'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

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Electric Harmony's Top 20 Tracks from 2012

Audible1

'Stranger' Feat. Eva Lazarus

It’s all about new things. That’s literally an oversimplification when trying to describe life, or at the least a statement of what makes life interesting. New things, new experiences, that step into the unknown.

As grand and overbearing as this introduction might seem, that’s the first impression I received when I sat down to write this review of Stranger by Audible1. See, normally, the guys at Electric Harmony get really excited about new musicians they’re working with and ask me to take a look at their work as a whole; which I love writing about because I can hear the evolution of their sound and pick out common characteristics and themes and so on. But this time, I’ve been asked to take a listen to just the one track. From an act, I am fairly ashamed to admit I only had a peripheral understanding of: Audible1 - the stage name of the incredibly talented Alex Norgate.

You know when you’re either watching a movie, or playing a computer game or listening to an album and you’re on the fence about it? You’re not entirely sure what to make of the creative item you’re experiencing, like your opinions are still somewhat fuzzy and vague and haven’t quite fully formed yet? Then there is one moment that seals the deal for you and completely influences the way you ‘see’ that movie/album/computer game. Well, while listening to Stranger that moment occurred for me at some point around the 1:38 mark.

Up until this point, I will say that I was very impressed with the track, but it hadn’t quite got me hooked. The vocals of featured artist Eva Lazarus (leading lady of Dub Mafia) were beautifully sweet against the sharpness of the rhythm, and the Drum n Bass beat that deftly seems able to bend time to its will is a great way to subtly shift the momentum of the track, but I didn’t quite feel connected to the track. It wasn’t something that I would naturally come back to. Now, don’t get me wrong, this isn’t any criticism of the track itself – as I’ve stated before around here and as you’ve probably worked out by now, Drum n Bass music, and other music in this general area aren’t a particular favourite genre of mine unless I’m in the right mood for it.

But what I do like, regardless of mood, is music that gets clever. Music that defies expectations. See, at this 1:38 mark, halfway into the track, I could see the music going one of two ways. Returning to its introduction style of spacey vocals, with a much more low-key sparse accompaniment, or continuing on with the high BPM approach. What I didn’t expect is the track to suddenly infuse itself with a properly Ska/Reggae style bridge. Brilliant! I’m guessing that this approach might have been done somewhere else before, so forgive my poor background knowledge of the genre, but this is the first time I’d ever heard someone combine a ska vibe into a Drum n Bass track, and I love it. It’s exactly what the track needed to transition from being a technically excellent track that was really very good, to being a track that makes me want to tell people about and that I’m going to remember for a long while to come.

So new things. Sometimes it’s as simple as defying expectations to create a new experience for the listener, which Audible1 has certainly done for me. Whether you’re like me, a dabbler of Drum n Bass, or a hardcore fan of this style of music, you could definitely do worse than spending a couple of minutes to check Stranger out.

‘Stranger’ is released worldwide on the 17^th December 2012, and is available via all the usual channels, including iTunes and Amazon. The official video will also hit YouTube the same day!

Review by Paul Barnes

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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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