Monday 21 November 2016

New Music Monday: Leo Napier

Funky Guitar, Catchy Choruses, Perfectly Raspy Vocal...

...Introducing Leo Napier. 

Hailing from New York but now London based, Leo Napier puts a modern twist on traditional soul to create his own unique blend. 

We asked Leo a few questions so you can get to know the man behind the music:

Monday 14 November 2016

New Music Monday: Brother To The Birds EP

Brother To The Birds are the songs of folk artist Andrew Englezos.

Hailing from Melbourne, Australia, Andrew takes his inspiration from his admiration of 11th Century monk St Francis who represented a love of nature. This is reflected in many Brother To The Birds songs that delicately describe landscapes and animals to encapsulate the enchanting beauty of the world around us.

Monday 7 November 2016

New Music Monday: Jack Carty

Today we have something a little different. 

Introducing Jack Carty, an indie folk artist from Australia.

We asked Jack a few questions so you could get to know him:

Monday 31 October 2016

New Music Monday: '24 Hour Deflowerer' by My Life Story

Formed in the 1990’s, My Life Story is a British indie pop band commonly associated with the Britpop era. To give you some understanding of their success, the band have notched up six Top 40 hits in their time together.

But today we’re talking about their first single release in sixteen years – ’24 Hour Deflowerer’.

The bass line and strong synth presence is the first thing that hits you at the start of the track along with what sound like bongo type drums and shakers (that might just be my hearing!).

Monday 24 October 2016

New Music Monday: 'Sparks' EP - The Tin Pigeons

The Tin Pigeons are an indie folk four piece from Rutland, UK.

Today we'll be talking about their most recent EP, 'Sparks'.

Title track 'Sparks' kicks off the EP with mystical sounds bursting into rhythmic percussion.

'Sparks' has a great groove, defined by a strong pulsing bass drum and bright guitar tones. This creates a summer vibe to the track.

A laid back, warm toned vocal is showcased from the beginning of the song with care free lyrics.

Personally, The Tin Pigeons sound reminds me of bands like Bombay Bicycle Club and Model Aeroplanes, but with their own unique spin added.

Saturday 22 October 2016

IN PICTURES: ASYLUMS GIG

Three word gig summary: Sweaty, Manic, Distortion.

Support From: Stealing Signs and Blackwaters


Stealing Signs




Blackwaters




Asylums







If you haven't already, you can buy tickets to the remaining tour dates here:

Check out our Asylums interview here:

Until next time...

@wewantgoodmusic


Monday 17 October 2016

New Music Monday: 'Spilt Milk' EP - Critics

According to social media, Critics are an upcoming 'Dirt-Pop' band based in London, UK. In practice, I'd say they're bordering on alternative/pop.

Today we're going to talk about Critics debut five track EP 'Spilt Milk'.

Having released some songs via YouTube already, I thought I knew what to expect from 'Spilt Milk'. I was wrong. The direction of the EP is slightly different from the primarily pop/rock sound I was expecting. This is not necessarily a bad thing.

Kicking off the EP is 'All I Wanna Know' with the smash of drums, pulsing roar of guitars and synths. After a while the vocal seemingly creeps in with a slightly intriguing whispered tone.

Thursday 13 October 2016

TBT: 'Zero Gravity' by Echoman

Do you know this song?

Some of you may recognise it when you hear it due to the fact that 'Zero Gravity' and its insane bass line has been used in a well known car advert in the UK.

I thought I'd talk about it today as it's something a little bit different from the typically more rock orientated tracks we talk about here. 

Released in 2013, 'Zero Gravity' is a dance-pop track with an infectious hook.

'When I'm with you - zero gravity.'

Monday 10 October 2016

New Music Monday: Busted 'On What You're On'

Busted are back.

For those who don't know, Busted originally formed in 2000, took a break in 2005 and have recently reformed - much to the excitement of fans. Busted are; Charlie Simpson, James Bourne and Matt Willis.

Today we'll be talking about their most recent release - 'On What You're On'.

Initial reaction: This is different.

Thursday 6 October 2016

TBT: Mayday Parade 'Save Your Heart'

Mayday Parade are a pop/punk/rock band from the USA. Today I thought I'd talk a bit about one of the first Mayday Parade songs I heard - 'Save Your Heart', released in 2010 on their album 'Anywhere But Here'.

The track uses typical pop punk instrumentation, electric guitars with catchy riffs and an explosive drum kit to create an emotion charged anthem.

Starting off with a wall of sound composed of the previously mentioned catchy guitar riffs and strong drums, the track settles down slightly when the gritty vocal enters.  

Monday 3 October 2016

New Music Monday: Neil and Adam

Today we have something a little different.

Neil and Adam are a country duo from St Louis. Although their sound isn't something that I would typically listen to, I can appreciate the well crafted lyrics and snippets of catchy guitar melodies they have created.

I'm going to talk about a few of their songs including 'Leave This Town' and 'Everything Is Alright'.

Although the vocal may not be the best, most polished I've heard, it adds a personal quality to the songs and, to me, makes it feel as though you are listening in on a private band jam.

One of the duo's first songs I listened to was 'Leave This Town (Acoustic)'. It features, as you probably guessed, an acoustic guitar as the main foundation of the track.

This element is kept in the 'normal' demo version of the track where it is also accompanied by organs, pianos and electric guitars. Personally, I prefer the acoustic version due to its personal feel.

Thursday 29 September 2016

TBT: 'Perfect World' by Kodaline

Kodaline are an indie rock band from Ireland.

Today we'll be talking about one of Kodaline's early songs 'Perfect World'.

'Perfect World' was released in 2012 on the Kodaline EP and also on the band's debut album 'In A Perfect World' in 2013.

Some of you may already be familiar with this song as it has been featured on well known TV programmes as background music.

Starting with a vocal straight away, accompanied by an acoustic guitar that lays the foundation for the piece and a cheeky shaker, the track is built up by the addition of a pulsing drum beat (although this is not overpowering). Different guitar parts and patterns are added, along with a strong bass that cements everything together, to create an even stronger wall of sound.

Monday 26 September 2016

New Music Monday: Rival State 'Impulses'

Rival State are a five piece rock band based in London, UK.

Two weeks ago, they released a new single called 'Impulses' that we are going to talk about today.

My first impression of this track was that it is a catchy rock song with a distinctive groove, defined by roaring guitars and thunderous drums.

After only hearing the track twice I can safely say that I know all the words to the chorus and can't stop humming the tune.

'I'm the animal, I'm the animal, acting on my animal impulses.'

(If you know the song, I can guarantee you hummed them words)

Starting off with the scratchy guitar pattern that forms the foundation of the track, strong vocals creep into 'Impulses' and the track starts to build. Gradually drums and counter guitar parts are brought in, increasing in intensity each time.

Thursday 22 September 2016

TBT: 'Getaway' by Mallory Knox

Today we look back to 2014 when British band Mallory Knox released the single 'Getaway'.

As any typical rock song would be, 'Getaway' is packed with soaring guitar riffs, intricate thundering drums and an emotive vocal performance.

Starting relatively softly with an arguably more subtle guitar part allows the vocal tone to be showcased right from the very start before things get a little bit more intense.

The crash of drums really gets the song going.

Throughout the first verse it's just the initial guitar, vocal, backing vocal and drums but then suddenly all instrumentation is taken away for one line portrayed with the tone of frustration, despair and longing.

'Cause you're dying just to tell me you're not.'

With a roar, everything comes back but ten times harder for the chorus.

Monday 19 September 2016

New Music Monday: 'Blank Canvas' by The Brookes


The Brookes are a four piece band hailing from Grimsby, UK.


Today, we will be talking about The Brookes' track 'Blank Canvas', released on 9th September 2016.

The track is introduced with shattered guitar tones and a beat punctuated by the odd cymbal crash as momentum is enhanced with the addition of a throbbing bass line.


First impression: Reminiscent of Arctic Monkeys type vibes.


The song really gets going when the vocal enters.

Raw - Gritty - Laid Back


Having listened to 'Blank Canvas' a few times now, I would definitely say this is a song that I can imagine doing that slightly odd head bobbing thing to live.


Thursday 15 September 2016

TBT: Orla Gartland 'Roots'

Orla Gartland is an Irish singer/songwriter from Dublin who manages to combine folk and pop to make a unique sound.

This week I put my music library on shuffle and Orla's song 'Roots' popped up. It was a refreshing sound that I hadn't heard in a while so thought I would share it with you today.

'Roots' was released as the title track of Gartland's 'Roots' EP in 2013.

The track starts with a simple drum machine-esque beat layered with a classic guitar pattern - the folk pop fusion is already evident.

Orla's vocal enters in providing a really pretty, soft tone. I particularly like the fact that Orla's Irish accent comes through when she is singing, providing a sort of authentic feeling.

The song itself, in my interpretation, is about new beginnings, not being afraid to chase your dreams and having faith in yourself.

Monday 12 September 2016

New Music Monday: Art Block - 'Borderline EP'


Today, we'll be talking about the 'Borderline EP' by London based alternative folk singer songwriter Art Block.

The four track EP kicks off with the relatively slow title track 'Borderline'.

This is a really nice introduction to the EP as a simple acoustic guitar part starts, allowing the vocal to be showcased.

A bass and other guitar parts are slowly added to build up the texture of the track. I particularly like the section after the initial verse and chorus where a drum kit is added, defining the beat, along with a mellow electric guitar solo.

Although there is a build up to the chorus, at no point does this becoming overpowering.

Art Block's vocal tone is suited to this type of music and makes you feel as though you are listening to someone just singing to themselves - it's natural is what I am trying to say.

Thursday 8 September 2016

TBT: 'Believe' by The Bravery

The Bravery were a band formed in New York in 2003 who made three main studio albums and were active up until around 2009.

One of the most recognisable Bravery tracks is the indie rock anthem 'Believe', released in 2007. This is what we are talking about today.

For some, 'Believe' is a bit like Marmite - you either love it or hate it.

Although it may not be the most complex song in terms of lyrics, the staple line of the song being 'give me something to believe', I feel the track is easy to listen to and enjoy.

I particularly like the intro, a heavy bass line that sets the tone of the song.

The vocals are dropped in with almost no effort. This provides a sense of 'relaxed-ness' - it's almost like 'Believe' is the narrator having a conversation with you.

In my opinion, 'Believe' is about having no goal, no aspiration for life and striving to find something fulfilling in the world.

Lyrics that describe this well are:

Monday 5 September 2016

New Music Monday: Ryan Follese Self Titled EP

American singer/songwriter Ryan Follese, of Hot Chelle Rae fame, has recently released his debut solo self titled EP. Although there are hints of the pop punk days of HCR, the EP is more country orientated overall which is really refreshing.

The country influences start right from the first up tempo track - 'Put A Label On It' where a banjo is prominently featured, playing a catchy pattern throughout the song.

Essentially the song is about putting the 'girlfriend/boyfriend' label on a relationship. Lyrically, all the songs on the EP have a really good storytelling quality to them. I've picked out some lyrics from 'Put A Label On It' that show this:

'I think I know where this is going and it's gonna be a big change. I can read you like a book girl and we're on the same page.'

'I think it's time we defined the relationship.'

Thursday 1 September 2016

TBT: Hot Chelle Rae 'Bleed'

Hot Chelle Rae were, at the time of the release of 'Bleed', a four piece pop/rock band from Nashville. Since, they have taken a little break and are now a three piece.

Today's throwback will focus on 'Bleed' which is featured on Hot Chelle Rae's debut album 'Lovesick Electric' (2009).

I picked 'Bleed' to showcase from the album because it is almost the anomaly in that it is a relatively slow, stripped back track full of emotion.

Starting with soft synth type sounds that are typically used in films to signify someone waking up blurry eyed really sets the tone of the song.

A simple, kind of rough sounding acoustic guitar enters in before Ryan's soft, emotive vocal comes in.

'I bleed my heart out on this pavement for you, so you can see what I can't say.'

'Bleed' is about, in my interpretation, laying your feelings down for someone in a song because sometimes the right words to express how much someone means to you just don't exist. This is referenced in the lyrics above.

As an emotionally charged song, at some points 'Bleed' gets rather intense. For example, the addition of backing vocals in the majority of choruses and big electric guitar parts, combined with the occasional heavy roar of drums emphasises the urgency and emotion behind the lyrics.

I particularly like the way that, after the build up and louder instrument additions, 'Bleed' goes back to the simple guitar parts heard at the beginning to end the track. It's almost a 'calm after the storm' effect and reflects, to me, the relief potentially of having got all these feelings off of your chest.

Overall, 'Bleed' is a really nice, slower break in the album with well written metaphorical lyrics.


Until next time...

@wewantgoodmusic


Monday 29 August 2016

New Music Monday: We're Not Just Cats Records

This Monday we have two artists from We're Not Just Cats Records (a label committed to helping internet based musicians release music) to talk about - Lou Foulkes and George Reece.

Both Lou and George have recently released albums so I have picked a few tracks from each to summarise the overall feel of them.

We'll start with the slightly rocky tones of Lou Foulkes' 'Grin And Bear It', released on August 8th 2016.

To introduce the record we have 'Grin And Bear It Part I'. a short track that does a great job of letting the listener know what's in store. It is also the first time you get to hear the raw tone of Lou's vocal with a hint of accent coming through. I feel that this adds a really nice quality to the music as a whole, almost making it more personal.

It's hard to put a label on this album in terms of genre apart from singer/songwriter with a rock edge, I'd say.

Each song on the album has a different story to tell and the lyrics depict the narrative really well. A track that showcases this is 'Guinness And Black'.

Acoustic guitar driven, 'Guinness And Black' has a really laid back feel. The vocal is complemented by soft piano and drums but to be honest I was so focused on what Lou was singing about I hardly noticed them slip in!

The stand out lyric of the song would be 'she's the disaster that my world can't do without'. I feel this perfectly sums up the narrative.

To end 'Guinness And Black' everything comes together, including a bass, for a slightly more instrumental part with a vocal harmony over the top. I can imagine a crowd waving their palms to this part of the track.

'Grin And Bear It Part II' is the last track on the album.

This is really interesting as it mirrors 'Grin And Bear it Part I' lyrically, although I would say it is more of a stripped back version in terms of overall intense-ness (we'll pretend that's a word).

It's also slightly slower but this creates a relaxed feel to finish an overall more acoustic, chilled album. The fact that the deja vu feeling is slowly taken over by spacey synth sounds towards the end could be interpreted as a hint of what is to come next from Lou Foulkes...

Overall, 'Grin And Bear It' contains beautifully crafted lyrics and calm guitars mixed with more intense emotive tracks and a vocal that captivates - I'd recommend giving it a listen.


Moving on, we have 'An Introduction To George Reece' by (you guessed it) George Reece.

Released on August 1st 2016, this mammoth 18 track album is a complete contrast, I would argue, to 'Grin And Bear It' although it is still acoustically orientated.

My initial reaction to 'An Introduction To George Reece' was that it is quirky and rather organic sounding.

One track I thought I should mention is 'I'd Better Say'.

The song starts off with a repeated guitar pattern that is then built upon with a 'snazzy' drum machine-esque beat.

There is a definite groove to this song that is helped along by a rhythmic bass pattern.

The chilled feel carries on with an electric guitar solo in the middle of the track that you can't resist tapping your feet to.

Another song I really liked is 'Darling'.

This is one of the slightly slower songs on the album which makes for a very atmospheric track.

In contrast to much of the album, 'Darling' starts with a beautiful piano part. The vocal enters softly and a cheeky electric guitar slips in after a couple of verses, adding a subtle layer of sound that really adds to the atmosphere.

In my opinion, 'Darling' is a well put together track that uses a good mix of vocal and subtle instrumentation to convey emotion. I can imagine this live with people waving their phone torches in the air.

On the other hand, a track that's slightly more intense than the others is 'Wherever You Are'.

Written in my notes: 'Starts off with really nice electric guitar and cowbell (?)'

Being more electric guitar driven, 'Wherever You Are' is the perfect set up for the next track, 'Morality' which is potentially my favourite track.

Starting where 'Wherever You Are' left off in terms of an electric guitar sound, 'Morality' is slightly more chilled - there's even a shaker.

George's raw vocal is showcased well in this one and blends well with the instrumentation to create a mellow tone.

'Got to live what you want to believe.
 Got to give what you want to receive.'

There is a nice section towards the end of 'Morality' where backing vocals are added, repeating the above lyrics taken from the chorus and hand claps are added. This helps the organic vibe of the album and provides a great beat.

Keeping the mellow vibe, a bass line fits into the rhythm of the lyrics well and the track fades out. This gives the illusion that George is walking away singing with his crowd of happy people - a nice thought.

Overall, the title 'An Introduction to George Reece' is really appropriate as I feel this is the perfect introduction to both George Reece as an artist and, in turn, you see a glimpse into George Reece the person through songs written from personal experience, like an audio scrapbook if you will.


Until next time...

@wewantgoodmusic

To find out more about We're Not Just Cats Records please click here: werenotjustcatsrecords.com

Thursday 25 August 2016

TBT: Brother And Bones 'For All We Know'

Released in 2012, 'For All We Know' is the title track of one of Brother And Bones' first EPs.

We'll get the obvious sound comparison out of the way - Brother And Bones could be compared to Mumford And Sons due to the style of music they produce so well. However, Brother And Bones put their own stamp on everything to make it unique.

'For All We Know' is a really interesting song. 

Starting off quietly with just a beautiful acoustic guitar and deep vocal softly singing 'For All We Know', this track could be described as acoustic with a rock influence.

A pulsing kick drum enters with more intricate guitar patterns to build up into the chorus.

Containing a cheeky tambourine and powerful drums, making a bold statement, the chorus is emotional and simplistic.

Lyrically, the song tells a story really well. You would assume it is a sad song based on the lyrics. Take the first verse for example:

'I still feel the lonely mornings,
Yea the same ones you left behind.
Now loneliness the only thorn in,
The only thorn left in my side.'

This said, the vocal delivery somehow uplifts the lyrics. I really like the tone of the vocals and I think the ability to move effortlessly from the soft tones featured in the beginning of the track to the stronger, more emotive vocal of the chorus, back to the soft tone makes the song really interesting and compliments the acoustic style.

Towards the middle of the song, there is a really nice build up into the final chorus. This includes the repetition of the phrase 'for all we know' with the addition of backing vocals singing 'where are we now' - haunting. This is accompanied by a crescendo of electric guitar and drums, culminating into an explosive end that would get any crowd waving their palms in the air.

However, the track effortlessly slips back to return to its acoustic state with a simple acoustic guitar and vocal, showcasing the depth and emotion of the vocal. 

I can imagine this song and band being absolutely captivating live.

Until next time...

@wewantgoodmusic


To find out more about Brother And Bones please click here: www.brotherandbones.com/music/


'

Monday 22 August 2016

New Music Monday: Billy Mitchell 'Fear Of The Night'

'Fear Of The Night' by Dundee rocker Billy Mitchell is this week's dose of new music.

The song is made up of typical indie-rock-esque drums and guitar riffs but what really interests me about this track is the chorus.

The track starts off with a relatively catchy guitar and drum section, leading into the first verse where the established beat keeps your foot tapping.

This is emphasised in the chorus with bigger drums and the addition of louder cymbals marking the beat. The layered vocals make the chorus seem massive, I can definitely imagine this song live in a festival environment.

Billy's vocal sounds very familiar, not too polished and full of emotion.

I think the mark of a good chorus is 'can I remember the lyrics?' 'would I sing along?'.

Yes.

After only listening to 'Fear Of The Night' a couple of times, I can safely say that I know the lyrics and am probably going to be humming the chorus tune all day - it's memorable.

Aside from that, I particularly like the little electric guitar patterns showcased after the second chorus.

The ending to 'Fear Of The Night' is interesting as well due to the clever use of panning and an electric guitar - you should give it a listen using headphones to see what I mean.

I can't wait to hear more from Billy Mitchell.



Until next time...

@wewantgoodmusic



Saturday 20 August 2016

MUSIC AT SITC IN PICTURES

Summer In The City (SITC) is the UK's largest YouTube event. As well as informative panels, meet and greets with YouTubers and other stage shows, SITC does a fantastic job at showcasing some great music from, but not exclusively, YouTube musicians.

Here are just some of the musicians that performed at the event this year, I recommend typing their names into YouTube and giving them a listen!

*These photos were taken using my phone as this post was a bit of an impulse decision on the day.


EMMA BLACKERY










JON COZART





BOX OF LIGHT







BARS AND MELODY





THE MIDNIGHT BEAST








TOBY RANDALL



DODIE CLARK




TESSA VIOLET




SITC SONG OF THE YEAR AWARD: DODIE CLARK



Until next time...

@wewantgoodmusic



Thursday 18 August 2016

TBT: Chase Atlantic 'Dalliance EP'

For those who are unaware, Chase Atlantic are a three piece pop punk type band hailing from Australia.

Today we're going to be casting our minds back to 2014 when Clinton, Mitchel and Christian released the 'Dalliance' EP.

The EP features five tracks, one of which is a remix that I won't really be commenting on.

Starting off with pretty sparkly synthy type sounds being interrupted by punchy drums and urgent vocals, the first track on the EP is 'Anchor Tattoo'.

Listening back, I find that Chase Atlantic remind me of a mix between 5 Seconds Of Summer and The 1975 (a comparison that I'm sure many people have already made). This combination means that they incorporate crazy guitar riffs with catchy melodic choruses to create a pop punk vibe to many of their songs.

The guitar driven anthem 'Anchor Tattoo' quietens down towards the end, exposing the simple sparkly synthy sounds that initiated the track. This transitions into the second song 'Gravity' really well.

'Gravity' slows things right down.

Using a softer palette of sounds and simple drum beat creates a feeling of emptiness/floating which is in keeping with the title of the track.

In addition, this showcases the vocal really well. The vocal itself is arguably quite polished but still holds emotion and I really like the fact that the Australian accent comes through.

Towards the end of the track there is a bit of a build up where the drum kit enters playing a strong beat, accompanied by an electric guitar defining the beat for an instrumental ending.

Keeping things slow, next up we have 'Hold Your Breath'.

Starting off with not much more than a bass, guitar and vocal, the beginning to 'Hold Your Breath' is relatively mellow in nature.

The chill vibes are kept up until a running drum beat is thrown into the equation.

This explodes into a chorus where the track is layered up with guitar riffs and interesting drum patterns to create an almost typical pop punk sound.

As such, there is a bit of contrast in this song - the verses being relatively quiet compared to the intense urgency of the chorus, driven by the drum beat previously mentioned.

Towards the end, there is a real surprise when the vocal becomes distant and slightly distorted for a split moment. This keeps things interesting.

Finally (excluding the remix track) we have my personal favourite track on the EP, the one that introduced me to Chase Atlantic - 'Run Away'.

Starting with a really chill (I apologise for the over use of chill) click beat that bass and guitar riffs lock into, 'Run Away' has a very summery vibe.

This is taken to a completely new level when the drums enter and the insanely catchy chorus starts.

What makes this song even better is the beautiful saxophone solo half way through.

Returning to the original minimalist clicking and guitar, the song is left to drift away to finish - almost like watching someone run away potentially.

Overall, the 'Dalliance EP' is a great feel good listen.


Until next time...

@wewantgoodmusic

Monday 15 August 2016

New Music Monday: 'Blossoms' by Blossoms

If you haven't already heard, Blossoms are a five piece band from Stockport whose debut album headed straight for number one on Friday.

The self titled debut is initiated with tracks 'Charlemagne', 'At Most A Kiss' and 'Getaway' - all of which I had previously heard on the radio and had consequently enticed me to buy the album.

'Charlemagne' is enhanced by a great bass rhythm that solidifies an overall groove for the song. Combined with the lyrical rhythm of the chorus - this creates a memorable track.

The bass is truly showcased, along with a drum beat, in the middle section of 'Charlemagne' when the vocals are taken away, leaving you with a stripped down rhythm track.

Most of the tracks on the album use similar instrumentation (drum kit, guitar, synths) but there are a few surprises.

For instance, 'Onto Her Bed' opens with a piano melody which is a real contrast from the previous, synth and guitar driven songs. The vocal then slips in. I feel this provides a bit more emotion to the song than we have previously heard. I really liked this opening.

Another introduction I thought was interesting can be found on 'Smashed Pianos'.

It opens with a drum machine type beat with a mysterious broken melody draped over the top.

The vocals are added in an old radio type style - very intriguing.

But then you're thrown into a semi-familiar sound when a bass enters. the drums start to sound more like a traditional kit and Ogden's vocal becomes clearer.  

The sound continues to get clearer and louder whilst maintaining the initial beat.

This is potentially my favourite track.

In particular, I like the way it ends with a mild crash sound - a smashed piano?

Personally, I think you can hear a few influences in this album.

The first I picked up on was on 'Cut Me And I'll bleed' where the vocal style reminds me of Alex Turner (Arctic Monkeys). This is by no means a bad thing.

The second can be found in the following track 'My Favourite Room'.

As for the song itself, it is a complete contrast from the rest of the album.

Starting off with a simple acoustic guitar, 'My Favourite Room' is much slower than the rest of the album and I like that a lot.

Ogden's vocals enter softly, creating a lovely atmosphere.

Interestingly, a tambourine is added to hold the beat as there are no drums.

Towards the middle section, the guitar stops to showcase the raw vocal at the pinnacle of the song.

This is followed by the addition of piano notes, adding to the pretty 'acoustic-ness' of the song.

'My Favourite Room' reminded me of a sort of acoustic version of Catfish and The Bottlemen in parts.

But don't get used to this softer sound as it is soon over.

'Blow' follows 'My Favourite Room'.

It's back to what we know - a drum kit starts creating a solid beat and is met by a heavy bass line and distorted guitars. The familiar vocal then comes in as well as the odd synth appearance.

Overall, Blossoms self titled debut features a lot of songs with good beats, catchy hooks and powerful guitar riffs that wouldn't be out of place at a festival that sit alongside tracks with a softer sound.


Until next time...

@wewantgoodmusic


Thursday 11 August 2016

TBTA: Oh Wonder 'Livewire'

I believe that I first heard 'Livewire' on Connor Franta's compilation album 'Common Culture' (volume three I think).

After some research, I found that Oh Wonder are a duo from London that are causing quite a storm in the indie world.

But we're here to talk about 'Livewire', released in 2015.

The song has a beautiful piano part with complimentary bass lines and effortless vocals.

Using the term for an exposed electrical cable, 'Livewire' is a metaphor for a relationship. The narrator shows feelings of self doubt and longing for this person to become their 'livewire' (partner).

This is shown in the standout lyric of the song:

'Won't you be my livewire, make me feel like I'm set on fire. Your love will take me higher and higher.'

The duo's timid, yet emotive, vocals draped over a foundation of strong, yet not overpowering, beats and minimalist piano creates a fragile, sort of vulnerable atmosphere to the song.

Staying quite subdued throughout, there are small build ups to each chorus.

However, before the final chorus, a different guitar part is added which provides a contrasting tone to the song. Everything then returns to a subtle, vocal orientated state, only to be launched into the final chorus with full instrumentation.

The track ends with a final piano melody and the vocal is left to drift, almost hauntingly.

I can only imagine how captivating this track is performed live.


Until next time...

@wewantgoodmusic

Monday 8 August 2016

New Music Monday: 'Pretty Smiles' by Pete Gardiner

I wasn't sure what to expect when I clicked on the link to Pete's SoundCloud but was very pleasantly surprised.

'Pretty Smiles' is a relatively slow/mid tempo song that reminds me of artists such as Tor Miller and Passenger in that Pete has managed to combine beautiful melodies with a well written narrative.

The song starts with a simple clap and drum beat accompanied by what I would describe as a pretty xylophone sounding pattern. This subtle beginning helps to showcase Pete's raw vocal from the start.

Claps help to punctuate the music and drive the song forward as well as provide a great beat.

'It ain't easy, when you're falling in love with a ghost all damn night' is the main lyric of the memorable chorus. The chilled beats from the introduction are now met by more complex patterns, providing a thicker texture, adding interest.

As for the verses, they are very intricately written - telling a story with each word.

I also like the fact that Pete's Irish accent comes through in the vocal.

There is a slow build up to the final verse where the drums and guitars get a bit more intense while still keeping the pretty melodies. This culminates in the final chorus which is just massive.

I can imagine this song sounding perfect on a summer's drive or at a festival with a crowd singing along.

Towards the very end, the song breaks down to a single acoustic guitar on a layer of softer sound to emphasise the lyrics 'you're someone else's dear and your taxi's almost here', mirroring the beginning line of the song. You feel a powerful sense of emotion in this part of the track.

To end, the guitars are just left to drift which, personally, I think is a perfect way to finish - it's almost like the person is watching someone walk away, or something to that effect.

Overall, everything fits together really well, forming a great pop inspired track. This is to be expected as it is pulled from Pete's forthcoming debut album produced by three times Mercury Prize winner Tommy McLaughlin of Villagers fame and mixed by Ash Howes who has worked with the likes of Ellie Goulding and Dido.

'Pretty Smiles' is polished yet retains a powerful sense of emotion.

I am excited to hear more from Pete Gardiner in the future.



Until next time...

@wewantgoodmusic


To find out more about Pete please click here: http://petegardiner.co.uk/

Thursday 4 August 2016

TBTA: The Maine 'Black & White' Album

I was quite late in discovering The Maine so this was the first of their albums that I encountered.

More specifically, the first song I ever heard by The Maine was 'Every Road'. I was listening to this the other day and got inspired to write this post.

Released in 2010, 'Black & White' is a pop rock, feel good record packed with catchy hooks and guitar riffs that leave you with no choice but to dance around, not to mention the beautifully crafted lyrics and infectious choruses.

The album opens with a striking electric guitar, followed by a tambourine-esque shimmering sound and a steady drum beat punctuated with the odd cymbal crash. This, I would say, is quite typical of the album's instrumentation make up.

It was hard to pick out my favourite songs to sum up the album but I managed to narrow it down to three; 'Book Of Me And You', 'Every Road' and 'Listen To Your Heart' all of which mean something different to me.

That's what I love about The Maine - their songs have a narrative or message but can also be interpreted to fit your personal situation.

We'll start with 'Book Of Me And You'.

The song is introduced with long electric guitar notes and drums but quickly settles down to focus on John's raw vocal, accompanied by some backing vocals to emphasise key phrases.

I personally really like the vocal on this album. I can't really place why, I just think it sounds inviting and real.

During the verses of  'Book Of Me And You' the vibe is pretty laid back. This builds slowly into more guitar driven choruses with added guitar melodies in the following verses.

However, the track ends really nicely with simple electric guitar strumming (that's probably not the right term - I apologise to guitarists reading this) that's left to drift.

Lyrically, the song (in my opinion) is about a relationship being tested.

'I turn the page, thinking I can turn this around'.

''Every wall that's up must come down'.

'I keep thinking, time will make us strong enough'.

'Find another window, with a different point of view'.

'This is just another chapter, in the book of me and you'.

These are just some of the lyrics pulled from various verses and the chorus that illustrate the relationship.

Moving on, 'Every Road' had to be mentioned as it was the song that brought me to The Maine.

This is arguably one of the most pop punk songs on the album.

It starts much like the other tracks with a drum beat and smooth guitar.

I think what attracted me to this song is the chorus - it's just so catchy.

Catchy is an overused word (especially on this blog!) but it truly is - give it a listen and you'll understand.

In addition, this was the first time I had heard The Maine's storytelling capabilities that weave into every song on the album.

There's also a killer guitar solo in the middle of 'Every Road' (perfect for a bit of air guitar if you ask me).

Finally, 'Listen To Your Heart'.

'Listen To Your Heart' is initiated with a pulsing drum pattern that plays in time with a pulse like guitar, creating a sense of urgency.

'We're too young, this is never gonna work. That's what they say - you're gonna get hurt' is the opening lyric of the song.

This track is another great example of the storytelling I was talking about.

'Don't listen to the voices in your head, listen to your heart'.

This is the main point of the song.

My interpretation is that the lyrics are about a young couple who's friends and family are disapproving of the relationship.

'Your mother, she thinks that this is just a phase - I think that we should run away'.

'Listen To Your Heart' is an anthem for a forbidden love story.

Overall, 'Black & White' is a really great album that I encourage you to have a listen to. Since, The Maine have released another album entitled 'American Candy' which is equally as good, if not better.

I also feel that The Maine would be a fantastic band to see live and can't wait to hear more from them.


Until next time...

@wewantgoodmusic

Monday 1 August 2016

New Music Monday: Asylums 'Killer Brain Waves'

It's rare that a band become one of my favourites so quickly. 

Before even releasing their debut album 'Killer Brain Waves' (which we'll get to in a second) Asylums were well and truly paving the way to success with the release of absolute anthems such as 'Joy In A Small Wage' and 'Necessary Appliances' that blend a mix of punk rock qualities with pop riffs and urgent vocals. 

Somewhere between touring, running a record label and life in general, the four piece managed to write a unique, thought provoking gem of an album - 'Killer Brain Waves'.

'Killer Brain Waves' was released on 29th July 2016 and was eagerly anticipated by many (including yours truly).

A sense of familiarity is created in the album due to six of the tracks being released previously as singles. I personally quite like the fact that half of the album is instantly recognisable and feel as though this makes you appreciate the new material even more because it's within the context of a sound you already know.

However, this didn't prepare me for what I was about to experience.

First thought when I hit play: OKAY IT'S BEGUN. 

Roaring electric guitars, heavy drums and a cheeky little bass line faintly heard through the cloud of noise created by other instruments introduce the song, the album and Asylums perfectly. 

This track is 'Second Class Sex'.

The song addresses a poignant issue in culture and today's society, too deep to go into now but have a listen and you'll get what I mean.

Next up we have another previously released song - 'I've Seen Your Face In A Music Magazine' - that continues the energy and ferociousness with an incredibly catchy chorus, helped along by an infectious guitar part.

In my notes I have written that I especially liked what sounds like the dropping of drum sticks at the end of the track. I guess this adds a sense of authenticity.

'Joy In A Small Wage' follows.

Some describe this as more of a pop punk type of song.

As always, I don't know the intended meaning behind this song but here's how I interpret it...

I interpret the song to mean that you don't need a lot of money to be happy, just people (friends and family) that love you and to be content with experiences rather than material possessions.

Lyrics that represent this, in my opinion, include 'there's joy in a small wage' and 'there's a whole world outside your room'.

A lot of people nowadays sit in their rooms on social media or playing the latest game, downloading 'this new app' or whatever instead of travelling, walking, talking, wandering around, having fun exploring their surroundings and embracing the natural world around them and community spirit, forming real connections with people - 'there's a whole world outside your room'. 

I'm probably majorly overthinking this but it certainly makes you think.

But, before you have too much time to think, 'Bad Influence' hits you, opening with a heavy distorted guitar.

'You're the greatest bad influence of my life and I don't know what I'll do when you're not here'.

I feel like everyone has a person like this in their life.

The lyrics above gave me a pang of emotion the first time I heard it which is kind of weird when listening to a a slightly aggressive, chaotic mix of guitars and drums.

This is something that Asylums do incredibly well - a great rock sound with something to say, something that may provoke emotion in you too.

Instrumentation wise it is very similar to the tracks that precede it.

First impression of 'Wet Dream Fanzine' - Was that a cowbell I just heard?

Moving on, we have a frantic 86 seconds of pure genius talking about the 'Death Of The Television'.

I particularly like the use of a bit of classic call and response during this song, in a chanting fashion. 

'Turn off the television' ends this unapologetic anthem in an abrupt manner perfectly suited to the aggressive desperation of the track.

After that we have one of the best song titles I have seen in a while - 'Monosyllabic Saliva'.

This is another new track with a slightly more laid back feel to it, especially in the chorus, 

The vocal on this track seems to be a bit more...almost slurred at points, giving a different tone to it.

Another piece of new material is 'Born To Not Belong'. 

Again, this is slightly slower than the typical Asylums sound and arguably executed in a more controlled manner. 

In short, the 'message' of the song (in my view) is everyone's different, we're 'born not to belong' - embrace individuality, don't try or feel you need to change or 'return to the manufacturer'. 

Towards the end of the track there's a really nice, almost instrumental. break that seems to synchronise everything together well to lead into the final chorus rendition featuring the lyrics 'we were born not to belong' repeated over and over, ending in an anthemic style. 

You can almost imagine the crowd chanting, fists in the air at the end there.

'Not To belong' is a contender for my favourite track on the album and is a great opener for 'Necessary Appliances', another contender for my favourite track.

'These appliances that fill our homes make it easier to live alone'

'Chemical free but we're empty'

Are just some of the lyrics packed within the verses of this piece of social commentary.

Has technology gone too far? Are we relying on it too much?

Only when reading my notes back did I notice that this song links with other ideas found in tracks such as 'Death Of The Television' and 'Joy In A Small Wage'.

'Necessary Appliances' contains killer drum patterns, fills and lots of cymbal action.

With an infectious main guitar riff, you can't help but lose yourself to this. 

The energy in this song is fantastic to witness live. My friend (who isn't particularly into rock music) came with me to watch an Asylums set recently and ended up headbanging along to this with me in a sweaty emotion charged mess - it was a great moment. 

Now, after seeing the name of the next track I was intrigued...

'Sunday Commuters'

I would say this track has a slightly brighter tone than others on the album, especially in the beginning, and could be compared to 'Born To Not Belong'.

We have now arrived at possibly my favourite song on the album - 'Missing Persons'.

I remember the first time I saw Asylums (a year or so back maybe) - this was the one track that stood out to me back then.

As soon as that initial guitar riff hits you know you're in for a treat.

On the album, 'Missing Persons' provides a refreshing contrast and perhaps more of a 'pop-y' vibe during the choruses with the main lyric being 'let's go missing, and then start over'.

A mellow bass line keeps the song rooted and I especially like the way that the last guitar chord is left to buzz/drift away. 

Finally we have 'Slacker Shopper'.

First impression: Distorted. Very Distorted. Vocal - distorted.

This track ends very abruptly so I was a bit surprised when my minute of silence was suddenly interrupted by a stunning electric guitar pattern and clean vocal (this reminded me of The Stone Roses, no idea why but it's definitely a compliment).

We have a hidden track.

I won't say too much apart from it's an unexpected pretty contrast that I really enjoyed.

Overall, I like the fact that certain tracks on 'Killer Brain Waves' are so manic that it sounds like thoughts and feelings have been thrown down into a fantastic, unstructured piece of raw brilliance. 

Asylums are a clever band who's music disguises societal issues under a blanket of rock rebellion with imaginative titles that make you want to jump, dance, just move. 

'Killer Brain Waves' is like nothing I have personally ever heard before and I love it. 


Until next time...

@wewantgoodmusic

To see my interview with Asylums please click here: Interview

To find out more about Asylums you can click here: http://www.asylumsband.com/

Thursday 28 July 2016

TBTA: Stereophonics 'Mr Writer'

Throwback Thursday Archive: Stereophonics 'Mr Writer'

Released in 2001, our throwback this week is the anthem that is 'Mr Writer' by Welsh band Stereophonics.

It may sound silly...but I didn't actually know the meaning behind this song until I began to research it.

It's obvious from the title now that the track is about journalism.

This is also reflected in the lyrics of the song, such as:

'You don't even know me but you'd like to stone me.'

'Mr Writer, why don't you tell it like it really is?'

Introduced with drums that almost creep into your ears, 'Mr Writer' is a fantastically catchy rock song.

I feel that the true 'groove' of the song is hidden in the guitar riffs and an almost whaling lead guitar. This is particularly evident in the chorus.

A pretty piano part is played half way through which is a nice surprise and breaks up the distorted guitar, typical rock sound.

Vocalist Kelly Jones' voice is often described as throaty or raspy and is really suited, obviously, to this style of music. I feel like this adds to the rawness of the song and allows the listener to feel the emotion behind the lyrics.

The song builds and builds, adding and then taking away different guitar parts until the very end where everything is stripped back to leave an almost buzzing drifting electric guitar.

Overall, Mr Writer is a grunge filled foot tapper of a song driven by a strong drum beat, honest vocal and interesting layered electric guitar parts.

I am very much enjoying re-listening to Stereophonics hits, 'Mr Writer' being one of my current favourites.

Until next time...

@wewantgoodmusic

Monday 25 July 2016

New Music Monday: Phoebe Ray, The Recoupes

This Monday we have two completely different artists to talk about.


PHOEBE RAY

Firstly - Phoebe Ray.

Phoebe has been supporting Matt Cardle on his UK tour recently. This is where I first heard her.

Now, it's rare that I hear a support act and feel the need to immediately buy their CD (yes - I'm into CDs) but this was the case with Phoebe.

At the Matt Cardle gig I heard some people describe her style of music as country pop and I am inclined to agree.

Some songs use arguably hip hop inspired drum beats where as some place more of an emphasis on Phoebe's beautiful vocal tone accompanied by a more acoustic choice of instruments. This helps to give the album and her live set diversification and keeps interest.

One of my favourite Phoebe Ray tracks is 'Red Lipstick'.

This is one of the more acoustic-y sounding songs that I was talking about.

It is a relatively slow song that is perfect for holding a light up and swaying (you know that really pretty, often quite breathtaking thing that happens at gigs when a kind of emotional slow song is being sung).

The song doesn't feature any drums but the backing vocals during the chorus and use of echo give the illusion of space.

I haven't personally heard a song like this by a current artist in a while.

In contrast, 'Sky Rocket' is a catchy, more electronic pop inspired track.

In the video for this song, a sample of what I'd describe as Ground Control preparing for a rocket launch is used at the beginning of the track, adding to the story line.

This leads into synth type sounds and an interesting, sketchy drum beat with a killer bass line.

Elements of the vocal in 'Sky Rocket' remind me of Pixie Lott at times, particularly on the word 'memory' in the chorus.

The verses are almost whispered, combined with the use of layering and reverb, this creates an almost floating vibe.

Overall, I really like Phoebe Ray. I think the mixture of different styles and sounds on her tracks, combined with the tone of her voice is really interesting.

Can't wait to hear more. You should definitely check her out live.


THE RECOUPES


Secondly, we have The Recoupes, a four piece rock band from Essex/London.

As such, their music is more heavy - drum and guitar influenced.

I'm going to briefly talk about their second (I believe) EP - 'Anna'.

I wanted to start by mentioning the EP artwork because I just really liked it.

The 'Anna EP' features a black and white image of the underneath of what I would call a pier, from the angle of looking through the wooden staves. Therefore, in the distance, you can see the shoreline and buildings.

The band's name is featured on the left hand top corner in a distorted font and the word 'Anna' is written in the right hand bottom corner in an almost handwritten type script.

In the middle of the artwork is the main focus - the outline of a girl's face in a wave-y drawing style. (I'm going to take a guess and say this is Anna...).

I thought this was just a really interesting, beautiful yet desolate image.

Anyway, onto the music.

As I've already mentioned, The Recoupes are very enthusiastic when it comes to loud drums, fantastic electric guitar riffs and generally great lyrical content.

'Drunk Messages' is the first track on the EP.

I listened to the EP in order so this was the first time I heard the raspy vocal of The Recoupes and I personally quite like it.

The song itself, in my interpretation, is about basically leaving drunk messages on people's phones and all the chaos, regret and drama that can come with that.

In my notes, I wrote down that I quite liked the 'breakdown' towards the end. I am referring to about two and a half minutes into the track where the vocal makes way for a reduced drum beat to showcase a cheeky bass pattern along with other catchy guitar parts. This is a nice contrast from the rest of the song.

This then builds up into an explosive instrumental section where the drum kit fully re-enters to finish off the song.

I think 'Drunk Messages' would be fantastic live, potentially at a festival, with a large crowd singing along and jumping in unison during the chorus - picture it.

Next up we have the title track - 'Anna'.

I liked the way this song started with a relatively simple guitar sound, leading into drum clicks that start the song.

Instrumentation wise nothing has really changed.

My favourite bit of the song is the end line of the chorus, 'I wish you well, Anna, Anna.'

The accompaniment drops out on the 'Anna's', only leaving the vocal and cymbal crashes. This punctuates the song really well.

'Please Don't' follows 'Anna'.

A drum beat introduces this track which is a slight contrast from the rest of the introductions on the EP. I'd argue that this gives the song a different, perhaps more relaxed vibe.

The backing vocals in this track add a new dimension to the band's sound and help to make the chorus quite catchy, in my opinion.

'Please Don't' has a relatively abrupt ending which I quite like.

The final song on the EP is 'Complications'.

This is a strong contender for my favourite track on the EP.

I feel as though you can hear Catfish and The Bottlemen influences in this track which help make it sound anthemic in nature.

In complete contrast to the instrumental introductions that precede it, 'Complications' opens with a clear vocal that is then accompanied by an electric guitar which then builds and layers up to the familiar band sound.

The track turns rather instrumental towards the end which is pretty cool. There is kind of a false ending as well which keeps things interesting!

Overall, The Recoupes have an intense yet infectious rock sound and I look forward to hearing them live one day.


Until next time...

@wewantgoodmusic

Thursday 21 July 2016

TBTA: Matt Cardle 'Amazing'

Throwback Thursday Archive: Matt Cardle 'Amazing'

I recently went to see Matt Cardle live, four years after I saw his debut UK tour.

He hasn't changed a bit.

The vocals, the jokes and the love for what he does is still highly evident in his live show.

But we're not here to talk about the gig.

Today I'm going to draw your attention back to 2012 when Matt released his debut album 'Letters' after winning TV talent show X-Factor a couple of years before.

I re-listened to the album in full before the gig and felt the same love for it as I had the first time round. One song in particular stood out this time though and that's the one I'm going to talk about today...

'Amazing'.

I've heard some describe this track as soft rock, I'm inclined to agree.

Lyrically you could say that 'Amazing' is a typical pop love song. But hey, who doesn't love a bit of pulling on the heart strings!

I love the way it starts.

'I had to look inside this fragile heart of mine to find exactly what it was you saw' is the opening lyric of the song.

Initially you hear just Matt's crisp, vulnerable vocal until a soft acoustic guitar enters on the words 'look inside'.

The song stays pretty mellow until the chorus hits. Even then, the build up is gradual and done really well in my opinion. 

A clean guitar slips in to slowly build the texture with what sound like strings or soft synths of some description. Add an electric guitar (albeit a relatively chilled out one) striking chords and this is about how built up the chorus gets instrumentation wise. This is really great as it keeps the song feeling quite personal.

It's only in the next verse that the drum kit fully enters and the guitar part takes more of an 'upfront' role. This helps to keep the song moving and interesting. 

All the while Matt's vocal remains great - the perfect mix of vulnerability and power.

The second chorus is where it all gets a little bit more intense with the addition of backing vocals, really emphasising lyrics such as 'it's kind of amazing how you found me, through all the strangers somehow.' 

This can be quite emotional if you're in the right setting. 

You know when you're in a car as a passenger, driving at night...a song comes on and you just stare out of the window imagining you're in a music video - I feel like this song is perfect for that. 

Half way through, the song strips back to shadow the beginning - just a vocal and the odd guitar chord on a soft background layer of sound. This provides really good contrast after the build up of the chorus that precedes it. 

Overall, 'Amazing' is a great song to sway to and really showcases Matt's vocals in a beautiful way.



Years later, Mr Cardle is set to release his 4th album some time soon and I am personally very excited about it.

Until next time...

@wewantgoodmusic 

Monday 18 July 2016

New Music Monday: Model Aeroplanes

Okay, I'm late to the party.

Model Aeroplanes are a four piece hailing from Dundee who create infectious guitar riffs combined with lively vocals to produce catchy tracks that should be part of everyone's music collection.

I only discovered the band a couple of days ago via a new video for one of their tracks.

I've been missing out.

Model Aeroplanes are, I would say, part of that brand of indie that mixes pop qualities with tight guitar and drum parts. They remind me of bands such as Chase Atlantic and (everyone says this) Bombay Bicycle Club, with their catchy choruses and guitar parts.

Now, because I was late in discovering the band, I am going to be talking about their 'Something Like Heaven EP' released in March, 2016.

The first song on the EP is also the title track - 'Something Like Heaven'. This song radiates summer vibes and a tropical sound. I think the chorus will be stuck in my head for a long time and I'm perfectly okay with that.

Second we have 'The Wild'.

This has more of a rocky vibe, with arguably more of a distorted guitar sound, but still keeps the catchiness (not technically a word but it'll do) and pop vibes associated with 'Something Like Heaven' in its chorus.

In my notes, I've written 'liked the way it ended' which sounds bizarre. By this, I am referring to the fact that the track ends quite abruptly, finishing perfectly on a vocal part being left to drift to silence. I didn't do that description justice - you should go have a listen to see what I mean.

Next up we have the song that introduced me to the band - 'Whatever Dress Suits You Better'.

The only way I can describe this song is a feel good, foot tapping summer jam.

I can see 'Whatever Dress Suits You Better' being great at a festival or in a live situation purely because it's a feel good anthem and, much like all other Model Aeroplanes songs I have heard, you can feel the energy of the band in the song. I can only imagine how much fun their set is to witness.

The final song on the EP is 'Toothache'.

A guitar riff hits you instantly whilst interesting drum and bass lines build up.

The first 40 seconds of the track remind me of an almost brighter. more summery version of The 1975? (Maybe just me on that one!)

The line 'it's always alright' (part of the chorus) has layers of vocals with some reverb, creating a kind of airy feel. This is really stunning the first time you hear it. Again, I'd love to hear this track at a festival in the sun with a crowd chanting the lyrics.

Overall, 'Something Like Heaven' is a brilliant summer EP - I wish I had heard of Model Aeroplanes sooner!

Until next time...

@wewantgoodmusic


Thursday 14 July 2016

TBTA: Nothing But Thieves 'Last Orders'

Throw Back Thursday Archive: Nothing But Thieves 'Last Orders'


This week's throwback is 'Last Orders' by Essex rock band Nothing But Thieves.

I'm guessing that this is a song that you may not be quite so familiar with as it is featured on the band's Graveyard Whistling EP (2014), as opposed to their debut self titled album.

'Last Orders' is personally one of my favourite Nothing But Thieves songs, perhaps because I like the fact it describes a scene of a local night out with its lyrics. I find this keeps the song flowing really well in a story like form.

I'd say that this track is much less intense than other, perhaps more well known Nothing But Thieves tracks such as 'Trip Switch' and 'Itch', but still provides the listener with all the characteristics you'd associate with the band.

Lyrics such as 'we left The Cliffs, wandered down the Broadway to The Elms (all local references) for another, a fight broke out - someone took objection to my face with a  bottle' and 'some girls are screaming and my face is streaming blood as well' help to conjure up a vivid picture in your mind of a night out that has taken an unexpected wrong turn.

The song starts out with just guitars, with the odd piano chord and kick drum thrown in, creating a very atmospheric, almost unnerving tone as a backdrop for the storytelling vocal.

Front man Conor Mason's vocal enters with an almost haunting quality (in a good way, obviously). But it is only at the beginning of the chorus that the song really builds in texture, adding different guitar parts and additions to the drum beat. This helps to drive the song forward.

A distant vocal line singing 'don't want any trouble in here' can be heard during the chorus as well, perhaps adding more drama to the story being portrayed of a fight breaking out in a bar.

The second verse helps to tell more of the story of this night out with lyrics such as 'I thought I was dreaming, there were sirens screaming'.

There's a cracking guitar solo half way through the track (did I just use the word cracking...) that keeps things interesting and, in a way, could represent the actual fight itself and the manic feelings of the people involved.

'Take your fight outside' layered with 'don't want any trouble in here' and 'we got this thing under control' are the stand out lyrics for me in this song due to their repetition. I feel as though these three lines perfectly sum up the views of the people involved, or witnessing, this fight.

The song ends with a mix of these vocal lines, representing to me, everyone speaking in the bar after the fight - all at once with no order, a chaotic scene.

The final guitar chord of the song is left to drift...the calm after the storm?

Overall, 'Last Orders' has a beat that will keep your foot tapping, arms swaying and lyrics that paint a really good (or bad as it's a fight!) picture in your mind - like lyrics should.

Until next time...

@wewantgoodmusic

Tuesday 12 July 2016

INTERVIEW: ASYLUMS


Luke and Jazz

Last Saturday I was fortunate enough to be sat on a picnic blanket with half of Asylums at Village Green Festival, here's what happened.


Luke, Jazz, Henry and Mike are four explosive DIY rockers hailing from Southend-On-Sea.

Together they make up Asylums - a band you need to hear and experience live.



For the purpose of this post 

[L] = Luke 

[J] = Jazz

( words ) = My comments.




1. How did you guys meet?

[L] : Me and Jazz were kind of music fanatics, going to see gigs in the Southend area and I used to be in a different band with Henry for a while before Asylums, we knew each other through that and I grew up with Mike, playing in different bands - he was in rival bands to me. 



2. How would you describe your music to someone who hasn't heard it before in three words?

[J] : Bipolar. Manic. Distortion. 



3. Any good tour stories? (Keep them clean!)

[L] : All of us in the band, but particularly me and Jazz, are a bundle of nerves really. Sometimes that manifests itself in kind of like...someone hands you a can of beer and you drink it really quickly because basically you're nervous and you don't know what to say. Then sometimes at certain gigs that gets really out of hand...

Last year at Camden Rocks was one of those times.

We'd been under a lot of pressure for about six months trying to keep it all going, keep it all moving, getting in the studio, writing, touring, doing all the things that a band does and we decided to have a bit of a blow out.

Ended up in this Cuban bar drinking Strawberry Dalquiries, very masculine. Jazz disappeared for a while and I was talking to some suicidal Jo Brand look-a-like. She was telling me about how unhappy she was. I was like 'where are my friends, I don't know where I am now'.

Anyway we left, can't remember leaving the bar that much really, and we were sharing a bit of pizza and it was all going up our face and stuff and then we went and got a Subway. 

We went and ate that by a bin and some people were saying that they really enjoyed our set...we couldn't even remember we had done a gig really!

Got back to Southend and I didn't have my guitar with me, think I left it at a cab rank. Lost a £900 Jag - think that's probably the most bleak I've ever felt after a gig.

[J] : You called me at like 5 in the morning saying (insert voice of true sadness and despair) 'do you have my guitar, because I don't'.

[L] : I know intimately everyone that works at every train station now from between Fenchurch Street and Shoeburyness - they're like 'no we still don't have your guitar'. (Laughter).

BUT, here's the cruelty of it all (drama), it had Asylums vinyls in it so they could have easily just hit us up online and said 'I've got your guitar' but they sold it! (more laughter).

Evil.

But that's what you get for being irresponsible. 



4. Who's been your favourite band to tour with?

[J] : We toured with Ash last year and they were really fun. We ended up becoming really good friends with them, having some really good nights out with them. They're really lovely guys, they're really cool.

[L] : I really enjoyed that tour too. One of the ones that means the most to me is the first tour we did with the Vaselines. Obviously growing up I was a huge Nirvana fan, discovered the Vaselines and lots of other cool music through the band.

They asked me to play 'Molly's Lips' with them on stage and I was playing the bicycle horn. I think that was one of the best moments of my life. 

(Demonstration of what that entailed, with horn actions and sound effects that could be confused with a seal).

So I felt pretty cool. But then the footage went missing so I'll never see it again.

[J] : Might not have happened. 

(laughter)

[L] : Yeah it happened in my head, maybe it didn't happen! (One too many Strawberry Dalquiries maybe?) No it definitely did. Our photographer at Cool Thing swears to this day that he's got that footage but I haven't seen it.



5. Who would you like to tour with?

[J] : The Spice Girls. (That was unexpected). I've heard the talk of their reformation so...

[L] : I've heard there's two positions in the band going mate!

[J] : Well yeah maybe I'll just leave!

[L] : (Pointing to Jazz) Gangly Spice! Hairy Spice!

[J] : Drunk Spice! 

(Alternative Spice Girls forming right here).

[J] : I could fit into a Union Jack dress.

(That image though)



6. So this kind of leads on...What do you like to do in your spare time? (If you have any!)

[J] : Put on a Union Jack dress!

(Fair enough)

[L] : Spare time...Most of it gets consumed with earning money to pay for strange and ever more bizarre art projects and obviously rent. 

[J] : And a lot of sock puppet theatre in our spare time.

(Prepare for irrelevant, yet entertaining, tangent).

[L] : Mike told me about a guy, who's an inspiration. He was working here yesterday and he was working with a music enthusiast that had their father down. 

This is completely unrelated but I'm going to tell the story anyway.

Wherever this guy goes, I think he's Russian, he makes puppets out of whatever is around in the area. He's been out to Iraq and stuff during wars and made puppets out of debris to entertain people. 

Yesterday he was here and he found two eggs and a cup and he said (in the funniest attempt at a Russian accent I think I have ever heard)    'LOOK, A CHICKEN!'

I wanna meet this guy. I've never met him before but that's what I wanna do with my spare time. Puppets out of rubbish.



7. Who's your biggest inspiration? (In life or in music)

[L] : I would have to go and say my grandad because he was born with no money, left home at 13 and over the course of 40 years of manic activity and learning how to be a bronze restorer, managed to support my entire family - never ever take any s**t off anyone and he's the only person I know who's got any money and is not academic. But he's got more ingenuity and mental lateral thinking skills than anyone else I've ever met and he's an inspiration to me...and obviously Nelson Mandela. 
[J] : It sounds really corny but I'm actually inspired by everyone in our group, so everyone at our label and everyone in this band continues to inspire me further I find, rather than outside influences, because we're all so creative. They push me to go further than I probably would have.

[L] : You kind of have an idea and everyone soundboards it like 'yeah that's good or bad' or they have an idea and they soundboard it with you and then onward we go.

[J] : It snowballs.

[L] : Yeah and I think it's the first time for any of us with the label that we've kinda built this little family thing and it's the first time all the odd...like mixed socks, all the odd socks that don't match, they all come together and make loads of socks.

[J] : One huge SUPER-SOCK.

[L] : Yeah

(I thought that was a really good analogy for finding people you belong with)



8. Speaking of the label, how did that get started? Why did you decide to go down the DIY route?

[J] : Well, we're both like proper music lovers so have spent our whole lives as record collectors and stuff so we sort of got quite an inside out knowledge of a lot of labels and we got to a point where we were just like, well what's really stopping us from doing our own? 

You know, because then we can have creative control and we can do it with the people we want and we can choose the acts we want. 

So we thought why not and we just kept going. 

We've worked with bands like Petty Phase, they're amazing, and A.C.I.D who are pretty cool.
(Both were playing at the festival). 



9. What do you think of streaming/digital channels? 

[L] : I think it's absolutely fine. Just, for our label, it's probably not the emphasis because it's so nice to work to a physical artefact, you know, real artwork, colourful vinyl. It just feels more substantial and, obviously being record collectors ourselves, we're not really big streamers.

We like discovering music through streaming but then, ultimately because we love the art form and the creation of product design and just the blood, sweat and tears that goes into every record that every band ever makes, it's just so nice to support them by buying that. (I'd have to agree)

The profit margin on Spotify is like 0.01 pence and, you know, the profit margin on a vinyl album could be as much as £10 out of a £20 album. So that can sometimes go back to either a small label or a small band and help perpetuate more music. 



10. Advice for aspiring musicians/record label owners?

[J] : Just have fun.

Don't take it ridiculously seriously and worry about it. Just have fun with your friends, just like you would everything else.


11. Finally, what can we expect from the new album?

[L] : Bipolar manic distortion.

[J] : Spice Girl covers. 


Asylums' album 'Killer Brain Waves' can be pre-ordered now (www.asylumsband.com)
and is set to be released on 29th July.

Until next time...

@wewantgoodmusic