REVIEW: Bos Angeles - Taking Out The Trash

*Originally published for The 405 (27/11/12)

It's mid-summer, the car windows are wound down, your friends are drinking in the back seat and the air stinks of West Coast hubris. You're not in Los Angeles, however, you're in Bos Angeles, UK and it's pissing it down with rain.

According to a local travel website, Boscombe is lovingly referred to as 'Bos Vegas' or 'Bos Angeles' (though we'll leave the level of irony to the opinions of those who've visited). Three lads from the area have also decided to name their band after it, and they're here to brighten things up a bit.

'Beach Slalom' catapulted Bos Angeles into buzz band territory in November last year, catching them the attention of many a tastemaker. Such a response was inevitable with the band scoffing the liquid hooks of Beach Fossils, WAVVES and Girls, yet sounding distinctly rawer. Lazy, pubescent vocals groan over prickly guitars on 'Beach Slalom', with distorted bass and kitchen pot drums thrashing in the background. It's an addictive sound.

A year later, Bos Angeles have decided to compile all their unreleased EPs onto a retro, yet of-the-moment 21-song cassette tape, Taking Out The Trash as their final parting shot (they disbanded this year). 'Beach Slalom' opens the thick onslaught of lo-fi surfer-rock tunes, followed closely by 'Days Of Youth' with its assured oohs and ahs and happy-go-lucky guitars. It's a strong start and adheres to the 'bedroom pop grunge lo-fi post-punk surf' that the boys have previously (and a little humorously) marketed themselves on.

The next ten minutes do not allow you to lose sight of these genres, so much so that the tracks merge into one another. 'Making Waves' plods in 4/4 like a tired indie filler, lacklustre lyrics grate rather than satiate, and 'Endelss Summer' makes of a double-mockery of its title. Perhaps it's the juxtaposition with the ferocious 'Beach Slalom' and 'Days Of Youth', but either way, it feels like you're looking up from the foot of the mountain.

You can wipe away the beads of sweat once you've pass the halfway mark where, at last, a good cluster of songs breathes life back into the record. 'Stone Washes' is a wonderful early noughties pop-punk with its jangling bass and classic three-chord guitar progression and 'Shallom Goy' boasts of a fresh identity with its battered vocals and anthemic punk-rock chorus. There's something all the more different in 'I Hate It When You Look At Me', which shuffles its shoegaze feet and lets guitars gnaw beneath an impossibly slow beat.

You're just about getting somewhere until a couple of dreary numbers ('Friendzoned', 'All I Do Is Dream') take pole position once more. But the Boscombe boys are clever and draw the compilation to its close with some stellar tracks in 'You're The One That I Want' and 'Pretend With You.'

'You're The One That I Want', unfortunately, isn't a Grease cover, but it is fortunately two minutes of scorching post-punk. 'Pretend With You' is where you can't help but scream "more of this" into your speakers, with its stunning guitar stumbling over calypso drums and ghoulish vocals. Seriously, more of this please.

In all its giant, aggregated glory, Taking Out The Trash is more of a curse than a blessing. Chop it up into bits and it's perfect for easy listening, but swallow it whole and you'll choke before you reach the end. There are some great tracks hidden in its spools – you'll just have to play cassette roulette to find them.

6/10

FEATURE: SOAK

*Originally published for The Generator's Tipping Point blog (19/11/12)

Hello there again, girl + guitar. You’ve been defying the music industry of late with your Marlings, Roses and Daughters and you’ve been doing a fine job of it. Is it beginning to wear a bit thin, though? Aren’t we beginning to tire of all the cute acoustics and breathy vocals? No, not just yet, because 16 year old Bridie Monds-Watson a.k.a. SOAK is here to shake things up a bit.

Originally from Belfast but now based in Derry/Londonderry, the unsigned singer-songwriter has already released two EPs, supported bands like The Undertones and Villagers and even leapt onto the Radio 1 playlist. It’s not so much the complexity of her music that has stirred such attention, but its simplicity. Listen the components of her latest single, ‘Sea Creatures’ (taken from her recent EP of the same title) and you’ll see why. There are no interweaving guitars, just a gently plucked acoustic. There isn’t a full-sized drum kit pelting in the background, just a gently rumbling cajon drum. Dust those elements with the most untouched vocals imaginable, and you’ve got a perfect little nugget of acoustic pop.

Far beyond musical analysis of ‘Sea Creatures’ is the importance of SOAK’s lyrics: lyrics that tell of innocence and experience. “They don’t know what love is, throw it around like it’s worthless,” her precocious head cries, but we also hear her cursing the juvenile “Sea Creatures” that inhabit her world. She’s at once older than her years, yet too young to be ahead of them. That’s her charm.

The ‘Juno’-isms and the twee nature of her music might not suit everyone, but there’s no denying that SOAK has penned a contagious number in ‘Sea Creatures.’ It’s bound to stick in more heads to come.

*Tip comes courtesy of Damian Baetens

FEATURE: KHUSHI

*Originally published for The Generator's Tipping Point blog (7/11/12)

Unsigned London songwriter and producer KHUSHI should be one self-assured fella. He’s received substantial attention on the blog circuit and repeated airplay on Huw Stephens' In Huw Music We Trust – yet just a handful of songs make up his back catalogue. Some stellar tracks must be at his disposal, then.

As stated on his Facebook page, KHUSHI is influenced by the likes of Bon Iver, The National and Alt-J. It would be superfluous and exhausting to pinpoint these sounds out however, for KHUSHI actually acts on his own territory. There may be the odd nod to Justin Vernon-like falsettos, but these are few and far between and there isn’t really one artist to attach him to (alright, I lied, there are a some stirring similarities to Colorado bedroom musician, Mesita).
 

On KHUSHI’s recent track, ‘Magpie’, an assured vocal tone and cutting lyrics tumble from lips, muted guitars mimic violins and careering drums drag root notes behind them. The entire song has a minimalist structure – starting small and ending big – and a brooding pulse that picks dirt up as it rolls. It does nothing less than entices you to explore more.

With an exciting career ahead of him, here’s to everyone doing the same.

Today's tip comes courtesy of Jeremy Lloyd from Laissez Faire Club.

REVIEW: Singles Round-Up - Pistols At Dawn, Grass House, MAIA, Pipers, Mt.Wolf

*Originally published for For Folk's Sake (26/10/12)


Pistols At Dawn – 'Man.Wolf.Man'

The centrepiece bass on this recording-project-turned-band’s latest single is so like the brooding bass line on ‘Come Together’ it’s uncanny, but its goes far beyond its bluesy sound. The track’s scuffling brush beats, jangling acoustics and warped, wheezy vocals are dangerously addictive and, as the grooves thicken and congeal, it becomes apparent that the band also owes much to the shuffle-pop of Dark Captain. You’re absolutely dying for it to reach the 5 minute mark, but it teases you with a commendable 4:52.

Grass House – 'The Boredom Rose'

The northern bred, southern-based four-piece are masters of theatre on this playful single; their guitars plot in the background, drums bounce with heart and character and the band harmonise with a densely-layered, chatty singing-style not unlike The Suburbs-era Arcade Fire. It’s catchy, pulsating and woozes with a twisted Americana.



MAIA – 'The Grandfather Plan'

It’s very tempting to do prior research on a band before reviewing them, but not doing so allows for a truly unprejudiced perspective. In MAIA’s case, with the Mediterranean acoustics and mischievous brass found on ‘The Grandfather Plan’, it was therefore a huge surprise to discover that they’re from Huddersfield in West Yorkshire (now who’s prejudiced?) Gorgeous, falsetto vocals hover over plucked strings and driving cajón drums – it’s immensely exciting.

Pipers – 'Ask Me For A Cigarette'

Pipers have clearly huddled themselves away in a lonely log cabin wearing woolly jumpers and sipping on organic cider while perusing a volume of ‘How To Write Sickly Indie-Pop.’ Of course, their primary-school piano, awkward vocals and twee acoustics might just be your cup of tea, but not mine.

Mt.Wolf - 'Life-Sized Ghosts'

'Dreamfolk'/'Folktronica' lot Mt.Wolf do exactly what it says on the tin. Ambient, dub-inflected soundscapes, breathy female vocals and alluring guitars enclose you in a euphoric dream, where the classically-trained singer Kate Sproule nurses you with her stunning chamber-choir harmonies. Like MAIA, this bunch are doing something quite different, so don’t lose sight.

LIVE: Oxjam Oxford Takeover

Richard Walters

*Originally published for the Oxford Music Blog (24/10/12)

It’s a chilly Autumn night in the city of dreaming spires and something strange is happening. There are no university gowns in sight, nor any scantily-clad teenagers slumped on the side of the road. Tonight isn’t about the city’s students or tourists; tonight is a whirlwind celebration of Oxford’s famous musical heritage, its cosy contemporary music scene and the Oxford Committee for Famine Relief, now known globally as Oxfam. Put simply, it’s an exciting music festival that raises awareness about poverty and injustice without shaking a jar at you.

The Cellar is a welcome respite from the crisp air outside and has already been warmed by cider-drinking punters awaiting ToLiesel’s set. The band play like they’re headlining; their feet set wide apart, guitars held aloft like godly relics and lead singer Jack Olchawski glowing with confidence. New single, ‘The Light’ is a charming song that bursts open with energy, healthy Americana and swashbuckling rhythms, but ‘Whispered Half Asleep’ sees ToLiesel at their most accomplished.  Aquatic guitars quiver and heavyweight three-part harmonies boom around The Cellar’s tiny underground space. “I’m flattered so many of you are missing We Aeronauts for us,” Olchawski says wide-eyed, “try and see some of their set.” And with that, a quick walk next door to The Purple Turtle allows gig-goers to catch the end of We Aeronauts’ set.

Sweat is dripping from PT’s cavernous walls and We Aeronauts are looking suitably bemused on stage. Technical difficulties have actually postponed their performance and the seven or so twenty-somethings are beginning to share perspiration with the walls. When all things are go, their first few minutes on stage are understandably a little flustered, but lead singer Anna is a force of nature and really pulls the band forward with her Feist-like vocals. A twee accordion and trumpet nicely pepper their grounded folk-guitar, piano and drum arrangements, but ongoing complications with the sound lets them down a bit tonight.

Sisterland

Thanks to the hard work of the festival organisers, all the Oxjam venues are in close proximity and the clubs themselves are fitting for each act. Take Sisterland for instance, a fuzzy garage-punk who have been wholeheartedly embraced by the local Blessing Force collective. They couldn’t be better suited and booted for Modern Art Oxford, A.K.A. Oxford’s hipster haven (it’s a visual art gallery-cum-performance space that sells seasonal food and soft grain leather rucksacks, for Christ’s sake). Musings aside, Sisterland play a remarkable set. The lead vocalist’s choir-boy vocals add a sugary sweetness atop the trio’s concoction of heavily distorted guitars and thrashing drums. Their set is criminally short, but Pet Moon are on next.

Sporting a rather unconventional short back and sides, Andrew Mears of Pet Moon immediately jumps into action, strutting around the stage and bouncing his RnB vocals off Modern Art’s whitewashed walls. They’re regulars on the local circuit and have been in some form for years (Mears was one of the original founding members of Foals and the since-dissolved Youthmovies). But it’s a rather odd affair watching them tonight. Mears intermittently hits the high notes and rarely engages with the audience, which is a surprise when considering the context of his established musicianship. Perhaps it is just his style. It could also be an extended metaphor for their somewhat disjointed and unpredictable music, where synths scurry like mice, trigger-sharp rhythms cut and splice and warm vocals wash with the beat. Their sound certainly lies somewhere between ambient producer How To Dress Well and a modern Prince, especially on the rousing ‘Superposition.’ Pet Moon have some fascinating experimental sounds at their disposal, but they just need to find a way to execute them live.

Pet Moon

Shortly afterwards at The Turl Street Kitchen, Empty White Circles take over the stage like there isn’t a moment to spare. Fronted by two American brothers but seemingly rooted in Oxford, the five piece play glorious Americana and rootsy folk ballads. Lead vocalist Kevin Duggan is a young incarnation of Marcus Mumford, who projects with a wholesome country hum and ‘woahs’ like he invented it. ‘Positives’ is an infectious shuffle-pop tune played with remarkable assuredness, but it’s ‘Adventures’ that really sells the band live. All five of them flank the edge of the stage and just as the Duggan brothers lull the crowd with their honeyed harmonies, the whole band stomps in unison like a strange, sedated hoedown. It’s powerful, engaging and damn-impressive from start to finish, just like their entire set.

Empty White Circles

Lamp shades add a rather domesticated feel to the venue, perfect for headlining solo acoustic hero Richard Walters' stripped-back sound. He’s just flown in from Ireland and looks bloody knackered, grinning and bearing the first few songs but eventually warming up to the attentive crowd. Walters is a captivating performer who never once opens his eyes but completely envelopes audiences in his stories of love, loss and life. New single, ‘The Escape Artist’, proves that he doesn’t need a full band behind him to stun everyone to silence. The recorded version – although in itself a beautifully undercooked composition – features yearning strings and tumbling drum patterns, but it couldn’t be better heard than live with just Walters and his solitary guitar.

The Turl Street Kitchen is enjoying a quiet crowd that takes comfort from Walters’ aching melodies and ecclesiastical vocals. Recognising this, Walters decides to dig out a couple more songs from his back catalogue, including the mesmerising, ‘Weather Song’, in which he compares his lover with natural elements over a trickling, plucked guitar.

The fact that Walters brings Oxjam Oxford to its close with this song is not only fitting for tonight’s breezy Autumnal weather, but it nods to the city’s love for performers of all kinds – from lo-fi garage bands to sensitive one-man band balladeers. After tonight, Oxford should be extremely proud of its charitable and musical heritage.

REVIEW: Bat For Lashes - The Haunted Man

*Originally published for Spires Magazine (18/10/12)

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FEATURE: Tessera Skies

*Originally published for The Generator's Tipping Point blog (17/10/12)

It’s a strange and somewhat lucky coincidence that Tessera Skies are playing their first gig in over four years at Oxjam Newcastle this Sunday. Their existentialist single, ‘Soliloquy of an Astronaut’, has undoubtedly been granted a place on their set-list, just a week after Felix Baumgartner leapt to earth from space. We all watched last Sunday, terribly nervous for Felix who was willing to sacrifice himself for science, no guarantee of falling to earth alive. “Green and blue look very strange from out here”, breathes Tessera Skies’ vocalist on ‘Soliloquy of an Astronaut’, “Look at me. I’m dying. I’m dying.” Thank god Felix made it.

Scientific references aside, Newcastle’s Tessera Skies have very recently sprung into action following the completion of their university studies. They’ve so far enjoyed airplay from Tom Robinson at BBC 6, the folks at Amazing Radio and Nick Roberts at BBC Newcastle, and that’s no mean feat.

It feels as if the three-piece have been waiting years for this moment, especially on ‘Soliloquy for an Astronaut’, a near-faultless piece of writing that is polished but also beautifully understated. Jazz-inspired drums trip over each other, ‘No Surprises’ electronics drip in the background and earnest strings grip at the root note. It’s wonderfully tranquil and perfectly embodies what one would imagine floating through space feels like, even if the lyrics carry a heavier metaphorical (than literal!) weight.

There are uncanny Guillemots intonations, as well as some Lanterns on the Lake musical stylings, but Tessera Skies impressively retain their own sound. A very promising, and culturally relevant, bunch.