Tag Archives: London

02.21.19
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LOYAL and Kudu Blue – The Moth Club – Wednesday 20th February 2019

It might only be Wednesday but it feels like a weekend here in Hackney’s Moth Club. The band on stage are ramping up their funky house and my limbs are involuntarily spasming out of control. Yes, I’d love to maintain my cool by standing still with arms folded, maybe just nonchalantly nodding my head in time with the beat. But I’m incapable. This is right up my street. 

LOYAL are the band. Not much is known about them in these quarters aside from the fact that they’re from Brighton. Gigs are sometimes better this way when you have no fixed idea about how a band will sound. 

They start like they’re a deep house Public Service Broadcasting tribute act; but the positive spoken word stuff (Light Up) is barely given time to register before the rest of the band join the lone sampler on stage. Female-fronted singing comes to the fore and for a while it’s like St. Etienne are playing a new track for our delight. 

We’re not far in and after a shuffle of the microphone stands a bearded chap takes to the stage. He’s a smooth soul singer; I might hear that he’s called Shannon but I can’t be sure. Whatever, LOYAL are showing that they’re a collaborative collective. They remind me of somebody.. 

Oh yes, it comes to me in a flash. I genuinely think that over the past twenty years there’s not been many better albums released than those by Bran Van 3000. I adore their collective approach, their crisply produced sound and the way they pass the parcel of vocal responsibility whilst they float between genres. LOYAL are a bit like Bran Van 3000 – this is a massive compliment. 

Before the delights of Loyal, another Brighton-based band, Kudu Blue, warm us up. In the same ilk as LOYAL, this is female-fronted electronic pop, a soulful and jazzy support. There’s moments when I find the singer’s voice a bit too shrill but that’s perhaps because I just want to be soothed tonight. Regardless, there’s enough within this to help you trial your dance moves for the main event.

 

The venue couldn’t be more appropriate. The Moth Club is all glitzy glamour and gold tinsel. A revamped working man’s club you might be forgiven for wondering when the bingo begins. On the far side of the hall, there’s some lovely red-velvet, half-alcove booths that you can perch in should you need a rest. A sign on the wall warns that ‘children must be off the dance floor by 9.30’. I guess it’s ironic.

LOYAL are taking this disco to another level; the words ‘space between us’ repeat as the crowd draw closer together. They’ve got a new tune out tomorrow we’re told and the band’s hopes are realised when the audience seem to like it. Nobody wants LOYAL’s set to end but we have to honour our workplace commitments tomorrow. 

Is it the weekend yet? 

 

 

 

02.20.19
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Sasha Siem – Fitzrovia Chapel – Tuesday February 19th 2019

I very much doubt that I’ll have many experiences in my London adventures quite like tonight. 

A few years ago now I wrote a review of a Sasha Siem album (here). It didn’t generate a great deal of chatter which disappointed me at the time because I thought the record was worthy of a listen – and I thought my writing about it hit the nail on the head in a way that I often don’t.

I tried to see Sasha’s set when I was at the Great Escape that year but got lost and waylaid turning up to only catch the final bars of her set.

And so, it was a bit of a surprise when I received an E-mail from Sasha’s PR person at the start of the year telling me about her new single that was to be imminently released. “We thought you might be interested in this because you’ve featured Sasha before”, suggested the mail. If only more acts that I feature did the same thing, I thought.

Hidden away in that press release was the announcement that Sasha would be playing a secret, intimate ‘family and friends’ show somewhere in London in February. Cheekily, I declared an interest.

This morning I got news that I was on the list for tonight’s show. A twenty minute walk from my office, I jumped at the chance to see Sasha Siem at the Fitzrovia chapel. 

At half seven, the small throng gathered outside was ushered into the grade 2 listed church, once part of the Royal Middlesex hospital but now surrounded by modern, glass-fronted development. A small oasis of calm, this chapel is kitted out to look ‘Italian Gothic’. Actually, only dating from 1929, the effect on entry is still one of ancient serenity.

I spy a small merch desk selling crystals, odours, mists and retreats amidst the more traditional fare of seven inch single and T-shirt. I quickly instruct my chakras to get into shape as I take a seat. There can be no more than 40 here. It really is imitate. 

More recital than gig, the peacefulness of the surround is amplified by a chap playing laidback notes of ambience on a keyboard at the front. It’s like the prelude to a wedding as you wait for a bride. Others clearly spend the time reacquainting with friends and contacts they’ve not seen for ‘a jolly long time’. The poshness is astonishing; I could well have gate-crashed a royal wedding. 

After a short introduction, Sasha is ushered to the front. She appears, looking radiant in a turquoise flowing dress and sits behind the keyboard. Graceful, slender and adopting a pose as far removed from a slouch as is possible, she’s a true, classical beauty. Her long dark hair is preened to perfection; rock ‘n’roll this is not. 

Mostly playing songs from her new album that’s due for release in June, Sasha admits to insecurities and vulnerabilities. She’s never been without a band before on stage and these stripped-back, intimate acoustic arrangements of her songs aren’t something that feel familiar. But this is a friendly crowd and we’re all urging her to succeed. When you shut your eyes and allow yourself to drift you can really get caught up in the combination of voice and keys; a spiritual magic is being spread.

In a break from keyboard action, a ukulele-wielding Sasha asks those with bells placed strategically under their seats to gently ring them during a number in which she saunters up and down the chapel aisle. Her cello gets the briefest of outings; one song from the back catalogue.

Back behind the keys, Sasha talks of enlightened moments when she forgave a betrayal. Motherhood has clearly had an impact on her outlook on life as she tells all about two year old, Dylan,

After a one-song encore, the performance ends. An unforgettable experience in stunning surrounds, it’s hard not to leave with your holy head held wholly high. I stroll back to the tube at Oxford Circus and re-enter the real world.

 
02.19.19
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Honey Lung, Haze, Desire and Heavy Heart – Shacklewell Arms – Monday February 18th 2019

Another week begins and with that another few days of living out of a suitcase. Goodness knows how sustainable this all is but for now I’m embracing the Airbnb variety and enjoying the nomadic lifestyle. This week I’m in a newly refurbished place above a fine bar in New Cross. Apparently, these rooms were once where the punters of the pub went for a bit of ‘how’s your father’. Now it’s so fresh that I suspect I’m one of the first guests of the new regime; you can still smell the new coat of paint and see the cuttings from the recently laid carpet. It’s gentrification gents and probably no bad thing.

Tonight, rather than stay around this neck of the woods, I hop on the overground and head up to Dalston again – but, unlike two weeks ago when I tested the Victoria (here) I spin off in another direction towards the Shacklewell Arms. It’s a venue I’ve been keen to visit for a while. Many of the bands I grow to love cite it as a pub you must play and I can see why. Stylishly run-down but oozing cool, it’s a space to cherish. On busier nights than this you imagine sticking to the floor. The signs on the door as you enter asking you to leave quietly are a visible reminder that too many great places such as this have fallen foul of spiteful resident power-groups.

I keep one eye on the football but mostly I’m here for the gig. I reserved myself a ticket when this was advertised as having a secret SXSW headliner. But there was no need for such sensible planning. It’s another free London show, lovingly curated by Black Cat White Cat and it’s busy but never rammed. Nobody bothers with my ticket that I diligently downloaded to my phone. 

There are four acts on tonight. I watch them all with varying degrees of interest. 

Heavy Heart are up first. But the duo on stage are at pains to tell us that this is a stripped-down version of their standard quintet. They ask that we forgive them for being mildly under-rehearsed and most in the crowd seem able to. Despite the best intentions of a pretty awful sounding drum machine, the male/female dynamic works and gets better as the set progresses. There’s a psychedelic shoegazey gothicness quality and when it works (in particular on set stand out, Teenage Witch) it proves to be a decent opening to this night of live music. 

 

Desire are up next. I only know this is their name for that is what’s daubed in red, angular font across a white sheet that initially obscures their drummer. The bedsheet drops as the drummer pounds. Cans of Kronenburg are  cracked open and an almighty racket ensues..It’s part mod, part punk. None of them give a flying fuck about being here and that essence of anti-performance carries them through. As much as this might just be another practice, Desire’s drummer still manages to channel the ghost of Keith Moon as he crazily bangs. There’s some Marr-esque guitar riffage from a floppy fringed guitarist whilst the bass player who also takes on singing duties offers up some atonal oi-oi-ness. There’s definitely something here. 

 

 

For me though, the night belongs to Haze. I’m willing to bet a house on the fact that this is not the semi-legendary prog band of that name but rather something new. They start with an urgent combination of rock n’roll played through a Beefheart lens before jazz gives way to a country rhythm – and that’s just in the first two minute long song. A four piece, the exceptional lead guitarist and vocalist emits words like a juggernaut hurtling towards you at speed whilst the bass player captivates centre stage with the craziest of dancing mixed up with the most outlandish posing. Three songs in and said bass player’s shirt comes off, an affliction you’d likely detest within lesser bands. But he’s working and sweating so hard that you don’t mind it here. Tunes are played at breakneck, exhilarating speed. You really must go and see Haze in a venue such as this whilst the chance still presents. 

 

Honey Lung are the secret SXSW headliner. It’s barely a secret now though because they advertised this gig on their social media last week. There are less gimmicks here than what has gone before in the night; it’s the quality of the songwriting that’s allowed to do the talking. It’s indie-rock with occasional west-coast jangle; inoffensive and well-played but somehow not hitting the heights of Haze for me. A safe, solid bet for a SXSW showcase no doubt and I’ll watch them again given the chance.

 

Tuesday night gig options are checked through on the tube back to the hostel. Tonight’s been a great way to blow away the early-week cobwebs but I might plump for something more sedate tomorrow. 

 

 

 

 

 

 

 

 

 

02.17.19
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Peaness, Caro and Kelora – The Social – February 12th 2019

I went to a gig on Tuesday night.. Wrote a review and then forgot to post it.. Whoops!! 

I’ve liked Peaness for a few years now. Ever since a friend, an old school teacher of Jess, sent me a soundcloud link of their debut release, Fortune Favours The Bold, (review here) I’ve been urging Peaness to grow. 

I wrote about Peaness in my top ten of 2015 (here) and could barely conceal my joy after seeing them live for the first time at Leicester’s Handmade festival (eFestivals review here). 

Last night at a free Huw Stephens presents gig at The Social, they once again proved why they’re worthy of full attention. They make a fine sound for a three piece; lovely harmonies and melodies that hark back to your finest summer ever. It might be cold outside but Peaness cheerily warm the very cockles of your heart (and yes, I did use cockle deliberately there).

The trio smile on stage like it’s going out of fashion; there’s no moody faux here or mumbling grumbling. Instead, the between-song banter revolves around Gregg’s vegan rolls, whether or not Huw Stephens is actually in attendance and how they’re heading home to Chester after a late-night radio session (and this gig) because work beckons in the morning. An exhausting schedule but not one that appears to break the spirit. 

I go to the gig with a friend, Gary. On paper, Peaness are probably not his thing with his preference being for a meatier (or folkier) sound. But his head sways and toe-taps from the start. “I’d go and see these again given the opportunity”, he reveals.

It is very hard to not love Peaness. 

 

There are a couple of other bands playing this showcase. Caro are tight, competent and destined for bigger stages. They’re not afraid to mix things up a bit though obvious reference points would be Alt-J and Wild Beasts. “Ooh, this one’s very XTC“, says Gary – and he’s most certainly right. 

 

The first band of the evening, Kelora, didn’t entirely grab our attention. But that was no fault of theirs. Gary and I were still catching up after not seeing each other for almost a year and so arrived in the midst of their set. The insane levels of chatter from one table near to us rendered listening to the act nigh-on impossible – but from what I did hear, this was light, uncomplicated pop, not the finished article in terms of a live show but possibly intriguing on record. 

 

Another great night out in London watching music put on for free. And a reminder that gig-going is always better when you’re sharing the experience with mates.  

02.06.19
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July Jones, VC Pines and Jylda – The Social – Tuesday February 5th

I’ve been to The Social on Little Portland Street before. I don’t remember this until I turn up at the free show tonight and recall how awkward it can be down in this basement room to see anything on the stage. Back then though it was an industry showcase of fingering folk from the bearded John Smith. We were hanging from the rafters. Tonight, for The Fix’s first promotion of 2019 we’re not. 

That’s not to say it’s empty here; it’s more of a pleasant hum as the three up and coming acts do their best to entertain us. Much like last night’s venture (review here), the variety impresses. It’s just a shame that it all wraps up before it’s really had chance to begin.

I don’t catch the very start of Jylda’s set which is a shame because, on balance, she’s probably my favourite of the trio on display tonight. She presses some keys, sets into motion some wonky electronica and then dances quite sexily with flamboyant flailing arms. I can’t take my eyes away from the red, curtain-net veil that’s pinned into her black hair. Jylda tells all that her forthcoming single is called ‘Torrential River’ and then proceeds to perform an industrial dark pop. You wish that she had a full band behind her so that she could simply focus on her movement. “Do you wanna dance?”, she asks and few are able to resist the charms of this performer who has the stagecraft if not the songs quite yet. 

 

 

VC Pines is confident in his voice (as well he should be). This is soulful, singer-songwriter stuff pared down from the ‘normal’ full-on seven piece band. If you want to see that there’s a Lexington show coming up in April but for now it’s just VC and his bassist, Andrew. In places it goes jazz chord and controlled falsetto. I find myself desperately hoping that they cover Billy Paul’s ‘Me and Mrs Jones’ for that’s their space but instead VC takes on the more challenging task of The Pixies ‘Where Is My Mind?’. It sounds nothing like the original save for the angst. There’s clearly talent here but, for me at least, there now needs to be a hook – perhaps the full band show gives that. 

 

 

July Jones makes me smile from the beginning to the end of her short set. Taking to the stage as a girl group trio, it soon becomes clear that the one in the middle is July. Full of fake gold chains and choreographed dance moves, the attitude is apparent from the off. “Fuck you up like a porn star“, I think they sing appealingly whilst the boys in caps on keyboards and decks look on from behind. There’s no doubting that there’s something here that could quite feasibly gather momentum, their last song being July’s next single. “Liar, liar, pants on fire”, goes the chorus as it mines itself into your head. 

 

 

 I’m loving these nights in London. Inevitably, personal preference says that some music will appeal more than other. Yet all that I’ve seen over the past two days has brave purpose and talent. I might take a breather tomorrow. 

 
02.05.19
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Rubber Jaw, Nenah and Dualeh Oke – Victoria Dalston – Monday February 4th 2019

I’ve not blogged for some time. And for that I make little apology. Life has taken some fabulous turns and I’ve been lining my ducks up (so to speak).

I’m no longer in Spain. I didn’t quite make a year in the villa. One day I might regret that I cut my sabbatical short by a few months but the opportunity presented by the new day job was one too good to turn down. 

And working in the centre of London is something i’ve always wanted to do. With so many live gig opportunities on the doorstep, I am truly now a man in a sweetshop. I’ll be spending a fair few weekday nights in this fair city and what better to do than to scan the guides for the bizarre, the up and coming and not-yet-famous talent. 

 

It’s a Monday night in February yet still the gig-going options are plentiful. A few catch the eye but none more so than the ‘sous le radar’ night at the Victoria in Dalston. It’s not a venue I’ve been to before but the draw of seeing (for no door charge) Rubber Jaw for the first time, recently signed to Alan McGee’s new vinyl 7 inch label, is an enticing one. He mightn’t have signed a truly great band for a while (some would uncharitably argue since Oasis) but for me his stamp is sufficient.

It’s the rather peculiar beauty of nights such as this one that you’ll need to be open-minded about the variety on offer. It’s new and under the radar but that’s where any similarity between the acts on stage stops. To my mind, it makes for a better night if you’re not afraid to mix up the genres but many of the indie kids might disagree staying in the bar or planning their travel to only arrive once McGee’s protégés take to the stage. 

And that’s a shame. Dualeh Oke opens proceedings with warmth and awkward charm. A rapper with a backing tape, this young lad from East London shows enough within his four tunes tonight to warrant further investigation. He connects by confessing that he writes tunes in the toilets during breaks from work. The jazzy overtones of his songs about Instagram fame almost descend into trip-hop. He takes us further down during his dark fourth number, Dualeh’s comment on how he can’t always best communicate with his Somalian Dad. 

I head to the bar and order another pint of milk. No, dear readers, I haven’t changed that much. Milk is a locally brewed lager in these parts. I like the Victoria. Trendy yet simple and grounded, it’s got a decent choice of beers and a friendly bunch of staff. What’s not to like?

Nenah, the middle act of the night is not without merit either. Confident, urban pop, it’s taken out of the obvious with an occasional sprinkling of what could be described as a sort of middle Eastern dust. She’s probably got enough material to fill this short set by herself but generously gives up some of her slot to a K-rapper called Wu. Wu bounces energetically, hyper-actively and not always convincingly around the stage urging to all to feel his energy before Nenah returns for her last track, Sick. She has a bass player sporting a Lionel Richie T-shirt and you concede that there is something of the 80’s here; with a bit more polish, there’s an early-years Madonna waiting to get out. 

Rubber Jaw are nothing like Dualeh or Nenah but everything like every indie guitar band from the past few years. And it’s no bad thing sounding like Blossoms if that’s the space you’ve set your eyes upon. With familiar tricks and licks they run through their repertoire with cool swagger and nonchalant mumble. They’ve been generously watching the other acts of the night and such decent behaviour doesn’t go unnoticed in these quarters. Nice lads from Essex, you concede that they’ve got the tunes to make further impact in this big bad world. Unsurprisingly, they save their McGee released single, Feeling Funny, to their finale. It’s good but not necessarily their best; I prefer their third tune played, belatedly announced as their next single coming out in March by their lead singer. 

All told I’m pretty excited by tonight. I would have paid a few quid for the privilege of seeing these three acts run through their short sets but that doesn’t seem to be the aim of ‘Sous Le Radar’s’ promoter. With so much on my doorstep, I can’t wait to discover more nights such as this. 

10.12.18
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Voice of Aiko – Interview

About a month ago, I first got news of a neat project happening in London that was all about raising the awareness of the potential dangers of prescription drugs. I thought it would be interesting to interview one of the brains behind the initiative so sent across some questions. 

‘They must be busy’, I thought, on not getting a response and life continued until yesterday. I’d just taken a couple of Nurofen to combat a monster headache when I received a mail asking when the interview might be published. Calista from Voice of Aiko had gone to great trouble to respond but for one reason or another I’d not had sight of her answers.

Here’s the interview in full; a fascinating project and the sort of concept that Sonic Breakfast was established to write about.

(1) To the uninitiated, what is Voice of Aiko? 

Hey guys! My name’s Calista Kazuko I’m a singer/songwriter from London and I’m representing Voice of Aiko today. Voice of Aiko is a new creative collective of musicians, filmmakers, dancers and artists joining forces to campaign for change. An artistic army on a mission!

(2) And what are you doing as your first project? 

Our first project is called ‘Prescription Dream’ and is a collaboration of myself with the incredible producer musicians Samim, Miguel Toro and Jack Brown and incredible filmmaker Enya Belak Gupta. We are working with charities REST, MIND & APRIL to draw a spotlight on an ongoing global prescription drug epidemic.

(3) Prescription Drugs? They’re not so bad really, are they? 

That’s what I thought before working on this project! But in fact prescription drugs can have potential devastating side effects and cause dependency. In England alone there are an estimated 1.5 million people suffering from doctor-induced Benzo drug dependency and more than 1 million patients are taking dependence-forming drugs unnecessarily. Antidepressants are also a major problem and statistics show that roughly 50 Americans die from prescription painkiller overdoses every day. Stopping medication (even low doses) cold-turkey can be dangerous, even fatal.

The figures are frightening and often people won’t realise it’s a medication they are taking, or have stopped taking, that is causing physical or mental changes or that they have become dependent on a medication.

There are great resources online to find out more at:

http://www.benzoinfo.com

http://www.w-bad.org

http://www.april.org.uk

Www.mindincamden.org.uk/resources/articles/minor-tranx

 

(4) What’s influenced you to do this? 

I saw a loved one suffer from the devastating side effects of anti-psychotic drugs when I was younger so I realised that medication can have a serious effect, but I didn’t realise that ‘everyday’ medications can have such an impact as well.

Then last year I met the incredible Millie from charity APRIL (Adverse Psychiatric Reactions Information Link). She opened my eyes to just how harmful prescription drugs can be and I was gobsmacked that I’d never even thought about it. I started talking to friends and colleagues and realised everyone has a story about medication affecting them or someone they know. We formed Voice of Aiko and wanted this to be the subject of our first project.

We live in a prescription world and are often quick to medicate, perhaps unaware of the potential side effects and often without exploring other alternatives first. Now I am aware of the potential dangers, I am able to make more informed, careful choices before popping a pill. If we can get more people talking and thinking like this too, our mission will be complete!


(5) Tell us about the live night you have planned…

To celebrate the collective’s launch and first release, Voice of Aiko are taking over Leman Locke Hotel in Aldgate on Saturday 29th September (sorry folks – missed this) for a magical evening of live music, art, dance, discussion. We will open the event with a conversation room with amazing representatives from the partner charities who will be explaining more about prescription drug problems, what we can do to help and answering any questions. This will be followed by a live performance from stunning musical artists Bumi Thomas and Sera EKE. The CA Contemporary Dance Company led by director Adrian Del Arroyo will be performing a truly unique commissioned piece inspired by the event‘s Prescription Dream theme and the night closes with a very special guest DJ set, drinks, dancing and delight!

50% of all ticket proceeds will go to REST & APRIL, supporting people with prescription drug dependencies. 

 

(6) Any plans to take the live things wider than London? 

For Voice of Aiko not for now – but we all have our own fabulous projects which take us far and wide!

I am in the process of making my debut solo studio album called ‘EMPRESS’ and am loving it! A history of Empresses throughout time this record will be a rollercoaster ride of epic sonic soundscapes! The album also explores the adversities women have had to endure throughout time and the relationship between powerful women and sexuality. I can’t wait to finish it and unleash it unto the world and plan to tour the album with my amazing band Fred Claridge and Sam Weston when it is released next Spring.

 ‘EMPRESS’ the album is available for pre-order exclusively at Pledge Music:

http://www.pledgemusic.com/calistakazuko

For live dates and updates please visit: http://www.calistakazuko.com and join the mailing list.

Awesome filmmaker Enya Belak Gupta who made the beautiful ‘Prescription Dream’ film is always working on weird and wonderful, totally inspired projects too. Enya is the most phenomenal multi-faceted artist, filmmaker, choreographer, creator. It’s super fun to admire her plentiful work in awe! You can follow her latest adventures at: http://www.enya-belak.com/

(7) What future projects do you have up your sleeve? 

Voice of Aiko are excited to start working on our next project straight away with the aim of releasing in late January 2019. This project will be focused on refugee and asylum seeker children, in particular the children who were left in Calais after the Jungle was destroyed. We have some truly incredible artists and collaborations lined up, more to be revealed soon!

And just a couple of general questions to end the interview with::-

(8) Dream festival line-up?

Kate Bush, Freddie Mercury, Supertramp, Fiona Apple, Muse, Portishead, Aqua – IMAGINE!!!

(9) Favourite joke? 

What did the number 0 say to the number 8??

……. NICE BELT!!!!!

Thanks so much for having us and supporting this project.

The Voice of Aiko army welcome you with open, haka-flailing arms! 



 

 

10.03.18
by

Linda Em – Wild Fire

I’ve never known weeds grow in quite the way that they do out here in Spain. I guess that the rain of the past weeks has helped their considerable spurt. 

I find little joy in gardening but these are no beanstalks leading to magic kingdoms. They’ll just engulf me unless I take action and so, armed with a bucket and a pair of gloves, this morning I set about tackling them. 

‘Tackling’ feels like the right verb to use for this was (and still is) a sporting endeavour. It’s me against nature and despite my very best intentions I suspect that the best I can hope for is a score draw. Or a narrow defeat. 

Regardless, there was great satisfaction to be gained in pulling at them. Their heads popped out of the gravelled driveway masking the submerged stems that wrapped themselves underground around clumps of earth, stone and tarpaulin. The ones that broke off before I got at the root mocked me but some came out of the ground complete. When they did I let out a little yelp of self-congratulation. The stray black cat, that’s made a habit out of spying upon me from a safe distance, smirked as it watched. 

“You crazy, sweat-ridden Englishman”, it no doubt thought.

Try as I might I can find little connection between pulling up garden weeds and todays choice of music. Linda Em, Irish and living in London released her ‘Wild Fire’ EP last week and it’s all sorts of smoky-seductive fab. 

If I was really pushing it, I could suggest that I’d love a wild fire to destroy these weeds. Or I could observe that the lead track is all about a power struggle in a relationship built on control and passion, where there can be no victor. That does feel a little like my battle with the weeds except I have little passion for them. 

No, it’d be foolish to force links. It’s best perhaps to simply sit back and allow Linda’s wonderful tunes to wash over you. Let the candles smoulder as the duet in Wild Fire tells the story of dying, impossible love. Allow yourself ‘the bitter sweet surrender’ mentioned at the end of ‘Two Hands’. 

The weeds will no doubt continue to grow. 

 

 

 

 

 

 

 

01.31.18
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Ferris & Sylvester – Made In Streatham

Today, I’m wearing colourful socks. As part of my efforts to sort out drawers and wardrobes before heading off to Spain I’ve been decluttering. And yesterday evening, it was the sock and pant drawer that got a going over. 

Some decisions were easy. Some pairs of pants had seen better days in the gusset department and the novelty thong-like ones were never a good idea in the first place. I did wonder how I had come to acquire a collection of so many individual black and grey socks. How had they been festering in this drawer for so long? How were these sole socks in any way useful? I couldn’t bear the pain of matching them so the bin now has them.

Result – my sock and pant drawer now looks tidy and vibrant. I mightn’t wear many colourful clothes (black jacket, blue jeans being my go-to position) but I can excel in colourful socks. The bright yellow socks I kept are a sheer delight.

In other news, I’ve been enjoying a sneaky listen to the excellent new EP from Ferris & Sylvester which comes out on Friday. ‘Made In Streatham’ has 5 tracks on it all loosely detailing what modern life in London is like for this aspiring country-folk-pop duo.

They recently released a video for a fine track ‘Better In Yellow’. It’s an uplifting slice of bluesy Americana, which finds the pair adding big brass notes into their mix of guitar licks and beautiful harmonies. 

When asked about the song’s meaning the band say, “We liked the idea of writing about yellow being a positive state of mind, happy and vibrant, instead of settling for greyness. It can be easy to wear black and blend in. Sometimes though, it’s best to be yourself, put on some bright colours and not care too much.”

Which is exactly what I’m doing with my socks.

Another track from the EP, The Room, caught Sonic Breakfast’s attention in 2017. Like some of the finer moments of The Beautiful South, this duet (and accompanying video) charts the ups and downs in a fragile relationship between a couple. It’s both optimistic and desperate, beautiful and sad. And it’s definitely worth five minutes of your time. 

 

 

04.13.17
by

Joe Innes And The Cavalcade – Moscow

Imagine waking up one morning having dreamt that the love of your life is leaving you. And, they’re not leaving you because they’ve fallen in love with your best friend (which would, of course, be tough enough) but because they’re off to a cold, unfathomable place.

That’s the dream that Joe Innes emerges from in his wonderful new single, Moscow. Clearly, Joe is very much in love with the person who’s making plans to leave and yet that brings up all sorts of moral dilemmas. Do you accept their decision passively without trying to persuade them otherwise? Or do you run the risk of being labelled a controlling bully by pointing out the stupidity of their actions? 

(Click on page 2 for more about Moscow)

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