Punk for the masses? Surely not.. Bexatron seem to think so!

Anything remotely considered ‘punk’ is, by design, meant to be decisive in it’s very nature. So, even with the tassels of ‘pop’ or ‘glam’ sub genre’s tacked on, a punk band that seeks to become a thoroughly accessible, all encompassing live experience is anarchic in itself, right? Well dreams of this nature are being realised by London glam-rockers Bexatron who, through lead track ‘Dirty Disco‘, are establishing themselves as a ‘must see’ live event.

At first listen, the most noticeable quality the record has is it’s undeniable levels of energy it holds – certainly a great place to start to feed the awaiting masses. In some cases, a high level of production is a thinly veiled mask giving a tired cause an artificial resuscitation, only for the live performances to be found wanting. For Bexatron, Rebecca Eite up at the front is looking to establish herself as something of an icon, a ‘Neo-Blondie’ for the modern era. Through her, a sense of authenticity is ever-present an permeates through the spirit of the record as a whole.

This is the kind of music that is sure to thrive in inner city suburban surroundings. Highly visible bass lines subconsciously slide your stance towards a backward lean as mind follows feet. Imagine being grabbed by the sleeve and forced on the dance floor, only to find the masses aren’t all wearing gin-thinned mascara and stompy boots. The simplicity of the song structure does a lot to ensure the music is easily accessible, dare-I-say DJ friendly, framing Rebecca Eite as an enviable front-woman for the modern age to be seen, heard and emulated.

Bexatron have taken great strides towards engaging with their fans – offering back stage passes and regular giveaways to fans, which then goes a long way towards making individuals feel just a bit special. Small movements here could pay huge dividends when looking to establish yourself as an icon and, already having scheduled a headline tour in the UK over November and December 2018, with European dates to follow, is a clear testament of that.

When the inevitable pogo-hopping happens, plastic cups are an advantage. I advise to fill it with Snakebite.

• Facebook: facebook.com/bexatronlive
• Twitter: twitter.com/_BEXATRON
• Instagram: instagram.com/bexatron81
• Website: bexatron.com

 

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Psychedelic hip-hop holds the key to understanding ‘The Human Experience’

So often, music has been a prime source of escapism as a creative medium for artists and fans alike – a way to alleviate yourself from the struggles of everyday living. Generally speaking, in both society and in the music industry, there is a primary focus towards fitting into niche categories and labels by which you can assert yourself through a visible and vibrant personality. Such is not the case for alternative rapper Jonny Dee and his exploration of the ‘Human Experience’.

While rap itself is, in essence, a rather self-contained entity, first impressions appear more reminiscent of another kind of Experience, namely Jimi Hendrix’s. Jonny Dee’s own brand of psychedelic hip-hop is on a mission to find freedom and peace in everyday struggles, striding towards love and self-understanding.

There’s much on display which differentiates Jonny from his peers in the genre, perhaps most notably his own scattering of guitar performances throughout the record. Immediately striking as being somewhat unusual and special in itself, it’s self evident as a source of pride and inspiration – citing personal tastes flaring towards the likes of The Beatles and David Bowie as possible reasoning behind stemming down that particular path. The main differential comes from the essence of each track, coming less from a place of bragging about personal wealth and aspiration, with more of a heartfelt good vibe that urges people to be at peace and better themselves.

From the first instance, the uplifting nature of the record is self evident. His lyrical style is one that flows with its own back and forth rhythm, which does much to flesh out the underlying theme – you can hear that smile resonate. The overall tone varies from track to track, a subtle nod to the spectrum of the human condition. From the free and laid back dancer in ‘A Ways Away’, to the supersonic soul-funk of lead track ‘Rhythm of My Life’, to the droning distortion found ‘In the Sound’, the flavour of the rainbow bounces from pillar to post.

With a healthy dose of fizz and colour, stave off the voodoo with a Blue Shoe.

Video release for ‘The Man Who Fell From The Sky‘ coming soon

Facebook: https://www.facebook.com/iamnotjonnydee

Twitter: https://twitter.com/iamjonnydee

Instagram: https://www.instagram.com/iamjonnydee/

Website: http://artistecard.com/iamjonnydee

 

 

Bill Magill invites patrons for one last hurrah at the Ha-Ra

In a similar vain to the kind of characters that you might discover on a classic Tom Waits album from the early 70s, ‘Last Night at the Ha-Ra’, the latest release from American songwriter Bill Magill, is a highly thought out collective of tales in which the revelations of a group of regulars of the Ha-Ra bar in sunny San Francisco share their innermost while exploring deep emotional themes such as how far one is willing to go for the woman they love, and even a heartfelt exploration of assisted suicide.

Now hailing in Aix-en-Provence, in the south of France, the American born Magill, has assembled musicians from Britain, France, America and Australia to flesh out the reality of the narrative – each of them bringing something of their native influence to enhance the experience. As well as Magill’s core band at Vivid Stage Productions, a host of invited guests such as Pete Thomas – drummer for Elvis Costello and the Attractions and Daniel Mille – the award-winning French accordionist, have also contributed.

The record, in fact, has a distinctively French flair to it and as well as an un-satirised favouring of an accordion, it also features vocals in the language from his significant other. Nuance and diversity are real strengths of the recording, and little details such as authentic sounds of glasses being ‘cheers’d’, which were recorded at the actual venue, lie at the heart of its essence.

Take care not to moisten the carpet with spillage on this outing, as elbows will be in full sway as the core themes of this one tug at the heartstrings. We suggest that French lager be in full flow.

 

The Jesus and Aeroplane! Seattle’s Drone Rock Masters, The Black Planes, Release Stunning Debut

Pining back to an age of a golden generation of what festivals were ‘meant to be about’, the heart of musical experience will forever remain in what can be achieved through performing live. With careful regard to not cast aside the casual listener, Seattle’s take on hypnotic psychedelia The Black Planes have crafted a new angle on seducing the masses with cutting edge mesmerism through debut album ‘This is the Black Planes’.

After initial viewing of their new video for ‘Stone in Love’, their style is self-evidently nothing short of a transfixing Austin Powers scene transition. The album was recorded and mixed over a 10 month period, with the mixing and mastering completed by local legend Chris Hanzsek (producer of Soundgarden; Melvins and many others), co-founder of Reciprocal Recordings (home of most early Sub Pop acts, including Nirvana) alongside Jack Endino. The overall concept that inspired the conception of The Black Planes was derived from an aim for a darker, heavier sound than predeceasing concept Friction Pitch, as a more encompassing affair that’s meant to be appreciated as a whole.

The experience is one of echoing back to an era of 70s psychedelia, indulging the audience in a kind of mesmeric gawp at proceedings while simultaneously letting them blow you away. Guitarist Dan Gallagher harks back to his own experiences of seeing Moon Duo perform at The Sunset Tavern in Seattle and heavily hopes to replicate a similar kind of performance in doing so. Listening to the tracks it’s already easy to see the dim lit decadence of the venue being illuminated by twin graphic visualisers projecting the sound waves for multi-sensual appreciation.

Much of the journey is perpetuated by the bass guitar, which slides elegantly through repeated groove patterns. At times, the experience is sustained by the absence of essence, enhancing a sense of calmness, bordering on asphyxiation. This doesn’t last for long, however, as the self produced synth-sounds and delicate guitar permeate a life-giving breath and ambience which serves as a light giving halo circling the all-round easy going vocals.

Since here we’re embracing the Seattle sound, slip your slippers on and settle down to a Starbucks-laden White Russian.

Spotify: https://open.spotify.com/album/0FZkiUZJswsfgUt3MBV1nS?si=6hjk8T0lRPO3TWyPALxXww

Youtube:  https://youtu.be/QRYT0ynm8HA

Facebook: https://www.facebook.com/theblackplanes/

Website: http://www.theblackplanes.com

New dance combo Woolfman and JStew inject some late summer sun

Urban nightlife has always heralded a heartfelt sanctuary for escapism and positivity. Such is the message from a new transatlantic collaboration: Woolfman and JStew who urge all to shed their burdens and ‘Listen to the Beat’.

This is an absolute stomper of a dance track and is nothing short of vibrant – coming in hot with a vision to inject new life into what they perceive as a colourless tapestry of music today. Heavy bass rhythm announces it’s presence on the scene before being interjected with mischievous and playful piano chords. JStew plays circus-master, leading you through the vision with guile and charisma; one moment taking you by the hand to sour through air before suddenly bright lights flash and you’re part of the masses that answered to call to ‘Listen to the Beat’.

The project itself is one that seeks to progress as a mainstream brand evolving from a club base as a collaboration between producer and artist, with future projects centering around different artists. Add in Steve Simpson at Concrete Promotions who played the vanilla version to ‘Mr E’ and come back with 2 special remixes of the track.

The Woolfman has been lurking in the shadows of the music scene for quite some time now. From a heritage of 90’s music and industry experience, Woolfman claims his creative insight for crafting tunes has come to him ‘’in dreams’’ and this is a recurring concept that embodies this track in particular with what they are trying to accomplish.

US Gospel singer JStew, who is also a pastor at his local church back in San Francisco, draws inspiration from heroic titans such as Aretha Franklin and Marvin Gaye arriving with his own vision to make wonderfully vibrant and exciting music. JStew’s personal angle is one of gospel in his heart saying: “I believe my grounding in this vibrant style of music gives shape to my current style. I sing from my heart…” Through this comes transcendence through music, born from dreams. Distinguishably Woolfman, one of the founding members of Gang of Four, was kicked out of the band for “meditating in soundcheck”.

As dusk finally settles on this most memorable of summers, don’t let the colours fade. A new sun has risen, and this one thrives at night as well. And it also mixes great with a dash of tequila.

Spotify: https://open.spotify.com/album/76d8bQ9hZTMwBShacmutif

Youtube: https://www.youtube.com/channel/UCHhJYMCKyeMvKryfg1xqgmg

Facebook: https://www.facebook.com/W.Recordings/

Twitter: https://twitter.com/recordings_w

Instagram:  https://www.instagram.com/w_recordings/

Website: https://www.wrecordings.co.uk

Rich Webb Prepares to Release Genre-Defining Album of Australicana – ‘Le Rayon Vert’

Its a rare thing indeed that an aural appreciation for a moment in time captures the romanticism of a state of mind so well. Leading track ‘Let it Rain’ of forthcoming Americana release for Rich Webb, which was recorded in France, takes on much in the way of its native surrounding. The album’s title ‘Le Rayon Vert’, is taken from a concept from Jules Verne’s novel of the same name which transcribes meaning behind ‘The Green Ray’, a naturally occurring phenomenon that occurs as the last rays of sunlight flash upon the horizon – said in this case to grant heightened perception to those who view it as a kind of conductor of true feeling.

The concept behind the band’s fourth release was derived from the 1986 Éric Rohmer film (released as ‘Summer’) in which a beautiful young Parisian girl frantically searches to appease her restless soul. This very much comes across in themes which explore openness, discovery and peer into dark, disquieted areas of a fractured mind. As soon as the track fires up, you can feel momentum gather as the wheels start turning. As the stop start chops of the medley take root, suddenly the swelling surge of a convoy comes into clear view.

As if lifted straight from a soundtrack, it carries it’s almost cinematic quality along for the ride. The overall essence is one of grounded desert county garage-rock, proudly proclaiming a certain swagger but with an understated tenderness that parallels the love story it’s loosely based upon. While working alongside acclaimed sound recordist Howard Bargoff – known for his BAFTA winning and Emmy-nominated work on TV and film – the exotic and rich level of live experience they have under their below has been brought to the fore in the energy and punch that the single forces home.

The overall feeling panders towards something in terms of an elegant charge, invigorating the rain soaked masses into movement as the crowds bustle and swell. Its journey saturates belief as it all comes together in a kind of circular completion, a taste of risen dust on the lips heightening a togetherness and yearning to wash away social division.

Don’t let yourself get caught behind the wheel supping your sandblasted lager-drink.

Soundcloud: https://soundcloud.com/richwebbband

Spotify: https://open.spotify.com/artist/1g5o3qJezCQmv3OEbYez5V?si=B5i5QFINRnqYHPYuIxBE2w

Youtube: https://www.youtube.com/user/richwebb

Facebook: https://www.facebook.com/richwebbband/

Twitter: https://twitter.com/richwebbmusic

Instagram: https://www.instagram.com/rich_webb_music/

Website: http://rich-webb.com

 

Alice’s Night Circus Walks the Tightrope between Theatre and Pop

Come forth, and cup your ears! Draped behind the curtains that blur the lines between obscurity and grandeur, you may begin to hear something emanating from the shadows. Stumble further and you may find your soul drawn deeper into the world of the mesmeric and magnificent, as you’re standing in attendance for the matinee of Alice’s Night Circus.

Julia Scott first announced her presence under the Alice pseudonym at the world’s largest and longest running Steampunk festival called The Asylum in Lincoln, where she now resides. From here she looks to flourish and encapsulate all that’s operatic and engaging. Furthermore, she’ll appear as herself and Alice as part of Gary Nicholls’ Imaginarium trilogy – an extravagant photography project centred on all things Steampunk.

Every note has been draped delicately around the show’s undoubted centrepiece, which are the vocals themselves. Having received classical training as child, Alice’s style encompasses all that exceptionally grand in its engaging performance.  Personifying its inspiration for the theatrical, a haunting echo hypnotises your attention towards levels of heightened captivation.

While a crooked waltz rhythm leads your hand down a darker path, it’s easy to draw perverted comparisons with Kate Bush and Florence and the Machine, but, unignorably, only while being handed candyfloss by an upside-down clown.  The traditional circus ambience of the sonic experience is one that is as equally compelling to imagine visually.

One can only assume a suitable accompaniment being a snow cone drizzled in Absinthe and dry ice – a little number to take the edge off.

Spotify: https://open.spotify.com/artist/400uDlpep629T3L02HdJtr

Youtube: https://www.youtube.com/channel/UCnyOy98XOqXty8L8y49otwA

Facebook: https://www.facebook.com/alicesnightcircus/

Twitter:  https://twitter.com/alicencircus

Instagram:  https://www.instagram.com/curiousbyalice/

Website:  www.alicesnightcircus.com

Écoutez! Edinburgh Readies itself for Bizarre Musical Experience!

This year’s Edinburgh Festival is nearly upon us, a time when going to see the right act at the right time is a fine art. In a rather Sex Pistols fashion, people will tell you they were the first to see such-and-such an act before they were famous in a miniscule venue, whereas, if everyone had been there, a 300-seat venue would have had tens of thousands in the audience. We therefore have a duty to give you advance warning of one act appearing this year, No-Ce.

No-Ce is Celine Nordegg and her band, an Austrian-based collective who don’t take the easy route to getting under your skin. A mixture of jazz, chanson and rock, it veers from the sound of smokey Paris coffee bars in 1957 to modern day hipster-swing hang-outs. Language is not an issue, quite frankly she could be saying something terrible about our grandma and we’d still listen.

Where going to stick with the traditional here, as schnapps feels exactly like the kind of thing you should be quaffing along with your listening experience.

See No-Ce & Band at this year’s Edinburgh Festival August 6/7/8 at 08:30pm at AMC @ UCC

Website: www.cecilenordegg.eu

Spotify: https://open.spotify.com/artist/5EQSN87PpFKyMHeeJEsBlc

Youtube: https://www.youtube.com/channel/UCa4nmntt4rvUIgjtdBplnhg

Facebook: https://www.facebook.com/cecilenordeggjazz/

Instagram: https://www.instagram.com/cecile_nordegg/

Don’t Ban This Filth! Screamin’ Whisper Channel 70s Goodness

Are people in bands getting younger or is it just us? OK, it’s just us, but the youthful visages of Screamin’ Whisper really did have us reaching for the phone to dial the national truanting hotline. Formed around Gaelic-speaking identical twin brothers Brian and Martin Hughes (and gooseberry Zak on drums), you’ll be relieved/disappointed to hear they sing in English, and jolly…well, jolly it is too, glam rock in an untinselly way, with old-fashioned choruses and some nice foot-stompy bits – T-Rex with more sensible footwear. They’ve just released their debut album, “Filth” which has no immediately detectable swearing but still might upset a few of your more elderly relatives.

To sup upon whilst experiencing the Screamin’ Whisper sound, we were in too minds but have settled upon a delicious brew which is both evocative of the 70s and suitable for the younger folk. Chin chin!

Soundcloud:  https://soundcloud.com/screamin-whisper

Spotify: https://open.spotify.com/embed/album/6rQdWHpY1DFUwryo9Fiwzl

Facebook: https://www.facebook.com/screaminwhisper/

Twitter: https://twitter.com/ScreaminWhisper

Instagram: https://www.instagram.com/keepscreamin/

Website: www.screaminwhisper.com

Son of William Add to Manchester’s Musical Dominance

Manchester – musically, forever entwined with Madchester, The Smiths, Elbow and seemingly a zillion other bands, it’s a place which cherishes its homegrown talent but isn’t afraid when someone new comes on the block to embrace them with open arms. As such, there can be any number of scenes existing in the city at any one time, all with their own gigs, labels and niches but with audiences who are happy to be entertained by all of them. Where is this going? Ah, yes, Son of William.

Son of William – so named as, though their surnames match, they are completely unrelated – are an acoustic duo who have already enjoyed a modest amount of success under their own steam. Hayley and Ben have the kind of acoustic sound which would happily see them being described as folk, country or sing-songwriters without fear of litigation being launched. Their craft is the old-fashioned art of song, with minimal instrumentation allowing the floor to be taken by involving lyrics which are conversational and meaningful, not just a collection of snappy rhymes. Colour of Love is their first release as a duo, an EP which leads with Dear Old Acquaintance, as delicious a song to listen to in a wood-lined bar as you could imagine.

To accompany your listening experience, we’ve shunned the obvious Boddingtons, and gone for something which is both classy and reflective of the environment. It costs a fortune, but try an Industrialist – bourbon, vermouth, mezcal, bitters, maple syrup and topped with candy floss. Chin chin!

Youtube: https://www.youtube.com/channel/UCzJkbWowXtI4ZCr6pqo7Mfw

Facebook: https://www.facebook.com/SonofWilliamMusic/

Twitter: https://twitter.com/SonofWilliam_

Instagram: https://www.instagram.com/sonofwilliammusic/