Cultfever - Animals

Since their debut self-titled LP was released at the tail-end of 2011, Cultfever's follow up has been eagerly awaited, with pulses ready to race and feet ready to dance to their unique brand of high-powered electronic pop. 'Animals', expected to be included on their second album, was let loose back in February this year, but has been receiving deserved attention once again since a new video appeared in June.

Brooklyn-based duo Tamara Jafar and Joe Peter Durniak appear to live and breathe music, and specifically show dedication to their own creations with obsessive-amounts of time spent recording and working on new material. This commitment clearly pays off, and is enjoyably evident in 'Animals'; a beat-happy track with no small-amount of cheery synth and dynamic vocals. Durniak's arrangement and production is top-notch, and Jafar's voice moves comfortably throughout the imaginative lyrics from a breathy and sultry delivery of a verse to a sudden powerful call.

'Animals' is an irresistible, groove-filled example of Cultfever's abilities.

Official: cultfever.com
Facebook: www.facebook.com/cultfever
Twitter: twitter.com/cultfever
Bandcamp: cultfever.bandcamp.com/
YouTube: www.youtube.com/user/cultfever

"I was the drunk rhythm guitarist who wrote all these weird songs." - Robert Smith

There's Talk - Tiny Strands EP

Initially conceived as a solo project by multi-instrumentalist Olivia Lee, the addition of Kellen Balla and Young Lee turned There's Talk into a three-piece. Following on from their first single in May, this week has brought us the release of their debut EP 'Tiny Strands'.

A band combining folk and electronic elements, this is no more apparent than in the opening track (and single) 'The Salt', where the fragility in Olivia's vocals are beautifully accompanied by - to begin with - just the steady and simple steps on a piano. An occasional drumbeat marks each line like a lamenting heartbeat.

 And you walked on your own
 Heart out... teared.

As we reach the middle, and head towards a beautiful and bitter-sweet ending, further electronic drum loops are added; a mix that could have felt disjointed and too unfamiliar, yet instead manages to sound appropriately thought-provoking.

'Lint And Feather' is perhaps more traditionally folk with a guitar and banjo taking the spots as the key instruments, coupled with soft harmonies throughout the woebegone words.

 And I lied to you
 And I tried to lose you

Placed at the centre of the EP, 'Hummingbird Place' takes a very defined turn two minutes in. The picks and strums upon the guitar are pushed aside without warning, as synth and drums take over. Even the vocal delivery adjusts, bringing a more serious tone as the final lines reaffirm what the instruments have declared:

 Everything changes
 In this hummingbird place

Penultimate track 'Slip Light Gold' feels purposely restrained as though the song is tentatively circling, searching for a chance to declare itself, to find the chance to speak up. The music builds through crescendos, only to fade again and give space to the gently haunting voice that inches towards its proclamation. This is a song that tells a story as much through its careful arrangement as its lyrics.

In contrast, the closing track 'Tiny Strands' is a lot more direct in its quest. Lacking the depth of imagery and metaphor that its predecessors explored, the words are quickly clear and all meaning is succintly revealed.

 I need to know what I mean to you 
 So long ago since I felt the truth 
 And if there's another 
 Won't you let me know 
 And I'll stop waiting for you 

These earnest messages are projected with the movements of a subdued guitar as we reach the climax, where melancholic harmonies of "oohs" and "aahs" create a chilling, and saddening, aural envelope.

This debut EP reaches a hand out to your emotions, beckoning you to take a trip... a trip that may well be sombre and grave, but one that is also breathtaking, moving, and addictive.



Bandcamp: therestalk.bandcamp.com
Facebook: facebook.com/TheresTalk
Soundcloud: soundcloud.com/therestalk
Tumblr: therestalk.tumblr.com/
Twitter: twitter.com/therestalk
Instagram: instagram.com/therestalk

"You must pass your days in song. Let your whole life be a song" - Sai Baba

Marking Marks - Barcodes

A few songs manage to pull me in immediately, when a wonderful intro promises something special. Sometimes, admittedly, I end up feeling that those first few bars were sadly all the track had to offer. Occasionally, I'm treated to a journey that is a constant pleasure throughout. The latest single from Norway's Making Marks (previously known as mylittlepony) definitely offers me the latter.

"Barcodes" begins with a gentle guitar riff that manages to flutter the heart within just a few notes, somehow calling up wistful emotions far easier - and quicker - that one might expect. The male/female vocals that follow are harmonised beautifully, singing of heartache and a return home, and always delivered with a smooth and modest tone.

With an album expected very soon, Making Marks have caught my attention in a gentle and fascinating way: "Barcodes" sounds like falling in love.

Official: makingmarks.com
Tumblr: makingmarksofficial.tumblr.com
Facebook: facebook.com/makingmarks
Twitter: twitter.com/makingmarx
Bandcamp: makingmarks.bandcamp.com
Soundcloud: soundcloud.com/making-marx
Label: http://fikarecordings.com/

"Drums usually seem to tune themselves" - Levon Helm 

The Understudies - Erika K

The latest single from London-based guitar-band The Understudies may be just a few breaths over two minutes long, but 'Erika K' can be suitably labelled as "short and sweet". The track and its video have been floating around online for a few months now, along with promises of a debut album, but this week marked the song's official release and is a perfect excuse to listen once again.

Wonderfully catchy and fun, 'Erika K' bounces enjoyably with a tale of hormonally-charged adoration. The sounds of the dinging glockenspiel and emphatic trumpet keep the spirits high throughout whilst lead singer Brian Bryden's vocal delivery is spot on.



Bandcamp: theunderstudiesuk.bandcamp.com
Soundcloud: soundcloud.com/the-understudies-1
Twitter: twitter.com/Under_studies
Facebook: www.facebook.com/pages/The-Understudies/104864633435
Label: oddboxrecords.com/

"Like family, we are tied to each other. This is what all good musicians understand." - Billy Joel

Our Krypton Son - Gargantuan

Our Krypton Son's eponymous debut album went down a storm following its release in November last year, showcasing the songwriting talents of man-at-the-helm Chris McConaghy. With a possible new EP rumoured for later this year, third single 'Gargantuan' was released last month to keep us all happy during the interim.

McConaghy's vocals are typically restrained at first, delivering the verses with a low Bowie-esque ease that then parts to give space to a thrilling jump in register and volume for the chorus - a perfect, and smart display of contrast for a song about the immense glories and trials of relationships.

'Gargantuan' is a rousing, thumping crusade driven by an infectious piano-bashing beat, leading us to a final explanation of its march within the last lyrics of the song.

 "And the whole world trembles when my love stomps
 And the asphalt shatters when my love stomps"

A stand-out track from the album, this is a well-chosen single accompanied by a pair of b-sides that flaunt McConaghy's stylistic range: the acoustic and collected 'Bring the Flood', and the Procol Harum-harnessing 'How Long Must I Dream'.

Tumblr: fleasanddiamonds.tumblr.com
Facebook: facebook.com/pages/Our-Krypton-Son/185903978117238
Twitter: twitter.com/Our_Krypton_Son
Label: smalltownamerica.co.uk/artists/our-krypton-son
YouTube: youtube.com/user/OurKryptonSon
SoundCloud: soundcloud.com/chris-mcconaghy

"To stand up on a stage alone with an acoustic guitar requires bravery bordering on heroism. Bordering on insanity" - Richard Thompson

Minko - Creature (Songs 5-8)

The second in a planned series of six EPs, 'Creature' follows on from its predecessor 'Sybil of Delphi' and provides the next songs from singer songwriter Minko. Initially exploring electronic music production, she decided a change was in order and moved from the hustle and bustle of London to the relative peace and quiet of Cornwall, where she surrounded herself with acoustic instruments and began to write and record. Over fifty songs were created, and 'Creature' is the collection of songs 5 to 8.

The opening title track is a live recording, featuring Steven Havenhand (late 80's Pulp guitarist) and Nick Duffy (The Lilac Time joint-founder) who provide assistance with guitars. Minko's layered vocals create a wide, spacious sound over the strums and picks, and is particularly enjoyable and evocative during the stretched interjections between verses.

Once the waltzing rhythm begins playing on the Fender Rhodes organ, the second track's title - 'Monsieur Zola's Amazing Carousel' - makes perfect sense: the melodica's involvement only serving to enhance the fairground-esque sound. Lyrically the song discusses how, in modern life, perhaps we have lost sight of life's meaning and have forgotten the many great steps and achievements that have brought us to where we are today. Name-dropping past philosphers, poets and writers, we are brought to the final lines which bring together the words and music beautifully:

 "If 'the child is father of the man',
 What would our ancestors say?
 If Freud and Buddha sat together on the merry-go-round
 And put the brakes on today?"

By contrast, third track 'Child Of Four' is lyrically sparse, but is no less indicative of Minko's often-haunting arrangements. The plink-plunk of the kalimba may continue the sense of innocence that the title suggests, but the rest of the instruments are more concerned with evoking a constant, but subtle, melancholy through a steady stream of repetition. Despite this, the song holds interest throughout until a thumb flicks the final note.

'The Owl Song' finishes the EP mostly as an instrumental, with Minko's voice present in just a few words and "da-da-da"s, but a story is still told nevertheless.

Compared to the previous release, 'Creature' is a darker collection of songs that sounds like it has been carefully nurtured amongst a broad range of musical influences. With her captivating voice and obvious skill at combining instruments to compliment her desired theme, Minko has brought us a mesmerising record.



YouTube: www.youtube.com/felinecreature
Facebook: www.facebook.com/pages/Minko/185304241493861
Twitter: twitter.com/minkomusic
BandCamp: minko.bandcamp.com
SoundCloud: soundcloud.com/minkomusic
Official: minkomusic.wordpress.com/

"All music is folk music. I ain't never heard a horse sing a song." - Louis Armstrong

Lambs & Wolves - Afraid Enough EP

A year since their last release, Lambs & Wolves return with their new EP 'Afraid Enough'. With this latest collection of four tracks the Waldshut, Germany-based fourpiece haven't strayed too far from the sounds of their previous work. The arrangements remain mostly light with a pleasing economy of instrumentation that, when coupled with the hushed and delicate vocals, provide us with a sound of subtle precision that's not often heard.

'Canada' is the stand-out track, quietly building through guitar strums, clarinet, and minimal piano to a glorious final quarter, whilst opener 'July's half-spoken half-sung lyrics provide a smart introduction to Lambs & Wolves' style.

'Lisa's Dream Of Getting Lost' serves us a subdued gleefulness in the drum's rhythm that sits behind a sad story of desperate escape from the past, echoed in the final whispered words. And final song 'The Fall', though the shortest of the tracks, eases us to the end of the EP with peaks and troughs of vocal harmony, piano, and clarinet.

'Afraid Enough', with its four songs of beautiful acoustic folk-pop, shows us a band that have found their style, and are now well into perfecting it.



Bandcamp: lambswolves.bandcamp.com
Facebook: facebook.com/lambsandwolves

"I look at my clarinet sometimes and I think, I wonder what's going to come out of there tonight? You never know." - Acker Bilk 

Zords - Hollywood

Who doesn't love a bit of synth, right? Oh... you don't? Well, you're wrong.

Describing themselves as, "two brothers and a friend [who] found themselves in a basement filled with old synthesizers and some guitars and figured something had to be done about it," Ontario-based electro-rock band Zords have just released their second song. With an electronic drum-loop and minimal guitar providing the beat and a slowly pulsating synth drone giving the track a wider sound, 'Hollywood' succeeds at stepping into the light a little more eagerly than its somewhat darker predecessor 'Dungeon Master'.

Whether literal or metaphorical in meaning, 'Hollywood's lyrical story remains the same with a tale of lost hope and diminishing faith when once the dreams were ambitious.

"All you wanted was to make it big
Now your dreams have flown out to the sea"

With obvious nods to some great 1980s synthpop whilst keeping themselves away from plainly replicating what others have done before, 'Hollywood' shows that Zords have much more to share with us.



Bandcamp: zords.bandcamp.com
Facebook: www.facebook.com/zordsband
Soundcloud: soundcloud.com/zords

"I turned the volume up to 10 and I hit one chord, and I said, I'm in love." - Ace Frehley

Your Gentlemen - Dead, Almost

I'm a sucker for progressive tracks. I love that gradual build-up of instrumental layers as each brings a wider sound to it, until the crescendo hits its peak and the vocal comes in. Perhaps it is a clichéd way to approach song writing: possibly the outcome of working backwards from the chorus and trying to find a "way in". Regardless, I'm yet to tire of it and there are still bands out there that are doing it very well. New Jersey group Your Gentlemen are one of them.

Their first LP, 'Sincerely', provides a bountiful eleven songs of pleasing indie rock filled with great guitar effects, expansive moments of synth, and yearning vocals, but it's the progressive opening track 'Dead, Almost' that keeps me returning. Whilst some of the other tunes may offer more thematically and lyrically - and may well be "better" songs - 'Dead, Almost' is an excellent start to the album. The minimal guitar and light background drone carries us through to the first words, where the instruments then drop back a little, preparing themselves for another go when they will be met by the drums and cymbals.

The song peaks at just the right moment - fifteen seconds before the end - leaving just the appropriate amount of time to wind down to the final strum, and avoiding any sense of aimlessness that could occur with a lengthy diminuendo.

'Sincerely', as a whole, is begging for a listen with its impressive songs, but 'Dead, Almost' stands out especially as a fabulous beginning to Your Gentlemen's story.

If you visit their BandCamp page, you can still download for free their previous release 'Play Their Songs': a five-track EP which includes two songs from the album.


BandCamp: yourgentlemen.bandcamp.com
Facebook: facebook.com/yrgentlemen
Twitter: twitter.com/yourgentlemen
Official: yrgentlemen.com

"I just wrote one song at a time. Kinda like an alcoholic: One day at a time" - Neil Young

Underwater Track Team - Underwater Track Team

Californian six-piece Underwater Track Team are a folk-pop band that proudly display their influences and are keen to draw upon them (Mumford & Sons, The Lumineers, Fleet Foxes, etc.), whilst still clearly trying to retain their individuality. Their self-titled debut EP, released this month, has been made available to download for free via their BandCamp page and offers five songs of plucky guitar and tight vocal harmonies.

Opening track 'The Call' is the band's elected single, and begins with the sounds of the beach before the strings begin to be strummed in the familiar folksy style. Soon accompanied by "oohs" and "aahs" and a drum-kit eager to be heard, the lyrics then begin to guide us down a carefree road of positive self-confidence.

"We're on the rise, You can't deny,
We hear the call.
We are the kings tonight,
We are the queens tonight."

Even without the shoreline and seagull samples, 'The Call' has a wonderful summery vibe to it that should be applauded for evoking such feelings during a cold and miserable March day.

The watery theme continues into the second track, 'Waves', which talks of fear and making mistakes - likening all the worries to the heavy pressure of water. Yet this song is more uplifting than might appear, and the final lines tell us why:

"I never know how far I'm going,
I only know how far I've come.
All the things that have been done,
To make me strong."

As we hit the middle of the EP there's a brief change of style. 'Set Me On Fire', with its smooth-jazz attitude, lounge-bar aura, and female lead vocal, certainly sticks out amongst its neighbouring folk-fests. Yet, lodged between them all as it is, the track provides a healthy and welcome contrast, and also proves that Underwater Track Team are no one-trick pony.

As we approach the end of the record, penultimate track 'It Won't Leave' is back in familiar territory and yet is almost certainly a high point of the EP. The haunting harmonies - particularly on the frequent "oohs" - are spine-tinglingly good (echoed, coincidentally, in the lyrics themselves) and when the piano hammers its way into the second half, the whole tune becomes a glorious example of what this band can do.

The EP ends with 'Keep The Light On'. Although perhaps a less adventurous track than the others, it's swaying rhythm and final drum beats bring the record to a satisfyingly comfortable close.

Recorded and produced in a way that keeps their sound live and untainted, this debut release has some fantastic highlights that are worthy of exploring.


BandCamp: underwatertrackteam.bandcamp.com
Twitter: twitter.com/UnderwaterTrack
Facebook: www.facebook.com/UnderwaterTrackTeam

"Being able to still make records is a privilege. I don't take it casually" - Tori Amos

Cantoo - Ivory Eyes

Originally a project begun as a outlet for Aaron Parker's creative backlog whilst he played in other bands, Edmonton-based Cantoo is now a fully-fledged band with a self-titled debut album looming. With a select handful of talented musical friends to assist, Aaron was able to put together the music that he felt an urge to create: free, thoughtful, and with appreciative nods to the 60's.

Generously, Cantoo has made three of the album's tracks available to download for free via their BandCamp page. Album opener 'Send In The Clouds' is a short (1:38) instrumental prelude that introduces some of the band's key aims and sounds, whilst 'Alabaster' is a five minute escalating crescendo of harmony driven with reliable drums.

'Ivory Eyes', however, is the track that clearly shows its 60's influences and gratitude. With some of the finest elements delicately plucked from the likes of Simon & Garfunkel, The Beach Boys, and The Walker Brothers, the song throws some carefree lyrics and guitar at you, with a slight psychedelic slant - gently encouraging you to lay back and soak up the music. Despite its keen nostalgia, it still keeps a foot held firmly in the present so that the tune doesn't sound dated before it has even had a chance to breathe.

I eagerly await the chance to hear the rest of what Cantoo's first album has to offer.

BandCamp: cantoo.bandcamp.com

Twitter: twitter.com/cantoomusic

Label: www.kinsellarecordings.com

"It's hard to be angry when you're listening to music" - Jerry Reed

Christopher Nelson - Older Hands

With a two-year gap since his last release, Nelson is quick to self-deprecate and offer explanation: "It's been about two years since I've gathered up the confidence to make acoustic music again... Apologies if it's not as good as previous or if there's things wrong with it, but if you stick around - I'll only try harder to get better."

Fortunately, there's really no need for him to say sorry. His latest track 'Older Hands' shows us (just as 2011's brief 'Songbook EP' did) that Nelson is a talented singer-songwriter, whose only real failing is not giving us enough to listen to. The instrumentation may not deviate far from a set of guitar strums and light picking but the sound of his voice gives us more than enough to appreciate via its rough, cracking crescendos and authenticity.

Christopher Nelson finds inspiration from the likes of Bon Iver, James Morrison and - more obviously - Damien Rice, yet manages to avoid any copycatting. The few songs he has provided us with so far show an enticing glimpse of his originality and ability, and hopefully there is yet more to come if this young man will let his guard down just a little.


BandCamp: christophernelson.bandcamp.com
Facebook: www.facebook.com/cpnelsonmusic
Twitter: twitter.com/cpnelsonmusic
Tumblr: thelifeandtimesofcpnelson.tumblr.com
SoundCloud: soundcloud.com/christopher-nelson
YouTube: www.youtube.com/cpnelsonmusic
Artwork: cpnelson.bigcartel.com

"Don't play the saxophone. Let it play you." - Charlie Parker

Night Beds - Ramona

Recording as Night Beds and due to release his debut LP in February on the Dead Oceans label, Winston Yellen seems to have spent the last two years searching for musical inspiration, and then making the very most of it. Despite already walking a musical path with three EPs under his belt, Yellen began feeling that his life had recently grown, "aimless [and] lacking direction." A period of moving from state-to-state and working menial jobs reached its end when a friend pushed him to return to Nashville and get himself back on track. Armed with a loan, he rented an out-of-town house that was previously owned by Johnny Cash and June Carter, and begun to write and record music once again.

The result is 'Country Sleep', an album that seems unable to deny the American roots in which it was conceived. And second single 'Ramona' is a perfect sample of Night Beds' country-inspired indie-pop/rock.

Each verse pleads, "Come on Ramona," with guitar slides and upbeat drums, all of which suddenly fall away at the chorus to isolate a set of vocals laced with a saddening distress. The instruments soon gather round once again to keep the song fighting its cause, until we reach the final glimmers of rekindled love and faith.

"With a heart that always fails,

My love's gone off all the rails,

I'm like a ship without a sail,

Drowning underneath the waves."

(full lyrics: http://bit.ly/LyrRam)

Compared to the more angst-ridden first single, 'Even If We Try', 'Ramona' has a more positive series of stops on its route. Even so, the emotional diversity remains and is a testament to Yellen's honed writing.

Official: www.nightbeds.org

Twitter: twitter.com/NightBeds

Facebook: www.facebook.com/nightbeds

Label: www.deadoceans.com

Lyrics: bit.ly/LyrRam

"Drums usually seem to tune themselves"- Levon Helm

Spark Alaska - Feel The Flowers

It would be easy to spend a lifetime on YouTube finding videos of teenagers-with-guitars, all vying for our attention with their cover versions. It's even easier to make quick judgements about them and assume that they are all cut from the same cloth: more often than not it seems that their persistence and ego is larger than their talent.

Trawling through the Twitter and Tumblr feeds of YouTuber Lorenzo Cook - aka Spark Alaska - you may well assume that he fits the mould of his peers. But whilst his covers are mostly average, it's his original material that deserves considerably more attention.

Made available for free on BandCamp, 'Feel The Flowers' is his most recent offering and certainly his most impressive. With the steady strumming and picking of guitar, glorious vocal harmonies, and tuneful whistles, the first minute comes astonishingly close to harnessing Simon & Garfunkel - and in the best possible way. The song soon spreads its wings a little wider with a defiant chorus that doesn't let itself be entirely restrained by Lorenzo's youth, and the lyrics somehow manage to avoid ever sounding contrived despite the flurry of imagery.

In a just world, 'Feel The Flowers' would be the start of a journey for Spark Alaska; signifying the moment when creativity overtook imitation and success bloomed as a result. Whether Lorenzo is searching for a career in music or not, this newest tune suggests that he has a better chance than many, and it is hoped that he continues to explore his own artistic abilities more regularly for our enjoyment.


Facebook: www.facebook.com/SparkAlaska
Bandcamp: sparkalaska.bandcamp.com
Tumblr: idrownideas.tumblr.com
Twitter: twitter.com/sparkalaska

"Ruling piano keys is harder than ruling a whole kingdom" - Yazan Haddadin

The Herbert Bail Orchestra - The Future's In The Past

Following last year's EP release, LA-based collective The Herbert Bail Orchestra have now provided us with their debut album 'The Future's In The Past': eight tracks of courageous and imaginatively-orchestrated americana.

Opener 'Holy Smokes' begins the album with a series of fun broken chords of vocal "bom bom"s that are soon superseded by some livening accordion. Trying not to - at the very least - tap your feet to the rhythm is seemingly impossible, and anyone who dares try will surely give in when the vocals begin their wonderfully loud and guttural ascent.

Quick to provide juxtaposition, second track 'The Big Sound' is a much more sombre affair, though some defiance and strength remains in the way the lyrics are thrown out at us, at times somewhat reminiscent of early David Bowie.

This peak and trough of beats-per-minute continues throughout the album and lets each tune stand solid and separate from the others whenever they wish, yet they all share common themes that hold them together: change, the learning of life's lessons, and acceptance.

'Epic Diva' takes us towards the final track with a short musical parable of damsels and demons, accompanied by steady guitar strums, head-nodding accordion, and clatters on the cowbell. Although perhaps the simplest and briefest of the album's offerings, its story keeps it interested and amused.

"And these fair ladies are like wild animals,
Try and take them home and they'll scratch your eyeballs out.
And this kind of gallantry is gonna kill me.
The next time you see a diva drowning, brotha',
Let her be."

The album fittingly ends with cries of "woah woah woah" on the danceable title track; yet again managing to couple a sense of despair with some rock n'rolling instrumentation.

Whilst their initial EP may have given us a glimpse at The Herbert Bail Orchestra's skills, it is this album that truly gives the group a time to shine. 'The Future's In The Past' is a narrative-filled journey with poetic lyrics towed by some gloriously danceable melodies.


Official: herbertbail.com
Facebook: www.facebook.com/pages/The-Herbert-Bail-Orchestra/211301845584026
Twitter: twitter.com/HerbertBail
Bandcamp: theherbertbailorchestra.bandcamp.com
iTunes: itunes.apple.com/us/artist/the-herbert-bail-orchestra/id522499100

"Go ahead and play the blues if it'll make you happy" - Dan Castallenata as Homer Simpson

Phosphorescent - Song For Zula

The sheer volume of music produced and published every day is both a blessing and a curse. It means that, statistically, even scratching the surface of what's out there is impossible. But it also means that you might hear the latest song from an artist you'd never heard of before, then go on to investigate who this chap is, and suddenly discover a decade's worth of back-catalogue. At which point you naively ask yourself, "How have I managed to miss this for so long?".

Which is exactly what has just happened with the new song from Phosphorescent; the recording name of Alabama-born and Brooklyn-based musician Matthew Houck.

Taken from his seventh album 'Muchacho' (the fourth LP with label Dead Oceans) due for release in March next year, this first single hints at a departure from previous album 'Here's To Taking It Easy's more traditional folk/country sound. A simple but echoing bass and drum line gradually guide the song along its course, helped in no small part by a soaring violin that takes centre stage whenever Matthew's vocals take a moment of silence. Speaking of which, his delivery (often compared to the likes of Springsteen, Waits, Oldham and Petty) is pleasingly gravelly and relaxed while still focussed with every honest word. And it's this obvious openness of his lyrics, combined with the majestic instrumentation, that gives 'Song For Zula' a welcome hold on its listener... and is therefore responsible for me hitting the 'replay' button more times that I can possibly count.

"See, honey, I am not some broken thing
I do not lay here in the dark waiting for thee
No my heart is gold. My feet are light
And I am racing out on the desert plains all night"
(full lyrics: http://bit.ly/VuZyV6)

Official: http://phosphorescentmusic.com/

Twitter: https://twitter.com/Phosphorescent

Facebook: https://www.facebook.com/Phosphorescentmusic

Label: http://www.deadoceans.com/
Lyrics: http://bit.ly/VuZyV6

"I don't have to compete in the charts. I can just be myself as a musician, a songwriter and play with the musicians that I really love." - Elton John

Nick Williams - Anniversaries EP

Folk musician Nick Williams has a habit of taking his songs on a route that you weren't quite expecting. But it's a welcome habit: sudden syncopation cleverly diverts from the beat you were anticipating, that high note you were waiting for is avoided in favour of one that gently shakes you, and sometimes even the song ends at a point that might be deemed unconventional. And with a band that covers violin, mandolin, double bass, piano, drums and guitar as well as providing beautiful vocal harmonies, it sounds as though Brighton-based Nick has everything he needs to express himself however he desires.

He describes his Anniversaries EP as a "study in the poetically fragile", and it was recorded in the Summer during a time of family tragedy. As a result, the theme of loss unavoidably predominates the music, and - as is the folk tradition - it glimmers with sincerity and the self-acceptance of emotion, backed up by Nick's sympathetically restrained falsetto voice.

Although the four tracks explore grief and death in different ways, the record does not leave you with overriding feelings of sadness or morbidness. 'Anniversaries' talks of nostalgia and inadvertent distance. 'Birthday Letters' speaks of acceptance and satisfaction of a life that may be reaching its end, but was filled with love. 'Ghosts on the Water', although the most lyrically sparse, feels like the most emotionally complicated song. The line "you never stayed when we're sleeping" hints at a sad memory of disconnection, yet the departed one persists in surrounding the singer. Finally, the aptly-named closing track, 'Closing Time', seems to carry the thoughts of someone that stands blinking at how joy and heartache can coexist.

As the piano strikes the final chord you are forced to marvel at how Nick Williams and the band have delicately created such a tight collection of thought-provoking songs; and they've done so whilst steering clear of producing the kind of contrived tearjerkers that many others attempt.

More... please!



Official: http://www.nickwilliamsmusic.co.uk
BandCamp: http://nickwilliamsuk.bandcamp.com
SoundCloud: https://soundcloud.com/nickwilliams/
YouTube: http://www.youtube.com/user/njwilliams1
Facebook: https://www.facebook.com/nickwilliamsuk
Twitter: https://twitter.com/NickWilliams_uk

"I'm just a very primate, infantile folk singer." - Robert Wyatt

Zelliack - Noir Tone EP

Texas duo Zelliack are striving to inject a little soul into our downtrodden lives. Their name might be a little unoriginal and cliched in its source (a portmanteau of the pair's forenames: Zack Ordway and Elliot Coleman) but their music takes jazz's relaxed approach to structure and combines it with a unique concoction of smooth guitar grooves, melodic acrobatics, and vocal playfulness to ensure that what we hear is anything but hackneyed.

There's always a worry that anything experimental might just push our boundaries a little too much; but whilst Zelliack definitely seem to enjoy writing themselves out of any genre-defining pigeon-holes (soul? r&b? progressive rock? jazz?... they cover a lot of ground), they are also very careful to ensure that no second on their EP is superfluous.

Zack's work with the instruments is hard to fault. Whether we are being beautifully sedated in some of the quieter moments or pumped up during the busiest sections, every strum and slap seems to have been chosen with a cunning precision. This guy knows what he's doing, and he's doing it well.

Equally, Elliot shows off his vocal range to glorious effect and does so with no arrogance: it's satisfying to hear him belt out several higher-pitched lines on one song, and then flow flawlessly through his lower range. In fact, some of the key points on the EP are those that push and pull us through pitch and tempo - a flurry of words and beats here, a focussed pause there.

Lyrically there is a charming lack of brevity in Zelliack's words that, importantly, steers well clear of pretentiousness. It seems that they want to say as much as possible in each song and - whilst metaphor and imagery isn't used particularly often - their directness gives the music an honesty which fits perfectly.

This debut EP is full and gratifying, with Zack and Elliot complementing each other in a way that resembles the best moments of Tears For Fear's Roland Orzabal and Curt Smith, and with a smooth style that's been profoundly absent until now.

Since the release of Noir Tone in February this year, Zelliack have kept us interested with the release of a further track ("Smoove") as well as covering Michael Jackson's "Baby Be Mine". I hope to hear a great deal more from them in 2013.


http://zelliack.bandcamp.com
http://zelliack.tumblr.com
https://www.facebook.com/Zelliackband

"The best songwriting comes from being as creative as you can and editing it down to the good bits, essentially" - Alex Kapranos

The Bold Type - Welcome Back

Massachusetts quartet The Bold Type (Travis Richard, Ben Dicke, Antonia Navarro, Schuyler Whelden) have been working on their debut album for much of this year, funded in part by eager backers on Kickstarter, and it is now available for digital download as well as CD. Describing themselves as playing within the broad genre of rock'n'roll, their ten tracks show some pleasing diversity whilst avoiding disparity.

Album title and opening track 'Welcome Back' throws us some soulful vocals and little hints of Motown-esque melody, then 'Don't Be A Stranger' surprises us with a combination of rock guitar and gently harmonising "ooh"s and "aah"s. And just in case we still feel like we know what to expect, third track 'Love Is Meant To Last' goes all jazzy and signals that we should just go with the flow and throw all our musical assumptions aside for the next seven tracks.

Other highlights include 'I Won't Follow You' where a female lead vocal from Antonia shakes things up a little in a bluesy ballad; and the super-strummed shout-out 'Mind Your Business' with its amusingly nonchalant middle section with whistles, deep breaths, and a muttered urge to "keep cool" that comes just moments before it all kicks off again.

The beauty of The Bold Type's album is that it's able to show off an array of styles and sounds whilst still retaining a sense of its own theme, and the band members clearly play to their strengths throughout their music. They are confident, cool, and (it had to be said) bold.


http://theboldtype.bandcamp.com/
http://theboldtype.tumblr.com/

"Performing is the easiest part of what I do, and songwriting is the hardest" - Neil Diamond

Rhonda Merrick - They Said Bon Jovi Died Today

I do tend to arrive a little late to the party. It's almost the end of 2012, and today I discovered what Rhonda Merrick spent each day of 2011 doing.

Born in New Orleans but currently living here in England, Rhonda Merrick - having decided that becoming a musician was something she really wanted to do - made it her mission to record a song everyday throughout 2011 and as a result has given herself several hours of material to sort, review, critique, and possibly rerecord to a standard suitable for broadcast. Given the nature of her undertaking, the often improv-style of her writing, and the raw setup of her own home-studio the quality of those daily musical moments varies in both the audio and the content, but there's no denying her motivation and commitment, and her thousands of fans appreciated her perseverance and frankness when watching her go through the whole process.

Her music is bluesy, soulful, jazzy, and she lists many of the greats as her musical inspiration: Aretha Franklin, Mahalia Jackson, Janis Joplin, Marvin Gaye. When it comes to what she writes about Rhonda is sparked by everything around her from news reports, celebrities, and self-harm to natural-disasters, sexuality and throwaway messages online. The song that struck a chord with many of her listeners and has since been rerecorded with a video to accompany it, is '27 Club': a song written on the night Amy Winehouse died.

Of the few tunes that I have made my way through so far, the one that I have particularly enjoyed is 'They Said Bon Jovi Died Today'. A song written following a false online report, it speaks of the lies within a relationship and the positivity in moving on, and was the 354th song for that year. I like the Jovi reference, I love Rhonda's soulful vocals, and it feels more substantial and complete that some of her other work.

As far as I am aware, 'They Said Bon Jovi Died Today' has yet to be rerecorded or shared anywhere else except on Rhonda' own website. The link below directs you to the page featuring the audio player and lyrics for the song, though I must sadly warn you that the website isn't the easiest to view or navigate. However, it is well worth ignoring the site's aesthetics and instead just take notice of the music whilst remembering that it is just a demo so the audio is a little rough at times.

'They Said Bon Jovi Died Today' : http://rhondassongs.com/song354.html

RhondaSongs.com: http://rhondassongs.com/

I hope to hear more from Rhonda Merrick as she continues to write, perform and release music.

"Audiences like their blues singers to be miserable" - Janis Joplin