Ocean Flaws // Single + Interview

"It was me and you..."

That's how the new song by Essex outfit, '20:22', begins. The band have been quiet recently, and there's a reason for this. They've been honing their craft, and working on new music. This is the fruits of their labour: a building behemoth of a comeback single. One they are proud of, as they told me when I had a chat with them about the new music:

Hamish (lead guitar): "I don't think we've ever set out writing a song with an intention for how it should end up. We see the song writing process as quite organic, so we almost let the song develop on its own accord...we try to serve only what the song needs. We're all chuffed with how big the song ended up. Hats off to our producer Mitch (from the talented The Milk)."

This new single follows on from their last EP, 'Dancing To The Fear', released last February. which I gave 8/10. Metaphorically, that's what they were doing with the EP. Having changed their band name and crafted a more succinct sound, they were throwing out to the world their new design. After dancing with the fear of not connecting, both as a band and in life, they are back with this new single.

The opening of the song brings a feeling of familiarity with their previous work, but not so much that it is too similar, or in fact resembling anything else put out recently. The subtle combination of more psychedelic guitar bands from the 70's onwards really gives their alt-rock sound an edge that no other local band has. Having started with guitar that gives the song a slow-dance feel, the bridge quickens the pace before heading towards the chorus, which also features another local artist, Olivia performing as Fawn, who is well on her way to success with her recent appearance on BBC Essex Introducing. The band explained to me how this collaboration came about:

Alex (drums): "It stems from what Hamish said about serving the song; we felt like the ethereal nature of the first chorus just perfectly set up space for a female voice to compliment Callum's, and in the second chorus it's another layer in what makes that section so big. We definitely didn't include Olivia as a novelty, we did it because it seemed like a choice that would benefit the music. It's just fun when something works with the song and happens to be something you haven't done before."

They have the guts in this song to build a song, but not burst it at the seems with noise (in many ways, as this song does not contribute to the 'loudness war' other bands are prone to - I'm looking at you Arctic Monkeys). The relaxed end to the song rounds off the track nicely, with an anti-Foals ending. Foals can boast themselves to be anti-solo if you have ever seen them live, but they cannot boast to not grab every single opportunity to push a song to its limits. Having not done so here, you could argue it's a crying shame, but you'd be a lone wolf with that cry. The subtle additions of other sound right at the end compliment the keys added - a quote from a mysterious man and perhaps some behind-the-bridge guitar playing.

The band gave me an insight into their plans for the future, which are just as mysterious as the exact nature and meaning of this song: 

Callum (Vocals and Bass): "We've put loads of effort into promoting this new song and have a few exciting things to roll off the back of it. Nothing is confirmed as of yet but keep your eyes peeled as we are continuously writing and overly obsessed with topping previous releases."

Guessing what comes next during your first listen of this song is hard enough, but guessing what Ocean Flaws will do next is harder. They didn't chuck the kitchen sink as this, aside from the gorgeous production, and you have to give credence to that with this outing.

8/10

'20:22' is out tomorrow, Friday the 6th of January on iTunes and Spotify.

Check out Ocean Flaws on Spotify below:

Viola Beach // Viola Beach - Review

When a Viola Beach album was announced, I was in two minds as to whether this was a good thing to happen. When the band were taken away from their family, friends and listeners, it seemed unlikely that we would be listening to an album now. However, having heard that they had already recorded a 5 or 6 track EP along with the 3 songs released already, it would only be fitting to hear the album. It's what they would have wanted.

It just so happens the album is full of catchy riffs, positive lyrics - and a slightly softer, lonelier side that I had never expected them to have. 'Call You Up' is a sombre tale of keeping in touch with someone that does not want to keep in touch with you, and making plans of wasting away with someone. Despite being called out by other sites as the weak link of the album, I would discard those comments. A lot of bands with this indie sound, that we've heard similar vibes from the likes of Peace and Two Door Cinema Club, fail to show variety and a softer side. They've done it from their first EP - now this album - and you have to give the band credit for that.

Elsewhere on the album, 'Really Wanna Call' is a hawaiian-tinged tale of a popular girl. Cliched, but it's personal to them and should be respected. The vocal delivery is perhaps more personal and accent-soaked then their previously heard material, which highlights how they want to sound different and themselves. They aren't copying anyone here, they are Viola Beach. Kris, the lead singer, had explained to his mum Lisa that Viola Beach did not represent a real place, but a place where happy thoughts can bloom. This album encapsulates that, and has been put together to enshrine their optimism for the world to listen to for years to come. Positivity is something we should all value as a personal trait in the hostile and uncertain times we live in.

The obvious highlights of the album are the previously heard trio of 'Swings and Waterslides', 'Like a Fool' and 'Boys That Sing'. Coldplay's tribute to the latter song was a fantastic reminder of how little credit small bands get - it is unlikely Viola Beach would be as known as they are today had they not suffered their tragic fate. This is something that I hope can change, as Coldplay do not need an interview or article written about their next album in NME, the next Viola Beach do, however.

If you have the money, go out a buy the album and stream it on whatever platform you use. The more money that goes towards the River Reeves Foundation, set up by the family of Viola Beach's lead guitarist River Reeves, the better. The rating is not just because what has happened to them is sad, it is for the music and the people that made it. Enjoy, and best of luck to the family.

10/10

Check out: the whole album!

                   

The Neighbourhood // Roundhouse, London - Live Review

When I went to see The Neighbourhood on Monday night, I had certain expectations. To be honest, I set them quite low. Not in such a way to say that I heard bad things about them live, or that I don't like the band - I'm a huge fan of their music - but it relative to the sounds on their album. Their guitars are tonally perfect and very specified, whether it is the soaring, eering leads found on the first album, or the trebly acoustic found on the second album. I also knew Jesse, lead singer, had a tendency to improvise on his delivery and even the lyrics. Quite a lot of their music relies upon the melody from him, so I was hoping he would stick to what is necessary and vary on what he could.

I turned out to be correct in my expectations. But let's start with the support first. Kevin Abstract was, well, abstract. I didn't enjoy his set, but then he was there to appeal to the crowd the band had drawn through their mixtape and r'n'b flavours, and not through their guitar-based work. The crowd enjoyed it, so there is that I guess. MOTHXR were another beast entirely, and were pleasant to listen to. They sounded almost like a less confident 1975, with a less obnoxious singer, with low-volume vocals. Having listened to the recordings, I can only assume he doesn't possess quite the standard of live voice as delivered on the record. Which is a shame, as songs like 'Touch' and 'Stranger' sounded fantastic, particularly in regards to guitar. The drums were very generic, and the bassist played with his back to the audience for the majority of the set. The band mentioned several times they were playing their own show the next day, and as they have been on Twitter, which is all good and well as long as the performance is not detracted - which it seemed like it was, sadly.

Then came the main act. The sound quality was much more balanced, with the vocals clearer and louder - and Jesse definitely delivered. Throughout the set, he delivered perhaps half of the vocal lines as they were on the record, and particularly liked to sing off-beat and at a different pace. The newer stuff, less so, which I appreciated, as did the audience. The strange omission of second single 'The Beach' indicated to me that he didn't want to sing as high pitch as he does in the chorus on that song, and throughout the set he rarely hit high notes, or attempted to. When he did, he did them with ease and elegance. It's a shame he didn't do this more.

Aside from the missing 'The Beach' and a mild dip in tempo early on due to a song off the mixtape and 'Baby Came Home', one of their first ever songs, the music flowed, oozing in quality. 'Cry Baby' sounded just right, with enough bass to satisfy an arena, but in the Roundhouse. There has to be a special mention for their session musician, who even had the guitar shone on him during 'Sweater Weather' as he played the acoustic guitar part towards the end. Throughout the night he played some underlying bass or acoustic guitar that wasn't by any means lead, but supplemented the music the band was playing. I am a huge fan of the guitar work both guitarists do, as they sound ambient but driven at times and I have a passion for that. Zach's acoustic guitar was far overpowered in some songs later on, particularly 'Baby Came Home 2', which must surely be a levelling error.

The best moments perhaps came unexpectedly. 'Wiped Out!' could be argued to be the weakest song off the album with the same name, yet sounded fantastic live. The guitar was louder, and the drums in the transition to the end were brilliant, with a fantastic light show highlighting the drummer too. The lighting throughout the gig was effective and not too much. However, having seen clips of the light show and stage setup they had in America, it is a bit disappointing to not see it over here. Perhaps they should have done a tour like this for a little cheaper (£17.50 is a great price for a touring band from America!), and then this autumn come back with the full stage setup. It is worth nothing that they have done a fair few tours already in the UK, and they are only on their second album. After opting to spell their name the UK way, it only seems fair.

Before the gig, I sat next to two business in a restaurant who were talking about the band. They were surprised at the huge queues for the band, which long went past the 7pm doors opening, so clearly were not aware of the fanbase or the recent trends in gigs. One of them looked up reviews for their album, and stumbled across Rolling Stone giving the band 2/5. "2/5!", he exclaimed. The other fellow replied "Rolling Stone? They're old hat, has beens." It was with that I realised the Neighbourhood was unlikely to gain any fans after tonight if they were not hugely into them, and secondly that they thought the magazine was run by the band. Stuck between a rock and a hard place, I left them be and saw them at the end absolutely slaughtered, with smiles all around. Maybe they are fans now? All I know is, the gig was a perfect way for them to end the tour, and perhaps start thinking about where to go next on a third album.

Interview: FREAK

I first heard about new Chelmsford artist FREAK through a good friend of mine, Linn Branson over at Little Indie. I noticed he posted a photo about having a live band ready, after recording, producing and mastering his first EP all by himself. I recognised the place - it was the same studio I had used myself to record my first EP with Flares. After getting in touch with 18-year-old FREAK, real name Connar Ridd, I had a little interview with him recently. Have a read below and make sure you check out his recent EP, 'What Happened?".