The Funky Moped is your swanky one stop shop for everything that is music related. By keeping an ear to the sound we aim to tantalise your musical taste buds with the sights, sounds and smells of emerging artists and bands, largely focusing on the North West of England. Happy reading and see you down the front!
As more and more people are waking up to smell the passionless plastic coffee of the mainstream music industry, there is a gaping hole in the market that needs to be filled as a method of enticing listeners into a place of passion, invigoration and downright refreshment.
Step forward 'The Laboratory Project', who are aiming to do just that. By teaming up with a host of fantastic underground artists from across this great land, they have come together to produce "Resonance", a 19 track compilation album featuring a magnitude of musical genres from roots reggae to the psychedelic sixties with brief visits to everything else in between.
The sole purpose for the production and release of "Resonance" is simply twofold, firstly the 'Laboratory Project' wanted to give exposure and recognition to a range of talented artists, both off and on stage. Secondly, they also wanted to put the sceptism and myths surrounding unsigned music to bed, by aiming to propel underground music into the heart's, souls and ears of the masses.
In true independent style, 'The Laboratory Project' are not gaining any financial reward from this collaboration, instead half of the profits are heading towards the artists and the remaining 50% are being re-invested into the unique charity 'NoiseFestival.com', who provide fantastic opportunities for fellow underground musicians to create a platform in which they can sell and distribute their work.
After an outstanding launch gig at Fac251 on 14th December (click here to read review) that gave us a cracking insight into the delights that you can expect to find on the album, we are sure that this compilation will introduce you to a range artists you will instantly become a fan of.
By purchasing this album you are not only supporting the artists, 'NoiseFestival.com' and 'The Laboratory Project', you are more importantly supporting the future of independent and underground music.
Clint Boon: "I’m always really keen to support individuals and bands trying to get a break in the music industry. ‘Resonance’ is a no brainer for me"
Peter Hook: "The Laboratory Project are about new music and artists and its great that they’re helping up and coming bands with their Resonance album which also benefits the charity NOISEfestival.com."
Released on 31/12/2012 (NYE) you can purchase from the following outlets: iTunes
We may have been away enjoying the Christmas festivities by drowning ourselves in alcohol and consuming our own body weight in chocolate, but we've also been working harder than St Nicholas on Christmas eve to bring you our fantastic next instalment. This time it's all about girl power, more specifically we're focusing on five female fronted artists that you should be tuning your ears into, whilst you're gettin' your chops around those leftover turkey butties.
By keeping our geographic routes close to our Northern hearts, we originally aimed to cater only for artists in the North West of England, but we couldn't resist, so we've chucked in one from the Scottish Highlands just for good measure.
Findlay
First up it's the fascinating, yet fearless 'Findlay', who at the age of just 21, has already witnessed a wave of attention in and around the cobbled streets of Mancunia with her debut single "Your Sister". From the first strike of the sleazy blues drenched guitar riff, this song is comparable to pornography, with Findlay's vocals being grittier and hornier than a pent up 'Karen O'. The percussion is energetically pummelled into the heart of the track too, ultimately developing a raw-garage tone to Findlay's craft, which is so powerful it even looks 'Black Rebel Motorcycle Club' dead in the eye.
The other offering that Findlay serves up, "You Gave Me Grace", although much less rip-roaring and knee trembling than "Your Sister", still features impressive waves of blues-tinged momentum that highlights Findlay's expansive vocal capability. Currently signed to Joyeux Anniversaire Records, we'll defiantly be keeping our beady eye on Findlay. Having already supported Jake Bugg and The Courteeners, she's destined for great things.
'Findlay - Your Sister'
Bird
Hailing from Liverpool, 'Bird' are a female fronted three piece, that create such haunting melancholy it's earth shatteringly beautiful. With the swirling harmonies eerily swooping down onto each track, it feels as if you've just stumbled into the forest of a Gothic novel, however this is heavily juxtaposed with flashes of tribal drumming brilliance.
Their first release being the EP "Phantoms" after the band had only been formed a year, and as you've guessed, features all the hallmarks of their atmospheric doom influences such as 'Leonard Cohen' and 'Tasseomancy', all of which results in a hugely organic feel. "Shadows" is latest Bird effort in which the gloom factor soars above the tree line, leading to a captivating, engrossing and slightly hypnotic EP. The mythical theme continues within their lyrics too, 'my soul will float on this riverboat', which creates so much dramatic imagery it subsequently refers 'Kate Bush' an obvious Bird influence.
Having already developed a strong fan base through the release of their two acclaimed EP's, it's evident that the sky is the limit for Bird, as their sound is growing in tandem with the burgeoning Liverpool music scene . . . So give yourself time to soak your soul in the terrific folk-doom sonics of Bird and you're guaranteed to become a fan.
'Bird - Phantoms'
Stealing Sheep
There must something in the Mersey. Firstly Bird and now fellow Liverpudlian's 'Stealing Sheep', who also flirt with tribal folk, but this time dress it up with a flare of DIY hallucinogenic pagan pop.
The all female trio, who are signed to the legendary Heavenly Records, have already been plunged into the spotlight with their album "Into The Diamond Sun" which features a blended mirage of musical genres that is similar to a Woolworth's pick 'n' mix and virtually impossible to pigeon hole. The songwriting and musical experimentation is simply impeccable, which ultimately creates an innovating, colourful and very much intriguing debut LP. Stand out tracks are defiantly, and coincidentally, the singles "Shut Eye", "Rearrange" and "Genevieve", which perfectly captures the slightly chaotic, wonderfully vibrant and unashamedly intoxicating sound of Stealing Sheep.
Although lazily cattle branded by many as the English 'Warpaint', there is so much apparent depth to their craft, with a 'Fleetwood Mac', 'Jefferson Airplane' and 'Bat For Lashes' vibe being prevalent on their debut release. If you enjoy the taste of Folk-pop but are currently looking to broaden you're palette, then we recommend tucking into the pagan pop bites of Stealing Sheep.
'Stealing Sheep - Shut Eye'
PINS
Emerging from Manchester, 'PINS' are an all female quartet, who have already witnessed the obligatory mountain of expectation than any young group of musicians receive these days. However there is good reason for all this hype, as PINS are probably one of the most exciting, refreshing and palpable bands in Manchester right now, regardless of their feminine qualities.
Heavily influenced by the work of 'Beach House', PINS effortlessly create a thunderous and relentless guitar drive with each song that resembles the fuzz of 'Jesus and the Mary Chain' as well as 'My Bloody Valentine'. Better still, they do it with such brilliance and intelligence that a pop song is still harnessed into the roots of each track, evidently becoming a record label's wet dream.
Their monochrome symmetry, is not only captured throughout the band's atmospheric film noir artwork, but is also represented within the simplicity of Lara's drum work, which provides an industrial, locked in a basement eeriness to their craft. With a sound that resembles Berlin or Brooklyn far better than Manchester, tracks such as "LUVU4LYF", "Eleventh Hour" and "Say To Me" express the explosive, penetrating and sweeping howl of PINS.
"Girls will want to be them, boys will fancy them. In fact, girls will fancy them too and boys will also probably want to be them, so deadly is their concoction" - The Recommender.
'PINS - Say To Me'
Rachel Sermanni
Although not even English, never mind from the North West, 'Rachel Sermanni' is still as bloody brilliant as the rest of the female artists we've already unearthed. The 21 year old solo folk musician, hails from the Scottish Highlands and defiantly puts her unique, and often mystical, stamp on the ever saturated 'indie-folk' category.
Her songwriting is a visual masterpiece leading you from non-fictional images of the sea and the mountains into a magical fairytale world of marshmallow unicorns and monsters. Rachel's vocals whisper through the verses then strike down like a biblical storm during the climatic chorus, all of which is added to some emotive, yet restrained guitar arrangements and harmonies. Her debut release "Under Mountains" will draw up obvious similarities to acoustic-folk veteran 'Laura Marling', but peering through the foundations of darker tracks "Bones" and "The Fog", which incidentally are two of her stronger songs, lurks the style of 'Tom Waits' and 'Nick Drake'.
Her music is a daydreamers delight that's etched in beautiful poetry as well as marvellous melodies, and having already caught the eye of 'Mumford and Son's' who even took her under their musical wing, we can guarantee that Rachel Sermanni is destined for a prosperous career if she continues to produce such astonishing songs.
'Rachel Sermanni - The Fog'
And there we have it. Five of the most freshest, exciting and innovating female artists in the North West of England (and the Scottish Highlands too). So we're not looking to put the weight of the world on their shoulders, but instead aming to share the musical fruits of their labour with our readers . . . . So go on then type them into the Spotify search bar and enjoy!
To say this was just another 'gig' would not do it justice, as the atmosphere inside The Ruby Lounge was nothing short of electric. Not just because we had all survived the predicted apocalypse or the fact that this was the last Friday before Christmas, but because tonight was a celebration of Manchester's brilliant underground music scene.
As the looming stench of anticipation and excitement overwhelmed the venue, a sea of Mancunian haircuts attached to Harrington jackets littered the floor, accompanied by their trusty cans of 'Red Stripe', all fired up and raring to go.
First up was 'Advent 3', who not only brought their own blend of northern punk to The Ruby Lounge, but they also brought along bursts of anarchy within their taut and explosive songwriting. With simple, yet effective riffs that are reminiscent of punk heroes 'The Dammed', this quartet can certainly produce one hell of a racket.
With such a charismatic and entertaining front man at the helm, his delivery is so intense and determined it results in pure punk excellence. Their ever progressive songwriting was evident in a couple of tracks too, eclipsing a sound that many a 'Happy Mondays' follower could identify with, pointing to a musical direction in which they should swagger into.
When the impending silhouette of 'Shaun Gilroy'arrived on stage, it quickly drew up a connection to 'Johnny Cash', not just because Shaun had arrived dressed head to toe in black, but mainly due to the brilliant songwriting qualities he possesses as well as his ability to connect instantly with an audience.
His songs are nimble, cleverly crafted and focus on the brief victories and instant downfalls that real life presents, all of which are packed with so much vigour it's impossible not to become a fan. Bringing his own Mancunian flare to the quickfire delivery and the troubadour qualities of 'Pete Doherty', it is clear why the folk of Manchester regard him so highly.
'The Watchmakers'
Clearly 'The Watchmakers' mystique certainly adds to their appeal. Having only released one demo "Before Questions Became", which incidentally sparked huge interest and promise, there is little wonder why there was a mass surge towards The Ruby Lounge stage. Well 'The Watchmakers' certainly didn't disappoint, by sustaining an expansive eastern induced guitar flavour as well as some spacious drum work throughout the core of their set, they easily blew the ever expectant crowd into an intoxicated psychedelic state.
With Richie's suppressed vocals being layered onto "Ride The Sands" and "Summer of Love" just perfectly, they instantly created an incessant 60's vibe that drew up a connection to 'The Velvet Underground' as well as modern day psychedelic pioneers 'Brian Jonestown Massacre'. By delivering so much from their debut demo, there were certainly doubts to whether 'The Watchmakers' can emulate such brilliance again, but judging by tonight's performance it's plain to see that these lads have quality and potential in abundance. Keep your eyes peeled and watch out for 'The Watchmakers' in 2013.
'The Tapestry'
Tonight's penultimate band 'The Tapestry', have recently witnessed a surge in attention around Manchester, not by being the latest parka cladded axe wielding gang in town, but instead by unleashing their self-proclaimed brand of "Dirty Garage Pop" in many of the cities music establishments. From the word go, 'The Tapestry' delivered a polished and energetic performance with their rousing boy/girl harmonies and melodic choruses, which instantly whipped up the crowd into a bouncing sing-a-long frenzy.
The dynamic glam rock drumming on "Rode Your Luck" as well as the spiky 'Television' inspired riff work on "Another Century" makes the quartet sound more New York than Newton Heath. Being at the forefront of the underground music scene in Manchester, 'The Tapestry' issue a fresh and invigorating recipe in providing the crowd with all recognised flavours they’ve come to know and love about indie music.
With The Ruby Lounge folk on such legal, and possibly illegal, highs after watching four of the freshest and most talented artists in Manchester, there needed to be something special to top it off. Step forward 'Danny Mahon', a veteran of the city's underground music scene, along with his trusty powerhouse acoustic guitar.
'Danny Mahon - Eric The King @ The Ruby Lounge'
The Mancunian piped piper followed by his adoring fans, paints a perfect 'kitchen sink' portrait of inner city life through his lyrics, which are not only raw and out spoken but they also carry a witty, tongue in cheek appeal'. Mahon also has the rousing capability of creating a joyous riot through the work of a lone acoustic guitar with songs like "Eric the King", "Resurrection" and "Odd Socks" quickly becoming mass sing-a-longs from the front to the back of the room.
Just as though we couldn't get anymore celebratory over local music, Mahon invites 'The Watchmakers' back on stage to perform an impressive rendition of 'All Across The Sands (The Stone Roses)', which, as you've already guessed by now, goes down an absolute treat. But this is what 'Danny Mahon' is about, no tricks or gimmicks, just pure and honest songwriting that puts a smile on people's faces, whilst, at the same time, celebrating his city's musical heritage, to which he is extremely proud to be apart.
As the house lights come on and the mass scramble to collect possessions that had been flung out of pockets begins, the overriding feeling is that tonight was more than just an end of year gig, but a focus on celebrating and embracing the brilliance and potential of the city's 'hidden' musical secrets. However, if these artists are currently classed as being 'hidden', judging by tonight’s performances it will not be long until they are all exposured to the rest of the general public, up and down this great land - top night!
Kent is probably not best known for its vibrant music scene, but it appears that there is something growing within the idyllic flowerbeds of 'The garden of England' which is about to change all that. Introducing Broken Hands, a quartet originating from Canterbury that make enough noise they could easily tear down the walls of Babylon, never mind their local cathedral.
Although they are most likely to be filed under the 'indie' umbrella, it appears that Broken Hands have quite a few strings to their musical bow, by giving their sound a shot in the arm with a dosage of blues, it results in some angrily crafted, filthy foot stomping rock 'n' roll. Add to the mix a smokers addiction to the fuzz pedal, much like 'Black Rebel Motorcycle Club' and the early work of 'The Black Keys', plus a nod to the British qualities of 'Kasabian', 'Turrentine Jones' and 'Primal Scream', then we're well on our way.
Broken Hands latest release "If You Need To Lie", is a dirty bomb of a record that features a bass line so sleazy it should be supplied with parental guidance. It's hook, line and sinker from the word go, as Dale's looping vocals are captivating and hypnotic, by leading you ever closer into the epicentre, before fiercely unleashing into the relentless verses. The drumming is so powerful but still superbly controlled, creating an archaic 'Stooges' vibe, when sparring with the unrefined guitars, ultimately oozing pure rock 'n' roll brilliance.
'Broken Hands - If You Need To Lie'
Easily the cannon in Broken Hands arsenal and carrying similar rock 'n' roll characteristics to "If You Need To Lie", "Sorrow" is a self-reflective, yet explosive concoction of wild noise. With the pelvic crunching guitar tones sending enough shock waves to wake a graveyard, they provide the perfect platform for Dale's jet engine voice to excel on. Just the fact that "Sorrow" draws up a resemblance to the sonics of 'Band of Skulls', it should be listed as being the dogs proverbials.
'Broken Hands - Sorrow'
Having recently completed their own headline tour as well as support fellow blues / rock enthusiasts 'Band of Skulls' on theirs, it appears that despite their tender age and appearance, Broken Hands possess more quality, maturity and self-confidence than most emerging indie outfits, with their unique sound making it seem like they have been around for much longer.
The question on the public's lips is simple, can these four lads from Kent be the British guitar band that the world has been waiting for? well why they not - They have the tunes, the sound and the look - all of which is done with an air of confidence, rather than the usual rock 'n' roll arrogance.
With a sound more reminiscent of California than of their hometown Kettering, 'Temples' are set to become the latest piece to the ever expanding psychedelic puzzle. So turn off your mind, relax and take an incense and peppermint trip into the world of 'Temples', whilst we tell you how influential this quartet can be, as they forge a path into the psychedelic wilderness complete with kaleidoscope eyes.
If we're honest, in recent years psychedelic bands, such as 'The Black Angels' and 'The Brian Jonestown Massacre' have struggled to keep their commercial heads above the water, even when they create enough hallucinating whirlpools to instantly drown the rest of the field. However, 2012 has witnessed a monumental shift in the landscape, largely down to the musical and commercial success of 'Tame Impala's Lonerism', and as a result, created the platform for the likes of 'Temples' to move up onto.
Arguably, purists may define 'Tame Impala' and to some extent 'Temples' as being "neo-pysch", but this is believed to be the path that a 'psychedelic' gang should adopt, in order to cater for the ruthless and ever changing demands of them people in suits.
In order to hit the proverbial ground running, 'Temples' needed to release a single that was refreshing, invigorating and above all, led the listener into an overdriven minefield of illusion, of which "Shelter Song" easily achieves. The unforgettable intro riff sparks obvious connections to 'The 13th Floor Elevators' and 'The Byrds', not just through it's sheer brilliance, but mainly due to the nostalgic twang it carves, instantly transporting us back to those hazy days of flower power and LSD. Moulded around Bagshaw and Warmsley's concussed harmonies, which are utterly engrossing, it becomes the perfect testimony for a "neo-pysch" arrival, especially when using lyrics like "we stayed up late in a dream."
'Temples - Shelter Song'
Even "Prisms", the b-side to "Shelter Song", which features an unhealthy 'Beach Boys'-esque reliance on flutes and organs, is still best defined as a gargantuas psychedelic fetish, sounding like an intoxicated 'Arctic Monkeys'. With less guitar prominence, 'Temples' are able to demonstrate their superb versatility, but still produce a cracking groove with some Ringo-esque simplicity, that even a religious sister can't refuse. Add to the mix a layer of vocal which is both textured and hollow, then we have all the ingredients of a song that sounds and tastes utterly divine.
'Temples - Prisms'
As the organs begin to circle like a pack of vultures and the drums rumble in the most rhythmical manner on "Golden Throne", the melody mirages effortlessly, floating you skyward through the song onto a "neo-psych" magic carpet ride. Away from the obvious flower power 60's and long haired 70's vibes, there is also an obvious array of revitalised psychedelic influences lurking in the 'Temples' craft, largely revolving around the retro sonics of 'Miles Kane' and his delightful axe work as well as fellow Liverpudlians 'The Coral'.
'Temples - Golden Throne'
With the apocalypse imminent, there is no better time than to welcome it in than by taking a hallucinogenic trip with a double dosage of "Shelter Song". Better still, if we all manage to survive beyond doomsday then 'Temples' are destined for great expectations in the years to come, by hopefully being at the forefront of a homegrown psychedelic revolution . . . or at least a "neo-psych" one.
"The thing about Manchester is . . . it all comes from here." It is still unclear whether Noel Gallagher was commenting on Manchester's infamous weather or referring to the burgeoning musical talents of the city. However, it appears that tonight we witnessed both.
Whilst the rain fell into the gutters surrounding Princess Street, there was something pretty special happening within the historic red brick walls of FAC 251, involving a handpicked bunch of the most talented, enthusiastic and emerging unsung musicians in the country.
Quite fittingly, the live launch of Resonance, an independently driven compilation featuring a selection of unsung bands, was held within the beating heart of the former Factory Records headquarters, known to many as the most famous independent record label in the world.
Throughout its existence, The Laboratory Project aimed to keep the independence of Resonance at the core of their beliefs, which was perfectly captured through the diverse range of artists on show, from an acoustic singer-songwriter to a seven piece reggae inspired band, with a dash of everything in between.
With the crowd shuffling in from the rain, 'Franco and The Dreadnought' took to the stage playing a selection of tracks from his brilliant and extremely underrated E.P 'Last Man Standing'. Back in his hometown after a recent sell out gig in York, Franco, complete with his nimble fingers, 'Jamie T' inspired melodies and infectious ability to draw the crowd into every word, looked pleased as punch with his nights work and so was everyone.
Having a been a recent feature on 'The Funky Moped', we recognise the amount of talent that 'Franco and The Dreadnought' have, as well as their ability to create an abundance of emotion by simply telling tales of the trivial scraps and scrapes that growing up in Manchester presents.
'Skeleton Suite'
There was barely enough time for Franco to dish out his business cards before 'Skeleton Suite' brought their energy, presence and colossal sound to the stage. Seen to be playing most of their set within a whisker of their limits and their amps packed with dynamite, It was difficult to believe that 'Skeleton Suite' had only been on the circuit for a couple of months.
Nevertheless, this performance was brimming with a range of quintessentially British and American influences, with "Nothing better than the English weather" being the offspring of a 'Kasabian' and 'Interpol' love affair. The monumental tones of "mediocre poetry" were simply unstoppable too, lurking within the shadows of a 'U2' inspired riff which eventually erupted into an epic crescendo of superb drumming and feedback, that was reminiscent of 'The Who'.
'Trevor Roots and The Collaborators'
With 'Skeleton Suite' setting such a high standard for the opening guitar outfit, it was a sigh of relief when professional groove makers 'Trevor Roots and Collaborators' filled the stage, quite literally too. The seven piece, playing their own brand of knee jerking roots reggae, brought a mountain of rhythm to the FAC 251 crowd, with everyone getting more and more horizontal the further their soulful set went on.
Being well established in the Manchester community, 'Trevor Roots and The Collaborators' tend not to sway too far from the well followed reggae pathway, by playing songs that harness the band's creativity, soulful vocals and energy, which ultimately witnesses them wielding the groove baton that their predecessors, 'Dennis Brown' and 'Bob Marley', had originally carried.
'Psyence'
The fourth act to take up the mantle was the appropriately named 'Psyence', a Stoke-on-Trent quartet who base their sound largely upon a variety of psychedelic and rock 'n' roll influences. It was safe to say that these guys were definitely the surprise in The Laboratory Project's Christmas cracker, with some brutal guitar riffs, hallucinating vocals and snaring hooks, they effortlessly pulled the crowd towards their psychedelic whirlpool of noise.
With a sound that follows a 'Tame Impala' blueprint, whilst keeping a beady eye on the noises of 'Cream' and 'The Stone Roses', 'Psyence's' unique trademark is within their song arrangement and structure, which is first rate, ultimately leading the crowd on a magical mystery tour of melody that often explodes into fruition.
'The Polyveldts'
Scouse indie rock 'n' roll wizards, 'The Polyveldts', became our penultimate band to take control of the baying crowd, and by rattling through a set which contained more power than a sixfinger shooter, this was effortlessly achieved. Having spent the majority of their music lives in and around Liverpool, and supplying support to 'The Bluetones' and 'The Las', it was clear why The Laboratory Project had selected them.
The crunchy and angular guitars on set opener "Oh Yeah" featured a flavour of 'Elastica', but their down to earth lyrics and rattling bass lines pointed the musical compass towards the well trodden path of fellow Liverpudlians, 'The Coral'. 'The Polyveldts' managed to pack enough punch and energy into their set they could easily be heard back down the M62.
'Turrentine Jones'
By the time tonight's headliner 'Turrentine Jones' took to the stage, the crowd had magnified in volume placing a mass of expectation on their sleazy blues shoulders, and it's clear that this Manchester based three piece lived up to every expectation. The swirling 'Booker T' inspired Hammond organ was at the forefront of their phenomenal set, with Julian's sultry vocals coming straight from the 60's, all of which was tightly underpinned by some extremely reliable drum and guitar work.
Recent releases "Show Me Mercy", "Slam the door" as well as new and exclusive Resonance track "Della May", are a world away from a traditional swaggering Mancunian outfit, but the sonics of 'Turrentine Jones' are effortless, refreshing and totally unique.
The fact that they recently picked up two gongs from the Exposure Music Awards and even peaked at number thirteen in the Australian charts is testament to their talents and future potential. If raw and rousing harmonies are your thing, then we recommend getting your eyes and ears wrapped around 'The Velvet Underground' influenced 'Turrentine Jones'.
So after six artists and a brief DJ set from 'The Watchmakers' clan, we had witnessed an unbelievable night of diverse, talented and very professional musicians who fuelled the crowd's enthusiasm in supporting unsung artists.
With the wry smile of Tony Wilson looking down on us all from the wall above, I'm sure he would've been proud of the efforts that have been witnessed within his old stomping ground tonight.
Remember to download the Resonance compilation featuring these artists and many more - Available from 31/12/2012 at all good digital outlets (iTunes, Amazon and Tesco) and some rubbish ones too.
In a world where artist expectations are so often pummelled up into a musical pulp after only a couple of whirlwind months and the 'next big thing' is filled with more hot air than George Osbourne. At this point, you could well be forgiven for thinking that we've been led down the garden path yet again with Little Green Cars being labelled on the 'BBC's sound of 2013' list, but there is definite proof to this five piece's pudding.
Hailing from Dublin, Little Green Cars are best described as a younger, less bearded version of 'The Magic Numbers' playing their own brand of Irish, alternative, country-rock, however in reality they sound and appear much better than this pigeon holed description.
Through the recent release of their debut single 'The John Wayne', it is clear that Little Green Cars have presented much more than a solid opening single, but in fact they have delivered a statement of intent for everyone in the music world to sit up and take notice of these young Irish whippersnappers. With the striking guitars up against a stomping drum beat, it provides a hauntingly simple skeleton, which combined with the flawless boy/girl harmonies and emotive lyrics, they create an ocean of romance and expression, well beyond their tender years. The rousing arrangement of the harmonies in their songwriting is beautifully crafted to provide maximum intrigue over the songs' direction, as well as enough warmth to keep you toasty on the most chilliest of winter mornings.
The powerhouse punch that Faye O'Rourke's voice possesses draws up obvious similarities to 'Siouxsie Sioux (Siouxsie and the Banshees)' especially when it is added to one of their most stirring songs, 'My Love Took Me Down To The River (To Silence Me)'. However, O'Rourke's voice also carries a dainty rearguard, which blended into the unmistakable harmonies and melodies of 'Harper Lee' creates a most perfect folk-pop song, that even a 'Fleet Fox' would appreciate.
Little Green Cars - 'The John Wayne'
The glowing melodic tones and structure that the band has developed is easily identifiable through the craft of 'Arcade Fire', 'The Shins' and even 'Neil Young', although the recent prominence of 'Mumford and Sons' and 'Two Door Cinema Club' has already cemented the apprentice slot on the US label Glassnote to Little Green Cars. From only the smallest insight into their existence, it is clear that Little Green Cars not only possess the commercial appeal, but also the artistic appeal to successfully bookend the Atlantic Ocean and reap their much deserved reward within America's competitive heartland.
Evidently, lazy journalists may raise questions in relation to the band's songwriting depth and commerical sustainability. However so far so bloody good!! With them recently being featured on national radio stations in the UK and in the US, which goes hand in hand with their niche quality of writing simplistic yet rousing songs.
Catch them while you can at The Soup Kitchen (Manchester) - Wednesday 27th February 2013.
Little Green Cars -
'My Love Took Me Down To The River (Silence To Me)'
Previously of International One fame, former lead singer and chief songwriter Franco (John Baylock) has now decided to embark on his own troubadour journey, all of which will be seen through the eyes of the Dreadnought, his trusty DXME acoustic machine. In an industry that seems to be saturated with singer songwriters, there is reason to believe that Franco and the Dreadnought are very much the hidden treasure that need to be unearthed.
As confident and as articulate as any Mancunian musician needs to be, Franco and the Dreadnought presents to the world, a collection of songs and live performances that are so heartfelt and honest they leave you hanging on to every word. His nimble fingers, flawless harmonies and dynamic voice, draw up the obvious connotations to fellow Northerners 'Paul Lidell', 'Liam Frost and the Slowdown Family' and 'John Bramwell (I am Kloot)', however, in terms of Franco's unbelievable melodies and pure rawness I feel that 'The Twang' are a more suitable reference point.
There appears to be so much depth to Franco and the Dreadnought's intelligent songwriting ability, with each song filled with thoughtful hooks and heart on sleeve lyrics that seem capable of taking life by the scruff of it's neck to face each challenge head on. Recent single 'Last Man Standing' is as sharp as anything that I've heard in the last decade, its atmospheric production is first rate, as well as Franco's voice which acts as a commanding beacon to the audience.
'Moonshine and Roses', 'Bulletproof' and 'Muskateers' are simply unforgettable too, highlighting Franco and the Dreadnought's knack of writing and producing such excellent songs that need to be heard by every man and his dog.
With a songwriting partnership as talented as Franco and the Dreadnought's, they could ultimately be forgiven for taking a backseat approach to gaining recognition, but not Franco. Every opportunity to play a gig, sell an EP or even to give out one of his business cards to every single woman and child in the building, he's there. Ultimately, he is a hardworking and down to earth songwriter that sings beautiful melodies about the grittiness of growing up in Manchester.
Having already experienced a strong taste of success with International One, it appears that Franco and the Dreadnought are hungry for much more . . .
Initial
introductions aside, I believe that there is no greater way of putting the cat
amongst the musical pigeons than by diving headlong into its metaphorical
abyss. By doing so, I feel that this first post should scratch beneath the dust
filled layers of my record collection, taking you on a rickety rollercoaster
ride to where my musical flag is well and truly placed.
When
asked to summarise my taste in music, like many I often struggle to conjure up
a witty and articulated response, usually resulting in me reeling off like a
broken record, a list of bands as long as my arm in the vain attempt to hit the
nail on its proverbial head.
With
winter being my favourite season and Christmas just a 'works do' away, I feel
that this first post should reflect such anticipation and plunge straight into
the festive spirit. However, not by gorging on a truck load of mince pies and
drinking enough mulled wine it starts to become enjoyable or even acceptable.
Instead by compiling a list, but not any other end of year list, this being a
list which comprises of my all-time favourite tracks, which even Santa can't
refuse!
To most,
a list of favourite tracks is as usually bland or as predictable as turkey on
Christmas day, but to a faithful few they have the ability to blow the musical
cobwebs away and even clear the mist off Zeppelin’s Mountain Hop. At a bare
minimum I expect it to take you into the stratosphere and provide an intense
volume of ear-gasms to the local nunnery, but I will obviously settle for less.
My Favourite Tracks: 'Spooky' - Dusty Springfield
First up
is swinging sixties songstress Dusty Springfield with ‘Spooky’. Although
originally recorded as a jazz fusion track by Classics IV, Dusty’s sensual
approach to this song was enough to make me, and many others, feel a little
haunted inside. As her vocals would often be described as vulnerable by her
contemporaries in comparison to the likes of 'Shirley Bassey',
Springfield’s simplicity shone throughout ‘Spooky’, alongside the resounding
flavour of trumpets noted to be dipping their toes in and out as well as the
organ which kept the track dreamy, yet focused.
I have
long classed ‘spooky’ as one of my favourites, not necessarily because you are
only a stone’s throw away from a Tarantino / Ritchie blockbuster, but because
it sounds as fresh as ever, even today.
'Sister Morphine' - The Rolling Stones
Lying
virtually undetected after rolling off The Stones musical conveyor belt,
'Sister Morphine' was originally recorded in 1969 by Marianne Faithfull whilst
she was dating Mick Jagger. After sales plummeted like a lead balloon, Jagger
and his gang decided to pick up this blues drenched nugget and release it to
the world on their 1971 album Sticky Fingers.
With
definitive influences from 'The Velvet Underground' peering through its
acoustic under belly as well as within its drug fuelled lyrics, 'Sister
Morphine' has not only become one of my favourite Rolling Stones records, but
also one of my preferred songs of all time.
Ry Cooder
provides initially sparse, yet hauntingly harmonised flashes on the slide
guitar, whilst a piano arrangement methodically crashes through the song as it
carefully winds its way into an earth shattering crescendo. All the while the
poisoned protagonist becomes ever more desperate by crying out for “sweet
cousin cocaine”, as the drums begin their steady advance and gallop into the
groove, making his meeting with his maker virtually inevitable. This track has
got the style as well as the substance that I long for when listening to music.
‘Do I
love you (Indeed I do)’ – Frank Wilson
Even the
late Frank Wilson underestimated the impact of his 1965 recording, but the song
that possessed all the ingredients needed to create a mouth-watering truffle of
noise would later go on to become a worshipped institution by many a
Northern Soul follower.
‘Do I
love you (Indeed I do)’ also seen as the holy grail for the Northern Soul
religion, was, and still is, continuously spun in every recognised temple from
Melbourne to New York with extensive visits to Wigan and Blackpool on the way.
For these statements alone, Frank Wilson’s 1965 classic has become one of my
all-time favourite records, leaving me with a grin that only a Cheshire cat
could recognise.
Its infectious ability to spark
spontaneous stampedes to the nearest dance floor is the stuff that only a
bumbling politician could ever dream about. The driving beat, looping chorus
and the increasingly heartfelt Wilson adds to the song’s addiction, all of
which is bestowed by extreme rarity, resulting in ‘Do I love you (Indeed I do)’
becoming the greatest ever Northern Soul record.
'The Queen is Dead' - The Smiths
Well it wouldn't be a favourites
list without tipping our hats to one of Manchester's most beloved four pieces,
The Smiths. Choosing a favourite Smiths track is like choosing your favourite
Beatle, It’s virtually impossible. However the opening track off their third album is a song that I regularly revisit.
Much like the 'Sex Pistols'
'GodSave the Queen', 'The Queen is Dead' follows in a similar vein with
Morrissey poking fun at the British monarchy and stuffy class system. Although
with a much more poetic and witty twinkle in his Northern eye.
Acting as an attempt to address
the nation, Marr's Wah - Wah wall of sound mirrors the role of an agile beast
as it provides a rhythmic yet relentless tone. The melodic jangles of
Honeymoon-Scott's guitar ('The Pretenders') are evident within Marr's
playing as the song reaches it climatic finale, with Joyce's quick fire flashes
of brilliance keeping it as raw and as angry as Morrissey's point of view due to him being 'hemmed in like a boar between arches'.
With the same stuffy monarchy
sitting in the palace and another Conservative Government currently leasing
Downing Street, it is obvious that even 26 years after its original release
this song is still as fresh and as relevant as ever - So all you young 'uns get
your chops around this one.
'My Backwards Walk' - Frightened
Rabbit
Whilst conjuring up a feature on
my favourite tracks, I realised it was imperative of me, to not only point my
musical compass at our most loved artists, but to also suggest something that
is recent, relevant and still as bloody brilliant.
Hence my final choice, 'My Backwards Walk' by Frightened Rabbit, which was released
as part of their highly acclaimed 2008 album The Midnight Organ Fight. 'My
Backwards Walk' is a beautiful piece of work that meanders like a twisting maze,
with the lyrics and melody clinging and tying to every palpable heart string imagineable.
With Hutchinson's strong Caledonian
accent drawing up obvious comparisons to 'The Twilight Sad', I feel that in terms of musicality, 'The National' and 'Arcade Fire' seem far
more appropriate matches for the way they can superbly lay down the raw
foundations of a track and subsequently bring it to the boil.
As the sparring session between
the angular electric and soft acoustic guitars gets underway, it is supported
with the eerie sirens of Kennedy's organ, which eventually creates a stomping
mid-tempo classic that simultaneously feeds your heart, soul and feet.
His emotive lyrics about
struggling to move on from a dying relationship are pain stakingly sincere
"I'll get hammered, forget that you exist", which steadily burns into
the blunt Glasgow kiss of "You're the shit and I’m knee deep in
it". This is just lyrical and musical genius.
I hope this introductory post has presented you with some boundaries of what my musical influences are and what excities me about music. Although more importantly, I hope it has splashed a bit of colour into your dull day and given you a sharp burst of flavour, like a Tangfastic Haribo, to the ideas that will be suggested, debated and probably rejected in The Funky Moped music blog.
