Single Review: The Clox - Jules Verne

Over the last couple of months I have been introduced by many brilliant artists by the Pluggin Baby camp and I think these guys could be another one to add to the ever increasing list.

The guys in question are a band simply known as The Clox. The band came into being back in 2009 and they have been on an upward trajectory ever since. Coming out of New York but originally hailing from Kazakhstan Denis Orynbekov (Vocals/guitar) Igor Reznik (bass) and Ruslan Baimurzin (drums) are gathering quite a reputation online for the quality of their music and I have to say that it’s very much deserved.

This track ‘Jules Verne’ was originally released back in 2012 when it appeared on the EP of the same name but it has been given a new lease of life recently which has seen it getting radio play all over the place. 

The track itself is 3 minutes of indie rock of the highest quality. The melodies, and just the way that the track is put together really is first class. The main riff keeps the track ticking over nicely allowing the unique vocal from Orynbekov to do a lot of the heavy lifting. The beauty of this band is that while they fit snugly into the indie band bracket they have their own distinctive sound. Something which can’t be said for a lot of indie bands out right now.

The chorus has some nice sing-along value and the song as a whole is really quite catchy with the potential to get stuck in your head. As far as indie singles go, this really ticks all of the boxes; also from a more technical standpoint the production is pretty flawless. It’s nothing flashy the track just has a good crisp sound giving the bands talents the perfect opportunity to shine through.

‘Jules Verne’ improves with every listen and will have you humming along in no time, a very solid and very well rounded track that deserves a spot on your hard drive.

https://soundcloud.com/pluggin-baby/the-clox-jules-verne-1

Single Review: The Talks - Radio

The blog has been full of firsts recently and well I think it would be a shame to stop now. So it gives me great pleasure to introduce to you the first ska/2 tone act to ever appear on The Musical Outcast.

If that isn’t worth a round of applause I don’t know what is.  Anyway, the band that has inspired me to break the blogs 2 tone duck are called The Talks and well, they’re really quite good.

The main band are made up of Patrick Pretorius (Vocals/guitar, sax) Jody Moore (Vocals, guitars, keys) Iain ‘Easy’ Allen (Bass) and Richard ‘Titch’ Lovelock (Drums) There is also a list as long as your arm of artists that also appear with the band and those guys are Ross Moore (Organ) Wayne Willis (Keys/Trumpet) Hekima Asilia (Vocals) Will Chalk (Trumpet) and Adam Thompson (Trombone)

Based in Kingston Upon Hull these guys have been on a serious roll now for the best part of 2 years. Not only have they supported the likes of The Specials and Madness, Neville Stape of The Specials featured on their 2012 single ‘Can Stand The Rain.’ That is one hell of a co-sign if you ask me. ‘Radio’ is taken from the bands upcoming album Commoners, Piers, Drunks and Thieves and if this track doesn’t put a smile on your face I think you need to go away and re-evaluate your life.

To say that this is an awesome feel good tune would be to do its disservice. Harking back to the 2 tone golden age of the early 80’s ‘Radio’ bounces along with an infectious childlike enthusiasm that means it simply can’t be ignored. It makes you want to smile, bob your head and dance like a toddler who’s had too many Smarties. Clocking in at just under 3 minutes it’s a whirlwind of sunny happiness; the only negative that will come from listening to this tune is the fact that you’ll probably wear out the repeat button on your generic fruit based mp3 player.

The Talks have managed to set happiness to music, and for that reason alone this track deserves 3 minutes of your time. What an absolutely glorious record.

Radio is officially released today 30^th June 2014

Only The Good Live @ o2 Academy 2 - 26th June 2014

Last night I did something that I have never done before. I went into a gig that I was reviewing pretty much blind. Normally going into a gig I have either reviewed the a recording of the band before or I have seen them live somewhere down the line but this time things hadn’t quite shaken out like that. So the sum total of my Only The Good Knowledge was a 4 minute video that I had seen on YouTube, I mean I knew all the details and the boring stuff but actual music wise, the night was going to be a new experience in so many ways.

Based in Birmingham Only The Good are Aaron Orme (Vocals) Jason Davies (Guitar) Liam Garey (Guitar) Alison Biddle (Bass) and Mike Newey (Drums) They formed back in 2011 and have been out there rocking the local scene and beyond ever since. Style wise they describe themselves as hard rock/alternative but in my experience that could mean pretty much anything, so I was ready to expect the unexpected.

Things didn’t get off to a great start when there was a delay on the door due to long sound check from the headliners and the official blog photographer got stuck at work so couldn’t make the show. I would be lying if I said that I hadn’t got a bit of a sinking feeling by the time that I actually made it inside the venue. But thankfully that feeling didn’t last long.

The band opened with ‘Time Flies.’ Quick, heavy and to the point. The set up on stage is a little awkward as the band are left cramped by the layout but to their credit they don’t let it affect them and they fly into their set with great energy. Straight away you can tell that the band have put in the hours in the rehearsal room, everything is on point straight from the off. And as you all know I’m a sucker for a guitar solo and the work from Davies here was top class.

There was no let-up in pace as ‘Make My Day’ blossomed into life. Having said that there was a nice tempo change as things slowed down for another guitar based master class from Davies, but that was merely a brief lull however as the track smashed back into top gear for a brilliant grandstand finish.

Next up was new track ‘Break The Cage,’ and for a brief moment I was on the same level as the rest of the audience as nobody had heard this track before so it wasn’t just me! The incredibly tight rhythm section really set this one up and drove it forward even surviving a bit of a mic malfunction right as Orme went to belt out the first note. I know I make light of it there but the band really do really do deserve a lot of credit for not even flinching as this was going on, great professionalism.

The intro to ‘Target’ has a slight hint of ‘Paranoid’ about it and the track is more of the same hard hitting, no nonsense in your face rock attitude, and top marks to the band for it. I had been trying to place it all night but it was during this track that I finally hit on what I was looking for, I don’t know if it is intentional or not but some of the guitar work from both Davies (Especially) and Garey has echoes of the late great Randy Rhodes.

The audience gets a breather as ‘Do Or Die’ slowly builds into life, the mellower feel doesn’t last though as the Only The Good that we expect roar back into life with a vengeance. What’s clear is that the band are really enjoying themselves and this energy and enthusiasm  transmits down to the audience and as a result the crowd are really buying into the performance and having a great time, the great musicianship on show probably helps as well!

This track really hits home something that I have been impressed with all night; vocally Orme doesn’t really have in the traditional sense a huge range in at all (I’m sure he’ll admit this himself) but the impressive thing is that he knows how to use what he has. There is nothing worse than seeing a singer overstretch themselves trying to do something they simply can’t. He fits the tracks and the tracks fit his voice, that might seem like the simplest thing in the world but you’d be amazed at how many bands don’t seem to see this as important.

The band brought down the curtain on what had been a thoroughly enjoyable performance with the brilliantly titled ‘Dogs In Heat.’ The song opens with a guitar solo while not only ticking boxes for me personally, is a nice bit of variation. Rapid fire lyrics, drums which batter your senses like you’re entering a warzone and soaring guitar solos it all here, all wrapped up with a typically grandiose rock and roll finish complete with enthusiastic cheers and a long round of applause from the appreciative crowd.

If it wasn’t for the towering guitar solos OTG could easily be a punk band. All the elements are there, their sound is uncompromising, in your face, and most of all its seriously loud. Like I said before the band clearly enjoyed the performance and this meant that the audience really got involved. Plus on a technical level the performance was spot on, both guitarists provided awesome solos, the rhythm section was tighter than a very tight thing and powered the band forward at a relentless pace, while vocally Orme delivered passion in spades as well as bringing great energy in his role as frontman.

My night started in pretty shambolic fashion but by the time the first song had ended I no longer cared, and by the time the last note of the final song had stopped shaking the walls I had forgotten completely. For half an hour Only The Good didn’t put a foot wrong, and left the stage to the sound of applause. They had enjoyed their evenings work, I had enjoyed reviewing them and the audience had enjoyed watching them, and in my book you can’t ask for more than that. 

EP Review: Ziegler Co: Roll Up

As much as going to review a great band is brilliant, I pretty much know what I’m going to get. So being surprised and seeing something you weren’t really expecting can often be one of the highlights of the night, and that is exactly what happened a few short weeks ago. That is because I saw a beautifully eclectic performance from a band who by the name Ziegler Co.

Currently based in South East London Adam J. Morgan, Daniel Priddle, Fraser Rieley and Peter Radcliff made the trip up to Birmingham that night and put on an incredibly impressive live set, full of a mix of styles and top musicianship. So obviously it would have been poor form on my part had I not made efforts to get my hands on some recordings to give some spotlight to on here.

Having seen the live set my expectations were really quite high when I sat down to listen to their debut EP Roll Up and I’m happy to say that it was everything that I hoped it would be.

Opening track ‘Fall In’ is short and sweet clocking in at just over 2 and a half minutes but it sets the tone for what follows excellently. The slow building bluesy, California rock tinged effort is a really good way to get things started, the mellow opening 2 thirds of the track quickly drops into organised chaos for a rather confused yet brilliant ending. That sums Ziegler Co. up, you’re never quite sure what you’re going to get.

Every song that seems to come on the radio at this time of year is always prefaced by ‘This is the perfect summer tune!!!!!!’ well unless they are playing the next track ‘Slide’ then frankly they are wrong. The strong folk influence gives the track such a laid back feel it’s impossible not to imagine having this playing when you do your best to recreate the scene in your cider advert this summer. The chorus as the title of the song suggests slides along effortlessly and the chilled out guitar solo is first class, and with lyrics like:

Maybe she’s the type of girl who dances Rumba, tip tapping on the tiles of my dreams.

What’s not to like?

Gloriously languid ‘It’s Everywhere’ is a sort of blues/folk ballad hybrid, and continues the theme of sounding different to everything that went before it. The vocals are brilliantly understated and while for the most part being the focus of the track they don’t overwhelm it. Again I get the impression that I am going to waste many a summer afternoon with this song as my soundtrack.

‘Bad Men’ sees the summer cobwebs blown away as the tempo kicks firmly up a gear. It couldn’t be more different to the previous track and the rapid fire vocals are a real highlight. There are hints of rock n roll, indie and I’m sure you can also hear a slight nod to ska as well as the track bounces along.

As final track ‘Tourists’ winds its way into view all of the child like exuberance of ‘Bad Men’ is nudged to one side and the spellbinding seductiveness of this old school ballad takes over. It feels like a throwback to a bygone era, you just don’t hear songs like this anyone, and that is a crying shame. Again the song writing is great with the use of the brilliant phrase

The sun shines brightly like an uncle with dementia

The best way to listen to this song would be in total isolation, let it wash over you and get totally lost in it and you will reap the rewards trust me.

I have reviewed some brilliant music recently, spanning Europe, genres and all kinds of weird and wonderful styles but I have to say that this is one of the best projects I have had the pleasure of listening to. The musicianship is faultless, the vocals completely on point and the production spot on. There isn’t anything I don’t like, each track is different in style to the last but at no stage do the band sound like they have overstretched themselves, the whole EP comes across as effortless.

Roll Up is a triumph, beautifully preformed and beautifully put together. Ziegler Co. will probably never sell millions of records (I hope I’m wrong) but this EP will put a smile on the face of everyone who hears it and falls under its spell and to me that is what music is all about and what makes great records great. So I can’t describe Roll Up as anything else it is simply a great great record. 

EP Review: Neshiima - Distance

There are very few things in this world better than people who are prepared to be different, especially in music. Whether you are mashing 9 different styles together to create the perfect musical blend or carving out your niche as using something never heard before, different is what makes the world go round. This blog thrives on different and so do these guys; Neshiima.

Neshiima are Liam Hasslewood (Vocals/guitar) Calum Stansfield (Guitar) Craig Rankin (Bass) and Danny Cameron (Drums/percussion) Hailing from Crieff, Perth and Glasgow up in Scotland this band are straight up unorthodox, their music is an ear drum hammering  patchwork quilt made up of a huge number of different styles and influences designed to make an impact. The band were put together by front man Hasslewood, who after a challenging 2012 needed an outlet for his new found rush of creativity, and eventually Neshiima were born.

Distance is the band’s debut EP and it hit stores 1^st May. So the real question after all that is… are they actually any good?

Opening track ‘Edge Of The World’ is the band in a nutshell. It’s low on subtlety but as high as you like on attitude. Part metal, part hip hop it’s straight up and in your face. The central guitar riff hammers the track forwards assaulting your senses in the process with the lyrics kicked ferociously over the top in this all action effort.

‘Madness’ is exactly what it says on the tin. The intro is a melody which could have come straight from one of those music boxes that appear in horror films where just as the child opens the lid they get dragged to hell. It’s the soundtrack to a fairground you hope you never have to visit. A cacophony of guitars and drums then come cascading in with Hasslewood’s rapid fire raps giving the whole thing direction. Vocally we get rapping, singing and screams crammed into nearly 4 and a half minutes of chaos, this is definitely one of the EP’s highlights.

Although previously thought impossible things flip up a notch on the heavy rock/metal crossover ‘Confidence.’ The riffs are faster and not as deliberate as they are in the opening tracks, firing along at a breakneck pace instead of following the more hip hop style patterns that they did earlier where they provided a platform for the verses. If you’re easily offended by huge screaming vocals then I’d recommend that you look away now because large portions of this track will rip your face off, I’m not a massive fan of screams being used too often but they do get the job done here.

‘Rebuild’ sees the band return to more of their staple sound, except for the most part the rapping has been replaced by singing. These guys have such a huge amount of scope for the type of material that they could produce, which is a massive plus but in terms of this project that also sometimes creates a bit of a negative. By this I mean that there is such a huge scope of things that they are capable of that I can’t help but wonder why didn’t they push the boundaries further? In places the riffs are a little bit formulaic and could do with a bit more variation because as on this track things are in danger of becoming a little but samey. That said this is still a decent track and the way it drops away and returns with a bang around ¾’s of the way in is a definite plus but in the context of the whole EP you feel like you have heard it all before to some extent.

Penultimate track ‘A.F.G’ while maintaining the bands all action style it also manages to incorporate some mellower sections which are a really good addition. The chorus as well is definitely more anthemic and will give fans something to latch onto especially during live shows. The only slight criticism is that there is some good guitar work (the closest thing this lot get to a solo) not far from the end but it is buried right down in the mix and personally I would I have liked it to be more at the forefront, but I think these things come down to personal preference.

‘Exhale’ brings the curtain down on proceedings and is probably my favourite track all things considered. All of the weapons in the bands extensive arsenal are on show, big vocals, big guitars, big noise. In my book it’s a fitting end to a very good record.

As good as Distance is (And it is very good) I’m still left with a small feeling of what might have been. It sounds like an unpolished version of Meteora by Linkin Park, and for the large part that’s brilliant but with a bit of polish and a bit of sharpening up very good could have become exceptional. I’m not saying that the sound needs to be commercialised or anything like that just given a bit more focus in places. But don’t let that take away from what is in many ways a very impressive debut effort. The scope and potential for where this band could go next are pretty limitless but what’s for sure is that I’ll definitely be listening. 

Single Review: A.Maxwell - Hyde

As you may have noticed over the course of the last month I have taken a bit of a liking to a Scottish band called Junebug. There is a very good reason for this and that reason is that they make fantastic, original, interesting music. One of the important cogs in this very talented musical wheel is guitarist and keyboard player Aonghas Maxwell, or for the purposes of this experiment A. Maxwell.

Hailing from Glasgow 21 year old Maxwell, not content with being part of one of the hottest unsigned bands out right now has been busy putting together a solo project. Now I can’t lie when I see that a member of a band has launched a ‘solo project’ or ‘side project’ I take a sharp intake of breath and fear the worst. This is because in 7 out of 10 cases these projects fall into 1 of 2 depressingly rubbish categories.

The first of these is normally if the lead singer branches out on their own and the scenario generally speaking is this... singer writes crap songs, band don’t want to use them because they are crap, singer and their ego decide that they know best so launch ‘solo/side project’ to release crap material, the project flops because as is plainly obvious the songs are crap.

The second category is that a band member starts to get ideas above their station. They forget that they play guitar/bass/drums in the band because that’s what they are good at and think that they will have a crack at this singing and song writing lark because frankly how hard can it be. The same scenario as outlined in category 1 then plays out. The common theme you might have picked up on is that in general side/solo projects normally produce rubbish music for us fans and are used only to stroke the ego of the person making said rubbish music.

So yeah, the upshot of all this is that when A. Maxwell emailed me with this track I was a little concerned. However and it is a massive however, there are 3 out of 10 of these side projects that do produce very good music and I am massively relieved and pleased to announce that this is one of them.

At its centre ‘Hyde’ is one man and his guitar, there isn’t masses of studio wizardry or a song writer trying too hard, it’s brilliance lies in its simplicity. The vocal is rough around the edges in all the right ways, and the guitar work skips along nicely. The middle section of the track is totally stripped back until the guitar returns accompanied with random vocal ramblings and only after this do things get back completely back on track. But this little excursion is a great addition and marks the song out from the ‘2 verses plus a chorus’ crowd.

The main aim of a single such as this as well as obviously trying to provide the world with quality music is to act as a preview to what will follow. In this case that is an EP by the ‘First Species’ which is due in the coming months, and I have to say that here both boxes are well and truly ticked.

‘Hyde’ is uncomplicated, understated but undeniably brilliant. Beautifully rough around the edges and thankfully without that overly commercial polish, it hits all the right notes. There is also loads of replay value so you can keep hitting repeat to your hearts content without getting bored stiff.

As a result there’s only one question left… when’s that EP coming out? 

EP Review: March Division - Metropolitan Fragments

Over the course of the last month or so I have been joking about the blog going international with the fact I seem to be reviewing so many Scottish bands, but this time there are no need for jokes because it’s actually happened. Yep, you read that correctly The Musical Outcast is making its first foray into the Italian music scene with this review of the new EP from March Division. It’s a proud day ladies and gentlemen.

March Division are Andy Vitali (Vocals, guitar, bass, synths, programming & production) Emanuele Platania (Drum, percussions and drum machines) Stefano Lai (Bass, synth bass, programming & production) and Mattia Pissavini (Keyboards, synths & production) Formed back in late 2010 the band released their debut album Radio Daydream in 2012 but they have since undergone a bit of a change in direction. Their early material was very much in the classic brit-pop mould but more recent releases have seen the foursome move towards electronica, building towards the release of a brand new album later this year. Throughout 2014 they have been steadily gaining momentum with the video for ‘Right On My Way’ being featured in Rolling Stone Italy as well as receiving heavy rotation on Rock TV Italy.

Mixed and recorded at their own Morning Park Lodge Studio in the Alps the aptly titled Metropolitan Fragments is the band’s latest step towards the album I mentioned earlier and is a very interesting listen. It’s a wide-ranging blend of styles and influences which will hold your attention for the duration.

Opening track ‘Friday Will Come’ is March Division in a nutshell. Brit-pop/indie melodies mixed with a slight electronic twist. The intro and verses are nicely understated as the track builds to an electronic crescendo of a chorus. The vocal from Vitali is quite distinctive and falls somewhere between Richard Ashcroft and Ian Brown. The track just gets the EP off on the right foot, and gets the ball rolling nicely.

‘Lonesome Prisoner’ sees the tempo drop right down, with the electronica/trace feel of sections of the opener falling away to leave what sounds a bit like a Country influenced ballad. The central melody and verses drift along as the vocal glides over the top. Simple in construction and execution the track highlights March Division’s incredible versatility. While not a track to really get pulses racing it slides along effortlessly, making it perfect for lazy summer afternoons in the sun.

I am probably surprising no one when I say that the next track ‘Black Noon’ is once again markedly different from what went before it. In all honesty I’m really not sure what to make of it, but I think that that can be a good thing. It’s intriguing rather than breath-taking. It’s got a real psychedelic feel and rolls along without any real rhyme or reason. Think The Beatles in one of their weirder moments and you’re on the right lines; I think they were definitely an influence on this one. As a song it fits into the EP well but I think it might prove to be a bit of a marmite track, you either get it, or you really can’t work it out, personally I fall into the latter category.

‘Hangover Morning’ is probably my favourite track off the whole record. This beautifully delicate effort could have been taken straight from The Verve’s ‘Urban Hymns.’ And just for the record I love The Verve and that album like you wouldn’t believe. If you were coming round from the biggest night of your life with the biggest headache of your life you would want this song to be the soundtrack. It hits the spot in every way, from the gentle melodies, to the understated vocals it’s just a brilliant little song.

The indie pop ballad ‘Out Of Sight’ is about as close to conventional as this EP gets and it’s another nice track. The verses skip along in typical calm fashion leading to a more anthemic chorus. Something I think in time will become this bands calling card; they do seem to have a knack for it. Again the synth type sound makes and appearance in the chorus as it marks itself out against the light guitar verses, but it fits in very well and adds to the tracks impact. Also I feel I’ve got to mention here the track is dedicated to children with cancer which I think is a very nice touch and gives the song an extra bit of poignancy when you dial into the lyrics.

The penultimate track is a cover of the Chemical Brothers track ‘Star Guitar’ and the guys more than do it justice. The thumping drums and slightly heavier baseline give the track a totally different feel from the original, which I can’t say that I’m a massive fan of. But I really do like what the band have done here, there is a lot more going on for the listener to grab onto and its yet another very good track.

Closing track ‘Urban God’ is another slow build, except it doesn’t really build to that crescendo some of the earlier tracks do. The electronic influence is heavy here as the track thumps slowly along in almost futuristic fashion. It’s not a million miles away from a Daft Punk album track in all honesty style-wise. It took a while to grow on me, but the more I listened to it the more I understood it, and got to appreciate it.

The band have cited Chemical Brothers, New Order and Depeche Mode as influences on their more recent material and you can hear all of those here. There are still hints and their earlier Brit-popier days but that creates a really nice blend of styles and means that there is something for everyone. It’s not an ‘Instant’ record by any means but the more you listen to it the more you appreciate its intricacies and you really get a feel for it. You properly have to listen to it to take it all in, especially in its more psychedelic moments, but that is something I like about it. If you invest the time you get the rewards.

What is clear underneath all of this is that March Division are four very talented musicians who are not afraid to take risks. Metropolitan Fragments is full of intrigue from front to back, not full of huge highs and lows, but very very interesting. Every track is different to the last and the bands talent and versatility really shine through on what is a very rewarding listen.

EP Review: Josh Curnow - Phase Two

One of the things that I’d like to think that makes this blog stand out is the sheer variety of music that gets featured. It often seems like ‘right’ thing to say but I will listen to ANYTHING. That doesn’t mean that I will like it or that it will definitely get featured in some way but if I think I can give an informed opinion or critique on it then it will get The Musical Outcast treatment. Simple as that. For example yesterday I reviewed the brilliant new single from heavy rock/metal band In Search Of Sun and today I bring to you my thoughts on the brand new EP from singer/songwriter Josh Curnow.

Since the release of his debut EP Me v You last year the Josh Curnow bandwagon has steadily been gaining members to the point where it now looks like rush hour on the tube. Packed to the rafters, full of awkward touching and all a bit sweaty. Curnow is an absolutely prolific live performer, gracing more stages than Katie Price has had husbands, but somehow he has found time to put together a brand new EP which dropped this earlier on this week (16^th June) called Phase Two and here is what yours truly made of it.

Opener ‘I Feel Alive’ is not only the EP’s lead single but probably also my favourite track on the entire project. As singles go it’s pretty much perfect. It’s really smooth and easy listening which makes it perfect for the radio as well as having a brilliantly catchy chorus, perfect for those sing along moments when you think no one is listening. Part of the tracks success is down to Curnow’s delivery of the lyrics in the verses which really helps the track skip along and build towards that chorus. Ed Sheeran often does something similar, and yes I do mean that as a compliment.

The tempo kicks up a gear with the gloriously upbeat ‘I’ll Drink To That.’ This ode to everyone’s favourite local pub gives the Cornwall native a chance to display a more playful side, which he does to great effect. The track also shows off Curnow’s song writing ability with the brilliant lyric;

It’s another great night for my past to keep.

I just think that is a brilliant little turn of phrase. It caps off what really is a great track. Last week I met back up with some old friends and we had a night soaked in nostalgia and alcohol, the kind of night the track describes, so this one really brought a smile to my face. I won’t be on my own there I promise you.

The piano led intro on ‘The Waiting Game’ is so familiar it’s actually painful, but I just can’t place it. Either way this couldn’t be more of a contrast to what went before it, we are firmly in heartfelt ballad territory here and being the soppy git that I am it pulled me right in. The track is a perfect showcase for Curnow’s brilliantly sincere and heartfelt voice as it takes centre stage over the top of the emotive yet understated instrumentation.

One of the great things about this record is that it has a fantastic ebb and flow, and that continues with ‘Chasing You Down Memory Lane’ as the tempo picks back up once more. This track is a slight shift away from the ‘one man and a guitar’ style which characterised the first half of the record as things head in a rockier direction. The way in which Curnow carries this off shows that he is far from a one trick pony and a‘rockier’ experiment may not be out of question in the future.

Penultimate track ‘Take A Walk’ suffers from having to follow what has been thus far an incredibly high standard. Don’t get me wrong the track is fine and the upbeat whistle will get stuck in your head but there is just something missing. There isn’t quite the same replay value as there is to the other songs on the EP and that little bit of gold just isn’t quite there. It’s not that this is a bad track it’s just a track that is a victim of its creators own success.

‘Fond Of You’ rounds the EP off with aplomb. This heartfelt ballad pushes all of the right buttons, as Curnow’s delicate delivery of his own heartstring tugging lyrics really hits the spot. It’s a fittingly high quality finish to a record that oozes star quality.

Phase Two is simply put, an absolute triumph. Great song writing, great vocals, and the production is polished to perfection, but most of all it just has something. That unquantifiable something that every music fan understands. You can’t put your finger on it but there is just SOMETHING which elevates this project above its competitors.

I mentioned earlier the fact that the Josh Curnow bandwagon is fit to bursting point and I wanted to know what all the fuss is about; now I just want to know if there is room for one more. 

Single Review: In Search Of Sun - The World Is Yours

A couple of months ago I discovered the ear splitting, hard hitting, musical kick in the face that was Driven. I reviewed their debut EP A Breakdown Of Character and while it hit hard and made a real impression, I was actually quite critical as I just felt that in these 5 guys there was potential for a hell of a lot more.

Well fast forward a couple of months and Driven are back; except they aren’t Driven anymore they are now called In Search Of Sun. According to social media the band say that the name change was due to a slight change in direction, and if this new single is a taster of this new direction then I think they might have found the magic formula.

‘The World Is Yours’ is the song that I really wanted them to make. If I could have put into musical form what I thought the band could sound like when I was reviewing their previous EP then I would have created this track. All the old Driven trademarks are still there, but there is now also a bit more subtlety and seemingly a bit more thought gone into the whole process.

The vocal is as bigger as ever but with more use being made of frontman Adam’s ‘singing’ voice, the scream which was a major part of their previous material at least on this track, has gone. The guitars are as heavy as you like while the solo soars freakishly high as machine gun like drums hammer the track forwards.

There might be a bit more subtlety to proceedings now but that doesn’t mean that this track isn’t as heavy as their previous work, instead it just has a bit more for a casual listener to grab on to, and this i feel could lead to the band picking up a load more new fans which can only be a good thing.

‘The World Is Yours’ is the ideal hard rock/metal single. The production is flawless, the guitars crisp and the whole sound is brilliantly polished. Old fans will love it, and new fans will flock to it. Bring on the album. 

EP Review: Phosphate - Jack

Coming out Nottingham Phosphate, are Joey Frost (Vocals) Ashley Brittain (Guitar) Bill Lee (Bass) and Corey Bates (Drums)

I am telling you all of this very interesting information because I have in my sweaty little hands the band’s debut EP ‘Jack.’

Things kick off with the 60’s/70’s inspired ‘Blind.’ The first half of the track is actually quite bluesy, reminiscent of some of the early stuff from Cream where Blues was quite a heavy influence. It’s a brilliant start to the record; the sultry tone of the guitar is spot on in every way and the solo which drifts through the second half is fantastic as Brittain channels his inner Stone Gossard.

Not for the last time, ‘Jenny’ sees the band switch style with this track straying more towards indie rather than the bluesy rock which characterised the opener. The vocal from Frost is not particularly strong in the traditional sense but his delivery and the structure of the songs mean that it doesn’t have to be. This is something which the band should actually be commended for; they are playing to their strengths and finding their won sound rather than trying to use huge soaring multi-range vocals which simply wouldn’t fit.

As the title suggest ‘Break My Soul’ isn’t the most uplifting of tracks but lyrically it’s one of the bands strongest. There’s something quite captivating about;

‘Your fire, pushes me closer to the wire. Show me a liar, and I’ll reveal the truth. Your halo is withered and broken, you tore off my mask and wish I’d never spoken.’

Again the guitar work is very strong, and the quicker final section is a nice addition.

‘Ulcer’ however, is a bit of a disappointment. Well, there is nothing wrong with the song as such but the production I feel lets the track down in a big way. It sounds like the band were playing in one room while someone stood outside with the door shut and recorded it. That’s being said, I do like the track. It has quite a grunge style edge to it and the musicianship is again impressive. However the production could have done with being a good deal sharper.

Final track, the imaginatively titled ‘Document 1’ (Named after the default save in Microsoft word) is probably one of the most random things that I have ever heard. It makes absolutely no sense, and in places lyrically it’s almost like a guide track because it makes no sense but it somehow works. There is a Black Sabbath vein pumping glorious rock riffs throughout the track and the solo towards the end is outstanding. It’s a great track to end on.

The word I would use to describe this record is ‘promising;’ there is a hell of a lot to like. The band aren’t afraid to try different styles, the rhythm section and the guitar work are superb and vocally Frost seems to have found his lane which is a huge plus at this stage in the game. Failed over-elaborate vocals are a huge no-no. On the flipside as I mentioned the production is a little patchy and although I did praise the lyrics in ‘Break My Soul’ on a couple of other tracks they are a little weak. But, and it is a huge but, it needs to be remembered that this is the band’s first project and any of the slight negatives that I have mentioned can be easily fixed over time. What is important is that all the basic stuff is there and it is very good.

‘Jack’ strikes and beautifully rocky tone and will keep you interested from beginning to end of what is a very promising debut. 

The Taskers Live @ The Flapper - 7th June 2014

Me: Interested to hear what sort of sound we get from these guys tonight there only two of them in the band.

Brother: Like the Carpenters?

Me: Erm… not quite… they are brother and sister though.

Brother: Yeah, like the Carpenters. Who plays what?

Me: Sophie plays the drums *Gets cut off*

Brother: So like the Carpenters!!

The above conversation took place around an hour before Stafford based rock outfit The Taskers took the stage last night between me and the fountain of musical knowledge that is my brother. It demonstrates two things, the first being that brother/sister combos are about as common as a long hot British summer and the second is that my brother seems to be quite forceful when it comes to the Carpenters, which as worrying as that is, is for another day.

The Taskers couldn’t be further away from nice harmonies and sweet little piano riffs, because they are grungy, in your face and totally in their own lane, and you know what that’s exactly the way they like it. So many bands talk the talk about ‘doing whatever we like’ and having ‘our own unique sound’ but these guys actually back it up, they wouldn’t know convention if it stood on  the table in front of them and performed a lap dance. So that was the backdrop for my night; a band that look a bit like the Carpenters (In numbers at least) but sound a bit like Nirvana. Where do you start with that lot?

Well they started with a track called ‘Raptors’ (They seem to have a thing for dinosaurs) where heavy, grimy, distorted guitar riffs are the order of the day. It’s a whirlwind of an opening but the dinosaurs perched on top of the amp seem to be loving it. Yes you read that right, in one of the more unique things I’ve seen at a gig, part of the setting up process involved lining up three toy dinosaurs on across the top of an amp… as you do. ‘Litas’ is more of a straight rock song, big chorus that you can really latch on to backed up by a great guitar solo by frontman and chief riff creator Jack.

The intro to ‘Kaunas’ is almost funk-like in its execution, but it retains a healthy slice of rock heaviness which you can feel through the walls. In the following few minutes we get duel vocals, masses of energy and guitar wise everything from blues to Black Sabbath. The gloriously titled ‘I Want Pasta!’ follows, a track which as the title suggest is quite a surreal affair. Metal style riffs mixed with a seriously impassioned plea for the stuff that every fitness freaks dreams are made of. As you would expect the track is totally bizarre but somehow it just seems to work.

Up to now the hugely wide ranging guitar riffs have grabbed the headlines but the one girl rhythm section from Sophie has more then played a part with huge crashing drums holding everything together. And these crashing drums take centre stage for a moment during a guitar change which leads effortlessly into ‘Trials.’ In a set characterised by a blend of styles the duo dip their toes into indie for the first time with the results being predictably anything but predictable. The forceful vocal from Jack hammers the chorus out in impressive lung-busting fashion.

‘Ed’s On MDMA’ begins with an anecdote which will be kept well away from Manchester tourist brochures before the Fleetwood Mac tinged effort glides into life. The main verses are almost spoken over the top of quite light guitar and drum work. This peaceful illusion is soon shattered however as the chorus hits you like a brick to the face. The catchy and as yet unrecorded ‘Saint’s Way’ follows with a guitar lick that will get stuck in your head for days. The main feature of the track though, is a section where everything strips back before the rolling drums build everything up once more. It’s nothing ground-breaking but it’s a nice touch.

A magically distorted riff signals the start of ‘Halfway’ before things move into safer, more traditional indie mode. The track skips along and is probably the most radio friendly thing that the duo have played all night, with the variation going down well with the enthusiastic crowd. ‘Shit and Blossom’ is as unorthodox as they come. (Who would have thought it!) Considering there isn’t a bassist on the stage, such a bassy sounding central riff is quite an achievement. The rolling drums of ‘Smear’ leave a real impression as they smash and crash their way round the round the room, while a few knowing glances between Jack and his hard rocking accomplice show that they are really enjoying themselves.

‘Hogs From Hell’ was the only song that I had heard before when I reviewed it for the blog so I was looking forward to it and its dirty riffs didn’t disappoint. Final track ‘Taproot’ begins as frantically as the previous track ended. The song feels like an all-out assault before it and the set as a whole reaches a climax among a haze of distortion and crashing symbols.

The Taskers are not your usual band and this certainly wasn’t your usual rock gig. They use toy dinosaurs as props for crying out loud! But what they are is capable of putting in a fantastic live show. They have energy and enthusiasm in spades and the musicianship from both guys is first rate. It takes a special kind of band to be able to pull off a song about pasta trust me. The Taskers are probably one of the most unconventional bands that you will ever see live in your life time but take it from me they will also be one of the best. 

Junebug The Interview: 'Toast Slightly If Necessary'

Saturday night is going to be a huge night in the history of Scottish rock band Junebug, this is because they are fulfilling a dream and headlining the famous King Tut’s Wah Wah Hut. Any bands coming through in Scotland almost have to headline this place almost as a rite of passage. Not only are they headlining their biggest gig to date but they are also releasing their brand new EP on the same day.

So yesterday I sat down and through the wonders of email chopped it up with the guys ahead of the big night.

The band have made no secret of the fact that this is gig is the biggest of their career, so when I asked them about how they were feeling a few days out from such a big show its fair to say that the nerves were beginning to jangle. ‘I’d say that we’re as excited as we are nervous & terrified. We’ve been planning this for around 4 months now and everything is coming together very suddenly on this one night... It’s terrifying that so much planning and work will all be completed in the space of 24 hours.’ Although the nerves are palpable there is also a steely focus and a determination to put on a set that will be remembered ‘We’ve pulled out all the stops for this gig in all areas, in terms of our musical performance, live show & atmosphere, as well as our new merchandise. We know a lot of people are travelling from afar, as well as within Glasgow, so we’ve made sure that we will not disappoint on the night.’

On nights such as these bands can often be guilty of trying to overcomplicate things but Junebug seemed determined not to fall into that trap when I asked whether the audience could expect any surprises, ‘Yes and no. Live, there are going to be a certain few things you haven’t seen or heard before, however it will still be in the style of a classic Junebug gig.’ This is great to hear.

As I mentioned in the intro, tomorrow night also sees the band launch their brand new EP, and as a result a few days ago we got to hear the new single from that project ‘Lines’ so I asked if they had been pleased with how that track had been received. ‘Very much so, yes. For this EP we wanted to release each individual track alongside a music video, before compiling them all into a CD. We’ve found that you get a much better reaction from people when they have a video to watch whilst listening, and it provides something for them to talk about – creating a bit of a buzz. A lot of people have commented how we don’t make the stereotypical video of “band playing instruments”, which was a key aim during the planning process. ‘

It’s interesting that the band brought up their videos before I did, because as they say their videos can be bizarre to say the least, something they take great pride in. ‘Well like I said before, we wanted to make something interesting to watch. Primarily it begins by deciding whether we want to attach the concept of the song to that of the video. We did this for “You & I”, as the couple dancing are meant to relate to the track. “TR” is the concept of Voodoo, which isn’t linked to the song. However for example “Lines”, it was a case of meeting up with the director which we use and beginning to brainstorm ideas and concepts. We then go away for a week or two to think things over, and then generally just decide to go feet-first and begin filming and see what the finished product looks like.’

‘Lines’ definitely seems like a bit of a progression from the band, there is far more of a melodic indie feel to it than some of their previous work like ‘TR’ and this progression is something the band is very much aware of, not only in relation to ‘Lines’ but the new EP as a whole. ‘I think with “Lines” it was a chance for us to try out a slightly different sounding track. If you listen to our back-catalogue I wouldn’t say we have one distinct sound, however perhaps Lines is the furthest from anything we’ve done previously. For those familiar with the singles, you can still expect something slightly different with the EP. For a number of the tracks, once we’d recorded them and released them alongside a video months ago, we often went back and tweaked things here and there... I’d also like to think it’s more captivating than the previous EP, with each song providing something that the last one didn’t. Whilst the songs were primarily designed as singles, they work well collectively when running from one to the other.’

Since the release of their debut EP the band have undergone a few changes so as a result have they done anything different this time around? ‘Well we have a new singer, Alli Martin, since the first EP, and we’ve also recruited Aonghas Maxwell on keys & guitar. You can really hear this as the sound has become a lot “fuller” this time round…were a lot more educated as to how to go about making, recording and producing this EP, and you can really tell by the overall improvement compared to the previous one.’

I have often joked on the blog that there has been a bit of a Scottish invasion on The Musical Outcast in recent months, but this is purely and simply because there is so much talent up there right now, so who do Junebug recommend? ‘For Edinburgh, check out “Kung Fu Academy”. We’re good friends with them and gig with them often. I can honestly say that they’re in my top 5 favourite unsigned bands in Scotland. Alongside them are Made As Mannequins, who we’re quite close with. We also recently went to see a band called the Mickey 9’s in Glasgow and my did they impress!’

Now, with the serious music related stuff out of the way I thought it was time to move onto a more pressing issue. So Junebug; if you were to create the perfect sandwich what would be in it? ‘Using a large baguette, you should first cut it in half and butter both sides. The bread should be in the fine line of baked fully, but so that it’s still slightly soft. Post-buttering, apply as much meat within. Ham, salami, pepperoni, parma ham, anything you can get your hands on. Be careful not to put too much variety in however, as then you’ll cause everything to blend into one universal taste. After the meat, insert some mild-cheddar. Grated, of course. From here on, you can choose whether to apply the green stuffs, like rucola, onions, etc. however we can’t make that choice for you. Toast slightly if necessary, but do NOT crisp it.’

Wise words guys, wise words. The band is now set for a break for as they put it ‘for a week or three’ and frankly they deserve it. As for the future, the band revealed that they are working on new material and that may emerge in the form of a single sometime in the summer or maybe even another EP in the autumn. This is on top of plans to venture south of Hadrian’s wall for a couple of shows in the north of England.

Hard working, talented and ready for the biggest gig of their musical careers Junebug are flying but remember kids ‘Toast slightly if necessary, but do NOT crisp it.’

Single Review: The Rifles - All I Need

I know I am little bit behind on this one, but it’s just one of those tracks that I wanted you all to hear. I must confess that The Rifles as a band had fallen well of my radar until I got sent this their latest single ‘All I Need.’

With a newly reformed original line-up of Joel Stoker (Vocals, guitar) Lucas Crowther (Guitar, vocals)Robert Pyne (Bass) and Grant Marsh (Drums) The Rifles released the album ‘None The Wiser’ back in January and have been out touring since then.

‘All I Need’ follows the trend of a lot of features on the blog recently in that it is at heart simply a feel good indie track. Melody driven and light hearted it skips along with a real sincerity which makes the whole thing wholeheartedly endearing. Lyrically it’s simple yet effective and will be sure to raise a smile on the faces of all those who press play. This is simply a great summer tune from a band that seems to have rediscovered their mojo.

Album Review: Gia Valentina - Gia Valentina

If you would be so kind I would like you to cast your minds back to 19^th March, because on that day I wrote about the new single from an up and coming band from Coatbridge in Scotland and well I got very excited. The up and coming band in question was Gia Valentina, and fast forward to today I have the band’s debut album chilling out smoking a cigar on my hard drive. I have been waiting to hear this album ever since that day in March as I really believe that this band have some serious talent and could be starting out on a road to massive success. So all in all I had really high hopes for this record but did it deliver?

Opener ‘Did You Just Get Here’ shows the band at their brilliantly melodic best. The track is a little heavier and a little thicker in sound than the single ‘No More’ but the bass has a nice grimy quality about it. One feature that stands out the album as a whole is the terrific song writing, and that is very much evident here with the lyric ‘Oh I’m living for now, how do I get by? How? Chasing my dreams, living my way, that’s fucking how!’ striking an impressively defiant chord.

The riff that leads ‘Who Knows’ as well as being stupidly familiar will get stuck in your head without fail. The incredibly rangy vocal from lead Steven Warnock really comes to the fore here along with a brilliant little guitar solo. ‘Set You Free’ marks the first appearance of a female vocal from keyboard player Amy Louise Robertson. And I must confess that I love her voice, there is something quite hypnotic about it. The track is one of my favourites from the entire album, and the presentation of the lyrics as almost a conversation between Robertson and Warnock is very cleaver. The melody and guitar work is also especially impressive.

Next track and the albums lead single ‘No More’ is still as good as I remember it. There are some nice progressions, good replay value with an overriding 80’s feel. Up to now the album has made a very strong start, but there have been a couple of small niggles and it is on ‘Destined To Roam’ where I feel these niggles come to a head a little bit.

My two main gripes with this song and with the album as a whole is that some of the production, especially on the vocal is very poor and I feel that some of the tracks lean on Warnock’s vocal far too heavily. First of all production wise, it sounds like the vocal and the instrumental are almost 2 separate songs. You have the band playing next to you in the living room but you can hear someone singing along in the bathroom. The vocal sounds miles away! It cheapens the overall sound of the song massively. But this only occurs on some songs so I am a little confused.

In addition I’m not sure whether this is just how the band have put together the songs or if it is something that has come from a producer but I have noticed a tendency for Warnock to go through almost his entire vocal repertoire in every song. His vocal range is absolutely outstanding but sometimes the vocal gymnastics overpower the rest of the song. At times it feels like the vocal is all or nothing, and I think the tracks as a whole would benefit from the band finding a bit of middle ground. Freddie Mercury had an outstanding voice and an equally outstanding range but in many songs it was used quite sparingly and this really added to the bands broad appeal.

The second half of the album begins with ‘Tilly,’ a track that itself begins with the sound of organised chaos. Style wise the track is a lot more sprawling than many that have gone before, and the guitar in particular is slightly reminiscent of some of the Arctic Monkeys more recent work. The theme of giving songs girls’ names continues with haunting tones of ‘Veronica.’ The start of the track is driven at a slow horror style pace with the thought provoking opening line ‘Oh do you see me? Corrupting your sadistic empathies.’ A rolling drum beat and straight rock guitar lick give the song a bit of a change of pace part of the way through before the sound of impending doom returns.

The intro to ‘Keep Holding On’ puts the alternative into ‘Alternative rock.’ The Fratellis inspired central melody gives the song a nice bounce until it is stripped away and replaced with something a little heavier and a little quicker. This tempo change here and in the previous track was definitely needed as things were in danger of becoming a little one paced. The vocal from Warnock remains exceptional as ever and is really used to full effect, giving the song more of an epic feel.

Things drop to a slow walk with piano led ballad ‘Piano 1.’ In all honesty I don’t really get this track. The song writing is fine but it just seemed a strange fit, and came across as a little overdone. Final track ‘God Only Knows’ sees the piano remain which gives some nice continuity but the pace is back up to a jog as the band return to what they do best. The reintroduction of a vocal from Robertson gives the track and the album as a whole a nice grandstand finish.

Before I set out to review this record I believed that Gia Valentina are one of the most naturally talented up and coming bands around and nothing has changed. I genuinely believe they are supremely talented. But that’s why I feel like this debut effort while being very good and frankly exceptional in places falls short of its own high standards. The lack of polish on some of the production work and the at times over powering vocals are a bit of a black mark, but it should be remembered that this is a debut album, and the band are very much still learning their trade.

This eponymously titled effort is a real grower and the more you listen to it the more it makes sense, but sadly its flaws still remain. The bands talent is not in doubt it’s just the harnessing of this talent that will define them, but there is still plenty to be positive about.  

Gia Valentina is intriguing with occasional flashes of sheer brilliance and will without doubt serve as a learning curve as the band move on to bigger and better things.

Hightower - The Rich Bitch Sessions

We have just about reached the halfway point of 2014, and what a year it has been. Personally and professionally it has just been crazy from top to bottom. One of the many brilliant things about the year so far has been the amount of truly awesome gigs that I have the pleasure to attend. One of said awesome gigs was Hightower Live @ The Actress And Bishop. The band had had a few beers and the audience had had a few more, the atmosphere was insane. I went into the gig pretty much blind but I came out a fan.

Anyway, I am telling you this misty eyed tale because the aforementioned Hightower have released to the world a new project they are calling ‘The Rich Bitch Sessions.’ Each of the first 4 tracks featured have been part of the bands live set for a while now but this is the first time that they have been brought together properly and recorded.

Track 1 is the glorious slice of classic Brit-pop that is ‘Born On A Star.’ The bassey intro builds the track nicely, with the main melody being strangely reminiscent of the Stooges classic ‘I Wanna Be Your Dog.’ This is one of my favourite tracks from the band full stop because I think it really has everything. The chorus has a serious anthemic quality to it while the sumptuous tone of the guitar gives the track the old school feel of early Oasis.

The tempo and rocky edge fade away for ‘Mind Away’ as they band slide into what has the feel of a real ‘happy go lucky’ indie tune. (I hope everyone gets what I mean! Can’t think of a better way to sum it up) The natural exuberance that is so prevalent in the opener has been reined in a few notches here making the track very easy listening.

‘Revolution’ is more of a straight rock track, featuring another sterling chorus and nice guitar work. The solo has a great old school rock n roll feel to it, which compliments the rest of the song nicely. This track is one of the highlights of their live set to I was pleased to see that it has finally been recorded. Ooooooossssssssssssshhhhhhhhhhhhhh!!!!!! (You’ll understand when you hear the track)

The final track of the demo is ‘21 Reasons (Everything’s In Its Place)’ Again there is a bit of an indie feel to this one, with the track probably having more in common with some of stuff from The Strokes. The little guitar melody that runs all the way through the track will get stuck in your head and this combined with the slick drum beat means that the song really skips along. There’s nothing not to like.

And that’s exactly what the ‘Rich Bitch Sessions’ is, it’s all very likeable. There are no illusions of grandeur, not a whiff of pretentiousness, just a band that knows what they are good at and doing it very well. For my money you can’t ask for more than that. 

Single Review: Nina Baker - Bruising

It’s not every day that I get sent heartfelt piano led pop songs to review but I guess there is a first time for everything. Plus, as I have said time and time again on this blog, a great song is a great song. So with that in mind I bring to you the brand new single from Leamington Spa’s very own Nina Baker.

Classically trained Baker is currently riding the crest of a very large wave, a wave that shows no sign of running ashore anytime soon. Her debut single ‘Single Bed’ received play on Radio 2 and 6 Music, while on the live circuit she has supported one of the hottest talents to breakthrough this year, a certain Ella Eyre.

‘Bruising’ is the 2^nd single to be taken from her self-produced debut album ‘Quite Frankly’ which is slated for an August 2014 release. An album which has in part, been recorded at the legendary Abby Road studios. In short, something big is brewing in Warwickshire and anytime now the world will be forced to sit up and take notice.

As for the track itself, it details the breakdown of a failing long-term relationship with breath-taking openness and honesty while displaying a fragility and vulnerability that can only be admired. Baker’s heartfelt delivery over a military style drum beat and her own rolling piano riff just brings the lyrics to life. It pulls you in, and by the tracks end you feel for the girl, you just want to go and give her a hug! I talked about the honesty and openness in the lyrics, and that comes to the surface with the line;

‘We were both messed up before you left, never thought you’d give up, we were meant to be, just you and me.’

Like many of you I have been through the breakup of a relationship which ended with those feelings so that line really struck a chord. It takes a very impressive songwriter to be able to articulate such feelings in a way in which everyone can understand and relate. The recurring refrain ‘Your lies are bruising me’ just adds further fuel to this heartbroken fire.

‘Bruising’ is pop music with serious depth and substance, and the production is flawless. Nina Baker is a young lady who seems destined for the top and ‘Bruising’ is the elegant leather clad sports car which is going to take her there.

'Bruising' is out now.  

Album Review: Plainview - Plainview

I must confess that until I got sent this album my knowledge of Plainview was totally nil. However there had been some real buzz about them earlier in the year as reports of impressive performances while supporting blog favourites Martyr De Mona came through. So when the opportunity came for me to check out the band for myself (albeit in album form) this was an opportunity I wasn’t going to pass up.

Plainview are Dave Smale (Vocals) Jonny Smale (Guitar, backing vocals) Danny Cross (Bass, backing vocals) and Chris Williams. (Drums)  Based between Brighton and London the band formed back in the early part of 2013 and wasted no time in getting to work recording and releasing this record before the end of the year. Plus little interesting fact for you lead singer Dave Smale is also currently plying his trade as bassist in The Yardbirds. (Yeah those Yardbrids)

The first thing that I learned about this album was the fact that it’s impossible to listen to it quietly; it just carries this huge sound, your fist instinct as soon as you hit play is to press ‘+’ on your speakers. That for me is the sign of a great hard rock album.

This eponymously titled effort kicks off with the anthemic ‘Slip Through Your Fingers.’ As far as opening tracks go this is one of the best I have heard for quite a while. Straight from the off it’s just in your face. The vocal is really reminiscent of Sean Harris from Diamond Head in places, I don’t know if they were an influence on the band but to this bloggers ear there is definitely a similarity there. The tone of the guitar is just sublime and the solo is equally spine-tingling. In short the track is just an anthem.

The main riff that thunders throughout ‘The Last Word’ is heavier than a bank holiday weekend in your local pub. It roars through your speakers and rips your face off. The track is like the grittiest grunge track you ever heard with that mammoth riff punctuated with the soaring vocal talents of Smale.

‘No Other Way’ slips into gear quite quickly but soon the pace drops right down giving the track a real ominous feeling through the verses. This allows the impassioned vocal Dave Smale to come to the fore once again, however I do feel that the track is slightly too long and kind of meanders to a finish instead of really going out with a bang. ‘Wasted Words’ is the shortest song on the record and isn’t heavy as what preceded it, sharing more in common with Foo Fighters than someone like Pearl Jam. But this lighter sound is no bad thing as it gives a bit of variation in radio friendly rock fashion.

I’m willing to bet large sums of money that it isn’t intentional but the start of the riff which drives through next track ‘Sins Of The Father’ has a scary similarity to Bon Jovi ‘Living On A Prayer.’ Apologies if I have ruined this track for you! Again this isn’t as heavy as the opening few tracks but like in those songs the guitar work on show from J. Smale is awesome, something which is a feature of the album as a whole. It’s a really good, solid rock track.

‘Solitaire’ finds the band in more expansive mood, the vocal swirls round you like gusts of wind in a storm, meanwhile the classic rock riff chugs along giving the impression there is something big just around the corner. And that there is, the solo shooting into life with the skill and precision that makes you want to pick up a guitar and play. ‘Take What You Want’ sees things return to a far more grungier and grimier setting with an intro as abrasive as anything you will hear anywhere. The soaring chorus is quite a contrast to the almost haunting atmosphere of the verses. If anything this is Plainview in a nutshell, grungy abrasiveness mixed with moments of straight up hard rock fit for stadiums.

‘Aino’ is just big. Big bass, big drums, big guitars, big everything. The abrasiveness of the previous track has gone but the song crashes along a similar theme. However this is probably my least favourite track on the record because as good as it is I’m not sure it really goes anywhere. Just a slight criticism but still a decent album track. Penultimate track ‘Look Away’ has more in common with a death march from a horror flick than it does a rock song but nevertheless it’s wickedly spellbinding. Think Black Sabbath ‘Electric Funeral’ and you are right there, the track trudges along with all the feel good factor of a man walking to the gallows. The lyric ‘You disgust me so’ sums up the brilliantly edge of a cliff atmosphere on show, who like happiness anyway?

For final track ‘The Writing’s On The Wall’ the band ditch the menacing darkness of ‘Look Away’ and return to what brought them to the dance, uncomplicated rock with towering vocals. We get treated to one more solo just for old time’s sake before the album winds to a close with some uncharacteristically calm and composed guitar work.

This record is like a throwback to bygone era. It’s a monstrous mix of Diamond Head style vocals, Pearl Jam’s all conquering guitars and the pure grit of Nirvana. There is a real uncompromising feel from beginning to end, this is the record Plainview wanted to make, and this is their sound, no hedging of bets. Sure, there are a couple of tracks that might be a little too long but you feel like you can let that slide to due to the sheer honesty of the album.

Plainview is as hard as they come; it’s an absolute brute of a record, and as hard rock debuts go you’ll struggle to find many better.