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Ramblings of a Journalism Student...

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NME 30 Pictures Feature: The Greatest Concert Films Ever

Contributed the following:

Nirvana – Live At The Paramount': Released in 2011, as part of 'Nevermind' 20th anniversary celebrations, this '91 performance was shot on 16mm film, giving the movie a rawness fitting of Cobain's throaty screams. From the opening guitar scrawl of ‘Jesus Doesn’t Want Me For a Sunbeam’ to ‘Endless, Nameless’, which featured only as a hidden track on 'Nevermind', it's an essential for fans.

Jay Z – 'Fade To Black': 2004 was supposed to see Jay-Z bow out from music in a one-night spectacle at Madison Square Gardens, having decided to "retire from the industry". Of course, that didn't happen. But 'Fade To Black' still wows: a modern rap icon operating at his thrilling peak, bouyed by guest appearances from Beyoncé, R Kelly and Pharrell, to name a few.

Manic Street Preachers - 'Everything Live': Cited by Nicky Wire as the moment he knew the band had “made it”, this searing 1997 performance film, shot in Manchester, was a coming-of-age moment - proof of the group's phenomenal resurgence following the disappearance of Richey Edwards and the next step on their unstoppable rise. An essential for any Manics fan.

The Band - 'The Last Waltz': Directed by Martin Scorsese, this “farewell concert” (they later reformed) captured a grand send-off for Levon Helm's trail-blazers, bolstered by an array of big name guests, including Neil Young and Eric Clapton. The movie springs into action with the title card: “This film should be played loud!” Do as you're told and you're in for a roots rock treat.

Note: this feature was written for NME on 16th October 2014 and can also be viewed at http://www.nme.com/photos/30-of-the-greatest-concert-films-ever-from-led-zeppelin-beastie-boys-nirvana-and-more/361766/1/1

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NME News Piece: Afroman records new version of 'Because I Got High' to support the legalisation of marijuana

Afroman has released a remix of his weed-themed novelty song 'Because I Got High' in support of the legalisation of marijuana. Thirteen years have passed since the rapper's original version of the song reached Number One in the UK, with this new 'Positive Remix' detailing with what the singer considers to be the advantages of marijuana legalisation. Speaking to Rolling Stone, Afroman said: “'Because I Got High' put me on the map – it’s what got me a record deal, a Grammy nomination and made me a household name." He continued: "Getting high, and rapping about it, got me to where I am today and I'll be forever grateful for that. With the current political battle with States trying to legalise weed, I thought it was a good time to educate – or set the record straight – about marijuana’s benefits, which is why I wanted to remake the song." The new version now includes lyrics like: "I had problems with glaucoma/But then I got high/Smelled the cannabis aroma/And I got high/Glaucoma getting better and I know why”. Two US states and the District Of Columbia will be voting to legalise marijuana on November 4, while Florida will be voting on a medical marijuana amendment. Sabrina Fendrick from the National Organization For The Reform of Marijuana Laws (NORML) said: "NORML is thrilled to have brought Weedmaps and Afroman together to create this unique cultural collaboration merging art, entertainment, and activism into a single campaign that highlights many of the positive benefits of cannabis, and raises awareness for the legalisation initiatives coming up in the 2014 November elections." Watch the 'Because I Got High (Positive Remix)' at https://www.youtube.com/watch?v=d8AuMOGx_KY

Note: this article was written for NME on 16th October 2014 and can also be viewed at http://www.nme.com/news/afroman/80439

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NME News Piece: Scott Walker to score new Robert Pattinson film 'The Childhood of a Leader'

Scott Walker is to score new film The Childhood Of A Leader starring Robert Pattinson. The Childhood Of A Leader will be directed actor Brady Corbet and stars Stacy Martin (Nymphomaniac), Tim Roth (Reservoir Dogs) and Bérénice Bejo (The Artist) alongside Pattinson. According to ScreenDaily, Corbet's directorial debut "tells the story of a young American living in France in 1918 whose father is working for the US government on the creation of the Treaty of Versailles. What he witnesses helps mould his beliefs and the film bears witness to the birth of a terrifying ego". Billed as "a chilling fable about the rise of fascism in the 20th Century", The Childhood Of A Leader is set to start filming in Budapest early January 2015 and is scheduled to be released later that year. The news of Walker’s latest project comes just days before the eagerly awaited release of 'Soused', his brand new collaboration with Seattle-based drone metal band Sunn O))), available via 4AD on October 20. 'Soused' was produced in London in early 2014 by Walker and long-term friend Peter Walsh (who has worked alongside Peter Gabriel, Stevie Wonder and Spandau Ballet) alongside musical director Mark Warman of The Royal Academy of Music. Note: this article was written for NME on 16th October 2014 and can also be viewed at http://www.nme.com/news/scott-walker/80416

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NME News Piece: Johnny Lloyd to support Jamie T at Alexandra Palace

Former Tribes frontman Johnny Lloyd is to support Jamie T at Alexandra Palace in London next month (November). The Jamie T support slot will take place on November 15, the second of two dates the singer-songwriter is headlining at the north London venue. Lloyd will be playing a a string of live performances this November, with dates in Bristol, Leeds, Birmingham and Brighton also scheduled.  Lloyd will play six UK shows, starting at Bristol's Birdcage (November 13) and ending at London venue The Stillery (November 19). The full list of dates is as follows: Bristol, Birdcage (November 13) London, Alexandra Palace (supporting Jamie T) (15) Leeds, Oporto (16) Birmingham, Hare & Hounds (17) Brighton, Prince Albert (18) London, The Stillery (19) Lloyd has also revealed the brand new video for new song 'Oldest Man On Earth' which sees him working once more with Tobias Ross-Southall, the same director who collaborated with Lloyd for 'Eleanor' earlier this year and has previously worked with The Vaccines. You can view the video now at https://www.youtube.com/watch?v=J5GAGJ7mqJU

Since the Tribes split in 2013, Johnny Lloyd has released solo EP 'Pilgrims' and recorded two EPs mixed by Mystery Jets' Blaine Harrison. Note: this news article was written for NME on 14th October 2014 and can be viewed at http://www.nme.com/news/various-artists/80383

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The Search for London's Best Drinks: The Rockwell Bar at The Trafalgar Hotel, Trafalgar Square, London

Situated in the heart of London, the Rockwell Bar at The Trafalgar Hotel provides a space for every occasion. With a modern, minimalist design and monochrome décor, the bar provides the perfect atmosphere for a business lunch or even for a drink and a laugh with friends throughout the day. And with 23 cocktails on the menu – and with off menu drinks also catered for – there really is something for everyone at the this destination bar.

I spoke to bartender André for his opinion on what every customer should sample…

“Mezcal”, he told me, “has become very trendy over the course of the summer. It’s like tequila but more smoky; more traditional. And lots of people are showing it off at bar shows and cocktail competitions around the world”.

For one of the Rockwell’s signature drinks – ‘La Mezcla’ – Mezcal, banana liqueur, grapefruit juice, fresh lime, honey syrup and egg white for texture are shaken without ice to break down the proteins of the egg white, allowing more texture to develop in the drink and then shaken with ice to cool and blend the ingredients.

I wasn’t really a fan of anything that concerned tequila or mezcal before but I was thoroughly surprised by the warmth and depth of the flavour combinations within the drink. Garnished with a banana slice and blow-torched caramelised sugar (giving yet another flavour and aroma), it actually appeals to pretty much every sense. And for just £11.50, it’s extremely affordable too!

Speaking of aromas, if you’re a fan of gin, be sure to ask for a tour of the bar’s extensive collection. During my visit, I was lucky enough to be introduced to a new (now favourite) gin. The Spanish Gin Mare plays host to the complex flavours of thyme, olives and basil, making it an incredibly aromatic drink. Don’t overdo it with the tonic – the flavours are there to be enjoyed!

Back to the world of mixology, André makes me one of his favourite drinks on the menu: the ‘Silk Touch’ cocktail: “It’s one of the most sold drinks on the menu and it’s incredibly smooth and refreshing”. With hints of wild berries, citrus notes and grape textures it’s quite a complex drink on the palate. It’s made with Bristol Cream Sherry (unusual in a cocktail), sweet port, fresh lime juice, lychee juice and a touch of caramel syrup. Again, the cost is £11.50 plus service charge.

‘Silk Touch’ is very rich but this is well-balanced by the tart citrus notes produced by the fresh lime. And it looks exquisite. A great deal of care is put into every cocktail on the menu. Even the “simple” orange peel perched on the side is prepared in origami style and takes over a minute to construct.

The staff at The Rockwell are very versatile and always ask the guest questions about the cocktail that has been prepared for them. “If it’s too sweet”, André explains, “we can add different ingredients to make every drink we serve as perfect as it can be for any given customer”.

The main focus of this review has been on The Trafalgar Hotel’s ‘Rockwell Bar’. However a visit to The Trafalgar is in no way complete without a visit to its magnificent rooftop bar, ‘Vista’. Overlooking Trafalgar Square – and with a botanical citrus rooftop garden recently installed by Tanqueray for weekly gin-based cocktail masterclasses – it is a perfect place to meet and unwind all year round (weather depending, of course). £15 per person, lasting about 45 minutes and includes two cocktails. Sessions done in groups but you can enquire about more private masterclasses. Anything is possible!

Please note that there will almost always be a long wait to get up to Vista once it’s at capacity. But what better place to wait and drink than at The Rockwell Bar directly underneath it?

The Rockwell Bar and Restaurant

The Trafalgar, 2 Spring Gardens, Trafalgar Square, London SW1A 2TS

020 7870 2900

Note: this post was written on 19th September 2014 and can also be viewed at http://www.thearcadiaonline.com/the-search-for-londons-best-drinks-the-rockwell-bar-trafalgar-square-london/

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The Search for London's Best Drinks: The Zetter Townhouse, St. John's Square, London

Walking over the cobbles of St. John’s Square, the pale blue door of The Zetter Bar & Townhouse peeks through a wrought iron gate. If it weren’t for the italicised writing on the door, you wouldn’t even know what you were looking at, as the Georgian exterior blends perfectly into the surrounding area. Upon opening the door, things get more and more impressive with every step you take.

The interior – specially designed by Russell Sage – oozes luxury and decadence. This is exaggerated to great effect by the mismatched bespoke armchairs, the roaring open fire and the quirky alcohol paraphernalia that is scattered around the bar. Match this with a warm atmosphere and a highly attentive staff (who will, without fail, provide every guest with a glass of chilled water on arrival) and you find yourself asking: “How could this place get any better?”. We spoke to head bartender Steve Pennack to find out more.

“For our cocktail menu”, he told me, “we look towards traditional English ingredients and we try to make and create our own stuff as much as possible”. As it turns out, The Zetter shares a laboratory with 69 Colebrook Row (owned by Tony Conigliaro who also wrote the drinks list for The Zetter).Take note that Heston Blumenthal recently said that “[Conigliaro] is a revolutionary at the forefront of a new energy in cocktail making”.

A great example of the bar’s inventiveness is ‘The Master at Arms’ cocktail, which blends Myers Rum with lab-made port evaporation and homemade grenadine. “What we do here”, Pennack told me, “is that we evaporate the alcohol from the port so that the drinker can enjoy the unique flavours with the cocktail being overpowered by too much alcohol”.

The best thing about the Zetter’s drinks list is that every cocktail on the menu has its own story and, even better, your bartender seems completely content telling you that story as he mixes and blends your drink in front of you. Pennack elaborated: “The Master at Arms is like the captain of a vessel. You could get whatever rum you wanted if you asked your average sailor but if you wanted the special stuff, you sought out the Master at Arms”. The cocktail itself is an embodiment of the finer things in life.

Next on the list of must-try-drinks was The Zetter’s twist on a Collins: The ‘Milk Collins’. Made from an infusion of Beefeater gin, homemade sweet milk syrup, lemon juice, sugar and soda, this delectable concoction is easy on the palate and goes down smoothly. It’s served long over cubes of ice. Great for all…unless you’re lactose intolerant.

Another interesting fact about The Zetter Townhouse, every cocktail’s story involves an illustrious, well-travelled lady called Wilhelmina who is said to have frequented The Zetter many years ago. It was Wilhelmina who sought out the Master at Arms for her favourite tipples and it was Wilhelmina whose love for all things Parisian and Absinthe who inspired the creation of ‘Les Fleurs du Mal’, literally translated from the French as ‘The Flowers of Evil’. Naturally, this was a drink I couldn’t leave without trying.

Made from homemade Rose-infused vodka, lemon juice, egg whites and a hint of La Maison Fontaine Absinthe and presented in a typical absinthe goblet, ‘Les Fleurs du Mal’ is both delicate and intense. Every sip comes with a unique balance of floral notes and a zing of high quality absinthe. Most importantly, each sip leaves you wanting another.

It’s not only the flavours that make the cocktails at The Zetter stand out, it’s the attention to detail. From the unique, specially designed Zetter Townhouse doilies to the extensive range of drink-specific glassware, there’s really no competition for this bar. It’s truly a cut above the rest!

Last but not least, I sampled ‘The Flintlock’. This one, Pennack explained, is “a homage to the firing mechanism in handguns of Georgian times”. The drink itself contains Beefeater 24 gin, gunpowder tea tincture, sugar, dandelion & burdock bitters and Fernet Branca Liqueur Bitters.

The Flintlock is a simple drink that focusses on those all familiar English flavours and for Tony Conigliaro, it didn’t need a garnish. Instead, Pennack told me, the Zetter buys in magic wool from “a little magic shop down the road…It’s something special that clients never really expect. Something to shock them, just as the jolt of the firing mechanism would have shocked the user of the gun”. Sure enough, I was shocked. Definitely wasn’t ready with the camera for this one! Combine an inch-wide piece of magic wool with a naked flame and you’ll be greeted by an explosive flame of up to ten times the size of the wool. As I said: a very unexpected ending.

To add further still to The Zetter’s long list of credits, it’s also relatively cheap considering the area that surrounds it. House cocktails – including those reviewed here – cost only £9.50 and, if there’s a cocktail that used to be on the list and the ingredients are still in stock, your bartender will honour the old £9.50 price tag. All other cocktails start at £10.50 for the classics such as the Old Fashioned and the Manhattan and the bar “try not to go above the £16 mark so as not to alienate any potential clients”.

If that wasn’t enough, The Zetter Bar & Townhouse is also pretty special for food. Award-winning chef Bruno Loubet has worked alongside Tony Conigliaro to create a tapas/sharing style menu that perfectly compliments the drinks list. Nibbles go from £2.50 to £4.50 and a sharing platter will only set you back around £10.

It’s safe to say that The Zetter Bar and Townhouse will keep impressing people for years to come. And it is most definitely worth a visit.

The Zetter Townhouse

49-50, St. John’s Square, London, EC1V 4JJ

020 7324 4550

Note: this article was written on 19th August 2014 and can also be viewed at http://www.thearcadiaonline.com/the-search-for-londons-best-drinks-the-zetter-townhouse-st-johns-square-london/

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The Search for London's Best Drinks: LAB Bar, Old Compton Street, London

Nestled into one of Soho’s many sidestreets, you’ll find the birthplace of one of the most famous cocktails in the world: the Porn Star Martini.

A little way down London’s Old Compton Street, London Academy of Bartenders (LAB) – originally set up as a school for the brightest and most promising bartenders and mixologists in the country – plays host to an incredible range of spirits and cocktails with a back bar boasting a selection of over 400 different bottles. And with over 90 cocktails on the annually-changing menu there is truly something for every taste.

We met up with General Manager Marco Piroli to find out more.

“We get a really wide range of clients here”, he told me: “and with the wide age range as well, we have created a cocktail menu that is affordable and can cater to everyone”. With a double spirit and mixer starting at a mere £7.50, LAB Bar really stands out from its expensive London surroundings. Even their bottled beers are cheap (£4-£4.90). And with innovative and great quality cocktails also on the menu, it really is worth a visit.

I tried two cocktails, the first was LAB’s signature Porn Star Martini. It is served traditionally with a chilled double shot of Italian Rizzardi Prosecco on the side. “When it was created”, Marco explained, “it was intended that the drinker should take a sip of the martini followed by a sip of the prosecco”. Of course, he was right: the marriage of the sweet passionfruit and vanilla infused cocktail with the dryness of the relatively floral prosecco made for a concoction that awakens every single tastebud. An exquisite classic.

The second cocktail I tried was at the other end of the scale, a brand new, experimental cocktail. Marco explained, “for a customer who has never come to LAB before, I would always recommend they tried two of our cocktails. One being the Porn Star Martini and then the other being chosen from the first two pages of the cocktail menu. These are the newest cocktails on the menu and they have all been thought up here”. Being a huge lover of all things rum, I naturally opted for a Jamaican-inspired cocktail: Jerk Sparrow.

The Jerk Sparrow oozes a rich array of flavours from the drinks ingredients, which includes; Smith & Cross Rum, Cocchi Vermouth di Torino, Velvet Falernum (a Bajan liqueur made from sugar cane, lime, almonds and cloves), lime juice, mango & jerk seasoning, sugar, all spice ‘Jamaica-pepper’ Pimento Dram and Angostura Bitters. The Jerk Sparrow is undeniably a complex cocktail to mix, but the quality and smoothness of the flavours makes it well worth the £9 asking price. Served on the rocks and  garnished with a twist of lime and some beef jerky, it’s not half bad to look at either!

Lab Bar

12 Old Compton St, London, W1D 4TQ

020 7437 7820

The full menu is downloadable via pdf at www.labbaruk.com/pdf/cocktail-list.pdf.

Note: this post was written on 30th July 2014 and can also be viewed at http://www.thearcadiaonline.com/the-search-for-londons-best-drinks-lab-bar-old-compton-street-london/

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Lucius - 'Wildewoman'

It’s hard to pin down Brooklyn-based indie-pop outfit Lucius’ debut album to just one genre. Some tracks on Wildewoman are slow, bluesy jams. Others are fast-paced synth-pop anthems. Overall, though, they have given us an extremely varied recording and its not half bad!

‘Go Home’, for example, is an amazingly soulful, well-produced track with blues influences and a deeply harmonised vocal score. ‘Hey, Doreen’, featuring a predominantly synth-reliant bass line, explores a whole other side to Lucius. And this side is truly excellent.

A little later in the album, we hear ‘Nothing Ordinary’: a rather fitting title. Its chorus, laced with falsetto vocals and high-pitched melodic wails, makes for a highly memorable sequence of riffs and vocals. If Lucius surface on any festival lineups this summer, this track is an unmissable one.

The next track, ‘Two Of Us On The Run’ is produced to have a far softer sound. It is focussed much more on the duo’s warm, soulful vocals, and the way the two harmonise with one another is incredibly moving. It is through this track, more than any other on the album, that the chemistry within the band shines through, most notably between the two vocalists, Jess Wolfe and Holly Laessig.

Another essential listen is ‘Until We Get There’. Opening with a simple guitar riffs that sounds rather similar to the style of Ben Howard, they then add the rich vocal pairing that we have come to love during the course of the album. When the drums kick in, mastered perfectly so as to not overpower the bass or guitar riffs, you can’t help but move your body to the beat. You just want to, as strange as this sounds, float.

‘How Loud Your Heart Gets’ is an incredible track with which to end this truly unique album. Listening to it, it’s easy to imagine that some day soon, Lucius could be sharing a stage with the likes of Arcade Fire. It’s that sort of uplifting euphoria we felt when The Suburbs was released. Lucius’ debut studio album is on that very same level. It’s just a shame that Lucius felt the need to include all the noise and feedback after the track instead of just fading out. They might have wanted to do something different, but it does somewhat detract from the effect.

This album puts you in such a good mood and, when it comes to an end, you can’t help but press play again. Noise aside, Wildewoman is fantastic in every aspect and is guaranteed to leave a lasting impression upon fans and critics alike.

Wildewoman is released on 31st March.

Note: this post was written on 18th March 2014 and is also available to view at http://thisissoundcheck.co.uk/reviews/lucius-wildewoman/

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Liars - 'Mess'

Although Liars formed in 2000 and released their first album in 2001, many people are only now hearing of the band. However Mess, their 7th studio release, is a very good time for said people to discover the experimental dance-punk three piece.Mess is one of the strangest, darkest albums released in a very long time. Quite frankly, though, it’s brilliant.

The fact that you may not have heard of Liars before is irrelevant in the end: each of their last three albums have departed drastically from the style of the former and Mess is no exception to this. The lead single – entitled ‘Mess on a Mission’ – demonstrates this perfectly. Listened to after the minimal sounds of WIXIW, you wouldn’t even realise that Mess was created by the same artist.

The album opens with ‘Mask Maker’ and, with it, a deeply disturbing, almost psychotic mix of commands: “Take my pants off, use my socks, smell my socks, eat my face off, eat my face off, take my face, give me your face, give me your face”. But by the time the synth fuelled bass drops into the track, you are lost in a sea of experimental craziness. Liars even manage to sneak in a sample loop of Tony Iommi’s cough that was used in Black Sabbath’s ‘Sweet Leaf’. As the track draws to a close and cleanly fades into ‘Vox Tuned D.E.D’ it becomes apparent that, although there has been another huge stylistic change to their music, Liars have not lost any of their talent.

The reverberating lead riff of ‘Can’t Hear Well’ blends perfectly with the slow droned vocals of Angus Andrew and sounds like a track that you’d be extremely happy to hear at your next slightly illegal warehouse rave. It’s the sort of sound that prompts a sort of euphoric state of contemplation.

Towards the end of the album, the 9 minute long ‘Perpertual Village’ really slows the pace in readiness for the phenomenal closer that is ‘Left Speaker Blown’. Liars, it seems, have a hugely successful habit of creating closing tracks that leave you wanting so much more, but not necessarily needing more. In the last minute or so of this last track we hear another list of commands, but they are far lighter than those we heard at the beginning of ‘Mask Maker’: “Say the word blue, say the word…”

This last segment introduces a sense of calm that isn’t otherwise seen in the rest of the tracks, and this calmness is an essential addition to the mix. It demonstrates Liars’ ability to be diverse, not only from one album to the next, but also within each as a separate entity. Both incredibly produced and unique in each possible sense of the word, Mess is an album that will earn Liars many more fans.

Mess is released on 24th March via Mute Recordings.

Note: this post was written on 17th March 2014 and is also available to view at http://thisissoundcheck.co.uk/reviews/liars-mess/

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The Pretty Reckless - 'Going to Hell'

Opening with a sound loop that fans can only hope is Taylor Momsen, Going To Hell marks the long-awaited return of The Pretty Reckless. And they certainly haven’t lost their touch!

From start to finish the overall sound of the band’s second studio album is extremely similar to that of their debut, Light Me Up. The production and the balancing of this sound, however, has improved greatly. It would seem that The Pretty Reckless have now firmly found their footings in both the UK and US rock scenes and, by the looks of it, they don’t intend to go anywhere soon.

Choosing only a few tracks to demonstrate the genius of Going To Hell was an extremely tough challenge. Every track on the album is brilliant, and each has remarkably different musical features from the next. The opener ‘Follow Me Down’, for instance, is laced with edgy guitar riffs and simple non-harmonised vocal scores, whereas a few tracks in, during ‘House on a Hill’, Momsen’s incredible vocal range is explored through some truly anthemic harmonisation. The diversity of The Pretty Reckless really shines through throughout this, their second LP.

The third track – entitled ‘Heaven Knows’ – features a call and response chorus during which you can really imagine how insane this track would be to hear live. Simple riffs and basslines support Momsen’s voice and a pre-recorded ‘audience’. Again, later in the album we are shown yet another contrast in style: ‘Sweet Things’ introduces us to a far heavier, more hardcore sounding band, with screamed vocals and technically challenging guitar riffs entwined with screeching wah-wah effected guitar solos. Bearing in mind that ‘Sweet Things’ doesn’t even see us reach the midpoint of this album, the track makes for some incredible listening.

‘Dear Sister’ seems a rather strange track to include in Going To Hell. It’s calmer, more full of emotion and less focussed on the hard rock aspects of The Pretty Reckless. In addition to this, it’s only a mere 57 seconds in length. It’s a really beautiful track and the contrast to the rest of the album really makes it stand out.

‘Why’d You Bring a Shotgun to the Party’ has to be a stand-out track on the album. It really gets you moving, and the response it provokes is almost euphoric; it makes your hairs stand on end and shoots shivers down your spine.

The album is brought to a close by a track entitled ‘Waiting for a Friend’. This is another seemingly odd track. It features a very stripped back, almost folky style of music, with only Momsen’s voice, an acoustic guitar and a harmonica. Yes: a harmonica. It’s a strange but rather refreshing twist in the story of The Pretty Reckless and this album, as a whole, stands to demonstrate just how diverse this incredible band can be. It’s damn near perfect.

Going To Hell is released on March 18th via Cooking Vinyl.

Note: this post was written on 15th March 2014 and is also available to view at http://thisissoundcheck.co.uk/reviews/the-pretty-reckless-going-to-hell/

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Paloma Faith - 'A Perfect Contradiction'

Paloma Faith’s latest album, A Perfect Contradiction, is exactly what the name suggests. Prior to this release, her music focussed solely on that beautiful, pure voice that has gained her so many fans. This album, however, combines this incredible voice with big-name collaborations and big-band style backing tracks. As an extra special treat, the deluxe version of the album even features four more stripped back versions of the tracks: it’s Paloma as you’re used to hearing her – just an incredibly soulful voice. This is the most powerful you will ever have heard Paloma Faith, and it’s really quite excellent.

Featuring Pharrell Williams, opening track ‘Can’t Rely on You’ really sets the bar high. To open with such a collaboration seems a brave move, but it’s executed perfectly. Come the third track – entitled ‘Take Me’ – Paloma Faith has every single one of her listeners wishing those two words were for them. The girl has serious talent and this album really shows that, both energetically and vocally. Think Aretha Franklin’s ‘Respect’ and you’ve got a similar sound and feel.

Later in the album, ‘Taste My Own Tears’ presents itself in all its spine-tingling magnificence. There isn’t really a song on the album that stands alone above the rest in terms of quality: each and every track is extremely well produced and balanced and they act – as all good tracks should – to showcase the majesty of their performer. In describing Paloma Faith, ‘majestic’ doesn’t even come close.

Soon after, ’Love Only Leaves You Lonely’ adds a beautifully melodic element of refrain to the album. Far slower than the tracks that come before it, and featuring a backing that is a simple, uncomplicated mix of drums beats and faint bass-lines, the track focusses itself wholly on Paloma’s special and unique voice.

The additional tracks featured on the deluxe edition – which include an amazing ‘exposed’ rendition of ‘It’s The Not Knowing’ – scream summer vibes. If music were to work in the same way as fashion, this album would be at the very height of the Spring/Summer collection of 2014. It’s the sort of thing you’d blast through a stereo at a summer barbecue: relaxed enough to act as background music, but energetic enough to kick any party off to a start. This may just be the best album Paloma Faith has ever produced. It’s truly remarkable.

A Perfect Contradiction is released 10th March via Sony Music.

Note: this post was written on 9th March 2014 and is also available to view at http://thisissoundcheck.co.uk/reviews/paloma-faith-a-perfect-contradiction/

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Interview: Racing Glaciers

At a very young age, the stadium-ready sound of Racing Glaciers has pleased the ears of fans and critics alike. Soundcheck caught up with frontman Tim Monaghan and talked about the history of the band, working with Barney Barnicott on EP Ahead of You Forever, and aspirations for the future. With a supporting slot on Dan Croll’s upcoming tour fast approaching and many new tracks in the pipeline, 2014 is quickly shaping up to be a very exciting year for this 5-piece from Macclesfield.

SOUNDCHECK: So where did you all meet as a band? 

TIM MONAGHAN: Excluding our drummer, the four of us have known each other for years, really. We went to school together back in Macclesfield. We’ve all been in the usual teenage bands and done loads of rubbish little pub gigs. When we started doing this Racing Glaciers thing it all started to get a bit more ‘proper’. That’s when we got our drummer in. He’s a guy that Danny (the guitarist) knew from uni. He’s from down South (Guildford) but he fit in really well. We’ve been playing together for so long now it feels really natural up on stage and I think that really comes across in our performance.

SC: How did the decision to start Racing Glaciers come about?

TM: Quite slowly really. It wasn’t like sitting down and saying we needed to start a band: it was more a kind of realisation that we all had… We’d been doing little bands as a hobby before but over summer 2011, we were travelling and chatting about music and we thought it’d be really nice to have something that was our own: a collection of songs we really liked. So, in that, it was more a decision to write an EP than to actually be a band.

We had a chat, starting planning and started to record the EP ourselves. It was all very loose. None of us really knew how it was going to turn out: It was just something to do over the summer at first. We took 10 days out, went to Matt’s house, set up all the gear in his living room and went for it. We were really proud of how it all turned out! Now we’re a proper band, it feels like it’s what we’ve always wanted to do. We were really lucky to have this chance!

SC: How did you come up with the name for the band?

TM: We just couldn’t just release an EP without a band name… We had quite a lot of terrible name suggestions! Racing Glaciers just sounded nice! It wasn’t anything too forced. Just a nice vibe. It also rhymes, which is nice.

SC: Was there any inspiration behind it? 

TM: We all enjoyed the image it conjured up. Travelling, a sense of ‘bigness’. A lot of people are now telling us it’s quite a grand name to have… They think our music reflects that a bit so that’s pretty humbling to hear. It’s the sense of things on a grand scale and it’s natural. It’s just a name in the end though! We like it!

SC: How did you get discovered & signed?

TM: We were all really excited about releasing our first EP and, obviously, we told all our friends to take a listen. We popped it online on a Sunday in September 2012 and it just blew up! After a few days we were starting to get loads of calls and emails from people: booking agents from Switzerland and management companies asking who our live agent was! None of us were really prepared for that! The EP turned out a lot better than we expected it to!

Within the first week we started to get loads of different offers and we started heading to London quite a lot for meetings and chats. None of us knew – we still don’t really know – how this industry works, so it was more just getting a grasp on what we needed to do to do this thing properly. Now we’re working withTurnFirst and we’ve got management, booking agents and stuff like that. It’s really helped getting this team together! We can relax and just focus on the music and moving forward professionally! We all live in a big house together – a country house that a family friend is going to renovate in two years or so. As we’re living there, we have all our gear set up on the top floor so we play and write together pretty much every day! It’s constantly evolving and taking a direction none of us saw happening. It’s great! We’re all so stoked to see where it’s all going to end up!

SC: You mentioned the team… What was it like to work with Barney Barnicott?

TM: With this latest EP, we planned to do it all ourselves again at first but then we decided that we wanted to try something a little different! We recorded it all ourselves at Matt’s house and then went down to Barney’s studio just outside of London. That was great – there was much better gear in there. He had this big 48 channel SSL desk and a really nice mixing room. It was really nice to have someone else’s input: To have this new creative voice was quite a breath of fresh air. He took the songs in new directions we hadn’t thought of ourselves and the outcome was really exciting for us as a band.

SC: What were the main influences behind the new EP, Ahead of You, Forever?

TM: At the time of writing it, we were still all at uni. Obviously, though, the band was really taking off at the same time so there was this kind of stress behind it for all of us; trying to balance degrees with our musical careers. We were all thinking to the future and we were really excited to go on this journey together.

The themes in the EP kind of cover ‘stepping into the unknown’ and the risk taking element. I think you can hear that in the songs, especially ‘New Country’. And then musically speaking, we were listening to The National and Bon Iver a lot at the time of writing so we think that kind of comes through a little… we all have pretty different influences though. We like to hear what fans hear in our music though – we get some people coming up to us and saying we sound kind of like The Killers or some electronic outfits – we’re exploring that at the moment – playing around with different synths and effects. It’s all really down to the listener in the end.

We’ve got a support tour for Dan Croll coming up – he’s toured with Imagine Dragons, so it’s cool to have that experience. Gigging with people who’ve tour with such great bands already tends to alter our sound and add other influences to our work. We’re really starting to get into the scene a bit more. We used to be just a studio band so it’s really nice to be on the road and making friends in the industry! You can be quite easily inspired while touring so that really helps with the writing side of things.

SC: What would you say makes you different from the next up and coming group of lads?

TM: I think the fact that we’re all so thrilled to have this opportunity but that we started the band just to enjoy the music ourselves: we don’t really care for profit that much. Some bands these days are so focussed on making it straight away: On overnight success. I think we’re more of a rare thing these days. We’re just going with the flow and seeing where the adventure takes us, really! I think you can hear that in our music. People tend to pick up on the fact that our tracks don’t sound forced. They flow naturally and that’s quite refreshing. Things can get so commercialised these days! It’s like we’re back in the 70s! Bands were just doing their own thing, for fun and if people liked it, they liked it!

SC: Some bands have 5 year plan… Do you have anything like this? Where do you see yourself 5 years from now?

TM: We don’t at all! We don’t even have a two week plan! Things are always changing and progressing. Now we’ve got a team behind us, we’ve got a properly organised calendar of all different gigs and recording days but a lot of it is just about reacting to what’s happening around us! It can be good to plan, but when that’s not possible you just have to see what happens really! Generally, we just want to gig as much as possible over the next year or so and see where things take us! We’ve got dates all over the country that we’re really excited for!

We actually went to Paris last year and supported Kodaline in this really old Parisian theatre called Divan du Monde – it was the main one people went to back in the day (other than the Moulin Rouge). It was really good – we were starting to explore all the different aspects of being a band and we gained quite a few French fans on our twitter who communicate regularly!

We’ve got loads of new songs in the works that we hope to put out during 2014 as well.

SC: You’re playing Birmingham’s ‘Temple’ soon… What are you looking forward to most? 

TM: That’s with Dan Croll, yeah! Danny and Matt – our drummer and guitarist – went to uni there so it’ll be nice for them to return to where it all started for them. They used to be sat at uni down the road from the venue wishing they could be doing this and now it’s a reality so I’m sure that’ll be quite a surreal one for them! You can enjoy the city a bit more when you don’t have uni stresses as well! Seeing all your old friends, finding all the good pubs (after the show, obviously). We’re all really looking forward to it!

SC: Is there any track you’re really looking forward to playing live?

TM: We really enjoy playing the whole EP to be honest, and I’m sure we all have different favourites. We’re starting to experiment with new tracks so it’s exciting to see the reaction we get from our fans while we try them out on the road. I really like playing ‘New Country’, though. We usually open with it. It’s a nice big-hitter that really gets the crowd pumped!

SC: Do you have any pre-gig rituals?

TM: Yeah – weird ones. Our tour van is an ex-postvan and, on the drive through the town or city to the gig, we play Michael Jackson on the stereo… We’re currently on Thriller but we’re moving into the ‘BAD’ era so that’s good! When we’re at the gig we do this Indian ritual. It’s a bit lame, but we like to do it. It makes us more comfortable. Basically, we all stand in a circle just before we go on and all make eye contact with each other. It gets us in the zone and gets us all loose and relaxed. It’s good preparation.

SC: Is there any time that something has gone horrifically wrong during a set?

TM: We’ve had our fair share of issues. You get that with any gig though. Back when we were doing our first few gigs we were getting used to the gig as a professional thing as opposed to just playing for your mates. That made us all a little more mature onstage. Sometimes our gear fails. Halfway through supporting Dan Croll at the Barfly in Camden, a guitar stopped working mid-song so we had to stop playing and resolve that… Luckily it was a pretty easy fix! Bit of a nightmare though! But it seems to be happening less and less these days, which is always nice.

SC: What are the best and worst gigs you’ve played to date? 

TM: The best would have to be supporting Kodaline in Paris. Getting the ferry to a different country really made us realise this was really happening. We were a proper band! The audience was great, too. Divan du Monde, it was called. It’s this old French theatre. It was packed by the time we came on stage and everyone cheered as we came on – it was a really good crowd that night!

The worst? We enjoy every gig, really. It’s all experience! When things go wrong that can throw you off but it’s a learning curve in the end. Our van broke down once when we were travelling to an acoustic sessions gig in London… We finally got it started but then got caught in rush hour traffic! By the time we got to the venue we had about five minutes before we had to go onstage. That was pretty hectic! That’s probably the worst in terms of logistics but it was a really good gig in the end! Really stressful though! Luckily it was acoustic so there wasn’t too much to set up!

SC: What’s the hardest question you’ve ever been asked in an interview?

TM: Probably this one! Remembering a lot of things is sometimes hard – everything has gone so fast and so much has gone on in such a short space of time! It can be difficult to remember exactly what was going on at a certain point in time! I always enjoy talking about it, though – it makes everything a bit more real!

You can catch Tim and the rest of Racing Glaciers supporting Dan Croll up and down the country this March. Tickets are available via the band’s Facebook page.

MARCH 14 – Kazimier, Liverpool (w/ DAN CROLL) 18 – Digital, Newcastle (w/ DAN CROLL) 19 – The Ruby Lounge, Manchester (w/ DAN CROLL) 20 – King Tut’s, Glasgow (w/ DAN CROLL) 21 – Cockpit, Leeds (w/ DAN CROLL) 22 – 02 Academy 2, Oxford (w/ DAN CROLL) 23 – Institute, Birmingham (w/ DAN CROLL)

APRIL 17 – Moles, Bath 18 – AKA, Banbury 19 – Lennons, Southampton

Note: this post was written on 2nd March 2014 and is also available to view at http://thisissoundcheck.co.uk/interview-racing-glaciers/

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J Roddy Walston & The Business: The Borderline, London - 25/02/1014

Venue wise, there could not be a better choice in London than The Borderline. Surrounded by whisky-filled rock bars, the vintage guitar shops of the world famous Denmark Street and more rock fans than you can shake a stick at, there could not be a better vibe. And that’s before you even walk through the venue doors.

First up were Oxford-based Wild Swim, who played an excellent variety of funky, synth-driven bluesy rock. It soon became clear that they were a very carefully chosen support act as their soulful sound eased the audience into an evening of fast-paced rock ‘n’ roll. With a sound that was very mature for their young age, the five-piece played a set of 6 tracks that were very warmly received.

Especially enjoyed was the second track – entitled ‘Solace’ – which featured soulful vocal scores entwined with upbeat rocky riffs and fragmented synth lines. It was very hard to pin them down to a single influence in their sound.

With elements of early Franz Ferdinand being fused with the soulful refrains of Ed Sheeran and an experimental collection of riffs and vocalist Richard Sansom producing very emotional lyrics throughout, Wild Swim were pretty damn original. It was really refreshing to hear a young band trying something that hasn’t been done before.

When J Roddy Walston & The Business came to the stage, the venue filled with raucous applause (and the distinct feeling of emasculation… How are those beards so damn good?!).

The moment Walston began to sing the show was well and truly on. If Jack Black’s ‘School of Rock’ were a real thing, these lads would’ve graduated top of the class: World-class head-banging rock ‘n’ roll.

Key tracks included ‘Full Growing Man’ which was opened with the remark: “I hope you guys are all gonna get a little sweaty, move around… Touch each other… That’s what we’re looking for tonight”. Windmilling as he played his trademark upright Yamaha and surrounded by high pitched, technically challenging screaming from ‘The Business’, J. Roddy Walston presented ‘Full Grown Man’ as quite the opener.

Shortly after this, we heard the ever-annoying sound of a technical issue: “My piano has gone dead… Anyone got any ideas for me?” Soon though, to the satisfaction of both audience and band, all issues were resolved and, luckily, remained resolved for the entirety of the set.

Later in the set, ‘Heavy Bells’ – a track that features as the lead single of their forthcoming album – saw The Borderline fill with up-tempo energy, even prompting a small set of moshpits down the front of the crowd. The sheer amount appreciation throughout J. Roddy’s set was truly surreal. Walston kept thanking his grateful audience: “London, tonight, is the best UK show we’ve played so far… Thank you all for making it so special.” Later in the show, just before teaching his eager crowd some of the incredibly performed ‘Midnight Cry’, he even went so far as to pass a bottle of Jim Beam bourbon around the crowd: “just don’t get too drunk”, he said. “I’ll get in trouble if I get you all drunk.”

‘Caroline’ provided yet another example of why Walston got such a great turnout. Featuring simple riffs and stripped back vocals, the song showcased a different, more innocent side to the bearded group. There was obviously a great deal of emotion behind the lyrics, with slight voice cracks lacing the vocal score. These cracks did not detract from the performance, I must add: they added an air of emotion to the track that was just so genuine. Combine these emotional vocals with the complex, high-reaching guitar solos and up-tempo drum fills and you witness a masterpiece with an ending so abrupt, the track leaves you standing there contemplating the serenity of what you just heard.

Then it all turned dancy. “I’m Going Out”, laced with expletives, prompted an entire audience to jump around to J. Roddy’s own brand of up-tempo folk rock, intertwined with bluesy riffs. It really went to show just how diversely talented these guys are. It seems as though you could give them anything – any genre – and they’d play it to absolute perfection: I have nothing but praise for this hairy foursome.

The ‘final song’ – the song before the inevitable encore cries – saw Walston & co completely return to their Tennessee routes of up-tempo blues riffs, laced with fast piano jams and, ridiculously technical, fast-paced guitar solos.

The inevitable encore that followed featured only two – very well chosen – tracks: an older one in the form of ‘Shaky Hands’ and one from the new album: ‘Marigold’. This particular track was one that I’d eagerly awaited to hear played live. I wanted to know if J. Roddy Walston & The Business could do justice to such a great track in a live situation: Good news, ladies and gentlemen. They definitely succeeded.

This one encore track summed up the evening perfectly. Both Wild Swim and J. Roddy Walston & The Business presented a huge amount of contrast in style. They’re both incredibly diverse artists and two genuinely lovely groups of blokes. J. Roddy & co played their way through slight technical and sound issues without too much stress and, at the end of the evening, nobody really wanted to leave. It could’ve gone on for all of eternity and nobody would have complained. Perfection. What a show.

Note: this post was written on 27th February 2014 and is also available to view at http://thisissoundcheck.co.uk/j-roddy-walston-the-business-the-borderline-london-25022014/

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J Roddy Walston & The Business - 'Essential Tremors'

Essential Tremors is, essentially, tremendous. Every aspect of the album works so well as to showcase the wonderful world of J. Roddy Walston. With a sound that draws influences from a wide range of styles – from Kings of Leon to The Black Keys – there is truly something for everyone in this 11 track rock ’n’ roll recording.

J. Roddy and co started life as a band back in 2002 in Cleaveland, Tennessee, but they quickly outgrew the place, clearly destined for bigger and better things. As their sound began to spread, the bearded quartet quickly gained the respect of musicians and promoters alike. This – their 6th studio album – is that big thing they were destined for. When you forget you’re supposed to be reviewing an album when it’s played, you know it’s an incredible piece of composition. Essential Tremors will make you lose yourself: It’s a masterpiece.

The opening song, ‘Heavy Bells’, is a fine example of this. Soulful writing and exquisite composition skills work together within the track to release a rock ballad from the woodwork of Walston’s 1970 Yamaha CP-60 upright piano. This fact alone really tells you something about the depth of character that exists within the outfit. Walston is quoted to have refused to play keyboards, saying: “I don’t play keyboards – I play piano. It’s not like you’d tell a guitar player to play keytar.” In ‘Heavy Bells’, this defiance and streng this self-evident, and pays off.

Later in the album, we hear ‘Take It As It Comes’. In the New Artists section of our site, we recently featured a lad by the name of George Ezra. If you haven’t heard of him, go take a listen – this track bears more than a few similarities to his distinctive vocal style. Such a world-weary tone, exploring such difficult subjects as grief, sadness and loss. The track manages to be uplifting in its bluesy routes, though. It’s strange, but it works so well. ‘Nobody Knows’ is even better. The midnight point of the album, it demonstrates a softer side to the band, with almost the vocal score presented with Walston’s, eerily dulcet, falsetto tones. It makes for a rather moving number.

Track after track, the album explores modern day American rock ’n’ roll at its absolute finest. J. Roddy Walston sticks to his bluesy routes and then amplifies and manipulates this sound, crafting something truly excellent. Essential Tremors is an album that everyone should own a copy of. It’s going to be around for a very long time to come.

Essential Tremors is released on March 10th via ATO Records.

Note: this post was written on 24th February 2014 and is also available to view at http://thisissoundcheck.co.uk/reviews/j-roddy-walston-the-business-essential-tremors/

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Comeback Kid - 'Die Knowing'

Since their inception back in 2000, Comeback Kid have done exactly what their name suggests, returning time after time with spine-tingling albums full of hardcore perfection. Die Knowing, released through Victory Records on 4th March, is no exception. The lyrics of ‘Unconditional’ – the ninth track on the album – sum up Comeback Kid’s fifth studio album perfectly: “expect more, embrace more”. It seems that these Canadian rockers aren’t going anywhere any time soon.

From the album’s eponymous first track, it becomes clear that this album is going to be nothing less than heavy. Laced with breakdowns and powerful riffs, it makes for an incredible listen. ‘Die Knowing’ is like a theme park steward; it eases you in at the start, and then straps you in for the ride of your life. You just want to ride that roller coaster over and over again.

A real highlight is a track entitled ‘Wasted Arrows’. Pure, technically-challenging guitar riffs are blended effortlessly with melodic bass-lines and screamed vocal scores. When the chorus hits, and you shut you eyes, it’s not difficult to imagine a huge crowd screaming back the lead line: “Wasted Arrows, Wasted Arrows”.

As ‘Unconditional’ begins, the Canadian five-piece elevate themselves to a whole new level of excellence. The riffs become more intertwined, the vocals somewhat cleaner, and the breakdowns so much more exciting. Combined with frontman Andrew Neufeld’s ability to get a crowd jumping, ‘Unconditional’ could prove to be one of Comeback Kid’s best live tracks to date.

Topping off the album, ‘Sink In’ displays a far more emotionally (and rhythmically) varied side to the band. Their post-hardcore roots really shine through here, with sung, well-pronounced chorus melodies woven amongst Neufeld’s screamed lead vocals.

This album has only one downside: the fact that it has to end. It’s a truly excellent piece of writing and an essential addition to any rock-lovers’ record collection. A masterpiece.

Die Knowing is released on 4th March via Victory Records.

Note: this post was written on 12th February 2014 and is also available to view at http://thisissoundcheck.co.uk/reviews/comeback-kid-die-knowing/

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Our Last Night: The Underworld, Camden - 06/02/2014

On 6th February 2014, Camden Underworld played host to an incredible array of talent. Headlined by American four-piece OUR LAST NIGHT, and with support coming from Secrets, Empires Fade and High Hopes, the world famous venue was filled to the brim with high quality, melodic breakdowns, fast-paced drum blasts and bass “intense enough to make your ribs want to cave in” (George, 22, Clapham).

Underworld has never hosted so much testosterone on one small stage. Empires Fade frontman – Jack Delany – was covered head-to-toe in ink and wearing a nice, cheerful Bleed From Within vest. You’d be surprised how well spoken he is for a guy that expresses so much violence and anger on stage. He makes bloody good music, too. And he certainly knows how to get a crowd going. Watching him raise a microphone above his upward-facing head, dropping it from height and screaming into it at the exact moment he catches it – with bass and drum breakdowns and fills going on all around him – was definitely a high point. At one point, Delany even got reprimanded by the venue security for pulling someone on stage and prompted him to go crowd surfing around Underworld. Apparently that’s not acceptable there: take note.

Just before the Californian 5-piece Secrets – who’ve just come off toured with Sleeping with Sirens – entered the stage, guitarist Michael Sherman tweaked his handlebar moustache. “It’s all about the final preparations”, he joked. Sporting an Empires Fade merch tee, he was ready to rock. And Secrets did just that. Every member of the band just looked so incredibly happy to be there and, alongside the seemingly choreographed ‘dance routine’, it made for a truly euphoric spectacle.

Apparently – a strange ritual, maybe – when it is time for Our Last Night to play, it’s time to light the incense. Strange, yes; but the place smelt incredible.

For those who don’t know, here’s some advice: when involved in a moshpit as intense as the one during Our Last Night’s opening track (Same Old War), take care. The concrete pillars that hold up Underworld’s high ceilings do not combine well with your head and/or limbs. You live, you learn. Bloody excellent crowd though! You were surrounding by so many loving fans, unified through incredible riffs and pair of highly talented brothers – Matt and Trevor Wentworth.

Song highlights including Across the Ocean – which has come a long way since they supported We Are The Ocean at Kings’ College London Student Union back in October 2010 – and a cover of Adele’s ‘Skyfall’, which again encouraged huge moshpits. Also, a new single entitled ‘Sunrise’ was truly spectacular; It seemed that the level of emotion in the room was incredibly heightened during this track.

Frontman Trevor Wentworth had this to say: “This has been one of the most emotional and energetic shows we’ve ever headlined, and it is one that we’ll never forget.”

Note: this post was written on 8th February 2014 and is also available to view at http://thisissoundcheck.co.uk/our-last-night-the-underworld-camden-0602014/

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Ron Pope - 'Calling Off The Dogs'

Released on 10th February, Ron Pope’s newest studio album Calling off the Dogs sees the American singer-songwriter pushing the boundaries of his musical talent. He shows us just how diverse he can be, both lyrically and stylistically; employing a wide range of musical techniques. For a guy who writes, composes, records and produces his tracks – all whilst managing his own musical career – you’ve really got to hand it to him: he’s got some serious talent, and the respect generated by his sheer dedication is surreal. This latest release seems to draw influence from the likes of Bon Iver and Ben Howard, and the results are really rather good. Packed with emotionally driven lyrics and synthesised melodies, Calling Off the Dogs really grows on you as a work in its entirety; your ears will be greatly rewarded.

On a first listen, ‘Silver Spoon’ may sound a little familiar; the introduction to the song sounds extraordinarily similar to Dashboard Confessional’s ‘Stolen’. Fortunately, there will be no law suit here – when the lyrics, synths and drums replace this piano riff, Pope’s vocal style shines through. ‘Silver Spoon’ is quite an odd song, stylistically. It seems to blend a lot of genres together. This amount of merging of styles could be messy, but Pope really comes into his own.

The seventh track of the album – entitled ‘Nothing’ – is recorded as a duet and features an truly unique and beautiful female voice in Alexz Johnson (who has just finished touring alongside Pope on his ‘Calling Off the Dogs album release tour’). The pair’s voices, although seemingly very different to each other, blend perfectly. Opposites really do attract, it would seem. Think a more soulful ‘Set Fire to the Third Bar’. With the lyrics telling a tale of a broken down relationship, Pope’s choice of strong female vocals is an incredibly powerful decision. Beautifully moving.

A true highlight of this album is, as previously stated, Ron Pope’s ability to blend musical styles within his tracks. ‘Back to Bed’ is a great example of this. Incorporating themes of addiction, love and how the two interweave, the track showcases the very best that Pope has to offer. If you want a feel for the album before you buy it in its entirety – which you really should – this track comes highly recommended.

Calling Off the Dogs is an exquisite release which will guarantee Pope British success to accompany the already huge US accomplishments he has racked up in the past. Maybe, just maybe, this could be the album everyone remembers when Ron Pope’s name is spoken: his best work to date.

Calling off the Dogs is released on 10th February.

Note: this post was written on 8th February 2014 and is also available to view at http://thisissoundcheck.co.uk/reviews/ron-pope-calling-off-the-dogs-2/