FEATURE: Laura Welsh - Ones to Watch 2014

*Originally published for The Tipping Point (11/12/13)

Seemingly arriving from nowhere with the Dev Hynes-produced ‘Unravel’ in March, London-based singer Laura Welsh was in fact giving her musical career another push. 

Previously heading up acts Laura And The Tears in 2010 and Hey Laura, the songstress had taken a hiatus to reset her ideas and “write songs for myself”. She later moved on to work with the likes of Rhye and Emile Haynie (Kanye West, Lana Del Rey). “It felt like a sort of period in time where I had a lot of freedom to just build on what I wanted to do”, she said.

That freedom is duly encapsulated in her music, particularly the candid lyricism of ‘Unravel’ – “I’ll give you all my love/ just take what I don’t need”. All the components are exposed to the elements, from bare piano notes to breathy vocal hums and hushes, allowing Ms Welsh to stand with the take-me-as-I am spirit of neo soul peers Jessie Ware and Laura Mvula.

In October, Radio 1 added her latest single ‘Undiscovered’ to the In New Music We Trust playlist and a flurry of famous producers have since jumped to remix her work.

Now putting the final touches to her debut LP due early 2014, it seems Laura has set herself up well for what we think will be her busiest year to date. A holiday does wonders for the soul.

FEATURE: All We Are

*Originally published for The Tipping Point (3/2/13)

One of life’s greatest pleasures, perhaps only for music nerds, is pinpointing a band’s music influences and realising the comparisons are accurate. Take the latest single from Liverpool’s All We Are, who were first tipped last year. Within five seconds of listening to ‘Utmost Good’ I’ve scribbled “sleepy Bee Gees” and within five seconds of googling it appears the three piece liken themselves to “the Bee Gees on diazepam.” Get in. Admittedly, my tone-deaf nanna could spot the link.

‘Utmost Good’ oozes funk from every drugged beat or wah wah bass note, supplemented by biting falsettos that really would raise the Gibbs’ eyebrows. The track’s drowsy ostinato is addictive and great company for a lazy Sunday afternoon, especially with the summer months looming. It’s Unknown Mortal Orchestra at their most laid back, though fashions a more distilled sound, and it’s a delight to hear.

Catch the Liverpool lot at The Seabright Arms on 17th June.

*Tip courtesy of Phil from Not Many Experts

FEATURE: Phlo Finister

*Originally published for The Tipping Point (10/5/13)

LA/London poster girl, artist and fashionista Phlo Finister isn’t exactly modest. “I’m a underground R&B singer I don’t need no major deal to be a legend”, she says, “I inspire myself, you just use me for inspiration.”

Statements like these are often the workings of PR, but in Ms Finister’s case it seems authentic – stemming from collaborations with respected underground hip-hop groups (Raider Klan) and fashion stints for Dolce and Gabbana. Time to give her a little listen then.
 

‘Coca Cola Classic’ is Aaliyah given a dubby makeover; Phlo’s sultry vocals glide above a sub-bass that would make Katy B quake in her boots. It’s not a dubstep track in its own right, however, and it’s enjoyable to locate all the interlocking genres from rap, to soul, to hip-hop and beyond. Shady synthesisers and glitchy electronics bleep around analogies of drug addiction, whilst Phlo’s desire for “real love” is summated by “fuck that fake shit.” Lovely.

This songstress is certain to divide opinions with her daring statements, but her music is worth keeping an eye on.

*Tip courtesy of Tom Cotton at Amazing Radio.

FEATURE: Ady Suleiman

*Originally published for The Tipping Point (19/3/13)

If anyone is going to make a perfect, pre-packaged pop star, then they should have a look at Ady Suleiman. He’s young, good-looking, a talented guitarist and an even more talented singer – everything you need to face the music industry’s bite. Currently studying at the prestigious LIPA and with a BBC Introducing MistaJam session to his name, the Nottinghamshire musician certainly has an exciting future ahead of him.

Taken from his MistaJam session, ‘Serious’ is already racking up a healthy amount of hits and it’s no puzzle why. Ady's soulful vocals, styled seemingly on a diet of Ray Charles and Stevie Wonder, are immediately arresting and ever the more attractive with creaking acoustics plucked beneath them.
 

There’s a definite reggae sound lurking with attractive off-beat rhythms and looped melodies, but you can pick out a whole host of influences from hip-hop to soul and even a bit of jazz. Ady has gobbled up these sounds and spat them out into a fully-formed pop song in ‘Serious.’ I can’t imagine it’ll be long before the bigwigs wrap their ears around it.

*Tip courtesy of Lyndsey Boggis at BBC Introducing.

FEATURE: East India Youth

*Originally published for The Tipping Point (1/3/13)

It’s a given that most songs gleefully skip over brain cells, satisfied enough that they will leave a small though not lasting imprint. In fact, we listeners have a lot to be thankful for. Can you imagine trying to digest one ‘Karma Police’ after another? Poor to average songs inadvertently better the, well, better. So, Mr “sound gardener” William Doyle, AKA East India Youth, you have done it. You have written one of the best songs I’ve heard in ages.

‘Heaven, how long’ tells you it’s going to be one cathartic 6-minute journey the instant those new-age synths simmer at the opening. Doyle’s lonely vocals wrench at your gut, perched as they are on the edge of things. Earth-shattering root notes and motorik rhythms create a strange crossover of the archaic and the modern – like some Celtic lament given the Krautrock once-over.



But the genres don’t stop there. As all the electronics bleed into one another and rhythms surge forward, shoegaze guitars burrow their way in, producing that dazzling and decaying sound My Bloody Valentine so proudly discharge.

Although it’s just a taster from East India Youth’s self-produced Hostel EP (released in March on The Quietus Phonographic Corporation), ‘Heaven, How Long’ is a fine introduction to this extremely gifted musician. Now, to press that repeat button…

*Tip courtesy of Shell Zenner and Rob Platts.

FEATURE: Bridie Jackson And The Arbour

*Originally published for The Tipping Point (11/2/13)

It’s one thing when a band comes forward with a ‘new’ genre of music; it’s another when a band offers something timeless. Newcastle’s Bridie Jackson And The Arbour may not be serving up the hottest dish of hipster tunes, but they do know how to pen songs of a refined and classical nature – duly recognised by BBC 3, national press and beyond. No song could better demonstrate this talent than the 4-piece’s latest single, ‘Scarecrow’ (released as a double A-side).


Bridie Jackson has a voice of crystalline quality not unlike that of Feist’s and, if truth be told, her arresting vocal is the song’s centrepiece. Armoured with Leonard Cohen-style lyrics, Jackson sings from the grave about dying just before her wedding day. With the mischievous piano loop, rumbling cello and dark, Celtic strings, ‘Scarecrow’ emits a black humour that creeps into your every fibre and doesn’t leave.

Chamber-pop harmonies ring out unaccompanied at the end and, although the track is over, the drama is residual. An ominous and beautiful single that will haunt many others to come.

*Tip courtesy of Joe Sparrow from A New Band A Day

FEATURE: Ecstasy

*Originally published for The Tipping Point (in assoc. with The Generator) (29/1/13)

It’s been a trend in recent years to have one-word band names (Chvrches, Haim, Grimes and Peace – not to mention recent Tipping Point artists: KHUSHI, SOAK and CUBS). Long gone are the days of ‘The’ prefixes, where joining a band was like joining a club with the pre-determined guitar/vocals/drums/bass set-up. Nowadays, with so many musician-cum-producer-cum-DJs and vast experimentation with hybrid genres, it seems pertinent for musicians to name themselves after something less simple than, say, a group of animals. This is where Ecstasy come in, a relatively new act from London who produce “popgaze” tunes in a presumed effort to elevate one’s mental state.



The act’s latest creation, ‘Exhale’, is introduced by abusive klaxon synths but supple boy/girl harmonies soon soften the heavy blow. Double-wrapped beats and juddering synths sit nicely below lively vocals, much like the stylings of a Naked And Famous or Mausi track (the latter tipped this month). A mesmeric drone neatly carpets the song throughout – perhaps explaining the “popgaze” label – leaving you feeling rather warm and fuzzy inside.

Ecstasy don’t need to fling any amphetamines to fans (and that would be silly, wouldn’t it). Thankfully, their brand of strident power-pop has its own, uncompromising energy.

Tip courtesy of Adam (Alphabet Bands), Rob Platts & Tom Cotton (Amazing Radio)

FEATURE: MAUSI

*Originally published for The Tipping Point (in association with The Generator) (14/1/13)

In the words of the American writer Henry David Thoreau: “one must maintain a little bit of summer, even in the middle of winter.” Newcastle’s Mausi are no strangers to this philosophy, with the sun-bleached electro-pop  of ‘sol.’ wearing record needles thin over the course of 2012. Now the quartet are welcoming in the new year with ‘Move’ and still have every intention of overdosing on the Sunny-D.

‘Move’ already feels like an established Saturday night floor filler with its beefy 90s piano hooks and fluttering high hat taps. Darting synths bring Calvin Harris’ ‘Sweet Nothing’ to mind, but the organic harmonies of Italian-born siblings Daisy and Thomas Finetto results in its more carefree disposition. 

Your mother may fail to describe what the kids get down to nowadays, but the words “groovy” and “funky” do have their place here. ‘Move’ is to-the-point, feel-good dance music – a breath of fresh air in the stale furrows of January.

Mausi play The Tipping Point's Roundhouse Rising Showcase at The Sage Gateshead on Sunday 17th February.

*Tip courtesy of Bob Allan at The Generator.

FEATURE: Dan Croll

*Originally published for The Generator's Tipping Point blog (13/12/12)

I’m honoured to at last reference a musician with (phonetically) the same strange surname as me, but only because the artist in question is breathtakingly good.

Dan Croll was first tipped by us in August when Toby Rogers praised his Flaws-era Bombay Bicycle Club balladry. A couple of months later, the Liverpool musician has come forward with a debut single sounding broader than all of his tracks put together (this is far from a discredit – check out the wonderful ‘Home’ and ‘Always Like This’) – so much so that the likes of Nick Grimshaw and Annie Mac have aired/interviewed him on their shows.

‘From Nowhere’ literally has arrived from another part of Croll’s mind, opening with a fairground organ that wouldn’t feel out of place on The English Riviera. It bursts forth with a statement bass-line, reggae rhythms and vacant jazz chords that, in all honesty, make you wiggle like a child in your desk chair. There’s a boyish, earnest tone to Croll’s singing, which nonchalantly glides over the track’s shimmering multicultural sound.

In essence, ‘From Nowhere’ does nothing less than hark to the kind of cool pop music that Santigold writes across the pond, but Dan Croll makes it in Britain. His debut album is out next year.

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.

FEATURE: CUBS

*Originally published for The Generator's 'Tipping Point' blog (3/10/12)

Well, well, well, what have we got here? Another bedroom musician using the great ploy of mystery to receive gratuitous attention? It’s not going to work, CUBS, I won’t let it. Those simmering synths and delicate wind chimes...they won’t get me...that organic lo-fi production...no, that won’t do... those stunning, frost-bitten vocals and those surprising tempo changes? That’s it, I can’t resist. CUBS, you’ve won me over to your charming minimalist synth-pop.

There really isn’t much to tell about CUBS except that Amber Bain is the creator of the lovely sounds found on ‘Anthra.’ Imagine Bon Iver’s Emma writing back to him from a lonely English bedroom and you’re kind of there. Her sound isn’t as refined as the American melancholic’s, but it’s certainly impressive for such early material.



CUBS’ crisp-cold vocal quality and multi-layered harmonising is similar to the Scandinavian synth goddesses that have graced the blogosphere over the last two years, but she has her own style that playfully jumps across heart-tugging bass notes and dreamy reverb. 

CUBS' chilling lo-fi sound on ‘Anthra’ is surely going to cause a stir on the internet, especially with the impending winter months. Hibernating will continue to do her well. 

*The Generator tip comes courtesy of Tom Cotton (Amazing Radio).

FEATURE: Richard Walters

*Originally published for The Generator's Tipping Point blog (19/9/12)

Oxford singer-songwriter Richard Walters is one of those musicians with the ‘that voice’ effect; it has warm familiarity, ecclesiastical clarity and a gravity of tone that you cannot help but completely resign to. This autumn sees the release of his second album, Regret Less, following widespread praise from The Guardian, The Fly and Uncut for his debut LP, The Animal (2009).

The lead single from Walter’s new fan-funded album, ‘The Escape Artist’, shows off the workings of a classic songwriter, blessed as he is with a vocal range as agile as fellow Oxfordian Thom Yorke’s. Walters may not favour the forthcoming comparison, but the crystal-clear quality of his voice is also not unlike Tom Chaplin’s of Keane.

It’s fairly unusual to hear such basic and raw instrumentation during an age of heavy synth/beats-driven music and excessively layered ‘nu-folk’ balladry. Clean guitar and hushed violins run alongside Walter’s metaphors about the pains of love, but he does not overindulge in superfluous crescendos like all the Mumfords and Sons of late. In fact, the track’s safe composition forces you to focus on the lyrics and the dexterity of Walter’s voice – at once fragile and powerful, discreet and arresting.

Keep your eyes peeled for him playing at some charming little venues around the country this month, as well as the expected release date of his new album Regret Less on 15 October.

*Today's Generator tip comes courtesy of Matt Marlow (KYEO.tv).

FEATURE: Spring King

                                                                                                   

*Originally published for The Generator's 'Tipping Point' blog (6/9/12)

Working under the alias Spring King since March, it seems prolific producer of Tipping Point faves Jethro Fox and Dan Croll, Tarek Musa and friends have been spending a lot of time hanging out with Ty Segall and The Black Lips, or, the more probable situation, wishing they had. Their first penned track, ‘Let’s Ride’, boasts a similar garage-punk sound but is loaded with a faster energy that has already gained attention from the likes of The 405 and Amazing Tunes.

It’s hard to believe Spring King hail from the UK when dusty, Americanized vocals shout over lo-fi riffs and tinny west coast surf solos. Bass and drum breakdowns characterise the verses, while root-note piano adds depth to latter part of their organised car crash of sound. They even manage to squeeze in a couple of whirring synth melodies before the song ends at a measly two minutes and fourteen seconds, but they have made their point and impressively stun us to silence.

Spring King’s aggression and energy on ‘Let’s Ride’ is bound to prick ears up and get people excited about guitar music again – but this time on our home turf.

Today's Generator Tipping Point comes courtesy of Rob Platts at Alan James PR

FEATURE: Idles

*Originally published for The Generator's 'Tipping Point' blog (8/5/12)

It’s not often that I come across a band who are as to the point as Idles are. The upcoming Bristol 5-piece aren’t huddled away in the crevasses of cyber-space, but are right out in force with a recent support slot for London psych-rockers S.C.U.M and a superb website that tells you everything from the band’s history to their influences and interests (hurrah for music journos)! But it’s their music that really shouts out loud; post-rock creations laden with rugged guitars, chunky basslines and raucous vocals.

New song, ‘Meidei’, taken from their forthcoming EP ‘Welcome’ (out August 6th), is completely wrapped up in these aforementioned sounds. High-hats chomp on chugging basslines, while vocalist Joe Talbot screams over needle-sharp guitars that splutter with distortion. You can definitely nit-pick out the obvious Walkmen, Buzzcocks and edgy Joy Division influences, but Idles swallow them whole and regurgitate a rather compelling sound that is full of their own gritty energy.

'Meidei' is also strange to listen to because it features just guitars, bass, drums and vocals – there are no glockenspiels, casio keys or kitchen utensils here to make the sound (used by many, but not exclusively to those uber-cool hipster types) - but this isn't a problem. It's modern rock ‘n’ roll at its best and the band are surely set for a bright future.

(Tip for The Generator comes courtesy of Sam Betts at Fear Of Fiction).

FEATURE: Young Liar

*Originally published for The Generator's, 'Tipping Point Blog' (27/3/12)

With big-ups from Gideon Coe at BBC 6 Music and Sean Adams at Drowned in Sound, as well as support-slots with the likes of Errors, The Futureheads and The Twilight Sad, it looks like the instrumental Geordie 5-piece, Young Liar are really starting to register on people’s radars.

Monday saw the release of their second EP (quite literally titled, ‘EP 2’) through the independent label, The Calico Print, following the record’s launch party at a deserted warehouse in the Ouseburn Valley on Saturday. As hipster as the event sounds, the post-rock tidal wave of noise that sprouts from Young Liar’s single, ‘Sponsored Silence’ is refreshingly modest, but powerful in its delivery.

Opening with a crackle-snap snare and a warm, melting bass line, ‘Sponsored Silence’ invites you into a world of relative calm, before spasming, math-rock inflected guitar and pulsating reverb dashes you right across the head. The track has a bottled-up urgency; like it’s trying to reach some unknown destination. It would be the perfect accompaniment to a night-time drive with the windows wound down.

Even more appealing are its little nuances of experimentation. Sure, it has its predictable break-downs and imitated Explosions In The Sky hooks, but some of the guitars are bent by tremolo arms that splash with jittery Americana. ‘Sponsored Silence’ actually sounds like Explosions with more balls. While that’s a huge statement, no one can deny that some of the Texans’ songs stretch for a bit too long. Young Liar are considering the listener’s needs for musical escapism, but keep it tort at a nice 4 minutes.

‘EP 2’ is now available as a digital download or (if you’re quick) you can get your hands on a limited edition CD via The Calico Print.

Catch them at the Evolution Emerging on 1st June 2012 at the Star and Shadow Cinema.