Friday, 11 March 2016
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?".
Hello Connar, how are you firstly?
Hey Harry, yeah I'm good thanks, yourself?
I'm good, too! How would you describe your first EP to those that haven't heard it yet?
I'd describe my EP as a mix between rock and indie. It would appeal most to people who like music with an edge, that is pretty angry! If you like Nirvana, METZ, Artic Monkeys and Red Hot Chili Peppers then you should definitely give it a listen!
I am a big fan of what I've heard from you so far, and couldn't believe it when I saw Card Trick Studios on my timeline from you! Do you feel proud that Chelmsford is becoming the new Birmingham, with Rat Boy surging into the limelight too?
Chelmsford is wicked, how could someone not love a bit of Chelmo?! I think Chelmsford has a great music scene. There are so many bands playing the Asylum or Bassment that are really good, so it wouldn't surprise if more bands from here got attention!
Do you have any plans for more material in the near future, or is the album next?
I have already written my new song, which may be re-recorded professionally and then released as a single. Other than that, I have a lot of ideas, and whenever I have the time to write and record them I will! An album won't be out this year, perhaps mid next year, but that is all really far ahead! At the moment, I'm just focusing on getting three or four other songs ready to perform live with my band and get recorded.
Any festival dates or tour dates you could tell us about?
We are not looking to play any gigs or festivals. Me and the band are practising a lot, and when I feel we are ready in a few weeks then we will start thinking about getting some gigs lined up, but at the moment, it's all a bit too soon despite how much we would like too!
Where do you see yourself in a year's time?
In a years time... that's a hard one! In a years time, I'd hope to have had more people listening to my music and checking out the social media pages. I'd love to being playing a lot of gigs all over the country as well! In terms of songs, I would like to have written a large pool of them from which I can look at, and try to figure out what to do with - whether that be an album, EP or just more singles!
Saturday, 27 February 2016
The 1975 // I Like It When You Sleep... - Review
The first track after the intro, geniously titled 'The 1975', is 'Love Me'. It invites people to criticise him, as he criticises the media and society - something I really welcome. He talks of declining standards of what we accept, which is meant in both musical terms and in the UK. He references the Kardashians in the lyrics ("caught up in fashion, Karcrashian panache and a bag of bash for passion" is a fantastic lyric to hear), and David Bowie's 'Fame' and 'Fashion' in the guitar and overall 80s feel to the song. It's a great introduction to the new, slightly more pop sound that the band have clearly worked hard on.
'UGH!' is next, with an infectious guitar line that invites you in and continues throughout the whole song, as Matt muses over, again, what he hates about the media and his own demons and struggles with drugs. The subject matter isn't really hidden in this if you can get past his sometimes obtuse delivery in chunks of lyrical content, which does not happen on the first listen. Unlike with 'A Change of Heart', which slows the pace considerably, talking about how small breasts can be an issue in a relationship, and how taking photos of salads and putting them online is a bit shit. The girl in the narrative says to the recipient they "look like shit and smell a bit", and used to look like a face of a magazine, now just looks like anyone. It's a lugubrious tale indeed, and the simplest song on the album musically and to understand, similar to the later track dedicated to his grandmother, 'Nana'. The lyrics are touching, and reference his view on heaven, but nonetheless wishes she could hear him.
Elsewhere on the album, tracks like 'She's American' and 'The Sound' advance the sound of the first LP from the band. The guitar is catchy, almost copying what riffs they've done before. Challenging his own issues once more on 'She's American', he references his own breakdown on stage in 2014 where people commented that he'd lost it. The song acts as a self-referential come down from a massive drug binge. 'The Sound' attacks - and quotes in it's brilliant music video - it's critics from the first album. A positive and uplifting song about love in the chorus, is interspersed by comments during a relationship with someone who hates his shoes and his tunes, but still would move in. The brilliant thing is that all the quotes in the songs lyrics over the album are probably direct quotes, and someone has actually said all these ridiculous things.
The best moments on the album come from when they bravely try to advance some of their edgier aspects to the band. The synthetic sounds found on 'M.O.N.E.Y' and 'Menswear' are brought back with plenty of electronic drums and saxophone in a delicious blend of music input on 'If I Believe You'. It's truly fantastic, and provides, within the first five tracks, a huge amount of variety already, more so than other bands would have over an entire album or career. The following interlude, 'Please Be Naked', acts as a statement of intent with piano throughout and odd samples of what sounds like coffee cups being crushed and doors being shut. It presents itself as "please be naked, I am fantastic at what I do, listen to this", which is just what you expect from the frontman of a band that is outrageous and intelligent, with a screw loose. How convenient of a description, as 'Lostmyhead' follows, continuing an annoying pattern they have to put their finger up to grammar and forget about spaces and/or capitalization (// T H E I R T W I T T E R I S P A I N F U L //). The song threatens to never get started, and just as it does, withdraws from existence.
'Loving Someone' is the arguably the best moment, in a large collection of 'moments', on the album. The collection of sounds that backup his near rap delivery provide a backbone for the message of loving someone. It sounds like their contemporaries 'The Neighbourhood' who they toured with a few years back, but it sounds just like they should be sounding all the time - unique. The title track provides several acts worth of nursery style music, but made for gigs, and clubs later on in the song, embodying the lovely message the title brings with it.
Before this review becomes as long as the 75-minute album, it can be said this is a brilliant collection of pop-alt songs. The singles sustain the album, it has to be stated, as otherwise it is a large collection of sounds that don't corroborate with the art they try to portray. Ignoring all the annoying media frenzy - and PR issues I have encountered with the band - this is well worth the time you would need to invest to digest this cynical album. This won't reinvent the wheel, as they clearly so wish they could do, but it can be laughed at, yawned at or danced to all at the same time. Both brilliant and boring in places, how many times can you say that about music?
9/10
'i like it when you sleep, for you are so beautiful yet so unaware of it' is out now (although, rather annoyingly, not on Spotify until March the 11th).
Check out: Love Me // Loving Someone // Nana
Friday, 12 February 2016
Ocean Flaws // Dancing To The Fear - Review
Ocean Flaws have finally released their debut EP after a year of hard work. I interviewed the band over at The Verse, which you can read here, and have had the pleasure of having their 'Dancing To The Fear' EP for a week. Read on to see what I think of the band's release.
The EP kicks off with 'Intro', and provides an insight into the ambition of the band and what you're about to listen to for 18 minutes. Saxophone and reverb-heavy guitar starts off before a more piercing guitar comes into focus. The treble-heavy guitar and behind the pickup guitar play is welded together by some light drums before the first main track starts.
Mojo kicks off the album with a fantastic intro full of layered sounds. Whether it is the phaser guitar, the drums or the vocals - there is something to enjoy on this track. The backing vocals are a real addition to the track, as is the varied guitar in each verse, adding a sense of creativity often avoided with copy and pasted guitar work. Freedom always produces great lead guitar, and this is a fantastic example of that. The drums by no means are your normal indie drums, as they quicken at the right moment and take a backseat just when they need to. The build up is fantastic towards the last chorus, with the pedal twiddling guitar delay creating another layer to add to the song.
Having already heard 'Like a Fool' years ago, at first it was disappointing to see it make a reappearance. However, they have done a superb job of it. It may seem lazy to redo an old song, but there is sufficient evidence here to say this was not a quick rework of the song. Anyone who has been to see them live will know they have been reworking the song ever since release, improving it part by part. The bass is far more prominent and superior to the original bass lines, and the vocals are delivered more confidently, with emphasis on key lines throughout the verses. You can check out the video to the song below, shot at a school very close to home:
The title track, 'Dancing To The Fear', is a slower number from the band. Starting with harmonic guitar and a large helping of reverb, the vocals come in with a tale of liberation. The drums thump as they introduce themselves. Vocals are at the forefront of the track, and it makes a bold statement by the band. As guitar strum their way through the second verse, the track comes into its own just before the 3-minute mark with some delicate guitar reminiscent of The Maccabees 'Given To The Wild'. This is a great example of how music does not have to be full to the brim of lyrics all the time, or even drums or using all the members of the bands strings. The song ends as it begins, rounding off my personal favourite track of the EP.
Recently unveiled, 'Silver Screen' would not be out of place au cinéma. Bass starts the song, and then drums begin to take part. The vocals are probably the weakest on the album for me right at the start, but the guitar is teasing bigger things as the drums plod along in the background. The bridge is fantastic - hinting at the chorus, before pulling back to a guitar line that Foals wish they had written. They'll be jealous as fuck, this song is catchy.
Not once does this EP try to copy each anyone else, or even copy their past as 'The Shermans'. This is a promising sign of a new direction, and I wish them all the best. There is no self-indulgent bullshit that big bands like The 1975 and Kanye West can get away with, and I'm sure they will be the first to say they don't plan to ever to do that.
I really hope these guys go far, as they truly deserve it, and this EP is evidence of that.
8/10
'Dancing To The Fear' is out now.
Check out: Mojo // Dancing To The Fear
The EP kicks off with 'Intro', and provides an insight into the ambition of the band and what you're about to listen to for 18 minutes. Saxophone and reverb-heavy guitar starts off before a more piercing guitar comes into focus. The treble-heavy guitar and behind the pickup guitar play is welded together by some light drums before the first main track starts.
Mojo kicks off the album with a fantastic intro full of layered sounds. Whether it is the phaser guitar, the drums or the vocals - there is something to enjoy on this track. The backing vocals are a real addition to the track, as is the varied guitar in each verse, adding a sense of creativity often avoided with copy and pasted guitar work. Freedom always produces great lead guitar, and this is a fantastic example of that. The drums by no means are your normal indie drums, as they quicken at the right moment and take a backseat just when they need to. The build up is fantastic towards the last chorus, with the pedal twiddling guitar delay creating another layer to add to the song.
Having already heard 'Like a Fool' years ago, at first it was disappointing to see it make a reappearance. However, they have done a superb job of it. It may seem lazy to redo an old song, but there is sufficient evidence here to say this was not a quick rework of the song. Anyone who has been to see them live will know they have been reworking the song ever since release, improving it part by part. The bass is far more prominent and superior to the original bass lines, and the vocals are delivered more confidently, with emphasis on key lines throughout the verses. You can check out the video to the song below, shot at a school very close to home:
The title track, 'Dancing To The Fear', is a slower number from the band. Starting with harmonic guitar and a large helping of reverb, the vocals come in with a tale of liberation. The drums thump as they introduce themselves. Vocals are at the forefront of the track, and it makes a bold statement by the band. As guitar strum their way through the second verse, the track comes into its own just before the 3-minute mark with some delicate guitar reminiscent of The Maccabees 'Given To The Wild'. This is a great example of how music does not have to be full to the brim of lyrics all the time, or even drums or using all the members of the bands strings. The song ends as it begins, rounding off my personal favourite track of the EP.
Recently unveiled, 'Silver Screen' would not be out of place au cinéma. Bass starts the song, and then drums begin to take part. The vocals are probably the weakest on the album for me right at the start, but the guitar is teasing bigger things as the drums plod along in the background. The bridge is fantastic - hinting at the chorus, before pulling back to a guitar line that Foals wish they had written. They'll be jealous as fuck, this song is catchy.
Not once does this EP try to copy each anyone else, or even copy their past as 'The Shermans'. This is a promising sign of a new direction, and I wish them all the best. There is no self-indulgent bullshit that big bands like The 1975 and Kanye West can get away with, and I'm sure they will be the first to say they don't plan to ever to do that.
I really hope these guys go far, as they truly deserve it, and this EP is evidence of that.
8/10
'Dancing To The Fear' is out now.
Check out: Mojo // Dancing To The Fear
Thursday, 29 October 2015
The Neighbourhood // Wiped Out! - Review
The Neighbourhood are a lucky band. When they released a demo of 'Sweater Weather' and 'Female Robbery' back in early 2012, they couldn't possibly have known the rise to popularity they were going to experience. Now, their gigs are full of girls screaming their name. Putting aside the topic of love and romance that pleases their screaming majoritarily female fanbase, they had to follow up their debut 'I Love You' with a more mature record, one that can both expand their fan base and tell everyone that doubted their dark pop, indie credentials that they really mean business.
The lead single 'RIP 2 My Youth' certainly sends a message out. The dark topics of loneliness and the feeling of youthfulness escaping Jesse, the singer, continues. Bleak and entirely unabstract, the song details how they are willing to move on from the opportunities life presents in the teenage years, and accept adulthood - even if they admit this by referencing Channel perfume. Accepting "there's only so much I can do", the band decide to present this concept-inducing single right at the end of the album. I for one cannot remember the last album I listened to that had it's lead single finishing the album. Before listening to the album, I fully expected this to hinder the flow of the album, as what was coming was known. However, it draws a fulfilling close to the album's theme and auditory experience. They pull this off because a) it isn't the best song on the album and b) they haven't stuck it in the third quarter, which usually serves to provide an inkling of hope that the rest of the album is utterly brilliant. The Neighbourhood need not, this album doesn't need gimmicks.
But, apparently they do. 'The Beach' was the next single to be released off the album, and with it came a weird, heavy-handed promotion of a production duo that worked on the song. This always strikes me as odd, as it is an album and should be a package; not bits tied together with different authors and handlers. Did they just boost the bass on the song? We'll never know, perhaps. It doesn't really matter, as 'The Beach' is easily one of the most catchy and interesting songs on the album lyrically and sonically, with a very dark exterior. Darker topics have always been their favourite, whether it be cloaked in minor key music or cloaked underneath lyrically. The theme of losing someone, and trying to keep that person in the first place, runs throughout the record. The opening lines express concern for the level of lust between the two of them: "If I told you that I loved you, tell me, what would you say? If I told you that I hated you, would you go away?" The concern for his love going unoticed is entirely unselfish, and a nice touch to add to a commercially packed album.
The album has far less of an electronic tinge to it than their previous releases. Perhaps their mixtape released last year was done as they knew the direction they were heading in and got out of the way their samples and beats lined up. Whilst slightly disappointing, the album has more of a pop feel to I than expected. Guitars are far more prominent I would say, creating a rhythmic ocean-like sound, with rolling melodic lines, successfully creating the image the title is going after. They've hit the jugular, here. The album perhaps isn't as catchy, too. The lyrics do not always rhyme or flow in an obvious way, creating far more intrigue and processing than before.
The overall package is more pop, but how many pop albums have you heard that so transparently talk about death? 'Daddy Issues' couples together the traditional issue some women face of having daddy issues, the sort that litter American movies, with an open discussion about his father leaving him and dying. It's dressed up in quite an upbeat fashion, indeed, so is the whole album - very surprising considering what they have evidently experienced. The album even has a subtle love song to Jesse's partner, 'Single', which is entirely open in nature and I'm sure will be cherished by both the couple, and heartthrob fans alike. It takes courage and skill to do so, something they have achieved magnificently.
'Ferrari' and 'Greetings From Califournia' are the closest tracks to the previous albums sound. 'Ferrari' starts off with a viciously distorted guitar line, before returning to a more mellow sound. But neither of them are childish in nature or thrown in to keep some fans happy. The bass is certainly more prominent this album, and the drums receive a bit more unique experimentation. Acoustic guitar matches low-key percussion on several tracks, which is a brilliant relief from a full-on attack of the senses when hearing the main tracks off the album. 'Cry Baby' in particular is driven by bass, but cuts back right at the end to hear just Jesse and an acoustic guitar. A gentle, caring touch.
A progression rather than an overhaul, this album presents them as serious indie members of music culture. Their black and white imagery may be here to stay, but their colourful music has expanded its horizons.
9/10
'Wiped Out!' is out now.
Check out: Cry Baby // Single // The Beach
 |
| Credits: @thenbhd Instagram |
The lead single 'RIP 2 My Youth' certainly sends a message out. The dark topics of loneliness and the feeling of youthfulness escaping Jesse, the singer, continues. Bleak and entirely unabstract, the song details how they are willing to move on from the opportunities life presents in the teenage years, and accept adulthood - even if they admit this by referencing Channel perfume. Accepting "there's only so much I can do", the band decide to present this concept-inducing single right at the end of the album. I for one cannot remember the last album I listened to that had it's lead single finishing the album. Before listening to the album, I fully expected this to hinder the flow of the album, as what was coming was known. However, it draws a fulfilling close to the album's theme and auditory experience. They pull this off because a) it isn't the best song on the album and b) they haven't stuck it in the third quarter, which usually serves to provide an inkling of hope that the rest of the album is utterly brilliant. The Neighbourhood need not, this album doesn't need gimmicks.
The album has far less of an electronic tinge to it than their previous releases. Perhaps their mixtape released last year was done as they knew the direction they were heading in and got out of the way their samples and beats lined up. Whilst slightly disappointing, the album has more of a pop feel to I than expected. Guitars are far more prominent I would say, creating a rhythmic ocean-like sound, with rolling melodic lines, successfully creating the image the title is going after. They've hit the jugular, here. The album perhaps isn't as catchy, too. The lyrics do not always rhyme or flow in an obvious way, creating far more intrigue and processing than before.
 |
| Credits: @thenbhd Instagram |
The overall package is more pop, but how many pop albums have you heard that so transparently talk about death? 'Daddy Issues' couples together the traditional issue some women face of having daddy issues, the sort that litter American movies, with an open discussion about his father leaving him and dying. It's dressed up in quite an upbeat fashion, indeed, so is the whole album - very surprising considering what they have evidently experienced. The album even has a subtle love song to Jesse's partner, 'Single', which is entirely open in nature and I'm sure will be cherished by both the couple, and heartthrob fans alike. It takes courage and skill to do so, something they have achieved magnificently.
'Ferrari' and 'Greetings From Califournia' are the closest tracks to the previous albums sound. 'Ferrari' starts off with a viciously distorted guitar line, before returning to a more mellow sound. But neither of them are childish in nature or thrown in to keep some fans happy. The bass is certainly more prominent this album, and the drums receive a bit more unique experimentation. Acoustic guitar matches low-key percussion on several tracks, which is a brilliant relief from a full-on attack of the senses when hearing the main tracks off the album. 'Cry Baby' in particular is driven by bass, but cuts back right at the end to hear just Jesse and an acoustic guitar. A gentle, caring touch.
A progression rather than an overhaul, this album presents them as serious indie members of music culture. Their black and white imagery may be here to stay, but their colourful music has expanded its horizons.
9/10
'Wiped Out!' is out now.
Check out: Cry Baby // Single // The Beach
Friday, 23 October 2015
Adele // Hello - Single
Adele is back, and so is inarguably the most powerful voice in the industry. I did wonder when she broke her vocal chords whether she would make a full recovery, as she is reliant on the sheer velocity of her voice breaking ear canals. My concerns were dumbfounded, it seems.
On this new track 'Hello' taken from her third album '25', we hear about another tragic story. Except, it isn't meant to be. We were promised this album would be more positive, a make-up record in fact. What we have got is something definitely not upbeat, but what remains to be seen in whether she will deliver this promise. We will know when the album comes out in under a months time.
Adele hasn't released an album in over 4 years; so little other artists could get away with this. So little other artists could get away with her musical progression, too. There's been virtually no progression since her first album, with ballad after ballad providing a soundtrack to teenage heartbreak globally. Having sold over 21 million copies of '21' worldwide, I think it is a safe assumption to say she won't feel any pressure to progress, or indeed promote the album before it comes out too much. There's been, I imagine, suspense with the fans that have been looking forward to more material for years. By leaving less than a month before it comes out, it almost is more promotion than leaving the traditional 8-12 weeks.
'Hello' remains lugubrious in nature and withheld inability, but ultimately this is a great comeback track for Adele. There's something different in the delivery of the chorus, and realistically this will go on to sell millions. So really, who cares what I think about it? I could think it is the shittest thing since unsliced bread, but Adele wouldn't bat an eyelid. She can afford not to.
You can listen to 'Hello' below:
On this new track 'Hello' taken from her third album '25', we hear about another tragic story. Except, it isn't meant to be. We were promised this album would be more positive, a make-up record in fact. What we have got is something definitely not upbeat, but what remains to be seen in whether she will deliver this promise. We will know when the album comes out in under a months time.
Adele hasn't released an album in over 4 years; so little other artists could get away with this. So little other artists could get away with her musical progression, too. There's been virtually no progression since her first album, with ballad after ballad providing a soundtrack to teenage heartbreak globally. Having sold over 21 million copies of '21' worldwide, I think it is a safe assumption to say she won't feel any pressure to progress, or indeed promote the album before it comes out too much. There's been, I imagine, suspense with the fans that have been looking forward to more material for years. By leaving less than a month before it comes out, it almost is more promotion than leaving the traditional 8-12 weeks.
'Hello' remains lugubrious in nature and withheld inability, but ultimately this is a great comeback track for Adele. There's something different in the delivery of the chorus, and realistically this will go on to sell millions. So really, who cares what I think about it? I could think it is the shittest thing since unsliced bread, but Adele wouldn't bat an eyelid. She can afford not to.
You can listen to 'Hello' below:
Subscribe to:
Posts (Atom)