Ear Food : Alfred Hall & Banks

Having not done a post on anything music related for quite some time (or on anything at all for that matter) I thought it was about time I got round to sharing some of the loveliness my ears have been enjoying lately.

This track, by the gorgeous Norwegian Alfred Hall, is a blissful concoction of harmonic loveliness. Rocking a mild dose of falsetto, this dreampop duo are sure to appeal to fans of Ben Howard and Bon Iver, whilst also retaining an air of cool they definitely wish they had. Divine.

Totally Enormous Extinct Dinosaurs has worked his production magic on this beautiful track by Banks. Etherial, yet haunting vocals and gorgeous laid back vibes, with a stunning video to boot. It's really rather terrific.

Radiohead: Live at Manchester Evening News Arena

6.10.12

Radiohead are one of those bands. One so hyped, adored and worshipped beyond all reasonable measures that it is sometimes hard to lose sight of what it is that makes them such a special band. What they have done for popular music as a whole is quite remarkable; constantly pushing boundaries of sound and surprising audiences with every new studio release, they continue to damn well do as they please, even to this day. With this in mind, the prospect of witnessing them live for the first time was quite the exciting one.

My dodgy Instagram shot. But, oh the lights!

From the first pounding moments of 'Lotus Flower' the entire audience was enraptured; gallivanting off to subconscious levels previously unexplored. A personal highlight was 'Myxomatosis'; Thom Yorke's fearless 'dancing' (locked-leg leaping and swinging about would be a more accurate description) was a sight to behold. Their energy and fearless stage show was completely mesmerising. It is normal to assume that an arena gig may be less personal than an Academy or club show, and being positioned anywhere other than in front of the stage would mean you can barely see a thing, but this was not the case with Radiohead. Be it the wonderful colours and lights, the pounding energy of their music (that simply does not accurately translate onto record), or the energy and enthusiasm of the crowd who they have successfully captivated; Radiohead command an arena and each song seemed to enthral and move me more than the last.

Upon reflection, discussing at length with my boyfriend as to just why Radiohead had just blown me away, I could not describe my awe in any means other than to refer to the band as a tree. I think what I was trying to stay, whilst utterly dumbfounded (and concentrating on navigating the M62 at the time), was that Radiohead have a command of their instruments, the stage and music in general which is such a beautifully rare occurrence that witnessing such chemistry leaves you wondering how a band can function with such individualistic flare yet retain such a presence that seems impossible among a group as opposed to one individual. They live and breathe the music in the few hours of their set, and you find yourself living and breathing it right along with them.

The Perks of Being a Poorly Flower...

This week has not been a pretty one. How one individual can create so much mucus is beyond me, so I have been utterly bed-bound for a number of days now. The one thing I do enjoy about being in such a state is having nothing constructive to do; and as such the only thing for it is to search the net to discover new musical delights (in between 3 hour 'naps' of course).

This week I have been feeling particularly delicate so decided to expand my musical tastes in the softer realm. The likes of Joni Mitchell and Nick Drake are firm family favourites, as are chart toppers Bon Iver, Mumford & Sons and Laura Marling. But, never afraid to 'dream a little bigger darling', I have been searching and listening and then searching some more for lesser known artists that may delight my (currently very sensitive) ears. My favourites among the extensive array of artists I have found over this past week are as follows:

Paul Thomas Saunders

After hearing a lot of hype from many of my Leeds friends with regard to this young musician's musical talents, I decided it was finally time to give him a listen and boy have I enjoyed what I found. A soulful folk-influenced delicacy, psychedellic inclination is clear as Saunders claims influence from the likes of Leonard Cohen and other 1960s folkies. Distinct electronic ambience underlies his enchanting vocal tones, and perhaps it is infact this quality which ensures that Saunders intertwines beautifully within the 'nu-folk' movement which seems to be actuallytaking over the world. Saunders sits somewhere between modern Fleet Foxes style records and Jeff Buckley's timeless Grace. Soothing sounds for an autumn eve, I will definitely be following this young Leeds-based budding musician in the future.

Marcus Foster

Following his support slot at a recent Pierces gig I attended, I certainly made it my business to research Foster following an engaging and really rather powerful performance at Bristol's Anson Rooms. With the help from old school friend Robert Pattinson, the video for recent release 'I Was Broken' features a brooding Kristen Stewart interspersed between a singing Marcus throughout [watch it here: http://www.youtube.com/watch?v=UI_pPEysgYQ], and Pattinson even covered Foster's track 'Let Me Sign' for the original soundtrack release from the first Twilight film. Foster was an engaging live talent with charming accompaniment from a double bass and cajon, and is also clearly a budding recording artist: his first release Nameless Path certainly contains some charming little numbers. And in all honesty he is set to be huge with, whether consciously or not, little help from his Hollywood friends. [For all you twi-hards a version of R-Patz himself singing Foster's 'I Was Broken' is also available here]

M83

Although an already well established artist, I had personally never heard any M83 until very recently. Following his most recent recorded release Hurry Up, We're Dreaming I decided it was time to give it a whirl. Following 'Intro' which features mesmerising budding female vocalist Zola Jesus, and second track 'Midnight City', I was hooked. The whole album is a delight, with each of the 22 tracks gracing your ears with something new. An ambient, electro-pop delight, this is a must for fans of multiple genres. With so many layers to uncover, listen after listen you continue to notice more of the record's subtleties; and it certainly ensures that Hurry Up doesn't get dull. Highly recommended.

Timbre Timbre

Utterly mesmorising and distinctly unusual, Creep On Creepin' On is a fantastic album. A highly reverberated voice permeates the album with tones reminiscent of the 60s folk wailers who attempted to copy Bob Dylan's vocal style in spite of the fact that they, unlike him, could actually sing. A simple storytelling style encompasses the lyrical structure, with basic chord progressions providing the only accompaniment for tracks such as 'Demon Host', until of course the haunting choir joins him on his epic "woooah"-ing. Strings, horns, synths; Timbre Timbre, however plainly, uses it all. The self titled track is utterly 60s with a McCartney style piano crotchet pattern relentlessly repeating underneath the almost psychedellic voice. The simplicity of the structure of the songs with differing instrumental passages provides the main body of excitment to the record. In spite of its brutal simplicity, the album does what it says on the tin: it 'creeps on' as you find yourself effortlessly 'creepin on' with it, until you realise you've immensely enjoyed the journey.

Kill It Kid

Being a Bath-based band, I was instantly intreigued. I'm a sucker for a highly saturated photograph featuring in any act's album artwork, so with Feet Fall Heavy even more of my criteria was instantly met. Their sound is highly comparable to the likes of The Dead Weather and perhaps even more (now) 'old school' acts like Giant Drag. Their simple guitar-heavy style is clearly influenced by Jack White and co; attitude and sluge permiate their sound, and it certainly works. Having a female vocalist with such a raw and emotive voice makes me want to re-visit riot grrrl and celebrate all that is female: this, alongside a male voice somehow reminiscent of both 90s grunge acts and 30s blues, when both vocal lines intertwine something quite beautiful is created. This album is a fantastic listen and I shall definitely be catching them on their next tour cycle.

Now, to blow my nose and get back to bed...

Ranting, raving & generally being emotional

It is in rare moments that you can astound yourself with how deep musical feeling really goes. Sometimes music elates you, and takes you to places you never knew existed. Sometimes music emphasises you; enhances your character and perhaps even your soul. Music can be anything you want it to be and if you let it, can take you to places you never even imagined were within human reach.

Alice In Chains have been a favourite band of mine for many years, and they have always 'done something' to me upon every listen. Something about their close knit guitar and bass harmonies, or their slow pounding rhythms or the beautiful entwining of Layne and Jerry's voices (Layne Staley - lead vocals, Jerry Cantrell - guitarist and vocalist) has always given me goosebumps (or if you're being technical, the term is 'Frission'). Sometimes, after a shit day, all I feel that I need is some of Staley's brute power and exquisite beauty (which somehow managed to find perfect matremony in one voice) to make me feel good again. What a beast of a voice, with such a unique quality so rarely found in rock vocalists and perhaps only inherent in a handful since. Mr Staley has saved me through the medium of music on many occasions: I adore his voice, his band and all of the beautiful music they have given me.

It beggars belief how I had not decided to research his death sooner (in truth, I simply try not to think about it) but this evening the time came and I discovered some facts that filled me with the most genuine sadness. Layne Staley, iconic vocalist and musical revolutionary died truly alone from a 'speedball' overdose. He was not found by anyone until two weeks after his death where he lay surrounded by drugs, curled up on his sofa; needle in arm, utterly gaunt and toothless. Attempting to comprehend how such a god-like voice and purveyor of lyrical greatness can have come to such a lonely end fills me with an indescribable feeling as I sit and listen to him wail with such passion and power. A musical entrepreneur who has taken me on journeys to heightened levels of consciousness I never thought imaginable has filled me with love, hope, joy; anger, sadness and power. He died utterly alone, more mortal than such a godlike musical icon should have. Music is the greatest gift ever to have graced this planet and the only artistic medium to have ever had a truly profound effect upon me and the way I view life; and to Layne Staley I am truly thankful.

"And, if you let it, music could take you rushing down the current to places you'd never imagined. That is, if you cared enough..."

Pearl Jam: Twenty

Not for a moment do I even begin to insinuate that I might be a huge mega-fan of Pearl Jam. Nor do I suggest that I follow them in any extra-ordinary sense. I have had the joy of witnessing their magic live twice, and for me that's as far as it's ever been able to go. A Pearl Jam 'collector', Cameron Crowe has undertaken the task of documenting the 2o year career of one of Seattle's most infamous bands, and by the sounds of things there might not have been a finer man for the job. Admitting to hoarding mountains of PJ memorabilia, Crowe even has a sick bag of Eddie Vedder's stashed away somewhere. The hype within the 'inner circles' of the film and music industries alike ensures that fans such as myself are almost squealing with anticipation as the day rolls in and the 20th of September (the date of all UK screenings) is nigh.

Throughout the duration of their career, Pearl Jam have retained artistic integrity as they continually strive to ensure that something about the band remains utterly different from anything else we have ever seen. As a music graduate, I even struggle to determine what it is musically that makes Pearl Jam such a delight. Vedder's vocals certainly help the situation as his haunting tone permeates all records to date; whatever the timbre, tempo or 'mood' Eddie's voice works, ranging from drastic heartfelt crescendos on the likes of 'Given To Fly' to the whispered delicacies of 'Nothingman'. Memorable riffs aplenty, tracks like 'Yellow Ledbetter' remain one of my all time favourites, the opening arpeggiated melody firmly etched with heartfelt precision into my soul. Something about Pearl Jam is inexplicably remarkable; it is perhaps the undeniable passion of every one of the group's members that ensures every Pearl Jam track haunts the listeners, never allowing anyone who has witnessed such musical delights to ever forget.

Like so many of their other fans; in Pearl Jam I have found something rare. Their versatility ensures that whatever the mood, weather, time or place, there's something that fits with my core, and I know that fits with every single fan they have out there. Pearl Jam, as far as rock and roll can be so, are truly and indescribably beautiful, in all their raspy and amplified glory.

'Twenty' is documented by the ultimate fan, who understands and deeply connects with Pearl Jam on a musical and personal level, and as such I cannot wait to witness such a documentary piece of cinema. Second runner up at Toronto International Film Festival under the 'people's choice documentary' category, 'Twenty' is set to be a corker.

Amy Winehouse, a talent that shall forever be remembered

Upon hearing the news, instinct in the modern world instantly ensures that you search Google for evidence as many rumours have emerged in recent years about deaths of celebrities. Amy Winehouse, a long term drug user and mass consumer of alcohol had been struggling with her addictions for a long time. Her musical talent often overshadowed by her off-stage antics, she was renowned for being a mess, for emerging on stage drunk and being unable to perform. In this instance the 'rumour' was true and Amy had lost her enduring battle with herself, and her life ended on the 23rd July 2011. Many claim that it is no surprise that she eventually lost in the struggle she faced; she has been added to the '27 club'; the group of infamous musicians who all lost their enduring battles with mental illness, loneliness and abuse to be forever frozen in time at their prime (Brian Jones, Jim Morrison, Jimi Hendrix, Janis Joplin and Kurt Cobain the five individuals that retain their status as the most tragic losses to the music world, all at the age of 27).

I met Amy in 2006 in small Bristol pub, 'The Hatchet', prior to her playing a show at the O2 (then, Carling) Academy. This was the week after her infamous, witty appearance on Never Mind The Buzzcocks. She was a charming woman, obviously highly eccentric, but she insisted we be added to her show's guestlist. We played a spot of pool with her, and in spite of her slightly intoxicated state, she was endearing and I was completely glad to have met her.

Her music, comparable to the likes of Billie Holiday, Dusty Springfield and Nina Simone, is utterly mesmerizing in its soulful, contralto beauty. A truly rare talent, her songs were adored by millions as she went on to gain a platinum album title for 2006's Back To Black, alongside being the first Brit to ever win 5 Grammy awards.

A fan of much music composed under the influence of various intoxicating drugs and alcohol alike, I feel it is important for true music fans not to be 'snobby' with regard to drug taking. Many people turn to them for various reasons; to cope with the strain of touring, for creative inspiration and for escapism from a life in which they feel lost. A human should not be judged on the substances they chose to consume, but on their soul and their creativity and their way with people. Papparazzi influence ensured that many regarded Amy as unruly and a disgrace, when in fact if one is to listen to the wise content of her lyrics a deeply tortured and troubled soul with a deep intelligence is revealed. Very few individuals in the 21st century (particularly of my generation of twenty-somethings) can claim never to have taken intoxicating substances into excess, I for one have had far too much to drink on many occasions as a kind of escapism from the mundanity of every day life. This is not a time to compare her life to those who lose their lives in any number of ways. Death in any form is a truly sad thing, and the fans who felt they knew Amy through her music will be deeply saddened by the news.

Amy, a deeply troubled and sad soul sought refuge in music and intoxication. Her talent should never be overlooked through struggles she faced in her private life: both Frank and Back To Black contain some blindingly powerful tracks. The likes of 'Love Is A Losing Game' comprising an enchanting melody and rhythmic accompaniment with a powerful set of lyrics and an understated vocal tone that ensures listeners feel deep attachment to the wise singer. Her talent excelling much mainstream White music of the 2000s, her maturity truly sets her apart from the majority of pop music to grace the charts in its over-processed and often talentless forms.

The loss of a life is always an utterly tragic occurrence. When the talent of a woman is overshadowed by personal choices, the times become even more tragic in nature. Many a brash comment has been made by ignorant individuals looking to boost their morale by disregarding a woman that was loved by so many simply as a 'crackhead'. Amy Winehouse was a fantastic musician, with a voice so powerful and soulful so as comparable to the likes of the great Aretha Franklin. No individual with such talent will ever be disregarded in the long run. Amy has been forever immortalised and her musical influence will forever be cemented in history. She has joined the others who have tragically lost their lives to rock n roll, and will soon join them in being remembered as a truly great musical talent gone too soon.

Earth Crisis - Neutralize The Threat

Hardcore at its best, Earth Crisis’ latest effort Neutralize The Threat is reminiscent of classic Throwdown, God Forbid and even Chimaira. Influences of metal greats apparent, Earth Crisis differ in their environmental undertones; the straight-edge five piece have lyrical themes relating to human, animal and planetary rights. Power inherent in so much metal music since its inception in the 1980s has rarely such purpose as it does with Earth Crisis. The brutal cries erupting from vocalist Karl Buechner’s lungs all serve a purpose, and that is to promote personal empowerment and to eradicate ignorance.

Tracks like ‘Total War’ and ‘By Conscience Compelled’ possess particularly anthemic punk-inspired riffs and a groove which seeks to define the true pioneers of hardcore metal from the mainstream. For fans of Pantera, perhaps As I Lay Dying and of course Hatebreed; Earth Crisis’ Neutralize The Threat is a fine metal album, with fine guitar melodies and powerful drum fills. Buechner’s voice provides the band with their defining characteristic as he preaches to the masses.

Tales of vigilantes are the theme of every track on the album, and such political fire is a rare find in music of today. Not afraid to shock and to empower, Earth Crisis dominate their field since their birth in 1992. ‘Black Talons Tear’ a fine example of the band’s powerful, sludge-ridden riffs. Neutralize The Threat perhaps not an album for individuals looking to explore Earth Crisis for the first time, the album is set to please the fans. Some metal fans may find the remarkably unaltering tempo of the album a little unimpressive, whilst the vocals and guitar melodies and harmonies retain an also similar thematic progression. In spite of the album’s lack of diversity, Earth Crisis continue to do what they do best and produce another work which is sure to induce severe mayhem in the pit.

Pre-existing fans of metal, this could well be your cup of tea; Earth Crisis are sure to successfully melt the face of their listeners and continue to enforce political activism alongside those who listen and care. If you are yet to explore the magical depths of the metal world this may not be an ideal place to start, but please do return to Earth Crisis once your ears have acclimatised to the wonderful tones of the many genres to be explored within metal.

I award the hearty hardcore pioneers a hearty 3.5 out of 5.

The article can be found here: http://www.leedsmusicscene.net/article/14862/

Hospitality - O2 Academy Leeds, 6th May 2011

On Friday 6th May, we held the second Hospitality event at the Leeds 02 Academy, following the sell out show in February. The May event also marked the launch of London Elektricity‘s highly anticipated album “Yikes!” and so he performed a number of tracks from the album alongside MC Wrec and Elsa Esmeralda.
HospitalityDNB contributor Jennie Allen went down to review the night…
As is always the case when an epic line up is announced for Hospitality Leeds, anticipation was high. With sets from Andy C, London Elektricity, Joker, Netsky, Flux Pavillion and Brookes Brothers to name but a few, the night did not disappoint.

The beautiful gothic building which houses the O2 Academy Leeds provided a beautiful setting for the monstrous event. As we entered the high ceilinged main room, complete with embellished Victorian balconies, it was already heaving with hundreds of hyped and excited fans. The entire room was a giant pit of excited music lovers chanting along, all skanking their hearts out (in what can only be described as a very non-Victorian manner) to the likes of Flux Pavillion featuring Dynamite MC. Along with epic originals like ‘Bass Cannon’, their rendition of vintage favourites like the Pendulum classic ‘Fasten Your Seatbelts’ proved to be a real crowd pleasers. A particular highlight of the set ensued as Dyna provided seamless transition from the Flux set into the thunderous set by drum and bass legend Andy C, replete with checked shirt and cap uniform. B-Complex sampling the likes of the chart topping Nero’s ‘Me and You’ proved another highlight of the night. With exciting rhythms and funky beats galore, no acts disappointed. The crowd, a constant heaving tide of dancing, sweaty bodies all seemed to agree. No one stood still and no one could resist the swell of the music.

The second, smaller room was a little quiet at the start of the night due to the blistering talent wowing the audience of the main room. As the night continued, though, this soon became packed with anticipated energy as the crowds waited for Joker to erupt into the room with his unique, colourful, synth soaring explosions. Meanwhile, London Elektricity (in celebration of the release of his new album ‘Yikes!) effectively blew the ears off everyone at the event with the help of Elsa Esmeralda and MC Wrec. Esmeralda’s mesmerising vocals commanded the stage, culminating in the astronomic new single‘Meteorites’.

With promising new talent in the likes of the young signing Joe Syntax,Med Schoolcontinue to provide their fans with astounding new acts, all of whom deliver some of the most fantastic drum and bass sets out there to adoring Hospitality goers. The entire line up set out to blow the minds of their victims in the crowd and succeeded in providing an unforgettable night to all those who came. The night continued on, with set after set as consistently fantastic as the last until 6am came around: hundreds of satisfied people embarked on their journey home to the slightly more quaint sound of birds singing, all impressed with what they had witnessed from the stream of talented acts.

Hospitality continues to flourish as quite possibly the most legendary drum and bass night around; consistently awesome, astoundingly epic and quite frankly unmissable. Leeds salutes you.
Review by: Jennie Allen
Photos by: Andrew Attah





Original article available here: http://www.hospitalitydnb.com/2011/05/review-leeds/

Foo Fighters - Wasting Light

I've not updated this blog with any of my writing or musings for over a year: I need to sort this! For me to do so, there is nothing better to be done than to write a mini rant expressing my undying love for Foo Fighters...

Wasting Light, released on the 11th April 2011, is Foo Fighters' 7th studio album and is nothing short of masterful. Their finest effort to date, it effortlessly oozes rock and roll, never deserting their roots and never selling out; they have achieved the ultimate status within the music world whilst always remaining true to themselves. Tracks like 'Back & Forth' and 'White Limo'could easily have featured on their self titled 1995 debut, whilst tracks like 'I Should Have Known' draw influence from early works of grunge band Alice In Chains; Dave's Nirvana roots shining through (Krist also makes a guest appearance for the first time on a Foos record, playing his thunderous bass on 'Miss The Misery').

With legendary vocalist Bob Mould (of Husker Du) providing goosebump inducing backing vocals on the thunderous track 'Dear Rosemary', you are left not far short of amazed at the musicianship that is visible on the album. Foo Fighters musical advancement in harmonic understanding and rhythmic complexity shine through, with their music undeniably able to appeal to people from all musical backgrounds. Dave Grohl's voice has evolved into a perfect rendition of its former self; his growl perfected and proudly proclaimed as he screams "I never wanna die!" in the closing track of the album that sends shivers down the spine as you believe with utter conviction every word he says.

What strikes me as the underlying theme throughout the entirety of the record is the passage of time; issues of great maturity that rarely surfaced in older works are humbly addressed in tracks like 'These Days' and 'Walk' as time undeniably catches up with the epic rock band after a series of unfortunate events ensuing in their three year break. Hawkins, the drummer, as is explained in their new feature length documentary 'Back & Forth', had a drug overdose, almost destroying the fragile remains of the band following their 2007 Wembly shows. Dave Grohl persued his drumming with Them Crooked Vultures alongside legendary ex-Led Zeppelin bassist John Paul Jones and Queens of the Stone Age's vocalist Josh Homme. Taylor Hawkins played a stint of festivals following the release of his album with Taylor Hawkins and the Coattail Riders. Everyone thought that might be the end for the Foos. It does however seem that, through musical accomplishments at least; Foo Fighters are back stronger than ever. Their music screams effortless cool whilst addressing issues that touch the souls of all those who listen.

Upon the millionth listen it has become clear to me that this is their finest effort to date. No other work of the Foo Fighters retains such undeniable class and cool throughout. Fantastic riffs a plenty, there is a song for everyone. More upbeat than their last record; 2007s Echoes, Silence, Patience & Grace, Foo Fighters have produced an absolute corker. This is the album that people will talk about all summer. This is, in fact, the album that people will talk about in 20 years time. Foo Fighters have undeniably made the album of their career.

Zola Jesus - the Night

Zola Jesus release their first single in the UK, 'Night', with German label Soundterrain Transmissions. The atmospheric introduction soon builds to reveal an ambient, synth-pop track, with haunting female vocal parts providing the melodic and lyrical interest.

The vocals provide the only prominent melody throughout the track's duration; the only accompaniment coming from a simple drum loop, keyboard and other computer generated effects including that of a ghostly echo throughout the introductory passage. With very little musical development throughout the song becomes a little less interesting towards its ending, yet the vocal part does indeed ensure that the song has a prominent success; the haunted style is utterly engaging, the tones comparable to those featured in the work of Florence and the Machine, as well as displaying musical style that is perhaps comparable to ambient electronic pieces by artists such as Bjork, alongside prominent trip-hop influence being drawn from Portishead for example.

Although an aesthetically pleasing song, it lacks any sort of progressive or climatic development, ultimately ensuring most listeners will lose interest after a minute or two. There is definite potential present in the track that may suggest more exciting developments could emerge in the form of an album. Fingers crossed.

Review published via Leedsmusicscene:
http://www.leedsmusicscene.net/article/13549/

Wildbirds & Peacedrums - Rivers

The third release from Swedish group 'Wildbirds & Peacedrums' is sure to not disappoint lovers of emotional, serene music. The group use obscure samples, vocal techniques and jaunty off-beat rhythmic devices to ensure the listener can never second guess the direction the next track will follow.

'Tiny Holes in this World's ambient choral harmonies and distorted drum loops provide an eccentric backdrop for the beautiful female voice of Mariam Werliin, who is joined by husband Andreas to form the 'Wildbirds & Peacedrums' line-up. The duo are joined for the recording of such tracks by the 12-piece 'Schola Cantorum Reykjavik Chamber Choir', who have also recorded with artists such as Bjork; who has clearly also had influence over the artists' recordings.

A certain yet subtle darkness is inherent in all tracks through haunting reverberated voices and the group's constant manipulation and alteration of conventional musical boundaries. 'Fight for Me,' uses terraced dynamics and polyphonic passages to create an immense wall of sound, while the final track of 'Retina'; disc one of this double disc-ed release, entitled 'Peeling Off the Layers,' retains the haunting ambience witnessed throughout every track of the disc, which seems characteristic of the Swedish ensemble. A record not to be missed.

Review published via Leedsmusicscene:
http://www.leedsmusicscene.net/article/13521/

Mary Gauthier (first LMS article published):

The sixth album from the internationally renowned alternative country singer Mary Gauthier, is one comprised of startling truth and honest depictions of a lifelong struggle to come to terms with life as an adoptee. The melancholic lyrical undertones are often reflected through the minimal, country blues instrumentation; as much of the music falls together with ease and beauty, creating an engaging musical tale, with influences clear from country legends such as Steve Earle and Lucinda Williams. Alongside her prominent, syllabic vocals, folk violin and guitar styles penetrate the core of 'The Foundling,' as well as unsuspecting trombone melodies add a charming, upbeat jollity to the otherwise rather downtempo album.

The title track is particularly engaging, with the violin melodies beautifully complimented by the atmospheric accordion, ultimately suggesting an influence from Spanish and French musical styles; all of which fuse together very successfully to create a climatic, powerful representation of her life story. Tracks such as 'Goodbye' are a little less accomplished, and lack the sombre tones that make many elements of this album so powerful, but the album does remain brutally honest and strong throughout. This is definitely a must for any alternative country fan, and certainly will tug at the heart strings of anyone willing to empathise with the difficult life of Mary herself.


Article published via Leeds Music Scene can be found here:
http://www.leedsmusicscene.net/article/13004/

Shine On You Crazy Diamond (My first published article!)

If ever there were a contest to fin d the ultimate icon for the 1960s counter-culture, for psychedelia or for the use of LSD, Roger 'Syd' Barrett would be a clear contender. His influence through the astounding and unique Pink Floyd is nothing short of immense; he certainly was the mind behind their madness.

Piper at the Gates of Dawn, the band's debut of 1967, remains their finest piece of work and is almost entirely the work of Syd himself. Relics, a later LP

compiling some previously unreleased tracks such as ‘See Emily Play’ and ‘Arnold Layne’,also expresses the brilliance, madness and bizarre jollity of Barrett. Pink Floyd went on to define progressive rock music, act as key figures of the psychedelic sixties and re-shape the live music experience completely. Their light shows were utterly unique, and their performance became totally enchanting as a result.

However, before Syd could grow, develop and truly shine as a musician, the acid consumed his very being and destroyed the light in his soul. Ex-Floyd producer Joe Boyd described how Barrett, in a matter of months “had gone through a dramatic deterioration and was almost monosyllabic and very blank-faced”. Others recall him standing on stage, guitar around his neck and arms by his sides, staring bleakly into space, slowly tripping into insanity.

Barrett somehow remains the central feature for all writing on the Floyd; his brilliance and madness continues to dazzle fans years later. Even after the introduction of the incredible David Gilmour to the band's line-up in 1968, many argue that the iconic shoes of Syd could never be filled or replicated. He was a one-of-a-kind revolutionary lyricist and guitarist who generated a whole new meaning to the musical underground of the sixties and who almost single handedly invented progressive rock. All of this through one album, a few lost treasure tracks and a string of gigs at the UFO club in London throughout the 'summer of love'. Syd was, and remains to this very day (even four years after his death, years of being a recluse and succumbing to drug induced insanity) a true music icon. In the infamous words of the Floyd themselves: shine on you crazy diamond.

Published via Leeds Slate Arts & Entertainment Magazine: http://www.leedsslate.co.uk/index.php?option=com_content&view=article&id=94:shine-on-you-crazy-diamond&catid=44:arts-and-entertainment&Itemid=44