foreign police cars, airports and religious sanctuaries. I think my next stickers will say "Don't be a twat" on them - then if people put them in stupid places I can't get in trouble over it... 'cause the sticker told them not to.
Any new bands or artists our readers should check out?
YES! Loads. where do I start?! I saw Crystal Castles live the other week, and together with their album, they are just phenomenal. Johnny Foreigner are pretty trendy to be bumming at the moment too, but they're actually pretty marvellous also. They supported The Subways when I saw them last and it was very good. Late of the Pier are making some immense noise at the moment too. Tokyo Police Club are awesome. I don't know if she really count as a new artist anymore, but Laura Marling's album is immense, and if people don't have it... Well... there really is no excuse! and Noah and the Whale. and the Presets. and Frankmusik. and Midnight Juggernauts. and Pin Me Down.
I cold go on... but I won't...
Any last thoughts?
If you want it, just get it. If you don't like it, just put it back. It's a motto for life.
Lotte Kestner Interview
Lotte Kestner
Interview
Friday 6th of June 2008
By Haydon SLotte Kestner is most likely a new name to our readers (and I know it's not your name either!). Tell us about yourself.
Most people never got my real name right anyway (Anna-Lynne). It feels curiously natural having people address me as Lotte on Myspace. Lotte Kestner is a borrowed name, she is a real woman from the 1700's who inspired a character in The Sorrows of Young Werther. I was reading that book at a memorable time in my life, when I was touring France. And I came upon the name again when I was just starting this solo project. It's usually hard for me to commit to names of albums and songs, but pretty much all of the names associated with this project were effortless and felt right. Even songs like 'Temperature', where the word doesn't appear in the song anywhere...
While this is a solo record, you've been in Trespassers William for a fair few years now. Can you tell us about what led you to make a solo record alongside your work with TW?
Yeah I've been playing with Trespassers since I was just out of high school.
I've brought everything decent I've written to the band, and those songs have been elaborated and transformed. Different Stars in particular was a rather simple, organic album, so at that point I don't think it would've crossed my mind to release a solo album, it wouldn't have been a very different statement. But our sound has become more complex, losing the acoustic guitars and pianos and incorporating a lot more percussion and synths and effects. Especially on the new material we've been performing for the last 2 years.
In the meantime, I'd also been getting really into the Naturalismo artists (Devendra Benhart etc) and experimental vocal layering (CocoRosie etc). But I was the only one in the band who was enchanted by traditional folk type melodies, and their major keys and simple structures. So I found that I was writing all these songs that weren't working with the band and sounded quite nice without anything on them. I put up the first couple on Myspace and people seemed to like them, so I started writing particularly for the solo project.
I think in a way it's a bigger challenge for me to try to write something that is rather traditional sounding and still engaging. And beyond that, to leave the work bare, without the accompaniment of expensive instruments, and for the most part to not even use any reverb.
On a pragmatic note, this is the first time in a long while that we haven't been on a label, so it made sense to take advantage of the fact that no one had any deadlines for me, and I was free to own and promote my own music.
How was the writing/recording process for the album?
Originally I figured I'd go through my old song books and bring a few back to life for this project. But in the end, all of the songs were written specifically for this project. I wrote and recorded all of the songs in my bedroom over a period of about 9 months. I would sit on the bed with an acoustic guitar and come up with the melodies, then labour over the lyrics a bit if they didn't come right away. Then scoot over a few feet to the floor where the recording gear was set up and try to record it while it was really fresh. A lot of the songs are first takes. For a few, I was even too impatient to set up a click track, and just recorded the acoustic guitar and vocals live in one take. Then I would add about 10 tracks of other sounds... bells, vocals sung through plastic toys, harp, whatever sounded good.
All of them were written that way, except for 'Fineline', which I came up with in the parking lot of Trader Joe's and sang into my cell phone and then went home and recorded it with a keyboard.
I had a few friends add parts to the albums, Ross and Jeff recorded their own parts at home. And I took my little set-up over to Toby's house to record her violins for 'Temperature'.
Do you have a favourite song on the album? If so, what about it is special to you?
'Crush the Bird' is my favourite. It was also the last one written and recorded, so it has a slight advantage from being newest. And so it comes first on the album. I was the most heartbroken when I wrote that one, and I think it sounds the most honest. And it's the only one I recorded when I was a little bit drunk. It's one of the ones where the vocal and guitar were recorded live together, and they were both running into a guitar reverb pedal on one of the more extreme room settings. So there's a strong sense of place, even thought it's not really a real place.
What motivates/inspires you to write songs? Who are some of your influences?
I only write when I am really creatively driven to. I never assign myself time to work on music. There'll just be a melody all of a sudden, or a sentence I can't wait to sing. Often it's after I've heard an amazing song by someone else, or realized something about my life. Often movies put me in the mood to play music. Most of the songs are fictionally autobiographical.
About my relationships, or my fear of getting old, or my wariness of being on a stage and judged too much.
I probably spend more time reading than consuming other kinds of art, so Proust and Fowles and Maugham have been big influences over the last decade.
Lisa Germano and Kate Bush are two songwriters who I have loved since I first started writing music. Kings of Convenience, Will Oldham, Mark Kozelek...
I know that as well as your musical work, you have an anthology of poetry available. Do you see yourself as a poet first or a musician, or is the delineation not as straightforward as that?
I started off with poetry. I wrote it all day long, at school, at work... But when I started to learn some guitar chords when I was 16, music eclipsed everything else I was doing. By the time I graduated from college, I'd pretty much given up writing the poetry and stories that I had been so into, which is a real shame to me now.
I was intoxicated by the fact that songs could accomplish so much in a few minutes, that rhyming made everything so easy to write, and that I could play those songs that same weekend at a coffee house and people would listen. Music seemed to achieve the sort of communication I was going for, that poetry had not done.
From your past touring in the UK with TW with acts like Damien Rice, and having your records out on Bella Union, you have quite a following here. Is there any chance that we'll be seeing Lotte Kestner on the live circuit here?
That would be ideal. Particularly for Trespassers William, we know that the majority of people who listen to us live in Europe. And even from the solo record sales (since I sell them from home myself) I can see that more than half of the fans are in France, the UK or Scandinavia. Touring in Europe feels very exotic compared to the US, I wish I had the means to travel there often (for music or even just to be there) but I'm my own label at the moment...
Do you think that there will be a solo follow-up to China Mountain? What are your hopes for the record?
Really the whole goal was just to write and record something on my own, and make it available to people. So that part is done. I don't tend to play many instruments in Trespassers (most of my guitar parts are just for the sake of writing the song, and then we take them out of the recordings), so it was an exciting exercise to be left on my own. Ideally, some beautiful indie film would use one of the songs. That would be perfect.
I am uncertain about another solo album. I feel like I want to collaborate with someone next time around. One of the things I've been doing lately is singing some harmonies for a friend's band here in Seattle at her shows, and there's a third singer as well, and having three girls singing together is so much fun after being the lone singer for over ten years. I think I am more than ready to take a step back and not be singing all the time. It's fun listening on stage, too.
I gather that TW is close to finishing up on a new record also. When do you think we'll be likely to be able to wrap our ears around that one?
I feel comfortable saying some time this year. That one was started as soon as Having was completed, even before it came out. It's a really elaborate record, and many of the songs have been re-written several times. We mixed the album quickly in a studio last year, but we have decided to take more time with it at home to get it the way we really want it. One of the songs, 'Catch not Break', is up on our Myspace page, but that might not be the ultimate mix that makes the album. That's one of my favourites from the upcoming album.
Are there any new bands/artists you've been digging on recently that you think our readers should check out?
My favourite new artist is Bon Iver. What a beautiful record. It's the first thing I've heard in a while that I want to listen to over and over.
What does the rest of 2008 hold for Lotte Kestner?
I haven't figured out if Lotte is something I can make work live yet. If I do figure it out, then some shows around the West coast would be nice. In the months ahead, I'm planning to collaborate with John Grant (from The Czars) and I believe I'll be on the upcoming Minotaur Shock album. I have three or four new songs waiting to be recorded, but I have to decide which project they would work best for.
Any final thoughts?
Just thanks to the people who have been really responsive to the music over the last year and a half. If it were not for Myspace and being able to make all of the songs available as I recorded them, and hear from real people what they thought of them, I probably would've kept it all to myself and not completed a whole album's worth. I'm pretty happy about the internet right now.
http://www.the-mag.me.uk/Music/Articles/Item/Lotte-Kestner-Interview-20080606/
Verra Cruz Interview
Verra Cruz
Interview
Thursday 1st of May 2008
By Haydon SVerra Cruz are another band from under the radar who are deserving of your attention. The intensely melodic howl of their new record, Innocence, marks them out as a band ready to move up the echelons of the UK rock scene. We caught up with their drummer, Jimmy Cooke, to find out more about the band.
Please introduce yourselves.
Jimmy Cooke drummer from VC.
Your new record, 'Innocence', is your second full-length album, but you've been around a while. Could you give a potted history of the band?
I met Marc in what used to be our local music venue pub (The Horn of Plenty, St Albans) when I was 15 and he was working there as a sound engineer. He started talking about playing good rocking music in venues like that and writing songs about God that you wouldn't be embarrassed to listen to, and the band was born! We've done loads of different things over the years - we played in schools for a while, we toured a lot in Poland and the Czech Republic for a couple of years, then got taken on by a management company in Bristol where we tried to get a record deal and did loads of showcases.
No record deal came but we got some good press and radio play in the USA and UK and toured a lot around UK club circuit. Exhausted and in massive debt we left the management deal and made our own record and signed it over to Fierce! for licensing and distribution in 2006. Our new album Innocence is largely to do with the good stuff that's happened to us since then.
What are your hopes for the new record?
Well I suppose like anything we release we hope that people will really get it, and enjoy listening to it. We feel like these songs are really strong and we want them to connect with people. In some ways it's not in our hands now; we've worked hard to make the best record we can and now we'll just have to let it do its own thing!
I know you guys produced this record yourselves, although you mixed it with Sam Gibson. How did the recording of this album differ from your previous recording experiences?
I would say making this record was the most fun studio experience we've had as a band. We love the studio, especially when things are sounding good and actually self-producing was a really positive experience for us. Marc and I engineered the bulk of guitar bass and vocals at a really nice room in Rustington and it was really cool getting sounds up together and working with 'real' musicians when they came in to do the string parts! With Emancipation Day it was very much sink or swim, this time everything felt easier somehow.
What influenced you musically and lyrically when you were making this record?
Well Marc is the lyric writer in the band so I can't speak for him but there's a lot of songs about love, healing and hope on this album. There's also some themes that carry on from the first album (put the weapon down, soul on fire) which touch on issues that are close to our hearts like the horror of the arms trade and the middle east situation. Musically, most of these songs came out of rehearsals and us playing in a room together last year.
We also have a new bass player, Henry Cross, and he definitely brought some new stuff to the table. It's hard to pinpoint specific influences, I think you just soak up a lot of stuff being out gigging, listening to the radio etc.
If I hear right, a couple of songs on this record ('She Don't Want Him' and 'Friend in You') have been given fresh treatments from past releases. What led you to revisit these songs in particular?
We had some contractual restrictions on those songs and so couldn't record them for the first record but when we played them again recently they felt really fresh and actually they seem to fit where we are right now as a band and the general feel of this record.
There seems to be more diversity on this record musically, specifically a heavier blues influence as well as a few string parts. What led to this development?
I think the blues thing is always there with us, just beneath the surface.
Generally the lap steel songs are the really obvious ones because you can't sit down and play that thing without something blue coming out! Strings was really just because we felt that there were some 'big' songs that needed the production to reflect that. We will always be a three-piece rock band but from a production point of view we wanted to try some new stuff that would do those songs justice if that makes sense.
What does 2008 hold for Verra Cruz?
Well Marc and Veronica are having their first baby in July which is very exciting - it'll be the second band baby as Henry has a two-year old son Zeke who came to Italy with us last year. We're working on a mini UK club tour for June, maybe 6 or 7 dates. And the festival circuit around Europe some of which we did last year and was really.
Do you have any advice/solidarity to share with independent or unsigned musicians who may be reading this?
Er, well for us being in a band has been an amazing journey, at times really tough but also punctuated with some amazing highs. I think the relationships you make in a band are very special, hold on to them and treat each with respect. Celebrate your differences and embrace them in your sound. Just because it isn't earning money doesn't mean it isn't connecting with people and changing things.
Walk your the path that God gives you as a musician/artist and He'll provide the means for you to do it. And lastly don't worry about what people write/say about you, and in the words of Switchfoot "the hype won't get you through."
Any last thoughts for our readers?
Keep rocking as hard as is physically possible!
http://www.the-mag.me.uk/Music/Articles/Item/Verra-Cruz-Interview-20080501/
Delirious? Interview
Delirious
Interview
Thursday 24th of April 2008
By Haydon SDelirious?, once described as "one of pop's best kept secrets" on Radio One, are getting ready for a busy few weeks. For one, their new record, Kingdom of Comfort is out on April 14th (watch out for our review, coming shortly).
For another, the band are getting ready to say goodbye to drummer Stew Smith, who will be leaving at the end of April. The band are marking his departure by playing the Indigo2 in London on March 29th.
Delirious? are a band who have often skirted round the edges of mainstream success, occasionally reaching deeper, as tours with Bon Jovi and Bryan Adams attest. For the most part though, they remain a name fresh to many music lovers, in spite of more than a decade together. We caught up with Tim Jupp, the band's keyboard player, to ask him a few questions.
You're well into your second decade as a band now, but still you might well be new to some of our readers. How would you introduce yourselves?
We're 5 very normal guys from a small sleepy town on the south coast of England. Most people come to our town to retire-something we haven't yet thought about. We love life, and love playing music.
Your new record, Kingdom of Comfort, is out in April. What are your hopes for the record?
Our hope for all our records is that many lives will be touched through the music. Music has this amazing way of connecting with people, and that is part of what makes it such a privilege to be able to play in a band that is given a platform to reach so many lives. We hope this record will provoke, inspire and entertain.
Can you describe some of the influences on the writing of the record, whether that's musical influences or experiences which shaped the writing process?
Over the last 2 or 3 years we have travelled to many more countries, and some of these have been poorer developing countries such as India and Cambodia. What we have seen and experienced has affected us all, and many of the new songs are our thoughts, conversations, questions and reflections about the experiences we have had. These have been the strongest things that have shaped this record.
What was the recording process for the album like?
The album took a year to record in between touring. Many of the songs were written and rewritten many times during that period as ideas, melodies and lyrics developed throughout the process. There has been a lot of time and thought put into the lyrics which we hope people will appreciate.
What does the year hold touring wise?
In 2007 we visited 23 countries and 2008 is looking pretty similar. We are excited to be on the road playing the new songs from the new record, this really keeps everything very fresh for us. In the autumn we will be doing a large UK tour.
Do you have a favourite song on Kingdom of Comfort, and why?
At the moment my favourite is a track called 'All God's Children'. It is inspired by a project we have a connection with that helps support some children in one of the red light areas in a slum in Mumbai India. Whether we are church leaders, teachers, play in a band or from a slum in Mumbai, we are all God's children
There are changes afoot in the band at the moment with your drummer, Stew Smith leaving. Do the rest of you still have plans for the future as a band?
It's sad for us that Stew is leaving but exciting too to see him moving into the next chapter of his life. The band will be continuing and we have a new guy called Paul [Evans] joining us as the drummer from May 08.
With a career spanning more than a decade, you must have some pretty special highlights. Are there any particular moments you'd like to share?
There are so many that it is hard to pick out a few. However, playing at Wembley stadium in London in the very early days was a great thing, our first single entering the UK top 20 was another, and more recently playing to hundreds of thousands in India has been a really memorable experience.
Any particular lowlights?
None really, the hardest thing is still leaving home and saying good bye to the family, whether this be for a couple of days or for 10 days, it's still painful but a cost we have to pay.
Are there any new bands/artists you've heard recently that you think the world should know about?
I guess our Christian world already knows about Leeland. I think these guys are on a great and interesting journey and I am excited to see where things take them.
With your label, Furious? and your distribution company Fierce?, you've been blazing a bit of a trail putting out records and promoting yourselves independently for the whole of your career. As The Mag is a site promoting unsigned and independent music, do you have any advice for people looking to build a career away from the glare of the major labels?
It's a fascinating time for the music business, no one really knows quite where things are going and how, if at all , the dust will settle. I think with the internet there is so much that independent bands can do on their own and maybe no-one really needs a major label anymore, maybe just a means of getting music distributed which may not be through the traditional channels. One piece of advice I'd give any band would be to make sure you do all you can to know who is listening to your music and to collect names and email addresses at every opportunity.
Finally, do you have any particular closing thoughts to give to our readers?
Yep, keep relationships good and communication good with all those in your community. Keep safe, and press in to church. If you try and live dangerously you could fall off the edge.
We'd like to thank Tim for his time and Stephanie Bennett at Fierce Distribution for setting up the interview.
http://www.the-mag.me.uk/Music/Articles/Item/Delirious-Interview/
Levi Weaver Interview
Levi Weaver
Interview
Friday 25th of January 2008
By Haydon SLevi Weaver is one of the brightest stars on the horizon of up and coming singer songwriters. With an integrity and creativity to his song craft that belies the fact that his new record, You Are Never Close to Home, You Are Never Far From Home, is his debut full-length album, Levi is poised to take the world by the back door. We held on to his coat tails just long enough for him to answer these questions.
Levi Weaver'll most likely be a new name to people reading this. Please introduce yourself.
"Ah, well... it's a long and sordid story involving rodeo cowboys, a trip to the border of Kosovo and Serbia, a girlfriend who broke my heart in the arms of a Frenchman, running away from home, going on tour, being kicked out of England, and marrying the girl of my dreams. This all sounds like an exaggeration, but in truth, each of those things is true, if stated a little dramatically. Most people know me as 'that guy who opened for Imogen Heap on her 2006 US tour.' or 'that one guy who covered that Radiohead song'."
Your new album's out right now. How was the recording process for that?
"This one was a little different from the last one. With 'Civil War...' I did it all myself in the office where I was working at the time, and it was a huge learning process for me - I'd never recorded anything myself before.
'Good Medicine', from that EP is literally the first thing I ever recorded myself, and it was kind of my guinea pig. (It's still maybe my favourite song I've done, probably for that reason)."
"This one, I'd had most of the songs written for a while, and had played them all live before, so it didn't feel like there was as much experimentation going on, from a producer's or an engineer's standpoint.
Also, for the drums, bass and most of the electric guitars, I went into a real studio with hired musicians, and... yeah, that's really where the experimentation element came from, for me; they'd never heard the songs before, they were reading from charts, and I was learning how to communicate to not just musicians, but REALLY GOOD ONES. I play by ear, mostly, so instead of using real music words, I'm throwing out things like 'uhh... okay, guys, can we make this one sound like Tom Waits' zombie stumbling through a haunted circus at midnight?' ('Of Bridges Burned') or 'Okay, I want Johnny Cash, fighting the devil, in a death match... held in an old west saloon.' ('Family Feud')."
"The guys were really cool about it though, I think they probably get bored with people that know what on earth they're doing. I like to think it was that rather than being annoyed. That said - a couple of the tracks ('Idioteque', 'Would We Liars Be') and all the acoustic guitars, percussion, vocals, etc... everything that puts sinew and skin on the skeleton, for that, I went back into a basement and did myself. I like that element of being able to experiment with sounds while it's not costing me $50/hour. I think the songs are better for it, even if I might get a better microphone in a studio."
Is it right that you were in a band before you went solo?
"Yes. Though the two were separated by over a year. That band ended so acrimoniously that every time I strapped on a guitar, it felt like I was putting on my armour for a battle, so... I listened to very little music and didn't play at all for nearly a year. The happy ending to the story is that I'm on speaking terms with everyone, and 2 of the guys were in my wedding in August, so. *whew*"
What have been some highlights of your career to date?
"Well, obviously the Imogen tour was just... wow. What a break that was, it's enabled me to do what I'm doing. Everyone on that tour was just so easy to get along with, and so from a personal standpoint, it was nice to have a 'break' in the industry that was so pleasant and didn't scare me off from touring in the future. As far as other things that stick in my memory.... There are two venues in Birmingham (UK) that will always hold a place in my heart: my EP release show was at the Glee Club; Markus is a top guy, and that venue is just perfect for songwriters... also the Sunflower Lounge.
I've never played to a more attentive/raucous crowd than one Sunday night there, it was just... yeah, that night was pretty magical."
Any lowlights you want to share?
"Oddly enough, I can point to 2 of my last 3 shows here in the US. I've just been really fighting with my pedals lately (I do a lot of looping on-stage) and I'm trying to get them arranged so that they are the most useful, and the constant changing has made the live show really tricky. I'm getting it, but it's just given me fits; one show in New York City and another here in Nashville, I've just walked off stage thinking 'UGH. that was not the top of my game' and I hate that. I think if people are going to spend money and time to come see me, I owe it to them to be at my very best, and it literally bothers me for weeks when I don't. I have a hard time sleeping at night for about a week when I have a bad show. No lie."
What bands/artists inspire you musically?
"Oh, heavens. I could literally talk about this for hours on end. I've gone through a lot of 'stages' in my musical life, so each of them has left a little flavour. I honestly listen to everything from old country (not new. nothing post-1990), and early grunge to classical and speed metal. I think the ones that reeeeeally have the most influence on me, though, are the ones that can tell a story, or make me feel what they're feeling. I'm a huge sucker for clever lyrics. And originality. I can't listen to something if I'm singing along another song that sounds exactly the same."
"If I had to name a few... *checks iTunes*... Ryan Adams, Josh Ritter, Ben Folds, Counting Crows, Cold War Kids, Semisonic, The Wallflowers, Radiohead, Ray LaMontagne, Nickel Creek, Ours, Sigur Ros, (early) Damien Rice, mewithoutYou, (early) Eisley, Johnny Cash, Copeland, Willie Nelson, Lovedrug, Better Than Ezra, Sufjan Stevens, Death Cab For Cutie, Murder by Death, The Decemberists.... seriously I could do this for hours and hours..."
Are there any new bands/artists who are exciting you right now that you would like to draw to the attention of our readers?
"YES! I have a glut of music that needs to be heard. I'm in a real singer-songwriter phase right now, so I'll give you a list: Brooke Waggoner, Aaron Long, Katie Herzig, Landon Pigg, (all Nashville artists) It Is Well (former bandmate), Gary Nock (a Brummie), The Avett Brothers, and in a different genre altogether, there's a band here in Nashville called The Paper Route that is also pretty great. "
What is the stimulus for your writing?
"It just depends on the song. I'll go for 6 months and not write a thing, and then all of a sudden, I'll need to get something out, and I'll write 4 in a week. Lyrically speaking, it's always just been this cathartic thing for me to get out on paper, and .... I don't really know why I decided it would be a good idea to share those thoughts with everyone, but I just started doing it, and *bleh* there they are. Maybe it's all borne from not being able to go up to someone and tell them what I really want to. Maybe song writing is just a really passive-aggressive way to tell people what I think? I'm not sure. Musically speaking... wow. Well, you saw the list of influences, it kind of comes from all over the map."
What does the future hold for Levi Weaver?
"Goodness, I wish I knew. I'll always make music, or be involved with music and musicians, on some level. I love the industry, or at least the little corner of it that I choose to involve myself with, and I love the people that are involved in it. Even when I was in college as a radio/TV student, I was always hanging out at the fine arts building. These have always been my people. For as long as I can be successful making my own music, I'll do it - I absolutely love my job - but when that chapter has passed, I think I'll probably be involved with helping other musicians make sense of what can be a pretty confusing and overwhelming world. (For now, I'm still trying to learn it myself.)"
http://www.the-mag.me.uk/Music/Articles/Item/Levi-Weaver-Interview-20080125/
Sub-Opt Album Review
Sub-Opt
My Magnificent Octopus EP
Self-ReleasedWednesday 21st of November 2007
By Haydon SEdinburgh trio Sub-Opt have, apparently, been called "the last hope for Rock n Roll". Let me say at the outset that you won't find this writer agreeing with that statement. That being said, what we're presented with here is a healthy combination of inventive musicality and singable hooks, topped off by a healthy dose of funk. So, we're in a nice ball park, yes? Yes we are, complex song structures twist and turn (see 'Canary Yellow' and 'Chains' for prime examples) whilst Rodrigo's baritone evokes the spirit of mid-period Anthony Kiedis in tone and feel.
There's certainly a level of invention here which isn't found on many debut albums, with the interplay between the rhythm section particularly pleasing on the ear throughout the album. The press release tells me this is "musicians music for the masses" and I'm not one to disagree, there's plenty to get your teeth into, to make you scratch your head, but also a decent amount of good solid riffing and grooves which insist you nod your head forthwith.
So, a good album? Certainly. The last hope for rock n roll. Not this time.
7 out of 10
http://www.the-mag.me.uk/Music/Articles/Item/SubOpt-My-Magnificent-Octopus-EP/
Betika Album Review
Betika
Halflove LP
Self-ReleasedTuesday 20th of November 2007
By Haydon SBetika are one of those bands who seem to have more than one personality. Shared lead vocals between (apparent band leader) Dave and Carolyn help the somewhat schizophrenic nature of the album, which is their debut full-length. This isn't to the detriment of the record though, as the twists and turns provided by the differing vocal approaches merely serve to compliment the musical diversity found within. Hence we are met with opener 'You Can Call Me Brother' which appears to have been recorded round a campfire, and develops into something which calls to mind Belle and Sebastian at their twistedly-captivating best.
In fact, twistedly-captivating would be a good way to describe the album as a whole. The band are certainly talented and willing to do whatever it takes to make their songs shine. 'Hatred' sounds like a lost Beatles b-side, built on piano, walking bass, insistent riffing and a clarinet (I think!) before some delicious brass crashes into the chorus and has this writer skanking round the room. The loops and dance-based groove which characterise 'By Default' should, in this context, sound out of place, but these are simply great songs, melded together to form an even better whole.
This is one of those unexpected pleasures you are occasionally given as a reviewer. A band you don't know who turn out to be great. Betika are one such band. I urge you to check them out now.
8 out of 10
http://www.the-mag.me.uk/Music/Articles/Item/Betika-Halflove-LP/
Fono Interview
Fono
Interview
Wednesday 3rd of October 2007
By Haydon SFono are the hottest alternative rock band in the world right now. There, I said it. If you've not heard these guys, and their fabulous (and free, forever) new record Too Broken To Break, then you really owe it to yourself to give the guys a try. We cornered frontman Del Currie via the labyrinths of cyber space and probed him with some... questions. Here's what he had to say:
You guys will probably be a new name to our readers, but you've been around for a while. Fancy giving us a potted history of the band?
Blimey, don't know where to start. There's been loads of ups and downs, though we tend to remember the ups more. Our first gig was opening for Bon Jovi in front of 50,000 people and that kind of gave us the bug. As part of that BBC radio followed us round for a few weeks and covered the whole experience. That helped give us an expedited passage into the music industry's eye line and we got some cool shows with people like the Guano Apes and Robert Plant (very nice man).
It wasn't too long till we dove into the record company world signing a deal in the US. We recorded an album called goesaroundcomesaround, then the label shelved us after some internal shake ups. Eventually we were sold to another label and they got the record out, we hooked up with the Goo Goo Dolls and headed off to the States touring. We did that for about 2 years straight and things were moving along nicely till we had some label issues again and ended up in a lovely lawsuit round 2001 that lasted for a couple of years. For legal reasons we couldn't record during that time so that really put a spanner in the works.
Finally the lawsuits were over and we were able to get rolling again. The Goo Goo Dolls called us up soon after and we hit the road with them again for a second tour all over the US and when we got back we set up a studio in this killer spot in San Diego, California right on top of a hill overlooking a canyon and set to recording a new record. We were about finished and had started mixing when the California wild fires of 2003 came through and burned down the studio. We lost everything from guitars, amps, drums, memorabilia from our tours, all our studio gear and worst of all the masters for our new record. We have photos of the remainders on our website and you'll see from that we were literally left with nothing.
We basically had to start again, and as we'd already lost so much time we quickly put together an EP called It's The Way That You Use It. We tracked some new tunes and used a couple of rough tracks we had left from the fire and got it out. It wasn't long after that we starting working on this new record Too Broken To Break and here we are!
What are Fono's favourite artists/influences?
We listen to all sorts like Muse, Radiohead, U2, Foos, QUOTSA, Mute Math, Led Zep right through to hip hop. I'm the narrow minded one in the band!
What have been your greatest moments as a band?
Opening for Bon Jovi was a big moment of course, but seeing our name in the first airplay charts in the US when we hit #9, Oasis were at #8 and Bowie was #10... we were cruising round the US in a big black tour bus that Janet Jackson owned and it all felt like the plans were coming together.
And what about the low points? You've been through some hard times and circumstances as a band, what's made you keep going?
I think I covered most of those in the first answer! Lawsuits are bollocks and very frustrating. As a musician all you want to do is play and when your hands are tied behind your back.... you get pretty low. I have no idea what keeps us going, we just do. We believe in the music we make and we want to keep making it. I think if we gave up we'd just be quitters and determination is certainly one of our strong points. Yeah we've had our ups and downs but in reality they're nothing compared to what other people in this world have endured.
You're giving away your new record, what brought on this madness?!
Bottom line... we just want everyone to hear our music. We love this record and our long time hero Chris Sheldon did a killer job mixing it, so we didn't want ten bucks to be the difference between someone experiencing our music or not. Also, here in the US people are becoming more green-conscious and in reality a CD is a pretty toxic petroleum based product... and now that digital is available as a great alternative, we feel the life of the CD is limited so we thought we'd get a head start on everyone else and put it up for free download.
Throughout your career, you've had the opportunity to work with some truly cool people and bands and been on both sides of the industry, signed and unsigned. What advice would you give to independent bands looking to get on in the industry, based on your experiences?
You've got to keep going, keep working at it and keep getting better at what you do. I look back at stuff we recorded thinking it was the bomb and now when I hear it I'm kind of embarrassed that I used to let people hear it. And don't be afraid to ask for anything... people can only say no. There's only one main reason Chris Sheldon mixed our record... because we asked him to!
What does the next few months hold for Fono?
We've just rolled out the free download deal and that's going out in stages, we have different partners promoting the album with us over the next few months and we're running a radio campaign here in the US. Then we'll be hitting the road again later in the year and into 2008... hopefully we'll get over to the UK in 2008.
http://www.the-mag.me.uk/Music/Articles/Item/Fono-Interview-20071003/
Fono Album Review
Fono
Too Broken To Break LP
Self-ReleasedSaturday 22nd of September 2007
By Haydon SFirst, the good news: as I write this, you can go to www.fono.net, sign up, and download this album for free. Under normal circumstances that would be a pretty sweet deal, but when the album is as good as this, it's nothing short of miraculous.
Before you read any further, before you go and make a cup of tea, before you go to the toilet like you've been thinking you should for the last couple of hours, I urge you to head on over to the website and download this record now. Got that? Good. Well done. Your life can now continue as normal. Now you can go to the loo. When you come back I'll tell you how great this record is.
So, are you sitting comfortably? Excellent. I shall begin. Fono have long been one of the most underrated and unlucky bands on the alternative rock scene. Their debut, Goesaroundcomesaround, came out so long ago I don't think my voice had broken at the time. It featured a couple of classic songs, in 'Collide' and 'Alcatraz', which led to tours with Goo Goo Dolls and Third Eye Blind, as well as performances sharing the stage with Robert Plant, Bon Jovi, Sneaker Pimps, Tonic, Guano Apes and many more.
In this period, the band moved from the UK to the US, solidified a new lineup, and set to work on a new EP, It's the Way That You Use It. Then, calamity struck, when their studio burned down, losing the band all their equipment, and the masters for the EP. Having gone through this, the band could have given up, but instead kept going, re-recording the EP and having Alan Sanderson (Rolling Stones) mix it. Now, with Too Broken to Break (their first full-length this century), Fono are ready to take the alternative rock world by storm.
Beginning with 'Dangerous', Fono gives an eleven song master class in radio-ready alternative rock. Guitars chug and swirl, the rhythm section of Cindy Cate and Andy Ridley is both inventive and energised, providing the songs with a life and vitality most bands can't hope to achieve, while Del Currie's sometimes soaring, sometimes abrasive vocals, are always fearfully melodic.
Every song here is a potential smash hit single in the right hands. 'Still Love?', 'Sunlight Silence' and 'Silhouette' stand out on first listen, each with rock solid grooves and the kind of choruses most bands would kill for, but other songs, such as 'Anything At All' and the title track, provide rewards for repeated listening.
All that being said, this isn't an album which deserves to be reviewed on the basis of briefly picking out a few key tunes. The album as a whole has a flow, a togetherness, which is great to hear from a band who are technically indie. Of course, not every band would be able to enlist the help of Chris Sheldon (Radiohead, Foo Fighters, Feeder etc) to bring their recordings to life on the mixing console, as Fono have, but if nothing else, this album shows the potential of hard work, grit and determination, if they are rightly applied, in the music industry.
So, my own assessment of this album? If you like melodic alternative-rock with a bit of an edge, this will be your album of the year. And if you don't, well, it's free isn't it, so why don't you give it a chance. You can thank me later.
9 out of 10
http://www.the-mag.me.uk/Music/Articles/Item/Fono-Too-Broken-To-Break-LP/
Jason Kelly EP Review
Jason Kelly
Where is the Sky? EP
Self-ReleasedTuesday 18th of September 2007
By Haydon SWheeling, West Virginia native Jason Kelly here presents four tracks of flat out melodic electric guitar goodness.
Each track is built on a solid bedrock of programmed drums and inventive chord progressions in the classic rock mould, which give Kelly's highly-polished lead lines the chance to shine. Particular highlights are the title track, and the demo's closer, 'Endgame', both of which showcase Kelly's talent well.
It is unusual for straight instrumental rock to work this well, but the demo is certainly eminently listenable, and I would look forward to hearing more. One thing that does hold the music back however is the lack of a real, live rhythm section. Having live drums and a bass player would add colour and character to the sketches Kelly is painting with his instrument, and would also free him up somewhat musically, in terms of song structures and melodic progression.
All in all though, a worthy first release and, as he is currently working on his first album 'proper' it will be interesting to see how things develop for Jason Kelly from here on.
7 out of 10
http://www.the-mag.me.uk/Music/Articles/Item/Jason-Kelly-Where-is-the-Sky-EP/
Two Shot Blast EP Review
Two Shot Blast
Life In Your Hands EP
LockjawMonday 17th of September 2007
By Haydon SSince the release of this debut EP, on Lockjaw, Leicester five-piece Two Shot Blast have split up. This is a shame, as, on the evidence of this EP, they had a lot to offer to the UK scene.
Every song here is hard, fast and loud. Opener 'Reclaim' sets the tone for what's to come with a furious, yet melodic onslaught, and the pace and intensity barely drops throughout the EP.
Highlights are 'Breaking Glass' and 'This City Sleeps Tonight', but really there's not one song which stands out prominently as superior to any other on this release.
Two Shot Blast appear to have been a band on the cusp of bigger things. It is unfortunate that they will never have the opportunity to achieve their potential. As an epitaph though, this EP is a strong showing from a tight and inventive band.
8 out of 10
http://www.the-mag.me.uk/Music/Articles/Item/Two-Shot-Blast-Life-In-Your-Hands-EP/
Radio Luxembourg EP Review
Radio Luxembourg
Diwrnod efo'r Anifeiliaid
Self-ReleasedMonday 17th of September 2007
By Haydon SDiwrnod efo'r Anifeiliaid is the third release from (shockingly) Welsh band Radio Luxembourg. I will admit, in my philistine-like way, I'd never heard an EP in which the majority of the songs were in Welsh before. All except the opening track 'Diweddglo', in fact. This leaves me free to state that, lyrically, I have virtually no idea what Meilyr Jones and his cohorts are singing about.
For me, this is not a negative thing. For one, I've learnt that Welsh, whatever the actual lyrical content, is an astonishingly beautiful, lyrical language. For another, it left me free to focus on the neat, intricate instrumentation of these tracks, and how well they had been formed as pieces of music. Despite their short length, none of these songs are mere throwaways. Everything here sounds deliberate and important.
The relaxed groove of 'Diwrnod efo'r Anifeiliaid' is a highlight, as backing vocals swoon in and out of the mix, while the more insistent nature of 'Eli Haul' is a joy to listen to, with its clever synth leads.
Radio Luxembourg are certainly on to a good thing here. Whether they can transmit this into sales, with their idiosyncratically psychedelic sound, is another matter. Super Furry Animals main man Gruff Rhys has made singing in Welsh cool again in recent times, so it's certainly a possibility, but, whatever language they are using, Radio Luxembourg bring just plain good songs to the table.
7 out of 10
http://www.the-mag.me.uk/Music/Articles/Item/Radio-Luxembourg-Diwrnod-efor-Anifeiliaid/
Golden Section Interview
Golden Section
Interview
Tuesday 4th of September 2007
By Haydon SGolden Section are shockingly talented. Everything about them seems to be just right, from the invention of the rhythm section, to the dual attack provided by guitars and synths, to some tremendous vocal interplay.
All this is laced together with songs which twist and turn in unexpected, yet pleasing, directions, never quite going where you think they will, always ending where you wish they would. With debut album ATTACK // DECAY // SUSTAIN // RELEASE out now on This Charming Shop Records, the Chichester scene has another bunch of blokes of which to be rightly proud. Here's what they had to say for themselves:
Can you tell me a bit about how the band started?
The band started about 4 years ago when three of the members were jamming at a house party and got a warmer reception than the band that were actually playing. From this the guys decided that it may actually be worth forming as they all had similar tastes in music and were friends already, always a bonus! They contacted me (Adam) a short while later and the line-up has remained the same since.
Your album's out soon, excited?
Yeah very excited. We put so much hard work into the album and feel it's a real achievement to actually have it being released in HMV and on iTunes alongside our favourite artists. We'll probably go into the shop to take pictures of it on the shelf!
What have you been your favourite moments in the band's life so far?
Our favourite moment has to be supporting Scouting For Girls at The Joiners where it was sold out and we were mobbed by people wanting CDs and to chat right after the set. People were coming up to us saying that they could literally feel their teeth chattering in their heads because the bass was so strong. We're still yet to find that frequency that makes people have accidents though.
And the least favourite?
Least favourite, turning up at an old man's pub being expected to play a 2 hour set of covers. There was no-one in the place under the age of 40 and our electronica didn't go down too well. Plus my amplifier blew. I wasn't impressed.
What bands/labels do you like/respect?
We've always been fans of the indie labels but one in particular would be Fierce Panda, one because they expressed interest in us a long time ago and two because they've got Art Brut on their roster. Can't go wrong with that can you!?
How would you describe your sound?
It's changed quite a lot since we started but has finally levelled out at a cross between electronica, rock and pop. At times we try to go a bit arty and do something odd and hopefully there will be more of that to come in the future. It's definately important not to repeat yourself and write the same songs over and over again and we'll try as hard as we can to do something different each time. Hopefully each recording session will be an improvement on the previous one.
What are your future plans for Golden Section?
There's one or two sneaky things in the pipeline. You'll just have to wait and see!
http://www.the-mag.me.uk/Music/Articles/Item/Golden-Section-Interview-20070904/
Retrofect Interview
Retrofect
Interview
Thursday 30th of August 2007
By Haydon SRetrofect are amongst the hottest properties on the South Coast right now. Their album, New York Kiss is a blissful amalgam of all that is good in indie/disco, but also holds within it a timelessness that bodes well for the future. Via the magic of the interweb, I caught up with the band to find out a little bit more about them. Here's the skinny:
Tell me a bit about how the band started.
Joel: "Retrofect started in late 2004, sprung by the fact that four of us; Josh, Ben, Tom and I were put together in a band at college. This was the first time the four of us had played properly together; Joel, Ben and Josh were collectively Beyond Convention and Ben and Tom were half of the fairly successful Hyperfuse. At first everything seemed a little ropey, secretly everyone in the band saw this as a 'side' to what was going on in our other bands and Retrofect become a bit of fun going by the names, Auntie Rene and Your Mum. It was at Christmas in 2004 that we decided to go for it and things began to gel. We recorded our debut EP at Ford Lane studios in early Feb 2005 and began to gig frequently. To run 100 metres forward in the Retrofect race, Jamie joined in September and that is when we really decided to push forth and go for writing the record.
What have been your best moments as a band so far?
Joel: "Personally some of the best moments are the humbling moments. It was incredible going to London for the first time and having a room packed with sweaty teenagers singing, 'Love Will Find a Way Home'. That certainly is a truly wonderful experience. Its also very random when you get recognised!"
Jamie: "I think our recent UK tour was a highlight for me, being able to go round the country taking our music up north and back again, we made tonnes of new friends and a couple of enemies too!"
And the worst?
Joel: "I think the worst moment of being in this thing was the second we found out about Retrofect's much-adored friend James' sadly fatal car crash. That was a real 'bring you back to Earth' moment. Sallyforth were a real favourite band of ours and we collectively believed in them taking their songs to the high places!"
Jamie: "I would also like to mention our worst ever gig, which was at Unit 22 in Southampton. Literally nothing would go right and Ben drums decided to break halfway through the set."
What style would you say your music is?
Joel: "Our music style is a style called 'Dark Disco' - we invented it! [Laughs] To be completely honest, I really struggle when trying to describe our sound. Someone said something rather interesting to me last night, Retrofect is the mangled child of Interpol and McFly. Maybe that is right?"
Jamie: "Ignore Joel; we sound nothing like McFly ha ha. Our sound comes from 5 very diverse corners, as all 5 of us have a shared taste in certain bands, but all go off into our own areas of music also."
You've recently released an album, New York Kiss: how was the process of recording it?
Joel: "We got together with our producer Stu G and did a lot of pre-production. That really is what made the album happen. I personally think without him we wouldn't have these songs. Due to the fact we didn't have too long in the studio we were able to go straight into the studio and pretty much know our parts. We spent two weeks locked inside a very small room, things got sticky - imagine the picture if you will!"
Jamie: "The process of recording it was an excellently fun two weeks; we were with an excellent engineer called Trevor Michael who was very happy to let us experiment with sounds and ideas."
What other bands/artists do you like/respect?
Joel: "What bands do we like? Wow! Here is the part where i get really into trouble for listing my favourite bands! No - collectively we all love Interpol but that goes without saying, they are the most stylish band that graces the planet. There are so many local bands worth talking about though! We love Josh's other band, Joey Nightmare - they have so much groove. To name but a few, Golden Section, Flavour Country - well worth checking out! One band that I am constantly playing the new demo of is a band called Linchpin. We met these guys a while back now and i have really enjoyed watching them run up the steps to stardom - remember the name, Linchpin - girlies will love 'em!"
Are there any new bands on the scene that you recommend people check out?
Jamie: "I really cannot praise the Chichester music scene enough. It really is a fantastic family of bands who all support each other. Newer bands to look out for are Dascha, Pictures and Flavour Country. All quality acts."
What have you got planned for the next few months?
Joel: "I am currently writing this in pyjamas so I think an idea priority is to get dressed!? Erm in all seriousness, an era of Retrofect comes to an end next Monday. For 6 months Tom is stepping down and is moving to London and so we are going to be finding our feet in some shape or form! It's gotta be about gigs, gigs and more gigs I expect! We are about to play potentially the biggest gig of our time yet at the Greenbelt festival in Cheltenham so that will be muchos fun! I guess we'll see what happens!!"
Jamie: "We are just looking to gig as much as possible, also looking to record and release a single late this year (called 'This Be A Plea') it's a new song we have started playing live and it's getting an excellent reaction.
http://www.the-mag.me.uk/Music/Articles/Item/Retrofect-Interview-20070830/
Retrofect Album Review
Retrofect
New York Kiss LP
Self-ReleasedFriday 3rd of August 2007
By Haydon STruly, Chichester is blessed at the moment with one of the most vibrant local scenes in the UK. At the forefront of this are Retrofect who, on the strength of this storming debut, will be a name the UK public at large will be getting to know well very soon. Dark Disco is the order of the day here, every song propelled either by an outrageously funky groove or a melody so strong that each and every track - from the jaw-dropping opener 'Lights On' to the poignant 'J.W.H.', which closes the album - each will quickly become lodged in your brain and refuse to leave.
There's so much about this band and this album that's so exciting, so vital, that it almost feels like a privilege to listen to the music. From the water-tight rhythm section (which pushes the songs along, but embellishes with so many clever flourishes), to the inventive synth work (including solos, all too rare in rock these days), to clever guitar tones, to the shared lead vocal duties and lush, complex harmonies and song structures. It really is incredible that a young-ish band should come out with something this immediate and interesting at such an early stage in their career. It certainly raises the bar for young UK unsigned bands.
It really is impossible to name highlights on such a great album, but the sheer pop nous of 'Her Body' is impressive. Title track, 'New York Kiss' builds slowly before closing in one of the most satisfyingly-snatched codas you'll hear all year, while 'J.W.H.' shows that the band can carry off a slower tempo equally adeptly, while the ending 'You Deserve the Applause' is spine-tingling.
It seems pointless to try and name comparisons (it would be much better if you hopped on over to their Myspace page, heck, just buy the album) but I suppose there are elements of a slightly brighter Interpol in Retrofect's brighter moments, a little bit of The Smiths in the guitars. Really though, they've mixed a plethora of influences and come out with something that no-one else is doing right now.
I cannot express enough though, that there isn't really a weak moment on this record. The mind boggles at what Retrofect might achieve if they improve. They're streets ahead of most things this writer's heard in the last few years already.
9 out of 10
http://www.the-mag.me.uk/Music/Articles/Item/Retrofect-New-York-Kiss-LP/
Johnny Parry Album Review
Johnny Parry
Songs Without a Purpose EP
Self-ReleasedFriday 27th of July 2007
By Haydon SSeldom as a reviewer do you receive an album from a band or artist of whom you have never heard, which then proceeds to prove itself a classic. This is what happened to me when I listened to 'Songs Without a Purpose'.
Now, I'll let you in to a little secret, readers: The Mag's big bosses like to send me lots of CD's to review at once. By lots, I mean 10 at a time. Frankly, it's frightening receiving the envelope in the post. Why do I tell you this? Well, my point is this: I had this record waiting in my "to do" pile for an extremely long time, not really sure when I was going to get round to it, and not really keen to give it the time of day. And then... and then, I stuck it in and immediately felt pangs of regret that this album, and this artist, had not been a part of my listening spectrum earlier.
This is a classic record. Built on the hushed, foreboding rasp of Johnny Parry's vocals, enunciating tales of regret, loss and pain, in the main, with some beautiful string and piano work and relaxed percussion augmentation. The opening epic 'If I Was a Killer' sets the tone, equal parts beautiful and disturbing. 'Hotel Floor' continues the mood and it's not until we get to waltz of 'You Who Braved the Storm' that the mood lightens, if only in a musical sense. Fear not however, the track which follows it, 'Sigfried and Eileen', as well as the majority of the rest of the album, returns us to the comfortable envelopment of melancholy.
What's so great about this album is the fact that it is built upon a fairly limited scope of instrumentation. No kitchen-sink production here, just everything in its right place, whether that's flourishes of brass or beautifully sweeping cello, while the songs don't always do what you expect them to, they are all intensely satisfying.
Parry's voice is something of an acquired taste, but stick with it, and the album, long enough to give it a chance and you'll find an album that, were there any justice in the music industry, it would be the top choice of middle-aged mothers shopping for the "cool music" in Tesco (as well as all the indie pretty boys Britain can muster). Please buy this record. You can thank me later.
9 out of 10
http://www.the-mag.me.uk/Music/Articles/Item/Johnny-Parry-Songs-Without-a-Purpose-EP/
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