Daniel Kramer Photographs of Bob Dylan – at the British Music Experience

Bringing It All Back Home – Album Cover

Daniel Kramer
Photographs of Bob Dylan
The British Music Experience
12 November 2012  to
3 February 2013

In this notable exhibition, Daniel Kramer documents a period in music and social history when innocence was about to be lost. In the years 1964-5 Bob Dylan moved away from folk music towards rock and pop. As the story unfolds through pictures, we can witness the man turning from lone busker to superstar. Curated by the Los Angeles-based GRAMMY Museum, the exhibition features more than 50 of Kramer’s photographs from his time with Bob Dylan on tour during those years of change.

Kramer’s photographs paint the extraordinary and intimate story of the metamorphosis of folk singer into rock star. This photographic “backstage view” of the singer-songwriter — fragile, almost androgynous, with a determined look in his eyes – features key moments of Dylan’s musical career during one of the most dynamic periods in American history.

Kramer successfully captures the solitary nature of the man – as a craftsman and a performer.  In shots such as ‘Dylan with Upturned Bar Stool’ taken at the Town Hall, Philadelphia (1964) we see the very lonely and intense musician, hard at work.  Excluded from the light. At other times we see the craftsman Dylan. For example, he is pictured back stage with Robbie Robertson and Al Kooper at Forest Hills Stadium, comparing set lists. In the image you can clearly see his handwritten set lists. Dylan’s set includes ‘Like A Rolling Stone’ (C)  ‘It Ain’t Me Babe’ (G)  and ‘Maggie’s Farm’ (D). The chords have been written in too.
The images are not always perfect, by today’s digital (and manipulated) standards. 

The famous Vaseline smeared photo that graces the cover of ‘Bringing It All Back Home’  with Sally Grossman (showing Dylan casually flipping through a glossy story of Jean Harlow) is slightly out of focus, not at all crisp. The mistiness just adds a fragile, almost intangible charm to the piece. It really is like looking back through your own memories

In the set of ‘Bringing It All Back Home’ recording sessions images (1965) Dylan’s face is often obscured by a huge recording microphone. It does not help that he is wearing sunglasses  in the studio. These images suggest more about the difficult nature of the performer as a subject, rather than any inadequacies in the composition. In each image, the real ‘awkward’ Dylan shines through.

In another image, Dylan and Baez are posed by a ‘Protest Sign’. Baez holds three twiggy flowers. The sign boldly reads ‘‘Protest Against the Rising Tide of Conformity’. The image was used for ‘Mama You’ve Been On My Mind.’ At first glance, this perfectly describes everything that you know, or you need to know about Dylan. His love of protest. His way with words. His fight against conformity. It may have been, for Kramer, a split second opportunity – a chance to snap an image that truly defines our thoughts on Dylan – especially at this time of his career. He is about to leave behind his unplugged folk consciousness  (and many of his most loyal fans) to embark on a new electric future.

The words ‘Protest Against the Rising Tide of Conformity’ ring true, and foretell the future of the artist.  But as you read down the ‘Protest Sign’ in the photograph you realize that the true nature of the poster is one of  commercial effort.  It is actually a poster designed to sell London Booth’s Gin.  It is a slice of corporate ‘Madman’ America.  Dylan (and Kramer) use the image successfully by adjusting the true meaning according to their needs. They become an integral part of the of the big corporate advertising mechanism themselves. Cynical ? Maybe. But it is a sure sign (in both meanings)  that, from that moment, Dylan was navigating a more commercial path.

This is an instructive and imperative photo exhibition. It will be of particular interest to all fans of Bob Dylan, or anyone who is interested in rock music photography. Highly recommended.

- © Neil_Mach November 2012 -

Link:

http://www.britishmusicexperience.com/bob-dylan/

DANIEL KRAMER: PHOTOGRAPHS OF BOB DYLAN

Is on at the:
The British Music Experience
Mezzanine Gallery
The O2 Bubble
London SE1
12 November 2012 – 3 February 2013

Tickets can be purchased on line at: http://www.britishmusicexperience.com

Cody ChesnuTT – LANDING ON A HUNDRED

Heralded by a full blown tower of 60’s/ 70’s soul in the Curtis/ Marvin tradition, Thats Still Mama, ‘Landing On A Hundred‘ (Out now), is Cody’s ChesnuTT’s first full album of new material in a decade. Cody performed two emotional one-man shows in London in September, previewing new material, including a headline date at The Jazz Cafe. He is set to return to the UK in March next year with his 9-piece band.

Universally acclaimed for his edgy, sprawling Shortlist Prize nominated 2002 debut, The Headphone Masterpiece, Cody ChesnuTT re-emerges as a soul troubadour whose frank, socially conscious songs, set the bar for what modern soul music can look and sound like: On every level – rhythm, song, subject matter, spirit – Landing On A Hundred delivers massively, it’s message upbeat even as it reflects upon troubled times.

Says Cody “This body of work is extremely meaningful to me – it represents the journey I have been on since I last released an album. Words cannot describe or express how excited I am about this music.”

Opener ‘Till I Met Thee’ shakes it’s mean little hips at you. This song finger-flicks itself into the room. Does a twirl. And smiles sweetly. Cody’s voice is bright moon happy and silver braided. The razzled, sumptuous atmosphere created by the arches of spanning vocals push the ‘Dead Man’ lyrics into the boudoir. And, then, of course, the persistent fingering vibrations will create a familiar tenderness in your under-loins. But you are left wondering at the religious implications. And feeling a bit guilty about yourself.

Ah-ha- ‘I’ve Been Life’ introduces the shtorking bass and tremulous guitar jangles into your life. These swish and rattle around this feverish track. Stroking and tickling you with their purring shenanigans. Cody prowls around this song like a syrupy cat hunting for the cream. Luxurious, sultry and smoother than a waxed bottom on the Posto Dois.

Silky tomfoolery and saggy vocals drawl deeply,  as they soulfully filter through the waxed curtain of the sounds on ‘That’s Still Mama’. It’s enough to make your snow globes itch and burn.

I don’t know ‘What Kind of Cool (Will We Think of Next)’  but it is probably in the form of this song. Soft as a coconut souffle and flimsy as a sno-cone foamball. Horns cradle the cool vocals, adding a touch of spice to the otherwise sweetmeat mix.

“You can follow the wind… follow your skin.” Says Cody but, he implores us,  ‘Don’t Follow Me’. This is feeble advice. You won’t be able to accept it. The song contains a wallowing bass note that gives you the heart-bumps.  And then ‘Everybody’s Brother’ opens up with a nostalgic horn sound (it’s a bit James Bondy.)  And Cody narrates a list of his bad points-  but then tells us triumphantly that he ‘Ain’t Turning Back’. Well, as a confessional there is not much contrition here. But none of us can turn back time. But where there’s a will, there’s a way.

And we all know that love is ‘More than a cheque book… and more than a Wedding Day’. Really, it is not so much of a revelation. But it is probably something she once said. So it needs to repeated back to her. A pleasant  twin-set of jazzy piano and sizzling sax helps to sell this next track.

‘Under The Spell of the Handout’ starkly sets out the ChesnuTT protest stall. Rock ‘n’ roll guitars and a stopgap rhythm is painted black-and-white onto the chalkboard.  Then ‘ Don’t Go The Other Way’ recreates the soul of the seventies. We know you do not want to wake the sleeping beasty.  But those drum crackles and swirls of sound will undoubtedly rouse your reminiscences …  out of their lingering yawns and cosy slumbers.

‘Chip’s Down (In No Landfill)’ begins with a piano piece for simpletons. It’s a classic case of vintage booty. When the chorus ascends into view, it is recognizable and gorgeous. This song is about losing it all. But somehow, that is quite liberating isn’t it? And we are not surprised that they had to sell off all his stuff, because (frankly) if he does not know where it all comes from, what’s the point in  having it? ‘Where Is All The Money Going?’ is the story of our times, though, and a tale for all of us in these days of triple-dip recession. We know where all the money is going though don’t we? It goes into the  fat-cat pockets and multi-national troughs. But where is it all coming from?  Perhaps it just goes round-and-round. Like this track. It ‘s exciting and uneven. It can be a bumpy ride at times.

‘Scroll Call’ completes this album of delights. It has an inherent tension that gnaws at your tops. And the rubber gasped thwackery of Cody’s drifting and chaotically grinning vocals starts doing things with your dainties.  And before you know it, Cody has dropped your unmentionables in the hall, and swanked off into the jazz-light. Just leaving the bridges he has built between you and your own feeble impotence.

You’d better listen to it all over again. Then you might feel better.

-© Neil_Mach November 2012 -

Link:

http://www.facebook.com/iamcodychesnutt
Cody ChesnuTT
Landing On A Hundred
Label: One Little Indian
Catalog Number: TPLP1171

Cellophane Flowers Staring at the World Album Review

 
The Cellophane Flowers songs reflect an eclectic array of influences, from tribal rhythms, alt-rock, tinged with dark ‘80s pop… the band tend to name-check Siouxsie, Sonic Youth, The Stone Roses and Throwing Muses as influences.

The Cellophane Flowers have recently completed the recording of their debut album Staring At World which is released digitally December 3, 2012. The ten tracks of Staring At The World were recorded and produced by David M. Allen. Dave’s extensive discography covers The Cure, Depeche Mode, Human League and The Charlatans. Mastering was Barry Grint (David Bowie, I Blame Coco) Alchemy Studios.
The album is out just in time for Christmas…  We had an early listen:

Opening track ‘Voices’  is like hearing your own inner-workings popping away  … it’s like listening to your own acids boiling …   through the hose of a vacuum cleaner!  Stick one end of the hose to your ear, and the other end to your rumbling stomach. You will reveal echoing, shadowy, radiated sounds.  Syrupy drips gloop and droop down from dainty buds of voice that sprout here-and-there. The beat builds up, bubbling like a rising pudding on the boiler. This is a song that gurgles as it hisses along.

‘The Promise’ has a hearty fruitcake of percussion sounds (Nick Guy: Drums) and plenty of cadential flourishes. A sweet chorus pulls you in close. Maybe for a lingering kiss.

Next track, ‘Pendulum Eyes’ is adorned with diaphanous guitars (Ian Sumner.) The trembling voice is as shy as it is flighty. The 60’s sounding melody feels as light as a honey syllabub slurped in the sun. Yet there is something that does not sniff quite right here. When you scratch below the surface, you realise that the lyrics are dark, yet the sounds lead you astray.

Then  ‘Forever Lost’  is offset by a simply strummed guitar. A solitary lost sheep signals its displeasure through a crack in the clouds. An image of fragmented moments, of desperate loss … and of wasted expectations. This feeling builds up and super-heats, as the song nears it’s end.  Soon, perhaps, you will be released.

‘Tears Of A Clown’ is a faltering teeter down a sentimental road. Glistening guitars spindle out and gird the whittled song-structure, as it shakes precariously in a nervous breeze.

‘Rock N Roll’ has catapulting 50s-style drums and a battery of vaguely glamorous, purring riffs . A jerky rhythm keeps things kicking along. And that voice of Francesca Corradini moon-glows.

‘Belinda’ groans and trembles up to greet you. Pushing deep giant lumpy pillows of sound with it, the gritty voice sounds almost unpleasant – yet fascinating. But this song has darker undercurrents. It is about loss. And coming together after such a loss. Bitter sweet events. It would be easy to get choked in the weeds of guitar. So be careful. Don’t get dragged in.


‘Time’  [“He’s waiting in the wings...”]  So David Bowie sang. And this song seems irresistibly drawn to ‘Prettiest Star’ era Bowie . The sequined, sullen voice recalls the images of burlesque vamp circa 1972. This song feels fancy, glam and pearly.

Then ‘Lucky Day’ has a long, slow rhythm to it. It’s as languorous as hanging out in your slippers and jim-jam bottoms. The wonky-wonky voice seems precariously perched on a bed of powdered sugar,  like some kind of knobbly plastic groom perched on top of an imperious wedding cake. Grand – and unsure – in equal measure.

The album is completed with ‘In A Hole’. Initially written on a ukulele, this was always meant to be a sweet interlude track. Now it is utilised to define the entire album. It describes the timidity and doubt within all of us. Will we ever find our true place in the world?

This album is irresistible, modest and quirky. A fresh look at a colourful world – with just one eye open.

-© Neil_Mach November 2012 -

Link:
http://www.facebook.com/TheCellophaneFlowersUK

To celebrate one week till the release of “Staring At The World”, Cellophane Flowers are offering track  ‘Tears of a Clown’  for FREE download here:

http://soundcloud.com/altpr/the-cellophane-flowers-tears/s-r5hfK

Absolute Radio Abbey Road Studios Acoustic Sessions

Host – Absolute Radio’s Pete Donaldson

Absolute Radio and Abbey Road Studios have joined forces to host a series of acoustic sessions at the world-famous home of the Beatles’ recording.

Born Blonde, Bwani Junction, Iko and Oli Wennink  all played at the historic Abbey Road Studio 3 on Tuesday, November 27. It was the first acoustic session with up-and-coming acts hand-picked by Absolute.

The performance will be transmitted on Absolute Radio’s Sunday Night Music Club hosted by Pete Donaldson, while the sets and exclusive interviews with the proceedings will be available to watch online. [www.absoluteradio.co.uk/onair/sunday-night-music-club]

West London band Born Blonde have previously worked with the Arctic Monkeys and Kasabian.  Bwani Junction supported The Vaccines, and have highlighted the BBC Introducing stage at T in the Park. Bwani Junction have been compared to Vampire Weekend, Big Country and Two Door Cinema Club.

Born Blonde at Abbey Road

The music of Devon band Iko has been used for Twilight the movie. Their song “Heart Of Stone” is featured in “The Twilight Saga: Breaking Dawn Part 2″.

Brixton’s Oli Wennink is a masterful storytelling songwriter, and accomplished pianist.

The acoustic tie-up between Absolute and Abbey Road is based on a relationship built earlier this year for a series of sessions.

These have included performances by Fun, Paul Weller and Alabama Shakes.

Check Absolute Radio here: www.absoluteradio.co.uk/

Links:

www.facebook.com/bornblondeband
www.facebook.com/Bwanijunction
www.facebook.com/oliwennink
www.facebook.com/ikoGB

Slade Live at The Anvil Basingstoke

When I was in school there was only one band that you were proud to say that you had seen play live. It was Slade.

This was before they became a joke. It was before you dared not admit you liked Slade. Before their records were remaindered in Woolies. It was before Noddy left to go to be an actor in The Grimleys.  It was even before Slade became a household name, part of our national heritage and glam-rock heroes. It was before they gave us their Christmas number one. It was when they were known for just one thing – for being the best hard rock act around.

In those days, at school, things were divided into two musical camps: One lot liked hippy stuff. They liked Yes, Pink Floyd and Tyrannosaurus Rex (not T. Rex.)  This lot went around in hippy clothes such as loon pants, cheese-cloth shirts and old trench coats. They said “Peace” a lot. The other camp – the ones that adults called “Skinheads” (point of order – we just called them “Skins”) had short hair, wore boots, and liked Slade. This was before punk. It was before 2-tone. It was long  before ‘Madness.’ The only thing that the skins could call their own kind of music was Dave and Ansell Collins. And Slade.

Slade came out of the Black Country in 1971 with “Get Down and Get With It”. And with it came boot stomping rock ‘n’ roll heaven. That song was originally recorded by Little Richard for the “Okeh Sessions” . And it gave everyone a chance to get their boots on and stamp their feet.

The Slade boys – drummer Don Powell, guitarist Dave Hill, singer Noddy Holder and bassist Jim Lea were raised on fine music – such as John Lee Hooker and Howlin’ Wolf. They had played support slots for bands such as The Yardbirds (fore runners of Led Zeppelin.) In 1971 it was their chance to take centre stage.

Slade made the wearing of Crombie coats, cherry red Doc Martens, and Sta-Prest Levi’s with braces, seem cool and trendy. And even if that conjured up images of skinheads who were more like Dick Emery’s idiot creation  ‘Bovver boy’  (and his even more idiotic his father – played by Roy Kinnear) -  Slade become a cult act, and skinhead rock was real.

Little Richard Get Down and Get With It

But, when Chas Chandler (former manager of Jimi Hendrix), came into possession of the brand, and began to drive the musicians towards success, things began to get out of hand. After the successful – and much-loved single “Coz I Luv You” (written by Lea and Holder) we then got a flurry of misspelled pop songs like “Take Me Bak ‘Ome” and “Look Wot You Dun”. And Slade gradually became a ‘Glam Band’  I always thought that they seemed reluctant to go down the glam-rock path.  Well, except for Dave, that is.  His glitter wig and super-yob guitar can never be forgotten. The story goes that, after an altercation in the dressing room on Top of the Pops – when Jim once again criticised Dave for wearing a tin foil jumpsuit – Dave allegedly responded to the criticism  by saying “You write ‘em Jim,  and I’ll sell em !”

Looking back at the early 1970’s (and in light of the Jimmy Savile allegations) I sometimes get a feeling of nausea – rather than nostalgia about the times. This was the era that brought us Gary Glitter and “Do You Wanna Touch Me? (Oh Yeah)” with the “Do you wanna touch me there, where?” lyric. It was addressed to little girls.  And little boys. And I also remember Sweet’s ‘Little Willy’ (You can’t push Willy round, Willy won’t go.) And just knew that Mary Whitehouse would write in about it.

So when Slade played live at the Anvil Basingstoke this week, it was probably reasonable to exclude “Skweeze Me, Pleeze Me” from the set list. And thinking about this reminds me that my favourite song by Slade was “Gudbuy T ‘Jane” and it was kept from the No 1 slot by the  innuendo laden Chuck Berry hit “My Ding-a-Ling.” (Which Mary did complain about.)

Today, the Slade line-up is:  Vocals and guitar Mal McNulty (previously with Paddy Goes To Holyhead and Sweet) John Berry on bass / backing vocals and violin (he has worked with Mud), and the original band members Don Powell on drums and super-yob Dave Hill on lead guitar.

At the Anvil, the band worked their way through a series of ‘Crazee’  rock numbers – and they had the audience up and dancing almost immediately. Just like the old days.  Everyone was standing. Everyone was stomping . Best songs in the show were, for my money, the excellent “Everyday” (I forgot how good that number was) and the Celtic sounding  song “Run Runaway”.

I missed “Far Far Away” and I really liked “Nobody’s Fool”  back in 1976. But that was forgotten too. But we still got “Mama Weer All Crazee Now”. Thank goodness.

Dave Hill still haunts the stage with that silly smile of his. Trying to boot things. Still being the class clown. And Don still looks as menacing as he ever has been. Mal actually sounds like Noddy. And that must be a hard act to follow. And John played a passable violin solo on “Coz I Luv You” – but it was not as good as Jim Lea. Their performance was exhilarating. Strong, heavy and full of fun. Just like a Slade show should be.
Some of these old bands become shadows of themselves. They sometimes become affectionate cover bands. Of their own music. But Slade have not crumbled. They are still full of energy.  It’s encouraging.  They really know how to perform. And they are loud.   That’s why they brought the house down at the Reading Festival in 1980

And before the curtain call at The Anvil, Dave came out on stage to thank the audience. “It was not a bad year that?” He chirped. “It’s been good hasn’t it?” Everyone agreed and clapped some more. Party hats were rushed on by roadies. And the group got back on stage. And they played “Merry Xmas Everybody”.

Before the concert, I was thinking about that song. And I was hoping that they would not play it. But they did. And do you know what? It brought a tear to my eye.

- © Neil_Mach November 2012 -

Link:
http://www.slade40years.com/

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Stubborn Heart Starting Block Remixes Review

London-based duo Luca Santucci & Ben Fitzgerald aka Stubborn Heart offer indulgent listeners a new post-dubstep era. Their distinguished blend of electronic soul carries with it some jaded relics from a bygone dubstep age, and also incorporates the sounds and the memories from an even more distant past – from Northern soul nights, techno house gatherings, and garage rock weekenders. It’s all here.

The Starting Block Remixes EP by Stubborn Heart is released on  26th November as a 4-Track 12”vinyl or download. [One Little Indian]

The 12” comes with two new re-workings by the duo,  but starts with the original mix of ‘Starting Block’. This is a bubbly bottle of fun. And feels like a disjointed centipede.  All limbs and feet.  A solemn voice spreads out inkily – making its way through the dark thin lighter notes. And all the time a beat gloops on, sputtering and bubbling like a stew pot on the boiler. When the voice goes high and light, the effect is like a firefly spiralling into the moon.

The ‘Something New’ remix has a splatter of syncopated rhythms and a whisper of slyness about it. The bass sputters and rubs its way oppressively out of trouble. Then vocals wheeze against a backdrop of rubbery wuzzes. The tinkle-bell piano adds a sugary chime to the overall tinselly effect. Probably a good choice for the party season.

The ‘128 Yard Dash Mix’ is a collection of home-style ticks and nervous spasms.  The old-school soul charm shines through like a nervous grin through a grubby pub window. And the transparency of the rhythms creates a rustle of pleasure.

‘Clubinstrumental’ wallows and sways. It ‘s like watching a boozy waiter juggling with too many trays. It feels as if it will all fall apart. Especially if you keep staring. So, look no further. Just wait for the main course to be delivered. This track will shake the dust from your boa, and give the heels a ride.

- © Neil_Mach November 2012 -

Link:

http://www.stubbornheart.com/

Club Smith Album Review

The Leeds based four-piece band ‘Club Smith’ – (the band is basically a repackaged version of ‘The Hair’ – circa 2004-2008) release their new album ‘ Appetite for Chivalry’ today. They continue a tour of the UK during the month of November.

The new album starts with the track ‘Mantra’. This contains luminous strings of semi fluid opalescence, that seem to glisten shyly before lusty drums ( Vijay Mistry ) push themselves brazenly forward to take advantage of the space. Sam Robson’s ‘Morrissey’ style vocals are gracious and loquacious, with glowing backing vocals delivered from the other band members (Neil and Lee) and these add warmth and symmetry. Twangs of lusty guitar enfold the verse, and the wandering percussion will keep all heads moving to the dance-floor.

‘No Friends of Mine’ has a rude and fruity guitar accompaniment that squeezes out giant pimples of sound. When this is added to the virile and exciting melody – boosted by the thrusting “So I can look good …” chorus, Club Smith may well remind you of the Kaiser Chiefs. (It’s not a surprising deduction – the band was chosen to support the Kaisers on a recent tour- so the style must have rubbed off. ) In this song, you get a barnstorming anthem of quality and unabashed joy.

‘Beautiful and Useless’ has a fancy pots-and-pans bashing percussion, with some cracking vocal gymnastics. Reflexological guitars place angular pressure on the melody – tenderising the zones and leaving them healed.
‘The System is Flawed’ has a bounteous bass that draws its breath and puffs into your ear. This song blows away the cobwebs with it’s clumpy bumpiness. And it has more sugar-frosting than a packet of magically delicious Lucky Charms. It contains a strange amalgam of ‘80s sounds – ranging from ‘Duran Duran’ patinas, to ‘Tears for Fears’ emotional tension

‘The Green Room’ is another song where the bass plays the part of the plucky hero … arriving on the scene and saving the day. Plunging, thumbing bass lines, and zooming, bruising flumes of sound. But it is the chorus that grabs your ass and directs you onto the dance-floor. Yep, this is one horny swinger of a song. And a playtime hustler. That zinced whistle-stop finale will lush you off your feet.


‘In Arrears’ is a confusion of ideas and daft-as-brainbox sounds. It is ‘s like a bedroom that needs tidying up. It is an over-full sock drawer. And ‘Noncahalant’ has an avalanche of drums and some very sneering vocals. It has a clever chorus that creeps in and surprises you with its insistence.

‘Lament’ limps in, sentimentally and somewhat begrudgingly. A big blousing chorus tries to make amends. But this is one that is strictly for the ladies. Of a certain age.

Then ‘Young Defeatists’ demonstrates Sam’s highly strung vocals – and these are stretched about as tight as a Babestation glamour girl can twist her second thong . That hammering chorus will make you smile, and it will get the crowd clapping merrily along . It’s a party treat, even though it has such an emotionally tense subscript.

‘Appetite for Chivalry’ is a strange collection of sounds and moods. Club Smith doesn’t seem to be able to work out whether they are a girl-friendly eighties Synthpop band or a nineties lads-friendly Post-Britpop stadium band. Either way, they seem slightly anachronistic. But there are moments of genuine perfection in this album, and if you have time to pick over the bones, there are some juicy morsels to find.

Release date – 12th November

- © Neil_Mach November 2012 -

Link:

http://www.facebook.com/clubsmithmusic

Hancox Vegas Nights Album Review

The Guana Batz are an English psychobilly band that formed in 1982 in Feltham, Middlesex UK.  They were one of the first psychobilly bands around, and their style and music was influential on the psychobilly scene. Psychobilly music fuses funk and rock, with one of the earliest styles of rock ‘n’ roll – “rockabilly”.

Founding member of The Guana Batz – Pip Hancox (vocals) – has been busy secretly preparing a new band in the California desert, and is ready to unleash their music onto an unsuspecting world. The band is called ‘Hancox’ and the new album – scheduled for 7th December – is called ‘Vegas Lights’.

Pip and his US Guana Batz line up, decided that an outlet for a slightly different style was in order. Powered by the same energy, enthusiasm and passion for live performance as they always had, the boys started playing in directions that they felt were being neglected, in a scene that they had learned to love and respect.

Hancox represents various influences and backgrounds combined into a single group. With two members from London night-life, and the other two who have cut their teeth in the So Cal music scene, Hancox has created a very special and powerful sound and feel.

The album starts with ‘London Streets’. This has a ribald bass line and trilling accompaniment. Sizzling, festering vocals are purulently smudged over the rock ‘n’ roll structure. Brutally buzzing guitars mean that this track is grimier and grittier than you might expect. A little like the actual streets of London.

‘Toxic Twins’ has a higgledy-piggledy percussive effusion and hiccoughing giddy vocals. These lasso and drag the melody into the dusty core. This song is completely controlled by the musicians, although it seems to struggle to escape at every opportunity.

Poor “Sally” keeps getting all the attention, especially in rock songs. As usual, in the next track, she is portrayed as a twisting little sister and a hippie-lippy boogie woogie tornado of a gal. This song will bop your soul. Then ‘Black Door City’ has a shouting chant and a fuzzy smother of thrashed chords. But that vintage rockabilly bass stays in the room like a stubbornly controlling parent. The kids will not get out of control on his watch.

‘Beautiful Creature’ is splendidly archaic. A tombola barrel of recognisable styles, all mixed up and awaiting excited revelation. An ice-cool solo guitar drools out spices, like a winning dish at a chilli festival.  Then ‘7th Daughter’ is hushed and tribal. It almost hits the psychedelic psychobilly vein. Far out!

‘Ellinore’ has a little-house Gothic folk charm. A frosty lace-work of vocals and a withered bundle of guitars creates an interesting miscellany of styles that remains more or less folk-based. But the song drips out other musical styles.  Taken together, the entire piece is contagious and remarkable.

‘Carburettor’ is a race-running hot dodger of a speedster. Gusts of exotic, blazing guitars and a bulk out of muscle-bound drums. It feels unstoppable.

‘Bleed’ is slower and more majestic. Until the desert sand is kicked up from the stampede. Then you will need to grab the dusty reins tight as you can – just to keep safe.

‘Shake’ is scuzzy and sleazy. Sounds like Alice Cooper circa “Love It to Death” days. Buzzy guitars, pounding bass and a dirty-smooth, sensual voice,  all add up to create a true classic hard rock number.

Title track “Vegas Lights”  is a bleak and sentimental walk through the sorry mind of an apologetic soul. In a  lonely haze , the anguished voice stands up stubbornly and without fear. Till the undying heat of the desert cuts him down.

‘Call Me’ completes the album. It’s the Deborah Harry and Giorgio Moroder “Blondie” number (1980).  It bounces and scuffles. As you might expect. And it is adorned with guitar rhythms that are presumptuous and lumpy. A fitting end to an accomplished album.

- © Neil_Mach November 2012 -

Hancox release their first album  ‘Vegas Lights’ on December 7th on I Sold My Soul Media.

Link:

http://www.hancox-music.com/Hancox

SUBSOURCE – A Dubumentary - DVD Review

SUBSOURCE:  A Dubumentary  ( Produced and directed by the Fallow Field producer Colin Arnold ) follows the UK live dub/dance band SUBSOURCE on a musical journey -  a tour across Europe for a period of 18 months -  and a period of evolution and growth for the band.

Cameras closely follow the group as they travel across the UK, France, Belgium, Switzerland, and Germany,  and  their uniquely energetic performances are captured carefully within the footage.
Like all rockumentaries of this type, the camera managed to reveal some of the highs and lows of a band trying to ‘make it’  in the music industry. Most music documentaries are created  once the band has made ‘the big time’. But this film is unusual  in that it sets out to capture the development and growth of a band as it actually happens. Very few films of this type manage to capture this unfolding in such an intellectual and immediate way.

Even if they do not intend to make their film (and subjects) look stupid, the makers of serious music documentaries always come close to creating their own version of ‘Spinal Tap’   The “Spinal Tap” moment in this movie is during the opening sequence when band members seem lost in the huge maze of rooms and cupboards behind a main stage just before a performance. As they fight to find their way out of this nightmarish labyrinth,  we are introduced to their music.

Then we are cleverly introduced to each member of the band. The film-makers focus, to some extent,  on the rapper and frontman Kimba Mutanda – and that pays off later in the film, with dramatic effect.

We follow the band as they appear at various venues and festivals, some large and some small. Eventually we follow them to a back street venue in Hereford, England.  The band seem to be playing to about five people at this gig. Guitarist Paul Frazer wise-cracks that the promoter must have paid “30 pound for each member of the audience.” But right after the Hereford concert, things start to come undone. Thus we see the cracks as they appear, and we also see the healing processes when they begin to take hold.

Interesting and humorous moments in the monochrome film include the ‘van envy’  scene in which the band members show us all their old – but much-loved  – wreckage of a tour bus. Later we are shown the van’s demise. So sad.

We are also exposed to that routine cliche of “We don’t ever fight, we all agree” Then shortly afterwards we see Kimba with an injury, as he tells us that he was struck in the head by the bassist. This is followed by their sweet-talking band manager Dominique trying to calm things down with some soothing words. But without a cricket bat to hand.

We learn how the band members make ends meet financially – working with students for ‘up to’ 11 hours a day – (they are all music teachers).  But they tell us that, when they are on the stage, they get their reward. The reward is the stimulation of playing.  In fact, for singer / bassist Stu Henshall, that 30 minutes of excitement is all he asks for. It is his only focus. Dennis Ng (keyboards) says he does it for the sense of adventure.

The music of Subsource is defined by the band as punk dubstep. NME  Magazine described their sound as  “Like The Prodigy teaching a noise violation seminar to Sonic Boom Six.’’  But over the last 12 months we have noticed that their sounds are becoming increasingly hard and rocky. It is not surprising that, in the flim,  all members of the band seemed, at some point, to mention Metallica.

For those who may be put off by their type of music (and therefore could lose out on seeing this wonderful documentary) please put your prejudices aside, and try not to base any buying decisions solely on the music. Just think of this as a story about a group of hard-working people drawn together with just one clear ambition – to keep playing their music  live to the people who want to hear it.

This is an excllent rockumentary. Edited subtly , filmed aesthetically. And very rewarding, for musicians and music-lovers alike.  Thoroughly recommended.

- © Neil_Mach October 2012 -


Link:
http://www.facebook.com/subsource

The generously packaged DVD includes an hour’s worth of extras : Official Music Videos, Making Of feature, bonus tracks, commentaries.

OUT NOW !
Click here to order your copy from Amazon.

Shout Timber New Single

Shout Timber deliver intelligent, upbeat, melodic indie pop, subtly flavoured with Indian heritage and bona fide class with their release of ‘East India Trading Company’.

Download link: http://soundcloud.com/shouttimber/east-india-trading-company

‘East India Trading Company’, the first of two singles to be released this year, is Shout Timber’s take on travelling through India for the first time – the barrage on their senses,  the colours, the people, the sounds, the smell.

Both tracks were produced by Tarek Musa (Jethro Fox, Eye Emma Jedi, Kankouran, Spring King) and mastered by the inimitable ear of Tim Debney at Fluid, who have captured a potent balance of Alex and TJ’s Indian roots and the Southern English class of Sam and Will.

The track has been released with a video composed of authentic footage of India –makeshift, spontaneous shots recorded while travelling through the country, to make you feel like you’ve just experienced your own road trip through the East.

Drawing as much influence from their love of vintage American literature and cinema as they do the melodies and honest lyricism of The Smiths, harmonies of The Beatles and the afro-rhythms of Vampire Weekend, this London based four piece are fast establishing themselves as an original, clever yet wholly accessible new talent on the UK scene.

RAW RAMP took a listen to the single, and here’s what we thought:

Market noises are hastened along by the swishing cane of drums and the chastening hustle-bustle of guitars. A turban of oily sounds wraps itself around the tender vocals, making the song sound almost Caribbean rather than particularly Eastern in flavour.  In fact, if you added the sugar and rum, this would be a calypso song.  

Bass notes are thumped out. And beats nod  along. Everything seems pretty normal until the song seems to collide with, what seems to be, a rickety tuk-tuk of sounds containing pots and pans, a flurry of chicken feathers, and a splattering of Masala  spices. Then the advance of the palanquin, once noble, starts to resemble a stockcar accident . But once the crash is over, we bounce along again, unperturbed,  and perhaps even a bit more cheerfully.

- © Neil_Mach October 2012 -

Link:

http://www.facebook.com/thefamilyrain

Howl Griff Interview

Anglo-Welsh-American psychedelic rockers Howl Griff released their third full album, Fragile Diamond, on 15 October 2012.

Following their critically acclaimed eponymous Welsh language debut (which Clash Magazine called the work of a “Welsh Brian Wilson”) and the English language LP The Hum – (which yielded much coverage on BBC 6Music including an MPFree of the Day) – the band has taken another major step forward.

RAW RAMP MUSIC MAG recently described this new album as  “A hugely gratifying frolic [ that] will make you feel warm on the  inside…”

Neil Mach talked to HOWL GRIFF about recording, performing, and the various influences on their music :

RAW:  How fragile is the music that you create? Do the sounds have the strength, determination and the will to succeed in the notoriously harsh landscape of 21st century music?

HOWL: Well, it’s not all jangly and fragile.  There are songs on the album such as ‘She Walks On By The Flame’ and ‘FÜßßBÜKKËR’ that really rock out in a big way.  The reason we sound jangly is that I made the mistake of buying a 12 string Rickenbacker.  I had no intention of getting one.  A friend of mine runs Wunjo Guitars on Denmark Street  and he had one and I loved playing it and he sold it to me for a very good price.  It just so happened that every song I’d written sounded like The Byrds now!  Gary and I both sing and really like harmony groups such as The Beach Boys and The Beatles so it was natural for us to sing like that.  Steve, who recently joined the band, sings too.

RAW:  What is the special reason that your new album ‘Diamond Fragile’ is a production in English? [The first album Howl Griff (2008) was Welsh-language.]

HOWL: Well, we’re based in London and ¾ of the band are English speakers.  I’m the only Welsh speaker.  Most of our gigs are in this part of the world and while I will write another Welsh album someday, now is not the time.  We also felt that we were getting somewhere with our previous album ‘The Hum’ and so decided to push on.

RAW: Have you changed the title of your new album, from Sharkfins In The Sky to Fragile Diamond ? If so, why?
HOWL: We just decided it was a better title.  It’s as simple as that really.

RAW: Can you tell us the story behind the  ‘Sharkfins In The Sky’ track?

HOWL: We used to rehearse above an ice rink in Streatham.  It’s been knocked down now.  While we were loading our equipment into the car we heard and saw a commotion.  It turned out that these kids were breaking in through the fire exits into the ice rink where there was a disco going on.  It was an attempted robbery and an innocent young lad was shot and killed on the ice rink.

RAW: How much influence do the poets and writers of the ‘beat generation’ have over your music and your style?

HOWL: I’ve read some Kerouac  and Hunter S Thompson but I’m not sure if it’s ever influenced the songs.  But maybe everything that you’re exposed to influences you in some way?

RAW: Your sounds have been described as surf music. Songs like ‘Emily Rose’ seem to identify with a place / culture similar to that found on the beaches of Southern California in the 1960’s.  Have you been inspired by ‘Surf Music’ philosophy and culture?

HOWL: Some of the songs may have a surf guitar element to them, mainly due to the guitars and amps that we use.  I come from West Wales so I do feel an affinity to California on some days of the year, but usually it’s wet and cold.  We’re quite laid-back people so I guess there’s a bit of a hippy vibe going on …  but we don’t limit ourselves to one style or sound.

I wrote the Rose Of Emily on the Isle of Skye on a beautiful sunny day.  So it’s probably more Scottish than anything!

RAW: How do band members from such geographically (and socially) different places – Aberystwyth, Bolton, Merseyside and Texas – get on so well together? What are the disadvantages? What are the positive aspects? What are the strings that bind you?

HOWL: Music.  We have other interests outside of music but the one thing we all share is the love of creating music.  The ability to make music excites me so much more than listening to it.   The fact that we’re making music together is serendipity really.  Nick and I used to share a house together. Then Gary joined and he was a work colleague of Nick’s.  Steve joined as he’d come over from California to work in London and I lived with a work colleague of his who placed a ‘bass player wanted’ ad at work.

RAW: Vocally, the sounds of Howl Griff are fresh, and the harmonies are exquisite and effervescent. How much effort is put into creating vocal sounds that are as lush as these? Can those sounds ever be recreated accurately in a live show?

HOWL: The vocal harmonies are all Gary’s work.  He writes them all and sings them perfectly.  He has perfect pitch too.  He then teaches Steve and I our parts to complement his.  We sometimes double-track the vocal parts to thicken them out.

There is no auto-tuning whatsoever.  What you hear is what you get.  Gary will probably do an acapella solo album one day with multi-tracked vocals.  It will sound amazing!  We’re pretty good at doing them live.  You should come and see for yourself!

RAW: The verse of ‘Everything’ on album ‘Fragile Diamond’ sounds – to us anyway – like something from Gary Numan. Which darkwave musicians would you admit to being influenced by?

HOWL: That’s interesting.  Well spotted. I loved Gary Numan’s music as a child.  I like the way he sings.  I can still play the riff from Cars on my guitar.  I like a lot of music from that era, darkwave, new wave too, particularly Joe Jackson, Teardrop Explodes and Talking Heads.

Thanks Howl Griff

- Howl Griff was talking to talking to © Neil_Mach October 2012 for RAW RAMP music magazine -
Link
http://howlgriff.com/

JOANovARC Interview

JOANovARC is the first British female band to be featured on the ‘Rock Band Three’ Xbox 360 game!
Players can add their existing Rock Band music libraries by purchasing the song game track.

Last year JOANovARC released their debut EP ‘Beneath the Sky’ on iTunes which was described as “An amazing debut EP”  and ” A must for any music lover …” by delighted fans. They were also very busy promoting their EP on radio and TV stations across the world… And they then went on to sign a publishing deal with Speegra Music in the UK and Veal Steen in the USA.

We love their commitment to pure rock ‘n’ roll. Take their track ‘Seeds of Summer’ for example. This song shines like a new bottle of Jack  in the Lynchburg noonday sun. Glittering guitars cake those blue blood vocals, and the overwhelming chorus looms and ascends like a glorious fusillade on a blazing horizon.
With influences ranging from  Jimi Hendrix & Led Zepplin, right  through to the Kings of Leon and Foo Fighters – what’s not to like?  And as Bruce Dickinson once said about the band, “These girls can shred!”

We talked to the band about their busy year so far:

RAW: How was your American tour?

JOANovARC: Our favourite gig this year was at the Florida Music Festival. We were on the main stage, we were well received and the audience really appreciated rock music. They were very enthusiastic and loved the fact that we were rock chicks from Great Britain!

We really enjoyed our trip and we were also received well on college radio and the Florida Music Festival was a great opportunity. We  were spotted by Gibson guitars at the main stage and we were honoured to meet the managing director Michael wagoner of Gibson guitars. He took us to his office and said he would support JOANovARC all the way. He showed us his gold discs of all the bands he had worked with including AC/DC, Nickelback  and Slash! It was a moment we will never forget.   We were thrilled with his support for the group. We are so grateful to be getting support from Gibson guitars, it means we can go anywhere in the world and have free instruments to use whenever we like. Not many bands have this privilege. The Florida music festival was amazing and we had a great show.

RAW: Would you tell us about your ‘Rockband’ releases …

JOANovARC:  We are over the moon and we are so excited that we have been given the chance to show our music to the gaming industry. We landed the rock band opportunities through a publisher and sheer luck and timing. We were chosen to be placed on the game! We were lucky to have two tracks on there, one being the first Japanese song on the game… Our friends in Japan were very happy!

The Xbox Company Rock Gamer in America made their decisions but we suggested that our Japanese rock track would really suit the game as it was unusual, energetic, would be the first ever Japanese song on the game and had a great challenging drum track for the Xbox fans to play!


RAW: We see that you have been playing biker events this summer  … What sort of reception are you getting at these kind of festivals?

JOANovARC: We love performing at biker festivals and we are doing more including Harley Davidson in Austria. We are in our comfort zone at these festivals as we can perform the music we really love and we have a chance to let rip with 10min guitar solos! The reception is amazing for us.

RAW: How was your experience at The 100 club in June ? (Rock Band 3 Launch) Did you begin to feel that your were now playing a part in rock history?
 
JOANovARC: When we were looking at venues for our launch we could not think of any place better than the 100 Club. It has so much history, all the greats have performed there, even some of our music heros. The Club still has a great vibe and we were honoured to perform our launch show there.

[ The Girls will be back at the Legendary 100 Club on 7th December with the amazing Kenelis.  Tickets from Joanovarc.co.uk or the100club.co.uk ]

Thanks JOANovARC.

- JOANovARC were talking to © Neil_Mach October 2012 -

Cornelia Live Review

Cornelia Live at Boiler Room Guildford
Image © Neil Mach 2012

On Monday 15th Oct we were lucky enough to see the Swedish singer / songwriter and electronic pop temptress, Cornelia Dahlgren at the fabulous Boiler Room venue, in Guildford, Surrey.

Cornelia participated in the first season of Swedish Idol 2004, but dropped out of the show in the final stages because she did not consider the manufactured approach to the music to be what she was all about. She instead chose to start her own label ‘Camp Mozart’, and debuted with an EP release entitled. ‘Capsule’ .

Recent widely acclaimed collaborations with artists such as Portico Quartet  and Scratcha DVA have brought her to the forefront of the music scene in the UK.  We saw this strange musician supporting the amazing and sumptuous sounds of the Submotion Orchestra – the 7-piece project from Leeds.

Entering into the world envisioned by Cornelia is like being trapped inside a snow dome, with a swarm of moths. It is not a particularly pleasant experience, but it is not truly distressing either. Uncomfortable enough to give you nightmares, but you could endure the sensation for an eternity. The relentless wing-beatings are somehow comforting. Pellets of sound strike you … creating uneasy memories that will never go away.
Her voice is Kate Bush, Katie Melua and Lene Lovich – all rolled into one.  And then smothered in popping candy. If you listen to this at the same time as drinking cola, it will cause your stomach to explode. And that is a fact.

Shadows of sounds come and go, tempting the listener briefly before wisping to heaven. Into this simulated reality of synthetic sounds and mixed, disjointed bass notes,  comes the voice of Cornelia, at once disturbing, tragic … renegade.  It has a fleeting, spectral quality that does not materialize properly. It will always border on the ethereal world.

Take her song “Stormy Weather” – the bumpy, potted traffic-jam of noises encrust the baby-voiced bleats of the singer. The song touches you in places you wish were not touched. It feathers you, and slides down your backbone… stroking and teasing its way into your nervous system. It is creamy and delicious.

Or listen to the older song  “Aquarius Dreams“, which rises and falls like a sinus beat. A grumble of lightly percussive sounds creates a rustle, while the gloopy electronic soups bubble and broth. But rising from this boiling mix is the steamy voice of Cornelia. It shimmers and glides across the surface.

Cornelia is a dangerous kalidah and she cannot be trusted.  If you feel safe within her glittering folds, beware. She will attack you, and she will stab you. With prongs of power. You had better give her the attention she demands.  You will hear much more from Cornelia in the future.

- © Neil_Mach October 2012 -

Link:

http://www.facebook.com/iamcornelia

The Planes Live Review

The Planes are a four piece indie rock band from Portsmouth, on the south coast of England. They have been gigging since February 2011 and have since then reached the finals of The Wedgewood Rooms Showcase, and they have played the Southsea Fest. They have also played gigs with Club NME, supporting up and coming acts like Cerebral Ballzy, Jumping Ships and Sad Day For Puppets. Having enjoyed local success the lads are now keen on bringing their sound to a larger audience across the UK.

Raw Ramp was lucky enough to catch the band at Surrey’s favourite live music venue – The  Boiler Room, Guildford on Friday 05 October, where they supported  Films of Colour, Cities of Glass and Secret Son.

The sound of The Planes is haughty and trashy. They come across as lonely lanky lads, with floppy hair dos, devil-don’t-care attitudes, and bucket loads of style. Imagine the Stone Roses crossed with the Libertines to get something of an idea of what’s going on. They readily admit to being inspired by the Small Faces, and that shines through, in their looks and their polish.

Songs like ‘Looking At Me’ illustrate the ability of the band to find a hook and then use it, masterfully.  Mike Smith’s vocals (lead vocalist and rhythm guitar) are clear-cut and inspired.  And the harmonies are sweet. Sweet as honeyed rye.  Guitar work is precise and imperious. The drumming ( Ollie Shaw) is as tight as a Punkie’s doodah.

The Planes song  ‘On Demand’ reminded me of work by The Style Council. Crisp arrangements, smooth bass lines (Chris Smith) , and just the right amount of peppered funk. When the lyrics are peeled back, they reveal an inconsistent maturity.

The band played a new song at The Boiler Room – which, they say, will be on the highly anticipated new EP ( released next month.) ‘Stay The Weekend’ has crunchy guitars, dizzy harmonies and a terribly catchy chorus … as well as those shamelessly sashaying guitars from Sam Wardle (lead guitar) .

As the band squeezed out their last song, I got to thinking that we are going to see a lot more of these guys. And that’s a good thing.

- © Neil_Mach October 2012 -

Link:

http://www.facebook.com/pages/ThePlanes

Kitten and The Hip Live Review

Kitten and The Hip Live at Boiller Room
Image © Neil_Mach October 2012

One year ago, Ashley Slater met Kitten Quinn.

Ashley Slater is a UK based trombone player and best known for his work with Norman Cook (aka Fatboy Slim) in the band Freak Power.  Kitten  is a beautiful and intelligent singer songwriter. Together, they write songs, hang out, and play mischief.

In February, they were having a chat, and Kitten advised Ashley not to worry about something or other. Their dance-floor hit ‘Don’t You Worry About That’ was born the next day.

Live, Kitten and The Hip are usually a quartet, with Kitten singing and Ashley taking to the trombone and providing ‘scat’ style improv vocals. Kitten is a natural front-woman, at once mesmerising and powerfully seductive.

At Guildford’s favourite music venue, The Boiler Room, 4th October 2012,  the band played their debut single “Dont You Worry” ( which has been signed to Hed Kandi and is promised major success in the clubs.)  This song has gleaming vocals with a hint of sexy varnish around the smooth jazz edges. The cheeky trombone adds an impudent spiciness to this swing time Lindy Hop dancing track.

At the Boiler Room, Kitten & the Hip played without drums,  and there was, in my opinion, a slight over-reliance on their prerecorded backing tracks. Songs like ‘Don’t Touch the Kitten’ have a lush “swing era” feel to them.  Kitten’s cleaned out pipes really shine… chromium plated diamond studded style. The lilting ‘Swingle Singers’ sounding backing vocals adds some fine razzmatazz . And the ‘bone rubs up against the cat’s plate-glass voice – creating a heady static electricity to the fizzy pieces.



With their boogie woogiman connections and Manhattan Transfer  style evocations, their material is clubland polished. If you go mad for the “Swing house” thing, this may be for you.

- © Neil_Mach October 2012 -

Link:

http://www.facebook.com/pages/Kitten-and-The-Hip

Twilight Sad Remix Track Giveaway

The Twilight Sad are an indie rock band from Kilsyth, Scotland, comprising James Graham (vocals), Andy MacFarlane (guitar), and Mark Devine (drums). The band have released three full-length albums, as well as several EPs and singles.

Following on from their Andrew Weatherall produced album ‘No One Can Ever Know’,   The Twilight Sad are now giving away one of the nine tracks from their forthcoming remix album.

‘No One Can Ever Know – The Remixes’ includes collaborations form the likes of Com Truise, Breton, Tom Furse (The Horrors) and, notably, Liars, who the band credited as one of their biggest inspirations for the album.

The album, due for release on Monday 5th November will be preceded with a full UK tour this October, as well as a homecoming date in December:

We listened to the giveaway track  ‘Nil’ (Liars Remix) from the forthcoming album, and here’s what we thought:

A slimy synth prods and harasses the popped up cluster of crackling beats. Then an invidious set of liquid vibrations purr sweet rhythms into your inner ear. This lip-smackingly tasty track has a hell-for-leather pace and a frothy mixture of inventive vocals-  together with some juddering motifs. This piece is a sonic swirl of activity that swarms around your head like a befuddled host of moon-drunk moths. - © Neil_Mach October 2012 -

Grab yourself the track right now from the Twilight Sad facebook site:

http://www.facebook.com/thetwilightsad/app_220150904689418

The album, due for release on Monday 5th November will be preceded with a full UK tour this October, as well as a homecoming date in December:

Thu 18 Oct – NEWCASTLE – Cluny
Fri 19 Oct – WAKEFIELD – The Hop
Sat 20 Oct – MANCHESTER – Sound Control
Mon 22 Oct – BIRMINGHAM – Hare & Hounds
Tue 23 Oct – LONDON – Dingwalls
Wed 24 Oct – BRISTOL – Louisiana
Thu 25 Oct – CAMBRIDGE – Portland Arms
Fri 26 Oct – LEEDS – Brudenell Social Club
Sat 27 Oct – PRESTON – Mad Ferret
Sat 15 Dec – GLASGOW – Barrowland Ballroom

Fahran Debut Album Review

Fahran is a five-piece, melodic, hard-rock band from Derbyshire. Formed in 2006, under the name, Toxic Federation, the band quickly set about writing and performing their own material.

The songs, honed on the road, were released independently by the band, in 2008, on their debut album, ‘Behind the Mask’ – incredibly, when the average age of the band was just sixteen.

Following the departure of both their lead vocalist and rhythm guitarist in 2011, many thought the future of the band was uncertain. However, before the year was out, they were back on-stage with a new frontman, Nick Whitcroft. In his time fronting Rugby-based alternative rock band, Void Illusion, Nick extensively toured in the UK and abroad. He also worked hard,  developing his voice with bands across a range of genres such as rock, prog, metal, funk and blues. Nick is an impressive, lively, experienced singer, whose vocal talent is equally matched by his enthusiasm and drive.

The new five-piece line-up amounts to a darker, heavier and far more mature sound – this is a band that has worked for all they have achieved, leaving them with a seasoned gravitas.
Fahran’s self-titled debut album will be released on the 15th October 2012 featuring 12 brand new tracks. ( Mixed & produced by guitarist Jake Graham.)  It will be available from HMV, iTunes, Amazon, Play.com and many other online stores.

We had an early listen to Fahran  [available for pre-order] and here’s what we thought:

‘Silver Scene’ explodes into life with blazing rim-fire percussion, boss-man riffs and startling vocals. But you soon realise that something is afoot, especially when those syrupy  guitars snakily ooze out and enfold you within their greedy enticingly tender tentacles. Yes, you will be hooked.

‘Stay Alive’  has a mysterious beginning. A weak vision rising murkily from a misty swamp. Then the vision gurgles and mutates into a grotesque but magnificent riff. Heart-rending vocals splinter out and tumble across the muddy, wallowing landscape. An oil-slick of deeply rutted sounds is rattled alive by the splendid speed of those drums as they deftly roll into the golden pools of guitar that spit out from the heavy darkness.

‘Cynics and Dreamers’ crunches along a well-worn silica path. This is masculine, tight shirted,  heavy waistband, classic rock ‘n’ roll …  at it’s most potent.  It is the most powerful thing you will strut to this year.  The relentless march is reinforced by a pounding bass and creosote stained guitars. This track is probably not for any cynics out there …

‘Ashes’ emerges like a shimmer of steely light. Dangerously sharp drum-work threatens to lance into your soul. While the guitars will bend and grind you into submission . And ‘In Our Eyes’ is garnished with bubbling bass notes and a gushing tempest of vocal artistry.

‘Crude Design’ has a clever patchwork of sounds -  they swing back and forth, creating an irregular mosaic for the grizzled vocals.  ‘The Vagrant’ has a steamy guitar intro. This wheezes and windily spindles out, so sinfully proud. The hairy-chest vocals from Nick may even remind you of the artistry of Paul Rodgers.

‘Serenade’ has a mystical flavor and some flakes of perfect guitar that encrust the voice that is melted inside, and tightens the melody. ‘While ‘We See Right Through You’ is an attack of demonic quality. A mighty rush of air and an all engulfing power-crusade. Sagacious lyrics and a hurtling pace will take you to the very edge of your expectations -  and will then let you go. Into the abyss you will hurtle.

The hard rock anthem ‘Bittersweet History’ sounds like something that could be from the “Tom Scholz” back catalogue. Effervescent, high sheen, superlative production quality and a squeaky-clean piece.

© Neil_Mach Otcober 2012

Link:

http://www.fahran.com

Tree House Fire Rocket Album Review

Those loveable Guildford based reggae/ska /pop fellas  Tree House Fire have proudly produced an amazing debut album – available right now on Trench Foot Records.

The recording entitled Rocket! can be grabbed at their bandcamp site or using the links below.
After the band’s sensational show at The Hobgoblin, Staines at the weekend (Ant’s Birthday bash) – we got hold of a copy of Rocket!  And here’s what we thought:

With a whirlwind of a start to it,  this song pumps you up from the inside and it makes you grind. The first tiny taster-track grooves smoothly into the superb composition ‘Straza Grip’. With its boom-boom political references and a bass line that walks impulsively along-the-line. This accomplished song has more fire in its belly than a dragon that’s been force-fed a vindaloo.  ‘No more prophets to spread the world …’  Sings Sam (vocals / guitar) as those sinewy organ sounds swelter out.  This track simmers and bubbles beneath the Levantine sun. 

‘The Drop’ pulls no political punches either.  But that won’t stop you dancing.  The vibrations will shake your chitterlings  -  causing some sonic damage deep down in your Mondongos …

And then ‘Rabble’  flames up a joint of soothing sounds, so you can start to relax and unwind into some early shimmying, ready  for ‘Peoples Problems’.  This enjoyable ditty has lumpy low notes  – and these get pulled and prodded around by the band’s miracle bass player – Ant.  The cool voice runs along, growing in stature as it matures within the song.  And then, before you know it, it’s all over. It’s a bit like a night out with your mates really!

Title track ‘Rocket!’ has a traditional Reggae/Ska edge to it. Effective vocals create several notable moments, and the song-structure will certainly make you raise your arms and sway.  A memorable chorus will linger for ever, too.

Scratchy ‘Great Ocean Road’ (Featuring DJ Killer Tomato)  is a fast paced squawking scatter-gun of surprises. An addictive beat is gilded by those intrepid vocals that chatter out an alarming rate.

The track ‘Stack It Up High’ is the creation ”par excellence” of Tree House Fire.  A firm favourite at live shows, the bass play in this extraordinary piece is so utterly depraved that it  almost consumes you.

And ‘KMB ’ is the band’s party song.  It’s happy reggae. It has a whooping sing along chorus and oodles of plucky guitar sounds that keep moving behind an enormously bouncy bass and cheerfully inflatable vocals. It’s the kind of the song that you need to take your heels off for.  Sod it, take off your shirt too. ‘Cos you will be dancin’ along to this one. For ages.  I promise you. In fact, you will be “bouncing off the ceiling ..”  after listening to it.

– © Neil_Mach September 2012 –

Link:

http://www.facebook.com/treehousefire

Loose Lips Live Review

Brighton based trio Loose Lips have only been doing their punky pop-rock thing on the circuit since June 2011 – yet they already sound like the tightest band you’ve ever heard.   Take the guitar based dexterity and the song-writing skills of a band like ‘Biffy Clyro’ and combine that with the freshness and style of a band like  ‘Kids In Glass Houses.’ But take a pinch of summer sea breeze and surf up style …  and you start to approach the spirited perfection of this band’s output.

We were lucky enough to see them play at the best music venue around – The Hob Staines – on Saturday.

Live, their songs flow well together, each with a distinctive style and a vigorous attitude.  And there is ample evidence  of their technical ability, found in their exuberant performances.  Engagement is at the social level – their songs are for parties and celebrations.

Jason Barker (lead vocals and guitar) Matt Don (bass guitar and vocals) and Sam Perkins (drums and vocals) have an almost flawless amiability. They cheer up a room -  just by being in it. They don’t even need to pick up their instruments to create some fun!

And their numbers are always so generous – invariably full of brazen joy and cheeky cheerfulness. Take their song ‘Blue Rubber Blanket’. This has a highly nourishing melody together with a distinctive sound. Creative guitar-work is light enough to illuminate a room.  And the song speaks to the listeners on an emotional – yet impertinent – level.

‘Drive Away’ has a throbbing rhythm and vast swathes of chords that will brush across your brow, knocking you off your feet.  Lyrics speak boldly to the audience.  The words are incisive and stimulating. “You better drive away…  before I change your mind…”  And all-the-while, this plucky band are the exemplars of efficiency in music.  There is never a roll of drums, plucked bass note or a chord strummed that is ever wasted.  Every note, every word, is perfectly placed.

‘Blindfold’ has that same acidic sweetness that we expect from Loose Lips. That step-down riff is extraordinary. And the melody will remain deeply rooted within your skull for weeks. With drumming as fierce as a famished floozie after a night out on the bubble.  And a voice so wild, and so insanely high-spirited,  that you are likely to get wet … just by watching.   Well, it’s no surprise that everyone dances and prances like crazy coyotes at a Loose Lips gig.

What a band!  Go grab a slice for yourself.

– © Neil_Mach September 2012 –

Link:

http://www.facebook.com/looselipsuk

Peter Dolving Solo Debut Album

Peter Dolving is a guitarist, songwriter, visual artist and is the former singer of the Swedish metal band The Haunted.

In 2011 Dolving joined the Swedish hardcore band Rosvo having quit The Haunted for a second time.
Dolving is now set to release hi solo debut album Thieves And Liars Release Date – 3rd December 2012

We had an early listen, and here’s what we thought:

The first track ‘Meinhof’  sounds like it rattles along a rickety track. Screaming wind chimes lace the air, as dirty great boulders of filthy drum-beats pelt down. Faintly rockabilly vocals jostle into view – and a wafering guitar slices the thick turgid air.

‘Song For You’  has a bruising, cruising bass line that will  rub you up the right way. The thwacking drums keep your feet in spasms of ecstasy. Slimy guitars eel their way around the piece … slipping their way into the  crevices left by the rhythm. And the vocals are splendid adornments in their own right.

‘Hands On’  has sneering vocals that hiss and whine in a gaseous sounding environment. Disconcerting guitars grow like fronds of fungus in the darkness.  And the “ Put your hands where I can see them…” lyric is vaguely heard against the extraneous noises of the night-time city air.

‘One Sweet Moment’ is like a rampaging metal monster kicking his way through a dangerous waste tip.  Whilst ‘Ordinary Folk’ has vocals and an attitude reminiscent of output from Marilyn Manson.
‘Sunday Mornings’ has a sad and awkward blues beat,  full of expanded rubbery bass notes. It comes at you like a ferreting beast … clamoring, clawing and digging.  Then a howl heralds a shiny vocal that almost glints in the dark sweetness.

‘My Will To Die’  is a piece of dirty rock.  Shadowy vocals lean up close – to whisper blasphemous truths into your eager ear. This could easily be a sound-track to a mafia based TV series.  And  ‘So Sick’ blasts out in a fiery rage. Filled with energy and cataclysmic power. An anguished voice is crushed against the merciless drums and then flayed by the buzzing guitars. This is a very fine track.

Finally ‘All This Beauty’ blasts out into the open air – gulping up all the oxygen, leaving you with nothing else to breathe.  A plaintive cry forewarns you of the oncoming corrugated sounds that will come to take you away. For ever. Drum notes and bass sounds are hammered out in a twisted and hellish forge. And the guitars, when they finally arrive,  fly off wildly , embarking upon their own fantastic journeys. This track demands repeated plays.

– © Neil_Mach September 2012 –

Link:

http://peterdolving.bandcamp.com/album/thieves-and-liars

Toy Debut Album Review

TOY was formed in 2010 in London by singer/guitarist Tom Dougall (younger brother of Rose Elinor Dougall of The Pipettes), Dominic O’Dair (guitar), Maxim “Panda” Barron (bass), Charlie Salvidge (drums), and Spanish keyboard player Alejandra Diez.   Dougall, Barron and O’Dair had previously played together in Joe Lean & the Jing Jang Jong.

The band’s first live performance was at the Cave Club in London in January 2011.

This year the band were picked as one of NME’s “100 New Bands You Have to Hear”, with Rhys Webb of The Horrors describing them as “the most exciting band to come out last year” and “my favourite band for 2012”.

They have now released their first album ‘Toy’ (2012), on Heavenly records. Available from today.

We took a listen, and here’s what we thought:

‘Colours Running Out’. If you already know that you like your music psychedelic and esoteric then this will appeal to you. If you have not yet been immersed into the mystical world of psychedelic rock – then maybe this is the band that will take you to that new place.   The frantically hypnotic, brightly dyed sounds in this song will enchant and bewilder you. And, yes, the colours may leak … but those sparkling guitars and percussive loops that create vortices of inky darkness  … will  come to free your mind.

‘Reasons Why’ – kicks off like a cheesy seventies ballad. But that is before the bucolic groaning of the verse wallows and moans into view. Cloudy textures add a smear of perspiration to the overall tones. This track is spotless and perfect, with a sweet cotton candy finish to it.

‘Lose My Way’ has a fizzy and dizzying spiral of spectral sounds that fuse into the vocals – melding them seamlessly to the crystalline chords and choppy percussion. The dreamy vocals fizz and spurt forth. This is a lucid fountain of colours and papery textures.


‘Motoring’ has that bellowing whale-song imagery found in some other tracks, and a tinkling of guitars that create a confusing puzzle of connecting pins.  Through this painful jungle, the rhythm drives impetuously.  And the insistent vocals chug into view and keep nudging at you for attention. This is a face paced song with an agreeable kick… spurring you on to a better state of mind.

‘Strange’ is flamboyant and disconcerting. A large wave of sounds and images washes over you like a weed-filled tide. Whilst ‘Make It Mine’ scurries along, nosing  its way into your empty places and mischievously  feeding on your memories. Nostalgic and troubling.

‘Walk Up To Me’ sounds inconsolable. A sad mixture of regrets and lost opportunities. These swirl about, kicking up a red dust and creating vapour clouds full of hypnotic patterns.  The vocals are frosted. And the guitars jangle and whine. Treacly notes keep rising fluidly- rippling into the stark heavens.

‘Kopter’ sounds like something from Pink Floyd’s ‘Meddle’. An industrial synth rattles along convincingly. And the voice remains ethereal, yet focussed.  This is the most cohesive progressive song found on the album.

Grab this TOY now. And learn to see for miles.

– © Neil_Mach September 2012 –

Link:

http://www.facebook.com/toy.band

Click Here to Grab Your Copy

The Peacocks – Don’t Ask - Album Review

The Peacocks – Don’t Ask

Straight out of Switzerland The Peacocks have been playing double bass driven punk rock since 1990. That is long before Australia’s band ‘The Living End’, had even formed. The comparisons with that band are justified though, rockabilly influenced punk trio with hard hitting, excellently observed and aware lyrics that have transcended genres.

Their new recording ‘Don’t Ask’ is a 14 track stomper of an album that is all that we have come to expect from The Peacocks – Explosive, rockabilly influenced, stand-up bass driven punk rock, addictive and as catchy as hell.

It deserves to be played LOUD!

We took a listen to the perfectly structured songs on the album (Release date:  05 Oct)  and here’s what we thought:

‘What I want’ has a thundering, galloping beat that will remind you of a jalopy careering down a flinty ridge. Sneering vocals have a perfumed arrogance about them. Cymbals shatter the dusty guitar lines, and then the arrangement is notched up a gear – before it cartwheels off the edge of a ferociously precipitous cliff face. My my !

‘Need A Break’  has a nasally gooey guitar line that gurgles and leaks out before the crystal clear voice breaks cover and goes for it. A rumbling rock ‘n’ roll beat keeps things brisk and business-like.

‘All I’ve Got Is What You See’ sounds like The Clash.  A punkish prickly vibe and bristling percussion- with drumming and bass as stiff as loo brushes. Solid chops of guitar and a mere hint of a back beat that adds a fruity Sixties flavour.

‘Don’t Pretend to Care When You Don’t Care’. The peat smoked vocals on this track sounds like Shane MacGowan – in fact this whole piece has an admirable Celtic punk/Folk punk sponginess to it. Claggy drums thump whilst sour whiskey soaked guitars lurk about looking for trouble.

‘Up and Down’ starts like a Johnny Cash song. A tenuous guitar leads us a-dance, then a ribald bass riff rubs you up the wrong way. Cheeky vocals are chanted out in a dingy bar room setting. A sing along chorus makes you feel all beery and glad.

‘How Did They Do That?’ Glistening guitars walk up and down a la ‘Shadows’.  Doing the walk. And you’ll do the walk with them. Chopping and incisive guitars perfectly suit the switchblade sharp and dangerously cutting voice. This is a scoffing disdainful protest song. Sung from the angry gut.

‘With You’ seems to follow on naturally from ‘How Did They Do That? ‘ Sending up the Eurythmics is fair. But the Jam-like chorus is a step too close to thievery.  This shaggily shambolic shakedown is one of the album’s weaker moments.

‘Nothing Left to Sing’ is a far stronger piece. A jaded ballroom twister. A howler and a spin-a-rounder. You can smell the sawdust as the guitars fizz and bubble. And the greasy vocals stir up and foment disorder on the dance floor, long before the bruisers have arrived. Watch out. Or you’ll end up being dragged in.

‘Shouldn’t Bring Up What I Can’t Put Down’. Treating us to all of the tricks in the punk book of musical wizardry, this final track sings and shines. Glorious guitars fizz and burn as the unselfish riffs pack everything they can into such a small space. Concentrated joy. In a rusty can.

– © Neil_Mach September 2012 –

Link:

http://www.facebook.com/thepeacocksofficial

Patrick Wolf covers Lana Del Rey

Born In Central London in 1983, Patrick Wolf  released his first self produced and self-written E.P in 2002 aged just 19. Since then he has released 5 fantastic albums, toured the world almost constantly to an ever growing international audience, whilst constantly changing and exploring new sounds, songwriting styles, visual identities and production.

Within the last 10 years Wolf has collaborated with musicians such as Patti Smith, Angelo Badalamenti, Florence Welch, and many others,  as well as art world luminaries such as Nan Goldin, Wolfgang Tillmans, Tilda Swinton and Ryan Mcginley. A classically trained Viola, Harpist and composer, a self trained Pianist, SInger and Producer, Wolf also writes all his own material without Co-Writers.
Last year at the age of 28, Wolf accepted an “Outstanding Contribution To the Arts” award from Dublins Trinity University.

On Saturday 1st September 2012 Patrick was interviewed by Steve Lamacq standing in for Dermot O’Leary on his BBC Radio 2 show. On the show he talked about his album Sundark and Riverlight, ( Release date :  15th October 2012.) Patrick alsoa cover of Lana Del Rey’s ‘Born To Die’.

We took a listen to the Born To Die (Lana Del Rey cover) and here’s what we thought:

Sparkles of glittering manganese harp alert you to the piquancy of this beautiful piece, as the latent power of Patrick’s warm voice melts to greet you. His voice sounds sandy, but with a nostalgic burnt umber hue. The chrysalis of warm strings, and the eloquent melody, soon begins to cocoon the vocals – adding a deliciously svelte glamour to the piece. 

The ochre voice gradually emerges fully formed and possessing powerful grace. The final anguished pleas are stark against an interlacing web of taut strings, as the song slowly dies in a fading marrow sun.

– © Neil_Mach September 2012 –

Link:

http://www.facebook.com/patrickwolf

You can pre-Order Patrick’s new album ‘Sundark and Riverlight’ from www.patrickwolf.com.
Album released October 15th 2012.
There is a free limited edition fanzine with all Vinyl & CD pre-orders.