Arliston // Introducing // Two Times Single Review

Single, EP and Album Reviews, Uncategorized

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Arliston, an emerging band from East London caught our ears earlier this week and you too may have heard them over the airwaves as they’ve been receiving a lot of radio support – tune in this weekend to Huw Stephens BBC Radio 1 show where you can hear their new single: ‘Two Times’.

They have created a signature sound; blending lush textures, soulful vocals and expansive soundscapes after working closely with engineer and songwriter Chris Blakey (Nick Cave & the Bad Seeds, Death in Vegas, Lloyd Williams).

To us, they are reminiscent of Hanging Valleys layered instrumentals twinned with a cross-between Bon Iver and Guy Garvey’s vocals.

Initially, the listener is greeted by sparse piano and muffled voices of fishermen. As their voices and worries cement and grow firm the first loop of the piano falls into place, followed by the thudding drumming and a chorus of synthesizers and vocals.

The constant piano loop sets up the off-kilter syncopation that the drums intertwine with, and bounce off of, as though some kind of mad fish darting upstream – suffusing the song with an unusual and compelling rhythmic intensity.

The song itself explores themes of fear, and how fear of failure can often be the only surefire way to guarantee it. In the bands words “the voices captured this real, palpable sense of every worry in the spectrum, from domestic worry to sheer survival…putting a song around it couldn’t have been easier, as frankly we’re all hand-wringing worriers in Arliston”.

Come join us at their headlining Colours, Hoxton show on Mon 23 Sept

Follow Arliston on Spotify // Facebook // Instagram

Words: Rachael Crabtree (@eccentric_eejit)

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Carmody: ‘Catching Blue’ EP Preview

Single, EP and Album Reviews, Uncategorized

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We have been following Carmody for a little while now and ran a really engaging feature with her recently. We talked everything topical, from mental health, feminism, full-circling back to songwriting and poetry and confession that (like myself) she too is a word fiend! 🙂

Carmody’s songs are motivated by connections and relationships – they nearly always stem from personal experience, and I was personally taken in, not least her stunning vocals, and 70s dreamy folk quality, but the way Carmody writes about love – akin to Kate Bush; love is narrated through a woman’s eye’s, her songwriting is sensual, distinctly unafraid and empowering. And you cannot help but be motivated by the mantra she writes by; a Nayyirah Waheed quote: “the thing you are most afraid to write, write that.”

When writing this new material, she learnt one of the most important things about herself. “I could write about more than love, although I realise these last two singles are about love, I’ve covered a lot of new ground, subjects that I never imagined I would be singing about. Such as dementia, depression and the way we struggle to talk to each other about death. It’s actually pretty dark, but was a very therapeutic lyrical challenge.”

The first new single: ‘Dreamweaver’ is, in Carmody’s words, about the life of a  songwriter. “Spending countless hours weaving stories from a multitude of sources and putting every piece of feeling we can into them in the hope they might bloom. When we send songs out into the world, it sometimes hard to know where they came from, I think some writers believe they’re channelling deities, others (like myself) can only really write about things they’ve personally experienced. But I guess there’s always a hope that they will resonate in someway, but you never really know what journey or life the song will take after it’s been written.

When I went to Nashville last year I met so many songwriters all with their own stories, creating out of conversations, making art from their days and listening very intently to each other in the hope of finding their next song. It was an interesting place to write in and when I met Kevin Dailey (who I wrote the track with) ‘Dreamweaver’ felt like a song that had always been swimming around in my lungs, but for years I hadn’t known how to let it out. I remember after I wrote it I text my friend in London and said ‘this feels like the song I’ve been thinking about and trying to write my whole songwriting life’. And that is the wonderful sorcery of songs, you never quite know when they’re going to appear.”

The second and latest single, ‘Being Without You’ that will also be on the much anticipated EP: Catching Blue, marks a new musical territory for Carmody.

“I read that grief is what love becomes when someone dies,” says Carmody. “It really got me thinking about death — how words feel completely inadequate when you try to comfort someone and how after a while, there is an idea that you should move on. In my music people are often saying to me to write something happier; and although I have done, I’m just more comfortable writing in my ‘blue’ territory. This song is kind of my resistance.”

Catching Blue’ is released early September!

Follow Carmody on Spotify // Twitter // Facebook // Instagram

Words: Rachael Crabtree (@eccentric_eejit)

Plastic Mermaids // Album Review // Suddenly Everyone Explodes

Single, EP and Album Reviews, Uncategorized
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‘Suddenly Everyone Explodes’
Released 24th May 2019
Sunday Best Recordings

‘Suddenly Everyone Explodes’ completely caught me off guard – never, has the term genre-bending, been more aptly alined.

This debut album from the Isle of Wight based five-piece is sure to bring many a new ear to the party. To be frank, we are at odds as to how their (three) EPs missed our radar.

Unhinged and enamoured from start to journeys end, your thirst for outlandish, left field pop will be quenched.

Plastic Mermaids combine space-rock, orchestral-pop, psychedelia and spoken word with aplomb.

Framing the dichotomy between awe and fear of our modern/digital age through the euphony of spacey electronics, operatic strings, choir choruses and socially conscious lyrics.

Unquestionably ‘Yoyo’ is the highlight track because of it’s poetry; pensive lines and overlapping metaphors challenge perceptions of life and death. Perhaps the poignancy is enhanced by the fact it’s vocally very different from the rest of the album, and is mostly spoken word, accompanied by rising choir choruses.

But seriously, who would of considered drawing on the perspective of a personified yoyo, never mind one who challenges cosmic mysteries? Songwriting stardust right there.

The eponymous yoyo cannot not be ignored – we must “free ourselves and just let go of everything…(and live a little) let’s smash into the floor and explode like a Jackson Pollock…I wish we could do this everyday, but it seems, at least for now, that death is a one way journey.” And suddenly, everyone explodes!

Suddenly Everyone Explodes is out 24 May 2019 via Sunday Best Recordings

Follow Plastic Mermaids on: Facebook // Twitter // Instagram

Words: Rachael Crabtree (@eccentric_eejit)

Jeremy Tuplin // The Slaughtered Lamb // Live Review

Live Reviews, Uncategorized

Jeremy Tuplin and his band (The Ultimate Power Assembly) took to the stage in what was an overcrowded and intimate affair in the candle-lit basement of the iconic folk circuit venue, The Slaughtered Lamb.

Opening with the more autobiographical ‘Can We Be Strangers’, the set-list continued with all the songs from his latest album, Pink Mirror, alongside older classics such as ‘O Youth’ and ‘Albert Einstein Song’.

Significantly, the placement of the opening, middle and closing tracks were punctuated by the social commentary on the modern world from new tracks such as ‘Love’s Penitentiary’ and ‘Pandora’s Box’, with ‘The Machine’ placed somewhere in the middle, before closing the night with one of my favourites: ’The Beast’ allowing Jeremy’s own vulnerabilities as a writer to come through structurally in balance to exposing human natures dark sides.

Tuplin’s crowd interactions were nothing short of sharp commentary in-between songs, framing his understated and dry humoured character, levelling that of his singer-songwriter personality. Sharply astute to the trajectory of his laconic lines upon his listeners; we followed his poignancy with equal measures of laughter, often double taking what we heard, re-considering our interpretations before digesting hidden irony.

We fed off his idiosyncrasies and were all here tonight in what Jeremy described to us as an “album awareness concert” for his second album: ‘Pink Mirror’ (officially released: 5 April). We watched on as band and solo performances were separated by the non-performing members covering themselves with white sheets, like little ghouls upon stools. Tuplin even donned a pair of rose-tinted shades for ‘Pink Mirror’, “these are meant to be pink, but you can’t really see that. Well worth 15 quid” he jested.

As the evening developed it was really intriguing how Jeremy engaged with his audience – it was not only the familiar warmth, “It’s great to see so many of you, loads of music people, my friends and family, and strangers too, soon to be friends, I hope” but that role he takes as a performer and writer. His deadpan baritone delivery and half rhyming poetry navigated its way to our hearts. Essentially identifying that we are all flawed human beings, and making light both lyrically and through stage props, offering his performance as a both a piece of art – a gift conjured from dreams – and a sharp depiction of reality.

It is songs like ‘Bad Lover’ where art imitates life; lyrics hint towards his role as a songwriter: “Here we go again yet another account. Whatever’s inside me I’m gonna twist around and spit it out.” Whether that be “..astronaut dreams intended for your escape..or detail all the pieces of my poor broken heart” Jeremy writes to address various issues, either escapist dreamlike stories or personal accounts of heartbreak, for our benefit, and agreeably “altering minds one lyric at a time.”

In reverse, life imitates art with the song: ‘The Machine’; in his day-to-day life as a writer something begs him to question and reflect upon his life and profession: “Then I think of everything I do, think feel or see, it barely contributes to the economy” and yet we do also “suffer these same internal dialogues”.

Whether life imitates art or his art imitates life itself, Jeremy, however consciously, has developed a voice of his own and narrates the chaos of life and the intimacy of desire, vanity and representations of love in a way that is both pensive and witty. He is without doubt one of the most subversive songwriters and performers of our generation.

Pink Mirror is out on 5 April 2019 via Trapped Animal Records & Cargo Records

Follow Jeremy Tuplin on: Facebook // Twitter // Instagram

Words: Rachael Crabtree (@eccentric_eejit)

Durand Jones and the Indications Interview

Interviews, Uncategorized

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“We’re not the type of people to say “all artists have a duty to write political music.” We just write about the things that are important to us.”

We caught up with Indiana-based soul artists, Durand Jones and the Indications, to get to the heart of their music and it’s power to connect with such a diverse amount of people worldwide.

Premiering new songs of their latest album: ‘American Love Call’ the other week, at Dingwalls, Camden, their sentiments resonated with the crowds; the album itself is very much a love letter to life and an expression of how people are feeling right now – their deep lyrics feed the soul.

Elizabeth: Firstly, take us back to the start of the band and where you all met?

Durand: This project got together in the autumn of 2012. I was working with the IU Soul Review as a graduate assistant. Soul Review is a class students can audition for. The ones who get in learn about and play soul music. I taught the horn section, wrote horn charts, and arranged horns parts. I was asked to sing for the class as well since this year was short on guys. They knew I sang with bands back in Louisiana, and since it was my job I reluctantly said yes. The particular category of study this semester was Motown. I sang backgrounds on some Temptations stuff, and had a solo on a Marvin Gaye and Tammy Terrell duet— ‘For Your Precious Love.’ That’s how I met Blake Rhein who gave me Charles Bradley’s ‘No Time For Dreaming’ on CD one day after class. In that way he established a friendship with me and invited me to hang with him to sing on a tune he was writing. The tune became ‘Givin Up’. He then introduced me to Aaron Frazer. And we all began writing together. We started to hang and listen to records as well. They introduced me to a band that they played in called Charlie Patton’s War. They were a rowdy rock and roll band and the first time I played with these guys was in a basement to Otis Redding’s ‘Dock of the Bay’ at party in a basement. That was the start!

E: Durand, you mentioned you were from a small town, in what ways has coming from a small town impacted you?

I’m from a very rural part of Louisiana. A place called Hillaryville, Louisiana. Coming from a rural area I got to explore for miles in the woods, go fishing and swimming in the Mississippi River and learn a traditional style of singing that isn’t practiced much anymore in the Baptist church. Our parents forced us to be outside and wouldn’t let us back in until the sun was going down. That is how I discovered my love and need for nature. In the country things are still so all of your senses and emotions are heightened. Moving to Bloomington was a wake up call. I didn’t realise how poor I grew up until I moved up there, or how country I was. I recently moved back to Hillaryville after doing stints in Chicago and NYC and I must say it truly feels like a completely different world between Hillaryville and those places. I love the country life and it’s where I want to be for the rest of my life.

Aaron, when we met at your Dingwalls show, you mentioned you played in a punk band. How did you find the transition in going from punk to soul?

Haha, well more punk-blues than straight up “punk”. Before we met Durand, 3/4 of The Indications had been in our own rock n roll band called Charlie Patton’s War. We had a reputation for putting on super rowdy performances; Blake used to stand on top of my kick drum etc. We played a ton of shows over 3 years – mostly house shows and dive bars. But that meant that when we met Durand, the band was already tight. The soul and rock artists we enjoy are ones that celebrate passion and prize grittiness.

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Durrand Jones and the Indications owning that stage at Dingwalls, Camden

And at what point did you all realise you guys had something special as Durand Jones and the Indications? – Do you guys still play in other bands?

Blake: Last year when we played the Troubadour in L.A., the whole room sang every word to  “Is It Any Wonder,” which was completely surreal. People we’re even singing along to “True Love,” which at that point only existed live demo on YouTube.

Aaron put out a really great 45 under the name The Flying Stars of Brooklyn. That band featured Eli “Paperboy” Reed and they are amazing live. They play a fundraising show once or twice a year, so if you’re in NY keep your eyes peeled.

You all have such amazing energy on stage. I remember the first time seeing you play (at the Lexington, London) and was blown away by your energy and humbleness. You guys put so much energy into each show. How do you consistently maintain this? 

Durand: A lot of it comes down to touring smartly. We don’t drink or smoke much and try to eat right. There’s so much music out there, and so many touring artists, that when people decide to pay attention to what you’re doing, you better return the favour and give them your all on wax on stage.

How do you find touring? How was last years 10 week tour – any crazy stories to share with us? 

Blake: I had a hard time with being on the road for long periods of time at first. I love having my own space to be creative, draw, and paint. That’s basically impossible on the road. But I’ve found my ways to stay happy and healthy on the road and I’ve really come to enjoy it.

One of my favourite stories was from Kansas City last year. After the gig, we all ended up at the same little jazz club down the street from the venue. Most of us were at a table in the back and there was a little quartet in the front playing standards. Out of nowhere comes a wild-as-hell trumpet solo, and sure enough it Kiinch, who was touring with us at the time. The crowd was way into it, but the house band, who were undoubtedly upstaged, were not.

At Dingwalls the other week, we really loved the bands matching shirts, reminds us of the soul bands. We were also admiring how there was a real diverse mix of people and ages. Soul music is what brought them there, you have really connected to people. Tell us more about the support coming through as of late?

Blake: Early on, we had a small coalition of fans who came from the record collecting community. That group along with the independent record stores clerks that were recommending the record were crucial in getting us off the ground. But the more we’ve toured around, we’re meeting all different types of music fans. We’ve met some fans who love live music more than anything and will come see us multiple times over the course of a week on tour. We’ve met fans who are totally new to collecting soul 45s who probably bought their first single at our merch table. One of the most rewarding group of fans we’ve connected with is the lowrider community throughout southern California. A lot of these folks have been listening to this style of music for 50 years. They’ve been incredibly enthusiastic and supportive about what we’re doing.

Durand Jones 3; Elizabeth Andrade

Framing the moment after their sold-out in-store gig and album launch at Rough Trade, East

Congratulations on the new album: ‘American Love Call’ – it feels like a love letter or expression of your feelings to America. Tell us more about the dynamics in writing and  sharing vocals.

Durand: Everyone writes and brings ideas to the table when it comes to the songwriting. Sharing the vocals is something that reminds us of all of the vocal groups that we have come to love. With the resurgence of this style of soul music, many bands call upon high power shouting soul singers but no one has embraced the musings of someone like Eddie Kendricks or Damon Harris, and Aaron has filled that void I believe. He gives us a unique and refreshing dynamic to the group. Although I’m not doing much soul shouting anymore, it’s a nice contrast between us two.

I’m loving the political commentary on your songs. It really connects to what people are going through. I heard what you said at Rough Trade East, that 78% of Americans are living from pay check to pay check. It kind of reminds us of Charles Bradley ‘World is Going Up in Flames’ and Aloe Blacc ‘I Need a Dollar. It feels like you are following on from them but doing it in your own way. 

Aaron: It’s a crazy statistic, but it’s true. We’re not the type of people to say “all artists have a duty to write political music.” We just write about the things that are important to us. And among those things is the idea of intersectionality. Racial identity is at the forefront of the political conversation, and that’s essential! But only focusing on that leaves out the things that unite us. And a big uniting force is class. We can acknowledge what makes us different while working together to improve conditions for poor people, regardless of their colour.

We spotted that you raffled one of your records for The Poor Peoples Campaign – can you tell us more about your involvement in this movement?

Aaron: I learned about the Poor People’s Campaign last year, and it verbalised so many things I’d been feeling. It’s a non-partisan movement created by Martin Luther King Jr. that revolves around uniting people across racial lines to address issues of economic, racial and environmental inequality. I’ve been trying to organise shows and fundraisers like this to raise money for the organisation because I believe this movement could be the source of hope and positivity so many people are searching for.

Follow Durand Jones and the Indications on: Twitter // Facebook  // Instagram

Words and photos: Elizabeth Andrade (@LizzyyEA)

Bazooka Zero Hits LP Review

Single, EP and Album Reviews, Uncategorized
Bazooka; Credit Sarah

Athens-based psychedelic punk outfit, Bazooka

Bazooka shook us up last year with their turbulent psychedelic EP: ‘Zougla’ (‘Jungle’ released Nov 2017) – in case you missed it, here’s our review. Their chaotic and acidic punk 4-track EP has now given birth to this completely face-melting full-length record, Zero Hits.

Returning this January with their 3rd LP – and for the month that’s in it, it’s been the most well timed irreverent psych-punk record to lift those ominous clouds.

Their lead single: ‘Fylaki’ (‘Prison’) in the bands words: “..was born from the thought that we are seemingly free, yet we are locked up in our own mental cell. You know, we create our personal hell and we don’t even know it. And some of us even believe that it’s a place of love and happiness.”

The Athens based four-piece have irrepressible passion, and you cannot help but feed off their contagious energy. Singing entirely in their Greek mother tongue is of no barrier, sonically, you will appreciate just how ambitious and different their sound is; driving surf-rock crossed with new wave and laced with fuzzy guitar riffs. It would certainly find a fitting home on BBC Radio 6 Music – a refreshing spin for Steve Lamacq’s Roundtable we reckon!

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Bazooka LP artwork credit; George Chandrinos

Zero Hits (released via Inner Ear Records) is out now: Inner Ear RecordsiTunesBandCamp

Follow Bazooka on: Facebook // Twitter // Instagram

Words: Rachael Crabtree (@eccentric_eejit)

Ten Fé Interview

Interviews, Uncategorized
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Ten Fé; Photo Credit; Abi Raymaker

Leo Duncan, who shares lead singer-songwriter duties with Ben Moorhouse of Ten Fé, spoke to us about the recording of their second album, the evolution of their sound, and positivity in the face of increasingly declining physical record sales.

It’s obvious when you speak to a musician that music goes beyond their occupation, or satisfying self indulgence of project ‘cool’. As Keith Richards once said: “Music is a language that doesn’t speak in particular words. It speaks in emotions, and if it’s in the bones, it’s in the bones.” Discussing the bands origins almost feels an insult in the face of Ten Fé, who clearly have music in their “bones”.

The band wear hearts, not pride, on their sleeves. The follow up to their ‘Hit The Light’ debut, ‘Future Perfect, Present Tense’, that coincides it’s release (March 8 via Some Kinda Love) with a second American tour, certainly cements how they have really come into their own both personally, and musically.

Originally starting out as a busking duo, Duncan and Moorhouse naturally gravitated towards a five-piece to include childhood mates from Birmingham. And it’s on this second record that you will notice how they have really honed into their sound, doing away with the electronics stylistically, and recording the album mostly live as a five-piece band. Subsequently, the material is more raw and honest and was a reaction to the reception when touring their debut album. “Being honest as performers and the more we’ve cut down on, the backing track, the PA, the electronics, I feel the easier it’s got. And on this album, everyone is playing their instruments, we’ve harnessed raw energy – there’s a real magic passing from one another.”

The first album was not only recorded as a duo, with both Duncan and Moorhouse alternating instruments in the Berlin studio with Ewan Pearson (The Rapture, M83, Jagwar Ma) but had electronic leanings and 90s influence (Primal Scream, Happy Mondays). ‘Future Perfect, Present Tense’ ramps up the Americana elements coming through on the last record; Bruce Springsteen, Fleetwood Mac and The War On Drugs. “Our listening became more concentrated and particularly The War on Drugs – but also Fleetwood Mac’s ‘Rumours’, R.E.M’s ‘Automatic For The People’ – we kept it pretty tight, it wasn’t a conscious thing, it’s just what we were listening to at the time. Obviously our beloved Stones and Beatles too and a touch of The Lighting Seeds at the end.”

Lyrically speaking, poetry retains a large component and privilege as the listener, almost as though the material wasn’t meant for prying ears. “In terms of this album, the lyrics are deeper, there’s less word play and wit in the lyric. It’s more concentrated on being honest – on speaking and not wanting to shout, there’s a softness to the lyrics.”

People may be keen to associate them with their hard grafting roots; London buskers on the District Line at 5:30pm, but it’s coming through that is more significant. Music is expression, an art that Duncan says they are fortunate to have avoided the down trodden routes for, and having been a musician over in Dublin, Ireland for a year in his early twenties this was where he learnt how to hold an audience.

When Duncan shares with me his stories of working over in Dublin, there’s an underling and unflinching self confidence to his worth as a performer that I cannot help but admire. “I would play lots of pretty tough pubs along East Wall and on the Northside, where I lived saying, ‘Listen do you mind if I play for you tonight, I’ll play for free, if you give me drinks all evening?’ ‘Right, well, we’ll put you in front of the TV and the football is on at the moment, but if you can distract the people from the football then we’ll let you have the gig.” And I loved that, because you know, if you can make people turn their attention from the football onto you, then you know you are onto something.”

It wasn’t just learning how to hold an audience, but the Irish culture and attitude towards music in turn, took a hold on Duncan: “There’s a very interesting attitude to music in Ireland, you know, there’s a very inclusive attitude to performance – if someone has a guitar, they’re expected to play, and that’s just the given.”

Ireland’s very different, inclusive attitude towards music is the mentality that continues to drive the band forward and is taking them places. Inclusivity is pivotal to their music. “In London the attitude is a stark contrast – if you have a guitar then you have to perform – it’s not an intimate or inclusive thing, because there’s so many people striving to do the same thing, it’s a lot harder. I’ve always connected more to the Irish ways. It happens in Birmingham too – it’s not about networking or showing off, everyone can enjoy these songs, that’s my mission. It’s got very clear roots for me with Birmingham and Dublin.”

While their attitude towards music is rooted in Ireland, they have a greater kinship with American music stylistically. “America is such an important place for us musically. Kurt Vile, War on Drugs, Mac De Marco, Twin Peaks, Whitney is the music that inspires us – when we get up in the mornings, that’s what we put on. Not British bands, apart from Idles and solo acts – I’m excited by Westerman and King Krule, but in terms of bands, America is where it’s at right now”.

When questioning his thoughts on the British music industry, Duncan is positively optimistic about the future of not only the industry itself, but the band’s ambition to sustain a positive headspace. “Yeah, I’m not gonna lie, it’s a struggle sometimes – but if you surround yourself with good people, its always positive. Not just between us as a band, but our management and label are our best mates and they’re always there to support us.”

“You really have to go for it as it’s so competitive right now, but at the same time, the quality of music isn’t dampening, people are making just as good of music as ever, and the people listening aren’t going deaf, shows are being attended and playing shows are as good as it’s ever been.”

Over the phone this afternoon, it seems only topical to bring into conversation todays closure of HMV. I question insofar how Spotify is helping bands, which Duncan enlightens me, helped fund Ten Fé’s last tour of America.  “Things are changing, yes, HMV shut down but when was the last time you bought something in there? (Very true). Lets work out the next way to ingest music – people don’t pay for music now, that’s just the reality – that’s had an enormous impact thing on music – the way to get around it is not to think about it too much. Make sure you’re singing songs you believe in and work with a team you believe and trust.”

There is no room to feel precious on the District Line, you have to hold your own, on a stage of your own making, there’s no gap between the audience and artist. So when it comes to their shows, that are growing in size, the last was in support of Adam Ant at Camden’s Roundhouse, it’s rewarding to see how deep their music is connecting with people.

Keen to learn of Ten Fe’s proudest moment to date, Duncan modestly responds. “I always try and avoid feeling proud, maybe its the Irish in me, but I’m always really happy when we finish a recording – finishing this album was the best feeling, it wasn’t easy to make either. When you play in a band, this might sound cheesy, I don’t care if it does – but if you have a connection when you’re playing with someone overtime you play, and we do, it feels wicked. There’s also a point where it feels amazing. We’ve all known each other for over 10 years and have a deep connection with one another so yeah it’s like being in a pub with your best mates and you’re drinking and you have this moment when you think “ahhh this is f***ing wicked” it only last five seconds when you’re in a pub at Christmas – or you’re at a gig and there’s a point where you just feel it. That’s why I know we’re on the right track – that’s all the Beatles had and that’s what the War On Drugs have, a chemistry on record.”

Chemistry is something you cannot forge, and just like music, you either have it “in the bones” or you don’t, and as more people are noticing, Ten Fé are gifted with both.

‘Future Perfect, Present Tense’ is released March 8 via Some Kinda Love Records

Follow Ten Fé on: Spotify // Twitter // Instagram // Facebook

Words: Rachael Crabtree (@eccentric_eejit)

 

The False and the Fair Whelans, Dublin Live Review

Live Reviews, Uncategorized
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The False and The Fair; EP launch at Whelans, Dublin (18-11-2018); photo credit: imagery.by.ro

Despite the late switch to the larger venue tonight, there wasn’t much room to move in Whelans for The False and The Fair’s EP launch. Ahead of the main event, we were treated to fantastic support from Aisling Jarvis and a solo performance from Vernon Jane.

The False and The Fair arrived on stage to the ambient glow of a projector showing off their new EP artwork, kicking off with their always popular “Blue Bottles Blues”. The catchy riff helped set the tone for the evening as they passionately launched into their ever increasing and established repertoire.

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It’s hard to pin down a genre for The False and the Fair, they play their unique and brand of hard rocking blues-folk but they are not afraid to branch out into different styles with the likes of “Psychedelic Smile” (which features on the new EP) that wouldn’t be out of place on a Radiohead album.

 

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They were joined by a host of guests on the stage during the night, including the familiar face of Emily Jane from Vernon Jane who jumped in to lend her vocals to the fan favourite: “Bald Apes” (just as she had done on the recorded version).

The evening drew to a close with one encore, the lead (and personal highlight) track lifted from their EP: “The Space in Between”. The band were joined on stage by a trio of backing singers which enhanced their already expansive sound, giving an edge fans hadn’t seen before. All in all, it was yet another great set from the South Dublin band which certainly piqued interest here tonight – there’s really no limit to how far these guys can go!

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Their new EP: ‘The Space In-Between’ is out now!

FOLLOW THE FALSE AND THE FAIR ON: SPOTIFY // TWITTER // FACEBOOK // INSTAGRAM

WORDS: Niall McDermott: @NiallMcDermott7

Photos: Róisín: Imagery By Ró

Feng Suave // Sebright Arms // Live Review

Live Reviews, Uncategorized
Feng Suave; Spiral Magazine

Amsterdam-based psych-soul band ‘Feng Suave’ at The Sebright Arms (05/12/18)

When you see a band mid-week amidst the hustle and they not only unhinge you from your daily life, but in their wake, completely re-adjust your focus, that’s something beyond the control of the many. Feng Suave’s lo-fi psychedelia blends silky bass and reverb’d guitar wrapped around soulful vocals. And when paired with their sensitive lyrics, you cannot help but be encouraged to reconsider what we otherwise take for granted; the stars above our heads and the earth at our feet is all we need. Keeping grounded and in touch with the harmony to be had with natural world is the result of Feng Suave induced daydreaming.

Tonight (5th Dec), was the third night of their first tour, the final UK date and, as one half of Feng Suave, Daniel De Jong, told me after the show, was without doubt the “highlight of the tour so far”. Being their first tour, De Jong wasn’t too sure his vocals would last the duration, a question that had never entered my mind, especially given tonight’s established performance. His lead singer duties required his every vocal range and tone, even the soft croon and hushed notes were used to their full capacity – and you had to hand it to him, his pitch-shifting vocals were mesmerising. As an outfit, the keyboardist, drummer and guitar trio were cool and collected. They gifted us with their grace and warmth.

The evening may have been just as intimate as De Jong went onto compare with the Servants Jazz Quarters (their last London show) but there was definitely something magical about tonight. The interaction from their sold out crowd in response to their every track must have felt pretty rewarding, with the greatest audience chorus arriving with ‘Sink Into The Floor’. Their latest single: Venus Flytrap (an instant hit with BBC 6 Music) and the encore: Notre Ochre were personal highlights.

On the back of a successful year, amassing millions of streams for their eponymously titled debut EP, this tour for the Dutch duo (and touring ensemble) certainly cemented them as ones to watch here in the UK. There’s also a pretty good chance everyone went out into the night floaty, finding “…solace in just noticing the stars above..” It might be momentary but it’s all that we need, truly.

Follow Feng Suave on: Spotify // Twitter // Instagram // Facebook

WORDS: RACHAEL CRABTREE (@ECCENTRIC_EEJIT)

 

Mark O’Reilly L’Etre Politique Album Review

Single, EP and Album Reviews, Uncategorized
Marc O'Reilly Band; Kirsty Burge Photography

Marc O’Reilly pictured with his band; Photo Credit: Kirsty Burge Photography

Marc O’Reilly is an artist that cannot be defined simply as folk or blues, but instead teases elements of both, achieving optimal emotional depth that is unwinding and stirring. He understands his power behind those versatile vocals and in his wake, balancing and challenging genres. And between the trio’s synchronised drums, keys and guitars, they maintain off the scale rhythms and impeccable timings. The standout guitar solos of Walk With Me and Be Alive almost rival the folk elements.

Yet when those folk elements arrive mid-way, it’s exquisite – the unwinding, acoustics  of Fire with its sweeping strings and echoing vocals provides momentary calm. Think White Denim at their most pared back on ‘Corsicana Lemonade’ with echoes of Nick Drake’s instrumentals on River Man (‘Five Leaves Left’).

The lighter, huskier, James Vincent McMorrow-esque vocals and barely there instrumentals of Solitary Ease and Walk With Me are absolutely sublime – we reckon a collaboration between the pair is long overdue.

On this record there are more contemporary parallels with American/Canadian artists to be drawn and it’s the sharp timings and garage-rock leanings of Quiet Place which give warm echoes of Jesse Mac Cormack. While it is Walk With Me that takes centre stage, channelling the Americana-Psychedelia of White Denim.

This fourth album: ‘L’Etre Politique’ is inspired (as it’s title hints) by the politics of human interactions and of being; capitalism, war and globalisation. The album opener: Enemy Of and the epic closer: Shadows are equally full bodied explosions of guitar and drums encasing a solid record, that frames O’Reilly at his finest.

L’Etre Politique is out now via Dox Records!

Marc O'Reilly L'Etre Politique; Album Artwork

Follow Marc O’Reilly on: SPOTIFY // TWITTER // FACEBOOK // INSTAGRAM

WORDS: RACHAEL CRABTREE (@ECCENTRIC_EEJIT)