Monthly Archives: October 2017

Alt Rock, Hypnotic, Indie, Indie Psychedelic, indie rock, New Music, psychedelic, Rock, Synth Rock, Worth A Listen

Worth A Listen

Our Worth A Listen Track This Week Comes From Serene

Psychedelic Rock trio Serene have released a video for their new single ‘Havana’ which is the third single from their new album ‘The Lonely Road’. From the trippy flicker and stabbing acoustic intro this track sends shivers up your spine. It’s a throbbing gritty fuzzed wallop of the psychedelic rock this trio do so well. Blistering guitars fire through the track with red hot intensity. An infectious throbbing bassline grooves with a luring smoulder and punchy drums bruise deep while flashing wobbly synth soundscapes quiver and dazzle with bright kaleidoscopic scintillation. It’s an epileptic fit of psychedelic bliss. Raw edgy and razor sharp in all the right places Serene build the track slowly and meticulously right up to the dizzying hallucinogenic crescendo. Smooth swagger soaked vocals strut and prance around the beaming instrumentation with intensified emotion. Underneath all this acute fury there is a velvety smoothness and dreamy haze floating about. It’s tranquilizing and sweetly paralyzing to the harsh instrumental battering. It’s a mighty absolutely brilliant track from Serene. They are one of my favourite new bands at the moment and each track they release gets better and better. An exciting band to keep an eye out for. So good.

Watch the video for ‘Havana’ below


Indie, New Music, Singer/Songwriter, Theatrical

Nicola Hardman ‘Just Human’ and ‘Little Fish’

After the successful release of her debut album ‘Full Beans’ back in December 2015, alternative singer-songwriter Nicola Hardman has announced details of her latest double single release comprising of tracks ‘Just Human’ and ‘Little Fish’. Throughout 2016, Nicola Hardman performed across the UK, appearing on radio shows and achieving number 2 in the top 20 chart of Round Sound Radio for her single ‘Little Fish’. She then went on to appear on Made in Liverpool TV and perform at the Liverpool Philharmonic Hall alongside the likes of Ian Prowse ,Tom Hingley (Inspiral Carpets) and John Bramwell (I Am Kloot). Later in 2017, Hardman  was noted for her “kooky avant-garde-ness … her assured voice recalling Regina Spektor or Amanda Palmer at time” by Get Into This for her performance in Liverpool’s Threshold Festival. Based in Liverpool, Hardman is notorious for her theatrical vocals and catchy piano hooks. Not only does the musical content of her material draw people in, but the lyrical content of each song is captivating – discussing both personal and political issues in a way that speaks to many.

‘Just Human’ flurries in with a rushing menacing defined piano feature. It’s an intense swirl of emotion, the instrumentation whirls around a strong chord progression while Hardman continues to fascinate with her enduring vocals that wrap the listener up in a velvet soothing blanket. At times her vocals become sharp and ominous lying in the background with an almost harrowing screaming growl. The music remains fairly light and floaty with dark churning undertones creating a wholly chilling experience.

‘Little Fish’ is a theatrical bouncy swirly eerie track. With animated keys playfully hopping with an elastic mischievous rebound. The track wriggles and hauntingly sways like a spirited ghostly waltz attended by wicked creatures on Halloween, yet it holds an air of solitary loneliness. Evoking images of grandeur and fine dresses swishing in time with the free slowing swing and strong spin of the chords on keys. Hardman’s vocals exude emotion and drama with operatic high-pitched ornamentation lifting each note at the end of certain lines adding a vibrant spring and boost to the track. It’s enticing and tempting with both a spine chilling and joyous vibe. It’s absolutely thrilling. Love it.

Drawing from an eclectic range of influences, including the likes of System Of A Down, Bjork and Incubus, Nicola Hardman presents tracks that are both distinctive and charming. The double header single is set to be released on all digital platforms on 14th October 2017 after her single launch gig held at Studio 2, Parr Street, Liverpool on 13th October. More information about Nicola and any of her upcoming live shows can be found on her social media channels here https://www.facebook.com/nicolahardmanmusic

You can catch Nicola Hardman live at:

Fri 13th Oct – Liverpool – Studio 2 Parr Street

Sat 21st Oct – Northwich – House of Quirk

Friday 1st December – Liverpool – The Epstein Theatre

Sat 2nd Dec – London – Maddens East Finchlay

Stream ‘Just Human’ and ‘Little Fish’ below


Live Music, Live Music Review, New Music

Oktoberfest In The Bowery With Meltybrains? /Circus VIII /Mik Pyro & The Shogunz Of Stank/ Accidents in the Workplace / EHCO and Free Sunshine Acid

The Bowery was hosting their Oktoberfest last week and we headed down last Friday to check it out. It was a night jam packed with bands, six in fact each as vibrant as the next. With nice picnic tables outside, flashy lighting on stage and tasty nibbles from Farmer Browns everything was on hand for an enjoyable night.

Free Sunshine Acid kick started the show. Their psychedelic rock swirling and entwining with blissful hypnotic delusion. The four-piece blasted out a set brimming with jams, it was organic raw and refined. They perform with such fluidity, they are a well-oiled machine each in synch with one another producing euphoric wobbly psychedelic rock. The guitars shrill with thrilling distortion while punchy drums keep a constant beat, giving something to hold onto so you don’t fully lose yourself in their mirage of liquid flexible melodies.  Their sound is 60’s psychedelic rock wavy, shimmy ready and utterly trippy. Their stance simple, they are jamming together and we are fortunate enough to watch. ‘Carbon’ ‘Rays of The Sun’ And ‘Night Of The Lizards’ erupt with narcotic fluctuant soundwaves twisting and weaving between mosh ready pounding drums. Their catchy melodies and croony vocals with lush harmonies add a dreamy haze and radiate a euphoric atmosphere through the venue. It’s well trippy.

 EHCO follow with the ominous dark eerie ‘FIA’. A thick sticky beat slaps against swirling chilling electronics. These guys build their tracks layer by layer right up until they become full-fledged dance almost disco anthems. The beats are chunky and infectious with two drummers belting them out it’s instantly body grooving. The crowd sway and bop to their contagious sound. Rich rhythms thump and pop while swirling danceable soundscapes wisp around, it’s quite entrancing. ‘Bodies’ introduces  Jessica Lord’s vocals. Her vocals are powerful and compelling as she stands waving her arms in a floaty motion adding to the aerial breezy vibe. The crowd dance and swoosh enraptured in the gluey beat and airy soundscapes while the purple lighting aptly adds a mystical bewitching atmosphere to their set. The crowd were engulfed in their set shouting “EHCO! EHCO!” before the track ‘Eiclipse’. They deliver a full rich set mesmerising and hypnotic as well as insanely dance dominated. It’s the kind of music you could dance until you drop to.

 Accidents in the Workplace begin their set as an audience member shouts “play Wonderwall” so they decide to introduce their first track as Wonderwall. With a triumphant brass section, keyboard, guitars and a violin it’s a packed stage. Vocalist Lauren Murphy stands in front, her red hair luminous in the lighting, she is a flamboyant front woman. Her powerful vocals knock you for six while the enthusiastic facial expressions and dazzling dance moves are captivating. She swishes, hops, jumps and does the body snake all while hitting some mighty notes. With witty jokes between songs they test the crowd for Germans “any Germans in the house say woohoo”. It’s a lively animated set with rich instrumentation and colourful vivid melodies creating a massive sound. ‘Late nights’ the anthemic full bodied track follows a brief bit of banter about the free pretzels available at the bar. With rich textures and warm brass injections between catchy melodies and electrifying soundscapes not to mention Murphy’s powerful vocals they packed a lot into their tireless dynamic set.

Mik Pyro & The Shogunz Of Stank cruise in with their funky flavoured bluesy rock. It’s all swagger driven cool grooves and shredding slick guitar lines. Sensual licks and steamy hip swaying tempos these guys have the crowd gyrating and going wild in no time. With a jazzy keyboard and an enthusiastic bassist, it’s a pretty slick sight. Naturally they build their sound becoming more ear blasting and frantic as their set progresses, getting the crowd riled up and frenzied. Their rendition of Funkadelic’s  ‘Get Off Your Ass and Jam’ brings us right down to funky town. That “Shit! Goddamn! Get off yo’ ass and jam!” lyric will now forever be in my head. The audience go nuts some on their knees doing air guitar to the shredding solo. A slicked back version of Sly & The Family Stone’s ‘Thank You (Falettinme Be Mice Elf Agin) ’ oozes swagger and strut quality it’s fluid, vaporous and drenched in panache. It’s a swanky flaunting set exuding sensual tones and intricate instrumental flamboyance and sass. They had the crowd in the palm of their hands.

Meltybrains? follow next. Wow words can hardly describe their set, it’s not for the faint-hearted. The lights go down and the crowd pack to the front, creepy masks on their heads they await the entrance of the five piece. They appear on stage all in white with masks on their heads to massive cheers. Their set is intense and spine chilling Donnacha looks like an evil surgeon serious and sinister he taps the keys in an eerie theatrical manner, while Brian across from him appears to be having spasms. The blue lighting with dry ice blasts create a menacing smoky backdrop to what we are about to witness. The crowd begin to sway and bounce to their unique sound. There are a few at first in the crowd that seem shocked by the wailing and screeching obscure sound they hear but when I look at them later they are completely mesmerised, joining in with the mass adoration. The band throw out more masks for anyone without one and the crowd fight over them, its chaotic. These guys drive the crowd wild with their music, it seems to bring out an animalistic character in each of them as they itch for more. It’s a sight to see when nearly everyone is either wearing a mask on their face or the back of their head it’s like you are being watched everywhere you turn. The band enjoy themselves throwing everything they have into their performance. The crowd shout for the track ‘The Vine’ the band graciously grant their request. The room erupts singing along and dancing to its jungle like beat. Drummer Micheál begins to climb up to the ceiling before resting on the pillar above while the others dance about the stage. This sets the crowd alight. They cheer for him like he is a hero as he climbs back down to the stage. Brian swings from the sails and ropes above the stage, the band go all out monkey and so do the audience, its insane. There is a particular dance to this track and all the audience join in like their minds are in synch with the band, maybe they are through hypnotic waves or something, but it’s a mind boggling spectacle for sure. The band request the audience to all kneel on the floor and they obey in a flash just to spring up in a mad frenzy of jumping. The audience worship them and idolise their spontaneous madness. So much so they give them a hero’s cheer as they line up to leave the stage. It was crazy, a bit unorthodox and immensely energetic. The crowd appeared lost without them when they left. Meltybrains? set was a unique experience for sure.

Circus VIII take to the stage the final act of the night and they brought the after party with them. Their Dublin debut, and boy was it incredible. Kicking off with ‘All Of Jason’s Beans’ they grooved and funked their way in style. Chantal Brown’s vocals, outstanding and powerful and Charley Taverner full of passion and soul. It’s charismatic explosive and oh so funky. With vibrant saxophone played by Toby Stewart, Bryan Corbett on Trumpet and Edu Bisogno on Keys, they blew us away. David D’Andrade is one of the most striking guitarists I’ve seen, imagine Jack Black with a hint of Meat Loaf theatrics teamed with slick guitar poses and swagger soaked spirited solos. Their sound is so full and bursting with life and dynamism it’s a rush of tantalizing soundscapes. Dramatic stops and starts they bring a fresh new thirst quenching sound to the Bowery audience. The crowd yell “yeah!” as they dance uncontrollably to their infectious groove. Jason Tebble’s slick bass adds a funky sensual elastic buoyancy to the tracks while Jon Harris’ drumming keeps a punchy foundation for Tebble to rebound off. With more energy than a bolt of lightning these guys blaze through their tracks oozing swagger leaving nothing but burn marks behind. ‘Sunshine’ is an absolute gem each note radiated golden vibes. Their set is playful vibrant and fun. Their sound immensely rich it’s honey to the ears, so jam packed with luscious melodies and intricate compositions all weaving together to create a blissful experience. These guys exude so much energy it pounds through you and lifts your spirit, it’s hard not to dance. The crowd loved every minute of it, one guy went to the edge of the stage to bow down in worship of the band another shouted while they were deciding what song to play next “just play some bass”. In their live set these guys exude slick panache and style with a flamboyant disco vibe blended with their funky rock, they are just too cool. Though their set was cut short it was pretty extraordinary.

All round Friday Night in Oktoberfest was phenomenal each band brought their own unique twist to the night some more obscure than others but it made for an amazing night. Definitely make sure to check it out next year there is something for everyone. So all that’s left to say is … do the vine (Meltybrains? quote).

 

 

 


Live Music, Live Music Review, New Music

Sideline Fire ‘Outside’ Single Launch with Support From Chinese Newspaper in Whelan’s Dublin

We were invited to check out Sideline Fire’s single launch in Whelan’s last Thursday night with support from  Chinese Newspaper. Eager fans watched the soundcheck in anticipation for the show to come. It’s an audience of mostly youngsters keeping the live music scene alive.

Chinese Newspaper take to the stage, shoes are off and they are ready to go. Blasting straight into their indie flavoured garage rock. Their groovy attitude driven tracks are perfect for a shimmy and mosh all at once. They coax the crowd to dance and move “We are here for your enjoyment”. Showing off their moodier grungier side ‘It Follows’ gets the crowd moshing and going wild. The guys have a cool nonchalant stage presence as they pierce with shrilling distortion on guitar and throttling drums over agonising expressive vocals. “Scream if you love hash” guitarist and vocalist  Killian Barrett shouts at the crowd as they go nuts. The band sing happy birthday to a member of the crowd urging everyone to buy him a drink. A cover of Pixies  ‘Where Is My Mind‘ follows causing a manic mosh frenzy among the crowd, as the birthday boy crowd surfs victoriously. The band bellow out a pretty slick rendition of the track to yelps and whoops from the audience. From here on out it’s absolute anarchy there is no controlling the crowd as they become consumed with the blasting tracks. ‘If Not Now Then When?’ finishes off their set soaked in sunny golden guitar lines, thumping drums and swagger infused vocals. It’s a pretty smooth rough and tumble burst of indie rock. The verses glide and groove with effortless sun kissed slickness while the chorus explodes with forceful mighty garage rock. It’s a fiery blustery set from Chinese Newspaper, a band to definitely keep an eye out for.

Following a lengthy wait for drummer Eric Walsh’s diva entrance. Sideline Fire begin their set after mocking him a little. They are a playful cheeky bunch, their show is light, fun and carefree with humorous banter throughout. Sound wise it’s a tight slick display. They wear their influences on their sleeves. These guys are starting out so it’s a little rough around the edges at times but they show real promise. The crowd dance and sing along from the start to their catchy pop melodies smothered in punchy indie rock, it’s a crowd-pleasing combination. Their original songs are well layered and balanced – rich danceable rhythms teamed with tight crashing guitars, some pretty slick solos and catchy melodies. ‘I Don’t Wanna Go’ fleshes out their Catfish and The Bottlemen influence a little. Actually, we see a lot of Catfish and The Bottlemen covers (which the crowd went wild for) so that’s no surprise. The band waste no time in getting the crowd engaged, guitarist John Fitzgerald throws band stickers into the crowd after their rendition of Arctic Monkeys ‘Brianstorm’. This gets the audience rowdy and savage, the band know what their audience like and they deliver it. Each original track displays a subtle growth in the band’s sound ‘No Patience’ showcasing a darker croony side to their catchy bubbly indie rock. They take the opportunity to display their versatility as a band as well as entertain. A few your mother jokes and a lot of crowd surfing later and we come close to the track everyone is here for, but before that a feisty rendition of Royal Blood’s ‘Figure It Out’ which holds a lot of excitement both in mishaps and crowd interaction. Vocalist Andrew Berry’s guitar strap breaks during the song, fortunately bassist Evan Butler’s mother comes to his aid like a ninja and fixes it. The crowd hardly notice, they are busy moshing jumping and going uncontrollably wild. Launch track. ‘Outside’ is announced to a mass of cheers and whoops as they belt out the indie banger. The band close the show on an unplanned cover of Arctic Monkeys ‘I Bet You Look Good On The Dancefloor’. The crowd go crazy shouting back the lyrics, it’s savage anarchy, practically everyone has a go at crowd surfing and there was no stopping them. They yell for one more song and the band oblige with the perhaps obvious choice Catfish and The Bottlemens’ ‘Kathleen’. What can I say the room erupted, a pretty explosive end to their show. The crowd were manic and pumped and this track just set them all off.

Young fresh Irish talent was oozing from Whelan’s last Thursday night and both these bands display promise and slick showmanship. Sideline Fire know their audience and they give them exactly what they want, a skill which will make them very popular in the future. A youthful exuberant show which is pretty impressive from this newly formed band.


A Chat With, Interviews

A Chat With: Sun Mahshene

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We caught up with Nathan Henderson from Sun Mahshene  last month after their set in  Sin É Dublin, to get to know them a little better and try and decipher the inner workings of those blissful psychedelic tunes

Tell us a bit about yourselves?

N: My name is Nathan Henderson and I’m the chief songwriter, vocalist and guitarist in Sun Mahshene. Myself and the other core members of the group make up a 6 piece indie/psych rock n roll outfit from Dublin. The other members are Ian McGinn on guitar, Ryan Daffy on Guitar, Darren Hughes on bass, Dave Murray on drums and Ray Burke on percussion and backing vocals. We also have some other players who stand in if we’re short. They are Stephen Mooney on guitar, Graham Matthews on guitar, Martin Fagan on bass and Tom Moylan on drums.

How did ‘Sun Mahshene’ come about?

N: It originally started out as a bit of a “bedroom” project for me back in 2014. I was in between bands and putting down ideas in my home studio to keep myself entertained. But once I put some demos up online it soon grew legs. There was a good bit of positive feedback coming in so I decided to work on taking it to the next level. The early incarnation of the band consisted of friends who I had previously played in bands with, who agreed to helped me to get the ball rolling. Dave is the only one left in the current line up from those early rehearsal sessions. There’s been a bit of a revolving door of members but we’ve a settled core group of players now.

 Tell us about what it was like when you first started writing music and coming up with your sound?

N: Before Sun Mahshene I was involved in mainly indie rock bands with sounds along the lines of The La’s, Oasis, The Stone Roses, that sort of thing. So this time around I wanted to create something with a bigger, more raw and darker sound. It was when delving  into the Shoegaze, Neo-Psych and Garage rock genre’s the my vision became clearer of what I wanted to achieve sound wise. I did a lot of research on how my favourite bands from these genre’s achieved their sounds from what guitar pedals and amps they used right up to the type of guitar strings and different tuning scales. I’ve a box in my studio that’s absolutely full of guitar pedals. It’s been a fantastic voyage of discovery so far and a lot of fun. And long may it continue!

You released your fourth EP ‘Drones That Don’t Kill’ last year tell us a bit about the EP?

N: Yeah, the EP was released on New Years Eve. We recorded it at Darklands Audio in Dublin and was co produced with Daniel Doherty who’s the main man there. Working with Dan was great and a nice learning experience. He chipped in with some good advice and little ideas to help us fine tune things. It was our way of closing off  what was an eventful year for the band. 2016 was a year that we worked hard on establishing the line up and creating a cohesive live sound. So we wanted to put something out, for ourselves more so than anything else, so that we had something to show for our hard work. And we’re happy with the overall reception it has gotten since it was released.

Do you have a favourite track on the EP?

N: Mine has to be the lead track, ‘No Control’.It’s an absolute belter of a rock n roll tune and great to play live! It’s also Darren’s go too tune. Ryan and Dave are into ‘Shine Your Light’ and Ian is into ‘In The End’. Martin Fagan, who was our bass player at the time of recording the EP, loves the bonus track ‘I Love You’ which plays on the tail end of ‘You’.

The tracks are hazy and soaked in blissful twisted psychedelia with enough fuzz and heaviness to keep it punchy but it’s still ridiculously dizzying and delusional tell us how you achieve this sound and what drove you to create a mirage of darkly saturated tunes?

N: We wanted to do something which not many are doing here at the moment. Or certainly not in Dublin. There are some good indie bands doing the jangley thing but we’re more interested in playing tunes with a bit more bombast to them. So we’ve got 3 guitarists rather than the standard 1 or 2 you’d get in a lot of bands. It adds extra weight to our sound and an extra dimension to how we play.

 The track ‘In The End’ was co-written and features vocals from Lydia Des Dolles of Daag Hur, how did that collaboration come about?

N: I was part of an early lineup of  Daag Hur with Lydia and we had recorded a demo of In The End before I left the band. The song used to be called Before The Light Fades which had different lyrics and slightly different melody which I used to sing. We reworked the lyrics and vocal melody to suit her style of singing. After I left I thought it’d be a waste not to put the song out on something and so asked Lydia if she’d be cool with it being a Sun Mahshene release. She was happy to go with it and the result was great.

 There is a lot going on in your tracks with swirling soundscapes meandering through droning sometimes explosive percussion and sharp piercing guitar arrangements talk us through the writing and producing process for your songs?

N: I have a studio at home and write all of the parts for the songs and take them to the rest of the guys. It’s probably not the most democratic of bands but once an idea is brought to the everyone the feel changes somewhat as their different styles of playing add extra personality to things.

How do you find the recording process is there anything in particular you find difficult?

N: We love being in the studio and recording. It’s extrememly gratifying to hear something you’ve been working on in rehearsals come together. Sometimes you’re focused on your own parts of the song when rehearsing making sure you’re getting it right. So it can be easy to miss or not fully take in what everyone is doing. So once it’s put down in the studio you get to hear the consolidation of everyone’s input fully. I think the most difficult thing is the mixing process. We tend to layer up a lot of different sounds and guitar effects so the impact of certain songs can be lost when there’s too much going on. We really need to sit down and make some tough decisions on what parts need to be stripped out to ensure the song we happen to be working on can be as good  as can possibly be. Drones That Don’t Kill was co produced with Daniel Doherty. So he helped push the song in the right direction and offered great advice.

 Tell us about the concept for the cover art for the EP?

N: The cover art was a summary of what a crazy year 2016 was politically. Both on a national level and internationally. We had the Irish Water debacle happening, Brexit in the UK and then the Trump farce in the US. So we wanted to captured that somehow. It goes back to what Nina Simone once said, an artist’s duty is to reflect the times.

 What is a live show with you guys like?

N: Loud, sweaty and full of melody. We’re probably not the most animated bunch on stage. But we hope the music does the speaking for us. Although, Darren on bass does enjoy a bop.

 How do you get a crowd warmed up and ready to engage and rock out with you guys?

N: Our set is full on from start to finish so our ethos at the moment is to kick the door down and ask questions later in that respect. There’s no better way to catch someones attention by blowing their heads off. As an unsigned band you have to do something which will capture people’s attentions right from the start. But we’re constantly working on new ideas on how to change things up a bit so I’m sure how we deliver our shows will evolve into something else as time goes on.

 Have you had any bizarre things happen while you were on stage?

N: At one show we played, a guy in the audience loved our stuff so much he started throwing beer mats at Ian. He was punching the air and giving rock signs with his hands. I don’t think Ian even realised what was happening. He’s a typical shoegazer, once the song starts his head drops down when he’s playing. So it was funny to have beer mats flying past our heads like frisbies. We got off lightly though because the guy threw a bar stool at the headline act because he was so into their stuff. Luckily it didn’t make it on to the stage. I guess people can have a funny way of showing their appreciation. Either way we’re glad he liked it!

 What is your favourite venue to perform in so far and why?

N: Out of the venues we’ve played so far it’s probably The Workmans Club in Dublin. They have great sound engineers there and the venue is a nice size. As an added bonus, we all manage to fit on the stage which can be a struggle for us in other venues.

 What has been your biggest challenge as a band? Have you been able to overcome that challenge? If so, how?

N: The biggest challenge is when one of the core members can’t do one of our shows. It can be at short notice, so getting one of our stand ins up to speed with new songs can be tricky. But everyone that comes in to play for us are great musicians so they generally pick up on things fairly quickly. We haven’t had to cancel a show yet and long may it continue.

 What advice do you have for people who want to form their own band?

N: Forget about trying to be the next big thing or trying to sound like what the flavour of the month is on the radio or whatever platform you listen to music on. Do what ever feels right and inspires you. And ultimately enjoy yourself. The hardwork will pay off in the end.

 What’s next for ‘Sun Mahshene’?

N: We’ve a couple of shows coming up, one in Stage 19 on Francis Street, Dublin on the 14th of October. We’ll have great support on the night from Segrasso and Free Sunshine Acid. Then we’re in with the good folks at Gigonometry on the 20th of November in The Workmans Club, Dublin. We’re also demoing our debut album which we aim to begin recording early next year.

Stream ‘Drones That Dont Kill’ below


Live Music, Live Music Review, New Music

Isaac Gracie With Support From Wildes at The Grand Social Dublin

Isaac Gracie’s debut Dublin show was on Tuesday night in The Grand Social Dublin with support from Wildes. We are big fans of Gracie so naturally there we were to see the magic happen in the flesh.

Wildes which is the performance name of Ella Walker walks timidly on stage picks up her guitar and begins to sing. The crowd swiftly stop their chatting and absorb this deeply touching performance. Her stance is simple as she delicately stands with just her guitar overwhelming us with the power, depth and rich emotion in her vocals. Beautiful melodies drowned in melancholic emotions run throughout her performance while her vocals express the rawness in such a crisp clear yet haunting manner. There is such silence during her set you could hear a pin drop as the audience are captivate by her voice and moving lyrics. She gingerly introduces her songs with a hint of nervousness that appears to disappear when she begins to sing. ‘Bare’ displays a sorrowful heart-breaking quality to her vocals. Walkers performance is an enchanting display of vulnerability and vocal fortitude. She dips into her lower register while the sweet guitar accompaniment dolefully mourns along. Her tracks display a sense of refinement and elegance with gorgeous melodies and a sway like wistfulness. Walker tells the crowd about her family from Waterford and her sister who went to Trinity bridging any gap between herself and the crowd. After each track the audience whoop and clap enjoying the sweet toned breath of fresh air her tracks tend to bring. She takes to the keyboard for the celestial ‘Illuminate’ “I always feel a bit sassy when I do this” she giggles before beginning an enthralling pure version of her track. Evoking a peaceful silence and longing throughout the room, it’s hair raising and captivating. She closes her set with the chilling and haunting ‘Ghost’ after trying to convince us she didn’t nick the name Wilds from Oscar Wild.

Isaac Gracie and his band take to the stage with a sweet shy little “hello” he thanks the audience for turning up to his first headline show in Dublin. ‘All In My Mind’ kicks off his set, the addition of a bassist and drummer add a bit of punch to his live set. One thing that becomes apparent is Gracie is fantastic live, his voice so clear with a sublime depth and maturity beyond his years. If you enjoy his tracks then live he will just blow you away. His drummer Alex is probably the most enthusiastic drummer I’ve seen in a long time from his facial expressions to every bounce and bop he oozes energy. Bassist Jamie is Gracie’s “guardian angel” running about the stage plugging in Gracie’s guitar and giving him little tips like talking through the tune up. Gracie’s musical poise is simple he lets his heart wrenching tunes speak for themselves his eyes drift into the meaning of the track and that is where the magic in the performance happens. It’s all in the emotion and melodies. One audience member is so taken with his set he shouts, “I Love You” Gracie reply’s “I love you too.. I hope you said I love you, I can’t really hear properly if you didn’t it’s ok I still love you” before the most beautiful rendition of ‘Silhouettes Of You’. The spellbound audience sway dumbfounded by the passion exuding from this shy young chap. The sorrow and despair flooding through every note and hitting you bang smack in the middle of your chest. It’s heart breaking and graceful. It’s my favourite track on the New EP and it was as tear jerking and tender if not more so than I expected. It’s the second show performing with his band and it’s a working progress as they stumble over blunders with the audience barely noticing. With a show like this all the hiccups and bashfulness makes it special it’s raw and fresh. ‘Running on Empty’ takes a different heavier persona with the band. Personally, I prefer the solitary version it’s more striking and personal however, with the band it takes on a danceable wiggle vibe. Gracie’s vocals still shine and the lyrics still pierce but it’s just a little more fun and less heart breaking. “The second guitar solo of my life” Gracie announces at the end of the track it feels like we’ve experienced a pillar moment for Gracie. Struggling to open his bear bottle he introduces the agonising ‘Terrified’. The band retire from the stage for the encore leaving just Gracie and his guitar for the affectionate ‘Last Words’. The maturely written tender track that made him an artist to watch. The audience sway and sing the lyrics along with Gracie, everyone’s heart breaking in that beautiful moment, his eyes closed, his brow creased with deep sorrow, we feel every emotion and painful quiver. The perfect way to end his set.

Gracie is like an unpolished diamond in the rough. The “Padwan rockstar’s” undeniable talent sparkles and glimmers as each and every track touches the soul of every person in the room creating a unique beautiful experience each time. The small flashes of goofiness and bashfulness just makes the show all the sweeter. His songs alone are refined and passionate he blends soft tender soundscapes with heavier reverb laden soundscapes seamlessly. With smokey delicate poetic lyrics and beautiful melodies simply portrayed it’s a magnificent experience. Go see him live you won’t regret it. And he is actually a nice guy, we met him after the show and he took a picture with our logo, sound chap.


Alt Rock, Alt- Pop, Indie, Indie Pop, indie rock, New Music, Worth A Listen

Worth A Listen

Our Worth A Listen Track This Week Comes From The Hubbards

Riding high on a wave of praise following their most recent single ‘Just Touch’, Hull-born Leeds-based four-piece The Hubbards have already notched up support slots for the likes of stadium stars Foals and The 1975, not to mention a coveted slot at this year’s Radio 1’s Big Weekend. Their material has aired on both Radio One and 6Music, while previous single ‘Cold Cut’ was used on ‘Made In Chelsea’. The quartet have now released their new single ‘Body Confident’. This laid-back indie bopper cruises against a backdrop of crunching sharp guitars and punchy drums. The dazed hazy melody drifts with a woozy dreamy loftiness and ear worm infectiousness. With an air of casual easy going almost “meh” nonchalance to take the edge off the piercing dynamic soundscape it’s effortlessly cool and breezy. Elastic bass and bouncy drums give a gyrating swagger and enthralling allurement to the track. It’s smooth with a groovy mellow backbone and one for lazy hazy days.

You can catch The Hubbards Live at

7th October: Sebright Arms, London

13th October: Fruit, Hull

21st October: – The Shed, Leicester

22nd October:- The Brunswick, Brighton

Watch the video for ‘Body Confident’ below


Live Music, Live Music Review

All Them Witches with support from The Ghost Wolves in Whelan’s Dublin

We were invited to check out All Them Witches headline show in Whelan’s on Monday with support from The Ghost Wolves. With a live act said to be jam-filled, where no two shows are the same, we couldn’t refuse. Where there is big fuzz, deep grooves and kaleidoscopic mind bending psychedelic blues-rock I’m there.

Like a storm in a teacup The Ghost Wolves take to the stage. With a white wolf mask sitting on a mic stand watching and judging us all, they blast us straight into their ruckus causing rock and roll dripping in bluesy swagger. Carley with her cowboy hat and boots strides across the stage lean, mean and fiery she wails, shouts and bellows at the crowd who are enthralled ready to subdue to her every command. Together this duo are a well-oiled machine each track belting into the next while the crowd go wild moshing and jumping. The thrilling guitar fuzz and shrill teamed with adrenaline pumping drums gets the crowd warmed up screaming for more in no time. ”Do You Like Cry Babies?” Carley shouts at the crowd “nobody likes crybabies” is the fiesty introduction to the neck snapping ‘Crybabies Go Home’. The crowd roar the “whoohoohoo” lyrics back to her as she jumps about the stage. Elaborate guitar poses and all it’s purely captivating. Swagger is a tame word for these guys, they are wild and absolutely mental but it makes for a fascinating live set and the crowd were lapping it up. When you think it couldn’t get better she introduces the one string wonder “because all you need is one god damn string” that’s right a guitar with one string that plays just as mighty and meaty as a six string makes you wonder why anyone plays guitar normally. This duo are cool and feisty and boy do they put on a live show.

All Them Witches stroll on stage following the crowds sing along to Black Sabbath‘s ‘War Pigs’. Drummer Robby Staebler is in nothing but fluorescent yellow shorts. On a chilly October night, I can only assume he planned to work up a sweat. Pretty slick and cool they compose themselves and smash straight into their sweet blissful wobbly psychedelia. With our minds all melted and dazed by their instrumental intro they belt out ‘When God Comes Back’ the crowd erupt bellowing the lyrics back full of expression. They throw themselves into the tracks yelping and wooing after each song. Vocalist and guitarist Charles Michael Parks in a timid deep voice thanks the crowd for coming and tells them the band almost didn’t make it over. His advice for the night “do whatever you want, be yourself, have fun and don’t hurt no body”. The set becomes extremely manic as the crowd grow more and more hysterical by each track the four-piece play, one guy bows at Parks’ feet in worship of him. Frenzied moshing consumes the entire center floor as people get pushed around some onto the stage only to bounce back up to jump, dance and mosh again. All while All Them Witches maintain a cool suave on stage just jamming through the bluesy psychedelic tunes. Live these guys are awesome, the sound so thrilling and mind liquefying yet hefty and monstrous. ‘Charlies William’ once again is met with screams whoops and yelps from the crowd. They are so into it I think even All Them Witches seem surprised. Their Irish fans are insanely enthusiastic changing the room into a moshing slaughter house, while still having respect for the others around them. ‘Bulls’ and Alabaster’ brings a surge of exhilaration over the crowd as they adoringly chant the lyrics back with an overflow of joy, it’s like they are at an altar, wildly worshiping. They beg the band to stay when Parks announces their last few songs but he soothingly insists he can’t.

After screams, whistles and shouts for “one more tune” the band return to the stage for a ferocious rendition of ‘Swallowed By The Sea’. The crowd explode in a rapture of moshing and dancing Parks ventures off stage to join them in this wild frenzy –  much to the crowd’s surprise and delight they swarm around him so much he almost has to crawl back on stage to finish the track lying down. It was Epic, raw and spontaneous and therefore perfect.

The Americans brought a bluesy soaked cyclone into Whelan’s on a quiet Monday night and it was legendary.


Event News

Event News: The Unsigned Music Awards 2017

Five Days North have been nominated for the Best Unsigned Band category at the Unsigned Music Awards 2017.

Five Days North from Manchester who we have featured on Indie Buddie have beaten thousands of other acts to be named in the UK’s top ten Unsigned Bands at the 2017 Unsigned Music Awards (UMAs) and we couldn’t be more proud of them.Launched in 2012 the awards have seen more than 50,000 music fans cast their vote including celebrities such as rock star Frank Turner and International footballer Gareth Bale. Five Days North consists of five members who all met through the University of Manchester, balancing their passion for music alongside their university studies. Whilst based in Manchester, only Sam (Guitarist) originates. The remaining four’s hometowns are: Darryl (Lead singer) – Portsmouth; David Urwin (Banjo/Synth) – London; Lewis (Bass) – Swansea; Zoravar (Drums) – New Delhi, India.

Darryl Messer said: “It’s a fantastic feeling to even just be nominated, it shows that all our hardwork over the past four years is being noticed.”

Other award categories include Best Female, Best Male and Best Song, the latter previously won by Molly Smitten-Downes, who went on to represent the UK at the Eurovision Song Contest. The awards are organised by Best of British Unsigned  (B.o.B), the UK’s number one website for ‘Unsigned Music’ which supplies a weekly radio show to 70FM stations in 15 countries.  The winner of each category is crowned thanks to an online public vote. Nominees are also put forward for ‘The Critic’s Choice Award’, and Five Days North will hope their sound impresses a panel of three industry experts.This year’s judges are: Max Helyer, guitarist for rock band You Me at Six, Dave Gilyeat, radio presenter for BBC Introducing, and Louise Dodgson, Editor of online music directory The Unsigned Guide.

Max Helyer said: ” For me it’s important to support upcoming artists and help to give them more exposure. I’m looking forward to listening to the wide variety of styles of music submitted, some of which will hopefully become part of my personal everyday music catalogue.

David Gilyeat added: It makes a real difference to get behind new unsigned music. The Talent of the future depends on our passion for it in the present.

The 2017 awards are sponsored by Vocalzone who produce world famous throat pastilles and herbal tea used by singers and voice professionals.

George Ponsford, Sales & Marketing Director said: “Unsigned music in the UK is stronger than ever before, and these awards are not only great for recognising some of this country’s most promising artists, but also giving them the platform to share their music with the masses online.”. 

The vote for Best Unsigned Band 2017 takes place at https://www.vocalzone.com/

BEST UNSIGNED BAND: Monday 2nd October – Sunday 08th October

 

 

 


Album Release, Album Review, Alt- Pop, Indie, Indie Pop, indie rock, New Music, Synth Rock, Synth-pop

Deep City Diver Self-Titled Debut Album

Hackney indie rock band Deep City Diver will release their self-titled debut album on the 6th October. This trio have crafted an album with tracks anthemic in every way with their brand of guitar pop stamped all over it. Doused in synth soundscapes they bring each track to life and evoke every fiber of emotion in the listener. Their sound is ambitious and exciting fully polished and meticulously formulated, it doesn’t feel like a debut album it feels like the fourth or fifth album of a well-established  band. They know their sound and it’s so familiar and comfortable it’s like they have been around for years, yet fresh and new. ‘Easy Prey’ kicks off the album smothered in 80’s synth pop shimmer and sparkle. The melody is sombre and sway-like and Nico’s vocals coo and brood for the verses before becoming dynamic for the anthemic chorus. Running basslines and a snappy beat adds a dance-like shuffle while jingley guitars flicker and stride with swagger and panache. It’s an infectious 80’s flashback. This trio do exuberant fist pump anthems well and ‘Everyone Is Alone’ and ‘Another World’ display this perfectly. With Bon Jovi-esque fiery choruses, powerful vocals and that adrenaline pumping get up and dance your worries away vibe. They bring the rock and roll nostalgia to the album with melty ear worm melodies and some sharp guitar injections adding a bit of edge and rawness to their sound. ‘As the Crow Flies’ is a beautiful melodic tune. Wandering soundscapes wisp around strident guitars. It’s pretty sweet and tender however the musical background adds a film like dramatic sorrow and breezy sharpness. ‘Down On Wreckyn Street, I’m Ruined’ is another indie rock thumper. Energetic, boppy and vibrant smothered in vitality with a dash of airy synths filling out the sound and giving a refreshing little multi dimension to the track. ‘Nothing Hurts’ is an elastic guitar driven tune. A rebounding spring on guitars adds buoyancy before the shredding air guitar worthy solo. ‘Honeyeater’ another slow burner with a strong thumping beat and elegant honey drizzled melody gives a 60’s feel mixed with a bit of the The Smiths. Probably my favourite track on the album for its depth and sweet sorrow filled guitar feature. It’s richly emotive and Nico’s vocals are immensely passionate and divine. It’s a tearjerker for sure utterly romantic and raw, just sublime to listen to.‘Living In The Hyphen’ and album closer ‘Youth’ are the delicate ballads. Beautiful melodies and smouldering synths create a dark sorrowful atmosphere swirling around Nico’s compelling emotion-filled vocals. ‘Youth’ displays Nico’s vocal depth.It’s a little organ-y which adds warmth to the track and once again this track is very passionate and heart wrenching. It’s a short track, just over two minutes bringing a nice end to the album. With simple accompaniment it leaves space for contemplation.

Deep City Diver have compiled a collection of tracks that speak to the heart, live in the moment whatever that moment is and makes you feel something. It’s an emotional journey of highs and lows dramatic anthemic tracks that are massive and fiery to slow tender pure passion and raw emotion. It’s epic guitar pop at its best.

You can catch Deep City Diver at their Vinyl Launch Gigs at

20th October 2017 – The Underground, Stoke-on-Trent (w/ DIVENIRE)

21st October 2017 – Blondies, London (w/ Bear Muda)

Stream ‘Another World’  below