Naarm/Melbourne-based singer-songwriter, Maple Glider releasesd a new single today, “Good Thing.”
Her striking emotionality is at the centre of her performance, which opens with her light and velvety voice accompanied by a sparsely strummed guitar. She wastes no time in revealing the state of sadness she’s in, offering such tenderness and introspection that the listener feels as though they’re inside her bedroom as she plays for herself. Eschewing a traditional chorus, the repeated refrain is more a bookend to each verse. The emotional apex hits in verse three, turning the song into a spectral folk powerhouse with the revelation that she’s cutting ties before things turn sour.
Ziestch explains: “I wrote this song out of a place of defeat. I was really heartbroken at this point, and very confused. I like the feeling of my independence and I think I was afraid of putting energy into the wrong people. Sometimes we make decisions out of fear and sometimes it’s because we know that it is the best decision to make. Those lines can get very blurry.”
And that’s my song of the day. Very good, carry on….
I know, this feature is supposed to be for new music, promoting new and upcoming bands and artists. But here’s a notion, without the pioneers of many sounds their music would sound very different. So perhaps, when we lose a legend, we could also use it to pay tribute to them.
Sound like a plan?
Righty then, suitable for the agenda is the sad news today of the passing of the last of the three original Wailers, Neville O’Riley Livingston, aka Bunny Wailer. The red, gold and green flag flies at halfmast today, blessings to his family and friends.
A figure appears through the labyrinth of florescent drapes, strobing with ultra-violet lights. She’s void of expression, hypnotised in her individual realm she perpetually gyrates, wearing a black figure-hugging bodysuit, highly decorated in costume jewellery constructed from glowsticks. It’s not the image families would conceive of when thinking of Longleat, rather a cheeky posse of rhesus macaque monkeys ripping the rubber insulation off their Volvo.
Yet the Wiltshire raver of yore will note, and reminisce, to trek to Swindon’s Brunel Rooms would be to face happy hardcore, jungle or house, whereas there was a tribal movement of tranced techno-heads, a conglomerate of Wilts and Somerset rural ravers in the basement of the Warminster manor, and it took on a wildlife of its own; the UFO Club at the Berkley Suite. Memories of it flood what’s left of my neurons, I’m halfway into Trowbridge DJ and Producer, Neonian’s debut EP Vaxxor, released this coming Friday (5th March.)
Not before the opening title track, that is, which detonates a more breakbeat house prose at you, something for the peaky middle of a set by Plump DJs in a glasshouse club off Brighton beach in the latter nineties. There’s a lot going on here, for a four track EP, and it’s having all subgenres large.
Released through Weatnu Records, there’s parts of Vaxxor where I thought a more conventional and contemporary danceable beat might rear its head, but it doesn’t, it solidly rides a wave of classic electronic dance music with a penchant for the techno-trance feel, hence my memories of the UFO Club. That said, Vaxxor, as a tune contains definite traces of punky chemical beats, akin the Prodigy or Chemical Brothers, yet rather than a gimmicky vocal or sample element for possible mass-appeal, Neonian seems aware pop has detracted from this trend of recent, ergo its concentration is on perusing a consistent beat and sonic hi-hats.
This leaves you semi-prepared for the more trance-techno sound of the following tune, Glow. For this it is thumbs up as the most poignantly danceable, in the four-by-four psytrance fashion akin to Goa trance. Hypnotic Jerk takes elements of this, and slides into a downbeat “hypnotic cocoon teetering on the edge of normality.” Imagine Nightmares on Wax if triphop hadn’t been invented. We’re in the chillout tent, Eat Static are playing a Sunday morning set, that’s where it is; yeah, I’m with you, mate, got a flyer I can roach?!
All these four tracks were recorded during the lockdowns, and together are a glorious testament to the psych-subgenres of the UK underground dance scene. But if you’ve any misgivings to the variety of the melting pot, I’ll confirm Neonian blends and crafts it with distinct precision. To affirm he’s clearly nodding to his influences, the testament comes to a finale like a returning migratory bird to its nest. Proof to the Tower finishes this short journey off with something, though layered with aforementioned influences, strips the sound back the subgenres’ combined roots.
Proof to the Tower drips with elegant attributes of post-punk electronica, aligning New Order, Depeche Mode and even the stiffer originators, Kraftwerk and The Art of Noise. The EP is getting radio plays from BBC Radio Wiltshire, Kinetic7Radio (Bleeps & Beats show), Radio TFSC and Radio Wigwam, and I’m far from surprised.
Neonian is the work of Ian Sawyer, who has previously released a few singles, a mini LP ‘Treasure’ and provided remixes for Frannie B, NNYz?, Sergeant Thunderhoof and James Harriman. “I make music, for myself,” Ian explains, “I can’t really describe it but it’s mainly made with synthesisers, loops and samples. Influences include New Order, Boards Of Canada, Coil, Pye Corner Audio, Factory Floor, and Russ Abbot.” Unsure about citing that last one, though Vaxxor certainly has an atmosphere!
Nonetheless these tributes to the pioneers of electronica and nineties trance, techno and breakbeats are often viewed as rather soulless, this does what it says on the tin while retaining something fresh to boot. Clearly, four tracks with Neonian aren’t enough, I’d like to hear a fully-mixed electronic concept album, perhaps, to be fully sucked into its deep and hypnotic grooves.
Excuse me for being so fussy, but some uplifting sections, with gimmicky elements such as female vocals would be advantageous. Not solely for my own palate, rather in hope it’ll attract the attention of a wider audience. As, like William Orbit did when he got the phone call from Madonna, I think while Vaxxor is damn cool with florescent socks on, Neonian, I feel has yet to achieve his magnum opus, but when he does, judging by this EP, you’ll want to standing in the middle of it, making boxes and reaching for the stars.
Available on all Digital Platforms March 5th 2021; ‘Vaxxor’ is now available to Pre-Order on Bandcamp via the following link. You get to download the track ‘Glow’ now and the rest of the EP when it is released on March 5th.
Try this: think of some tunes of the decade you were born, songs which you like but don’t know why, songs which, for some reason, ring alarm bells at you as characteristic of the era. Your taste screams no, you shouldn’t like these, but you do. Then check the year they charted. I wager many of them were in the year you were born, the previous or following.
I remember liking, at the time, and I’m not proud but in the name of science I’m going to confess, Brotherhood of Man’s Save All Your Kisses for Me! Oh, while we’re there, Abba’s Dancing Queen too! Thing is, I know why. They were in the charts in 1976, when I was three, the sort of excruciating pop mush anthems a toddler graduates to after the Wheels on the Bus. However, I cannot put my finger on why I’m engrossed with glam rock songs, such as Gary Glitter’s I’m the Leader of the Gang, The Sweet’s Blockbuster and Slade’s Cum Feel the Noise, when the genre makes me generally quiver.
Why flower-power sold out and hippies took to wearing kipper ties and platform shoes with goldfish in the heel is beyond my understanding of youth culture vicissitudes. Still, when I hear the aforementioned glam rock screeches, they stir something vague inside, indications of a life obscured by cognition. Coincidence they all charted in 1973, the year I was born? Or could the sounds around you, as a baby, implant permanent scars?! If so, I’ll be dammed, deeply archived Little Jimmy Osmond’s Long-Haired Lover From Liverpool!
Though you should never condemn an entire decade for its pop chart. Given you’ll throw Sonia, Jason & Kylie, even Blacklace at me, and tell me to shaddup my face. Despite the lack of technological advances of the seventies when compared with the eighties, there was numerous classics. I’m drawn to the cherished saxophone riff of Gerry Rafferty’s Baker Street, but surprised to note, it broke my theory and wasn’t until ‘78.
The research was stirred by Canadian singer-songwriter, Ariel Posen’s forthcoming album, ‘Headway,’released on 5th March. Oh, yeah, I am coming to an eventual music review, excuse my waffle. There’s something retrospectively seventies about it, my mind sees a Ronco record label revolving on the turntable of a seventy’s mahogany music centre. A quick flick through the tracks suggested motives not to like this are manyfold. Yet, akin to why I cannot put my finger on why I like those glam tunes of my birth year, I’m finding it tricky to reason with this too, but I do like it, a lot.
With magnificent guitar riffs which nods subtly to country and heartland rock & roll, combined with smooth, blue-eyed soul vocals, there’s something very Springsteen’s Darkness on the Edge of Town, or Tom Petty’s Full Moon Fever about this potential electrified Americana rock classic.
The harmonious and tenderly sensual soul of Coming Back, against the folksy- blues guitar picking of the single Heart by Heart suggests there’s a vast melting pot, but Posen meticulously stirs it into one seriously chilled groove, David Soul styled, which will leave you causally drifting through till the end. Hence my reasons for pondering my little science experiment while listening. Again, comparisons to seventies music, here’s an album to listen to complete, afar from youthful trend of flicking through Spotify playlists like time is against them.
Upon first impressions I was dubious about a Springsteen comparison, contemplating the subjects are generally of romance, and perhaps simpler than the Boss’s interweaved wordplay, yet again humbler Beatles’ pop formulas clearly influence it greatly too. Harder listening conjured a progressive prose of evolution in life, love, and all points in between. They’re poignant and beguiling, combined, you just have to dive a little deeper.
Two years in production, Posen began recording Headway in December 2019, a week after wrapping up an international tour in support of his acclaimed debut, How Long; the effort shows. The gigs received standing ovations, and Rolling Stone dubbed him “a modern-day guitar hero.” Music Radar listed him as a fan voted top 10 rock guitarist of the year, and the Western Canadian Music Awards nominated him for Breakout Artist of the Year.
So, yeah, this is worthy of your attention, and if I attempt to lambast the seventies again, remind me of the current sate of my lockdown coiffure; I’ve got the big hair of a middle-aged Caucasian from 1976. I’m going out on my Raleigh Chopper now, mum, call me when my mince in gravy is ready!
Launched today, ‘Square Peg in a Round Hole.’ How’s that for efficiency? I know, I’m not usually this quick off the mark, must be something in the water!
But yeah, but no, though; you’ve got to hear this beauty of blues-folk from Kevin Brown, it’ll take you away with it, and we all need to get away; who’s been living in their Jimmy-jams for months?!
A song inspired by, Kevin explains, “people living on the edges of society, in and around Bath in the mid 80’s… people who don’t quite fit in.”
“We’ve chosen some stunning photographs by Steven A Chandler for the montage – they really capture the mood of the track.” And emotive it is. I’ll use the term emotive rather than ‘moody,’ if you don’t mind, Kevin, as it has a subtle uplifting hint, and it’s simply gorgeous.
Subscribe to the man’s YouTube channel, here. I’ve stressed this before, and reinforcing it by subscribing to as many as I find. It’s crucial for all musical artists that you do, gives them possible revenue, if they get to a certain amount of subscribers, but they do a LOT of them to get there. Whereas, a “YouTuber” podcasting a hoard of bling and clothes, or playing Minecraft while chatting nonsense, can elevate to stardom in a matter of milliseconds. Such is the way of modern life.
Anyhoo, that’s my song for the day, very good, carry on…
We are the mods, we are the mods, we are, we are, okay, you get the gist. Imagine Kate Nash is Doctor Who’s assistant, and they tracked back to Carnaby Street in 1963. If she dressed and performed without raising suspicion that they’re time travellers, you’ve got a general picture of the fantastic Emily Capell.
On one hand, this is fab retrospective meddling, on the other it’s lively and fresh fun, with a beehive hairdo.
There’s nothing here not to like, unless you’re a ret-con rocker and if so, I’ll see you on Brighton beach, pal. All I ask is you aim for the face, so you don’t crease my suit.
Ever considered Jolene might’ve been an innocent victim of circumstance? Dolly’s husband was obsessed with her, talked about her in his sleep. But there’s no evidence in the song to suggest she enacted, nothing to say she consciously encouraged it or made the first move. Dolly persecuted her, could’ve been jealously. There’re two sides to every story and we never hear Jolene’s.
Sounds rather conservative to me, Dolly blames anyone but herself. Rather, Araluen’s song In the Arms of Another, offers a liberal angle on a similar premise. The singer admits and regrets her part in pushing him into the arms of another, by not seeing the significance of those tell-tale signs.
Arguably, its notion is more provocative than Jolene, but it’s certainly the most poignant tune on this captivating album, And There it is,released last month. Araluen being the project of Australian-born, (hence the name,) but resident in the UK, Paul Lush, known for his contributions with Rockingbirds singer Alan Tyler and Danny And The Champions Of The World. With a repute on the UK Americana circuit, guitarist and award-winning songwriter, Paul, has been plying his trade as a fleet-fingered gun for hire and now sets up his own project.
“Araluen is the vehicle that I use to record my songs,” explained Paul. “It’s an idea more than anything, that allows me to use whoever I want without having to stick to a set band line-up. I’ve written and recorded a lot of songs but have never done anything with them. So, once I started this project, it was with the idea to finally release something – get it out there.”
Occasionally here, the sound slips skilfully into folk-rock, and there’s an electric slide guitar instrumental decidedly rock, but for the bulk, it’s uplifting country, graced by the alluring vocals of Angela Gannon from Magic Numbers. Also important to note this flows between changing styles with acute precision, rather than jumps in and out of styles.
Maybe my mum’s insistence we listened to her Tammy Wynette cassette in the car as kids, prepped me for my newfound affection for country, projected within our local circuit, our Tammy, Quin, Jamie R Hawkins and Dean Czerwionka’s invitations to attend his Americana club nights, but I must say, I actually prefer the string-bending country ballards on And There it is more than the rock ones; or is it an age thing?!
I could speculate till the cows come home, but it’s likely the style suits Angela’s voice more. It is, by its very essence, hypnotically divine, and amatory too, in a kind of chequered shirts with tassels and Daisy Dukes fashion. Virtually all romantically themed in small-town matters and secrecy, I found myself drifting into its gorgeous, effectively unpretentious narratives, as thirteen of them roll off the ears like waves on a tropical ocean.
Such is the alluring vocals, my mind contemplated the classic Simpsons episode, where Homer is near-tempted by the advances of country singer Lurleen Lumpkin, incidentally voiced by actress and singer Beverly D’Angelo, who as well as being Ellen Griswold in the National Lampoon’s Vacation films, was nominated for a Golden Globe Award for her role as Patsy Cline in Coal Miner’s Daughter, so it’s a fair credit.
“I’d admired Ange’s vocals for a long time, so one night while we were talking over a drink I asked if she was interested in singing on my new album,” Paul elucidated. “We went through the songs a couple of times and then recorded them. She blew me away. I had never heard her sing like that. This was the first time I’d heard her sing as the main featured vocalist for a whole album and she’s fantastic.”
And she certainly is. Lush by name, Paul has created a cross-bred masterpiece here to appease both country aficionados and those merely window-shopping into the genre via rock n roll avenue. This is a keeper.
Reggae and ska’s association with trains tracks back to its very roots, that beguiling chugging offbeat replicates engine noise, ergo subject matter and band names suit.
Here’s hoping if Devizes does ever get a station, more reggae bands will stop here and bring their sunshine music. Prime example; I’d sure make a beeline for this Bath-Bristol seven-piece locomotive, with their lively blend of dub, ska and soul. Failing that, I’m trekking, have roots, will travel.
Offering an exciting live show, the Maitree Express has been in the recording studio and the effect projects onto wax; proof here, in the pudding.
Wait, did someone say pudding? My work here is done, that’s my song for the day. Very good. Carry on…..
I know, I accept your question, and let me just say, I think it’s a very good question, one which I fully intend to answer in the fullness of time, but first, let me just say this, and this alone, and let us be totally sure that this is the correct time to, indeed, as you ask, for me to answer that question, one which I think is a very good question, as I may or may not have said and I really feel it is a question which needs answering….and so on, and so forth….
Think I’ve got what it takes for national politics?! I can waffle shit for Queen and country, and yes, I promised a Song of the Day feature everyday, and I haven’t delivered on that promise for a few days now, and any excuse I could provide wouldn’t be fully truthful. That’s why I believe I’ve got what it takes, my capacity to lie is acute, and my moral responsibility is pretty much shot, besides I couldn’t possibly mess it up further than it already is anyway, so yeah; I might stand.
The fact you’re probably all watching real politicians waffling about the easing stages of lockdown, is neither here nor there. I’m going to slip our song of the day in now, when you least expect me to.
And it’s wonderful, earthy folk outfit Strange Folk, with a track called Glitter. You may recall them playing the Vinyl Realm Stage at Devizes Street Festival, you may not. But enjoy, it’s gorgeously fantastical, the kind of escapism we need right now.
Back to reality, why they gotta keep calling it a “roadmap,” for crying out loud? Boris navigating for real and you’d end up driving headlong into a lake.
Strange Folk they might be, but not as strange as those leading us, I might add. The announcement will be on all night, while the Daily Mirror managed to sum it all up, hours prior to the conference, in one neat graphic.
And that’s my song for the day. Very good. Carry on…..
If you’re missing a tubthumping club night, you could clear your laminate flooring of breakables, blag your kid’s colour-changing lightbulb, overcharge yourself for a Bacardi Breezer from your own fridge, and belch up kebab behind your sofa.
All these things are optional to simulate the full lockdown nightclub in your own home. But, even creating a cardboard cut-out queue for the downstairs bog, or hiring a doggie tuxedo so your pet can double-up as the bouncer, extreme measures in extreme times will doubtfully replicate the genuine clubbing experience; sad but true.
However, if props don’t make the neon grade, the music can. Swindon-based tri-county sound system, Mid Life Krisis, abbreviated to MiLK, announce an online schedule for live DJ feeds and multi-genre events. “We will be putting on events post Covid for the people of Swindon and beyond,” they say.
There’s an interesting line-up ahead, prompted to me by Pewsey acoustic performer Cutsmith, who is on this Sunday (28th Feb.) Yet most are hard floor, afro/tribal house, trance, techno and drum n bass DJ sessions, freely shared onto a Facebook group, here. Join the group, throw your hands in the air, scream oh yeah, just don’t set your own roof on fire, it’s only going to increase your insurance direct debits, mo-fo.
Your exhaust cannot drop off en-route, girlfriend needs not to spend umpteen hours sorting her hair, and there’s no over-vocal knob jockey giving you all that in the carpark to distract you. No excuse for unattendance; no dress-code either, get funky in your jimmy-jams, if you like, you know I will. Shit, I’m like the Arthur Dent of Mixmag!
Now, I’m also gonna start adding these posters to our event calendar, which despite being about as tech-savvy as Captain Caveman, I’ve taken the time when nought is really happening to redesign it, to be more user-friendly.
All needs doing is directing buggers to the thing, as we’re listing global online and streamed events, and until a time when Bojo the Clown finally stops mugging us off and announces a release date, it’s not worth adding real live events for me to have to go delete them again.
That said, I find difficulties in keeping up to scratch with what’s on in the online sense, partly because I’m fucking lazy, but mostly because they pop up sporadically and unexpectedly.
Else they’re mainstream acts begging via a price-tagged ticket. I can appreciate this, it’s a rock and hard place, and we all need to get some pocket money, but from a punter’s POV, charging to watch their own laptop screen in hope they get a good speed for their feed, can be asking a bit much and one now favours a PayPal tip jar system.
Such is the nature of the beast, where a performer or DJ could be slumped in front of Netflix one minute and suddenly decide they fancy going live. Thankful then, we should be, to these Facebook groups hosting streams, in order to create some kind of structure.
The positive, for what it’s worth, is boundaries have been ripped down. Without travel issues, online, your performance has the potential to reach a global audience, and hopefully attract newbies to your released material. Who knows, pre-lockdown you played to a handful of buddies at your local watering hole, but afterwards tribes from Timbuctoo might rock up at your show. Okay, I’ll give you, they might not, but potentially, the world is your oyster. Just a shame its shell is clamped shut.
In probably the oddest way, I’ve discovered Manchester folk-punker Chloe Glover, during a rather slow news week, in which I opted to watch Star Trek rather than write. So, I’ve got stuff to review building, just, you know, a Netflix, sofa-lounging savoury snack calling. Meanwhile on the other side of the country, Chloe joined the nation’s joggers and tweeted a finish-line “I feel fantastic,” photo which reminded me of the “no makeup selfie” passing trend, being she added, “even with no makeup and covered in sweat and rain…”
See, a thing I don’t get intrigues me. Chloe affirms insecurities, and states her love of running, despite “looking objectively quite gross,” when she clearly doesn’t, and mutual friend, Kieran from Sheer Music concurred she doesn’t in a comment. That’s the link, how I discovered her. Knowing Mr Moore, I clicked on Chloe’s account, a fair assumption she’s a musician. Such is da powers of da inter-web, before you could say Joan Jett, I’m rocking to this debut EP “Dark Matter,” released just under a year gone.
While the opening track, Fool, is edgy, despondent themed folk-rock, and immediately obvious Chole has commanding and emotive vocals, it’s only dipping a little toe in the EP’s range. Only four tracks long, things escalate quickly. Get Back Up follows, and it’s time to rearward past the cliché and sappy direction P!nk commercialised riot grrrl and contemplate the impact of Alanis Morissette’s Jagged Little Pill, or possibly, Skunk Anansie. Here’s a beguiling potential punk-pop anthem, with balls, big balls, and sweary words to boot.
Three tunes and it’s dumped you in the kick-ass mood, courteously. Hurricane is really showing a vocal range, it’s decidedly indie taking on punk-pop, and it rocks. By the finale, Silver Linings, I’ve gone way beyond my previous nineties’ comparisons, because essentially, we’re in proper punk country, and I’m thinking Suzi Quatro, Joan Jett & the Blackhearts; this level of definitive punk.
Life after The Slits, and the hackneyed chauvinism backlashed against them, there was a celebrative sense about feminist punk, just prior to Spice Girl’s “Girl Power.” An epoch grasped beyond the fanzine culture, of Bikini Kill and Huggy Bear. But if you tried my recommendation of the Smalltown Tigers recently, and thought wow, that blew up in my face kinda quickly, you should note while Chloe doesn’t muck about, there’s a tenderer, leisurelier build-up to the rage, via folk, but perhaps closer associated with modern day too. This layered accumulation holds one in uncertainty on just how far Chole will take you, so, when she plucks these emotive and sharp frenzies, it’s a nice surprise, abso-fucking-lutely sublime and executed with a celestial meticulousness.
It’s immediately amiable and addictive, projected to an effective live show too, with band or acoustically, which has seen Chloe support Frank Turner. Still, I don’t get the no makeup fear thing, that recent Facebook selfie trend, like a dare. I’m always left scratching my head as to the fuss; they look gorgeous to me. Makeup, yeah, can highlight best features, but it’s not the makeup which is beautiful, is it? Just sitting in on a shelf in Superdrug, a nonentity, no lure there.
I recall you’d never see my Nan, until she’d “put her face on,” as she put it. As a kid I’d imagine her behind her bedroom door as Darth Vader in the scene of the Empire Strikes Back, you know the one, when his helmet eases down? But, for crying out loud, if you choose to see it like this, as your war paint, your confidence is shot, and you’re overthinking it. Slap or no slap, doesn’t make hide nor hair. Fuck what L’Oréal want to convince you of, and what Estée Lauder say you need; you are girls, women, the female human form, and that makes you beautiful, as standard, all of you. It really is that simple, and bollocks to anyone who says otherwise.
For Chole, the power, essence and obvious devotion to her music garnishes this unique EP. Dejected themes conclude to optimistic premise, and to nail a concept, an inclusive narrative within four songs is sheer talent. If the punk element to it is a like a girl, full of makeup, or the stripped-back folk is the girl without, neither matter, it’s all beautifully crafted, kick-ass music.
With gig and event organisers clutching at straws for potential summer dates, awaiting a bumbling announcement from the mighty Bojo the Clown, Sheer are keeping it in perspective and looking forward to October when they host an evening at Emmanuel’s Yard, Trowbridge, postponed from last December.
Our favourites The Lost Trades will be supporting Jon Gomm. If you’ve not heard of Jon, today’s song is a taster, as tickets are on sale now, and after watching this, I believe you’ll want one!
In fact, if I could bunk the Saturday off work, might be possible to kick my Devizine GigBus idea into touch; it’s in the pipeline, guys, just waiting and hoping….
And that’s my song for the day. Very good. Carry on…..
Nottingham has never been so soulful since Yasmin Lacey came onto the scene.
But for Yasmin it’s been too long since playing live. “I’ve been missing playing with my band so much, and being able to meet and interact with you all after shows. So, this is the next best thing,” she expresses on announcing a live stream tonight.
Tickets are £7 from Bandcamp, here. A chatroom will be open where Yasmin encourages you to engage with.
Nigel writes to confirm he’s from the “Devizes side of Bristol!” Had to laugh about the perceived strictness of an obnoxious aging school teacher, and feel I should explain. While Devizine does offer local news subjects, since lockdown we’ve blown up our border control and now rampage internationally when it comes to featuring arts and music. So, it makes hide nor hair what side of Bristol you come from, or even if you come from Bristol Connecticut, if I like it or I think my readers will, I’ll mention it, and despite the title, Boring, yeah, I do.
Seems we’re alike, Nigel, least in the concept don’t judge a book by its cover, because this nugget of quirky art-pop reminds me of Talking Heads and is far from boring. Nigel explained the meaning, “[it’s] written after spending time with people who only seem to like the sound of their own voice – warning, I may be one of them!” Yep, me too. But if we’re not one of them, we all know one who is.
“The song started off as a Stones/Pistols rant,” he continued, “and has developed into a soft indie rock stomp, with an added lyrical twist at the end.”
It’s the first single from a forthcoming album, Hello Mystery, which I think we need to review nearer the time. Until then, that’s my song of the day, very good, carry on….
Music technology bears a burden on the acoustic singer-songwriter, hopefully awaiting a practical gap in the market to sneak into the mainstream. Locked in the adolescent tantrum of the drum machine, pop charts of the late eighties were awash with electronica, hip hop, and the dawn of house, either this, or jean commercials revitalised sixties soul classics. Then, along came a short dreadlocked female singer, clasping her guitar.
Had Tracey Chapman arrived a decade earlier when Joan Armatrading was prevalent, the impact might not have had the same clout. As it was her appearance was exhilarating, a breath of fresh air, but seems sometimes acoustic artists are to pop charts as Christopher Lambert is to Highlander, there can be only one.
In 1998 David Gray’s self-released studio album, White Ladder looked as if it would be no more successful than his previous three. While renowned on the folk scene, Gray didn’t break the mainstream until its ATO re-issue in 2000. Perhaps we could speculate the charts of 98 was held hostage by Britpop, else the reign of rave was at its apex. People looked for something fresh for the millennium, and Gray’s folktronica found that gap.
Folktronica is a strapline, rather than subgenre. A causal grouping for fusing string instruments into electronic music, born at a time of public acceptance in hip hop. It was courageous, but a natural progression, and Gray was atop of the game, appearing in David Kane’s rom-com This Year’s Love, which he based a song around its title.
Like an Andy Warhol prediction, the sequel to White Ladder, A New Day at Midnight, failed to obtain the same critical acclaim, despite charting at the top, and whipping Pop Idol runner-up Gareth Gates’s debut album, which is enough for me! Exhaustion in the spotlight saw David Gray rest, and gradually fall into cult status, returning to the folk circuit.
At the millennium I was neither here nor there about David Gray. Yeah, I liked his charted songs, but entangled in denying rave had perished I sought heavier trip hop, or else a model folk formula; the two were strictly separate entities. It wasn’t until a near decade ago, reviewing a self-published book which suggested White Ladder was a revelation of pious significance, that I gave second thought to David Gray, and just how good the album was. Mind you, the flimsy autobiographical plot continued onto how, under hypnosis, the author turned out to be an incarnation of Cleopatra, so it all had to be taken with a pinch!
This is the culprit, the reason I’ve been knocked for six by his new album, Skellig, released tomorrow (19th Feb 2021.) Naturally I expected it to be pretty awesome, but hadn’t fathomed how awesome. Astounded, on continuous play and taking me on a journey for the best part of this week, I confirm its ambient, acoustic gorgeousness.
If last year’s twentieth anniversary of White Ladder saw a deluxe edition launched, but a subsequent tour cancelled due to the pandemic, Skellig counteracts; it is simply perfection for isolation, though written prior. The elements of folktronica are even more subtle than previously, with just a hint they set the scene, welcoming a sparser, shared soundscape with the atmospheric songs focussing around six-part vocals with Gray trading his signature gravel for a softer tone; mega-bliss. Though, a sense of shingle develops vocally as the album reaches a conclusion, not at Dylan level, but adjacent.
Skellig takes its name from a formation of precipitous rocky islands off the coast of Co. Kerry, the most westerly point in Ireland. Ravaged by the Atlantic, the seemingly un-inhabitable location of Skellig Michael became an unlikely site of pilgrimage in 600AD for a group of monks, who believed leading such a merciful existence, they would leave the distraction of the human realm to be ultimately closer to God.
Gray asks for no literal translation of the above, nor prescribes any religious allegiance; the story, told to him by a friend, has haunted his imagination ever since: “The more I contemplated the idea of a small group of people landing on those rocks and establishing a monastic life there, the more overpowered I became by a dizzying sense of awe. How close to God could you possibly wish to get? Life must have been unbelievably hard for them and trying to fathom the deep spiritual conviction that compelled them to escape the mediaeval world led me to acknowledge my own deepest longings to be free of all the endless human noise that we now so readily accept as being such an inescapable part of our day to day lives. Dreams of revelation, dreams of a cleansing purity, dreams of escape. Ideas that I think almost any 21st century person shouldn’t find it too hard to relate to!”
A notion which saw Gray gather his team and venture to the Scottish Highlands to live out the creation of the record. In the significant of this backstory, Skellig paints a picture with sound akin to Gogh’s Starry Starry Night. You can sense the sea crashing into the rocks of a barren Irish landmass, hear the haunting echo through the draughty halls of a desolate monastery, through multi-layered vocals, delicate Celtic guitar picks and morose piano solos.
Written astutely and with maturity in comparison to White Ladder, subjects twist dejection into uplifting awe. Carried by a singular baritone guitar, the opening title track bobs on an ocean like a chantey, familiarising you with how it’s going to go down. From there on it free-flows thirteen tracks of blissful enchantment. While listening I noted the songs seemed short, but in checking most weigh over the four-minute mark, proof how engrossing Skellig is. Lost in its splendour it comes to a masterful finale with the graceful, All That We Asked For And More; which sums up the album perfectly. A ten from me!
Can you go twice on our Song of the Day feature? No, certainly not, one shot is all, get over it!
Wha? Cabin fever, me? Getting tetchy, perpetual rain the only visible sign of spring, going to need Google maps to locate my local pub if it ever gets back to normal, whatever normal is, been so long, forgotten, might need retraining in how to order a pint… ah, okay, point taken. I’m calm….
Here we go with the brilliant Big Ship Alliance reggae band, who may’ve had a Song of Day before but hey, when you hear this you’ll realise why I’m making the exception to my steadfast iron ruling.
My Life, it’s called, featuring Mitchell Joseph Thompson, and the Alliance introduces us to the incredible Kiano Taylee. At 13, it’s an emotive and sentimental debut single, capturing teenage anguish, bullying and family issues which bear heavy on modern youth. Moving stuff.
For the record, I was young once too, you know. But, don’t let me get started on my memoirs, it’s a longwinded tale of nothingness but reading the Beano and eating spaghetti hoops. But, that’s my song for the day. Very good. Carry on…..
Ever just float around your favourite social media site with no objective in mind, to unexpectedly find something which pounces on you as utterly brilliant, and wonder why you’ve not heard about it before?
Took a second of watching this to establish it’s one of those rare occasions, and not just a pointless scrolling exercise for your index finger. You know the kind, where you only see your mate’s unappealing dinner, a wonky, windup political opinion, or video of a young prankster posing as a magician hoaxing eye candy on a Florida beach.
Took a further second to confirm it’s not to be confused with senior easy listening giant, Andy Williams, rather an indie-pop Bristol-based singer-songwriter namesake, but with an added middle J, a penchant for a funky riff and eye for a beguiling tune.
Check this cracking danceable video out, where one could ponder if the middle J stands for “Jacko!”
Not that I’m usually one to allow a cracking video convince me, even with dancing stormtroopers. So, you should note, he’s on his third album “Buy all the $tuff,” of which you can, here. I’m reckoning I need a window to review this fully in the near future. For now it came as big as a nice surprise as spotting an unidentified circular yellow object in the sky this morning, for a near halfhour! Amazing.
And that’s my song for the day. Very good. Carry on…..
Drive Doc Emmett Brown’s DeLorean to 1966 and dump the Pet Shop Boys off at Sunset Sounds, see how they get on helping the Beach Boys record Pet Sounds. Think of the marvel of time travel’s possibilities, Pet Shop Boy Sounds; if only it were possible!
But while you ponder what kind of sound might it be, imagine what paradox you’d cause in the wake of your return, what contemporary music would’ve warped into; now I’m twisting your melon, man. Maybe give Django Django’s fourth album Glowing in The Dark a try, if you’re incapable of kicking Kraftwerk out of your Tardis at Abbey Road’s eight-track studio as John, Paul, George and Ringo plan Sgt Pepper, for in essence, the result might be uncannily parallel.
As the track Headrush fades into The Ark, halfway through this genre-bending electronica, you’d be forgiven for aching to hear Soft Cell’s Tainted Love cover for prosperity, but hurry or you’ll be reaching for Pink Floyd’s Meddle too. If you think electronica has no avenues left to stride along and come out of the woods unscathed, here is a new journey, which though splices many influences, is perfected in matchlessness.
Equally, if you feel electronica lost its way after new wave, as hit factories seized the era and everything underground which followed for a decade seemed to involve waving glowsticks or making imaginary boxes to mindless and soulless techno while chewing your bottom lip off, then this is your reawakening.
For lyrically, Glowing in the Dark has a rather platitude running theme of escapism. Cliché as leitmotifs vis-à-vis to despair from constraints of small-town life, or terrain ascending dreams might sound, it’s handled well. Acoustic rock goodness is graced here too, then, the World will Turn is quintessentially The Byrds, at best comparison, and miniature road movie Waking Up hints at T-Rex combining Serge Gainsbourg’s Bonnie and Clyde with Gainsbourg’s daughter Charlotte guest vocalist, just to ascertain. But it’s like Mike Oldfield plucks a funky guitar for the next tune, and Daft Punk will jaw drop at the simplified meticulousness of the danceable title track.
The finale then achieves what the late great Andrew Weatherall set out to do with Primal Scream’s Screamadelica, precisely, oh my god, not, no, not thirty years ago, surely?! Tie a fluorescent French horn to my Zimmer frame and pass my meds, Glowing in the Dark relishes in all which has passed in music technology from the psychedelic nature of space rock, the dreamy accompaniments of acoustic, the bellbottoms of glam, through to new wave and rave, yet somehow, while embracing all familiarities, charges something exclusive and fresh at you.
But I feel now the end is here, all the aforementioned is not why this album is so beguiling and attained, because it’s fair to say such blends have been attempted before, yet its originality is maintained and its splendour achieved by the free-flowing composition; it just, works.
Released 12th February 2021, via Because Music, on limited edition glow-in-the-dark vinyl, standard black vinyl, CD and digital download/streaming on all usual platforms.
Wishing local singer-songwriter Kirsty Clinch only the best of luck today, as she announces a new project; a music school for pre-school age and above, called First Melodies.
As well as private tuition, Kirsty plans to combine published books and a YouTube channel to create a wider audience. Anyone interested should contact the website and subscribe to the channel…. I need not explain further, as it’s covered in this video…
Best of luck Kirsty, we reckon it’s the perfect idea for you.
Being fashionably late for a party with a trio of female Rimini punks, their album, Five Things released in April last year on Area Pirata Records, mightn’t be as bad as it sounds, because post-1973 this music is timeless, recapturing the genre’s very essence and roots; welcome to the world of Smalltown Tigers.
Because, the punk the era was a short-lived explosion which although never toppled the rise of disco and funk, surely stamped its mark on everything which followed in its aftermath, from fashion, tenet and sound. Yet the aggressively modern attack of the first wave of punk rock in the face of hippie culture perpetually allowed itself to be watered down and fused. Just as every popular genre tends to do. Concluded new wave and avant-garde art-punk through to the skater contemporary fusion with metal, or oi ska, it’s warped into many guises. Yeah, they’ve got edge, but as dicey as the original simplicity of early seventies punk? I think not.
That’s where Smalltown Tigers pack their sucker-punch, from the hip of the original garage formula, as if post-punk never happened. They cut their teeth playing Ramones songs at squats and beach parties, spreading their love for surfboards and punk rock. Tommy Ramone stated on the lineages of the youth culture, “punk rock had to come along because the rock scene had become so tame that [acts] like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans, rock and roll meant this wild and rebellious music. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock ‘n’ roll.” And from the off of Five things this notion resonates to modern day.
But it doesn’t allow you time to contemplate any of this, it doesn’t wait for you to come up for air, it doesn’t causally drift in, and it certainly doesn’t stop to excuse itself. It detonates eight under three-minute tunes of punk noise in your face before you’ve time to take cover, and while their energy might leave adolescents jittery and flabbergasted, craving for what they consider a crazy new sound, punk diehards will wink with acknowledgement and welcome its blissful eruption with open arms.
While you won’t find this mini-album settling down to a ballad, or suddenly branching out to experimentation, as time passes obvious influences of Patti Smith and the Ramones slip into elements of Joan Jett and the B52’s fashioned rockabilly, but remain elusive at best. Mostly of what you have here is no nonsense, high-energy, fuzz box punk rock n roll with a calling to its roots, and in this much, it absolutely rocks my world!
Recorded mostly live in the studio with no overdubs, mixed by analogue master Roberto Villa on 2” tape, and mastered by Detroit garage-punk guru Jim Diamond, these eight songs testify that these girls are no Dolce Vita. Time to forget your Busted and Blink 182s; punk has never been so retro or raw since its incarnation, the opening for Smalltown Tigers is gaping.
Self-taught multi-instrumentalist, singer and actor, Darling Boy, aka Alexander Gold adds reminisces about his game childhood with this video for his new single “Tea Drinkers of the World.” An unusual move for this brand of indie-pop, but a colourful and entertaining 16-bit retro game fashioned video; enjoy.
Yay! Home Schooling is out for half term, but before it’s replaced with excruciating racket, higgledy-piggledy hullabaloos, and junior revolutionary uprisings, diligent stay-at-home parents teetering on the edge of wine o’clock should note, if the outside activity mountain won’t come to Muhammad, well, Muhammad has to get there online. Here’s some “lit” bodacious suggies to get him harnessing his crampons….
No, I’ve no idea what that meant either, just hit me with your suggestions, homies, and I’ll add them here without beef!
Firstly, keep them well fed, and if you’re having difficulty…….
FREE SCHOOL MEALS ELIGIBILITY
Wiltshire Council is urging families who find themselves in difficult circumstances to check if they are also eligible for free school meals and the holiday food funding. Families can find out details of how to apply for free school meals support on the Wiltshire Council website including those families on: -• Income Support• Job Seeker’s Allowance (income-based)• Employment and Support Allowance (income-related)• Support under part six of the Immigration and Asylum Act 1999• The Guarantee element of State Pension Credit• Child Tax Credit – providing you are NOT entitled to Working Tax Credit and your family’s annual income (as assessed by HMRC) is not more than £16,190 (as at 6 April 2012)• Working Tax Credit ‘run-on’ – the payment you may receive for a further four weeks after you stop qualifying for Working Tax Credit• Universal Credit (provided you have an annual net earned income of no more than £7,400, as assessed by earnings from up to three of your most recent assessment periods) • Better2Gether Funding (two year olds only) Universal Credit – if you and your partner are on a low income from work (this usually means a combined income of less than £15,400 a year after tax)Or if the two year old child: -• Has a statutory statement of Special Educational Needs (SEN) or an Education, Health and Care Plan.• Has left local authority care through a Special Guardianship Order, adoption or a Residence Order• Is currently a Looked After Child, for example in foster care• Is in receipt of Disability Living Allowance (DLA)People should apply directly to Wiltshire Council if they are eligible but currently do not have free school meals by using the form on the Council website.
There’s always cartoon and comic workshops to get creative darlings budding. Enter Beano artist and charismatic comedian Kev F, whose Comic Art Masterclass usually travels the schools and libraries of the country, and ends with some seriously entertained kids each with their own homemade comic. The only need to travel is to grab some paper and pens now Kev’s class is online.
But check here for a number of different creators giving away their artistic secrets in comic workshops…
The End of the Pier Show
Jonny Fluffypunk presents a brand spanking new show for families, with poetry, puppetry, story, song and a healthy dose of ramshackle anarchy.
The Farm Cookery School in Netherstreet
have their popular holiday clubs online, and are available to book NOW! They are only £10 – £15 per login and that includes LIVE Tuition as well as a Recipe and Ingredients Guide which will be emailed to you straight away. Just imagine, dinner may be served by your little horrors!
Prior to lockdown Wiltshire Museum were really enjoying hosting Curious Kids sessions for under 5’s and their grown-ups. They have adapted sessions to deliver them on zoom. A chance for younger children to have some interaction with people from outside the home and for families to learn, create and play together – supported by the museum.
February Half term session will focus on Saxon Crafts and will look at weaving jewellery.
Topical, in view of Mark Little of Bristol Rovers’ social media attack, here’s a year-old message which, idealistically shouldn’t need repeating, but, unfortunately, seems it does.
And who better to deliver it than Wolverhampton’s Christopher MacFarlane, better known to the world as Macka B?
His righteous, yet witty DJ toasting style is often mimicked but never bettered. Since his early days on the Exodus sound system, through the eighties fast-style origination of Fashion Records, of which the late great Smiley Culture bought to mainstream charts, to today’s international recognition, award-winning Macka B never fails to breathe charisma and charm to a subject with intelligent and amusing verse.
The premise of his song is simple, the message is resounding.
And that’s my song for the day. Very good. Carry on….
Here you go, right; the meal was flawless, the wine is taking effect, the candles are in perfect position, the rose petals spread on the duvet, made sure you changed the sheets and hidden your Razzle collection. Now all you need is the perfect valentines evening playlist as the icing on the cake.
One track wrong, just one accidental selection, could prove fatal for getting to final base. At worst you’ll be alone, regretting how that Slipknot track got mixed in there, or which prankster mate added Iron Maiden’s Bring Your Daughter to the Slaughter. At best, mistakes can be made in picking from the plethora of timeless love songs available. One narrative of break-up, something just too damn perverse or slushy, or even a song which reverts your partner back to past lost love, can be dangerous and a waste of your hard-earned cash at the johnny vending machine.
It is with great empathy and consideration I offer you my tuppence on the perfect Valentine’s Day playlist. To begin, you must understand, love songs come in four main categories; the cliché slushy, soppy sort which are so wet they’re Wet Wet Wet. These are best avoided. The second are the breakup songs, often beautifully crafted nuggets of melancholy, but again, not best for enticement. The third sort, Frankie Says, is the outright filth, centred around the kind of mindless, unattached, no bars held bonking frenzy you have to clean up with a mop and bucket. While at times these are the best of the aforementioned options, what you really need to set the appropriate mood is the fourth category, the songs I deem “sensual.”
Sensual songs arouse the neurons, make the hairs on the back of your neck stand up. They neither absolutely call out the knob-fest you’re hoping for, merely hint at it, or relish in slushiness so maudlin it all comes over corny and nauseating. Don’t blame me if everything you do you do it with Bryan Adams’ songs on repeat, it horribly backfires and all which remains of their presence is a fading odour of Superdrug’s own make Eau de Parfum. Here’s the list, adhere to it, fool!
1- Try a little Tenderness – Otis Redding
Otis was a magician, indisputably. His effortless vocals are so sublimely sensual, one play of this and women’s clothes automatically fall off. Guys, if it was good enough for the Ducky, it’s good enough for you; a guaranteed win-win.
2 – Let’s stay together – Al Green
Again, this one is a given. Why do people break up, turn around and make up? Well, it’s for the make-up sex, Al, obviously. Look, we all know make-up sex is the best and stickiest kind of sex, but when setting the mood for the now, never dwell on the possibilities of the future; price of prams these days, prenuptial agreements, stuff like that. Nope, this song pledges nought can possibly go wrong, you are 100% devoted, and that assurance will see knickers on the bedroom floor.
3- Sexual Healing – Marvin Gaye
Marvin with the topper most sex blag, only one under the notion it’s greater for weight-loss than a diet. Here, Motown’s senior figure suggests wellbeing, that sex is good for him emotionally and psychologically. But there’s cohesion, it is affirmed, he’s no slapper, and only wants to do it with you. Although you guessed this song would be listed, it works a like a charm.
4- Je T’aime…Moi Non-Plus – The Scamps
Okay, Serge Gainsbourg’s classic obviously needs consideration, but is about as corny as seventies lava lamps, and Jane Birkin’s aching French orgasmic harmonies might be off-putting if you’re still eating pudding or not making quite as good a job as Serge himself. Therefore, try this; this Scamps version is instrumental reggae, and reggae in general, is kinky as. For added effect, should things be going well and your French up-to-scratch, you can have fun arranging your own vocals.
5- Bob Marley & The Wailers – Guava Jelly
So, pandora’s box opened. If we’re going to do reggae, there’s so many Bob Marley tunes which are more than apt, picking just one is a minefield. Let’s go demining like Steve, it’s okay, I’m a professional. For starters Guava Jelly teeters on the edge of reggae, rather deemed closer to rock steady, the pioneering transitory period between ska and reggae. Rock steady is the definitive romantic period of the music of Jamaica, and Bob is one charmer. This particular song is the perfect balance for what I’m proposing here, it’s connotations of lubrication is pure filth, but its backstory of love is quixotic; precision engineering from the Tuff Gong.
6 – Henry III – With a Girl Like You
Now, after all I said about rock steady, a word of warning. Don’t, whatever you do go gung-ho and add any old rock steady song to your playlist. Such is the way of bygone eras and particularly in Jamaica, many are not PC by today’s standards. Often subjects deal with cheating, disintegrations or can be degrading to the fairer sex. Sometimes it helps, if going with rock steady to check covers, take this divine version of The Troggs “With a Girl Like You,” for example; this’ll work.
7 – Lorna Bennett – Breakfast in Bed
Now, if you’re only up for covers being the kind you jiggle about underneath, by all means go for the original of Breakfast in Bed, on Dusty Springfield’s ultimate “Dusty in Memphis,” as it’s more than suitable. But if you want a bit of reggae in said jeggae, the UB40 version is not your best option. Lorna Bennett does this with bells on. This is so sexy it should be illegal.
8 – Claude Fontaine – Cry for Another
If it’s sexy reggae you want, but contemporary you fancy, and you’ve taken heed of the importance of French accents we’ve mentioned, here’s a lesser-known masterpiece by multi-platinum, Grammy award-winning record producer, Lester Mendez, certain to hold the object of your affections mesmerised and putty in your hands. Claude Fontaine’s voice just, just, just…. oh, no, pass the Kleenex.
9- Kingston Town – Lord Creator
Look, I like UB40, I really do. But whence you listen to the original Lord Creator version of this, you won’t go back. Its subtle idealistic references paint a romantic image of Kingston Jamaica, in contrast to the biting reality it’s often depicted as. Like the notion, any place is beautiful when you’re there, sure to cause a love tidal wave, in your direction.
10- Swimmer – Black Star Liner
Now, you’ve done the groundwork and things are moving fast. Unlike technology of the era, owning a pager isn’t going to get to you close enough to the opposite sex to be sneezed on these days, the electronica of the nineties can be your friend. Dance music came of age mid-nineties and no longer concerned itself wholly for standing in a muddy field wearing a dust-mask and gyrating like a broken robot. In fact, local city Bristol took a whopping portion of credit for the downtempo trip hop trend. But, while you know Massive Attack will make it onto this list or it’s not worth publishing, unless you lived it, and I mean, really lived it, I forgive you for not knowing this and the next two sublime nuggets of dreamy dance. Black Star Liner are as if Massive Attack did bhangra for film scores.
11 – Long as I Can See the Light – Monkey Mafia
As the finale of Shoot the Boss, an album with enough cutthroat techno and dark ragga to scare the willies out of Moby, Jon Carter places this gorgeous protuberance of uplifting trip hop to bring a lump to your throat, or elsewhere.
12 –Soldissimo – Air (Etienne de Crécy Remix)
Again, the French know saucy. This Air remix by the super discounted Etienne de Crécy is such a barely known, absolute inspiring masterpiece, and when that acoustic guitar breaks in, oh my, eyes will implode, and the bedsheets will need changing.
13 – Unfinished Sympathy – Massive Attack
For me to pick a single song from my misspent youth wouldn’t be easy, until I’m reminded of this. You know it, you must do, so will your partner. They’ll whimper, “I love this song,” ergo, I love you for thinking it’s suitable to reflect your feelings towards me, and bingo; fire in the hole.
14 – Sharing the Night Together- Square One
To take heed of my warning about picking any reggae tune, apply doubly so with soca. Subject matter of most soca is outright filth, if not being about waving your flag about during crop over, it’s generally about waving something more phallic about. Which is great for the rugby club’s Christmas party, but not so much when wooing. However, there’s always exceptions to the rule, and when Alison Hinds does it by covering this Dr Hook track, she makes Rhianna sound like Cathy Lesurf by comparison.
15 – Lovely Day – Bill Withers
Okay, so a few might be new to you, this is good, but let’s end it with a classic. The sunlight hurts his eyes, and something without warning bears heavy on his mind. Yes, it does have slight negativity about it, but the very notion just by looking at your partner, it’s all inconsequential and can all melt away, will guarantee your bedposts will be thumping against the floorboards in no time at all. Have a happy and successful valentine’s day. Best of luck, mucky comrade. Over and out!
And if these fail, something is wrong and you should either try Nina Simone, or consult your GP, just don’t bother me, do I look like Deidre Saunders? Actually, don’t answer that, just keep your mind on the job at hand, else your hand will be the only…..okay, you get the idea….
If you’ve not heard of The Lost Trades before, you must be new to Devizine! Not a problem, we welcome newbies with open arms.
For further information we have a search bar, use it!There are plenty of archived features on The Lost Trades, Phil Cooper, Jamie R Hawkins and Tamsin Quin: enough for Devizine to be an official fan club! These Song of the Day posts are brief and are not intended to be full reviews.
They’re also about introducing you to artists we’ve not, or hardly ever mentioned much of before. Today’s case differs.
I should explain, we’ve followed the individual careers of this local vocal harmony trio since the website’s creation, and they’re three out of many in through doing this, have become personal friends.
Naturally, there’s a danger to the bias of honest criticism in a reviewer befriending the creators; mainstream artists use “enemy” as a term to describe NME journalists.
Although they’re aware I’d be critical if there was ever anything to be critical about, this is also, never a problem, because, simply, the awkward situation never arises.
Partly, I believe, this is because Devizine isn’t a job, it’s a hobby, and if I thought for a second I’ll unjustly slag anyone off for kicks, then the whole objective of it is compromised. Though it’s a delicate balance to provide honest content and maintain relationships with the talented subjects, there’s no reason to wreck a career, and I’d sooner avoid scribbling anything on the matter at all.
The fact if you do search for the Lost Trades or the musicians which make the trio up, you’ll find a fair amount of matter on the subject, can therefore mean only one thing: there never is a problem because they’re genuinely awesome, and this would still be the case even if they hated my guts. Which I’m not ruling out, but suspect it’s unlikely; least I can hope for is they think I’m a headcase. A friendly headcase, but a headcase nonetheless!
Still, it’s a great song, as ever, with a fascinating homemade video fusing Jamie’s enthusiasm for stop motion animation. Get it here.
And that’s my song for the day. Very good. Carry on….
What’s Spanish for “diva?” Oh, Google translate aptly says it’s “diva!”
Super sassy Spanish vocalised RnB-pop doesn’t come sexier than Mexican singer Diana Leoport’s debut single. Aching with masses of Latino promise there’s elements of Shakira and Gloria Estefan in this smooth tune. My glasses have steamed up!
If you came here looking for an original song by upcoming hopefuls, look away. Chippenham’s Blondie & Ska may not be groundbreaking or looking for a mainstream recording contract, a Blondie tribute act who fuse ska and Two-Tone classics into their repertoire, but what they do they do with a barrel load of lively fun. And, in a nutshell, lively carefree fun is the backbone of ska.
Heores of the live stream currently, booking Blondie & Ska for a party or pub gig in the future, and you can gurantee, if fussy music devotees tut, the majority will be up dancing. For this reason enough, I blinking love this duo, but that alone is plentiful. Like their Facebook page for details of future free streams, it’s an entertaining, unpretentious show.
And that’s my song for the day. Very good. Carry on….
They always remind me of an occasion, at a festival in Andalusia. I watched this great French reggae band. The slighty rotound frontman looked rather like the late, great Jacob Miller. After the performance I noted he was standing close to me, watching the following act. I went over in hope of telling him how much I enjoyed their music, praying they spoke English.
I momentarily regretted my school French lessons, which I spent making homemade comics out of text books, as he replied with an adamant no upon asking if he spoke English.
All the vocabulary my intoxicated mind could conjour was “tres bien,” so I repeated it perpetually in true Del-Boy fashion!
Otherwise the meeting was the awkward silence of communication breakdown, in which I suspected they thought I was completely nuts. Not so far from the truth.
So, I namedropped Jacob Miller and suddenly we had understanding and mutual respect for the man. My point is, sometimes the Emertarians sing in Spanish and sometimes English, often the Spanish ones more emotive, but reggae has no language barriers, because it’s spiritual meaning and uplifting ambiance is universal. As with the French Jacob Miller-alike, we were on the same song sheet….
Naturally at that conjunction, I rolled a joint.
And that’s my song for the day. Very good. Carry on….
Wonderful Trowbridge-based music charity, Wiltshire Rural Music revealed an online programme project, Live at Town Hall, today.
In collaboration with Trowbridge Town Hall, they plan to stream full concerts of our outstanding local musicians, starting in February. I hope to have more information for you, when dates and acts are announced.
Wiltshire Rural Music do an outstanding job supporting and enabling local communities and individuals to realise their musical potentials and fullfilling their ambitions. They provide room hire, give bursaries and work closely with Alzheimer’s Support, taking music into care homes and schools across the county.
More info on the work they do here. Follow them on Facebook for details of the streamed gigs.
You can give it to me straight and agree, I’m old. Though as much as I hold dear the hours browsing record shops for a seven-inch slither of vinyl, the stream’s advantage is manyfold. Perhaps none more than the increased availability and distribution of home-made wares.
Vinyl junkies were restricted to what the music industry decided. While DIY music was around then, it was a needle in an underground haystack, obscured by a lack of prior knowledge of counter culture distribution, and even if you were aware, still they cost post and packaging.
Send a SAE in good faith, and when the musician finally finished his last bong, made it off his scabby sofa to the post office, you’d receive your cassette, only to find out it wasn’t as good as you’d been convinced it was by the crazy fractal advert in a punk-paste zine. We’ve come a long way, folks.
Local independent, country, singer songwriter, Kirsty Clinch posts on Facebook, one of the many social media platforms she tweaks to promote her music. Her latest single, Around and Around has reached a staggering 2K Spotify streams in just five days, managing to peak at number four in the iTunes country chart. It’s an achievement made mostly on her own, but does it prove the value of DIY rather than aiming to be signed by a label, can anyone with social media savvy achieve it, or is simply that it’s a great song from an exceptionally talented musician?
It’s certainly that much. Dreamy and evoking, Around and Around sees the ever-enlightening Kirsty at the ultimate perch in her career, in line for the forthcoming album, it leaves you dripping in anticipation for more. “Around & Around is all about catching your dreams,” she explained, “taking chances and not getting stuck in ruts; that’s just what I’m doing right now.”
A smidgen punchier than her previous release, Fit the Shoe, and perhaps even more beguiling than that beauty. To hear it is to engrossed in its pensive narrative, as all classic country should. But its Americana influences are subtle, it never references peripheral subject, as much UK country artists feel impelled to mention boxcars, dustbowls, and things you wouldn’t expect to find in their English suburban hometowns. No, Around and Around, like, Fit the Shoe is romantically topsy-turvy themed, flexible for a wider, international audience and contemporary sounding.
That said, Kirsty is no stranger to authenticity, travelling and performing in Nashville at venues such as the Blue Bird. Aside the clear influence of country’s leading ladies, the likes of Parton and Wynette and modern folk-rock artists, KT Tunstall and KD Lang spring to mind, Around and Around evoked memories of Kate Bush more than any other tune I’ve heard of Kirsty’s, in its haunting atmosphere rather than vocal arrangement. I put this to her.
“I don’t get the Kate Bush thing; my voice is not as squeaky!” she laughed, “I’m not a big fan of hers, which is weird as you’re not the first person to say it either. She’s huge though and loved for what’s she does, so I won’t complain!” I had to explain I meant more the whole ambience of the sound rather than squeakiness of her voice, but we needed to move onto the immediate success of this particular tune, and where she hope it will lead.
“It won’t go higher,” Kirsty predicts, and I hope she’s wrong. “Only slowly hides away after that, the famous people take over sooner or later! But songs can always come back, so [I’ve] just got to keep hustling.”
I took Kirsty back a couple of years, sitting chatting on the lawn at BromFest, we discussed the hopes of an album then; best things come to those who wait. Aside her nonchalant social media persona, I perceive Kirsty to be a perfectionist on the quiet, certainly shows with these two singles. “Yes, I have one more coming out hopefully before May, and then I’ll drop the 14-track album,” she announced, “That’s why it’s taken so long, it’s a big one, but for a first timer in online sales, I had to do it to catch up!”
I’m aware Peter Lamb had a hand in this remarkable achievement, so I name-dropped the local legend, “all produced by Pete?”
“I did the whole thing in my bedroom studio by myself,” Kirsty replied, adding an angel emoji. “Pete added the bass, and then corrected my mixing and mastering mistakes at the end, as I got frustrated on the last bit! So, I’m pretty proud of it for that reason.”
It must be a relief to get an album complete, but the hard work is only halfway there, getting out and promoting it follows. Which part does Kirsty favour, despite psychically getting out and launching is impossible at the moment?
“I like all of the process,” she chuckled. “Gigs will come back, I’m just making the most of the situation and working with what I’ve got for now, there is always a way around things when you’re creative.”
Returning to my opening notion, due to developments in tech and a motivation for independence, a professional sound can be achieved at home. Kirsty furthered that she did the artwork and music video for this track all by herself too, due to lockdown.
“The album launch is not so essential,” she pondered, “when I can promote it just as good online anyway now.” As I said, Kirsty has a sturdy online presence, accomplished at building a YouTube audience, but is that more important to her than an album?
“It’s equal. All my fans are excited for the album! But the social media side of things mean they get to know you more, which is essential for selling music in the first place. Loads of people sell music, the marketing is the part that makes them what to listen to yours.”
And her secret?
“Get to know your story etc,” Kirsty elucidated, “and connect with the music; if you just say ‘buy my single’ and that’s all your social media is about, you won’t get many results.”
For the end of our chat, we dithered and pondered if the angle of this piece should focus on the song or herself. I’m of the opinion, when the creative open themselves up to releasing art, a part of creator is revealed through it, so practically, they’re similar. You are the song; the song is you; be one with the song! It’s why naïve teenage fans really believe they know a popstar enough to fall in love with them, and perhaps is augmented with homemade product. There’s a huge connection between the singer and the song, though, I put to Kirsty.
“Yah, subscribe to my YouTube channel, and they would have all the details anyway!” I suggest you do, as the interconnection is all-encompassing, the song is awesome, and likewise, so is Kirsty Clinch.
Wiltshire Council outlined what the new restrictions mean for us yesterday. I have copied and pasted it for your reference. Although some parts were accidentally … Continue reading “The Tiers of a Clown”
Great things about ska are many fold, but a topper most one has to be collaboration. Rather than set groups, as with most mainstream music, musicians uniting for projects is common and has always been the ethos of ska and reggae since day dot. Perhaps being the very reason it’s so lively and communal.
Another great thing about our song of the day, where Islington’s ska legend Nick Welsh, aka King Hammond, teams up with that crazy Essex duo Death of Guitar Pop, is the ska style displayed, near enough mimics the jump blues “shuffle” on which ska is originally based.
But history aside, let’s just enjoy this new track for all it’s worth. DoGP are fast rising in rank on the UK ska scene, with a carefree “Nutty Boys” fashion, it’s easy to see why.
And that’s my song for the day. Very good. Carry on….
Congratulations go to folk duo Antonie & Owena for winning the G.S.M.C award for Best Album this year. Yet it’s not their first award, winning best duo at last year’s GSMC, and others. Here’s Something Out of Nothing, which I think explains all you need to know about how and why they won it!
And that’s my song for the day. Very good. Carry on….
Even portions of expressive contemporary pop, the ambience of post-goth and downtempo electric blues of trip hop makes this Staffordshire singer, Darla Jade really someone to watch. With a haunting uniqueness about her voice and style, there’s shards of Evanescence fused with Beth Orton. It’s somehow individually chartable but would also appease alternative rock or goth aficionados alike.
Subscribe to her YouTube channel, hear her own stamp on Radiohead’s Creep, and realise, her talent is so very special.
And that’s my song for the day. Very good. Carry on….
No video to this one. Do we need visuals? Not when it’s this good; my favourite track of Brighton-based contemporary ska heads, Dakka Skanks.
They’re lively, diverse, lots of fun, and I think we’ll be hearing a lot more from them in the near future.
If the Duallers have reached a pivotal point akin to the Specials, and Death of Guitar Pop are providing the tongue-in-cheek Madness equivalent, I believe these guys could be The Beat of this era, as there was a band unafraid to experiment.
Dakka Skanks are majorly ska, but throw a lovable but carefree punk attitude, and a wide range of other influences, such as soul, into the melting pot, and concoct something uniquely entertaining.