The Delta Rhythm Live @ The Court House - 30th May 2014

Nearly a month ago now I reviewed an EP called Break The Surface which just happens to be the latest project from Birmingham based The Delta Rhythm. In this review I basically spent nearly 700 words going ‘You know what this record is bloody amazing go out and get it.’ So obviously when the chance came for me to go and see them live this was an opportunity I was not going to miss. My expectations for this gig were extremely high due to the quality of the EP, plus I was looking forward to hearing how the recordings translated into a live performance. So with all that in mind I made my way down to The Court House in Dudley last night for what promised to be a great night.

One of the things that I always look for when I go and see a band after hearing a recording is how the vocal stacks up live compared to how it sounds on the record. After all there is so much magic that can be performed in a studio these days any vocal frailties can be filtered out so ‘live’ is still the acid test. Within 20 seconds of opener ‘Can See You’ all of those questions were answered as not only the vocal but the band as a whole started with gloriously rocky intent.

‘Come Out To Play’ is a far more bass driven affair, with a thick intro laying the foundations for the rest of the track. It also gives Sami Cornick a chance to display the full range of her vocal talents, which she does in impressive fashion. The track and the set as a whole has been rockier than I was expecting and is a bit of a departure from the EP but this sound definitely suits the band down to the ground.

Up next was the first track to be taken from the EP, the brilliantly old school and melodic ‘Singing The Blues.’ The highest praise I can give is that the track sounds exactly as it did on the record, with the band perfectly in tune with one another, everything is totally on point. They are obviously very well drilled and well prepared and you can really see the results of this hard work shining through.

‘Fall’ was the first track that the band wrote as a group, and falls somewhere between Oasis and something from The Stooges. (That’s one hell of a place to fall!) Like all of the best Oasis tracks it has a great chorus and a sing-along quality, while the gravely tones of the bass and guitar give the track a Stooges style edge. For the next song the band went right to the other end of their spectrum as ‘Won’t Be Saved’ is the most recent song that the band have put together. There are echoes of Pearl Jam’s ‘Alive’ as the track slowly grinds into life. This is probably the heaviest track of the entire set and it will be interesting to see whether this is a one off or a new heavier more rocky direction for the band.

I was already enjoying the set immensely but when the opening chords of ‘Better Things’ my smile grew even wider. This track is my favourite from the EP and it didn’t disappoint. Keyboards were introduced for the first time on the night and added to proceedings brilliantly. This track is more of a ballad and by positioning it here the set has a brilliant ebb and flow, full of gentle ups and downs. Personally this was probably my highlight of the night and the reaction from the enthusiastic audience showed that I wasn’t alone.

Penultimate track ‘No One’s Home’ saw the tempo increase once again but the keyboards remained.  I know I keep going on about the keyboards but with some bands it just feels like they are crowbarred in simply because someone can play, but here they serve a real purpose and are a nice addition.

Final track ‘Ticking Bomb’ sounded heavier than it did on the EP but still sounded fantastic. Part way through pretty much everything dropped away leaving the drums to build the track up once more which definitely added something. The guitar work from Gregg Freeman was also a highlight.

A few days ago it was announced that bassist Ben Adams would be leaving the group after this gig and all night it felt like the rest of the band were determined to make sure that he went out with a bang. The band looked totally at ease for the whole time that they were on stage, everything seemed to come really naturally and they made an incredibly impressive performance look very easy.

The band flipped from rock to blues touching all the bases in-between with consummate ease, turning in an incredibly enjoyable and professional performance. They simply didn’t put a foot wrong all night. A new bassist will be on the cards and who knows how that will affect the band dynamic and their sound as a whole, but what’s for certain is that if this performance is anything to go by they have laid the foundations for something very very special.

EP Review: Chasing Dragons - Checkmate

I’m not quite sure how it happened but a couple of months ago I got added to a group on Facebook called ‘I’m Unsigned.’ This group is mainly used for artists to plug their music, upcoming gigs etc. which means I have a constant supply of brand new music to listen to from artists from all over the place, and this has hooked me up with a few blog favourites in recent weeks. So say hello to my latest discovery; Chasing Dragons.

Based in Leeds Chasing Dragons are Laurie ‘Tank’ Carnan (Vocals) Mitch Sadler (Guitar, vocals) Ant Varenne (Bass, vocals) and Katie Bullock. (Drums) Since forming in 2011 these guys have been touring and releasing music at a serious rate of knots and have a built up a real hard-core following as a result.

Sometimes I like to lull you into a false sense of security and then hit you with what I really think in my reviews but today I’m throwing that out of the window. I’m going to cut straight to the chase… this record is outrageously good. We are talking record of the year, sending bands back to the drawing board to start again because they realise their new material aint going to cut it good. Hearing great music gets me excited like nothing else that I can declare on a public blog, and I can tell you that right now I’m bouncing off the freaking walls.

The prelude sets everything up perfectly, (Why do so few bands do this??!!!) the horror style whispered lyrics, the strings, then the big drums and even bigger guitars, you just get the feeling you are about to hear something game changing.

First full track ‘Throw Down Your King’ is my favourite track off the entire record. It feels like having the night of your life with your dream woman, waking up to find she has made breakfast with the promise of doing it all again. It’s full throttle stuff straight from the off, the riffs are glorious and the vocal from Carnan is seriously impressive. But the best thing about this track is that it manages to surprise you. Just past halfway through the hammering riffs drop away, to be replaced by acoustic tinged softness. It all goes a little bit middle of the road soft rock... briefly. Then my God the riffs and thunderous drums return. You’ll be head banging to the point of unconsciousness I promise you. These tempo changes and style changes mid song give the track something that just elevates it’s beyond the ordinary.

‘That’s Not Love’ is more of a straight up hard rock track driven by drums that hit so hard you feel like you’ve been in a street fight with Mike Tyson. Again the vocal is totally on point, powerful and uncompromising. But here I’ve fallen in love with the tone of the guitar for the solo, there’s something about it that just really grabs you.

‘For The Sake Of Love’ sees the heavy guitar work return with a bang on this Halestorm-esque effort. Again the guitar work from Sadler is fantastic and we get treated from the full vocal repertoire from Carnan, that’s everything from the low whisper that characterised the prelude to the lung busting power that hits you right between the eyes.

The penultimate track ‘The Last Defence’ is a real curve ball. If ‘November Rain’ era Guns N Roses teamed up with ‘Bat Out Of Hell’ era Meatloaf and sat down to put together a track, this is what it would sound like. (That is a huge compliment trust me) The song is just epic; it’s not so much a rock/metal song as an event. The piano and vocal combo that run through the opening pull you in in impressively grandiose fashion. But from the first drop of guitar we get shown the full scope of what this band is all about. The spine tingling guitar licks, the powerful vocals, the bruise inducing drums backed up by throbbing bass-lines it’s all there.

Final track ‘Broken Jaws’ was actually the first track that I heard from the band and the track that really started my interest in the first place. If no nonsense Avenged Sevenfold style hard rock is your thing then you will love this track. It serves as a great single as it shows you exactly what the band are all about without trying too hard. Plus the video is pretty awesome; so awesome I’ll drop it at the bottom of the review.

From front to back Checkmate is a hard rock and metal exhibition. I know I’ve praised the hell out of it but as you regular readers will know I don’t get this excited over a record just for effect. I genuinely believe it is one of the best records out right now, full stop. I have had the absolute privilege to review some incredible music since I started doing this and this record is right up there with the very best. If Checkmate isn’t vying for top spot on your record of the year lists come December pack up and go home because frankly you’re doing it wrong. 

Checkmate is released on 2^nd June

Single Review: The Sonic Revolvers - Wishing Well

Some of you may remember just a month over ago I reviewed the previous single from these guys and well it took me a while to warm to it. For a long time I just wasn’t sure about it. Even when I did grow to like the record it still didn’t quite feel like a single to me, there wasn’t quite that killer hook you really need from a single. This isn’t to say that it wasn’t a good track because it is; I just didn’t think that as a single it didn’t tick enough boxes.

Well The Sonic Revolvers are back with a brand new track called ‘Wishing Well’ and it is fantastic. It is so much more instant ‘Loco Lifestyle,’ the guitar riff right from the off really pulls you in. The track is just heavier all over and it’s all the better for it, the song writing also feels a bit more rounded and a bit more polished. The vocal is totally on point and the guitar solo is first class.

I think the whole song just works on every level, it’s a great track in its own right plus it works brilliantly well as a single, it really gives the first time listener something to hook onto.

As I keep saying and will keep saying there are some brilliantly talented rock bands out there at the minute putting out some fantastic music, and on this evidence The Sonic Revolvers and ‘Wishing Well’ are right up there.

‘Wishing Well’ is officially released on 2^nd June, but you can hear the track by clicking the link below. 

https://soundcloud.com/thesonicrevolvers/wishing-well

Single Review: The Jackobins - The Otherside

This track landed in my inbox around 3 weeks ago and I have been seriously looking forward to sharing it with you ever since. Everyone knows that feeling where they hear a track; they instantly love it, and then spend the rest of the day buzzing about this song EVERYONE in the world should know about. This is definitely one of those.

The Jackobins are a 5 piece indie outfit from Liverpool. I think this really famous band came from there back in the day but I’m not sure. Anyway back to the task in hand, The band are made up of Dominic Bassnet (Vocals) Veso (Guitar) John Whittingham (Keys) Chris Marriott (Bass) and Marc Terry. (Drums) Their influences range from The Doors to Black Sabbath, with a little bit of Jimi Hendrix and Johnny Cash sprinkled in along the way for good measure. And this is what I made of their brand new single The Otherside.

Just a bit of geeky background for you first though, this track was actually recorded at the Motor Museum studio, now that probably doesn’t amount to much in itself but the mighty Oasis and the best band to come out of these isles in the last decade The Arctic Monkeys have recorded there in the past. That’s some nice pedigree if you ask me.

I have been sent quite a few indie tunes in recent weeks that are going to be absolutely perfect for summer and this is another one. The tone of the guitar and the light skipping drum beat just project a feel good atmosphere.

The vocal is brilliant fitting the track perfectly and Bassnett obviously has a lot of range so there is some serious scope for the band to experiment in the future. I love the guitar work on the track and the production is top class, basically I can’t really fault the tune at all.

Like I said in the intro there are some tracks that just grab you and this really was one of those. There really isn’t anything in it that I would change. If you are into indie then you will have this track in heavy rotation for the weeks and months to come.

The Otherside is superbly catchy and smile inducing; it’s a real summer anthem. Without question an instant indie classic.

The Otherside is out now. You can hear it by clicking the link below. 

https://soundcloud.com/thejackobins/the-otherside

Single Review: Jake Evans - This Is Life

There are a million reasons why I love reviewing music and this tune has provided me with an example of one of them. I’m just sat chilling not up to very much and then out of nowhere this absolute gem of a record lands in my inbox, as you can probably tell that made this reviewer a very happy man.

You may well know Jake Evans from his work as co-frontman for Bad Lieutenant, or the fact he has opened for the likes of Paul Weller and New Order but if you managed to miss all of that then it’s definitely time to get acquainted.

‘This Is Life’ is Evans’ second solo single and it is pure class from start to finish. The track has a real anthemic quality; you’ll be singing the chorus for days. The vocal is first class and the guitar solo rather than coming across as a personal indulgence like on some tracks it really adds to proceedings.

This is one of those tracks that should come with ‘summer anthem’ written on the cover. Whether you are out driving, having drinks with a few mates or just cleaning the car this tune should be part of your soundtrack. It’s just a great feel good rock record; flawless.

‘This Is Life’ is released on 16^th June

EP Review - Dark Sky Park - Andromeda

Well it’s that time again ladies and gentlemen; I have a new band and some new music to introduce you lovely people to. So without further ado I bring to you *drumroll* Dark Sky Park.

Coming straight out of the steel city Sheffield, Dark Sky Park are, Debbie Bilson (Vocals) Ainsley Stones (Guitar) Gregg Munday (Bass) and Mike Adams (Drums) I’m going to cut straight to the chase… these guys aren’t your average rock band, and hopefully the following careful crafted words will show you why.

The EP opens with a track called ‘Porn Star,’ and I cannot tell you how much I really didn’t get this song the first time that I heard it. I found the melody weird, thought the keyboards were unnecessary and the vocal from Bilson doesn’t sound like your regular female rock vocal so I was unsure if it really fit. I was a tad confused. BUT as has happened a few times recently the track then started to win me over.

The first thing that I really warmed to was the guitar work which is very impressive, as you know a decent solo scores a lot of points with me. However the real turning point came as I started to listen to the track for what it is and not what I thought it should be. The keyboards give the whole thing a little bit of a Bluesy feel, and the vocal fits this perfectly, and your more traditional vocal just wouldn’t. The track is a real grower and if you feel a bit indifferent like me to begin with I really recommend that you persevere with it and you’ll get your rewards.

The next track ‘The Game’ is far more instant and there’s a lot to get stuck into. I think the opening lyric ‘You’ve a hand full of jokers, but you play them like aces’ is brilliant, it’s simple but cleaver at the same time. The track has a real retro feel and I found the presence of the keyboards quite haunting. I can promise you that you won’t have heard anything like this from a band in quite a while.

‘Darkest Dawn’ is my favourite track on the whole project and is the heaviest by some distance. The intro is like something lifted straight from a horror flick, then the riff kicks in… if you asked someone to play the sound of the end of the world on an electric guitar that’s what this riff would sound like. Think Black Sabbath ‘Electric Funeral’ and you won’t be far away. The sound of the vocal continues the horror theme and the delivery is spot on for a track like this. To continue the Sabbath theme the track finishes with an evil laugh which could come straight from Ozzy himself, this was a nice touch I thought.

The record comes to a close with ‘Satellite Navigators,’ which is definitely from the same mould as ‘The Game’ from earlier on. Again I enjoyed the guitar work, but I found the track too ‘plodding.’ I don’t think it really did enough apart from the guitar solo towards the end.

All in all there is a hell of a lot to like about this record. It’s brilliantly unorthodox and has some great depth to it; all of the songs bar the opener require you to really listen, which I like. However I do think the final track meanders around a bit without really doing much and that lets it down, but that is far from enough to put me off the EP as a whole. I think these guys are a band that will improve with time, especially when they have really found their lane. 

However, this is undoubtedly still a very good record, but I have a feeling that the best from Dark Sky Park is yet to come. 

Jackson Jones Live @ The Maverick - 17th May 2014

If you have been following the blog for more than around 20 minutes you will know that I am a fan of a country/Americana singer/songwriter that goes by the name Jackson Jones. We don’t cross paths all that often but it’s always a pleasure to chat to someone that passionate about music and who is very good at what they do.

This Friday night was notable for 3 things; firstly it was a beautiful sunny evening which meant that it had been sunny for 3 days in a row. (If you live in England you know how miraculous that shit is, if we have a warm afternoon we call it a heat wave) Mr Jones had a new drinks holder attached to his mike stand; it’s the little things in life that bring the most joy ladies and gentlemen. And finally as I was about to head home I ended up in a strange conversation about those drinks you got back in the 90’s as a kid where you used to drink them out of the carton upside down. (The notable thing about point 3 was not the topic of conversation but the fact I actually managed to have a conversation with members of the opposite sex without sounding like I was on day release)

That’s my crushing social awkwardness out of the way, let’s talk music shall we? You know the drill by now, we got a great mix of covers and originals with top chat, great beer in a brilliantly chilled out atmosphere. Things got started with a great rendition of ‘If Love Was A River’ by Alan Jackson. People often look confused when I start getting enthusiastic about country music but I challenge you to find a genre where you would get a song title like that, such a brilliant turn of phrase. A typically emotive version of Field Of Stone’ follows and the tone is for the night is well and truly set.

One of the other things that I love about country and Americana is the comedy you get in so many songs. I have written before how this basically only really happens in country and hip hop and is part of the reason why I hold both in such high regard. This light-hearted feel comes through on the Kieran Kane tune ‘Dirty Little Town’ and suits the atmosphere down to the ground. Up next was the first original of the night was ‘Fort Worth,’ a track with its roots firmly planted in Memphis.

‘Nothing Changes’ followed, a track high on emotion and feeling, and a song that was apparently written for the Royal British Legion. It’s one thing hearing the tracks recorded on an album but the delivery from Jones live and in person really brings the songs to life. ‘Days Of Nothing To lose’ is another original and is one of my favourite tracks from Jones. It’s perfect for long summer nights and is simply drenched in nostalgia. A cover of Rick Nelson’s ‘Garden Party’ followed a song which features the brilliant advice that is ‘Can’t please everyone, so ya got to please yourself.’ Wise words I’m sure you’ll agree.

‘Money In The Bag’ the story of a bank robbery with a twist, ‘Twang On A Wire’ and Jones’ heart-warming ode to his Father ‘Jack’ round out the first half. There was a nice buzz in the room as we all headed to the bar and to a man everyone has enjoyed the show thus far. There is nothing flashy and extravagant here, just a man, his guitar and some brilliant songs.

The 2^nd half kicks off with more country humour in the shape of ‘The Road To Bayamon’ by Tom Russell. Jones is in fine form tonight laughing and joking with the audience as we go, there aren’t many better ways to spend your summer evenings trust me. We then get a semi-serious insight into the song writing of the man taking centre stage on the night as he reveals that up temp, rock n roll tinged ‘I don’t Know’ was penned after watching a particularly dull game on Match Of The Day. (That’s real insight people)

The nice ebb and flow of the set continues through ‘Till I Gain Control Again,’ and ‘Can You Hear Me On The Radio’ which leads us into a new track. ‘Modern Troubadour’ was written sat at Birmingham Snow Hill Station and encapsulates that classic Jackson Jones sound, acoustic guitar and great lyrics. The Willie Nelson classic ‘7 Spanish Angles’ rolls seamlessly into ‘Sunday Morning Coming Down’ described by Jones as the best song Kris Kristofferson ever wrote.

As things begin to wind to a close there is no dip in quality as Jones covers former Eagles hit ‘7 Bridges Road’ and glides into ‘Sing Me Back Home’ by Merle Haggard. If I wanted to try and describe country and Americana to someone I would tell them to listen to that song, there’s a glorious sincerity a feel good factor to it.

The evening comes to a close with a sterling rendition of Bob Dylan’s ‘Knockin On Heavens Door’ which just happens to be 1 of only 2 Dylan songs that I actually like, and this spin on a classic really does the song justice.

There isn’t much I can say about the artist known as Jackson Jones that I haven’t already said. When you see the man live you know exactly what you are going to get, there’s nothing overly elaborate, nothing flash, just a man who is extremely comfortable and extremely good at what he does. It’s a one man and his guitar act but that’s all it needs to be. If you’re looking for country and Americana with a Black Country twist, your list should only be 2 words long and those words should read Jackson Jones.

Album Review: Until We're Winning - Making The Best Of A Bad Situation

Before I really get into the review I want to give a mention to Alistair Hipkin who runs Sound and Vision Music Promotions up in Scotland. He puts in a stupid amount of work to give unsigned artists and bands a platform to go and impress. Plus every now and again he will throw a band my way and I’ll review them and get them on the blog.  

I’ve found a lot of talent through this little deal and the latest band to have their name float in my direction are Until We’re Winning.

Formed in October 2011 and hailing from Edinburgh Until We’re Winning are Carrie Scrimgeour (Vocals, rhythm guitar) David Miller (Lead guitar) Chris Stewart (Bass) and Josh Harris, (Drums) and what they have created is the feel good soundtrack to your summer. In short, debut albums don’t come much better than this.

For an artist opening tracks on albums can be a bit of a minefield. For me a good opener showcases for the listener exactly what the artist is all about and what to expect for the rest of the record and that is exactly what ‘Something To Believe In’ does here. The guitar work is catchy, the vocal is strong and there is a feel good factor which is impossible to ignore. That is despite an opening verse which begins ‘All I seem to say these days is keep the faith, But I don’t believe a word I say.’ Trust me on this one.

‘Being Me’ has a slightly rockier edge and in sound is not far away from a band called The Delta Rhythm who featured on the blog a week or so ago. The guitar work from Miller is more to the fore here and there is even a chance for a little solo as the tune bops along. Next up is a track called ‘Chaos’ which brings yet more glorious sing along quality with it. The band are probably going to hate me for this but I do mean this in the nicest way possible… There is a short section in the song which is structured extremely similarly to ‘Three Lions’ by the Lightening Seeds. Best known as the soundtrack to Euro 96, and World Cup 98 for England fans the world over. This is obviously a complete fluke, and I may be the only person who makes that connection but I have to say what I hear.

‘See Her’ is a far more mellow effort than what we have heard before. The backdrop is simple enough and this track gives the vocal talents of Scrimgeour a chance to shine through. It’s not even her voice (Which is fantastic by the way) which really impressed me it’s the fact that she has an ability to make you feel what she is singing. ‘You Call This Love’ sees the tempo pick back up again giving the album a really nice flow. It must also be said that the production from Guy Perchard on this record is outstanding. For example, here the 3^rd verse strips back with a little effect on the vocal, and then the bridge builds the track back up again. These might seem like trivial little things but it is the overall effect which they create that is key.

It’s no secret that I am an old romantic and frankly a bit soft at heart, so the appearance of the pop ballad perfection that is ‘Exhale’ really got my attention. The track is really stripped back and the song writing has that quality of being relatable to pretty much everyone in every walk of life. Everything just hits the spot perfectly; I honestly can’t praise this song enough. If you don’t listen to anything else of this record I would urge you to move heaven and earth to get hold of this track.

The Fleetwood Mac tinged ‘My Addiction’ has the near impossible task of following the last track but it does it very well. Some good guitar work and classy production in the form of some neat vocal layering are the standout moments here. The central riff for ‘Give It Up’ leans heavily on ‘Rock and Rock Queen’ by The Subways and the song writing is reminiscent of Cigarettes and Alcohol from Oasis but the result is that you don’t know exactly how but everything is going to be alright. The addition of a male voice for a short acapella section adds another dimension to the track.

‘This Was Supposed To Be Our Day’ again offers a more stripped back feel and will provide you comfort the nest time that your football team lose the cup final. ‘Yeah we lost, that halftime pie was shockingly overpriced, and now we’ve got a 4 hour journey home, but oh well it’s not the end of the world.’

Final track ‘If It Gets You Through The Night’ sees the band bow out in rocky mood. The chorus is made for sunshine blessed sing a longs and the track sees the album come to a fittingly positive conclusion.

As you probably noticed I think that this is a fantastic record, these guys have found their lane and they are excelling in it. The vocals from Scrimgeour are brilliant and have a level of sincerity that makes you feel what she sings. The guitar work is great and the rhythm section pulls everything together flawlessly.

Making The Best Of  A Bad Situation is feel good pop music at its believable and polished best. This is an album that deserves to be heard, and in all honesty there can be no higher praise. 

Single Review: Junebug - TR

I’ve noticed over the last month that there has been a little bit of a Scottish invasion on the blog, and frankly history has taught me to treat vast numbers of Scots venturing south making lots of noise with caution. In response I have grabbed a large stick and built a wall outside of Musical Outcast towers. (Apparently this has worked before)

The upshot of all this that 1) I get loads of good music to listen to and 2) I have spent the last week trying to work out whether this influx of Scottish talent into my inbox counts as the blog gaining international recognition. Scottish readers your vote in the referendum could do wonders for my advertising campaign. (No pressure)

Right; the latest band on this tartan conveyer belt are from Glasgow and go by the name Junebug. Made up of Alli Martin (Vocals) Owen Rataj (Guitar) Aonghas Maxwell (Guitar/keys) Matthew MacDonald (Bass) and Harry Smith (Drums) the band have just released their latest single ‘TR’ and I have to say it’s rather good.

I’m willing to bet real money (none of that Monopoly crap) that if you like your music in that Stereophonics style lane then you will love this track. The intro is a little bit like something you’d hear on a Nirvana album, the track has got a good chorus and a nice vocal. It’s not anything too elaborate but there is nothing worse than a singer trying too hard, so the uncomplicated style from Martin here is spot on. There are a couple of quicker sections and a bridge complete with drum roll that doubles as space for a guitar solo which is a nice touch.

There is plenty of replay value to be had, and all round it’s just a good track. I genuinely can’t fault it. The track also comes complete with a nice and weird video which i can't get to link into the blog unfortunately (Look it up n Youtube), showing that they aren’t afraid to try something a little different. And unlike many the band also seems to have a bit of a sense of humour, on a certain social media website (Something to do with faces and books, I’m not sure…) they describe the band not by style or by some stupid marketing phrase but as ‘Three similarly sized people and then two lanky ones.’ There’s something very likeable about that.

So all in all Junebug have produced a great single, they are not afraid to experiment and they have a sense of humour; they could be on to something here…

Single Review: Stellify - Hide

Every now and again rumours do the rounds about rock n roll’s demise, but right now I sit here with proof that that demise has been greatly exaggerated. Not only is its heart still beating it’s about to kick your door down.

Formed in early 2012 and coming out of South London Stellify are James Howlett (Vocals) Richard Costello (Guitar) Carlos Dittborn (Bass) and Daniel Iriondo (Drums) and they are bringing rock and roll swaggering back into your eye line.

The band say that The Black Keys are an influence and I think that you can really hear that in this track, there is also a bit of an early Oasis feel in parts but that might be more by accident than design. ‘Hide’ thumps along on a steady drumbeat with the powerful vocal from Howlett grabbing your attention.

Three quarters of the way through the track drops right back and the vocal reduces almost to a whisper. Things then start to build again towards some great guitar work which is almost Stooges-esque in places taking centre stage.

There is something about this track that just pulls you in, not in that emotional way but in that ‘what a great tune’ kind of way.

‘Hide’ embodies that classic rock n roll swagger and bravado and will have you turning your speakers all the way up and living your own rock star dream all summer long.

You can hear the track here – https://soundcloud.com/pluggin-baby/stellify-hide-1

Hide gets an official release on 12^th May 2014

Single Review: The Rainband - Sirens

I might be completely alone on this one but when I see loads of hype around a band or an artist instead of making want to know why they are supposedly so incredible it makes me even more sceptical. Almost looking at it in the same that you look at that deal for a cheap 2^nd hand car… ‘Ok, that’s amazing but how long will it be before the wheels fall off, where’s the catch?’

A quick scan of the internet and social media reveals nothing but praise for this band and the feeling that it’s not a matter if they will hit the big time but when. I don’t think 5 blokes from Manchester have ever had better credentials and more of a co-sign from the industry than these guys. Theoretically everything is in place for Martin Finnigan (Vocals) Phil Rainey (Guitar) Joe Wilson (Guitar) Sam Wilson (Bass) and Steve Irlam (Drums) to go out and make their fortune. Have a look at this -

They have previously been hand-picked by Jim Kerr to support Simple Minds, have just been chosen by Paulo Nutini to support him on the Italian leg of his tour this July; they played Glastonbury last year, have been endorsed by Noel Gallagher and featured by the likes of 6 Music and Rolling Stone Magazine. Oh and Phil Rainey is a former bandmate of Peter Hook’s. (Yeah that Peter Hook) You can’t do much more than all that!

It was actually while reading all of those amazing things that I came across probably the best story of all. I am a massive Moto GP fan and I discovered that with James Toseland they wrote and recorded a song for the Simoncelli Foundation. Marco Simoncelli was a Moto GP rider who was tragically killed in an accident at the Malaysian Grand Prix in 2011, and the foundation was set up in his name. The song the band recorded was called ‘Rise Again’ and all of the proceeds went to the foundation. What a gesture.

Now for the music.

This track was released at the back end of March and is to my mind the perfect indie-pop single. It clocks in at a shade under 3 minutes, it’s catchy and has a real feel good factor. The vocal is great, the cool little bridge halfway through adds to the track without disrupting the flow, it’s just an all-round good record. The band mentions that they like The Doves and I think that you can hear a little bit of that in here. The track is absolutely tailor made for Radio 1 and a mainstream audience.

I began this review as a sceptic, but now I am firmly a believer. Everything looks to be in place for these guys to launch themselves into the mainstream consciousness, and importantly they have the music to back up the hype. So many great bands have come out of Manchester down the years, and I hope these guys are ready because they could well be next. 

The Rainband headline the O2 Academy in Birmingham tonight. (10^th May) 

Album Review: Smilex - La Petite Mort

‘Le Petite Mort’ (French) Translation – The Little Death

A common criticism aimed at new music over the last decade or so has been that it is too sanitised; the bands coming out have lost their edge. Everything is too polished. To some extent I agree, especially in rock the spark that made it exciting and made you sit up and take notice has definitely diminished. However, and it is a big however music is such a wide spectrum that I believe that if you look hard enough you will find something you like. That’s why I want to point everyone who is feeling a little disillusioned with the mainstream towards this band and this album.

Smilex are Lee Christian (Vocals) Tom Sharp (Guitar & Vocals) Olivia Luce (Bass) and Pat Holmberg. (Drums) Oxford has never been so rock and roll, trust me. With a career spanning over a decade you might have expected the rawness and grittiness to have worn off a little by now… oh how wrong you would be.

One of the things that really stood out to me on this record was the witty lyrics. The blending of these lyrics into the songs is like venturing into the mind of a mad man. Opening track ‘9hz’ contains one of my favourite lines on the whole album. How can ‘I’ve got no fuckin balls but I’m gonna run for president’ not raise a smile? The main guitar riff is quite simple but it will be going round your head for days, but things kick up a gear in the second half of the song giving a real insight into what is to follow.

‘Deadman’s Dirge’ is a completely different affair. This is a straight up punk from start to finish. It’s markedly shorter than the opener and rattles along at 100 mph before descending into guitar crashing chaos of the best kind. One of the things that really struck me aboutt the album is the sheer variety on display; each track is different to the one that went before it. The opening to ‘Wasted Youth’ is pretty stripped back and the drop in tempo almost gives the listener a breather. I commented on the lyrics already above, and here again this cleaver song writing is evident, with lyrics like ‘I lost my heart on the sole of her shoe.’

‘Revive The Revival’ sees the unique vocal delivery from Christian come to the fore, at times he is almost rapping the lyrics but with such an exuberance that makes them stand out. The gritty guitar solo also stands out. On a record full of contrasts ‘What Is It You Actually Do Again?’ goes as far as providing the contrasts in the same song. The intro and the verses are pretty subtle and skip along almost like an indie track, but the chorus is forced out over crashing drums with an almost primeval scream. The various tempo changes and progressions here also go to show that on a technical level these guys are cut from a different cloth to your average rock band.

The next track ‘La Valse Macabre’ had me testing out what is left of my brother’s GCSE French to translate the title. ‘Macabre’ is pretty straight forward but we found ‘Valse’ a struggle, it apparently translates as ‘Waltz.’ This all becomes clear when you actually hear the track, as the main section follows the traditional structure of a waltz. Random? Yes but incredibly creative. This waltz is then set against a more expansive sound reminiscent of early Muse. ‘Evil’ sees the band take a Rise Against The Machine’ shaped leaf out of the rock handbook. The vocal is as unique as ever, the drumrolls impressive and certainly mixed with some DNA from ‘Killing In The Name Of.’

The intro to ‘Manatee’ deliberately or not definitely pays homage to ‘Ghost Town’ by The Specials. The eerie, and horror inspired delivery of the verses is a nice addition to the track as a whole. ‘Please Do Not Feed The Drugchild’ has to be one of my favourite song titles of all time. It might childish but that did raise a smile. As for the song itself it has a more traditional rock feel to it than any other on the album. The pace is a characteristically quick one until almost everything drops away leaving just a vocal, along with gentle guitar and drums. That is until the guitar launches into a sensational solo as the track reaches its zenith.

The rolling drums at the beginning of final track ‘One Man Woman’ are a nice variation and start the song off really well. The track is gentler than most of what has gone before it, and it is no surprise that it has received radio play. The edge is still there but there it has more listenabilty. (I do believe I have created a new word there. I’ll you have that for free) However, it’s almost as if the band couldn’t resist one more adrenaline filled blast of vocal screeching insanity before they collapse in a heap and the album comes to a close, and that wild sound returns to take centre stage one more time.

There are so many blends of styles, sounds and influences on this album it’s hard to know where to start. I’d be lying if I said that how good this record is will hit you immediately because for me it really didn’t. It took 3 of 4 spins front to back for me to really get to grips with it but with every listen I discovered something new that I liked. It’s one of the most interesting and engaging projects that I have had the pleasure of reviewing. Ever.

When you name your album after a phrase that can be used to describe a feeling of post-orgasmic exhaustion, you really are letting the world know that you aren’t the ordinary and this record certainly isn’t. It’s a gritty and intense journey into a world you recognise but thought you would never experience and when you slide your headphones off, like after all great nights you’ll sit back with a quiet satisfaction, and a feeling of contentment. ‘What a ride that was… but man I’m knackered.’ 

EP Review: System Of Hate - Insanity

Coming out of Barnsley System Of Hate are made up of Dave (Vocals) Patrick (Guitar) Martin (Keyboards) Paddy (Bass) and Carl (Drums) If I had to choose one word to describe the band and their style that word would be ‘uncompromising.’ There are no frills, this is just straight up punk take it or leave it.

Insanity is only the band’s second EP but the majority of the band have been involved with the music scene on and off since 1978. This is something which I think comes through in the music, there are definitely echoes of that period back in the 70’s where punk bands were just everywhere, and everyone had something to say whether people wanted to hear it or not. Back in the day you were mad at the world you formed a band, shouted, drank and did drugs until you weren’t angry anymore. These days seemingly you just sign up to Twitter. Anyway… back to the record.

The EP’s title track gets things under way in typically high energy fashion. Straight away you get what the band all about. As I said in the intro, the sound is just uncompromising punk, and for me really does hark back to a bygone era. (Even more so when you see the song length is just over 2 and a bit minutes)

However my major problem with this record emerges very quickly. Personally I find the vocal to be a little too uncompromising and a bit too abrasive. Things sound a bit forced. Granted back in UK punk’s golden age many of the vocals on show were from a technical point of view horrendous, (I’m not saying that this is by the way) but that was part of the whole DIY feel. It gave the impression anyone could do it. But in this case I can’t warm to it.

‘Ashes of Divinity’ starts off with a brilliant intro, on paper its nothing technically mind-blowing but it sets things up well before the track really kicks into gear. Much like the rest of the record ‘musically’ it’s great and the lyrics are almost spat out with a real passion. The breakdown towards the end is also very well done.

Another great intro, this time with rolling drums gets ‘The Dogs Of War’ off to a flying start. It’s hard not to feel the anger and power of this record especially when this track opens with the lyrics. ‘The fires of vengeance eating away, Fuelling the tension the lying betrays.’ I don’t think that needs much of an explanation from me to be honest.

Final track ‘Infected’ picks up where all of the other tracks have left off. Fast paced, hard hitting and vocally abrasive, almost growling at certain points. As mentioned above the actual music instrumental element of the song is nigh on flawless, but the vocal remains too harsh.

I am hesitant about being too harsh on the record as I think that the premise and the idea behind it is a good one. Music wise everything sounds on point and you can’t really pick fault with the production but I just can’t warm to the vocal style. I applaud the intent, and I get what the band are trying to do but I can’t help but feel that the execution falls a little short.

Throwback Thursday: Dr Dre - My Life (Smoking Weed For Hours)

As you will have probably noticed I have been stupidly busy over the course of the last few weeks so I have neglected this feature a little bit, but I was listening to this track earlier and I felt like I had to share it.

This is the first time I have picked a song for Throwback Thursday that hasn’t ever actually been released, but that doesn’t make it any less of a classic trust me.

The story goes that this track was prepared for Dre’s 2^nd album which would have come out on Death Row, but as we know the album never saw the light of day. To start with when Tupac singed with the label all things got moved to focus on him. (‘California Love’ was actually going to appear on this Dr Dre album but he was basically told he had to give it to Tupac) Of course then Tupac got killed, the label got into all sorts of trouble, Dre left and that was the end of that. But some of the music from the unfinished project is still lying around on the internet, like this classic track.

You can tell that this, ‘California Love’ and even ‘Been There Done That’ are from a similar era just by the production style, you can almost join the dots and trace the progression between ‘The Chronic’ and ‘2001,’ these tracks mark the halfway house between those two albums.

What’s for sure is that this album that never saw the light of day would have been a classic, just on the strength of the material that is still kicking around. It might be un-mastered but there is just a great feel to the track and one of those that slip under the radar and that is why this is this week’s choice for Throwback Thursday. 

Single Review: Alavano - Take Away The Pain

I like to think that I operate a broad church over here at The Musical Outcast and I will now try and prove this to you.

Much like The Taskers the other day this track has found its way to me via Plugginbaby, which based on the talent that I have already heard from over there is a tip in itself.

Hailing from Glasgow, Alavano formed back in 2012 and have steadily been picking up momentum and plaudits ever since. The band are made up of Ocean Adams (Vocals) Stephen Brown (Guitar) Gen ‘The General’ Ferguson (Keyboards) Tom Glasgow (Bass) and Craig Harkness (Drums) This track isn’t out for another week or so but it has been gaining traction on social media and on radio all over the place so instead of sitting on it for any longer I’m going to jump on the bandwagon.

If you are a regular reader of the blog I’m probably not surprising you by saying that I’m not normally a fan of pop ballads, but this one is different. I think you have to approach everything with an open mind and it has really served me well here.

I have always maintained that all the best songs make you feel something that can be anything from laughter to breaking down in floods of tears but in one way or another it has some effect on you, and that couldn’t be truer here. The track just draws you in. The lyrics are sung with such passion and with such a sincerity you really feel what the track is all about. Add in some sweeping strings and you have a seriously brilliant ballad. 

On some level or another everyone can relate to the lyrics and even the hardest of hard men will have ‘something in their eye’ come the end of the track.

It’s not overblown, and like a lot of songs of this type it’s not trying too hard to try and manufacture emotion, the emotion just arrives naturally. The production is fantastic and in short it just ticks all the boxes.

Just take 5 minutes to yourself, shut off from the rest of the world and give this a listen.

‘Take Away The Pain’ is released on 19^th May

NEW MUSIC: Linkin Park - Until It's Gone

Today Linkin Park unveiled another track from their upcoming album The Hunting Party. I really loved the previous track that they put out from this record ‘Guilty All The Same’ so was pretty excited to hear this and you know what it’s alright.

It’s not a game changer by any means and it won’t stop you in your tracks and make you sit up and take notice but it’s a good solid rock track and certainly won’t put me off checking out the album when it drops next month. Nice guitars, good vocals from Chester, it ticks all the necessary boxes, without quite giving you that ‘Oh my God I need to hit play on that again right now’ feeling.

Check the track out below and let me know what you think

Single Review: The Taskers - Hogs From Hell

I floated on social media last week that I had linked up with a few different people to bring you some new music over the coming months and here are the first results of one of those link ups; the brand new single from brother/sister rock band The Taskers.

Strictly independent and operating staunchly on a DIY basis The Taskers formed back in early 2012, when Sophie (Tasker) hooked up with brother Jack to form the band on the proviso that they move away from his existing acoustic tracks. 2 years and 4 albums later we have arrived here at the release of the duos next single ‘Hogs From Hell.’

By the bands own admission the material from their latest album (The bands fifth) Rat Residence is darker than anything they have done previously and that is very much in evidence here. ‘Hogs From Hell’ is as grungy as anything that’s out right now as well as being anything but conventional.

You could say that the main riff has its origins in funk but it’s pitched so low it’s dirtier than last night’s kebab. And much like last night’s kebab it really hits the spot. The distorted vocals fit the track perfectly and give it a real edge. Quite early on a guitar solo kicks in which features some brilliant work before everything strips back into a strange interlude. The track clunks along like a late night wander to the bathroom in the dark before the drums and guitar crash back into view with a vengeance.

The final section of the track is shorter and the only constant is the thudding of the drums. The guitar sounds like in the studio they have reversed it and have recorded the sounds backwards. Think of the intro to ‘The Beautiful People’ by Marilyn Manson.

As I said earlier this track is just a tad unconventional, it doesn’t really follow a traditional structure and it just sounds different. Let’s put it this way there is more chance of me sleeping with Eva Mendes than this there is of this track appearing on Radio 1 but that’s part of the appeal. It stands out. The guitar work is great and you can't deny that the track is interesting; it’s a real unique spectacle. But above all else it is definitely worth a listen.

Hogs From Hell is released on 5^th March 2014. 

The Unchanged Live @ The Court House - 2nd May 2014

As always seems to be the case these days it’s been a busy and at times chaotic week over at Musical Outcast towers. There have been lots of little deals being done behind the scenes in order to make sure that this blog can continue to bring you THE best music around. The future looks very bright right now.

Over the last few months I seem to have been on a whistle stop tour of all the music venues across the West Midlands, and the latest instalment in this journey took place last night when I rocked up at The Court House in Dudley to see local rock band The Unchanged. Here is what I made of it.

I have to say that I don’t think that I have ever been so hot at a gig in my life; it was a little bit toasty. There was also a rather interesting burning smell hanging in the air so it seemed there was a real threat that we could all be evacuated to the car park at any minute, and that would have been interesting as the room was packed. It was to this backdrop that The Unchanged took the stage.

Things got started with an instrumental intro, I might have lived a bit of a sheltered life but I hadn’t actually seen a band on the local circuit do that before so I thought that that was a nice touch. The switches been the lighter riffs and slightly heavier sections acted as a preview for what was to come. The first ‘proper’ song the night was a cover of one of my favourite tracks of all time ‘Paranoid’ by Black Sabbath, and the band carried it off with aplomb. It was pretty much a straight up cover all be it with a slight Unchanged spin, the guitar work from Adam Martin and Andy Hitchcock in particular was a real highlight.

The pace slowed right down for the next track ‘Hollow’ with the band demonstrating another weapon in their armoury. This versatility and willingness to let the vocal take centre stage showed that the band are not only multifaceted in their approach, but are also not simply going to hide behind crashing drums and big riffs on stage.  That’s not to say that huge riffs were off the menu as ‘God’s World’ would prove. The track starts off in quite low key fashion but you got the impression that it was always going to build to a big drop and it didn't disappoint. The second section of the song was characterised by a big dirty guitar riff and a hammering drum rhythm.

‘Unchanged’ is another slow build of a song, but again leads to a big chorus and more powerful later phase. Once again the musicianship on show is top drawer, and there was a great rapport between band and audience as the band joked with those in attendance. This was a band on top of their game and enjoying it.

The melodic tones of ‘All We Have Known’ (Part 1) soon filled the air as the band once more demonstrated that they will never be a one trick pony. The blending of the main vocal with backing vocals from Hitchcock and bassist Chris Harris had echoes of that Californian rock sound from years gone by. Unsurprisingly Part 1 lead into Part 2 but that was pretty much where the similarities ended. For all but the closing moments Part 2 is straight hard rock, as many of you will know I am a sucker for a great guitar riff and great guitar riffs were in plentiful supply here.

The set was closed out by one of the grooviest, funkiest things I have ever some across. This mind-bending delicious groove was in fact a cover of the Stevie Wonder classic ‘Superstition.’ A band that covers Black Sabbath and Stevie Wonder in the same set… I’m sure you’ll agree that these guys are not your average rock band.

I was a little unsure of what to expect when I agreed to cover the gig because I hadn’t heard a great deal from the band previously but I left extremely impressed. The rhythm section of Harris and ex Face Of A Stranger drummer Luke Watton laid the foundation really well, holding everything together effortlessly. The guitar work from Martin and Hitchcock danced brilliantly over the top of these foundations and the main vocal also from Martin walked the line between raw power and melodic subtlety in impressive fashion.

You could tell that the band had put in the work in the rehearsal room and were just at ease on stage and very clearly enjoying themselves. It really was an accomplished and professional performance. The set proved that The Unchanged are clearly talented and capable of putting on a great show, but most of all they will never ever be boring.  

EP Review: The Delta Rhythm - Break The Surface

Ever since I was a kid I have been fascinated by and held a deep admiration for people who thought outside of the box. People who lived life on their own terms, didn’t follow trends and did what they wanted to do. Like everyone they had their own set of beliefs and principles but the difference was they would stick to their beliefs and principles and beliefs regardless. It didn’t matter that sometimes people would disagree and cause conflict, what mattered was that they went to bat for what they believed was right. They were going to be themselves even if that meant going totally against the grain.

As a result I have always felt drawn to sports stars like Muhammad Ali, Aryton Senna and Roy Keane. Straight away musically I was pulled towards people like Johnny Cash, Jimi Hendrix and Tupac; life was on their terms and nobody else’s.

Right now many of you will be wondering what this has to do with anything but trust me there’s a method to my self-indulgence. In the music industry, especially where the mainstream is concerned there are numerous trends and even more artists trying to follow them, and to me that’s really sad. But thankfully not all bands are like this and some go their own way and do their own thing and I’ve found one of these bands and they go by the name of The Delta Rhythm.

The Delta Rhythm are made up of Sami Cornick (Lead vocals) Gregg Freeman (Rhythm & Lead guitar) Ben Adams (Bass) and Martyn Todd (Drums) They describe themselves as ‘a cross-breed of Blues, Indie and Prog Rock’ and say that they are ‘focussed on bringing a mixture of heart churning Blues, head banging rock, foot-tapping indie and soul diving prog to the world.’ I can assure you ladies and gentlemen that the band are all of these things and more.

Break The Surface Kicks off with California rock inspired ‘Ticking Bomb.’ As is the case with the rest of the EP there also elements of blues as well as country as things get underway in catchy up tempo fashion. As well as having a great voice Cornick has a way of delivering the verses which falls somewhere between singing and just speaking which gives the track added character.

‘Singing The Blues’ is another brilliantly upbeat track. With its fusion of blues, country and rockabilly the track is like a throwback to a bygone era. The central guitar riff and drum beat are simple yet effective and push the track forward into a more raucous chorus. Following some nice guitar work the second verse opens with a bit of an effect on the vocal which helps put a modern twist on what is a great old style track.

The final track on the EP is a sultry ode to Sunday mornings and lazy weekends called ‘Better Things.’ Here the tempo drops right down as the track describes what to me sounds like a pretty ideal idle weekend. The introduction of a piano in an instrumental section is a great addition and is quite a nice surprise. This is my favourite track and it rounds the whole record off as a whole really well.  You could have had the worst day imaginable but put press play on this song and you’ll drift away to friendlier, happier times safe in the knowledge that everything is going to be alright.

I opened this review talking about my admiration for people who stick to their guns and don’t follow trends and to me this seems to describe The Delta Rhythm. New bands coming out just don’t sound like this, they are different to 99% of the stuff out right now and it’s brilliant. The production is flawless, the guitar work is great, the rhythm section is on point and I challenge you not to fall in love with Sami Cornick’s voice.

We are constantly regaled with stories about songs and bands gone by and how ‘They don’t make them like this anymore’ well all those people are wrong, because they do, and I’ve found the proof, Birmingham’s own The Delta Rhythm.