There are times when the only way to initially describe something is through the use of free association, as many a performing wine taster will probably testify.

Old Colours make the kind of music that could be seen as being of such a descriptive vintage, which can only be a good thing, because if they are creating feelings through association, as a by product of their creative output and craft, then they must surely be getting it a hundred percent right-shouldn't they? 

Thus, to put no finer point on it, Old Colours sound like the joy of chasing a rapidly deflating balloon, around a large room, when you're a kid; of smiling at old memories, as you run your fingers over dusty note books; they're a steaming hot, sugery cup of tea, drunk with a hearty slice of orange, apricot and brandy sponge, while it pelts it with rain outside, and you lounge in a big leather chair, engrossed in a good book; or opening  an ornate looking box, and being suddenly taken aghast by a plume of gently escaping butterflies.

At this moment in time, the company of Zoe Mead, Daniel June, Jamie Warren and Loic Wall, have been trading under the name of Old Colours since 2011, but have been making music together for many years, a factor most evident  in the quirky intricacies that can be heard in their songs, pointing towards a gang  who have not only individually honed their respective crafts, but have come to fully understand how each fellow musician works to bring their essence to the whole, rendering songs that sound like they came together intuitively, and organically, rather than through anything close to contrivance.

They are a band who assault the senses, in a very filmic way; with a nod towards that sort of driving folk music that is de rigeur, in certain circles, these days, and with an aural aesthetic  not too dissimilar to (recent 'Dead Oceans' signing) Night Beds. 

Notable song Giants is four minutes twenty nine seconds of profuse loveliness, backed by almost tribal sounding drums, sometimes chugging along in the background, like a steam train running over sleepers; occasionally dropping out to rhythmic drum rim taps, and markable floor tom interjections- or disappearing altogether-accompanied by floaty lullaby xylophone notes, all of which amble playfully around carefully poised guitar sketches, and non menacing, barely there shadowy 'vibes', which converse with one note keyboard reflections and minimal bass lilts; reminiscent of aspects of the work of Brian Eno, notably his collaboration with early nineties shoe gazing band 'Slowdive', but also like listening to the voices of nature, through an open window at night, while you're in that comfy place a stones throw from sleep. This heady cocktail lovingly underpins , and punctuates, a clear, sweet, but angsty,female vocal (curtesy of Mead), and is reminiscent of a female Nick Drake with light traces of Joanna Newsom. 

There's not a stick of bubble gum in sight, from this clan-though their sound could be described as being poppy, and also extremely radio friendly, though one could argue that, although positive for their career, it would be a shame to dilute the magic of their songs by over exposure. Everyone knows what that is like; fall head over heels for a tune, that is played on heavy rotation-and, after a while, the fairy dust can wear off. 

There are definite parallels to Stevie Nicks era Fleetwood Mac in The Morning After - a rolling, breezy little number, with a roly poly, 'pa pum pa pum pum' bass line (that could be on the whistling set list of milk men across the land), hatched abreast 'swing-your- hips' drums and guitar shapes that Zoe Mead's (wordy) vocals take pasture within.

Since their inception, Old Colours have been far from lazy, performing at a host of festivals, across the kingdom,  including  2000 Trees Festival, OneFest and Fieldview, as well as doing a number of gigs, supporting well known illuminates,including Turin Breaks, and being tipped by BBC Introducing as the band to watch for 2012! 

Snuggling in a warm blanket,with a hot drink, a pack of menthol cigarettes - and the wind blowing a tempest outside; one laments that there are a million and one places where the band could be, this time next year-both in terms of their music, and their career. 

After making a three track EP,  and working with notable producer, Jim Sclavunos ( Primal Scream, Nick Cave and the Bad Seeds, Sonic Youth, The Horrors), what is next? Hopefully, a full blooded album-and soon! 

Review by Sam Slattery

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Whilst browsing local artists on Soundcloud, you can never quite anticipate the level of quality, in tracks. The first thing I noticed about this exciting, new, Electronica artist, was his impressive back catalogue, which to me, signifies something very special.

S-P-E-LLS, is a Bristol producer and DJ. For the most part, his music is focused on electro/house. However, his collected works also experiment with Dubstep, Drum and Bass and a nice blend of more soulful, ambient tracks. This guy is weaving his way in and out of genres, like it’s nobody’s business, fashioning a very bold and multi-disciplinarily, approach to electronic music.

After bopping your way through the first two or three tracks, his dynamic and versatile style, begins to grow on you, immensely. First you are introduced to glimmers of light and bouncy house music, only for it to be turned on its head- throwing you into the deep, dark, abyss of filthy, raw, dubstep.

With a lot of Electronic artists, the core focus and attention, has always been on introducing something new -cementing your own sound in the scene, paving the way for new artists. Skrillex, did exactly that. He bought something new with him, and developed a very special kind of electronic music, leaving behind a huge gaping hole, for new artists to come and do the same. Providing the fundamentals of electronic music are applied -engaging and connecting with people’s brain waves – then the creative process, certainly becomes the most exciting part. The creativity is when the artist is really called into action.

S-P-E-LLS will surprise you at any given moment. Whilst some of his tracks may seem quite generic, others leap across to the other side of the electronica continuum. Some of his stuff sounds very industrial and raw - A very welcomed versatile approach to electronic music, similar to that of Canadian Indietronica artist, ‘Grimes'.

Another great thing about S-P-E-LLS, is that he doesn’t bore with you with too much obscurity or pretentiousness, like some new artists are trying to do. Every track makes you want to dance and every sound or sample has a purpose, in the direction of the song.

He collaborates with a number of artists, that bring something new to the table and offer a classic sound. I think with electronic music, it’s important to look back as well as looking forward and this is something that S-P-E-L-L-S does really well, particularly with the drum and bass. There’s nothing too risky or over the top about it, but he keeps it nice and subtle. I love it!

Another thing worth crediting S-P-E-LLS for, which I mentioned briefly, is that he is making LOTS of music. It’s really the only way to be successful in a competitive music market, particularly within the genre of electronic music. Type any decent dubstep artist into Youtube, and I almost guarantee that they’ll have a back catalogue, longer than your arm.

Get yourself out of the house, gather your pals and celebrate diversity and originality, in electronic music and the coming together of sub cultures. Need something to kick off the weekend? S-P-E-LLS, is your new rave partner.

Review by Rich Wigley

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The All Mighty Whispers are a 3 piece band based in Norwich. They have previously released music through Shellshock however recently they have released music through their own label, Ex Label. The band believes in being involved in all aspects of their own music from the recording, mixing and even the marketing and release of their music.

The first track 'Underground' opens with a driving guitar line backed by keyboards which could easily be overlooked but prove to be integral to creating the rich orchestration this band create. When the vocals come in the band drops out apart from the drums, this gives you a chance to appreciate the production that went into this album, it simply allows the track to breathe more and lets you bask in its ambience. This is part of the brilliance of the track, the subtleties which weave around it from the backing vocals, sneaking guitar lines and synthesised strings which come in and out. The track, to me sounds similar to Elvis Costello’s work particularly as he matured as a writer and reached the mid-point of his career. The rich instrumentation and production present in the track really help to show off the bands strength and vision.

'Electricity' (the third track) opens with sheer noisy chaos amidst a racing full band assault before the vocals burst onto the scene. This track reminds me of some of Paul Wellers work, particularly during his Jam days. Full of attitude and bravado, yet has far more style than most punk. Once again the backing vocals are spot on, never over powering just right on the money. The bridge is a big change in pace if only for a moment before building back up and throwing you straight back into the hectic ride the song started with.

'What do you say' starts with some laid back guitar work before gradually revving it up, the band seem to have a real talent for dynamics within their songs. Something that often seems to be lacking these days but it is ever present within this album. This track is slightly different from the rest lush chords assault the ear as subtle synth lines fall in place to back them up. This track seems to be the 'symphony' of the album so far, it is not so much of a race to the finish more of a journey featuring melodic guitar lines and fantastically atmospheric drumming and percussion.

The fifth track 'Tanks' seems to take on a totally different feel from the rest of the album so far, beginning with an acoustic guitar and a subtle bass line which backs it up sublimely. The vocal arrangement which begins midway through further helps to pull the vocals to a new level (I keep mentioning these backing vocals throughout this review but it really is an enjoyable aspect of the band). The synth conjures up orchestral pads throughout the track which help to embellish the laid back nature which began in this track.

'My Release' really is a stand out track, when listening to the first few tracks I was convinced I had an idea of what the album would be like as a whole. I was wrong; this track seems to borrow the mood from the last one but is filled with guitar work that just seems so lush during the verses while adding a fair amount of bite during the choruses. The backing vocals are once again in full swing here as are the keyboards subtly underpinning everything and creating a great slice of atmosphere for the track. The track builds and builds to a full steam ahead, firing on all cylinders anthem towards the end before fading to the bare bones to let it all sink in.

This album is great, it has points when it could be considered straight up punk including the aggression and nature of the tracks however I believe when this album really shines is during the second half the songs have more room to breathe and you can tell the band have thought carefully about the arrangement of each track. Nothing gets in the way of anything else the guitar lines don’t step on the brass sections feet and you can still hear the synth lines clearly. The band remind me of Elvis Costello at some points, The Police at other points and occasionally The Jam but even although you can sit all day and name similar acts the band still have their own sense of identity. This is becoming harder to achieve during these modern times, particularly with modern pop acts which seem to go out of date faster than a pint of milk, but the All Mighty Whispers seem to have it in spades on this album.

Review by Phil Allen

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Slip into a rustic bottle of something Scottish, Russian or French: bejewel with ice if you pick the Scottish or Russian options-then pour over some 'Jag Harps'. 

Sit back and...well, the music says it all!

In a culture where everyone and everything, including your toaster, is telling you how you should live your life, who am I to order you to relax? 

Other serving suggestions: 

Consume in liberal quantities,when all the bars have closed. Listen to them on your head phones, as you're ambling home - not with the one you love, today-but dreaming of a warmer, brighter tomorrow! 

Alternately, save for the wee small hours of the morning, following a big night out, when your vision is blurred through tiredness and intoxication, and you're lounging around talking random rubbish with mates. 

Or when you've scaled the assault course of a long, hard day at work and your mind and body feel like they've been shunted between rock and hard place. 

Sit back, close your eyes, and let this soul food for the ears, embrace your brain like a comfort blanket, and transport you to a place where your thoughts can feast, rather than vegging out in front of the variety of reality TV dross that we pay our license fees for these days. 

Recently, I put on some of their music, when I was at my desk at work. I had listened to 'Jag Harps' before, sparingly, but at that moment, I had an epiphany! 

It was one of those mornings when returning to bed would have been lovely. I felt cold, ill, uninspired-and sick of heart. Within seconds of putting it on, the first track I listened to gave me a warm hug, like an old friend, or lover, and I started to feel a little better inside. 

'Jag Harps' currently specialise in instrumental music that could be described, most notably, as jazz inspired with gentle hints of dance, electronica and light splashes of glitch techno. Many of their tracks are fecund with flourishes of flamenco guitar, and squiggles of restrained electric axe noodling, burly, smooth bass, and a gentle teasing of horns (mainly trumpet and sax), which would probably have some jazz traditionalists and purists quivering, angrily, with the sheer nerve of it! 

But not being a purist, by any stretch of the imagination - or too much of a fascist from this quarter, I don't care. I love stuff like this! 

I suppose one direct comparison could be Ninja tune's 'The Cinematic Orchestra', a band I was obsessed with a few years back, but with a vibe that is a lot sunnier and clear headed. There are also hints of 'Amon Tobin' and 'Vertigo'/ 'Goodbye Country-Hello Nightclub'-era 'Groove Armada', in the sound. 

Conceived initially as a bedroom project, when producer Graham Rutherford (production, guitars, bass and synths), an experienced live musician, started fiddling about with some musical ideas at home, 'Jag Harps' began to take shape as a band when Rutherford joined forces with drummer Garry Kroll, and the pair spent a number of months jamming, and coming up with new ideas-as well as building upon those that Rutherford had been beavering away at. 

These eventually resulted in recordings being made, over a three day period in a studio in Bristol, with session musicians from Bristol and London joining the party (including Frederico Parodi on keys, Daniel Hillman on sax, Simon Dobson on trumpet-and Portishead live bassist Jim Barr) which Graham then took home to tinker with, infusing with extra electronic bells and whistles, before committing to 'wax'.

(Since the recording, there have been slight changes in line up, with the following musicians filling roles: Nguyen Green taking over on keys, Graham Dalzell playing double bass, and Adam Campbell triggering samples from Ableton Live ). 

Each track, on their 'Theta Waves EP' (which they released in November 2011) is, for want of a better word, delicious; a delight to behold with the ears and the mind, and a lovely panacea for when you're feeling a bit wrong. So imagine what the effect is when you're feeling a bit right, or a bit normal! 

Jumping up and down, and flexing your unmentionables on the dance floor is a lot of fun, I know - but this isn't an arena that you would find 'Jag Harps' frequenting. 

They're really more suited, I would argue, to an intimate venue, because this is a band who deserve your full attention, maybe with the aid of a few civilised drinks and in the company of good friends, rather than as a soundtrack to your drunken wild side. 

After all, I honestly don't think that 'Jag Harps', in their current incarnation would ever stir up a mosh pit! But then again, why would they want to? 

Watch this space for more from 'Jag Harps' who, as well as having an EP and a few live shows under their belt, are set to take 2013 by storm, with more gigging, another EP and possibly an album in the pipeline!

Review by Sam Slattery

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'The Bluebeat Arkestra' are certainly a positive force to be reckoned with, unleashing a sound that never ceases to surprise! Just when you think you know what they're about, you come across another track from their repertoire, which changes that perception a little bit more and makes it wonderfully difficult to musically pin them down-which is no bad thing. It almost guarantees that the next song you'll hear by them isn’t going to be like the last!

It is more than crystal clear that this is a band with real passion for their craft, a vibe I picked up from the first time I heard them and one that I challenge even the most hardened musical cynic not to appreciate in some way. 

With a sound alchemically honed from a bottomless melting pot of eclectic musical backgrounds, styles and influences including, but not exclusive of, twists of funk, reggae, soul, hip hop, disco, dance, indie rock, and much much more. Each tune you lend your ears too oozes an aura that convinces the listener that every member of this band is one hundred and fifty per cent on the pulse!

Singer Hayley T's visceral, honey coated voice does, on occasion, remind me of Louise Wener from 90s band 'sleeper', notably on the song 'Waves', which is a choppy number amply spread with rockish guitars and reminiscent of 'The Cranberries' in their more rowdy moments.

On the track 'Move On' (which I confess to being a bit addicted to at the moment) - a soulful disco inflected little ditty, her vocals possess echoes of Dusty Springfield and Joni Mitchell, in their timbre (expressing clever, hooky lyrics over a keen mixture of funky bass, horns, guitars and drums ) and, when played directly before or after - 'Waves', highlight what a multi-talented, versatile vocalist ' The Bluebeat Archestra' have in Miss T and one who is more than capable of delicately wrapping her pipes around the diverse platter that the rest of the team cook up.

Another element which both adds and complements the sound, is the rap styling of keji Adedeji, who, of the internet clips I have seen of the collective performing, comes into her own live. Spitting energetic bars which work harmoniously, not only in unison with Hayley T’s vocals (on the tracks which they feature on together), but with the musings of the rest of the band as a whole; not taking over, like a lot of rap has a habit of doing in such circumstances - which is a refreshing rarity to find and, particularly on the recordings, often remaining subtle and understated though by no means becoming whimsical! 

Straight out of Birmingham, 'The Bluebeat Arkestra' are a seven piece unit who don't suffer fools gladly, and believe in bypassing the fickle world of large record companies, yes-no men, and uppity cool club scenesters, in order to bring you their own special, unique brand of music.

Already making waves beyond the boundaries of Brum, not only with the launch of their own ‘Hustle!’ record label earlier this year and the release of their Brewbox EP - but also with recent forays onto the festival circuit, both at home and in Europe (including a nation-wide tour for Oxjam). They have also supported notable acts such as 'Little Dragon' and hope to release a full album this coming year - so keep your ears peeled for that one!

All I can hope for, in the meantime, is that they play near me, soon - as I'm at a geographical disadvantage when it comes to seeing this band, or attending the club nights that they’re fond of holding quite regularly on their home turf. (From watching internet clips of the battalion playing live, notably their version of 'KernKraft 400’s dance hit 'Zombie Nation', I get the impression that a 'Bluebeat Archestra' gig is a lot of fun to be part of.)

I conclude, then, with a little (somewhat superficial) admission, and confess that before I had even played any of their music, it was the name that first attracted me to this band; an individual, original, quirky moniker which, I must say, accurately portrays the musical tour de force beyond. 

So roll their name around in your mouth, for a beat or two...

'The Bluebeat Arkestra'

Fall for the name...

'The Bluebeat Arkestra' 

Then be captivated by the band......and seduced by the music!

Review by Sam Slattery

 The Bluebeat Arkestra

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Low Signal

Amazed was I-and slightly aghast- that ‘Low Signal’ (at the time of writing) appear to be but one lone ranger; a Matthew Gasparic, from London, according to the info on their Sound Cloud page. I was also mightily impressed, considering the full racket that ‘Low Signal’ makes!

When I first wrapped my listening gear around ‘Low Signal’s’ tracks on Sound Cloud, I closed my eyes and could almost visualise the band; how each member looked, acted, played their instrument, jammed with the rest of the gang, on stage; I could smell the chemistry between them, down to the sweaty towel wrapped around the drummers shoulders- everything! A whole rock and roll circus flashed into my mind, rather than the image of a sole musician, huddled in front of his computer with a small arsenal of instruments close at hand.

Hearing the two compositions on Sound Cloud, ’I wanna rock you’  and ’ Inner senses’, it is clear that ‘Low Signal’ make good, solid, no nonsense, well-constructed indie rock .No (apparent) sampling of cement mixers, or experimental twists on the dub step genre, make up the portfolio then-at least, not on the two tracks here.

What shines through, though, is that this is clearly a sound that comes from someone who is not only very talented, but loves music- probably to beyond the point of obsession.

Another element, that captivates me slightly more than anything else about the music, though, is Gasparic’s voice; the sound and manner of which isn’t too dissimilar to that of ‘Primal Scream’s’ Bobby Gillespie.

Of the tracks I have heard, there is something wonderfully uncomfortable about how the elegantly wasted sounding vocals snake their way across rhythmic guitar lines, and between (guitar) solo wig outs, which all saunter above tight rolling bass and drums, (but mainly in the last third of the songs, with regards to the wig outs, that bring each composition to an almost anthemic close).

The lyrics themselves are, to me, slightly offbeat, slightly catchy, slightly poppy- and slightly throw away. Far more random than directly literal, they seem to have been crafted to fit abreast the music, rather than the other way round-and, coupled with the vocal deliverance, work well with the tuneful whole, to do what, in my mind, good music does best-which is to ignite the cerebral cortex with atmospheric imagery and feeling, as your ear holes hoover up the whole sonic plethora!

Ultimately, listening to this band makes me wanna skive off work for a couple of days, meet up with me mates, get exceedingly drunk, smoke fags and stand around in a hip pair of shades aiming to look like I'm drop dead cool - trying to impress girls, and getting kicked out of indie clubs for dancing like The Stay Puft Marshmallow Man from ‘Ghostbusters’, convinced that I’m guitar music’s answer to John Travolta.

Surprisingly, this project currently seems like a really low key affair. At the moment, ‘Low Signal’ have less than a handful of followers on Sound Cloud- and, unless I’m mistaken, scant exposure anywhere else!

This is all a bit of a travesty, really, and begs for a few hungry questions to be readily answered. Is there an EP? Is there an album? Has Mr Gasparic constructed an exciting live band-or is he going to get one together to play live with? If so, are they gigging-and where?

In short, ‘Low Signal’- I want to hear more!-and in spades, now that I’ve heartily consumed a fill of the two tantalising scoops currently on offer!

Review by Sam Slattery

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Who-and what-are ‘Nothing But Aces’?

This was a question that I pondered, after spending a little while listening to their music. I had a flick through the internet, and found out that they were evidentially a band, convened by a producer type in his late twenties. I could find little more than that, which only served to heighten my interest in their music.

Don’t approach their oeuvre thinking that you’re going to be able to lay back on your sofa, close your eyes, and be embraced by gentle grooves and whale noises. Instead, imagine that your room is full of seven year olds, blitzed on Panda Pops, and you have more of an idea what you’re dealing with! The music is energetic, fast, takes no prisoners-and is constantly demanding your attention!

Essentially, ‘Nothing But Aces’ make epic, no nonsense, electro dance music, with a definite nod towards industrial, heavy rock elements, and with a sound that suggests a band who appear to have an unconditional love and appreciation of 90s dance music. Indeed, I think when first hearing the songs posted on SoundCloud, Nothing But Aces reminded me of Manchester band ‘Jesus Jones’, mixed with rave-era act ‘Altern8’, and with echoes of ‘The Prodigy’. (Some of the selection of tunes I heard featured the luscious vocals of Shabin Bader, probably most notable for her vocals on Prodigy’s 1997 smash ‘Slap My Bitch Up’).

Each track is underpinned by a rock steady saddle of sturdy bass and beats, above which ride all manner of sonic delights, including heavy guitars, which are sometimes tampered with to within an inch of their lives, keyboard signatures and samples, and often really interesting additional percussive elements, notably in the instrumental ‘Nothing But Aces’ where, approximately one minute sixteen seconds into the composition, what appears to be a sweet tabla sound is dropped into the mix -disappears after a time- and returns again a minute and a half later, bringing a welcome little pick me up to the whole exciting elixir, and another sonic excuse to swing yer pants!

The titles and lyrics, of some of the songs, suggest a socio-political lilt- and one that serves to add extra drama to the whole cacophony.

Thus, it maybe seems like a flippant thing to say but, for me, this is music that would find most appreciation with people tanked up in the dance tent of a festival, or a sweaty club; or any other arena where the clientele are looking for excitement beyond the piss poor R’n’B, hip-pop infused rubbish that appears to pollute the airwaves of many a provincial dance floor, these days.

Wiping the sweat from my brow, after bopping about my house with ‘Nothing But Aces’ blasting through my head phones-and with a smile on my face that The Cheshire Cat would be jealous of, I ponder what is going to happen next? Are ‘Nothing But Aces’ gigging? If so, where can I source some tickets? 

Review by Sam Slattery

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Nine Lights

Liam Whitby, Dan Thompson, Sean Booth and Jack Ford are the four boys from Western-Super-Mare who make up Nine Lights. The guys met at Western College and after playing many gigs in the South West they are now attempting to break the festival scene. The band managed to get to the finals of Avon and Somerset Police Live and Unsigned and took the bid to make it to Glastonbury. Unfortunately they were pipped at the post but after listening to their music, it is by no means the last chance for them.

‘Hanging on’ is the bands most popular song and it is clear to see why. Liam Whitby’s vocals are smooth and relaxing, with an air of Stevie Wonder and Adam Levine (of Maroon 5), whilst the energetic music from Dan, Sean and Jack give it another edge. Nine lights have thrown together their influences and produced a unique sound that takes listeners on a rollercoaster ride through this track. ‘Hanging On’ seems to fit into all situations, from taking in the sun on a hot day, to it blasting out on a drive somewhere while you hammer the steering wheel, praying it turns into a drum. It’s difficult not to tap you foot and sing along, the chemistry of the lads comes through and makes you just want to join in.

‘Foolish’ is another of the boy’s tracks and it doesn’t disappoint either and I think there will be a great deal more to come from this band, I very much hope there is! An album from these guys could prove to be a soundtrack to any road trip or summer break.

Be sure to check out Youtube for their official video of ‘Hanging on'.

Review by Claire Walker

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New to EH - Get Cubs

Get Cubs

Get Cubs debut album 'To The Mountains' was released on November 12th and features tracks tracks such as 'Mañana' which is an upbeat, feel good song. Great for starting off the album, it really makes you want to listen, while not being too in your face. As a student, this is the kind of indie music I'd listen to while I was studying, or have playing in the background when I meet with my friends. It just gives of such a good atmosphere and really makes you feel that everything is on the up and up.

'Cinnamon Girl' is another one of my favourites due to the skilful drum beat which hooks you from the beginning. The song's slow start gradually picks up a growing beat, leading into a lovely mix of vocals and instruments that are intertwined in such a way, that you really don't know which you like best. 

'Delilah', on the other hand, starts with the complete absence of music, this however, does well to accentuate the uniqueness of the singer's voice. Again, the beat picks up pretty quickly with more mechanistic vigour than the previous songs.

'I Can't Tell' is very rambunctious, the beat is faster and, while the musical rifts are more defined it does not hinder the vocalist in any way. The result is an energetic, somewhat rowdy dance track.

Track 7, 'Plastic Parade' really strips things back to the basics. The two most noticeable elements being the lead's voice and a very well played guitar. I find myself drawn back into the indie feel that is very present throughout the entire album, very soothing yet still up beat. It's not your everyday genre, but real genuine, thought provoking music. And yes, the instrumental drum beat at the end of the song may be the best thing I've heard in a long time.

The final track on the album, 'Lucy' is a perfect closer. The mingling of vocals and music does well to soften the track, it's not as boisterous as the other songs on the albums, and even at it's most energetic periods the song still holds some subduity, which I think really shows what the band is capable of. 

Personally, I'm not much of a CD person myself, for me my ipod is my life, but this may just be the album that turns things around for me. After what I've heard it's safe to say that I will most definitely be purchasing a copy of the album for myself very soon. 

Review by Amy O'neill

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Electric Harmony

Three Card Trick

Being a long-time lover of country music I was delighted to hear Three Card Trick's "Caffeine, Nicotine & Alcohol", the smooth tune of the acoustic guitar combined with the rougher keys typical of the rock genre provided a rather sensual edge to what could have been just another country song and made it into something much more. 

On the other hand, the band's next song, "Man, That Boy Could Play!" has a much more funky, jazz style. The rhythmic tune is very contagious and before long I found myself singing along to the chorus. Again, it's the guitar playing that really sells it to me, although it's used in a completely different way than in the previous song. 

Of course, we all like to play a little "Fast and Loose" and this song is great for getting a little pumped up before you go out. The rhythm and the lyrics just make you want to get out there and dance, and for some reason it made me want to go and re-watch Footloose, weird huh? but a great addition to the band's Rock collection all the same.

From the minute I heard the first guitar rift in "A Mile In My Shoes" I knew it had to be Blues, and then the singing began and my God, I felt like I was in some mow town club in the deep south,  the lead's voice is absolutely perfect at capturing that rough, almost smokey element that is so integrated in all great blues artists. Just over the two minute mark another great guitar rift comes in and just ties the whole thing together into the brilliant blues-rock hybrid that it is.

The final song I listened to, "I'd Rather Have Money Than Fame," was a great closer to me. It still held that great rock quality but also managed to wind it down to a slower pace and allow me to really appreciate the vocals of the band. I listened to this song so many times that I can probably tap out the beat by now. But that being said, it is a really great beat, and that combined with the soothing vocals and skilful drums leaves a very good lasting impression.

For anyone out there looking for great music with a more 1960s feel, this is the band for you.

Review  by Amy O'Neill

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ThisisDA

ThisDA is a Hip-Hop artist with extraordinary talent in music. A rapper from Bristol who is an extremely hard worker. Having a passion for rapping since 15 and following through in doing what he loves to this day, you can tell he's put a lot of time and effort into perfecting his songs, spending time in the studio by himself working on his music; and in the end it definitely shows, from the beats to the lyrics. 

The first song I heard by ThisisDA was 'Algorerhythm' which is also made by 'Mankub Beats' and I've got to say, I was drawn in. It was one of those songs you just had to listen to all the way through! It had a smooth tune with an amazing beat where you found yourself smiling and nodding your head. For anyone who loves a strong, heavy beat, ThisisDA has your kind of music. 

I like to think that if you had your earphones in listening to this song, you'd parade around dancing, probably like an idiot, but you just couldn't bring yourself to care if anyone saw, because its just one of those things you have to do. I really do like this, and you can see in his work he's dedicated. 

ThisisDA and Mankub have a EP coming out soon, so watch out for it and keep your ears open, it'll be called 'Super Arkane' and we can't wait to hear it! 

Review by Ellise Kilpatrick

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Rolled Up 20s

Anthem full Stadium Rock at its best! This is the best way to describe this wonderful 4 piece band. 

Originating from Edinburgh and formed in 2009 this is a superb 4 piece band consisting of Dean Krumins (Vocals), Robert Flavell (Lead Guitar), Derek Smith (Bass) and newly recruited Michael Macintosh (Drums).

Having listened to Rolled up 20s highly addictive pure rock and roll album several times it is hard to single out any particular highlights as the whole album is a complete gem, my favorite tracks being Lock Down, Gypsy Tinker Traveling Blues, I want it this way, Sing for Sixpence, Good Advice, Long Way Home and Old Before My Time.

Overall I found it is impossible not to love Rolled Up 20s album which is jam packed with stadium rock esc vocals, superb drumming and superb guitar riffs.  The whole album includes lots or great air drum and guitar moments.  Within the bands sound it is easy to identify the influences of great stadium rock bands, with certain guitar parts sounding very similar to The Edge’s sound within U2 and certain vocals sounding not dissimilar to Bon Jovi.  That said, this is a band destined to achieve great things in their own right and listening to their album it would be all too easy to mistake Rolled Up 20s for a massively world renowned Rock band at the top of there game.

To sum up, Rolled Up 20s self titled debut album is pure rock and roll and a must listen for any lover of rock music and in particular stadium rock. Remember the name because these boys are going to be huge! 

Review by Karl Newton 

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Scott Tulloch

Scott Tulloch hails from Edinburgh, the land of the Fringe. It’s not a place that’s alien to the new and the alternative so the artistic ambience of the city probably had something to do with Scott’s slant on electronic composition. The music of Scott Tulloch is not bad but it’s probably still en route to being really good. As a body of work it is still a work in progress. The foundations have been laid and the framework of potential has been erected but cladding and fitting out is still required to complete the edifice.

While it’s appreciated that this is the work of one man with his laptop there is a feeling that a little more is required. It’s an excellent achievement but to reach out to the masses and penetrate the vast cosmos of music that daily compounds the expanding universe of sound it could benefit itself from expansion and variegation.

One of the better tracks is ‘Heliopause’, which is actually a kind of boundary in space around the solar system. It’s a number that has quite a space-age feel and it builds nicely into an aural landscape evoking all things science fictional and space-ship. However, albeit that computerised technology is a wonderful beast and widely used to compose music, the danger is that machines without hearts can be allowed to make music without heart as well. The joy of being human is the unavoidable imperfection. Drum machines are flawed by a clinical precision that lacks the organic vitality of real hands holding real sticks and hitting real skins. The imperceptible carotid pulse of red blood corpuscles somehow adds the haemoglobin of warmth and life.

Such clinical effect is aggravated by the absence of vocals and ipso facto some of the tracks could possibly gain much by the addition of a voice. The music is bubbly and upbeat. Typical is something like ‘coffee’, a catchy number with a nice bit of funkiness about it. However a little shadow and cloud would lend respite to the endless sunshine. Cloudy skies are more interesting than blue skies.

It would be an absolute truth to say much of this stuff is either a soundtrack without a film or incidental music without the programme. Perhaps this is where Scott should concentrate his efforts but there is also the feeling that if he could produce another ‘Dark side of the moon’ he’d be more than happy. Coincidentally the sleeve image of a man frozen mid-dive into a swimming pool is very redolent of the work that Hipgnosis used to design, specifically for ‘Wish you were here’.

These are songs without words and instrumentals are inevitably open season for thinking up wacky titles. Hence one can only imagine what lateral stream of consciousness can come up with ‘I want to be a marine biologist’ when there are no words to give any such suggestion. There thus appears to be an underlying desire to be something cerebral and significant, but to realise this ambition will need a little more bite and a slightly darker edge. A piece like ‘Uppercut’ shows hints as it has a bit more beef and an interesting rhythm.

As mentioned earlier there are clear leanings towards use as visual accompaniment so it would be a rash person indeed who would deny the possibility that Scott might circumnavigate the tedium of trying to make it in the mainstream and one of his arrangements suddenly appearing on a Lloyds TSB advert. Watch and listen!

Review by Peter Heydon

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Stomphouse Sauce

Emancipation liberated the music of the slaves and the blues were set free. In a nutshell the rest is history and over one hundred years later people are still picking up guitars, protesting against injustice and transmuting their emotions into music. Whilst there is nothing to prohibit anyone playing this stuff it always sounds better when it smells authentic. The likes of Eric Clapton might occasionally turn out some mean blues but when he’s chauffeured home to his mansion afterwards and plays at being Lord of the manor it falls short of integrity. That sense of hunger and anger has been replaced by the bourgeois comfort of coiffure and manicure.

Stomphouse Sauce delivers a sound which is still attached to the afterbirth.  Amniotic fluid remains stuck to their skin and they clearly aren’t worried about whether they might get a knighthood or if the new swimming pool will be completed on time. They are still paying their dues in time-honoured fashion and although their music might lack the polish of big studio backing it has the sheen of sweat, and that makes it glister brighter than any fading star.

There is a barn-dance thrash to some of their stuff but the roots are evident. This isn’t music designed to be played on cutting edge technology in an acoustically perfect room. This is meant to be played on a cramped stage in the beer-swill of chatter and gloom. The world is obsessed with packaging nowadays. The contents are secondary, as long as the wrapper looks good. The same is true of music. Production values have reached unbelievable levels and yet so much of what is being manufactured is sewage. Stomphouse Sauce isn’t trussed up like a Christmas turkey that’s full of water yet devoid of taste. They are very, very tasty. They are David McHarg on guitar, Kevin Fisher on drums and John Mackay on vocal, harmonica, fiddle and guitar.

John’s vocals are sometimes more of a growl, in the vein of Nick Cave or Tom Waits, sweet with menace and mayhem, and clearly he gargles with tin tacks before a gig. Some tracks, such as ‘Death comes a creeping’ owe a debt of gratitude to long forgotten stalwarts such as Blind lemon Jefferson , Charlie Patton, Blind Willie Johnson and Robert Johnson, from way back in the first decades of the twentieth century. The music has acid in its belly. Fire and brimstone greases its pistons. The threat of eternal damnation being hurled from the pulpit is a serious threat. It’s time to lock up your daughters.

A track like ‘Preachin’ Blues’ has an air of Alabama 3 about it, a bit of hokum, a bit of country, a bit of gospel. Who cares about purity? There is a certain incestuous blood link to them all anyway so it’s never surprising to find them all in bed together. Enjoy the romp. The guitars show all the mercy of a guillotine blade and Kevin’s drum-kit is like the engine of a muscle car, shaking the whole damn thing with petrol consuming thirst. ‘Set me free’ and ‘Aint no good for me’ sees that car heading down the track with no respect for health and safety, just a remorseless joyride of energy. This isn’t simply toe-tapping music; this lends itself to totally sinuous convulsion.

And of course John’s harmonica whoops and hollers on most tracks with a louche lissomness. No coincidence that an instrument played with the mouth can mange to pout and pucker its lips in lithe seduction. Music like this has always had a saltiness about it that acts like a grounding rod for the electrostatic atmosphere generated by their overloaded amps. There’s a maxim as old as the blues itself - what’s sauce for the goose is sauce for the gander. Stomphouse Sauce - apply liberally and feast well. 

Review by Peter Heydon

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