Tuesday, 25 November 2014

Nick Drake: 10 Essentials


Today marks the 40th anniversary since Nick Drake's death; and those 40 years tell a story of a cult singer-songwriter hidden among the dust - mercifully, peacefully in his Tanworth-in-Arden grave. But it's not his tragic death taking the news, or leading the tributes. Drake's music has been an important part of everyone's folk catalogue for a number of years, be it 10 or 40. Leaving behind three albums is more than some that die so young, and it's those three albums - specifically his last Pink Moon, which resonated with so many music fans across the world. Nick Drake: 10 Essentials.
~Eddie Gibson



10. Time Has Told Me


The introduction to Drake's music - album one, track one. "Time Has Told Me" evokes the spirit of Nick Drake right from the start with its slowly developing acoustic guitar, and subtle, but soulful voice. With Richard Thompson of Fairport Convention on lead guitar, this has become a staple-mark in Drake's discography, an influence on his own music, but essentially his timeless piece of folk rock.



9. Fruit Tree


Also on Five Leaves Left is "Fruit Tree", a much admired Drake recording."Fame is but a fruit tree, so very unsound. It can never flourish, til its stalk is in the ground," he sings, angelically, confidently - but that sense of lacklustre can already be heard so early on in Drake's music. The string arrangements are carried out by Robert Kirby, a partnership Drake carried with him on his first two albums, adding that classic British folk undertones heard so passionately.



8. Hazey Jane II


One uncharacteristic piece in Drake's work is "Hazey Jane II", the magnificent full-blown recording of Drake and friends including Thompson & Kirby collaborating once more, with Dave Mattacks and Dave Pegg of Fairport Convention giving this track an ultimate, folk rock band sound. It's somewhat chirpy, as Kirby's brass intends to add a different dimension to Drake's sound, and it does. The coming together of Fairport Convention musicians with Drake at the forefront gives "Hazey Jane II" a complete feel of Drake's unsuccessful work within the small financially viable British folk community at the time.



7. Fly


Among the Bryter Layter gems is "Fly", a track recorded with John Cale of The Velvet Underground and Pegg from the aforementioned Fairport Convention. It's really Cale's contribution which makes "Fly" one for the list - historically traditional harpsichord played to perfection, and the viola Cale has come to be known for. It's a piece of polished instrumentals, played professionally and put together by a more than tearful Drake vocal: "Please give me a second grace."



6. From the Morning


The first Pink Moon inclusion, and arguably one of Drake's most important songs. It was of course the final track on Drake's final album, but doesn't resemble that of a goodbye. "From the Morning" highlights Pink Moon's solo aesthetic - recorded by John Wood, with only Drake as a contributing musician, it's a world apart from the earlier Five Leaves Left and Bryter Layter, and an iconic ending to Drake's music career. Inspires the epitaph on Drake's headstone taken from the song: "And now we rise, and we are everywhere," a beautiful ending to Pink Moon, more so in it's lyrical structure and delivery.



5. Which Will


"Which Will" is another timeless classic in Drake's repertoire. It sits comfortably on Pink Moon, separated from the previous albums and 'noise' in comparison to the clarity and persistent acoustics of Pink Moon, particularly "Which Will" - "And tell me now, which will you love the best." It's simply easy on the ear, interesting to the though, and powerful among the Pink Moon tracks.



4. Place to Be


The second track on Pink Moon carries on the energy from the opener (mentioned later.) "Place to Be" doesn't over do it on the instrumental side, it's main focus is carrying the track on and reaching the sentimental values searched on Pink Moon. Listening back, it's hush vocals and lush chord progression add dominance to Drake's sound - more so than the Kirby arrangements on the previous two albums. Drake fulfils his duties, and offers up the best lyrics on Pink Moon, taking the listener away from the Van Morrison-esque purposely flawed recording: "Now I'm darker than the deepest sea. Just hand me down, give me a place to be." 





3. One of These Things First


Easily my personal favourite Nick Drake song, "One of These Things First" stands tall as Bryter Layter's enigmatic piece of commercial viability. Unlike its single cousin "Northern Sky", this particular Drake song took on a simple, yet strange structure musically - actually including almost, just almost a chorus the folkies wanted so badly from Drake as the unknowns hearing his work for the very first time circa 1970. Of course, this song of struggle and expectation has been repeated throughout Drake's work, but none executed so well. His use of household objects as meaningful, valuable objects to others and the world brings his own desperation and depression to a whole new level, questioning his offering, and signalling what he ultimately could have been.



2. Pink Moon


A masterpiece, a recognised song to all, a pink, pink, pink, "Pink Moon". One verse, repeated once more in the latter part of the song, "Pink Moon" creates the reason why we keep coming back to Drake's music. Unpolished, yet sounding absolutely brilliant, "Pink Moon" features Drake's laden acoustic guitar and one single overdub (the only on Pink Moon,) a timely piano - a cameo almost, but it ties the song together with immense effect. One of his best and one to be remembered as the Pink Moon opener - the beginning of Nick Drake's end.



1. Northern Sky


Lyrically, "Northern Sky" is a Drake rarity. It's carefully optimistic, becoming objectified as a traditional love song. It's played so harmlessly, matched by Drake's happy, yes happy, vocals of gratuity towards his subject. "Northern Sky" is a Nick Drake single, one which was expected to propel Drake in to some sort of commercial success. The inclusion of John Cale wasn't Drake's idea, nor was it thought by Cale, but Joe Boyd, Drake's trusted producer. With Cale's inclusion on piano and overdubbing, his improvised ingenuity took what Drake had, and pushed it - just not towards the money unfortunately for Drake. "Northern Sky" is different to the typical Drake song, and it's how Drake perceived his own sound and efforts throughout his music discography that shine so bright here. He showcases his optimism, his happy side, that he wasn't depressed creating his music. He was a perfectionist of the highest calibre, and respected the music he put out - "Northern Sky", although styled towards single life, takes the heart of Drake's new and old audience and combines it with his very own tortured soul.

Track Review: VISION FORTUNE - Dry Mouth


VISION FORTUNE return with exactly the sort of music they left with when "Nite Driver" from the chaotic Titanic Part II: The Legend Goes On...(2000) came out this time last year. Now signed to the (rarely mentioned) exceptional ATP Recordings, VISION FORTUNE has a bigger part to play in bringing back krautrock, drone, and post-punk beyond that of a single genre. They know that they can inflict an influence on their surrounding artists - just as they take from theirs: Can / Neu! / Faust / Zappa. 


"Dry Mouth" captures the essence of krautrock - repetition, deep textures, and skilful variation. VISION FORTUNE have shown time and time again their ability to be a drone artist within the bodies of Damo Suzuki's Tago Mago - they even performed under Suzuki in the past - rectifying not only their influence, but their future. "Dry Mouth" is the archetypal and archaic krautrock repetition of percussion, drone-esque vocals (delivered in a horrific fashion,) and layered synthesizers capitalising on the base structure of, percussion - bass guitar - vocals. Note the lack of guitar, as VISION FORTUNE use synths and their ability to create a centralised non-linear piece of music on the basis of such experimental aspects - bewildering to some, but lavished in ingenuity to others.
~Eddie Gibson

Wednesday, 12 November 2014

Interview: Sean Maier


Blessed By A Broken Heart are one of those bands I can’t stop listening too. I was introduced to "She Wolf" by my friend about six years ago and I was heavily hooked onto Pedal to the Metal. A musical journey that has seen them change genres from a deathcore sound to a glam rock approach, their whole discography has been great to listen to and to witness the change of sound. Sean Maier appeared on their last two albums and has since then got some solo stuff to check out, so I thought I’d speak to him about his upcoming solo stuff and also the adversity and heartbreak behind the fall of Blessed By A Broken Heart.
~Matthew Clewley


Music Review Database: First of all, what happened to Blessed By A Broken Heart?

Sean Maier: I actually posted on my Facebook account about this recently.  Here's what it said:

Hey everyone, I just felt compelled to let anyone interested in seeing Blessed hit the road again, it's not going to be happening and I'm very sorry about that. There was much leading up the eventual stop to this train. I'll just be blunt, honest, and cut to the chase as best I can here yet tell the story of what happened and why for those who care to know.

For "Pedal To The Metal" we were with Century Media Records. Our management/attorney & label at that time got in quite the quarrel about owning band rights. Unfortunately CM at that time used fear tactics to try to get the job done. The kind where the president calls you guys on tour and tells you to fire your whole management and attorney team and sign here or else you'll be a "C" priority--basically shelved. Needless to say we had trust issues on seeing eye to eye with the label after that and the relationship tarnished.

In hindsight CM put the best deal of backing and money into the band and knowing what I know now about how little musicians & bands make on there recorded music… I think it may have been wiser to sign the publishing deal with CM but one can never be sure… Oh the tyranny of what if! Having said that I still think quite fondly of the past & present A&R branch over at CM in USA & Europe. Those very good and honest hard working people you know who you are thank you for all your efforts.

Blessed was to date some of the most amazing and fun times of my life. I'll never forget from joining in 2005, eating banana egg rolls at Frank's house with Tyler to eventually rocking 15,000 people at Loud Park in Japan and everything in between… Far too many stories to tell but let me just say it's really been something.

This leaves us at the second chapter, leaving CM and signing with Tooth & Nail. After what I believe was like a year of back and forth lawyer bicker & banter we did get 'er done. We signed a not so good but better than some deal with T&N and were set to enter the studio for "Feel The Power". We spent the better part of 2 years writing on and off and we recorded a killer record that surpassed Pedal (in my opinion) and without a doubt factual if you're talking about the music and lead guitar playing.

We were all set to go full force on the FTP record I was very excited to perform the new songs live. We shot 2 new music videos and then our frontman Tony leaves a week before the record drops. To be totally honest this is where it ends but none of us 100% knew it yet. We figured we still had Sam "Ryder" Robinson who to be honest (Tony would have no gripes to admit this) is a better singer technically and sang almost all the harmonies and some of the leads for the FTP record. At this point our new booking agent in Europe Xray drops us and Japan becomes disinterested.

Unfortunately our label had pretty much washed their hands of us as well as all legit booking agents the band had. I couldn't exactly blame them, the label spent good money on the record and music videos with Tony's face and vocals and now we're gonna tell them the guy up and left a week before the release. We did do 1 tour (if it can even be considered that) last summer for the only booking agency who would touch us. We along with the entire tour package, "Write This Down" and "Children 18:3" could not continue the tour due to the fact that through some sort of contract screw up we were taking in less money at the shows than it cost on transport to get to them.

By the end of 2 Weeks we had gone though our entire publishing advance, losing thousands. It was at that point that I told the other guys that I no longer could continue. We had exhausted all our contacts, support system and money so there was really nothing left so to speak. I'm sorry it took so long for an update, I know there have been some people wondering what is going on with the band. I guess some of us were still waiting to see if by some miracle the album would start selling a ton or some overseas offer would come in and we would have the money from show guarantees to tour but none of that came true.

I just wanna end with thanking anyone who ever came out to a show, bought a record or T-shirt, fed us, or put us up for a night or more all those years Blessed was out on the road. Without you, this crazy ride would have never been possible and I'm grateful for that. Please be sure to support the members in our new musical projects and bands. Sam is now the singer for "Close Your Eyes" so be sure to check them out to hear the amazing talent that Sam is. I am currently doing a shred guitar project called Shred Starz. Be sure to check that out and add us if you dig my playing. I'm also taking on new projects so if anyone feels there's something that would fit my style I'm now available and can be reached here.


How influential was your time with BBABH on your playing style, as they have previously experimented with different sub genres of rock and metal? 

Blessed has had so much influence on my life.  The guys, the times we shared, the whole experience.  As far as the band influencing my playing-- not very much.  I mean, my playing has always been very much influenced by iconic guitar heroes more so than the guys.  Although a song that say Frank wrote on "Pedal" or that Ian “Slater” wrote on "Feel The Power" would influence different ideas that I may not have arrived at without their musical contribution. Thank you for that guys.     


How did you meet James J LaRue and come up with the idea of Shred Starz? 

I  came to know of James through his former band Holy Grail.  When James left Grail I was asked to fill in for a tour.  I ended up passing the offer along to a dear friend who was in need of a gig, Ian Scott.  After listening to Grail with Ian and coming to admire LaRue’s playing style.

I added him on Facebook and we began talking here and there.  Our first face to face was at NAMM 2011 by chance.  The idea of Shred Starz came from the mutual adoration of the classic “golden era” of shred we love so much.  The style, the attitude, the guitars, the tones, the colors, THE ERA.  We had tossed names back and forth, then Shred Starz came to my mind. I remember telling James.   He loved it, I loved it, and that was that.         


How far are you willing to go with Shred Starz, have you performed live with James J Larue? 

I'd be willing to take Shred Starz to da moon and back if I could. I love It!  The reality of that happening is highly unlikely.  First off James is not a fan of the touring life and its reality, meaning the hardships and struggle of being a starter group on the road.  Most people who don’t tour don’t understand how hard or expensive it is.  It is not simply just hit the road and play the music.  It's a lot of money and sacrifice. 

I love and miss performing live.  I don’t like 12 hour drives or sleeping in a van but I love performing my music for people who enjoy listening to it.  Nothing compares other than maybe the joy of creating it and the excitement of the musical idea coming to life.  The only way I see Shred Starz becoming more is maybe a Kickstarter campaign.   Even with that, I’m not sure if we're large enough at this point to get proper funding for any sort of tour.  However, we are interested in trying to fund our next video with Kickstarter and coming up with cool perks for contributions.


Do Shred Starz plan on releasing an EP or an album?

We plan on releasing singles with rad/creative music videos.  We have about 5 or 6 tunes that we started almost 2 years ago.  It's really tough to release a video the way we try to do things.   We're trying to be more than just the average self-made guitar video.  Our thing is shred guitar music with a real cool music video.  Almost all guitar music is pretty exclusive in videos as either instructional or “play-thru videos” where it's not much more than dude+guitar+different angle.  We try to be more than just the guitar in videos by incorporating a creative fun music video theme.         


How was the music video for Midnight Ladies Sonata created, and who wrote the idea? 

The idea for Lady was born of the mutual adoration for 80’s era film and style.  Patrick McDevitt produced it & Anthony Carella assisted.  The video features my girlfriend, Lindsay Marie Deluca and her friend Maytal Angel as the “babes”.  My friend Derek is the bad guy and George Papadimatos is the other shady character who deals drugs and babes for a price…  The video was shot at SVA Studios on the lower east side of Manhattan.  It was super cool to have access to all that equipment.       


You seem to be influenced by 80s glam metal, if so, who is the guitarist you favorite the most from that era?

There's so many rad players from that era it's tough to narrow it to just one guy.  How about a list of dudes who are rad from that era whose playing I really dig?    

1) Paul Gilbert — Anything by Racer X and ‘Mr. Big’
2) Nuno Bettencourt — w/ Extreme: ‘Extreme’ and ‘Pornograffiti’
3) Greg Howe — ‘Introspection’
4) Richie Kotzen — ‘Electric Joy’
5) Guthrie Govan — ‘Erotic Cakes’
6) Steve Vai — solo: ‘Passion and Warfare’ and w/ DLR: ‘Eat ‘Em and Smile’
7) Michael Lee Firkins — ‘Michael Lee Firkins’
8) Yngwie Malmsteen — ‘Rising Force’
9) Chris Impellitteri — ‘Screaming Symphony’
10) Jason Becker — ‘Perpetual Burn’
11) Marty Freidman — w/ Megadeth: ‘Rust in Peace’ and solo: ‘Dragon Kiss’
12) Reb Beach — w/ Winger: ‘Winger’
13) John Sykes — w/ Blue Murder: ‘Blue Murder’
14) Akira Takasaki — w/ Loudness: ‘Dissilution’
15) John Petrucci — w/ Dream Theater: ‘Awake’ and ‘Scenes From A Memory’
16) George Lynch — w/ Dokken: ‘Under Lock & Key’ and ‘Back For The Attack’ and w/ Lynch Mob: ‘Wicked Sensation’
17) Michael Romeo — w/ Symphony X: ‘Odyssey’
18) Vinnie Moore — ‘Meltdown’ and ‘Defying Gravity’
19) Tony MacAlpine — ‘Chromacity’ and ‘Evolution’
20) Randy Rhoads — w/ Ozzy Osbourne: ‘Blizzard of Ozz’ and ‘Diary Of A Madman’
21) Blues Saraceno — ‘Hairpick’
22) Shawn Lane — ‘Powers Of 10′
23) Frank Gambale — ‘Passages’
24) Alex Skolnick — w/ Testament: ‘The New Order’ and ‘Practice What You Preach’
25) Jeff Loomis — w/ Nevermore: ‘This Godless Endeavor’ and solo: ‘Zero Phase Order’
26) Dimebag Darrell — w/ Pantera: ‘Cowboys From Hell’
27) Ron Thal, a.k.a. Bumblefoot — ’911′
28) Allan Holdsworth — ‘Against The Clock’
29) Kiko Loureiro – w/ Angra: ‘Temple Of Shadows’
30) Vito Bratta — w/ White Lion: ‘Pride’


How was the writing experience working with James J LaRue?

Working with James has been one of the best decisions I have ever made.  He has taught me so much in the ways of recording and work ethic.  He puts 100% into everything he does and follows through even if it takes a long time and he always does killer work.  Shred Starz would not sound the way it does if not for his creativity, hard work,  and know how of sound and recording.  When I flew him out to NY to write with me for the first time I really wasn’t very good at tracking my own guitars.  He researched a good interface that we both ended up getting and got me familiar with the recording program Reaper and some plugins to get my guitar tone good enough using software.  If it wasn’t for James helping me along with recording and my rig I don’t know where I'd be now.  In a way, he made all the “Shred Sean” videos and content I put out over this past year or so possible.  He showed me how to be more precise about my playing.  Thanks James.


How many bands and musicians have you collaborated with since you started being a guitarist, besides from BBABH and Shred Starz, what other bands helped you with your playing style?

I really haven’t played with that many bands.  The first song I performed was “Crazy Train” with a group of high school buddies I believe we called ourselves “Minds Of Malice”.  Other than that really just high school buddies and even performing with my middle school teacher on drums for “Mr Crowley” and my guitar teacher Jaf on bass.


Do you think the music industry could be saved from piracy in terms of profit for musicians?

I don't think piracy and be prevented.  This train is going one way and it ain't coming back.  That being said, I do think there are some new cool ways that bands/artists are funding the creation of their work.  The whole crowd funding thing is great!  Ask fans and people who care to help and provide perks for that, the more personal the better.  


And finally, have you got enough material for a full solo album? Would you want to release something like that?

I have a good stockpile of ideas for songs.  I find I work best and am most inspired bouncing ideas off other musicians in a shared writing situation.  I'm not sure how interested I am in writing a full-length currently.  My interest now is more collaborating with different guitar players and musicians and releasing singles or a few tracks at a time maybe a video. If it's an established act that has a working tour engine (booking agent/agents, fans in every city attending shows, tour transport, bus or fly in dates etc) happens to loose a guitar player and are in need of say me…  Fuck yea let's quit the current day job and put everything into writing/touring.  If those cards get dealt to me fantastic!  I might not wanna hold my breath though…

Psychostick - IV: Revenge of the Vengeance


Recently, I have been enjoying listening to new releases in the past few weeks at my time on work placement. I've heard AC/DC's new album, and for a band undergoing a couple of bad situations they are pulling together quite well for this release. So to more of my excitement, the beastly beauties from Psychostick have dropped their new album off. Thanks to the interview I did with them a while back; I have been keeping an eye out for this release.

Revenge of the Vengeance offer that slight humour into the title, but yet something different from their previous material. It's ready to prepare your anuses as the intro to Revenge of the Vengeance brings us to the rapturous brilliance of “Obey the Beard”. If you own a beard one way or another, by either watering it or giving it sunlight or you have bought one from your local joke shop, this is your anthem. The riff is deliciously heavy and the bass twangs along throughout the song. It's just so... beard. And after that there’s “President Rhino”, the comical moshing tune that would make you laugh even if you have a tooth spin kicked out.

“H-flat” gives us a nice tuning joke, whilst “So. Heavy” continues taking the piss out of bands with down tuning, which anyone with a guitar can do. Psychostick continue their escapade of heavy stupidity with “Dogs Like Socks”. This is an anthem to Psychostick, even though I do love the song, it feels so much better, and if “Super Legit OFFICIAL Teaser #2 Explode” doesn't make you shit your pants due to the enriching cumbersome songs yet, then it just gets better. The trailer however does give me great memories of listening to Crotchduster. Ducks are little pieces of shit, and “Quack Kills” proves that especially.  That twanging bassline still makes Psychostick songs addictive along with everything else.

I'm sure most of us have been through the heart wrenching pain of having “Blue Screen”, but this soft riffy ballad touches you in all sorts of places... Rawrb's vocals are so beautiful it will make angels rip their wings off and start bitch slapping each other with them. The word “fuck” is exhilarating in “NSFW”, with that classical musical element, pure filth is joining it to make is a foul mouthed masterpiece. A strange one to see on this album, but it's a cover we have all wanted to do at some point in our lives. “Danger Zone” is next (I was expecting something like Danger Bone), for what I think is a pretty decent cover. It reeks of Kenny Loggins, and that stench is great if you grew up with films like Top Gun and Footloose.

Psychostick manage to put their own spin on this, and rotate it to an absolutely solid victory, the last minute made me cry with bliss. “New To The Neighbourhood” is a classic Psychostick montage, something that will disturb those who love dogs that hate socks. “Loathe Thy Neighbour” comes after, the line: “She has more cats than children, by an order of magnitude,” got me giggling. The riffs continue to be excessively beautiful as well as the choruses. “AWESOME” is beautifully accurate to those who love monsters trucks that mow lawns, a list made by fine human beings for fine human beings. “Choking Hazard” returns to their songs that are in the same category as “Scrotal Torment”. A hilarious take on a serious matter shows how capable Psychostick are to make something hilarious. The trashy riff is insanely addictive and keeps this album rapturous and vicious. Scrotal torment isn't fun for any guy, especially in the summer. “Food” is a returning theme to Psychostick!

“Fight to the Death” over a slice of pizza is brilliant, we all have those moments when there is that last slice of Dominos and everyone eyes it up as if Dita Von Teese popped out of the pizza box naked. I always get the last slice; I am warrior when it comes to food. Speaking of warriors, “Bruce Campbell” is possibly the best tribute song I have ever heard - one of my favourite actors, and now, one of my favourite songs. It's wrote and played as if it's a national anthem, which is the main appeal to this. The neighbour joke is back with “Trick or Treat”, which is the funniest interlude on the album. “Dimension Time Portal” is in the same league as Girl directions.  Spontaneous pops out and interrupts, it's a great sketch, not really a song as such, if this was the plot to 2012 then I would of loved that film. The trashiest ending to an album by Psychostick and its fucking incredible. “The Power of Metal Compels You” is a spoof yet a tribute paid to heavy metal, and a fine one at that. How fuck the Psychostick haven't played in the UK recently I don't know, I know so many people who love these here. The album is fierce and hilarious,, it remains a thrashy, compact masterpiece with chunky breakdowns and enriched madness. 
~Matthew Clewley

Thursday, 6 November 2014

Listen: Mont Oliver - 19


The Danish haven't given us much music of late, personally I've covered Vinyl Floor's folk, Iceage's punk, and now we have Mont Oliver and their blend of trip-hop / eletronica, but what Denmark lacks in exports, they make up for in quality. Iceage have quickly become the most exciting punk band on the circuit, and Mont Oliver's early offering "19" only enhances their quick rise from nothingness to the top of the ladder, and there seems to be nothing keeping Mont Oliver away from achieving this almost expected dominance. They have 4,000 likes on their Facebook page without even releasing anything but "19" (which by the way will be free,) it seems almost unbelievable unless it's a side-project of an already established artist - but this isn't. Mont Oliver are relatively new, but have the production quality of an artist that's been in the game for years. Take a listen and you'll agree that 4,000 + likes on their Facebook page seems somewhat - realistic - and could very well double within weeks with this level of debut quality.
~Eddie Gibson

Wednesday, 5 November 2014

Listen: Muted - Lava


Bjarni Rafn Kjartansson, better known as Muted by fans and compatriots, will be releasing an EP titled Special Place on November 7 - and the preview is a pretty good indicator as to what direction it takes. Below is a track taken from Muted's Special Place called "Lava" - highlighting the more aesthetic ambiance and 90s-esque electonics deservedly filled next to Autechre. Special Place features guest vocalist Jófríður Ákadóttir of Pascal Pinon and Samaris, the latter being a band we have great interest in. Listen below, and look out for the full EP come release.
~Eddie Gibson


Listen: Páll Ivan frá Eiðum - Expanding


This is Paul Ivan's "Expanding", one of his many experimental tracks which crosses the borders of the electronic genre. In the past it may have been chiptune or electronic pop - Well Ivan has done it in some form to very little exposure outside of his borough. Already a familiar name within the Icelandic music community, (check out this composition for the Symphony Orchestra) Ivan has built up a respectable list of collaborators including Borko, múm, and Slowblow. You can check out his eclectic Soundcloud for more details, but more importantly listen to the track below to kick-start your acknowledgment of Ivan, as his name will deservedly start to grow out of the depths of Iceland with his well-composed electronic beats, vocal austerity and industralised ambience - The Icelandic Eno.
~Eddie Gibson

Tuesday, 4 November 2014

Listen: Subburbia - MaLife (Slow Version)


You may remember Subburbia's psychedelic high "MaLife" from earlier in the year with Labanna Babalon, well now you can listen to a slowed down, eccentric version with even more ambience - and that doesn't include the revamped video with dolphins, aliens, and dope shoes...
~Eddie Gibson


Sunday, 2 November 2014

Discovery: Meanwhile - Icarus


No more hiding in anonymity for Tom Andrews' Meanwhile - but it's been a while since the face behind Meanwhile wasn't revealed to be Tunde Adebimpe, or Merrill Garbus' long lost British cousin. In truth, the excitement and mysticism behind Meanwhile's music impressed music lovers for the core values of finding a track they like, and sharing said track, because Meanwhile's first release "Luvletta" only came with the description of 'solo artist living just off the M3'. It hasn't exactly catapulted Andrews to infamy (yet), but as any past or present Fiction Records artist will tell you, you're not there to sit around for a few years releasing newly mixed versions of early demos. Andrews has now put out three tracks, the aforementioned "Luvletta", "Bigger City", and "All for the Taking", the latter showing signs of Meanwhile previously unheard, but not explored below (that's just a nod to check out "All for the Taking".)


"Icarus" is the latest release from Meanwhile, I have to say that after questioning Andrews' creativity and originality in my "Bigger City" review back in June, "Icarus" is just simply brilliant. It opens with a chopped up guitar arpeggio in the form of Battles' "Ice Cream" and the beyond from Ty Braxton's genius Mirrored. It slowly develops in to a highly intellectual piece of electronic pop which wouldn't sound out of place on a Grand Theft Auto soundtrack.

Lyrically, "Icarus" comes across deeply personal and his revised use of the words I, my, and specifically you, leads me to believe Icarus is Andrews himself, or as seen from his persona outside of his life as Tom Andrews from the M3: "Icarus, I know there’s more fight in you." Take into account this was the first song written by Andrews after his previous music-related project dissolved. Perhaps my interpretation is wrong, it just seems Andrews uses the common saying associated with Icarus - flying too close to the sun - as the answer to his previous projects demise, and in retrospect uses it as a personal warning not to allow the same fate to repeat itself with Meanwhile.

That being said, "Icarus" to me isn't devoted to its lyrical content, and I’m sure those that have listened will agree the true essence of this track comes from the instrumental. As previously mentioned, the opening guitar is the main ingredient carrying "Icarus" through stages of instrumental ingenuity. The vocal transition ('Just a brief refine about the sampler,') splits "Icarus" up from its initial simplicity and perkiness to the musical additions which follow. Note the pitch change at 1.06, a very smart move lowering the tone in a preliminary build-up to the percussion / chorus / then synthesized piece of 80s ambiance. But before you come to know "Icarus" the songs over and you're wondering where it all went. No trickery, no extended silence, it's all about Andrews' ability to spot the necessary adjustments in sound which in turn keeps "Icarus" fresh, and above all a great piece of work all round. Then there's Andrews' vocal which puts ITV's latest talent show to shame. Signing to Fiction Records with very little prior? A fantastic bit of business for both parties and one which will all but confirm Meanwhile's imminent impact on the future of British music. But first things first, Meanwhile has to reach a national level before expanding like my spider plant(s) - cue La Roux's upcoming tour where Meanwhile acts as primary support. Best of luck, but Meanwhile won't need it.
~Eddie Gibson

Saturday, 1 November 2014

Live Show - Wheatus

Wheatus: Pic by The Sugarmill
Venue: The Sugarmill
Where: Stoke-on-Trent

It's my first gig to The Sugarmill in quite a while and to be honest I do miss the place. I've been going since I was 14, and the past six years have been a blast there hosting some brilliant bands. After I interviewed Brendan of Wheatus, it was a nice feeling to be back interviewing bands - however, I was hoping this gig wouldn't be the kind of gig that the audience would only buy tickets just for one song. I saw SoiL at The Underground and everyone kept shouting "Halo!" to be playing after every song they did. The bands I went to see are a touring family from Brooklyn in America, so I was expecting a pretty laid back show. Having a full American line up was quite exciting to me, as you mainly get line ups like that at bigger gigs playing at places like the Civic Hall or some shit.

The first band to make an appearance are called Late Cambrian. They are an alternative band who have clear influences from the likes of UK indie bands like Arctic Monkeys. They gave a great performance, which wasn't too interactive with the crowd, but everyone still enjoyed their music. It was happy and bouncing, even if the backing vocal mics were slightly quiet on a few occasions. The song "Ryan Gosling" got a few wolf whistles from the ladies in the crowd, and when played it got a few nodding heads as well. These are a band who will go quite far depending on the exposure they get. They also sold out all their shirts at the end and were barely holding onto CDs.

Next on the stage is Gabrielle Sherbenz. She's a member of the backing vocal section of Wheatus, so watching her doing a solo act was very interesting. It wasn't the pop punk we know and love of Wheatus, instead it was quite soft with kind of cheesy ballads. Her voice was great and sounds pure when she starts singing in French. Gabrielle uses the French accent perfectly and makes the soft ballad music fall in to a nice state of relaxation. However, the crowd seemed to be distant from her music, as there were conversations everywhere on the floor during her performance. As much as I did enjoy her music, her interaction with the crowd made her seem quite shy. She spoke to the audience, but it didn't feel like she was speaking to us as an audience, but then again, half of the people there were waiting for "Teenage Dirtbag" to be played later on in the night.

MC Frontalot was on stage next and he gave the audience a much needed energy boost. He was joined by Miss Eaves who added some sass to the live set. The music and songs were spot on, the music was coming from a backing track whilst rapping begun. The crowd engagement wasn't exactly the best, but everyone still enjoyed MC Frontalot's music. "First World Problem" sounds even better with Miss Eaves on the vox, with "Spoiler Alert" also coming onto the setlist. Miss Eaves got to play one of her songs and sounded great, though her microphone wasn't helping with trying to listen to what she was singing.

And finally, Wheatus take to the stage to give the crowd what they were waiting for... "Teenage Dirtbag". Of course they can't just play for one song though, we have classics like "Leroy", "Hey", "Mrs Brown" and their infamous cover of Erasure's "A Little Respect" to get through first. Wheatus sounded excellent besides one technical fuck up with Brendan's guitar amp, which was played through music software on what I assumed was his laptop. Vocally they were spot on aswell, the high pitched, puberty destroying voice that everyone knows and loves lights the crowd up to make them feel young again. The backing vocals were barely heard through half of their set, the backing vocals were bang on key when you could hear them, but to be honest the microphones haven't been spot on with sound all night. One highlight of my evening was the cover of "The Trees" by Rush. That was the best Rush cover I have ever heard, excellent and completely out of the blue.Whilst the songs were bashing out, "Lemonade" made an appearance and it was a joy to hear, and then the night ended with "Teenage Dirtbag", with guest MC'ing from MC Frontalot and Miss Eaves to make it drag on for a bit before the last part of the song.

There was plenty of excitement in the audience, even if it was for one song, everybody still enjoyed their time with Wheatus, and "Only You", their new song, even got a few nods of appreciation from the crowd. All four acts were superb, but Wheatus did stand out, as everyone would expect.
~Matthew Clewley