Watch Keymono's awesome rhythmic digitalism in full swing as the infectious 'Bubble in Trouble' is filmed live and exclusive by Lost in the Manor at The Finsbury on 13 March Photos, Video: Chris Musicborn @musicborn
Review: David Ward - Golden Future Time
You’d have to be a hardened popophobe to find nothing appealing about David Ward’s debut, for the Canuck crooner’s magpie-like musical instincts have resulted in him dabbling in a raft of celebrated styles and mastering many of them. From the sinister fairy-tale waltz of ‘Ghost in the Woods’ and the sparse Portishead-esque canvas of ‘Lost’ (literal trip-hop; listen to that stumbling beat), to the shiny, happy, supercheesed disco of the title track and ‘Fly’s woofer-whuppin’, dirty dancefloor throb, Ward comes over as part indie-introvert, part crotch-grabbing lothario. But ain’t we all. The adhesive to this unlikely assemblage is his opulent soulful vocal, a larynx to conquer all variables, sometimes recalling the ethereal fragility of fellow countryman Partick Watson, sometimes a Pharrell were he ever prone to self-doubt. The flipside to this mash-up is that even the most broad-minded music fan might struggle to find the entire package satisfying – everyone will have their favourites. Ours is the opener, ‘Slowly Through The Night’, whose snaking electro bassline introduces some epic, near proggy guitars and keys, and finds Ward gliding from pained, sweet falsetto to sullen rap. Take a listen below, it may not be representative of the whole album, but you’d be hard pushed to find one track on ‘Golden Future Time’ that is.
Golden Future Time is out now on Golden Future Recordings
Introducing: Yumi Zouma
Like a breath of fresh air this little number caught my ear and I couldn't resist the share. Yumi Zouma from New Zealand is definitely one to be watching for 2014. Check out Yumi Zouma - Sålka Gets Her Hopes Up on Cascine
Watch: Algiers – Lighthouse
As the more geographically astute readers will know, you can’t get much further from the sea in the UK than Sheffield. But this hasn’t stopped Steel City duo Algiers from penning a tune so salty you can practically surf on it. If the lovesick singalong shantyisms of ‘Lighthouse’ - a minimalist blend of reeling guitar, rolling toms and bracing vocals - aren’t enough, then the video (basically a compilation of olde-worlde maritime peril) should strike home the message. Literal packaging aside, ‘Lighthouse’, taken from Algiers’ debut LP, ‘You’re The Captain’, has a hearty folksome chorus buoyant enough to float many a boat. Check for yourself below.
You’re The Captain is out now on Xtra Mile Recordings.
Follow @Nickjmee on Twitter
Watch: Qtier - Anything Other
Qtier share the stunning lead track from their second EP out now on iconic Berlin label BPitch Control
Live Session #1: Gitta de Ridder - Without You I'm Broken - A tribute to Horace "Jim" Greasley
We can announce Lost in the Manor will now be filming live acoustic sessions and to start us off we have the stunning Gitta de Ridder performing without you I'm Broken. The song is a very sad tale and we will let Gitta explain in her own words what it's all about. It's a long explanation but stick with it...
The song explained in Gitta de Ridders own words
"This last Christmas I spend some time down in Devon with the Man and the Family, my Step Dad-in-law got given this book called "Do birds still sing in hell" I found myself reading the back, starting to read the book, and unable to put it down until I finished it a day and a half later.
I don't often get so carried away but it had me sitting upright with tension, gave me goose-bumps, made me cry my eyes out and had a huge impact on me.
It's a true-story about a guy "Horace Greasley" renamed Jim by his fellow soldiers. An English lad that gets send out to the war in WW2 at 20 years old and ends up in France where he gets captured by the Germans. They go on a 10 week march, no food, no water, constant walking no rest to Holland (as you can imagine most Prisoners Of War -POW's- die on this journey) Then a 3 day train journey which is horrific, and the worst POW camp imaginable. I couldn't get my head around people treating people like this.
Anyway, his luck turns as he get moved to another Working-Camp where he falls in love with the owner's daughter and they start a crazy love affair. But, he gets moved and they loose each other. she spends months trying to find out which camp he is in and finally succeeds. He find a way to escape the camp at night and goes out to meet her 2-3 times a week over the space of a couple of years. Can you imagine going back to the camp after you were free?! mad.
They meet in this little church, they make love, and enjoy spending time, and at some point he manages to smuggle in a radio into the camp and spread around the BBC news.
When the war is over he goes back to the UK, she had to run because she is now the bad guy being hunted by the Russians (German) They finally write letters to each other with the letters suddenly stopping. A year later he gets the news she has passed away whilst giving birth to his child. They both don't make it.
He does marry and has kids later and at 98 he gets this book written (word for word true story) by a ghost writer. It all broke my heart.
Review: Michael A Grammar – Random Vision EP
Swollen with sonic exploration, Michael A Grammar’s ‘Random Vision’ might be projected through a vaguely baggy, psych-rock prism, but its caution-to-the-wind approach makes for a refreshingly genre-bending whole. Blasting off, the bombastic ‘The Day I Come Alive’ recalls heady Madchester euphoria, its Messianic complex not diminished by the opening ‘I’ve been searching for Jesus’ line, and a massive sky-kissing chorus more exaltation of praise than hooky one-liner. It’s an anthem grounded by a supercool shuffle from a rhythm section who also show funky form over the closing bars of ‘Suzanna’, which unpromisingly kicks off like INXS fronted by an Elvis impersonator, but takes a radical turn when a serrated guitar riff sparks like a jump-lead, hot-wiring the track into life. ‘Upstairs Downstairs’ is heavy-duty psych, evoking a reined-in Tame Impala herded on by another fearsome riff, this one chopped out in a stacatto rush as if the guitarist is clasping powder-flecked plastic rather than a plectrum. Threatening to climax in a cacophony of power chords, instead the tune drops easier than Luis Suarez and fades on a cushion of dreamy arpeggios. This predilection for the unpredictable peaks on the EP’s closing number – ‘The Way You Move’ has a driving root-note intro, suggesting a Doves-style pop epic, before it segues into a kind of grungy bossanova, a Bond theme made all the more surreal by the return of those pub singer vocals; the mumbling melody juxtaposed with spectacular fretwork. Even the extended outro is more enervating than indulgent, evidence of a band enthused by the scope of their dexterity. There’s the occasional dizzy spell in Michael A Grammar’s Random Vision, but the overall expressiveness and excitement of this EP are as clear as day.
Random Vision is released on 27 January on Melodic.
Follow @Nickjmee on Twitter
Listen: Alpines - Oasis
Oasis is the first single to be taken from Alphines highly anticipated debut album. Oasis will also be the tile of the album. It's great to see Catherine Pockson and Bob Matthews back in such fine form.
Oasis is set for release on March 3rd via Untrue Records and if you want to catch them live they will be playing at The Basement on Thursday 27th February in London
Introducing: Northern American – Wander
This gratifying release is the debut single from Northern American, who, unlike Of Montreal, perhaps, or Beirut, ain’t lying: they do indeed hail from where their name suggests, Los Angeles to be exact. And there’s a distinctly Californian dreaminess to ‘Wander’, a tune whose joker is its beautiful, trembling guitar refrain, a shimmering two-chord euphonic swarm that floats above a loping rhythmic march punctuated by a prominent snare shuffle. Meanwhile, singer Nate Paul’s sweetly judged insouciance stokes a gracefully descending chorus hook. Everything here, from the piano glissando to the faraway-siren-like intro has space to kick back and radiate, with the exception of the curious bridge, where the band seem to be testing out the percussive merits of a complete set of kitchen utensils. This superfluous interruption aside, ‘Wander’ is sufficiently lustrous to combat the fiercest January bluster. They could use it in the States right now. Fire it up and glow.
Wander is released on 20 January on Heist or Hit Records.
Follow @nickjmee on twitter
Watch: Folie Ordinaire - Chez Folie
'Chez Folie' is the addictive new track by Folie Ordinaire, taken from their second EP. Infused with a new-wave disco beat, the bassline, synth, guitar hook and falsetto vocals defy you not to dance. Treading the line between electro, rock and pop punk, there's a hint of The Cure about them (as well as an affinity with the likes of MGMT), and a similar sexy abandonment. The video follows suit, dripping with sequins, disco balls and glitter. But what shines the most is their energy, led by frontman Antoine, which spreads across the dance floor and out of the speakers. It's a great advert for their live shows, and a sign that these lot are more than just festival scenesters, where they've been making a name for themselves since 2010. And if you don't want the party to stop, the remix by Robin Twelftree takes the track into the realms of clubland, driven by the distinctive beat and manipulated vocals. This is an infectious tune that's difficult to shake; trust us, you'll be singing it to yourself later.
Follow @f_shaf on Twitter
Live Review: Nakisha Esnard - The Finsbury 19/12/13
Charismatic, quick witted, versatile and in possession of a stunning, octave-spanning set of pipes, Nakisha Esnard was the gifted ringmistress of an oddly ramshackle show at a pre-festivities Finsbury. Fronting a pared-down reggaeish quartet and resplendent in checked shirt and bow tie, Nakisha thrummed at her mandolin while her super-soulful singing stretched the limits of her backers’ lazy skank palette, her prodigious energy initially too big for her band, even when her vocal meanderings focused on such prosaic subject matter as guzzling vino prior to the gig. Early doors, it all had the feel of a jam session, the Luton chanteuse even improvising a cheeky proposal to sack her group as another tune ran its apparently formless course. But perhaps this unorthodox, unstructured delivery was the better to showcase Nakisha’s hyperactive showmanship, her on-the-spot witticisms and off-the-cuff interactivity that drew the crowd to her. And, almost indescernibly, the band’s sparse dubisms began to assume an infectious, natural feel, no longer at odds with the singer’s expansive talents but offering a loose canvas to display her offbeat brushstrokes on original material that fused poppy r’n’b with all things roots. To further stir the melting pot, she finished with a ukelele-driven ska version of ‘Spice Up Your Life' sung in full operatic mode, which, as unlikely as it sounds, was hugely enjoyable. From the enormity of her voice right down to the personalised messages scrawled on the back of each of her flyers, Nakisha Esnard displayed effortless self-assurance as a musician and entertainer – a slick package given a twist tonight by its casual presentation.
Follow @Nickjmee on Twitter
Watch: The Moth & The Flame – Sorry
Revolving around a tasty instrumental refrain in which a hypnotic bassline welds itself to a pounding soul beat, ‘Sorry’, the lead track of California trio The Moth & the Flame’s new EP (simply titled ‘&’), is a sparkling composition of melodramatic indie-rock. “Sorry, For Everything I’ve Done” laments Brandon Robbins’ falsetto vocal over a strident alt-ballad, delivered in triple time and artfully produced to shine a light on the players’ every flourish, drawing out each searing keyboard effect and cymbal crash to max the song’s dynamics. This sleek production, courtesy of Joey Waronker, is evident throughout the six-track release, but, rather like that moth becoming too familiar with the flame, the collection flares brightly before losing its lustre, fading into melancholy MOR by closing number ‘How We Woke Up’ (a recent support tour with Imagine Dragons is perhaps an indicator of the band’s less-progressive tendencies). But let’s embrace the positive, and ‘Sorry’ — as lean a stadia-oriented-indie single as you’ll have heard this year — doesn't deserve to be ignored. Check it, along with a curious desert-based last-man-on-Earth scenario, via the promo below.
Sorry is out on Hidden Records now
Follow @Nickjmee on Twitter
Download: Bad Life Records Xmas Giveaway
Bad Life Records are being extra nice and have decided to giveaway loads of tracks! In their own words below
Featuring Petite Noir, Fé, D/R/U/G/S, Qtier, Astro Zu, Arnaud Rebotini and Attaque - Click for the download
"3 years in, and we've still clearly not quite got this record label lark. As to celebrate our 3rd Birthday this week, we've decided to give all our favourite releases of 2013 away completely for free. Featuring music from Petite Noir, Fé, Astro Zu, Qtier, D/R/U/G/S, Blatta & Inesha, Arnaud Rebotini, Mason and Symmetry, it's a chronicle of our best, most eclectic year yet.
Moreover, to show that our love for our dance floor roots is as strong as ever, our new bright hopes of techno Raving George, Symmetry and Henzel and Disco Nova have served up three killer mixtapes to fill those transitional hours until 2014.
Love to everyone who bought a track, went to a show, wrote a blog, danced at a party or felt something when our records played"
Listen: Plank – Aphidelity
Plank – Aphidelity
If John Carpenter had commissioned A Certain Ratio to perform his score to an early Eighties sci-fi flick, the result may have sounded something like Plank’s instrumental new single, ‘Aphidelity’ - all oscillating loops, clumping bass, casually paced four-to-the-floor disco beats and astral synth runs. The Manchester band’s joyous outpouring of loosely funky futurism, taken from their upcoming second album, is wilfully cinematic, so clamp on those headphones, close your eyes and cast yourself as the lead battling intergalactic ne’er-do-wells in the Big Apple or saving humankind on the streets of San Francisco. You’ll be sporting wide collars, aviators and platforms as you do so, mind, but I guess that has a certain hipster cachet…
Aphidelity is out on Akoustik Anarkhy Recordings now
Follow @Nickjmee on Twitter
Watch: Minnie Birch - Glitter
Minnie Birch has been wooing audiences all over London over the past few years and finally here is the debut video called Glitter. It's a Mellon Collie but deeply beautiful...
The song will also be available soon as a free download.
Watch: Jack Cheshire - Into The Void + Free Tickets for Feb 27th @ The Finsbury
Jack Cheshire comtinues his onward march to greatness with his new video 'Into the void'. The track is the 2nd single to be taken from his acclaimed album ‘Long Mind Hotel’
You can bag youself a free ticket for Jack Cheshire at the Finsbury on Feb 27th Support comes from the stunning Buzzard Lope and Geffin Brothers. Tickets are going very fast so be extra quick! Click for tickets
Live Review: Loom + Haus + Eighteen Nightmares at the Lux Live 29/11/13 The Finsbury
A band have to be pretty sure of their sonic prowess to face their audience with permascowls and hostility, but Loom have more swagger than a gathering of Gallagher brothers and certainly don’t lack for electrifying tautness and brute force. Blasting out angry grunge-punk of the weightiest order, their breezeblock miserablism is powered by a pounding rhythm section, two vigorous guitarists and a compelling frontman, Tarik Badwan, who, when not channeling a blend of Peter Murphy and Kurt Cobain, stands glowering and provocative. Who to provoke tonight, though, among the Finsbury’s typically diverse crowd, seemed to throw the band a little. Badwan’s forward surges were dramatic, but once at crowd-level it seemed there was nothing for it but to clamber back on stage. His coiled aggression was a fascinating watch, though, and the rest of the band offered a committed visual backdrop. Loom’s volcanically stroppy stance can’t detract from the fact that they are a band whose driving hardcore incorporates catchy refrain after catchy riff; a five-piece who, at their best nail the kind of pop-aware punk at which Nirvana excelled. ‘I Get A Taste’ was thrillingly spartan rock’n’roll, like a supersize Velvet Underground, while closing number and current single ‘Lice’ was another piledriver, Badwan repeatedly bawling “Get Out of My Head” before falling prostrate and exhausted on stage as the feedback faded around him. Heavyweight knockout indeed.
The evening had commenced with another eye-catching and uncompromising act, although Eighteen Nightmares at the Lux were on more of a psychobilly tip, playing fuzzy rock’n’roll with bombastic gothic vocals. The drummer and bowler-hatted bassist were done out in Joker-style make-up (the latter’s psycho-scarecrow look genuinely creepy), giving further indications of their schlocky horror bent. Their skittery rhythm and blues was reminiscent of The Cramps, sharing a slack and skeletal sound, although this nocturnal vaudeville act took a different turn during penultimate number ‘Master John’, when some glistening slide guitar came on like The Gun Club may have if they’d gone emo, giving Eighteen Nightmares their most distinctive song of the night.
In-between this heavy, heavy monster pairing were Haus, a youthful post-millennium-indie outfit, all polite melodies, spry dialect, contrapuntal chops, rimshots and tom rolls. Three guitarists seemed a touch OTT, given the marginal disparities in each one’s playing, but this is a style that relies on such subtle distinctions and, anyway, the six members look as much a set of mates as a band (presumably they’ll be ribbing the bassist about his 1980s denim jacket, collar-popped) and that’s enough reason to cement the line-up in itself. Theirs is an increasingly overcrowded genre, however, one in which Foals are probably as surprised as anyone to be the defining act, and, to rise above the herd, Haus may need to produce more of the heightened dynamics of their final two tunes, ‘Token’( I think) and ‘February’, which were quicker, bouncier and less regimented than those preceding. The band seemed to be more relaxed and fluid during these closing tracks and the crowd, which was at its most densely populated when these boys were on stage, responded in suitably animated fashion.
Follow @Nickjmee on Twitter
Photos & Film by Chris Musicborn @musicborn @lostinthemanor
Review: Turtle - Who Knows EP
Fast gaining a reputation as a rising electronic star, Turtle, aka Jon Cooper, has released his debut EP, 'Who Knows', and it’s an expertly executed medley. Drawing comparisons to the likes of Radiohead and contemporaries Jon Hopkins and SOHN, Turtle has forged his own minimalist, layered landscape here. The title track encompasses stunning synths and a slow beat that builds through a piano crescendo, and is addictive listening. The accompanying video, produced by Simone Smith, captures the dreamy trip-hop nature of the track, with a series of disparate flashing images that gradually connect, creating a haunting nostalgia mimicking Cooper's lyrics. The rest of the EP continues in the same vein, with ‘Compartmentalisation’s more uplifting guitar glitches, and some breathy, manipulated vocals and driving, heavy bass on ‘Opposite of Low’. It’s the first release from new label Beatnik Creative, and these guys are on to something pretty special. And just in time for Christmas, the EP is available on limited edition 12" white vinyl. Festive.
Follow @f_shaf on Twitter
Watch: Elephant 12 - Love Knock On Wood (MG3 Car Advert)
Our good friends in Elephant 12 have struck gold with a sync on a MG3 Car Advert!
The band brings their own brand of musical brilliance to the table. The track “Love Knock on Wood,” is filled with incredibly catchy harmonies, enthusiastic handclaps, and laced with punchy guitars that will draw you in immediately. The vocals provides the perfect blend of brashness and punchy attitude, and a dash of Indie on the side.
Elephant 12 is known for making their own brand of unapologetic punk rock with electro and hip hop undertones, which bring a whole new outlook to an often predictable music scene. Their electrifying stage presence and impressive songwriting is a lethal combination, and also the key elements of what helped build their cult following in the United Kingdom.
Listen: Glass Caves – Summer Lover EP (Tri-Tone)
Barnets vast and unkempt, beards borderline, threads monochrome and strides super-skinny, Yorkshire’s Glass Caves certainly look the part of a widescreen alt-rock act with arena-sized intent, and in ‘Summer Lover’ they have a single to live up to the signifiers. A soaring tune, bouncy and bracing, it is a reflection on lost sunny days, capturing the feelgood essence of the moment rather than the memories. The tremulous guitar licks, awash with reverb, form a harmonic cloud around a deftly crafted offering where not only is the “Free to be a Fool” chorus damn catchy, but the pop credentials shine throughout, right down to the smart key-change that announces the bridge.
Elsewhere on the EP, ‘Throw Down The Pistol’ doffs its cap to AM-period Arctic Monkeys, and it’s not just the regional vowels; some sleaze-rock guitar riffs and upper-register oohs and aahs cement the likeness. They make a decent fist of it, but ‘This Road’ is a return to what the band do best, accessible midtempo anthems. This one has a bold group-hug of a chorus holding firm against that ethereal reverb. Closing track ‘Safety Man’ initially threatens to be the sort of over-earnest rock ballad you may fear from a group of this ilk, but its twists of tempo and style save it from filler. Shimmering production aside, Glass Caves may not be breaking any boundaries, but theirs is a chart-friendly sphere and ‘Summer Lover’ is a sharp enough song to give them a crack.
Summer Lover is out on Tri-Tone on 2 December
Follow @Nickjmee on Twitter