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A
magazine that gives artists the opportunity to have their work discussed
in an intelligent and objective manner. Also providing industry advice
to those who ask for it. |
| Plus addressing issues of inequality in relation to those affected by Disability discrimination within the industry. Particularly regarding: the Disability Discrimination Act, Access to goods and services (DDA 2008) | |
| Tuscaloosa by Alyson Greenfield Let's talk of unforgivable human interaction. Interesting metaphors, musing in solitude, eloquent examples of lyrical buoyancy and sensibility; minimalist serenity, serio-comic sensationalism, luminous production, spiky observation, roots rhythms; fresh melodies of substance, which are occupied by a grounded, rounded and articulate voice; take all of this into account and you will almost certainly get an idea of what this album conveys. Phew… |
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Opening track, Tuscaloosa is a stark, dark but appropriately augmented affair considering it's topic of choice. Song two beautifully glides and weaves in and out of variable vocal, instrumental notation and tempo. Stand out track - Human Behaviour is hauntingly uplifting and manages to fill an infinite mind space. Listen to this while night driving and you will understand what I mean. Do pay attention though; the song has the ability to relax the listener a little too much! Offering number four cleverly borrows from unfortunate siblings - Jack and Jill. Intrigued…take a listen, empathise then tumble unhurt into song five, get up onto your feet and dance for 'The Young Girl in the Music World'. 'Sometimes I' would like to become an instrument, Alyson has chosen to be a Glockenspiel, join her folks and lose 'yourself' in intensity and brooding expectation. Understand the Sky is sublime, the sky is sublime and so is the sea. I will never really understand them but from now on, I will attempt to consider their meaning more carefully. Final songs, 'Johnny' and 'Chiapas' appear to be contemplative explorations of wants and needs. They are audio-visual and lyrical journeys of regret, longing and human decency, which in terms of emotional, human value systems; the songs sit somewhere between a deep sense of what is right with and what is not across the broad spectrum of human values and relationships. Overall, this is a genuine and thoroughly engrossing piece of artistry that smacks of good things to come. Congratulations… Jim Sutherland 2008 www.alysongreenfield.com |
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| George
Borowski, Gideon Conn and Rooks and the Ravens @ Green rooms Manchester
13/09/08 As a first step towards an appreciation of George Borowski’s contribution to music, consider the following. |
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George’s consistent motto is one that undoubtedly connects his epic music with the music of others. However, tonight is a corroborative affair and this inevitably makes it difficult to establish who the protagonist is. It is however; clear that George is more than happy to take on the role of nominator. It is also clear that others share his altruistic vision though prefer to exhibit their compatibility by physically contributing to his live performance. George’s ethos is obviously diversity by mixture! Earlier tonight, High Peak’s, five piece band – Rooks and the Ravens took to the stage and performed what can only be described as an articulate, edgy, blistering, self-assured and diverse performance. The audience willingly allow themselves to be engulfed by the eternal fireball I.e., (Classic Rock) that this band exist in and I am not at all surprised because they are without a doubt an inspirational and exhilarating live experience. Fortunately, Rooks and Ravens do not simply re-create a familiar sound; they seem to have a thorough and authentic affinity with it. They also appear the posses the potential to perpetuate the genre in a valuable and meaningful way. We will see… Gideon Conn, innovator and one of tonight’s intelligencers delivers an intentionally jovial and memorable performance. He bounces up and down, leaps forward into the crowd, illustrates with his body and behaves in such an uninhibited way that the audience cannot help but be intoxicated by his melting pot of slick Hip Hop beats, lyrical, physical and emotional workouts; unusual, amusing musings and at times, veritable observations. Phew… George, Netty Brooks, Phil Cawsey, John Ellis and drummer, John B, Major (Rooks and Ravens) are now three songs into an energetic set and the audience frantically wave their arms in the air. George is waving his arms in the air too; he small talks with the crowd, shares his views and frustrations about societal attitudes, Late Capitalism and by the sounds of things to come – The future of dental health in the UK, ha, ha. Some of the audience have now gone and I am puzzled by their abrupt exit. However, the one hundred or so remaining appears to fill the empty spaces with admiration and complete devotion. Netty Brooks is clearly an enigmatic and commanding personality. Her voice and presence really do echo something very real and it is not long before the audience’s gaze is firmly fixed upon her. The night ends the following day, three encores later and a genuine thank you to George from all present… Jim Sutherland 2008 www.myspace.com/georgeborowski www.myspace.com/gideonconn www.myspace.com/rooksandravens |
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| Walton
Hesse, Blind Atlas, Dirge is Dead and the Yellhounds. Chorlton Irish C (Blowout)
Manchester 5/09/08 Americana is fast becoming a popular vehicle for songwriters and inventive musicians across the UK to express themselves as fully as they may. It is within this genre that three of tonight’s acts comfortably find a creative and spiritual home. |
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Walton Hesse are the last act tonight but it is not the structure of the evening that dominates the agenda because all of the musicians here tonight appear to demonstrate how centralised and far-reaching Americana can be within the musical spectrum and they do it extremely well indeed! Act two this evening is the Yellhounds. Their brand of Americana is totally accessible. It is fast, catchy, bouncy and joyously expressive. Forty Days and Forty Nights explores a language that is evocative of a culture that has a definite geographical identity and historical roots, that is, the USA. However, this music does not take itself too seriously, (not that all American music does, far from it) Yellhounds produce music that is quirky, appealingly British and fresh. It does not proclaim, rather it invites us to join in and have some fun and this is exactly what the audience do. The other musicians in the house glance at each other; they nod enthusiastically and raise eyebrows as if to commend the onstage performers in secret code. During changeover, the next act merges with the last and handshakes are plenty. Compliments are offered and friendships are almost certainly forged. Blind Atlas clamber onto the dusty stage, they soon become it and it becomes them. Singers and main vocalists Ross and Maurice stand in line with their men ready to march steadily into musical battle with flags held high. This band mean business, they have downbeat stories to tell, emotions to express and questions to answer. ‘How do we Know’ exists in the wind and the sand of a lost place but ‘Everything Will Be Alright’ and I for one believe them. High And Low broods, it laments something that is unknown to us but I sort of get the picture though I am not sure why. My emotions have dipped slightly but I accept that this can be a good thing for it is when we are in that place that we become reflective and Blind Atlas have guided me safely there and brought me back a little wiser. Dirge Is Dead’s vocalist and songwriter Phil Poole is now chatting passionately about bass lines, hooks and song writing. There is something dark bubbling under his surface that makes me take notice and listen intently. Take a listen to Hilo Repete and you will see what I mean. Walton Hesse produces a sound that makes it impossible to feel like you are anywhere else but the here and now. Their rhythms are not obvious and so it takes the listener and the dancer a little time to adjust but this I feel is a good thing because it ensures that their individuality is unique, distinct and instantly recognisable. Their live sound is rich in texture, it is mature, thoughtful and the audience appear acutely aware of its value within the context of the evening. ‘To Be Happy is a gift that none can compare’ they sing and we agree in as much that happiness is a state of mind and when it happens we are blessed. Walton Hesse produce music out of this place and we are happy that they have shared it with us. Thanks guys and thank you Blowout for a well planned evening of quality entertainment. Jim Sutherland 2008 www.myspace.com/blindatlas www.myspace.com/dirgeisdead |
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| Shimeon
“Masquerade” It’s pronounced… Shimmeon. An interesting debut from Manchester’s newest independent production company: Re- Interpreted Performance Records. A bit long winded but a sensible moniker considering the stable of future releases, this being their first.. |
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Shimeon rocks and rolls about in country balladeering mode with very little owed to his American cousins. There is a shade of the line-dancing ethos within his musicianship which is nevertheless, commercially mature and thoughtful. Lyrically poetic and loving but also jocular and tongue in cheek as with ‘Radio Song’, a memorable, choppy and jolly piece of pop-fluff. Future single, ‘Just What I do’ is a thigh slapper of a ye ha stab at country-pop with articulate production and accomplished musicianship. Other tracks on here are Eagles induced and feel a little Jim Croce in parts. ‘Baby Oh Baby’ is more deep voiced spaoken word, almost prophetic in it’s delivery as is ‘One Day You Will Remember Me’. This is teasingly sentimental with shades of John Lennon; think of an unopened flower bursting to bloom. Lovely slide guitar and sensitive meanderings steer this tune towards reflection and remembrance. Dylan-esque as is ‘Where Love Betrays’. The nearest we get to a shit-kicker is ‘Will In Chains’. Bobbing dynamically from rock to soft, empty musings with light backing, great subject matter (you have to hear it). ‘Where Love Betrays’ steals it’s direction from Leonard Cohen, which is good. All in all-great sensitive song writing with a slow pulse burning like salt petre in an atmosphere of sadness and light. Shimeon could (should?) rock out a little more but this is a very special first album, which smacks of good things to come. If the label managers have their foresight correct then the folks at Re- Interpreted should have a great twelve months in store for them. John Slater 2008 Shimeon's myspace url is, www.myspace.com/shimeons |
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