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Track Review: Formby- The Sea of Tranquility
May 31, 2014 musicmusingsandsuchLeave a comment
TRACK REVIEW:
The Sea of Tranquility
9.4/10.0
The Sea of Tranquility is available via:
https://soundcloud.com/formbyofficial/the-sea-of-tranquility
The album, Black Hole King is available at:
https://itunes.apple.com/album/black-hole-king/id580325127
Reign- 9.6/10.0
Black Hole King- 9.7
Ghost Shadow- 9.5
Tides of War- 9.5
Some Velvet Skies- 9.4
The Sea of Tranquility- 9.4
Goblins- 9.7
Abdication- 9.6
STANDOUT TRACK: Black Hole King
RELEASED: Nov 20, 2012
℗ 2013 Formby
These Berkshire boys have been busy making plans for their second album. Formby's debut L.P. (Black Hole King) contains a mesmerizing blend of Prog majesty and swaggering Rock; delicate and beautiful soundscapes- as well as bucketloads of anthemics. In an album of lunar proportions, The Sea of Tranquility provides an ocean of tantalising reflection.
RECENTLY, I have been surveying a lot of acts…
whom offer up something melodic and soft; romantic as well as hypnotic- their music is definitely the sort you look for when in need of relaxation and seduction. The arrival of Formby has meant I can investigate something more hard-pressing and heavier: sounds that definitely compel you to get up and move your body- that said, The Sea of Tranquility is one of their most tender and melodious offerings. If the name is not familiar to you, here is what you need to know (with regards to Formby):
Formby are a 4-piece Alternative Rock band from Reading, Berkshire. Intelligent sassy U.K. Prog. They have taken the Prog Rock rule book and ripped it up. For fans of Pink Floyd/Faith No More/System of A Down/Porcupine Tree. Formby have been playing for the last year and a half together, in which time they have started building a fan base over the south of England. Since the release of our debut album "Black Hole King", Formby have been receiving great feed back from our live shows as well as radio stations and magazine reviews. Now they are currently writing and performing the new material from the new album which is due to be released and recorded later this year.
Danny Sorrell– Vocals, Guitars, Synths and Programming
Leland Freeman– Guitars
JFK– Drums
Josh Harding– Bass
In spite of the fact that Black Hole King is a two-year-old, there are plans afoot for new releases: a fresh album is on the horizon and the boys are preparing a return to the studio- and the initial buzz and speculation suggests we could witness something even more arresting and compelling than Black Hole King. A lot of fervent, original and daring music is coming from London and its surrounding counties- it seems that a resurgence of sorts is occurring. In the past, I have postulated that the likes of Yorkshire and Scotland are providing the hungriest and most ambitious act (whereas London and the south seem to be lacking)- yet it seems that a new wave of young artists is coming through. Formby have been gathering a lot of heady praise and fond affection from a lot of reviewers and fans. Latching onto their pure rush of electrifying song: mouths have been salivating and digesting all the quartet have to offer- it seems that the band are primed for a long-term career. Having toured around Reading and Berkshire over the last few weeks, the group are being exposed to new avenues and fans- Formby are gaining confidence from the warm reception they have received. I am not sure what form the upcoming album will take: it is likely to be infused with the same sort of authority, rush and mesmeric cuts that are synonymous with Black Hole King. It is an album that deserves a wider audience and a lot more investigation- for that reason, I sat down to investigate The Sea of Tranquility.
Formby themselves claim to be influenced by the likes of Pink Floyd, Black Sabbath, Muse, Opeth, Porcupine Tree, Smashing Pumpkins and Queens of the Stone Age- it is a pretty good starting point. As well as ignoring (and subsequently tearing up) the Prog rulebook, the group do things their own way- and have their own unique sound. If you are a fan of any of the aforementioned groups, you should check out Formby. There is the hard Desert Rock crawl of Q.O.T.S.A.; the eccentricity and huge proportions of Muse; the rampant thrash of Black Sabbath- as well as touches of early career Pink Floyd. The music they present is instilled with heart and guts; blood and barbwire- as well as plenty of soul and passion. Hardly surprising, then, that the guys are getting exposure and patronage- in a world where band music can come across as predictable and muted, the quartet dare to be bold. I have reviewed acts such as Los & The Deadlines (whom have a similar set of influences and distinct sound): but it would be great to hear more of it- music that sprinkles elements of past masters, yet is very much a modern-day and idiosyncratic monster.
The band show how deftly they can mix paradoxical sounds alongside one another: here is an example of the 'softer' end of their spectrum. The introduction is built around growing and romantic guitars: acoustic solidity mixes with vibrating and echoed electric guitar- the kind of intro. you might expect to see on The Bends. Formby demonstrate their keen attention to detail and consideration; lines and guitar offerings are intelligent and atmospheric: the pace and sound mutates and develops gradually building up a mesmerizing sense of occasion and anticipation- ensuring that the listener is on the edge of their seat. The vocal from Sorrell is evocative and calmed; his voice impassioned yet restrained- it is an impressive and effective performance. Whereas other tracks on Black Hole King provide breathlessness and a heady rush: The Sea of Tranquility is appropriately cosmic and twilight. Sorrell speaks of "waiting in shadows" and "feelings don't compare"; introverted investigation and moonlight metaphors blend, to give the impression of a young man in need of answers and direction. The strained and aching vocal at times put me in mind of a young Thom Yorke (I hope that is a fair comparison): there is that same quasi-operatic power in the lungs: that pleasing and stunning tenor (with hints of falsetto)- adding weight and emotion to the song. The most atmospheric and stunning aspect of The Sea of Tranquility is the composition itself. Covering so much ground, the sonics mutate and evolve: there is a sense of itinerary and time shift. Haunting and yearning strings play alongside pugnacious, stirring and stoic percussion- the energy and mobility is scintillating. One of the most pleasing moments occurs at the 2:37 marker (after the chorus has been completed; it reminds me of (Nice Dream) by Radiohead): a subtle but powerful shift occurs that takes you by surprise- one where underpinned strings ascend to rule; a percussive crackle kicks the dust away and you cannot help but be impressed. Before long we are in Dark Side of the Moon territory: a spoken word sample arrives, giving the song some Pink Floyd embers- as well as providing a nice contrast to the central vocal. With a final bow from the chorus, the track reaches its finale: emotions have poured out and a great deal of burden has been exorcised. Before I highlight all the positive aspects of The Sea of Tranquility, one or two minor negatives come to mind: concerning intelligibility and clarity. At times it is hard to understand some of the lyrics; whether because of the production or weight of the composition, Sorrell's words can be hard to decipher and understand- some of the voice gets buried down in the mix. It is not a major gripe, but some of the lyrics and words get missed or misconstrued- making it a little difficult to put all the jigsaw pieces together. That said, it is the most slight of criticisms: every other emotion that comes from me is possessed of positivity and fond tribute- so I shall begin. The band performance is tight and intuitive; no loose edges or rough surfaces can be heard- you can tell that there is an innate sense of affection and understanding between the members. The vocal from Sorrell (in spite of my moan) is emphatic and filled with nuance. I have hinted at early-career Thom Yorke: smatterings of Matt Bellamy and Bono come through, but I found Sorrell's voice to be more unique- there is no infantile whine or needless over-emoting. When assessing any song, the vocal is at the forefront: as such it needs to impress and convince- which it does with ease. The composition itself is perhaps the star of the show; each band member adds something unique and distinct- making the song rich and filled with emotion. The guitars are contrilled and measured, yet add so much colour and life to the track: parables and codas shift from snaking sensuality to cosmic exploration. The percussion keeps everything in check and focused: shifting from powerful to gentle, it is stirring and eye-cvatching throughoput. The bass work is solid and urgent throughout: impressively subtle at times and potent the next. The Sea of Tranquility is a song you will listen to again and again: the melody and composition require repeated investigations, and you will find yourself addicted to certain moments and movements- such is the gravity of the song itself. Whilst not the most urgent and direct moments on Black Hole King, it is one of the most detailed and fully rounded numbers: a gem from the band that is hard to forget- and highlights their talents to the full.
Black Hole King's title track is abound with chugging riffs, rifled percussives- and a powerful and impressive vocal performance. With a potent quiet-loud dynamic and epic swathes of strings, it is a song that you will struggle to forget in a hurry. Tides of War is a sub-two minute gem of contemplative beauty and purity: an instrumental that mixes Pink Floyd proportions with The Cinematic Orchestra-style transcendence and aching beauty. Goblins is a kick-ass slice of Absolution-era Muse, mixed with System of a Down-esque grit and punch. Some Velvet Skies is a made-for-the-mosh-pits headbanger: a swaggering goliath that mandates you to turn up the volume- and surrender yourself to the music. Having spoken with JFK (the band's drummer), I know that Formby are heading back into the studio soon- new material will be released later this year. Since the release of their debut L.P.: the four-piece have been busy touring and promoting their music; picking up fresh inspirations and stories- raring to parlay them into cracking new numbers. I am still seeing reviewers and publications feature Black Hole King– it is an album that you will not get tired of, and find new surprises each time you investigate it. The Sea of Tranquility is a perfect starting place (if you are thinking of investigating Formby): I would advise you check the album out in full, and replay the tracks- there is something in there for everyone. It has been great looking at gentler and more introverted music (as-of-late), but my thoughts and attentions invariably turn towards bigger and brasher sounds- like a musical dowsing rod. The home counties are producing some wonderfully diverse and intent acts; from Electro Pop anthems through to Led Zeppelin-esque epics- a great deal of bold and eye-watering music is coming through. It will be interesting to see what 2014 has to offer (with regards to home counties musicians): but one thing is for sure- Formby will laying down plans for a big future. Their debut album marked them out as one of the most instantaneous and striking acts around: so their sophomore offering is sure to tip then over the edge- and see them rise to the ascendency of national radio mainstays. This young quartet is still learning and experimenting; pushing themselves as an act and seeing what they can come up with- they are getting stronger, more optimistic and focused with each passing month. For those of you that have grown tired of generic Indie Rock misfires; the dragging and ponderous musings that leave you cold- steer your ears towards Formby. The rest of this year will see touring, songwriting- and the conception and completion of their new album. I have been informed that the material (that will feature on the album) will be their strongest year. The Sea of Tranquility is an insatiable and glistening slab of Prog brilliance; so if their best days are still to come…
THAT will be a very exciting proposition indeed.
Follow Formby:
https://www.facebook.com/formbyofficial
https://twitter.com/formbyofficial
https://soundcloud.com/formbyofficial
https://www.youtube.com/user/FormbyOfficial
Formby's videos and music can be viewed at:
https://www.youtube.com/user/FormbyOfficial/videos
Tour dates available via:
https://www.facebook.com/formbyofficial/events
Track Review: Mapstone- Go Solo
Mapstone
Go Solo
Go Solo is available via:
https://soundcloud.com/map-stone/go-solo-demo-1
RELEASED: 31st March 2014.
PRODUCED AND MIXED BY: Chris Cookson
© & ℗ 2014 Mapstone
Having recently been featured on BBC Radio Shropshire, it seems that Go Solo is impressing itself on a lot of minds (with a patented blend of homely electronics and efficacious vocals). Mapstone may be fresh out of the box, yet purvey music that does what good music should: comfort the soul; warm the heart; compel the mind- and remain long in your thoughts.
IT is not often that I get to witness a brand-new act making their very first steps.
A lot of times, a featured act or artist will already have a fair few songs online- or else have established themselves to a certain extent. Many new musicians are fearful that unless they have a wide-ranging campaign and portfolio available, critical and music-loving ears will look elsewhere. It is understandable that there would be reticence and anxiety (in this respect); but being someone very much in the fledgling era of my own music career, I am always looking out for acts fresh from the womb- those putting their first moves onto tape. It is great to have selection of fully fledged and well-rounded tracks, but when you come across songs that are in the 'demo' stage; it allows you to envisage where the song may go; what touches and additions will be made- and what the final version will sound like. It takes a lot of confidence, bravery and openness for an act to put these kind of tracks out in the ether. When looking at Mapstone, I have cause to believe that we will be hearing a lot more from them over the next few years. Chris Cookson is the sole voice and author behind the act; a pioneer whom mixes and produces the tracks (as well contributes all the various elements). Cookson's act is an Alt-Pop outfit based out of the Welsh Hills. Mixing large vocal harmonies with electronic beats, they provide a terrific blend of etherealness and power; a striking blend of power and composure- something you can not say about many acts. Having reviewed Second Hand Poet (Surrey-based artist Jamie Tipson), I was taken aback by the intimacy and warmth of his sound. Recording tracks out of his bedroom, he is one of a small number of acts taking D.I.Y. music to new places; negating the lure of the shiny studio- and letting the listener into their own four walls. A lot of music comes across as sterile, impersonal and overproduced, so it is always great to come across sounds that touch you with their genuineness. That is not to say that homemade and D.I.Y. music is not impressive- far from it. You do not need huge guitars and layers of noise to encapsulate the listener; if you have a solid and original projection to begin with, then you will be sure to win many hearts- as Mapstone surely will.
Being a fresh conception, it is hard to compare the outfit to any new act- or any existing artist. If you appreciate the importance of warmth and closeness, then you should definitely investigate this act. For those that like their music tender, earnest and honest, then you cannot go far wrong. As well as displaying a lot of soul and softness, you cannot ignore the vibrancy and urgency of the sounds provided. If you are more familiar with Indie Rock or Dance say, then I would advise you investigate Mapstone; as not only does the music provide ample excitement and passion- but I am sure that future singles and releases will see Cookson expanding and broadening his palette.
The fledgling moments of Go Solo are composed of crackling and triablistic electronic percussive beats; sparring with hand-clap interjections, it is a dream-like and evocative musical Morse Code- a vibrant and atmospheric opening gambit. The teasing and bubbling sounds put me in mind of Present Tense-era Wild Beasts, as well as latter-day Radiohead- there is a pleasing mix of austere (but exciting) percussion and sighing electronic haze. When Cookson comes to the mic., his voice is soft but imploring; painting romance-filled words, he is in a daze ("Tonight we lie alone"). Being the arbiter of the song (and the sole voice), Cookson puts his emotions and thoughts on the line; with no input or disturbance from anyone else, the lyrics come across as deeply personal and relevant- yet those which can be interpreted by anyone. When singing "The sun is crying out", the vocals layer and augment; you feel your hairs virtually stand on end- and become encompassed in the delirious weightlessness of the moment. As much as I have mentioned other acts (as comparisons), what comes through is a strong personality with a crystalline and dedicated vision. Embers of Electronic acts come through, but I am hard-pressed to compare Mapstone with any other artist- making the song feel organic, singular and stronger. Visions percolate and entwine in my brain; you can almost picture Cookson singing by a fireside- lost in his own thoughts and awash with fond remembrance. Any angers or stresses you have are dissipated by the sweet-scented melody. I transported myself to an open space; a deserted beach bathed in shy moonlight- romanticism and seductiveness pour through. When Cookson sings the line "I don't know if you care", the final word is held; stretched and then modulated- a sighing and beautiful falsetto sends the word into the heavens. There are whispers of In Rainbows-King of Limbs Radiohead that work away in the background (songs such as Bloom, All You Need and Lotus Flower came to mind); the soulful (and almost gospel-like) vocal layers could well be chanted and evoked by festival-goers before too long- I can see throngs of mud-covered music-goers singing along to the track at Glastonbury in years to come. Towards the song's mid-point, there is a cinematic interval- a chance for the listener to relax and absorb what has come before. Spectral and orbital vocals link hands with fire-crackling percussive annotations; with evocative charm, the composition gets inside your head and soothes the mind- and causes you to elicit a relieved sigh. When Cookson comes back into the fold, his words are considerably deployed: "Surrender/To the madness/I can see it/There in your eyes." Whether referring to his girlfriend (or something fictionalised and detached), I am not sure, but you can hear the conviction and passion come through- leading me to declare that the song's themes have their roots in personal romance. Just as you are picturing scenes of the song's heroine; imagining what form of waltz and seduction is afoot, the infectious and choral coda is back ("I don't know if you care"). Gorgeously delicate electronic notes are sprinkled into the track; not only offering multifarious sunlight- but adding weight and mesmeric quality into the mix. The final seconds consist of gradual decomposition; notes and vocal lines are eliminated as the song gracefully comes to land- all that remains (by the end) is that touching electronic arpeggio. Going Solo is a track that puts you in a better frame on mind; whether caught in the rain or basking in the sun, it makes you relax and reflect- and fall in love with what is on offer. The song has a mix of gallantry and postulancy; a cocktail of romantic desire and infantine abandon- you cannot but help but smile throughout. The production values are assured and professional; I did not have to strain to hear what was being sung- something that bugs me when I review quite a few other acts. Being a fan of acts like The National, Dry the River and Ray LaMontagne (without hyperbole), I can compare some of Mapstone's qualities with these giants. Mixing U.S. flavours and home-grown inspiration, Go Solo could seamlessly blend into albums such as High Violet, Shallow Bed or Gossip in the Grain– Cookson's voice conjugates Berninger-esque chocolate-toned reflection and Peter Liddle-style haunting falsetto. It would be transgressive to compare the song with anything out there (and would do a disservice to Cookson), but such is the quality and sense of beauty that one cannot help but to do so. Few artists and acts launch authoritative gems from the very off- so if Cookson keeps this pace and quality up, it makes for an incredibly exciting future E.P./album.
I know Mapstone's inventor has big plans for the future, and wants to remain as busy as he can. As the lead singer of Halflight, he showed himself to be one of the most impassioned and determined creative voices on the circuit. Mapstone is a project and act in the newborn stage, yet it is clear that we will be hearing more very soon. As well as Go Solo, Shelter is also available- and is another memorable and solid track. Although the twin tracks are in the 'demo' stage, they point at a promising future. The production is impressive and clear, and the songs' elements are mixed beautifully- everything is projected with clarity, decipherability and evocative atmosphere. Shelter is a warm and snug Indie-Pop number; while not instilled with the same production values and clarity as Go Solo, it still resonates hard- and hits the mark emphatically. Cookson turns provider and safe haven here; imploring his subject (with him) to stand their ground- it is a track imbued with redemptiveness, motivation and strength-against-the-current mantra. Burbling and dancing percussion beats marry alongside Cookson's focused and emotive voice- the track's nuances and strengths reveal themselves fully over repeated listens. Recently, Go Solo was featured on BBC Radio Shropshire– the first airplay for Mapstone. I know how much it meant to Cookson, and I am sure that BBC Radio One (and Absolute) will be spinning the likes of Go Solo and Shelter before too long. Go Solo (as well as Shelter) share common D.N.A., and hint at a clear sense of identity- an original and potent sound. Acts such as Wild Beasts, London Grammar and James Blake have demonstrated what can be achieved when you mingle stunning and evocative vocals, with direct and heartfelt electronic compositions. It is highly probable that Mapstone will be making big waves in time, as the act has struck on a rich vein of style and substance- a perfect genetic mix that resonates long in the mind. If they do make it big (which is a distinct future possibility) it will not be due to kismet or luck- it will highly deserved. I know these are the early days, but it seems that the move from London has done Cookson a lot of good- the tranquillity and serenity the Welsh Hills provide has provoked a lot of creativity and direction. I am not sure what comes next: a few more singles; an E.P.; tour dates possibly- but it will be exciting to see what is on the horizon. I for one, would love to see Mapstone perform (perhaps in some charming and familial coffee shop or bar). I shall not get ahead of myself, instead allow for some final reflection and modesty. Music is a hard and capricious business to crack, and relies as much on fortitude and talent as it does popularity. In spite of a modest online following (and the odd smattering of reviews), Mapstone will see follower numbers rise- as fresh eyes train themselves in their direction. In a turbulent political week, which has seen the venomous cockroaches of society rise to governmental prominence (voted for by the lowest of the low); music provides some loyal and indiscriminating stability; a tender touch to comfort the soul. When it comes to soothing and comforting (with plenty of force)…
FEW acts do it better.
Follow Mapstone:
https://www.facebook.com/mapstoneband
https://twitter.com/Map_Stone
https://soundcloud.com/map-stone/
Interview: Elena Ramona
Elena Ramoma
Word by Sam Liddicott
After a busy and productive year (which saw the release of her debut E.P., Hold On), Elena Ramona reveals her current plans; what influences her songwriting process, and how she writes "lyrics and music that my listeners will connect to on a personal level."
THE next few months will be a very busy one for the Surrey-based artist.
When Hold On was released back in February, it was met with huge respect and acclaim. The sounds, urgency and talent displayed throughout the E.P. showcased a young artist with a lot to say. Tracks such as Addiction particularly stood out, and its messages certainly hit a chord. Confident songwriting, simple and effective lyrics mixed with layered and nuanced compositions- all backed by Elena Ramona's striking voice. Able to go from sexy to revenge-filled; soft to impassioned; yearning to introverted, it is a facet that made the E.P. so impressive and confident. Since then, a string of gigs have been performed (within Surrey and London), and there are some impressive and important dates on the horizon.
The likes of Best of British and Eagle Radio have featured the music of Elena Ramona; her debut single Rise is still garnering a huge amount of attention and feedback, and it seems that ears and eyes are turning their attentions to this future star. The rest of 2014 will see plans and ambitions come to the fore, and it will be interesting to see what comes next (and where the Hold On heroine is headed). Having interviewed Elena Ramona last November, I was keen to see how life had changed; what plans there were for the rest of 2014- and how the reaction to Hold On has affected her.
You have been performing gigs around Surrey and London. How have you found the experience, and do you think it has given you more confidence as a live performer?
It's been great fun. Being on stage singing my own material so far has been an amazing experience. My audience has responded well and I have found connecting with them comes naturally.
How did you react to the massive positive attention Hold On received?
I was very touched. I was not expecting everyone to react in such a positive way to a debut E.P. It has given me the confidence to carry on making music the way I do.
In your opinion, what are your main themes and elements that inspire your songwriting?
This may vary depending on what mood I am in and what I want to say. I write lyrics and music that my listeners will connect to on a personal level.
Hold On looked at a variety of subjects- from family and friends through to love and holding on (obviously)- how has your songwriting style changed since then? What sort of themes and subjects might we expect to see in the future?
I don't believe my songwriting style will change drastically, as the way I write has had positive feedback; however, my second single and second E.P. will have more edge, vocally and musically.
There are a lot of challenges that face artists in the modern climate. What are the biggest challenges you have faced?
The biggest challenge I have faced so far is getting exposure for my music. I am currently working hard to promote Hold On and Rise through magazines, blogs and radio.
Can you provide any advice to any new songwriters coming through at the moment?
Write songs that you believe in and not what you believe people will want to hear. Enjoy it as there is nothing more beautiful than telling the world how you feel through music. There are many genres, and it is sometimes hard to find one that suits you best- so experiment, write different styles and slowly one will just fit. Finally, concentrate on pleasing the people who support you (and not the people who don't).
Finally, what are your plans and ambitions for the rest of this year/next year?
I am currently working on the release of my second single, Lying Blue Eyes- which will also have a music video. I am very excited to release this track, as it has taken a long time to get it all together. I have begun to write for my second E.P. We are aiming to release fresh new songs this winter. Having had so much fun gigging locally, I have applied to perform at various festivals next summer, such as Boomtown, Glasto (Glastonbury) and Pride– look out for me on the acoustic stage.
Elena's debut E.P., Hold On can be purchased at https://itunes.apple.com/gb/album/hold-on-single/id814494744
Follow Elena Ramona:
https://www.facebook.com/pages/Elena-Ramona/323928237668916
https://twitter.com/elenaramona90
https://www.youtube.com/user/TheStathaki1
https://soundcloud.com/elenaramona90
http://www.reverbnation.com/elenaramona90
Track Review: Ivy & Gold- Not Had Enough
Ivy & Gold
Not Had Enough
Not Had Enough is available via:
https://www.youtube.com/watch?v=vO0IdVg8MOM
The E.P., Eye of the Storm, is available through:
https://itunes.apple.com/gb/album/eye-of-the-storm-ep/id857797802
℗ 2014 84 World Limited
Eye of the Storm– 9.7
Lions– 9.6
Love Is a Sacrifice- 9.6
Not Had Enough- 9.7
Standout Track: Not Had Enough
The eye-catching duo fuse bygone English and U.S. sounds with cutting edge and modern wonder. In a music scene where you either get beauty and soul, or passion and mystery- Ivy & Gold provide both, with noble aplomb. These distinct London-based seraphs are sure to be huge future festival leaders.
IT is quite a rarity to come across a duo whom provide…
such a weight of emotion, beauty and gravity- without resorting to a hailstorm of guitar and percussion. In the U.K., there are quite a few duos; yet a great deal of them offer Grunge/Indie/Blues Rock sounds- few mix Pop and Electro together with 1970s Rock and Blues. Ivy & Gold subsume various influences and styles into their palette; mix it together with a stunning and vibrant original identity- the results have been stunning audiences, critics and reviewers. I shall investigate the duo more; but first, a little biography:
Jamie Davies – Producer/Keys
Rachel Wilkinson – Vocals
"Ivy & Gold are an electro / pop duo from Broxbourne, Herts, consisting of Rachel Wilkinson and Jamie Davies. Bonding over a shared love of Mike Snow, Fleetwood Mac and Ellie Goulding, the band set out on a journey to write their own hit songs. Their debut release came in the form of 'Awake' a 4 track digital EP, released in early 2013. Having played various support shows around the capital, the band headed back in the studio ready to unleash their next batch of songs. These new tracks will be launched over the course of the year, as a series of digital EP's, in conjunction with their boutique store and limited edition merchandise range."
Those with keen ears and (musical) may recognise the band moniker- it is the title of a Bombay Bicycle Club track (from their album, Flaws). It is a wonderful song title, and an even more perfect name for a duo- it sums up their luster, talent and qualities. In addition to being fans of the Crouch End Indie Rock quartet, the duo have a fond appreciation of the past. Tori Amos, Fleetwood Mac, Jeff Buckley and Incubus are amongst their lists of idols- as well as current-day idols such as Laurel (a musician I recently surveyed), London Grammar and Ellie Goulding. The back story of Ivy & Gold implores you to smile and sigh. There was no surruptitiousness or Hollywood luck; just two like-minded souls bonding over a shared love of some wonderful musicians. There are so few modern acts influenced by the likes of Fleetwood Mac and Tori Amos, so our well-educated two-piece come as a huge surprise- and they manage to incorporate elements of the aforementioned into their melting pot. Rachel Wilkinson must rank amongst the most beautiful and stunning women in the world, and in terms of voices, hers has few equals- possessed of a divine strength, power and tenderness. Jamie Davies is an assured and bold producer; one whom is no maverick, but is capable of adding ambition and wonderful atmosphere to the duo's music. You can hear the close friendship and understanding between Wilkinson and Davies. It is clear that they are consumed by music and all it offers; concerned with little else, this impassioned and fevered adoration blends magnanimously into their striking templates.
If you are a fan of current-day queens such as Florence Welch, Adele, Hannah Reid and Ellie Goulding, then Wilkinson's voice and projection will please the heart and mind. There are embers of each in her tones, yet it would be incongruous and remiss of me to lazily compare her with others. If you look for conviction and raw etherealeness; potent and spellbinding allure and beauty, then Wilkinson's voice will compel you. The stunning production quality and mesmeric compositions separate Ivy & Gold aside from their peers- yet this is not to say that they alienate themselves from those whom prefer classic and vintage sounds. There is as much history and retrospection as there is urgency and modernity; tablueaxs depict wounded hearts and disenchanted souls; whirlpools of dislocation and hope intersect, and the London-housed pair possess an impressive range of artillery in their armoury. Essentially, if you are seeking music that overwhelms and entrances, then seek out the gilded twosome.
Before I review the featured track, I will get one thing out-of-the-way: the issue of London Grammar. In spite of the duo being fans of Hannah Reid, Dot Major and Dan Rothman, too many reviewers have too directly compared the acts. It is true that both are fronted by staggeringly divine women; boasting immense vocals and detailed compositions- that is where the comparisons end. Ivy & Gold are no bandwagon jumpers; no tribute act or second-rate equivalent- they acknowledge shades of the Nottingham act, yet employ it as a point d'appui. Not Had Enough beckons us in with delicate and soothing notes; a subtle interplay of electronics and piano give way to our heroine. A fire is burning her down; the voice has duskiness and coffee tones; weighed down by the circumstances of life, Wilkinson in a reflective state of mind. Perhaps recounting the cessation of a relationship, a message is directed (to her former suitor): "Gone/You left me like a ghost." In the early stages there is a ready-for-the-clubs feel; a driving force that possesses a toe-tapping and metronome beat. With an authoritative composition (that put me in mind of Mezzanine-era Massive Attack and Little Earthquakes Tori Amos), you cannot help but to be sucked into the song. Our heroine prophesies that "We fall and fall again"; drowning in confusion and lost desire, her voice is powerfully direct- but instilled with heartache. The percussive and electronic components are kept restrained but persistent; never encroaching on the vocals, a huge subconscious weight is added into the mix- one that not only augments and supports the central voice, but adds a modicum of fear, tension and tear drops. Backed by Davies's compelling mandate, Wilkinson beautifully twists her voice; letting it rise and present a paucity of smile; before dipping into the soul- and letting a sensitive and impassioned side come through. Natural forces, dark scenes and harsh weather are all employed to give definition to our heroine's anxieties. When she sings "There's no escape to bring me round", you not only sense the conviction and meaning in the words, but picture her vividly- enveloped in a harsh wind, her mind is turning and the whites of her eyes clearly come into focus. Although the subject of solitude and dissipated love have been surveyed multitudinously, Ivy & Gold bring something new to the party; a sense of optimism amongst the shadows. The chorus- as well as being one of the most infectious you will hear all year- possesses an upbeat and fist-pumping sense of rebirth; Wilkinson's voice swings and rallies- she is a woman who has not yet been defeated. That said, it seems that this 'pattern' of events is a compunctive malaise ("I'm addicted/Locked in on my own"); as the song reaches its half-way mark, Wilkinson's voice hits it emotional peak- the full extent of pain and reality come through. One cannot help but to be impressed, not only by the range and snake-like shift in the vocals, but the power that comes through- our heroine can go from a high-pitched belt to softer whisper in a matter of nanoseconds. Whomever has caused our lead so much regret and sadness, has not defeated her (it seems that "it carries on"). As the track comes to its conclusion, key phrases (the chorus in particular) are re-introduced, and an emotional firestorm of percussion, electronics and keys is whipped up. When reflecting on the track, a number of aspects strike your mind. Wilkinson has some tints of modern-day golden voices such as Hannah Reid and Florence Welch, yet I feel that something distinctly fresh and improved is offered; Wilkinson's voice is a lot more addictive, nuanced and rich than these dual idols. Instilled with hints of past mistresses (Tori Amos and Bjork), the abiding impression is of a majestic sound that is all her own- and shall be inspiring a lot of up-and-coming singers as well. Davies's production is perfectly balanced and impressive; he allows the voice to shine with crisp clarity, yet does not negate the importance of the composition. Each segment and thread is beautifully presented and represented, and the song- as a result- is packed full of movement, emotion and layers. Not Had Enough is a song dedicated to (but not exclusively reserved for) those whom feel as Wilkinson does and have had similar experiences. It is a cut that will draw in hungry club-going feet; score beach sunsets and seduce car stereos- as you roll down a sun-kissed road. With its mix of emphatic and introvertedness; honest and bracing diligence- few will resist its allures. A fitting and hugely memorable coda, it is deeply impressive how confident and authoritative Ivy & Gold sound so early on- and it will fascinating to see how they evolve and grow.
It would not be hyperbolic to suggest that Ivy & Gold have a rich future ahead of them. They are a rare and sought-after commodity; a fact that is already being recognised throughout London- and the entire U.K. before too long. Having surveyed (their debut E.P.) Awake, it seems that the duo become more confident and galvanised with each ensuing release. It is judicious to assess Wilkinson and Davies on their own merits, rather than lump them with another act (Not Had Enough shows how intentful and determined the duo are). With heady emotion, encapsulating beauty and sexiness; as well as multi-coloured and evocative sonics throughout, it is testament to two humans intent on remaining in the public consciousness for many a-year to come. Eye of the Storm builds upon this, and displays an abundance of wealth- that which can be appreciated by everyone. The title track and Love Is a Sacrifice have introverted and reflective cores; bolstered, augmented and inflamed by Wilkinson's enticing vocals- as well as Davies's musical and production brilliance. New material and movements are imminent, and it is clear that Ivy & Gold are busy creative minds; inspired by positive feedback and a shared musical tastes, it seems they will be huge names to watch. They are tantalising audiences across the capital, but should brace themselves: the entire nation will want to see them in the flesh. It may still be early days for them; many pens mention London Grammar too frequently, yet I am convinced of one thing…
THIS essential duo are going to surpass the Nottinghamshire trio, very soon indeed.
Follow Ivy & Gold:
http://www.ivyandgoldofficial.com/
https://www.facebook.com/IvyandGoldBand
https://twitter.com/Ivy_and_Gold
https://www.youtube.com/user/IvyandGoldMusic
https://soundcloud.com/ivyandgold
http://www.reverbnation.com/IvyandGold
Last F.M.:
http://www.last.fm/music/Ivy+&+Gold
Songkick:
http://www.songkick.com/artists/7540434-ivy-and-gold
https://itunes.apple.com/gb/artist/ivy-gold/id635827342
http://ivyandgoldmusic.tumblr.com/
Tour dates available at:
https://www.facebook.com/IvyandGoldBand/events
Previous videos can be viewed at:
http://www.ivyandgoldofficial.com/#!gallery/c24vq
Ivy & Gold merchandise available at:
http://shop.ivyandgoldofficial.com/
Track Review: Fernando Perdomo- California Moon
Fernando Perdomo
California Moon
California Moon is available via:
https://www.youtube.com/watch?v=DzMKZCHpFh8
The album, Warm, is available through:
http://fernandoperdomo.bandcamp.com/album/warm
RELEASED: May 01, 2014 ℗ 2014 Fernando Perdomo
COUNTRY OF ORIGIN: U.S.
Produced by Fernando Perdomo
"We Fight" Produced by Fernando Perdomo and Victoria Kashtan
"On Sunday Morning Produced by Fernando Perdomo and Per Sundlin
Mixed and Mastered by Zach Ziskin
Engineered by Fernando Perdomo, Per Sundlin, David Alon Gielan, and Greg Byers
Recorded at Reseda Ranch Studios, Melody Maker Productions,
and Tambourine Studios
All Instruments and Vocals by Fernando Perdomo
All Cello's by Greg Byers
Drums on "Home" and "This Too Shall Pass" – Eddie Zyne
Bass on "Home" and "This Too Shall Pass" – Vincent Cuevas
Flute on "This Too Shall Pass" – Cynthia Kivlan
Viola on "Home" – Dave Torre
Piano on "Home" by Max Farber
Vocals on "We Fight" and "Girl With a Record Collection" – Alih Jey
Vocals on "Home" and "On Sunday Morning" – Durga McBroom Hudson
Vocals on "On Sunday Morning" – Michelle Vidal
All Songs written by Fernando Perdomo (BMI) except
"Girl With A Record Collection" written by Fernando Perdomo and Derek Cintron
Cover Lighting effect by Jessica Hundley Photo by Laurel Stearns
Photographers in Love– 9.6
Warm– 9.5
Home Is Wherever You Are- 9.5
Girl With A Record Collection- 9.6
We Fight (Because We're In Love)- 9.5
California Moon- 9.6
This Too Shall Pass– 9.5
Angel Lust- 9.4
Find A Lover- 9.5
On Sunday Morning- 9.5
Standout Track: California Moon
Fernando Perdomo relocated to L.A. from Miami; bringing along a chest of stories, covetous yearning, flashbacks, love stories and emotions- Warm is a cornucopia of wealth from a tender and zealous heart. With the album picking up an impassioned momentum, I investigate its most striking and touching track.
MY thoughts, once more, turn towards American shores…
Fernando Perdomo is creating quite a buzz around California (as well as the U.S.). Having been a musician and performer for many years now, it is unsurprising that his L.P. (Warm) is receiving such high praise and attention. It is not just filled with authority and fascinating soundscapes, but ties together various sonic threads. Differing moods, subjects and towns are crossed off across the album's itinerary- it is a stunning and multifarious achievement. If you are unfamiliar with Perdomo, let me shed some light:
"Fernando Jose Perdomo (born August 17, 1980) is an American singer-songwriter, musician, multi-instrumentalist, record producer . Originally from Miami Beach, Florida . He has toured, performed and recorded with various artists in many different genre's. He is the co-producer of "The Soul Of All Natural Things", the new album from the legendary Linda Perhacs. In 2010 Fernando Perdomo and his band Dreaming in Stereo were signed to a management deal with Bill Aocoin, under his company Aucoin Globe Entertainment. However, Aucoin became ill and died due to surgical complications from prostate cancer. Aucoin has also been credited with discovering, developing and managing the legendary rock band Kissand Billy Idol. Dreaming in Stereo 2 followed in 2010 to glowing reviews. The band showcased at SXSW 2010 and also backed up the legendary Andy Pratt. In 2012 Perdomo released his debut Solo EP, "Home is Wherever You Are" produced by Grammy nominated producer, Chris Rodriguez. Perdomo moved to Los Angeles in 2012 and opened "Reseda Ranch Studios" in Reseda. His first project is co producing (with Chris Price) the long-awaited second album by Linda Perhacs. He is also currently producing The Defiant, Jim CamachoLittle Dove, Robert Avellanet, Rooney Anne James, Graham Marshall, Trudy Miquelerena, Apryl Electra, Rebecca Schwab, Nicole Marcus, Melissa Thatcher, Andy Pratt, Melissa Thatcher and Records and Tapes. In 2013, Perdomo formed Records and Tapes with Jennifer Jo Oberle. The band has released 2 singles and a music video. His new single, "Photographers in Love" came out on 11/08/13."
In addition to recording, Perdomo runs Reseda Ranch Studios in Los Angeles, and is amongst the busiest, most talented and ambitious musicians around. His mature, assured and tantalising musicianship and songwriting will reap rewards- and ensure that these sensibilities bring in a varied and impassioned fan base.
Perdomo's wide range of sounds and styles means that his music does not subjugate and discriminate. If you are a fan of '60s and '70s classic U.S. Folk acts then you will find much to appreciate. Similarly, there are Beatle-esque touches (within the L.P.) that will please aficionados of classic British 1960s music. Openness and honest mingle with introspection and personal tragedy; swelling and touching made-for-movies scenery rubs shoulders with sun-drenched multifairiousness and light. Kaleidoscopic and dream-like visions run rampant, and each track is gorgeously crafted and considered. Not confined to a season or narrow sense of occasion, the songs can be appreciated in any weather, and at any time. Nothing is transient or sluggish; songs make their impressions known and linger long in the mind. If you appreciate music which offers its heart on its sleeve; that which implores you to look within yourself; to be uplifted and invigorated- then Fernando Perdomo fits the bill exquisitely.
The opening notes of California Moon tenderly set the scene. Twisting and springing guitar notes evoke a myriad of scenes. Instantly, your mind is transported to some post-dusk Los Angeles highway; nothing but contemplation and open road lays ahead. Undertones of (Bryter Layter-era) Nick Drake and Ray LaMontagne come through, yet it is a sonic sojourner that soon gives way to our frontman's entrance. Talking of "dancing in the dark", Perdomo's voice has a husky and calming air; earnestly speaking to his sweetheart, he implores her to join him- to go dancing under the heady glow of the moonlight. It is hard not to be put in mind of the Folk legends of the '60s and '70s- there is that same sense of authority and quality that comes through. The guitar is subtle but evocative; saying so much with few notes, Perdomo deftly puts the listener in his thought. It is nigh-on impossible not to imagine and speculate as to what the song's author sees- the sights, smells and sensations are all there. The chorus marries Drake-esque vocal touches with an impassioned and direct coda: "California moon/Shining on you". Whereas a lot of contemporaries infuse some negativity and cynicism into their love songs, here the mood is ripe, receptive and honest- Perdomo and his love are entwined in the night's air, nary a trouble to be found. By the time the chorus is repeated and weaved, it solidly sticks in your head; its infectious and simple charm is hard to ignore. The melody and vocal projection put me somewhat in mind of Prefab Sprout (particularly their albums Crimson/Red and Let's Change the World with Music); you can hear that same charm and urbane reflection within. Similarly, one could imagine Paul McCartney penning a similar track in 1967/8- if you listen to The Beatles, you could envisage California Moon slotting right in the mix. Comparisons aside, Perdomo has a real flair for song craft; able to mix contemporary Folk and troubadour sensitivity with latter-day Pop glory. By the final third, guitar notes mutate and evolve; from acoustic arpeggio flow through to electric wail, the atmosphere is kept alive, vibrant and filled with life. As the closing stage arrive, our frontman once more expounds the wonders of the night and ensures that the insatiable and indelible melody remains in your thoughts (for a long, long time). California Moon is a track that wins you over with its simple beauty and conviction, providing a much-needed breath of fresh air- away from the negativity and bait-and-switch that a lot of modern-day music promotes.
Warm is a natural evolution from previous works such as Dreams and Home Is Wherever You Are; one where Perdomo steps from the solo spotlight and collaborates with Linda Perhacs. Where past discs contained all the typical confident, flair, range and emotion (one would expect from Perdomo), Warm builds upon this and updates the listener on recent events. The songs seem more effortless and natural; there is a sense of passion and increased confidence throughout, and Perdomo has produced his most assured and fascinating set of songs to date. Photographers In Love looks at different photographic preferences and styles; beautifully employing them as metaphors for love (and contrasts and differences in relationships); presenting a sunny take on a unique love. Girl With A Record Collection is a paen to alphabetized vinyl, and a girl that blows the author away ("Without saying a word"). This Too Shall Pass employs Grieg-esque spring-time woodwind amidst a song that looks at life; all the woes and hardships that are faced daily- offering redemption and hope that things will turn out right. Warm is a perfect starting point for new listeners, and will appeal as much to lovers of modern-day cinematic Folk/Indie as it will to those accustomed to 1960s Pop. Being one of the most respected and hard-working musicians in the U.S., Perdomo's future is assured and safe. His latest L.P. will bring in many new fans from all around (including many in the U.K.) and reinforce his status as one of music's biggest hopes. Having produced for the likes of Little Doves, Perdomo has his finger firmly on the pulse of modern music- an intuition and talent that comes through in his own music. I am sure that future projects and collaborations are already taking effect (or at least percolating in the back of Perdomo's mind), so it will be fascinating to see what comes next. If you are looking for something new; music that can put you in a better mood, but also compel you to dig deep within yourself and reflect…
THEN your search should start (and end) here.
Follow Fernando Perdomo:
http://fernandoperdomo.com/
https://www.facebook.com/fernandoperdomo?fref=ts
https://twitter.com/fperdomo
https://www.youtube.com/channel/UCbvhsBwZEyQ75FYd4vBYC2w
https://soundcloud.com/fernandoperdomomusic
Bandcamp:
http://fernandoperdomo.bandcamp.com/
http://www.reverbnation.com/fernandoperdomomusic
http://www.last.fm/music/Fernando+Perdomo
http://www.songkick.com/artists/3659076-fernando-perdomo
Websta:
http://web.stagram.com/n/fperdomo/
https://itunes.apple.com/us/artist/fernando-perdomo/id6540435
http://fernandoperdomo.com/shows
Fernando Perdomo's previous videos can be viewed at:
http://fernandoperdomo.com/videos
Fernando Perdomo merchandise available at:
http://fernandoperdomo.com/store
E.P. Review: Boom Tales- Chapter 1- The Day's Jewels
May 25, 2014 May 25, 2014 musicmusingsandsuchLeave a comment
E.P. REVIEW:
Boom Tales
Chapter 1- The Day's Jewels
Chapter 1- The Day's Jewels.
PRODUCED AND MIXED BY: Bradley Kohn at Home Farm Studios
CO-PRODUCED BY: Ashley Radford and Andy Mangnall
MASTERED BY: Howie Weinberg
COUNTRY OF ORIGIN: U.K.
Illuminate– Ft. Eloise Lovell Anderson- 9.7
As Eagles– 9.5
Captain Slow- Ft. Eloise Lovell Anderson- 9.5
Storm She Came- Ft. Eloise Lovell Anderson- 9.7
Beyond– Ft. Eloise Lovell Anderson- 9.6
Standout Track: Illuminate
The E.P. is launched on May 27th:
Cecil's
8 Holyrood Street
SE1 2EL
The E.P. is available to purchase on May 27th via:
http://www.boomtales.org
The London-based band have a panache for Boho fashion and eye-catching flair. Their songs mix peaceful calm with uplifting implore. In an era where guitar-heavy insipidness politize strongly- vote for something that offers that extra something.
THE thing that entered my mind (first) when investigating Boom Tales…
is how striking the group are. In terms of looks and projection, you would imagine the quartet would spend their time surfing on a Californian beach or seducing women in the 19th century. The chiselled and dashing four-piece not only have a striking outer layer, but stun with their musical output. When assessing which genre(s) Boom Tales' music falls into; it cross-pollinates Boho Rock and modern-day Indie with '60s and '70s U.S. influences. Our ambitious band consist:
Ashley – Vocals/Guitar/Percussion
Rollo – Guitar
Tom Fromant – Bass
Lulla Hartmann– Drums
"Ashley Radford and Rollo Bergerac, both hailing from the isle of Jersey, met age sixteen in the ruckus of a rock festival. A ritual soon formed of long jamming sessions looking out from the rugged coastlines after a day spent in the sea. Years later guitarist Rollo wrote from the wild shores of New Zealand's South Island. Traveling alone, sleeping in his car, following the waves, he had the vision of the two friends creating music together again. Singer Ashley's memories of sailing to France with his father "watching the sails for boom tales" founded the name. The band's first EP 'Chapter I- The Day's Jewels' was recorded 'unplugged' and reflects their raw, travel enthused roots. The record features vocals from actress and musician Eloise Lovell Anderson, who stars in the music video for the first single 'Illuminate'. The band's soundscape has developed with their live shows, encompassing influences from Pearl Jam and Jimi Hendrix to Ben Harper and Bon Iver. Lulla Hartmann and Tom Fromant play drums and bass, whilst Rollo favours electric guitar experimentation over the acoustic approach of the EP. Teamed with tribal percussion and shamanic infused lyrics from Ashley, Boom Tales are pioneering their own unique Boho Rock sound. 'Chapter 1- The Day's Jewels' is set for release 27th May, with a launch party at Cecil's, London Bridge."
At the moment there are quite a few hungry and vibrant bands making their names around London, yet this quartet separate themselves apart and offer something new. In a sea of indeterminate and variable quality and interest, Boom Tales strike the eye, ear and heart. With contributions and additions from Eloise Lovell Anderson's raw and sensual voice, you are treated to a heady and captivating act. Anderson contributes a huge amount, and it is hard to ignore her beautiful and stirring tones.
If you are a fan of thoughtful and deep music, then you will love these guys. Their sounds offer up Americana and U.S. Country tones; there are huge and emotive vocals that put me in mind of classic-era Pearl Jam and Red Hot Chilli Peppers. Similarly, Reef and Soundgarden (oddly) come through strongly. Softer and more introverted moments blend Acoustic Folk with Reggae tinges, so if you are a fan of any of the aforementioned (and predisposed to embrace this type of music), then Boom Tales will resonate hard and prick your interest. The psychotropic, hypnotic and alluring blend of music they offer has a contemporary and urgent rush to it, but also displays vintage colours and elements. For those whom prefer their music passionate, emotive and deeply compelling, then you will definitely find much to recommend throughout Chapter 1- The Day's Jewels.
Delicate percussion and river flow acoustic strings beckon in Illuminate. Your mind is instantly transported to a countryside paradise or sunset majesty; with hints of King of Convenience and Bon Iver trickling through. Speaking of the Medicine Man and the chance to "initiate a change", Radford's voice is soothing but implorative. You get the sense that a festival such as Burning Man is being surveyed; faces painted in blood and mud mingle; the sunlight illuminates the throng. As the song progresses, scenes of nightshade and belladona come to the fore; our frontman presents a repeated coda: "I walk and forgot it." With Anderson's gorgeous and evocative vocals adding tender colours into the mix, the song soothes and anoints; its breezy and catchy charm seduces you- and you elicit a giant smile. With stadium-sized vocals (with Metal and Grunge potential), Radford's anthemic power blends instinctively with Anderson's exquisite tones. With two powerful, distinct and potent voices wrapped around Illuminate's words, it is a song that gets inside your head and emphatically begins the E.P. Another delicate and Folk-tinged intro. allows As Eagles to soar early on. A dreamy, woozy and scene-setting sonic snatch kicks the song into top gear; Radford's voice is urgent but restrained (in the early phase) as he weaves and tumbles his words ("Constellations correlate/To your bones/were never separate"). The track's nature-filled travelogue provides majestic soar, open skies, and mystic promises. Our frontman (and his subject) are in a place where "we don't need to try"- his voice yearns and resonates with passion. With some suggestions of Ben Harper and Counting Crows, we complete a memorable 1-2. Your mind is transported to a scenic clifftop as the sapling moments of Captain Slow arrive. Springing and romanticized guitars transport you somewhere scenic and safe. Whether employing metaphors for love and romance or literally presenting ocean and island scenes; vivid images enter your mind. When Anderson's crystalline and elliptical voice parabonds with Radford's (on the line "How well do you know this place?") the most stirring moment of the E.P. is provided. Our front-man swims the sea; diving and plundering he comes "aboard with the day's jewels." At times Radford is the pastor; delivering the sermon to his congregation- Anderson's wordless and swooping vocals add an additional layer of etherealness. I caught faint hints of Steely Dan in the vocal and music (Kings and Deacons Blues especially), and was left impressed by the group's momentum, mobility and range. Storm She Came is the penultimate track, and boasts Bluegrass and Country flavour; twanging and rubbery guitar notes inject intrigue and Southern States candour into the opening salvo. "Looking out from a tree house", Radford looks out on life. With some familiarly pleasing accompanying vocals by Anderson, shamanic and tribal beats mix with embers of love and passion; leading to not only the most urgent and atmospheric composition (so far), but one of the most instant choruses. Kudos must be paid to the percussion, which manages to whip up a wealth of force and meaning without any histrionics. Strings are beautifully electrifying and hypnotizing as our frontman loses his senses in the storm (that his heroine has created)- you cannot help but be impressed by the conviction of the vocal, vivacity of the lyrics; as well as the tight and compelling band performance. Completing the E.P. is Beyond. With ghostly and choral vocals joining with straining strings, Radford and Anderson duet once more (elongating the song's title with spectral haunt). The duo let their seductive and gospel vocalisations weave around words such as "We keep spirits high." Our frontman lead the heroine (Anderson) to the garden, but, as it is revealed: "you had to leave alone". Moonlit mountains, clearings and spirits are once more invoked and deployed- Boom Tales keep nature and scenic tableaux at the forefront once more. As the fire turns to ember, our enduring twosome keep emotion and fascination high. With gorgeous and inflamed vocals (making lines such as "You're the reason we know" so memorable), the E.P. reaches its end.
Chapter 1- The Day's Jewels was recorded unplugged and live. The pure and unfettered sound makes each track lodge into your brain, and make you feel as though you are listening to a mini concert. You can tell that experiences at sea and abroad (Bergerac wrote around New Zealand's South Island; Radford sailed around France with his father) played a huge part in the formative stages of their careers. Each track takes you to a new landscape; wild and evocative scenes are presented, and the listener is treated to a voyage of (self) discovery; the gorgeous and mesmeric tracks seep into your veins. The E.P. is one to listen to when you want to get away; take all the woe and misery from your mind; be uplifted and compelled by music. The melodies and compositions are beautifully constructed and filled with nuance; the lyrics are intelligent, poetic and imbued with repeatability (sic.). Being an embryonic and (practically) new-born act, their discography is gleaming and brand-new- so it is hard to draw comparisons with any previous output. Chapter 1- The Day's Jewels is an accomplished, treasure-filled and stunning quintet of tracks that will see fans and venues flock towards Boom Tales- keen to take them in and hear them play. The boys are brilliant throughout, yet Radford stands out as a most compelling singer; one whose voice seems capable of being able to do anything- it will be interesting to see how it develops and impresses in future releases. Anderson contributes stunning and tender vocals, which add weight and beauty to the tracks she performs on. Her voice goes from a wordless coo, all the way to bellowing and operatic (the latter is particularly true in the case of Beyond, where she displays hints of Hannah Reid). The boys are handsome and athletic; Anderson is stunningly beautiful, yet the music, vocals and words offered up are filled with nuance, emotion, energy and lustre. I predict that Boom Tales will be conquering large swathes of the U.K (once the E.P. is fully digested) and I would not be surprised to see future profitability mutate into international acclaim. Their sound is transferable and universal, and can (and will) be appreciated by hugely varied crowds. Being '…Volume 1', it will be fascinating to hear what future E.P.s/albums will resemble- will there be electric guitars and orchestration? Perhaps Hendix-esque swathes (amidst songs of modern-life heartache)? Maybe not; but the near-future is sure to be tantalising and filled with fresh promise. Boom Tales are a stunning act that are highly likely to supersede borderline-anonymity- and find themselves clasped to critical bosoms before too long. What I do know is…
WE will be hearing a lot more from this group in years to come.
Follow Boom Tales:
http://www.boomtales.org/
https://www.facebook.com/BoomTales
https://twitter.com/BoomTales
https://www.youtube.com/channel/UCx_VYloNk22wzPowS-S5Xgg
https://soundcloud.com/boomtales
http://www.songkick.com/artists/6880199
http://www.reverbnation.com/boomtales
http://instagram.com/boomtales#
https://www.facebook.com/BoomTales/events
Boom Tales' previous music and videos can be viewed at:
https://www.facebook.com/BoomTales/app_182222305144028
Track Review: Quinn Archer (Ft. Marcus Foster)- Rest of My Days
Quinn Archer (Ft. Marcus Foster)
Rest of My Days
Rest of My Days is available via
https://soundcloud.com/quinn-archer/rest-of-my-days-quinn-archer
RELEASE DATE: 10 MARCH, 2014
COUNTRY OF ORIGIN: U.S.A.
2014 WPIL
L.A.-based star Quinn Archer has a seductive and potent voice that can melt the steeliest of hearts. Having struggled in the quagmire of the U.S. music scene, it seems that the future will be a lot less oppressive. The young artist should prepare for a prosperous and busy future.
I have been meaning to review this artist for a hell of a long time now.
At the moment, Quinn Archer is working out of L.A., enlivening and seducing U.S. audiences with her incredible voice and stirring music. Many Brits who travel to the U.S. (and find it hard-going) find themselves repatriating, and returning to the U.K. Archer is going to be a future name to watch, and sets herself aside from her contemporaries. As well as her stunning looks and incredible voice, Archer has a genuine passion for music; she has a fond appreciation for her fans, and is always touched when positive feedback and praise are provided. Before I go into more detail, here is a bit more about her:
"British born singer-songwriter Quinn Archer's music is a remarkable blend of gothic soul, a startling combination with a voice of an old-school diva and the temperament of a well-brought up angel. After spending her teenage years at a catholic boarding school in Surrey, Quinn escaped to the bright lights of Los Angeles. While there she played the circuit with her hard rock band Stereofiend, sang back up for Shooter Jennings' band Stargunn and did solo projects with Ricky Philips (The Baby's, Bad English) and Gavin Mackillop (Sugar Cult, The Rembrandts, Goo Goo Dolls). Most recently, Quinn has been playing with her band Juliet's Royal Blood, before deciding to focus on her solo career once the band disbanded. Quinn's tumultuous experiences while touring and playing the Los Angeles circuit come through in her music, expressing feelings of suffering and resolution all at the same time."
It is difficult to compare Quinn Archer to anyone else, too directly. Her powerful and emotive vocals incorporate an element of Adele. There is that same raw power and sense of passion in her tone; when the voice is more romantic and imploring, it has elements of Christina Aguilera and (one of the U.K.'s newcomers) Alison Levi. In all honesty, Archer comes across as a unique and original talent. If you are a fan of Adele and Aguilera then you will not be disappointed, but her music appeals to those whom adore a strong and compelling voice: one that is filled with conviction, urgency, beauty and seduction.
Rest of My Days is a slight departure from Archer's previous works. Dark Places have a weighed and empty heart; the track looks at a former love who has broken Archer's heart; she confesses she is done wasting tears (on him), and the song looks at a break-up that has left its scars. Walk Through The Fire investigates love and trial-and-error; going through the bad times and making mistakes, in order to get things right. Thematically, Rest of My Days is more redemptive; its heart is more romantic and touching- yet a lot of common voice remains. Impassioned vocals, touching lyrics and a tender composition can be heard (as you'd expect), and Archer keeps all of her hallmarks and singular voice in tact. The song is a natural progression and a creative step forward; imbued with a sense of optimism, it could well point to what future songs will sound like.
Touching and moonlit piano touches begin Rest of My Days. Instantly, anxieties and stresses are calmed, as the soothing notes seep into your senses. When Archer approaches the mic. her voice is beautifully still and evocative. Speaking to her sweetheart, she knows that he'll come "through the dust and smoke"; Archer's heart is firmly on her sleeve and you can sense an emptiness and longing; a pining for her love as it were. When Foster come into the mix, you cannot help but ignore the instant impact. His voice has undertones of Aaron Neville, but is a darker and richer instrument; a perfect counterpoint to Archer's sweetness and delicacy, Foster's silky and husky tones are compelling and beautiful. When the duo's voices are entwined, the biggest emotional hit is elicited; the song's aching and heartfelt words come starkly to life. When the two sing "I still find it hard to believe/that I'm never gonna break your heart", you can hear that sense of loss and strain; the sense of heartbreak is evident. The song acts almost like a call across the oceans; you imagine Archer being in a lonely cafe in L.A.; Archer being in London or further afield- singing and calling to one another across the land. Throughout the early stages, the vocals are left to speak the loudest. Piano elements and intonations are kept sparse and unobtrusive; there is no needless noise or force, meaning that the whispered notes blend seamlessly into the mix- and augment the lyrics wonderfully. Our duo confesses that to be without one another forever would be too much to take; if life meant being without one another, then sorrow and loneliness would overcome them ("I could never make it through"). It is hard to thing or any modern-day duets that have such a force and beauty. A few recent attempts (by mainstream) acts have trodden the same themes and lines, yet none (for my money) have done so as effectively and stirringly. Archer and Foster's voice seem ready-made for one another, and it sounds like they have been singing with one another for years- that sense of intuition and naturalness come through in every note. The composition reminds me slightly of To Build a Home (The Cinematic Orchestra ft. Patrick Watson). There, subtle but yearning strings mingled with open-hearted piano to give the track an immense beauty, stillness and tenderness. As the closing notes are proffered, you wonder whether the duo ever made it to one another, or are whether their hearts are destined to remain disconnected and longing. Rest of My Days is a song to reflect to; when the light is fading and you are taking stock of your life, it is a track that helps the decision-making process. Similarly, anyone involved in a difficult relationship can find solace and meaning here; as can anyone who pines and longs for someone they cannot have.
In spite of suffering the jet lag of the touring circuit and struggling a little in L.A., Quinn Archer should hold firm, and be very proud. The handful of songs under her belt suggest a talent that has a long-term future. Archer's emotive and striking voice is very much her own; it is hard to compare it with too many other acts of the moment. Her songs cover a wide range, and Rest of My Days is a track that gets inside of your heart, and strikes a chord. Tenderness, romantic implore and emphatic emotion come to the fore throughout, and Archer and Foster blend wonderfully. I feel that Quinn Archer will be making E.P.s and albums for years to come, and will be getting the recognition she deserves. With a starling beauty and an incredible songwriting talent, it will not be long until many more faces and names are familiar with her music. It is clear that Archer loves what she does and is determined to make it big in years to come. Music is a notoriously tough and crowded sector, yet she sets herself apart from her peers with her unique voice and down-to-earth approach. When she finally does make it big in the U.S. I just hope that she allows herself a chance to relax…
AS well as come home and see us here in the U.K.
Follow Quinn Archer:
http://quinn-archer.com/
https://www.facebook.com/QuinnArcherMusic
https://twitter.com/Quinn_Archer
https://www.youtube.com/user/QuinnArcherMusic/feed
https://soundcloud.com/quinn-archer
http://www.last.fm/music/Quinn+Archer
https://plus.google.com/100002515165955233869/posts
http://instagram.com/quinnarch#
https://itunes.apple.com/gb/artist/quinn-archer/id778724979
http://quinn-archer.com/?page_id=95
Quinn Archer's previous videos can be viewed at:
Track Review: Huxtable- Juliet
May 21, 2014 May 21, 2014 musicmusingsandsuch2 Comments
Huxtable
Juliet is available via
https://www.youtube.com/watch?v=l99jNKn4LZk
RELEASE DATE: 09 MAY, 2014
The Scottish duo have a template that brings to mind the likes of Them Crooked Vultures; these endeavouring chaps have a striking and direct sound that is going to be on the lips of many before too long.
HEAVIER and more primal sounds have fallen under my radar…
over the last few weeks. In the next few days I am going to be exploring softer and gentler music, yet I felt compelled to feature a potent two-piece; an act who are just starting out and have a big future ahead of them. Before I investigate the duo more closely, let me introduce them to you:
Jordan Yates
Marc William Brown
"Huxtable are a two-man rock band from Scotland. Near Glasgow to be specific. Kilmarnock in Ayrshire to be spot on. They make riff laden music with big drums, big guitars and big vocals. It is razor-sharp. It is loud. It is catchy. It can be softly spoken but not for long. It is Huxtable. We are Huxtable and we are pleased to meet your acquaintance. We have recently finished recording a collection of songs- the original plan was to release one EP and see where it went. However, upon listening back we felt the 6 songs on the upcoming release belonged together. They are supposed to be listened to as a collective. So here we are. Debut mini album coming soon."
At present, Huxtable have a smattering of followers online (and a string of gigs under their belts), but this will soon change. They come across as affable and honest; an act that want to reach as many people as possible, and take their music far and wide. I have surveyed many different Scottish acts, from Echo Arcadia, through to Universal Thee, all the way along to Steve Heron. It is a nation that offers a huge diversity and range; where acts are keen to separate and distinguish themselves; supersede expectations and stick in the mind. Whereas cities such as London may provide a greater number of bands/acts, Scotland is housing a wave of eager and potent young musicians, keen to make their mark.
Huxtable have been compared to the likes of Them Crooked Vultures and The Raconteurs. In terms of modern acts, they have a sound that is similar to Royal Blood and Knuckle. There are many duos playing across the U.K., although only a few that provide such a Hard/Desert Rock kick. The duo blend elements of modern-day American and British music, yet should not be instantly compared with anyone else. Whilst there are shades of other acts, there is a distinct originality and sense of individuality that earns the duo their stripes. Those whom love Blues and vintage Grunge will find much to appreciate; similarly fans of Arctic Monkeys and Queens of the Stone Age will love what they hear. The duo provide music that is indiscriminate and all-inclusive; that which can be played in the heat of summer, and the cold bite of winter- it is music that makes you want to kick your feet and become immersed in.
A swinging Rage Against The Machine-esque riff is unleashed straight off; the guitar slams and twists; the percussion clatters with gleeful abandon- it is a metallic and animalistic clash. Primal urges are unleashed in the swaggering opening; our duo set the mood and ensure that intrigue and fascination are set to 'maximum'. Twiddling and swooping guitar touches are employed (you can hear the influence of Them Crooked Vultures) as our front-man steps to the mic. The vocal (at first) is controlled and restrained. Yates introduces our heroine, and the story begins ("Here we are/Where we met"). Words are sparse and repeated, building in a mantra-like quality; the simple and direct lyrics are re-introduced, ensuring they stick inside of your brain. Before long the vocal becomes more impassioned and inflamed; our frontman opens up his voice and lets his heart pour out. Backed by guitar and drum which stutter and trip, the heady combination ensures that the listener stands to attention and takes notice. As with U.S. stalwarts Them Crooked Vultures, The Raconteurs and Q.O.T.S.A., Huxtable have a talent for stirring compositions; the guitars snake and hypnotize, the percussion pounds and pulverize. The duo's talent for economy of language ensures that there are no unexpected surprises; by the second verse you are repeating and singing the words- as well as imagining some vivid scenes. Yates once more talks of where he and Juliet met ("It's a stagehole"); the song puts you right in the picture and actively brings scenes and images to fruition. By the 2:00 mark the song builds; based around a single thought ("Here we are/Where we met/In the rafters") you can hear the intensity and conviction in the vocal; our front-man wants his heroine to show some soul- although it sounds like his soul has been ripped apart and turned inside out. By the closing stages, the mood gets heavier and more fearsome. This time the words have a truthfulness and malevolence to their core: "Everybody's gonna to die/It could happen to you." By the time the final guitar-and-drum combo is elicited, you are overwhelmed and exhausted- and curious about how things worked out for Juliet. This is a song to get the blood rushing; for when you are pounding down an open highway or in the mood to cut loose. Not exclusive to lovers of the genre, its simplicity and urgency can be extrapolated by all. The production is clear and sharp, allowing the song's evolutions to shine through. The enraptured and solid vocals mark Yates out as one of the most impressive singers around; similarly Marc William Brown marks himself out of as one of the strongest and more primal percussionists around. It is clear that the duo will not be (relatively) unknown for long.
The duo is in the fledgling stages, so it is hard to compare Juliet to anything else. What I do know (from reviewing the track) is that the two-piece will have a busy future. They are on the brink of unveiling their debut- a mini-album that will show just what a force Huxtable are. Juliet is a hard-hitting and urgent slice of Blues/Garage Rock rush that hits you instantly, but also compels repeated listens and investigation. Huxtable have some modest tour dates coming up, but once their mini-album hits, I expect things to change radically. As well as an increase in online followers, I am confident that venues through the U.K. will be snapping the chaps up. The sounds they offer are familiar and well-represented, but there is plenty of room in the market for the likes of Huxtable. In a year that is seeing the likes of Royal Blood rise to regency levels of acclaim, it is highly probable that (several years from now) the two-piece will be enjoying similar acclaim. In a music scene where urgency, passion and potency take a back seat to other considerations, you should do yourself a favor and…
CHECK these boys out.
Follow Huxtable:
http://www.wearehuxtable.com/
https://www.facebook.com/wearehuxtable
https://twitter.com/wearehux
https://www.youtube.com/channel/UC9rlPYkxgJiU5r42HfbCHIA
https://www.facebook.com/wearehuxtable/events
E.P. Review: Syren City- Fire In Your Name/Asphodel E.P.
Syren City
Fire In Your Name/Asphodel E.P.
The Fire In Your Name/Asphodel E.P. is available via
https://www.youtube.com/watch?v=XKVd1MpcB6A
RELEASE DATE: 12 SEPTEMBER, 2013
1) Fire In Your Name- 9.6/10.
2) Asphodel- 9.4
Hailing from Bristol, five-piece band Syren City have won the support and hearts of local crowds. Their Punk-cum-Hardcore anthems to a much wider audience- marking themselves out as festival mainstayers-in-waiting
HISTORICALLY, Bristol provided some of the greatest acts of all-time
Certainly, when it comes to modern music based in Bristol, the likes of Massive Attack and Portishead spring to mind. These legends formed part of the "Bristol Sound" coined during the '90s to describe the city's musical elite. They created the Trip Hop and Electronic that Bristol is known for. While cities such as London, Leeds, Manchester and Liverpool are producing a greater number and range of diverse musicians. At present, there is a wave of hungry and eclectic acts, determined to put Bristol back in the collective consciousness. Bands such as Coasts and solo artists like Gaz Brookfield are among some of the most striking and ambitious acts to come out of Bristol. Fitting in this scene are the vibrant five-piece Alternative Rock band, Syren City.
Members Simon Roach, Adam Hopton, Ian Chadderton, Adam Armour and Louis Catlett draw their inspirations from Punk, Metal, and Hardcore to create a mesmeric and forceful British Rock sound. The group has fully utilised social media; as well as having extensive online coverage, the quintet have established themselves as one of the hungriest and most urgent acts on the underground circuit. Throughout the last year, Syren City has gigged extensively, completing 3 U.K. tours and a securing slot at Hit The Deck Festival, where they opened for the likes of Don Broco, We Are The Ocean and Mallory Knox.
If you are a fan of the classic Punk bands of the '70s you will love Syren City; the guys not only mix vintage and classic sounds, but infuse doses of modernity as well. Fans of the Foo Fighters, Queens of the Stone Age and Pulled Apart By Horses should also dive in. Syren City mixes diving and spiralling guitars, heavy and emotive percussion and vocals, wrapping them all up in memorable and anthemic sonic blasts. The band's debut disc, Fire In Your Name/Asphodel E.P. was released last year and has been garnering some high praise.
Fire In Your Name is the first song of the EP, and begins with an emphatic kick. The track's impassioned vocals and powerful riffs get you to your feet. It is a number to listen to when the sun is out and you need to let loose- it has an emphatic and rebellious quality that implores you to sing along and punch your fists. The lyrics are evocative and striking (speaking to an unnamed subject) our hero implores: "You'll ask for water/I'll pour on gasoline." Frontman Simon Roach claims that the song deals with "someone who's grown up within their walls and comes to see the error of their ways – in the breakdown we dubbed in a sermon of hate from Fred Phelps himself". Whilst the ecstatic and pummelling riffs burrow in your mind, the gang vocals and uplifting percussive work make you smile and root for our hero. The vocal is particularly impressive – In addition to being original and daring, it is consistently powerful and direct. Each word is sung with such conviction and force, ensuring that the song is not easily forgotten. Mixing blasts of Q.O.T.S.A. and Green Day alongside Fall Out Boy and Foo Fighters, it gives the track a hugely impressive quality and is a stunning opener. The E.P.'s 2nd track, Asphodel, according to frontman Simon, looks at "my own interpretation (Roach's) of the Divine Comedy, about the poets journey through the Inferno and Purgatorio, making it to the edge of Paradiso and realising he regrets nothing of his sins so plunges himself back down…". Once more, bruising riffs and masculine kick are the order of the day; the track has its heart in a fiery bordello, having backing vocals are practically screamed with desperation as the crackling drum work ramps the tension up. The vocal turn is once more throat-scraping and blood-thirsty; our frontman ensures that every song vividly comes to life. Shades of Grunge pioneers Niravana and some Badmotorfinger-era Soundgarden infused with Syren City's rampant Punk energy create another stunning track that compels you to join the band in unison and make a lot of noise. The E.P. is well-produced and sharp; each track is clear and concise, allowing the fury, passion and mythology to come through with clarity. It is not something that only appeals to lovers of Punk and Hardcore: it is an E.P. dedicated to anyone who loves genuine and honest Rock. The infectious songwriting and emphatic sing-alongs will be impossible to shift from your mind.
There are other modern-day acts who offer the same sort of music as that of Syren City, yet few do so with such conviction and quality. They meld bygone Punk and Hardcore elements into their palate, as well as injecting a very original modern voice- one which will inspire legions of other acts and newcomers. Over the coming months, Syren City will be playing gigs across the south-west of England. They have a ready-made sound that will be welcomed across London, Manchester, Liverpool- and all across the U.K. The way they mix U.S. influences and strands means that in future years they could well play across Seattle, New York and L.A. While the band is still in its early days, there is ample evidence to suggest that Syren City a band watch very closely. The band gets in your veins, puts you in a better mood and compels you to sing along. You can lose your body in the music, and forget about your troubles.
MAKE sure you check out this electrifying act.
Follow Syren City:
https://www.facebook.com/SyrenCity
https://twitter.com/syrencity
https://www.youtube.com/channel/UCF7j0gicv9E1jxdIbmAwtSg
https://soundcloud.com/syrencity
http://www.last.fm/music/Syren+City
http://syrencity.bandcamp.com/
Big Cartel:
http://syrencitymerch.bigcartel.com/
http://www.reverbnation.com/syrencity
http://www.songkick.com/artists/4054966-syren-city
https://itunes.apple.com/gb/artist/syren-city/id456927817
http://www.instagram24.com/syrencitymusic
https://www.facebook.com/SyrenCity/app_308540029359
Track Review: Ariana & The Rose- In Your Bed
Ariana & The Rose
In Your Bed
The track, In Your Bed is available via:
The E.P., Head vs. Heart is available from:
https://itunes.apple.com/gb/album/head-vs-heart-ep/id798771825?ign-mpt=uo%3D4
1) In Your Bed
2) Heartbeat
3) Hollow
4) Love Me, Hate Me
Released: 23 March 2014 ℗ 2014 Pookiebird, LLC
This New York-based artist is currently wooing crowds across the U.K.; determined to take her music as far and wide as possible. With an E.P. that has already set critical tongues into overdrive, this eager talent's striking music is amongst the most memorable and impressive around.
IT has been investigating the music scene of L.A. recently, but for today….
I travel across the U.S.- and to New York. Whereas Los Angeles has a bustling and diverse music scene, New York may pip the Californian hotspot, when it comes to sheer range and multitudinous. L.A. boasts some stunning and character-filled neighbourhoods and alleyways; treasures can be found across the city, and there is plenty of music for everyone- all tastes are catered for. If you favour Hip Hop flavours or are akin to the majesties of Rock or Indie, there are bands and artists whom can tantalize. Similarly, if you prefer sunnier Pop and Soul movements, then there is going to be plenty to wet your appetite. In the U.S. there seems to be a multi-party civil war occurring; debate is raging with regards to which city/state provides the best music- the greatest amount of diversity and quality. Historically, the likes of Detroit and Seattle have always been at the forefront, yet for my money, New York is making waves to claim the crown. In the same way that L.A. (and California) is attracting a host of migrants and foreign musicians; each keen to soak up the atmosphere and influence of the city, New York is drawing in some terrific artists. Before I look into them (and the best that N.Y.C. is promoting), it is worth considering just how many genres of music are being played in New York; just how much one can experience and witness. Areas such as Greenwich Village offer new and spectacular acts; the likes of Joan Baez and Bob Dylan played here in the '60s, and many great and fervent artists ply their trade and wow local audiences. Salsa, Hip Hop and Dance music are burgeoning and thriving scenes, but over the last few years, other genres have been making their voices known. Over the last couple of decades, New York has been a natural home for Proto Punk and No Wave acts such as Band of Susans and Sonic Youth- it was a short-lived movement but lead to greater things. The hardcore Punk and Heavy Metal scene that fostered the likes of Heart Attack, Murphy's Law and Mortician are going strong; providing platforms for urgent and hard young bands. It is perhaps Indie Rock that has put New York on the map, or at least given the world some tremendous bands. Legends such as The Strokes, The Bravery and Yeah Yeah Yeahs; but in more recent years acts such as LCD Soundsystem, Grizzly Bear and The Drums have made their mark. It is not just native talent ensuring that New York remains at the precipice of modern music. Bands including The National, MGMT, Yeasayer and Matt and Kim have added to the majesty of The Big Apple. It is great to look back on the wonderful musicians whom call New York their home; the scenes and genres that are widespread and itinerant- but there are some terrific embryonic acts coming through. The 30-year-old Brooklyn-based heroine Diane Birch has been compared to the likes of Fleetwood Mac and Prince (the latter actually invited Birch back to his house to jam); her voice and music mesmerised fans and critics across her sophomore L.P., Speak a Little Louder. Brooklyn dwellers Drowners are invoking the wonder of 'Britpop'; mixing Suede and Blur- as well as fusing Arctic Monkeys and The Strokes. Betty Who (born in Australia) infuses catchy melodies and insatiable choruses, wowing New York crowds, she is set to be one of the biggest names in music over the next few years. What I have noticed is that there seems to be a dominance of band music. St. Lucia's Glam-Synth hooks are filled with exuberance and glee; and amongst the best Electronic music anywhere in the world. You have Punk rockers Cerebral Ballzy; Indie Pop's Friends- as well as Rock-Synth-Pop hybrid masters Little Daylight. If you prefer your New York music band-based then you have plenty on offer; all sorts of styles and colours are ready to be experienced- yet there are plenty of stunning singletons. As much as I love the likes of Chairlift and their ilk, one yearns to hear someone a bit different- music that features on a single voice or personality. Smoky and minimalist R 'n' B stylings are the order of the day for the stunning Tei Shi; someone whom can make a track grow on you; its anatomy, evolution and development can be heard as the seconds progress- it is music that demands close attention. San Fermin mixes the emotional lustre of Adele and Amy Winehouse, yet delves deeper for subject matter; mingling baroque beauty with modern-day frustrations. Although these examples are backed by other bodies, the focus is very much on the lead; that single voice that comes through in every song. Whereas L.A. is promising a wealth of vibrant and multitudinous duos, New York still has the lead when it comes to the best bands (in the U.S.). I am sure that there are plenty of great solo acts in New York; those whom take on music completely alone (sans corroboration), yet it seems that it is a minority genre. My featured act today has a tremendous singular talent, yet is someone whom is supported by other musicians; those whom add to her sound- and support her glorious tones. In the U.K. we have a lot of solo acts, and their numbers grow by the week; I am not sure why New York favours kinship and musical comradery more, but it is something that has been rattling around my mind. I guess bands such as The Strokes and The National have inspired new musicians to do likewise; recruit warm bodies and ensure that there is strength in numbers. New York may get a bad rap as being a bit cold and disconnected when it comes to interaction; there is this impression that no one talks to anyone, and rudeness and detachment are favourite past times. This is simply untrue (and is something London is accused of); big cities and regions are always going to have a certain sense of hurry and anxiety to them, but Ney York offers plenty of warmth and wonder; fashion and passion- as well as friendliness and cohabitation. There is openness and warmth present that is seeping into music; new musicians are keen to collaborate and merge with one another- rather than go out alone. I have featured Ariana & The Rose today for two reasons, which I shall explain now. One of the things I notice about London music (as well as U.S. styling) is that there are few terrific female-lead acts/groups. Over here we have some wonderful solo artists such as Alison Levi and Emily Kay (whom I have often mentioned in these pages), but in terms of brand-new music, there are few bold female voices. It may be an over-exaggeration, but I still hear too many all-male acts; there are all-female bands (as well as mixed gender examples) but in terms of that single female voice- there are few that spring to mind. In Yorkshire and the north there are a fair few, yet down in London there is a scarcity it seems- and this seems to be an issue in the U.S. as well. The likes of Caitlin Rose are amongst the finest American voices of the moment, but I would love to hear more examples like her. I adore the music made by bands and all-male acts, but I crave difference; something with a different personality; a new direction and philosophy- something fresh and enlivening, essentially. One of my biggest goals and desires for the rest of this year, is to uncover the best and brightest female voices out there; those which get under the skin- and whose providers get inside your soul. Before I introduce you to my subject (and neatly tie all my musical strands together), I will mention two more points: style and personality. These may seem like odd terms to introduce into a music review, and that may be because these are facets lacking (from music). I have met and been introduced to some lovely and warm musicians, along my travels, but when it comes to the rest of the market, things are a bit hit-and-miss. One of things I look for in great new music (as well as terrific songs and sounds) is a compelling figurehead; someone you can not only relate to, but also be inspired by. I have witnessed quite a few U.K.-based acts whom I stay in touch with; are down-to-earth and as likeable as they come- yet I find that too many new musicians do not project this; possess a rather stale and distant personality. It is true that the music is the most important aspect of any new artist, but if its creator(s) come across as aloof and boring, then few eyes are going to remain fixated. Just like a date or friend, personality and dependability are more important than outer layers and 'looks'. The acts whom are going to remain in the public consciousness, are not only those whom dare to be different bold, but connect with fans- and project a warm and relatable personality. Music is about connecting with people and vote-winning; electioneering with multiple mandates and pillars; making sure that the public not only are compelled by the music on offer- but are drawn in by the human(s) making it. I shall go into more depth a bit later, but will conclude this paragraph by mentioning style- in terms of online fashion as well as personal style. A great deal of new musicians are so hell-bent on getting their sound and essence just so, that they negate a key fundamental: an eye-catching outer. I have said that personality is a paramount consideration, yet the music-buyer wants something to catch the eye as well; an act whom not only enliven the ear, but stir the senses too. I find that a lot of bands come across as rather stagnant and one-dimensional. Sure, the music can be stunning and inspiring, but when it comes to the men and women behind the music, they come across as pedestrian and dull. I am not suggesting that every new musician has to be as extroverted and striking as Lady Gaga, but a lot of ground can be covered by considering a few important points. In relation to fashion and style, something a bit different and sexy can go a long way; a sense of allure and difference does not detract from the business of music- it can augment it. This is something that is not just reserved for female artists, but us chaps can take note. If you look back at some of the greatest bands and solo artists of all time, each of them possessed a certain flair and sense of stylishness. Maybe some of Pop's modern idols have scared new artists off from trying to be fashionable or stylish (the bold colours and geometry as well as controversial exhibitionism has put many into disrepute), but you do not have to go overboard. If you apply this parable to my examples of love and romance, you are going to capture more hearts and minds if you put some consideration into your wardrobe. Aside from clothing and presentation, online fashion is something that is being given little consideration. It is one of my biggest and more favourite rants, but too many new musician expend little time with regards their online pages. I have come across too many acts with only a Facebook and Twitter page- and do not have an official site. Those that do have an official site often miss out key information (biography, links to reviews, photos etc.), simply using it as a portal to their social media sites- an intermediary as it were. In this age it is not good enough to rely on Twitter and Facebook; these sites are vital when it comes to connecting with fans, but they strike me as a little hollow and impersonal. As well as not being the most in-depth and well designed sites on offer, they give little insight into the musician- what makes them tick etc. Official websites give the artist an opportunity to employ their own colour scheme and designs; put in as many photos and personal titbits as possible- and ensure that a great degree of relevant information is incorporated too. The most worthy and hard-working artists understand this importance, and go to great lengths to ensure that they have a brilliantly original and eye-catching personal site (as well as a comprehensive social media output). My featured act not only is amongst the most stunning and original female voices of the moment, but is someone whom projects style and panache; lets fans into her world, as well as ensures that her online sites draw in new listeners- and keep the hungry listener informed and compelled.
Before I introduce the woman behind Ariana & The Rose, I will tread on some dangerous quicksand. The mind and thoughts should never dwell too long and hard on looks and outer shell (and neglect the person behind the beauty) but you cannot help but ignore how stunning and captivating our heroine is. As well as possessing earth-shattering beauty, she is also one stylish and fashionable musicians on the current scene. As well as being a former actor, our heroine is familiar with the catwalks and the best that New York fashion has to offer. Mix a beguiling natural beauty with a keen eye for fashion and style, and you have an artist whom compels you to remember her; ensure that you do not forget anything about her. Before I stray into murky waters (sexism for one), I will clarify my point by mentioning that the music that Ariana & The Rose offers up is the biggest selling point- that which has been exciting crowds and fans throughout the world. Before I go into more depth about our heroine (and her moniker) I shall provide some personal information (gleamed from The Guardian).
"DiLorenzo, a 24-year-old from Long Island originally, is a singing keyboardist, with one foot in the fashion camp – although not as camp as Gaga – who actually performed at the after-party for the Born This Way Ball, and who has a similarly broad, half-rock, half-cabaret showtunes background as Gaga's. She learned to dance ballet, tap, jazz and hip hop from an early age, joined Manhattan's Synthesis Dance Project at 12, was a Musical Theater major at the Professional Performing Arts School in her mid-teens while in free moments doing various voice-overs, jingles, commercials and walk-on parts on the likes of the Sopranos. She studied Journalism at the Tisch School of the Arts – the same one as Gaga – and did unpaid work at a casting agency before turning 20 and putting out her first record, a dance track called Beautiful."
At the moment, DiLorenzo is in the U.K.; taking Ariana & The Rose across the country, and ensuring that as many Brits as possible fall in love and are captured and overwhelmed by the music. DiLorenzo herself spends a lot of time between New York and London- it seems that the U.K. is a second-home for our heroine. Her formative years have been busy and diverse indeed; our heroine never intended to follow a career in music and record- it just sort of fell into place. When speaking with Songwritingmagazine.co.uk, this curious and fascinating back-story was given tender investigation:
She hadn't pursued the idea of writing pop music professionally: "I was only writing songs for fun at that time, which I think helped cultivate a relationship with my own music. I could be super-personal, because for so long I didn't share it with people."… But, after studying at NYU's famous Tisch School of the Arts (whose notable alumni include Lady Gaga), Ariana began working with music producers and, at the age of 21, was inspired to pursue a career as a songwriter. She would end up writing toplines and demos for other singers for "everything from hip-hop to dance," and, although she didn't realise it at the time, was effectively in training, "I was learning how to be in the studio and work with other writers."… More recently, with concert pianist Vera Tisheff as her mentor, Ariana has been able to cultivate her own sound and style, and was encouraged by Tisheff to study opera and classical composition. "We went back to basics with composers like Vivaldi and Bellini," explains Ariana, "I still write pop music, but it influences how you structure songs and look at chord progressions and inversions."… Asked about her true musical heroes, she unsurprisingly reveals a lot more pop: "I love Alanis Morrissette, for her honesty in her writing; Robyn and Kylie – people have been able to reinvent themselves in a current way. I love synth music, so it's fun to apply a more traditionalist look at songwriting to electronic music."… Ariana & The Rose is still very much based in New York, but they're regularly found hopping from city to city; recently co-writing in LA, off to Sweden for another writing session, and now the UK's capital is becoming a favourite destination… "I'm here every six weeks or so – I feel like I'm cheating on New York with London! We've played London Fashion Week and a Breakout showcase for Music Week."
It is great that Ariana & The Rose are in the U.K., as it not only gives a chance for us here to witness one of the greatest acts coming out of New York- but means that the music press and publications here promote and proffer Ariana & The Rose's unique sounds. At the moment, the press attention is split between the U.S. and the U.K., but I am sure that our heroine has her eyes cast to other international quarters. As well as Europe, Australia and Asia will be continents desperate to survey and digest Ariana & The Rose's music in the flesh- it is something that our heroine should consider. Before music became a consideration for DiLorenzo, acting was very much a passion; she even appeared in The Sopranos. When speaking with Harper's Bazzar (online) in April, she explained:
"Yes, I'm in it for maybe 11 seconds. And I remember my mom couldn't see, so James Gandolfini put her in front of the monitor so she could see me in all my glory. She was the proudest woman in the world. I come from a really Italian family so—to this day–I can sell out an arena, and my family will never care about what I do as much as being on that show. It was like I won the lottery. I brought honor to my family."
At the moment, music is very much fuelling and inspiring our heroine, and the release of the Head vs. Heart E.P. has seen Ariana & The Rose put under the spotlight- and met with critical acclaim. If you are thinking that we are witnessing an American version of Florence and the Machine, then you can think again. It is true that both have stunning and powerful female leads; each act is backed by supple and talented musicians, yet Ariana's Rose is a different kettle of fish than Florence's Machine. Florence Welch's music is Indie Rock and mixes Neo Soul with R 'n' B- whereas Ariana & The Rose is more bare but no less potent and powerful. When it comes to the business of writing, our heroine explained what her thought process was; how she wrote her music (when talking with Harper's Bazaar):
"A lot of different things. Generally I'm curled up in a ball on a couch of some sort. I'm always freezing, so notebook in hand, some sort of shawl wrapped around me. Today we started with a beat. I said I really want to do something with a huge drumbeat, and we pulled a bunch of samples. Sometimes you write to track."
DiLorenzo is enjoying interaction with new fans; loving the music life at the moment, and drinking in as much as possible. Her debut E.P. Love Me, Love Me Not showcased a restless young talent intent on domination; a singular and emotive voice that scored varied and deep music. There was some minor buzz and acclaim that arrived off of the back of that release; the adulation has grown considerably since, and it is something that our heroine is not accustomed to. When conducting an interview with examiner.com (last November), she was asked about how she deals with the feedback and praise:
"DiLorenzo is being quite modest when it comes to the buzz surrounding her music. Already receiving rave reviews in The Guardian, Women's Wear Daily, and Vanity Fair's George Wayne, while being compared to heavyweights from Lady Gaga to Fiona Apple, she is receiving the kind of attention that is the precursor to not just some solid record sales and a successful tour, but to something a lot bigger than that. But if she's feeling overwhelmed or being affected by this rush of attention, you couldn't tell…
"The way that I see it right now is that there are a lot of people who don't know about it and there are a lot of people I haven't played the music for, and a lot of fans that don't know about it. So you really just keep your head down and look to share the music with as many people as you possibly can. There's always that thing that says 'you've got to really keep making good music,' and I don't think that ever goes away. I hope it doesn't."
Modesty aside, it seems that the New Yorker is doing something right, and the music being offered is resonating with the collective mind-set. As well as gaining adulation and support in the U.S., the fans and press outlets here in the U.K. are turning themselves onto the music of Ariana & The Rose. It is a rise that has been much deserved, and something that owes to the uniqueness and simplicity of the music itself:
"I wanted to make super catchy music that was absolutely pop, but I wanted to talk about the things that I wanted to talk about. I didn't want to write la, la, las and sort of escapist music. I love that music when I go out and dance and all that, but I wanted to make something that got to be a bit more of a catharsis in pop. So you're driving along and it's super catchy, but it still lets you have a good cry if you want it. And I think maybe that's why people like it – you get a melody stuck in your head and it's not like you're running away from the things that you're feeling in your life. It delves right into the messy things, and that comes from the topics I wanted to write about. I wasn't aiming for that, but when I turned around and looked at it, I thought that maybe this is something that is starting to happen with other artists, and I think it's what people really want."
In a scene that is promoting a lot of big personalities and brash music, it is great that Ariana & The Rose are receiving such celebration. A lot of new music tends either to be big and anthemic, or else gentle and tender- there is a middle ground that is not overly populous and busy. A lot of my recent features have focused on musicians whom favour heavier sounds and more primal movements. A great deal of solo artists at least, either present emphatic and operatic vocals, or take it right down- and favour introvertedness and sensitivity over pure force. If you think of all the female vocalists in music today, largely they will fit in either camp. It is an issue that was prevalent a few years ago (there has been some change and development), but there are still too few whom intersect soft and quiet; offer melody and power- tie together the two camps. As well as discussing her career and background (when speaking with examiner.com), our heroine tried to explain the reason behind the lack of 'middle ground' artists:
"…that for a while, you either had your singer-songwriters coming through or pop divas coming through, and there hasn't really been someone in the middle to take the crown and say 'wait a second, I can still be larger than life, but I can talk to you about some real things.' Obviously, someone like Adele does that, and there have been these kinks in the system that have gotten through, but it hasn't become a bigger thing. Someone like Lana Del Rey does that, and it's starting to get there. It's inching its way to the mainstream, which is cool because I make mainstream pop music, and I love doing that. To be able to get to talk about some broader topics and write interesting lyrics is great for me."
It seems that the future is going to be very prosperous and busy for Ariana & The Rose; due to the special and unabated connection our heroine has with her fans it is likely that not only will touring commitments expand and rise; but new E.P.s and albums will be on the horizon. I shall get down to reviewing one of Head vs. Heart's gems anon, but looking at the wealth of positive reviews that have already come in, leads me to believe that here is an artist and act whom can seamlessly transition into the mainstream- and offer something genuinely new and fresh. DiLorenzo is proving herself to be one of the most impressive songwriters and talents on the block, and it seems that her material will not only expand and improve, but new subjects and inspirations provided. Due to her youth as well as busy schedule, our heroine is seeing a lot of new sights; experiencing a lot of new avenues and landscapes- and taking it all in. DiLorenzo is starting out and putting her fledgling steps together, so it is going to be exciting just what the future holds and where she is heading. The affection she has for the U.K. may well influence future sounds, and maybe new genres will be explored and spliced. At present, Head vs. Heart is where she is at; what is on her mind, and the sound of a hungry young woman determined to bare her soul. When speaking with The Huffington Post last month, our heroine tried to nail down its sound and explain its intricacies:
"Writing 'Head vs Heart' really felt like the beginning of a new path for me in terms of my career and defining myself as an artist, and now putting these songs out into the world is the greatest pay off. These 4 songs are a taster, an introduction to what I'd like to share with people. The EP was inspired by the feeling of being torn, of being a part of situations where you never quite know what the right thing to do is. I try to approach these moments with humor and light, which is why I set these story-telling lyrics and melodies to fun dance beats and surrounded them with synths… The combination of the lyrics and music on this record is an outgrowth of how I handle the struggle between having my head and heart disagree: a dose of reality with a lot of playfulness and an open heart. I've always felt like the best pop music makes you feel like you want to dance and cry at the same time, that it can be so real and relatable and utterly infectious. My hope for 'Head vs Heart' is that it provides a bit of catharsis, that people feel like they can hear their story in the words and also dance out their heartache."
Having been compelled by the quartet of songs on offer, it was In Your Bed that stuck in my mind. It is a song whose video has been garnering a lot of attention (and setting male tongues wagging); its themes are not only modern and relevant, but personal and honest. Whereas mainstream Pop acts tend to stick too rigidly to fluff and plastic proferrings, Ariana & The Rose's songs delve a little deeper; uncover themes, stresses and problems that everyone faces- and provides a new angle. Head vs. Heart's lead-off track has already won over many critical pens, and I was determined to investigate it myself- and see what all of the fuss was about.
The opening moments of In Your Bed see wordless vocalisation mingle alongside tender and sparse piano notes. It is a lead-in that sets the mood, and influxes of energy and intrigue too. By the time our heroine presents her first words, you are drawn into the seductiveness and sexiness- there is a tempetuousnessness in the dark piano notes and a come-hither allure in the voice. Evocativenesss and clear intent are laddered out right from the start. Telling the song's hero to "Lay me down slow/Touch me all over with your eyes"- the combination of foreground and background vocal lines i highly effective. The wordlessness is present still, but our heroine offers a vocal imbued with breathlessness and passion; words and ideas are teased and tempted from the speakers. The lyrics being proffered have defiance and hard truths at their core; the song's subject is being advised not to get ideas- to put things in perspective. Perhaps our heroine is playing the role of the Siren, with words such as "Just because I'm in your bed/Doesn't mean I'm yours, mean I'm yours" sending out a clear signal. In the early stages there is a sense of bait-and-switch; our heroine tempts her man forth, but is keen to read him his rights. Most modern-day icons would instil a venom and overt anger into the melting pot, but here the voice is sturdy and swaying; it is sweet and dripping in honey- making the lyrics meaning more vibrant and urgent somehow. Instead of layering too many instrumental elements and assets into the song, there is a sparse and bare-naked presentation that not only fully utilises our heroine's vocal- yet gives In Your Bed an appropriately atmospheric and coquettish sound. Before the mood lifts and the sonic heavens open, the build-up continues. In the song's video, our heroine writhes and cavorts (on her own) under a bed sheet. Shot in black-and-white, gorgeous and seductive smiles are thrown at the camera the one moment, before her face becomes downcast (as our heroine lies on her side). It is a simple idea but one that is highly effective; you find yourself mesmerised by DiLorenzo's beauty and performance, but compelled by her delivery- she means every word and has a definite subject in mind. Whether the track deals with a former lover, or a temporary parabond, I am uncertain, but our heroine wants to remain independent and steadfast- she is her own boss and will not be dictated to. As the biting line "You're nothing" is delivered, you can sense that shiver and emotiveness in the voice as well as a sense of clarity and directness. As the song begins its explosive trajectory, the video changes course as well. Black and white tones are replaced with colour, as our heroine becomes more relaxed and matter-of-fact. The song's themes look at a love or boyfriend that has become a bit clingy; his expectations are set quite high and he may be looking at a long-term romance. It is a fresh angle to take, as usually the roles are reversed; the man is usually the one whom prefers disposability and control- artists such as Gaga and Beyonce have toyed with it, but never to this extent. Our heroine is definitely wearing the trousers and in control; calling the shots and trying to let her man down easily. Whilst this all comes to fruition, a popcorn-sounding and spattering electronic parable is unleashed; at once sounding vintage and cutting edge. To my ear, there were elements of Violator-era Depeche Mode; a little bit of Pet Shop Boys as well- I am no aficionado of the genre, but these artists and flavours came to mind. There is an elliptical quality to the sound which not only lifts your spirit, but perhaps allows certain lines to drift by- unaware of just how biting they are. Our heroine has a clear message: "Don't know how to say it/Wish you wouldn't hope for so much more", her voice displaying mixes of Sophie Ellis-Bextor-cum-Britney Spears- although a lot less highfalutin than the former and more evocative than the latter. In the video, our heroine provides a sly grin, her eyes are bright as seductively rests on her hand (shots of her foot rubbing against her leg add to the song's sexuality and sense of tease). The vocal delivery is focused and straight; it does not deviate or succumb to ululation- our heroine keeps everything composed and concentrated. It seems that a rather unfortunate faux pas and mishap has enforced the track's mandates. Our hero and heroine has had their moment and their fun, but it seems they are different pages- with the song's hero getting ahead of himself. Pillow talk has turned into romantic utterances, and perhaps a cloying eagerness has put off our heroine. When the lines "Wish you hadn't said it/A whisper too loud to be ignored/Hear me, just hear me/You think that you want me, you need me…" are delivered there is no spite or mocking in the voice- a maturity and professionalism comes through. Images in the video start to juxtapose and contradict the lyrics, adding a sense of wooziness and misinterpretation (perhaps fitting given what we have discovered from the story so far). Whilst words of regret and misspoken protestations are unearthed, our heroine frolics and cavorts kitten-like beneath the bed sheets; with a girlish and impish smile, perhaps a sense of emancipation and relief has crept into her mind. Upon closer inspection it seems that the lyrics-image blend may be pretty apt; our heroine shakes her head at the appropriate interval; matches the song's lines with her performance- it seems that there is no bitter recriminations, just plain truth. I guess a lot of people whom listen to the track can relate to what is being said; maybe the gender roles will be reversed but many would have found themselves in a similar situation- a one-night stand awkwardly being seen as a window into a dedicated relationship. Our heroine is quite clear when it comes to her verdict (with regards to the night of passion): "You don't, and I won't/Oh I, oh I, a wasted night." The vocal delivery changes course; in the early stages it was whispered and chocolatey in tone; at this stage it is more energised upbeat; still rife with a sexy and alluring vibe, the tones are less breathy and more Pop-esque. In the same way that Kylie Minogue was (perhaps less so now) able to infuse uncomplicated but effective Electronic beats with a stirring vocal, so too does Ariana & The Rose's front-woman. Our heroine blends her silky and full-bodied voice with the peppiness of the electronics; by the time the chorus arrives you find yourself singing along- there is a catchiness and memorability to the delivery for sure. Our heroine lets her man know exactly what the situation is: "Just because I'm in your bed/Doesn't mean I'm yours, mean I'm yours/Get me everything I want/Give me nothing more, nothing more." When listening to these words, two things strike your mind (if you are watching the video): the striking allure of the images, as well as the strength of the delivery. The words are sung with a sense of optimism, a light heart which not only means the words stick in your brain, but you find yourself siding with the heroine- if there was bitterness or sarcasm, that may have not been the case. There is a bona fide infectiousness and smoothness in the delivery; soulful and playful vocals blend beautifully with the bubbling and entrancing electronics. In a sense there is a European sound to the song itself. I have witnessed Swedish Electro acts such as Club 8 and Say Lou Lou whip up the same kind of atmosphere- yet the track does draw in embers of New York's Dance scene. The video helps to enforce the song's messages; our heroine's heart-melting smile invokes shivers and sighs, and that unavoidable sexiness and seductiveness comes through in every image- there is no overt raunchiness or explicitness; everything is tempted and teased. The song's memorable and catchy coda is something that not only will be chanted in clubs and venues, but can be extrapolated by all listeners. The female audience can use it as a rallying cry; a bellicose clarion call that acts as a one-finger salute to all those clingy and grabby boyfriends- even though the song's hero probably had noble and honest intent. In the way our heroine has her fun and is keen to leave the past behind, she could come off as a little cold or detached in principle; yet there is no reason to suggest that she should have given her heart up (considering the circumstances); the song's delivery is so smile-inducing and fresh that you cannot help but to be won over and converted to the cause. The re-employed and gravitational coda ("Just because I'm in your bed/Doesn't mean I'm yours, mean I'm yours/Give me everything I want/Give me nothing more, nothing more") acts as the song's business plan- essentially, it says to the man who you knew this wasn't going to be a permanent thing, so you have no right to complain or feel aggrieved. At the 2:00 mark, the track changes slightly; the mood becomes less effusive, but the beat certainly doesn't relax or quell itself. The wordless vocals build up and gain momentum by the second; the electronic pips and bubbles become bigger and faster paced; vocals layer and the heat and glare of the sunshine deliver becomes more prescient and dominant. Soon enough, the sonics temporize and focus; things become hazier and more languid; the beats and electronics stretch and elongate- fizzes and bombs of light keep the energy and heartbeat going, as well as add to the sense of relaxation and relief. With a final invocation of the chorus, the song comes down to a close, and our heroine (in the music video) leaves with a satisfied smile- knowing that her message has been made clear and she is calling the shots. After listening to the song, you cannot help but shake the chorus's infectiousness and insatiable sound. The song's messages may appeal to and resonate more with women and the 18-30 demographic, but the flair and quality of the music is autosomal dominant- and speaks and connects with everyone. I have been replaying the track and find it is the perfect companion to a warm spring evening; it is upbeat and summer-ready but no flyweight or throwaway. Our heroine's voice is cooing and seductive; strong and striking- whatever mood is required she is ably up to the task. The beat and drive of the composition has its roots in Electronic music, but has Pop sensibilities within; meaning it will appeal to wide clans of music-lovers. With a solid and uncluttered production, everything comes through to the fore clearly- and highlights our heroine's strengths. With simple yet effective lyrics, stunning voice and music combinations, and a striking mandate at its heart, In Your Bed is a terrifically assured and confident song that is by no means a fluke or one-off.
Having assessed the entirety of the Head vs. Heart E.P., it is not hard to see why Ariana & The Rose are seducing our stiff upper lips. The four tracks are rife with confidence and meaning; there are no histrionics or needless show-boating; each of the tracks are tight and well-composed and demonstrate our heroine's key strengths: a powerful and emotive voice; intuitive and sharp lyrics and a rich and varied palette. It is true that Ariana & The Rose can tie together threads of Lady Gaga and Adele, but don't let that scare you off (if you are not a fan of the former- like me- then have no fear). Our heroine has the same sort of knack for hooks and melody as Gaga, but there are few other similarities- perhaps a similarly empowered set of tracks, but you would be hard-pressed to compare the two. What is on offer is a unique and urgent artist whom has already charmed large swathes of the U.S. and U.K. Ariana & The Rose are in the midst of a packed U.K. tour and critics and reviewers here have already paid testament to the strengths and joys that are offered forth. I know my two cents are not going to be amongst the most impressive reviews our heroine has received, but I could not help but to delve into the artistry and ambitious of one of New York's proudest offerings. One of the things that impresses me most about DiLorenzo is the connection with her fans. Often she can be found backstage or near a venue chatting with supporters; hanging out and shooting the breeze- instead of hurrying away and slinking into the night. It is no cynical voting ploy; it is a young woman whom has an openness and passion for music and those whom believe in it. This sense of passion and conviction comes through the songs of Head vs. Heart, and signals a tantalising and promising future. When speaking with Planetnotion.com last year, our heroine signalled out her ambitions:
"Well, I started in theatre as an actress, so I danced from a very young age. I have that whole 'I was three when I started dancing' thing, and I segued into musical theatre very naturally and started singing. It wasn't until I was 13 or 14 that I was ever in a recording studio; I did jingles and things like that. Through doing a lot of that stuff, I ended up meeting lots of different producers and writers: that was how I got into it. I always did music on the side. It was a great release… I went to NYU for college and to performing arts school. When I was about 20, I was in with a really cool group of writers and I was doing top-lines and writing on dance tracks. That was the first time that I thought I like doing this more than anything else. One of the tracks I wrote went on a record that was going to get distribution through a label; things were starting to happen. It was all really natural. I was never dreaming of being a pop star at 10 years old or anything, although who doesn't dream of doing that."
It seems as though things are going to plan, and our heroine is making all of the right steps. Too many new musicians see themselves as denizens; stuck in one particular place- never to move or tour too far. DiLorenzo is making sure that the Ariana & The Rose name is being played and promoted far and wide- and it will pay dividends. At the moment, our heroine is concentrating on ensuring that the E.P. is heard by as many as possible and it gets rightful attention. When chatting with Harper's Bazaar, our heroine was asked whom she would like to collaborate with- given the choice of anyone:
"I have the longest list. I would love to write music with Ryan Tedder. He's written so many unbelievable songs. I'm also a huge Robyn fan. If I could do a duet with her—or just sort of bop next to her while she dances—that would be amazing. She was the first tape I ever had. I had it on a tape."
Ariana & The Rose's music is not that which can only be appreciated by a niche audience; that which can only be construed and appreciated by a select few- there is a openness and earnestness in the music that means it can be appreciated widely. Our heroine has the personality, beauty and talent to subjugate the most reluctant, yet she knows that there is a long way to go yet. It is clear that appreciation and respect means a lot to DiLorenzo, and she is eager for people everywhere to take it in. When asked by Fanlala.com where she wants her music to take her, our heroine answered:
"I would love for my music to take me everywhere it could possibly go. Touring is my top priority, it's my favorite thing to be doing. I'm also writing for a full-length right now. I just want my music to take me to as many cities as possible, and I want as many people as possible to hear it!"
I came away from listening to In Your Bed (and the E.P.) knowing that the next few years are going to be fulfilling for our heroine. When it comes to acts from the U.S., we tend to hear more about mainstream artists as a whole; the media introduces us to a few new American artists, yet for the large part, the listener has to do most of the digging. As well as The Open Feel and Little Dove (both based out of L.A.), I have had the fortune of reviewing a few U.S. acts, but feel that more should be done. It is great to promote and concentrate on home-grown artists, but it makes good sense to make us here aware what is happening across the world- bring the best international artists to the general attention. Perhaps the sheer weight and numbers of musicians has meant that prioritising has had to be done, but it could mean that some genuinely great acts are overlooked. In the case of Ariana & The Rose, it seems that things will be smooth at least. With an L.P. in the back of DiLorenzo's mind, we will be hearing a lot more of the ambitious New Yorkerer- and her comrades. Our heroine is a case study of how to go about doing things the right way. She has not gone down the talent show route and succumb to sob stories and controversy- in order to win attention and fans. DiLorenzo may not have had the most auspicious of starts, but her hard work and tenacity has led to big things, and the momentum levied towards her music are opening doors and opportunities. When she was interviewed by Musicyouneed.net last month, our heroine was asked what advice she would give to new singers and artists:
"…be really honest with yourself of who you are and do that unapologetically. and find that one thing that Identifies with who you are because I think that is what sets you apart from people and that's the way to get to most people is to say that this is me and I hope you like it."
Ariana's bandwagon is currently in Scotland, before heading further south- ending up on the south coast. It is going to be interesting to see what different cities and venues make of the stunning New Yorker, but reception so far has been universally positive and upbeat. From her Facebook and Twitter feeds, it appears our heroine is enjoying being in the U.K., lucky enough to be witnessing some (rare) sunshine- and taking in a lot of new places and faces. Before the crew head back to the U.S., our heroine takes her music to Bermuda Triangle in Brighton-before bidding farewell to the U.K. I shall have to make a note in my diary…
AND make sure I catch her there.
Head vs. Heart
In Your Bed- 9.4/10
Heartbeat- 9.4
Hollow- 9.5
Love Me, Hate Me- 9.4
Standout track: Hollow
Follow Ariana & The Rose:
http://arianaandtherose.com/
https://www.facebook.com/arianaandtherose
https://twitter.com/arianatherose
https://www.youtube.com/user/Arianaandtherose
https://soundcloud.com/arianaandtherose
http://www.songkick.com/artists/5337808-ariana-and-the-rose
http://arianaandtherose.bandcamp.com/
Vevo:
http://www.vevo.com/artist/ariana-and-the-rose
http://www.last.fm/music/Ariana+&+the+Rose
http://www.reverbnation.com/arianatherose
http://arianaandtherose.tumblr.com/
https://itunes.apple.com/gb/artist/ariana-the-rose/id594234952
http://arianaandtherose.com/tour/
18th: York The Duchess United Kingdom
20th: Preston 53 Degrees United Kingdom
21st: Nantwich The Studio United Kingdom
22nd: Manchester Academy 3 United Kingdom
23rd: Birmingham The Institute United Kingdom
24th: Norwich Open United Kingdom
27th: Cardiff The Globe United Kingdom
28th: Reading The Bowery District United Kingdom
29th: London Islington Academy United Kingdom
30th: Brighton Bermuda Triangle United Kingdom
Ariana & The Roses' press cuttings can be accessed via:
http://arianaandtherose.com/press/
Ariana & The Roses' previous videos can be viewed at:
http://arianaandtherose.com/video/
Ariana & The Roses' debut E.P, Love Me, Love Me Not is available via: