The Sound Of Confusion

Decades - In Sequins

2013-05-23T14:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

Don't you just love it when a plan comes together? As was mentioned the other day, we at The Sound Of Confusion are often lucky enough to hear about bands very early on. Sometimes these bands have whole albums worth of material recorded, so predicting relative success for them in the next year or so shouldn't be out of the question. But bands are an awkward bunch, prone to splitting up, changing members, re-materialising under a different name or just taking yonks to actually get said album out to the public. Before we know it three years has passed and everyone forgot that we'd mentioned them in the first place.

Not with Decades though. Given a band to check out feature as recently as March, this week they put out debut album 'Decades' and it's sounding like prime '80s-influenced dreampop. So for once we can be reasonably smug that a tip has yielded results pretty quickly. We're not expecting a million-seller, they're not that type of band. We're expecting good music, and they've delivered. If you liked the tracks we previewed before, then you'll love this video made for single 'In Sequins', a twinkling, wall-of-sound piece that fits in nicely with the current love of all things fuzzy, but does so in their own way. Result.

Decades' website

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Bad Grammar - Tie or Die

2013-05-23T13:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

With their personal description of the music they make being "riffy fuzzy pop songs", they've pretty much nicked one of our most commonly used descriptions, what with us being fans of fuzzy pop and all that. 'Tie or Die' is the debut single by Manchester duo Ben Forrester and Lucy Brown, who will, if all goes to plan, become better known as Bad Grammar. Does the description match? Seconds into 'Tie or Die' and what we're hearing is without question "riffy", as they head for the chorus things definitely take a turn for the "fuzzy", and I guess the melodies, were they not yelped in a primal punk fashion, could be described as "pop". So they're not lying.

Really this would be described as modern punk ahead of pop, but the two worlds merge so often that the distinction is barely worth making. Let's just say this is noisy, clattering and definitely frayed around the edges. Their raw approach serves them well though, and unless you're looking for some sheen then 'Tie or Die' will strike a chord. B-side 'Ace Adventura' plots a similar course, at times sounding like early Blur when they opted for those short, shouty, noisy songs instead of their mockney knees-up tunes. Essentially the cover for this single is a perfect pictorial representation of the sounds contained herein, so have a look at that and you'll know whether this one's for you.

Tie or Die by Bad Grammar
Ace Adventura by Bad Grammar
Bad Grammar's website

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Catch them live:

SAT 25 MAY
Bad Grammar,Vision Fortune, Veladrome, Meddicine
Trof Fallowfield & Wahlbar, Manchester, UK

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Nallo - Drugs For The Kids

2013-05-23T12:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

Ah yes, more psych as you've probably already guessed from the cover. The revival is still going strong, but eventually we'll hit overkill and the quality will come tumbling down. Generic, landfill psych can only be a few months away now, so lets enjoy it while it lasts. Coming to us from Minneapolis are Nallo and they like to make psych-rock that has loud yet oddly distant drums, guitars that shimmer as if they're being manipulated by a strange wavering force instead of being played properly, and vocals that occasionally get to the point where you can decipher them, but for the most part remain shrouded in a little mystery.

Nallo are not copying the other big psychedelia troupes that are doing the rounds, they have their own version and it doesn't seem to involve the smoky fug of '60s grooves and stoner vibes; they're manipulating sounds in a different way. 'All Summer' and 'Kin' are reasonably similar in style, the difference being that the vocals on the latter are yelped that little bit louder and the chorus is allowed to become bigger too, incorporating some nice distorted guitar. This isn't the blissed-out sounds we've come to expect; 'Drugs For The Kids' is a little more harsh sounding, and it's this that makes them that bit more unique.

All Summer by Nallo
Kin by Nallo
Nallo's website

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Tarmac Adam - You As Me

2013-05-23T11:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

With their debut US album 'The History Effect' now available, Australian quartet Tarmac Adam have properly announced themselves on the world stage. Beginning with single 'Chalk On Slate', then free taster 'Bygones' which was the first to catch our ear a couple of months back, the guys have now put forward another single and video: 'You As Me'. With a video set in a photographic studio and showing people from all walks of life in front of the lens, they have a good visual representation which is almost at odds with the simplistic, not-giving-much-away album artwork.

The song itself is perhaps as we should expect given the previous tracks we've heard. This is gentle guitar-pop that's low on bombast but high on melody and is aiming to capture your heart in a more subtle manner. Other songs may reach out and grab you by the neck; 'You As Me' stands at the back waiting until all the attention seekers have been rebuffed and then you notice that this is the one you've been after all along. Maybe that sums up Tarmac Adam: not the most exciting band on the planet, but one that won't let you down.

Tarmac Adam's website

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Ben Lee - Welcome To The House Of Mystical Death

2013-05-23T10:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

This quite spectacular track feels powerful and it feels spiritual, and this is no coincidence. Ben Lee's new album is called 'Ayahuasca: Welcome To The Work' and documents his experiences of using this mystical brew. As a brief bit of background, Ayahuasca is a drink made from two plants native to the rainforests of South America. It has long been used by shamen to travel to the spirit world and supposedly contact the dead. It's reported to be an intensely spiritual and unique, if not always comfortable journey. It sounds as though Lee's new work will focus on this form of spirituality.

That word is used deliberately, as although it's a hallucinogen (the active ingredient being DMT), it shouldn't be used for recreational purposes and is seen as a medicine. Therefore 'Welcome To The House Of Mystical Death' feels more like an awakening that a psychedelic trip. With a breathy, repetitive introduction, more voices overlay each other until the song flowers into something which is best described as being pure euphoria put to music with a refrain of "let the light in". Whether or not Ben Lee's world view has changed as a result of taking this medicine is for him to know. But if the outcome is music as glorious as this then something good has come from his experiences.

Ben Lee's website

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Taffy - Tumbling/Boys Don't Cry + Q&A

2013-05-23T09:00:00.001+01:00

Article by kev@thesoundofconfusion.co.uk

Japanese shoegaze band Taffy return with new album 'Lixiviate' next month, but before that they release a new double A-side single 'Tumbling' and a reinterpretation of The Cure's classic 'Boys Don't Cry'. Check out both below, but first hear what they've got to say about the British influence on their music, the current music scene in Japan and who their ultimate idols are.

TSOC: Our site focuses a lot on indie/guitar type bands. These kinds of bands hardy sell in the UK at the moment, yet most of them say they have large fan bases in Japan. What do you think the reason for this is? Do Japanese people have better taste?!

Taffy: The indie/guitar band scene here might not be as big as being said there. It’s obvious that less people actually come to the shows and people stopped buying CDs, because of this whole internet world. And not sure for the reason for this, but when I (Iris/vocals) hear people talking about the great guitar bands, they are usually talking about the guitar bands from the '90s. I guess it could be a fact that most of the great guitar bands are from that time, and the people talk about the bands from back then more, I guess it’s because good things are always good no matter how much time passes by.

TSOC: What's the general music scene like in Japan? Do any particular genres sell more? Hip-hop is apparently the biggest selling genre in the world; in the UK it's probably plastic chart-pop and R&B. Who tops the charts over there?

Taffy: The idols are the main CD selling genre here. And there is this genre called “Animation Songs” which sells a lot too. This is a genre of songs that voice actors/actresses from cartoons sing. Our bassist is a big fan of them too. Speaking of that, each members of Taffy has such a different tastes in music, it is so different that it’s weird. Anyway... those two genres you have mentioned selling in the UK probably do the same in most of other countries too. I’m not the right one to ask about the charts, because I don’t really dig much into the music scene or what’s hot out there so.... I don’t know, I have no idea who tops the charts (laugh).
But one thing I know, it’s probably the idols taking over the charts here... and maybe only a few artists and the bands who can actually write or sing songs.

TSOC: We can name several great Japanese bands, Shonen Knife being the most obvious. Do you have any tips for bands or artists we might not know that we should be checking out?

Taffy: Umm... there must be a lot of them, it’s just that I don’t know a lot about the scene as I mentioned before, and they don’t know much about us either! But there are many many bands here, so many in Japan and I’m quite certain that there are many good ones somewhere out there.

TSOC: Does singing in English turn some Japanese music fans off your music? Why did you pick English for your songs?

Taffy: Yes absolutely!! Haha. Me singing in English sure turns them off. But what is weird is that there are tons of bands who sing in English and still are well accepted here. But it’s not like that when it comes to Taffy and I always wondered why. People do like English songs if the person singing is a westerner, that’s for sure. Otherwise all those big hits from the UK and the US charts wouldn't sell out here either. Is it me?? Am I the problem? (ha!) Well I sing in English because it was a lot easier and natural for me as I spent my younger days in an international school and though English is not my first language, somehow it was a natural thing to sing in English. I never thought of singing in Japanese and I probably won’t from now on either, unless I strongly feel like too. I really don’t have any borders in doing anything actually, I just always do whatever it feels right at that moment.

TSOC: It's very difficult for bands in the UK to make a living from their music, so many have day jobs too. This is partly down to the current economic conditions and partly down to internet streaming and illegal downloading. Do you think this problem is much the same around the world?

Taffy: Oh yes, as mentioned earlier, the internet world changed many many things and music problem sure is one of them. People download musics from anything anywhere, they get satisfied just by watching shows on YouTube. There is no mystery in people stopped buying CDs and less people come to the shows now. But I think, at the same time, it has opened up a door and created a road for the music to be heard all over the world. Like us, Taffy, living so far away from the UK and all, none of these things would have happened without internet! So I’m very thankful for that, and we are just so happy that people from all over the world actually listen to our music. And for all that, why not have a day job? I think it’s worth it. Of course it would be a lot easier and better if the artists can make living without their day jobs, but it is more important that the art work is to be heard or seen. Some things have to change from time to time, we have to adjust through the moments and the generations,even though certain things never change, like the fact that “people like good things”. Good music is always good music, no matter how it’s being passed around.

TSOC: What about touring? Is it cost effective for you to try and set up a string of gigs in Europe or North America?

Taffy: It’s hard to say that it’s cost effective, but it’s definitely worth it. We want our songs to be heard all over the world and it seems to be happening that way through the internet and everything else. But it’s something else how we get the direct response from the actual audience when we play a show. Since all the members of Taffy live in Japan, we can’t really go tour around the world that often, but we do get mails and everything saying “come to our country!” kind of things all the time. And yes, we do like to respond to that as much as possible.

TSOC: Are you a fairly “rock 'n' roll” band when on the road? Is it all late nights and loads of booze or straight to bed after gigs? Any notable exploits? TVs thrown out of windows and so on?

Taffy: We are very VERY quiet on the road. First of all, I don’t drink, nor does Ken (drummer). Can you believe half of the band is non-drinker in a rock’n’roll band? Koichin (bassist) rather likes to drink, and maybe he is the only one who drinks a lot. Asano (guitarist) can drink but maybe only a few glasses of beer or whatever. So some nights, Koichin and Asano go out to a bar and have a few drinks and come back to the hotel or they buy cans of beer and drink in the hotel room. We have noooo problem spending quiet nights during the tour. Especially me, I like to go back to the hotel and just put the TV on (instead of throwing it out of windows) and think of what to wear the next day... have some cup of tea and maybe a cupcake, and hot bath and so on. The Taffy way of rock ‘n’ rolling.

TSOC: That's perfectly acceptable! I don't drink either! You've chosen to cover 'Boys Don't Cry' by The Cure on your album. Is there any particular reason for choosing that band and that song? Did you consider other tracks instead?

Taffy: No I didn't have any particular reason for choosing that song. Actually, I didn't know much about The Cure. They are very famous and there are so many hardcore fans in Japan too. But often, I can’t match a song and the artist who plays it. After I hear a song many times without knowing who it is, then at some point I find out who’s singing it, and I’m like “ Oh! So this is them”. That happens often and this was the case. One of my friends who loooves The Cure suggested this song for Taffy to cover. I wasn't sure what song it was when I was told the title , but when I listened to it, I was like “ Hey! I know this song!!” and at that moment I had this image how it’s gonna be if I were to sing this. Now I really like the song, like it so much that I even recorded it! Every time I sing this song, it gets to me so much that it almost makes me cry, so “boy’s don't cry” in the middle of the song helps me not to, although I’m not a “boy”, haha. Now I love this song. It’s really a nice song.

TSOC: A question for each of you: Ken - who do you consider your favourite drummer ever? Asano - your favourite guitarist? Koichin - your favourite bass player? And Iris - your favourite singer?

Taffy: Ken: Jimmy Chamberlin (ex Smashing Pumpkin), Asano: Wayne Kramer (MC5), Koichin: Bootsy Collins, Iris: The Beatles, Aqualung, and Cameron Mitchelle.

TSOC: Finally, the tricky question: Fantasy festival time! Taffy are headlining, you can pick five bands, past of present to also appear on the bill. Who do you go for?

Taffy: OK, I’ll pick two and one from each member will be five. The Beatles and The Beach Boys. Ken: Frank Sinatra, Koichin: The Smiths, Asano : CAN.

TSOC: Thank you very much for taking the time to talk to us!

Taffy's website

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Graingerboy - Silent Universe EP

2013-05-23T08:00:00.000+01:00

Standing at the edge of his world: Guest blogger and Canadian music writer, Sylvie Hill, reviews the new EP from Simon Grainger (Graingerboy). sylvie@sylviehill.com

PASSIONATE PASSAGE THROUGH GRAINGER UNIVERSE

Hailing from Leeds, UK, electronic-music veteran Simon Grainger (AKA Graingerboy) expands his musical territory beyond a 90’s Ibizan sunset heritage (and work with Ministry Of Sound’s Electric Boutique) with his latest creation, 'Silent Universe'. The 5-track digital EP release finds this former backing vocalist and lead keyboardist for pivotal British electronic heroes, A Man Called Adam, bridging the worlds of the Balearic scene into an oftimes fuller sound, crossing subtly into almost indie-alt dance tracks.

'Silent Universe' follows up Graingerboy’s LP, 'Shadowformerself'. Co-produced by Ian Catt (Saint Etienne), the debut album was revered as a coveted collection of carefully crafted electronic pop songs with substance, harmonies, and the occasional ambient wash. DMC (Disco Mix Club) Magazine hailed the set as “enigmatic.” The same can be said of 'Silent Universe'.

QUIET GRANDEUR

The paradoxical titling of 'Silent Universe' can signal the dichotomy of quiet grandeur, which describes the EP perfectly. It may also reveal Grainger’s intent to establish peace amidst the big and incomprehensible. In his private life, quiet chaos describes both Grainger’s personal fight in surviving a near-death experience in the Christchurch, New Zealand earthquake, and his ambitious but slow recovery from M.E. (Myalgic Encephalomyelitis). In his music world, sparse-electronic fullness characterizes his sound, one that could be compared to the likes of The Beloved or Hot Chip. Though techno beats underlay the grooves, Graingerboy takes care to flesh out the tunes by embracing a more singer/songwriter approach, like Ben Watt & Tracey Thorn’s Everything But the Girl’s 'Missing' (Todd Terry Mix), which soundtracks our after-hours dramas.

'Silent Universe' swaggers in with the opener, 'Cheaper Than a Taxi Home'. Fat bass lines give way to muffled vocals layered in fuzz, laying down the gritty ground rules for a one-night stand: “don’t want to be the missing piece you see.” Synths slither in at bare and naked parts, vibing that electro-sparse sound, and give the tune an eerie-seductive bent. Accompanying female vox amp up even fuller with the danceable chorus, as Graingerboy chimes in: “when the morning comes you better not tell a soul; harder than it looks but cheaper than a taxi home.” Throughout, a nice touch of winding whiny guitars twist with the synth back into verses, the interplay bringing order to the sonic business and mixed up emotions of the story. Delicious.

Next, the album moves gracefully into Graingerboy’s brilliant interpretation of Stockholm, Sweden’s Stina Nordenstam’s 'Trainsurfing'. It’s an unusual song choice for an electronic artist to cover, but Graingerboy has made no secret of his admiration for the singer/songwriter approach favoured by the likes of Depeche Mode and New Order, as well as Bjork and Kate Bush.

“They were completely doing their own thing,” Grainger says of these artists’ creative ingenuity. “I have a lot of respect for that kind of musical bravery.” Grainger’s own leap in covering singer/songwriter Nordenstam is a sensational win. Synths swirl artistically and paint perfect atmospherics for this track. Graingerboy’s angelic and harmonious voice sings Nordenstam’s cautionary words about hovering at the edge: “The laws of silent universe / we fight with high and fast / we fight with close and dangerous / with things that doesn't last.” Enchanting.

'Summersend' follows, with an up-tempo, Balearic reinterpretation from British indie-dance icons, Saint Etienne. Swirling strings and melancholic Ibizan washes underpin a tale of a burgeoning love affair, and a realization of the importance of living life for the moment: “So calm, so gently, what a summer disappointing, ‘til you, came through, thank you.”

Flying Solo, a lament of a love affair lost, pulled apart by distance, triumphs in nonchalant sentiments: “I’m in trouble, you’re holding all the cards / I’ll fight this battle, but I won’t take things to heart / just feed me answers like where did you go / like why I’m flying solo this far from home.” It’s this soaring chorus of falling from being fallen in love that compares to Pet Shop Boys’ unforgettable 'Domino Dancing'.

Here, Graingerboy marks his ground successfully, his storytelling and full sound at its most spectacular. Clap beats (reminiscent of Billy Idol’s 'Eyes Without a Face') and M83 'Midnight City' synths (minus the apocalyptic dread) make this track unforgettable.

The EP closes out with New Order-ish 'Be Foreve'r. The retro-80s feel lightens the heavier loads, marking a full circle around Simon’s universe, with the chants “you break, you break, you break you don’t break” and “keep your head up while you still can.” Through some dark patches, Silent Universe emerges to light, with depth.

SOARING GLORY

While tracks off 'Shadowformerself' all made the Top 30 influential DMC Zzub Chart, it’s not surprising Simon Grainger was listed in Out In The City Magazine's “Top 30 Up and Coming UK Talents” alongside Rod Thomas (Bright Light, Bright Light), Oliver Simm (The xx), UK political writer Owen Jones and Radio Host Nick Grimshaw. Undeniably, Grainger’s talented output with 'Silent Universe' demonstrates how he became listed as a future star in UK music industry bible, Music Week. His legacy was secured in radio support from 6 Music, BBC Introducing, Kiss FM and Album of the Week on BFBS, to name a few. 'Silent Universe' compliments that success, with more achievements, like shining sonic gems plucked perfect from the edge of Grainger’s universe, sure to follow suit.

Graingerboy's website

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Tear Talk - B R E A T H E

2013-05-22T14:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

The three tracks that make up the 'B R E A T H E' single are the first to be released by Liverpool's Tear Talk, a band with a fine set of influences that includes Echo & The Bunnymen, Slowdive and Suicide; so reasonably eclectic too, although all of the above would be described as alternative music rather than anything mainstream. And the same goes for Tear Talk. 'B R E A T H E' takes a piece from each of the above and more, creating a post-punk track that shifts in tempo several times and also takes in the proto-shoegaze that some of Suicide's more melodic tracks encompassed.

The two B-sides share many of the same ideas, yet executed in a different way. Those tempo changes are found again on 'Only Illusions', a song that's musically closer to the later, fully-formed shoegaze of Slowdive and their like. They're obviously willing to experiment though and seem intent on ignoring traditional structures. Finally we get to 'Parallel'. Here they use chiming guitar to usher in the song gently, rather than opening it with a bang. It's this atmosphere that they maintain for the rest of the track, adding percussion which brings light to the shade of the bass drum thuds. With a good record collection, a few ideas and an intention to try and innovate, Tear Talk are certainly on the right track.

Tear Talk - Breathe from FREAKBEAT FILMS on Vimeo.

Parallel by Tear Talk
Tear Talk's website

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Ryan Smith - Simple Things

2013-05-22T13:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

Ohio musician Ryan Smith was first brought to our attention last year when we featured him as an artist to check out. At that point he already had one album, 'Waiting', available as a free download. Now a year on, Ryan has another full-length available and like the first it's also available for free. It's a generous offer for music that's a cut above most of the homemade, freebie Bandcamp albums we get sent, and Ryan has always shown a knack for a tune. That's perhaps more noticeable than ever on the current single from 'Primary Numbers', as here he's picked an instrumental track.

Built around a piano, 'Simple Things' is more intricate than you might think, as not only does this bring melody, but it does so in the same way that vocals would; essentially the vocal melody here is supplied by the piano. It's an interesting idea and doesn't come at the cost of decent backing either. There are layers of synth which fill out the sound and a ticking beat that subtly drives the track along. So even without vocals you're getting the full whack, and if you like 'Simple Things', then you'll find he's got a whole lot more where that came from.

Simple Things by Ryan Smith
Ryan Smith's website

Stream or download the album

Catch him live:

FRI 12 JUL Skully's Music Diner, Columbus, OH, US
THU 25 JUL Columbus Commons, Columbus, OH, US

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Kids On A Crime Spree - Creep The Creeps

2013-05-22T12:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

A couple of years ago we couldn't move for girls with guitars recreating '60s pop by way of punk and fuzz-rock. Kids On A Crime Spree have a similar idea but they tackle it differently. Instead of coating the lot in JAMC fuzz, they take those girl-group melodies and combine them with the best that the less commercial of the beat groups of the day had to offer. There is a punkier feel and the vocals are hidden deep in the mix, but the general feel is that of a budget Phil Spector producing The Seeds or another band of that ilk. Guitars are allowed to twang and handclaps are essential.

'Creep The Creeps' does this best; it's almost like taking the Halloween fascination away from The Cramps and getting them to collaborate with Blondie instead. It hardly needs mentioning that this is a very good thing. Having done time in previous bands, these guys aren't short of a good melody or two, and they know how to use them. B-side 'New Ex-Boyfriend' has a surfy rumble and guitar line, and if you listen carefully you can even pick out the faint outline of some vocals hovering around like a ghost. If you were thinking that this kind of '60s update had run its course for now, then Kids On A Crime Spree have some new ideas to throw into the ring.

Kids On A Crime Spree - Creep The Creeps from Slumberland Records on Vimeo.

Kids On A Crime Spree's website

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English Singles - Ordinary Girls

2013-05-22T11:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

The new single from Californian indie/pop/punk proponents English Singles is something of a departure for the band. Not in terms of sound; it's much the same as previous releases like the 'Backstreet Pages' EP. I don't know if someone slipped something into their coffee when they weren't looking, but they get hugely carried away here and drag 'Ordinary Girls' out to a mighty three minutes and nine seconds; approximately twice as long as the average duration of one of their songs. It's excellent of course. More DIY and punchy pop of the variety that used to come on limited edition 7" with homemade sleeves and possibly a fanzine. It's classic indiepop, and we'd expect no less.

The extra indulgence doesn't last long though, and by second track 'Bitter End' they've sliced about 40 seconds of the length and clatter through with more hook-laden melodies and back-to-basics... everything. It's all about the tune, as it should be. By the final offering of 'Rain' normal service has well and truly returned and we're in sub-two minute territory for the fizz-bomb finale that picks the pace up a couple of steps. With a band as consistent as English Singles it must be awkward picking lead-tracks or singles and any of the three on offer here could have taken charge. It's not a new trick, but it's still a splendid one: crash, bang, wallop and they're gone.

English Singles' website

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Poor Young Things - The Heart. The Head. The End.

2013-05-22T10:00:00.000+01:00

Album review by jay@thesoundofconfusion.co.uk

Poor Young Things don't make music to sit in on a grey day watching the rain on your window. This is vibrant, raw, enriching music. Any track that starts off with a "HEY!" and a rush of powerpop guitars is never going to soundtrack the dark night of your soul. And first track out of the starting blocks 'Dress It Up' cranks out just so. 'Dress It Up' is prime singalong material. Rather than falling into the over-used template and sounding sickly sweet like early '00's pop-punk of Bowling for Soup or Good Charlotte, Poor Young Things bring rawness and authenticity that sidles them closer to The Replacements or Titus Andronicus at there most accessible. No sooner does 'Dress It Up' billow past, 'Sign Of The Times' roars into view. A broader track than the starter, more akin with British contemporaries The Sharks or Pure Love. An irresistible track that has strong dynamics, classic mob-howled chants and perfect use of those "HEYS!". It's a track you find hitting repeat without realising. 'Transformer' keeps the breathless pace up. While not quite reaching the heights of 'Sign Of The Times', it still has an effortless power and hook that gratefully draws you in and doesn't let go. And at 3:13 the breakdown aches for a crowd of sunkissed thousands to clap in unison and shout out the hook of "maybe one day you'll learn something". It's your best summer's day soundtrack.

As a statement of intent, Poor Young Things set their bar high with the first three tracks on 'The Heart. The Head. The End.' Fourth track 'Warpaint' takes the foot of the gas slightly, allowing you to breath a little less frantically. A plea to those girls to "wash away the warpaint" and see the true beauty underneath. Still a raucous track coming on like a modern update of 'Kiss Me On The Bus' by The Replacements. The follower, 'Strength In Numbers' is more of a call to arms than the heady, lyrical chase of the preceding tracks. A organically grown track with its roots in vibrant Americana, it has a previously unseen maturity recalling the likes of the Drive By Truckers. By almost default, subsequent track 'Revolver' sounds nearly pedestrian by comparison. By no means a bad track, it rides on an almost early Oasis groove, (fitting given the title). It doesn't quite achieve the standard already set so high by the rest of the album. 'Running' fares better; lean crisp lyrics with a rich blue-collar music vibe. The sun is still shining, but the ride is more mellow now.

'Black Lightning' has a more classic feel. Here it steps up to the bar and meets the heights already set. 'Black Lightning' has a poise differing from the other tracks on offer. Delving into the wealth of classic American rock. With an almost Tom Petty mark, this song a rewarding, darker trip. Meanwhile 'The State' keeps its hand in with the classic rock touchstones. A stirring call to arms that invites you to join them in the ride. This couplet of songs shows that Poor Young Things are a band in possession of enough strength for the long haul. Similar to 'Revolver''s slight weakness 'Given The Situation' suffers from being present in an album full of stand-out tracks. Again, not a bad track, it just becomes a little throwaway in comparison to what's around it. Although fairly brisk, it feels that it slightly outstays its welcome. Final track 'Ghost Notes' brings 'The Heart. The Head. The End' to a rich conclusion. With its more subdued and restrained pace, it could only have been the album's closer. A last song at the prom, where voices have been shouted hoarse, feet are tired, hearts and heads have been filled with joy, lust and beer. Just as you think the song is going to bow out it lifts itself to a kaleidoscopic finale and ends out a great album in style.

Stream 'The Heart. The Head. The End.' in full and download 'Sign Of The Times' for free from Poor Young Things' website

Pre-order the album

Catch them live:

May 22 – Kingston, ON – The Mansion *
May 23 – Guelph, ON – E-Bar *
May 24 – Peterborough, ON – Red Dog *
May 25 – Toronto, ON – Horseshoe *
May 28 – London, ON – APK Live *
May 29 – Windsor, ON – Phog Lounge *
May 30 – Waterloo, ON - Maxwells Music House *
May 31 – Sarnia, ON – Paddy Flaherty’s *
June 1 – St Catharines, ON – Mansion House *
June 5 – Halifax, NS – Seahorse Tavern * LIVE 105 "Presents"
June 6 – Moncton, NB – Tide And Boar *
June 7 – Charlottetown, PEI – Hunter’s Ale House *
June 8 – Fredericton, NB – Lava Vodka Bar (Nicky Zee’s) *
June 12 – Regina, SK – The Exchange
June 13 – Calgary, AB – Palomino Social Club
June 14 – Kelowna, BC – Doc Willoughby’s
June 15 – Vancouver, BC – Media Club
June 18 – Nanaimo, BC – The Queens
June 20 – Edmonton, AB – Avenue Theatre
June 21 – Saskatoon, SK – Vangelis
July 1 – Thunder Bay, ON – Canada Day Celebrations (Prince Arthur's Landing)
July 6 – Buffalo, NY – Darien Lake Performing Arts Center #
July 7 – Holmdel, NJ – PNC Bank Arts Concert Center #
July 12 – Camden, NJ – Susquehanna Bank Center #
July 18 – Cleveland, OH – Blossom Music Center #
July 19 – Detroit, MI – The Palace of Auburn Hills #
July 20 – Chicago, IL – First Midwest Bank Amphitheatre #
July 21 – Minneapolis, MN – Canterbury Park #
July 23 – Kansas City, KS – Cricket Wireless Amphitheater #
July 24 – St. Louis, MO – Verizon Wireless Amphitheater #
July 25 – Atlanta, GA – Aaron's Amphitheatre at Lakewood #
Aug 2 – Dallas – TX – Gexa Energy Pavilion #
* w/ Gloryhound
# Warped Tour

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UK PREMIER: Silent Lions - ripe•people

2013-05-22T09:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

Ohio's "premier supergroup" (if that phrase even counts for a duo, mind you they have an occasional third member) have just unleashed their latest track and it's a bit of a monster. At eight-and-a-half minutes long it would seem that 'ripe•people' is something of an epic, and in a way it is, just not in the traditional sense. You generally know how it goes with songs around this length: there's either a protracted build-up which results in a grand and overblown ending (see 'Stairway To Heaven'), or a normal song with a big, never-ending finale that seems to go on forever (see 'Hey Jude'), or they can just be dull, ill-advised lengthy bore-fests (see most of the others). Exceptions to the rule include certain drone-rock/kraut/psych tracks, or songs that are just plain good enough to last that long without interest waning.

Well that's a few possibilities, there are others no doubt (we haven't even touched on classical music), so which is the new single from Silent Lions? That's easy: 'ripe•people' isn't a slow-build, it's not a grand finale; it's one of those songs that's simply good enough to carry on twice as long as your regular pop/rock song without you even realising. You don't get bored, you don't feel that it's repetitive, it just works. Whether it's the speaker-busting bassline, the reverby vocals or the general power that's generated, they could probably make it 15 minutes long without sacrificing the quality. It's a wall of warm, buzzing noise that feels both urgent and vital, as well as laid-back and chilled. How they manage that is a bit of a mystery, but they do. Our job is just to listen to what is the best track we've heard from them so far. We're happy with Silent Lions calling themselves a supergroup if they're on this form.

Silent Lions' website

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Five For Free #183

2013-05-22T08:00:00.000+01:00

The Orwells - Other Voices

Illinois garage-punks The Orwells sounded pretty good already, but a year on from first hearing them they're at the level where production superstar Dave Sitek is getting interested in them. New track 'Other Voices' does show that they've improved since last summer. It's not easy making garage-punk sound interesting with so many bands doing a similar thing, but they've done it here.

The Orwells' website

Catch them live:

Jun 06 Memorial Union Terrace, Madison, WI
Jun 07 Majestic Theatre, Detroit, MI
Jun 08 Orion Music Festival, Detroit, MI
Aug 04 Lollapalooza, Chicago, IL
Aug 25 FYF Fest, Los Angeles, CA
Sep 23 Club Congress, Tucson, AZ
Sep 24 Crescent Ballroom, Phoenix, AZ
Sep 26 Larimer Lounge, Denver, CO
Sep 27 Czar Bar, Kansas City, MO
Sep 28 The Firebird, St Louis, MO
Sep 30 Mojo's, Columbia, MO Tickets
Oct 02 The Drunken Unicorn, Atlanta, GA
Oct 07 One Eyed Jacks, New Orleans, LA
Oct 08 Spanish Moon Baton Rouge, LA
Oct 14 Exit In, Nashville, TN
Oct 16 The Basement, Columbus, OH
Oct 18 Hard Luck Bar, Toronto, Canada
Oct 19 il Motore, Montreal, Canada
Oct 23 The Sinclair, Cambridge, MA
Oct 24 Bowery Ballroom, New York, NY
Oct 25 First Unitarian Church, Philadelphia, PA
Oct 26 Rock N Roll Hotel, Washington, DC
Oct 28 The Smiling Moose Upstairs, Pittsburgh, PA
Oct 29 Grog Shop, Cleveland, OH
Oct 31 Subterranean, Chicago, IL
Nov 01 High Noon Saloon, Madison, WI
Nov 02 7th Street Entry, Minneapolis, MN

Happy Lives - Feeling Right

More fun from Brooklyn. Happy Lives make oddball alt-pop that isn't quite comparable to many other bands; not an easy trick to pull off at the moment. With its simple pop backing and deep vocals, 'Feeling Right' is a sunny and fun tune that's inventive and playful with it. It's the first song to be taken from their second release which is due out later this year.

Download 'Feeling Right' for free by heading here

Happy Lives' website

Buy the single

Catch them live:

May 24 Shorewave Haus, Brooklyn NY
May 30 Legion Bar, Brooklyn NY
June 14 NXNE, 11:59 Toronto Canada

No Middle Name - When Forever Ends

What do you get if you take a Beatles sample (or more likely just a copy), some cheesy lounge music, dreampop and one of the blokes from The Title Sequence? You get one of the oddest songs we've heard for a while. 'When Forever Ends' probably has no right to work but somehow No Middle Name makes it happen. We doff our cap to him.

No Middle Name's website

Whistlejacket - March Hare (Demo)

We don't have any info on this lot. An email arrived in our inbox with just a link to a SoundCloud page and nothing else. So we had a look and found a band called Whistlejacket. They have a Facebook page which also has bugger all info, but suggests there are five in the band. They make pretty good, shoegazey, lo-fi alt-rock and there are a few freebies available. Our favourite is this demo of 'March Hare'.

Whistlejacket's website

Catch them live:

May 24 Lock Tavern, London, United Kingdom
May 31 Shacklewell Arms, London, United Kingdom

Building Pictures - Come Of Age

'Come Of Age' is a track from Irish songwriter John Gribbin who goes by the name of Building Pictures. With a few EPs available already, Building Pictures has spent some time in the US, including appearing at SXSW and will be playing some gigs around New York. This track could be one for fans of Ryan Adams, Bright Eyes and other troubadours.

Building Pictures' website

Buy the EP

Catch him live:

June 12th / Pete's Candy Store / 11pm NYC
June 19th / The McKittrick Hotel / 10:30pm NYC
June 22nd / The Living Room / 8pm NYC

For more news, reviews and downloads follow The Sound Of Confusion on Facebook or Twitter

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Challenger - How Are My Thoughts Not My Own?

2013-05-21T14:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

There's something a bit magical about this new single from Challenger's album 'The World Is Too Much For Me', released late last year. The New York group have got more than their fair share of ideas and they're happy to plough a sackful of them into this one song. 'How Are My Thoughts Not My Own?' doesn't end in a way you'd envisage when you hear the start, it takes you on a musical journey where anything seems possible and nothing is out of bounds. A mysterious video is the perfect accompaniment.

Gentle vocals and acoustic guitar introduce us to the song, but soon waves of electronic sound join in, along with a steady, thumping beat. From here it gradually builds, already beginning to take on the characteristics of a different track altogether. More drums and guitar are added until we're verging on indie-rock territory, yet the whole thing is rooted in its own kind of dreampop. All of a sudden processed beats and more synths are added to the mix and another transformation happens, heavily referencing '80s electro-pop. Challenger inhabit a weird and quite brilliant world.

HOW ARE MY THOUGHTS NOT MY OWN VIDEO from Catherine Rehwinkel on Vimeo.

Challenger's website

Buy the album

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Swimming Lessons - Double

2013-05-21T13:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

Although it's the kind of name you'd associate with a band, Swimming Lessons is in fact a solo project (Ben Lewis from Leeds if you must know) and it looks as though he could be on the verge of something of a well deserved breakthrough. Along with a few festival bookings for the summer, Swimming Lessons has been personally invited to play with Grimes, tUnE-yArDs and Of Montreal, and you've got to admit that's pretty impressive. When you consider that this is a man making fairly chilled-out synth-pop in a world flooded with men making fairly chilled-out synth-pop it's (ironically) doubly impressive.

And it's with new single 'Double' that you get to see what the fuss is about (if you haven't already). It's difficult to describe this music without using the word chillwave, but that's a massive injustice as there's far more interesting stuff going on here. The song is constructed from layers of sound that wash over you with hazy vocals in the background, but the addition of a solid beat and an actual very good tune means that 'Double' doesn't fall foul of the dreaded style-over-content bug that's been plaguing... well, blokes who make fairly chilled-out synth-pop. Maybe Swimming Lessons can carry on like this and make the genre seem invigorated again.

Swimming Lessons' website

Catch him live:

May 21 Birthdays with Blue Hawaii, London, UK
Jun 02 Brudenell Social Club with HEALTH, Leeds, UK
Jul 21 TRAMLINES FESTIVAL, Sheffield, UK
Jul 27 Fell Foot Sound Festival, North Yorkshire, UK

For more news, reviews and downloads follow The Sound Of Confusion on Facebook or Twitter

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The Paul Hegley Band - Blood Red Curtain

2013-05-21T12:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

When the whole garage revival/new rock revolution/whatever you want to call it happened at the turn of the century, it brought bands like Television, The Stooges and Gang Of Four back into the spotlight, and of course the original '60s garage set. What often gets missed is that this also ushered in a new era for blues. The genre that was one of the building blocks of rock music as we know it had become stagnant; blues was middle-aged men in pub bands who wanted to be Eric Clapton. It was dull, dire and a long way from where it started. Blues had become the most boring music on the planet. Since then, bands like The White Stripes, The Black Keys, The Jim Jones Revue and others have razed the whole thing to the ground and started again.

These bands reclaimed the blues for a new generation; it was exciting, primal, dirty and not the reserve of self-indulgent idiots. The Paul Hegley Band were birthed from that scene but also look to originators such as Robert Johnson and BB King. They're making blues-rock that has life in it. New single 'Blood Red Curtain' is a mixture of every generation, and therefore is likely to be widely appreciated too. Having poet John Hegley as your uncle will help open the odd doorway, but the music needs to be up to scratch with it, and it sounds like it is. Their live show is said to be electric, so it'll probably be worth popping along to see them for yourselves on their new tour, and maybe get an early listen to the songs that will make up their second album (and first as a full band) while you're at it.

The Paul Hegley Band's website

Buy the single

Catch them live:

25th May: The Spice of Life, London
31st May: The Wheatsheaf, Leighton Buzzard
20th June: The Moon Club, Cardiff
6th July: The Victoria Café, Leicester
7th July: AmpRocks Festival, Amptill
20th July: CockRocks Festival, Cumbria
27th July: The Horn, St Albans

For more news, reviews and downloads follow The Sound Of Confusion on Facebook or Twitter

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Discopolis - Falling (Committed To Sparkle Motion)

2013-05-21T11:00:00.000+01:00

Single review by andy@thesoundofconfusion.co.uk

Here at the Sound Of Confusion we excel at many things; procrastinating; arguing over football; punning contests - not forgetting unearthing the most interesting new music of course - but being honest, one skill we've struggled to master is that of clairvoyance. Don’t believe me? Well allow me to show my working. In 2008 we got giddy about an imminent baggy breakthrough for The Ruling Class, and of course we were right - except it took sixty (count 'em!) months and a name change to materialise! (That'll be Sulk by the way - Ed). Around the same time we championed pop domination for The Good Natured... yep still waiting for that album. Then of course there was the infamous and ill-fated "chart-off" where we pitted two artists of our choosing head to head in a battle to gatecrash the hit parade - which would have been a fine idea, had either artist released even one track in the twelve months concerned!

With this in mind it hasn’t come as a great surprise to find that Edinburgh’s electronica exponents Discopolis, one of our tips for twenty-twelve, are yet to have their posters adorning the walls of bedsits from Bearsden to Basildon. As a gladioli-wielding, bespectacled, bloke from Salford once sang however "these things take time", and with the release of latest single 'Falling (Committed To Sparkle Motion)' there’s plenty to suggest that wider recognition remains right on track.

That acclaim is being hastened, in no small part, thanks to a helping hand from a friend in high places. When '...Sparkle Motion' first came to light last Autumn it was via the championing of Swedish House Mafia, who frequently dropped the DubVision remix of the track throughout their farewell trek around the globe, finding euphoric favour with the glow-stick waving masses. Indeed Axwel of the recently defunct Stockholm trio has now found time to put his own mark on 'Falling...' in the shape of a snappy radio edit, but it's the made in Scotland from girders original that we're concerned with here. A metronomic crystalline guitar line leads the way and provides the 'sparkle' up front, before a chunky drumbeat quickly kicks in to bring the backbone and 'commitment' to proceedings. The 'motion' is supplied by way of a crunching house piano centrepiece that ripples throughout, ideally underpinning Fergus Cook's plaintive and pleading vocal style. Confident, catchy, and doing much what it says on the tin, 'Committed To Sparkle Motion' is a more than worthy companion to the gems already lurking in the burgeoning Discopolis back-catalogue.

"We’ve got so much to look forward to" declares Cook in the track's final knockings, and on this form it's hard to disagree, just do us a favour and don’t take five years about it please guys, we don’t want to be getting a reputation!

Discopolis' website

Buy the single

Catch them live:

Jul 06 O2 Academy Liverpool, Liverpool, United Kingdom

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Antimatter People - Mossy Grounds

2013-05-21T10:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

Another step-up for the surely soon-to-be-successful Antimatter People. They've been on our radar for months now and each track has been that little bit better than the last. Freebie 'Only Ark' ushered in a more soulful sound to their modern psychedelia but 'Mossy Grounds' sounds like their most complete track yet. Plus it arrives at a perfect zeitgeist-defining moment, with the alternative music world becoming increasingly obsessed with a psych revival and also the continuation of the destruction of boundaries and musical tribes. Identity in music is a much wider-ranging aspect of the whole personal experience than it was in the past.

To put it bluntly, we're living in a generation where you don't have to be either a mod or a rocker, disco or punk, a raver or a rocker: the whole lot is a bubbling musical stew and fans are taking what they want from it, allowing bands to become more experimental without fear of alienating their fanbase. 'Mossy Grounds' is a psych track, but it's full of soul, it's chilled enough for the post glo-fi crowd and it will have a surefire appeal to shoegazers and dreampoppers. Barriers are becoming more flexible, and bands like Antimatter People are not only contributing to this, but they're using it as an opportunity to make the sounds they want.

Antimatter People's website

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The Y Axes - Moon Rock

2013-05-21T09:00:00.000+01:00

EP review by kev@thesoundofconfusion.co.uk

By their own admission, Californian alt-pop/indie group The Y Axes are comprised of "scientists and tech geeks", and to be honest you wouldn't expect people of that persuasion to be making indiepop tunes like this. There's no basis at all for that assumption, it just seems odd. Maybe we just don't think of geeks and scientists as fans of alternative music. But then how does that explain David Byrne or Hot Chip? Anyway, here they are and here's their EP, and just to press their point home, the cover of their new EP, 'Moon Rock', contains a depiction of what we're assuming is Laika, the first dog is space.

Despite the cosmic EP name and cover, there's no fixation with space in these songs. These are four highly likable tunes that use guitars and synths in equal measure and with a surprisingly lo-fi sound for supposed tech geeks. They must know a thing or two about making good tunes too. 'Neon Streets' sets the standard and the sound; shuffly, lively, fun, contagious, catchy. 'Artax' is lovely, a very sweet love song with plenty of melody; something that's present throughout. It's a close-run thing, but we'll go for 'Green To Gold' being the best song here due to its timeless chorus and more playful nature. Finally comes 'Loop Machine' with a more gritty sound but the same top quality. A different kind of stereo lab, but another worth listening to.

Green to Gold by The Y Axes
Artax by The Y Axes
The Y Axes' website

Stream or download the EP

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Sam Marine & County - Lacktown

2013-05-21T08:00:00.000+01:00

Album review by jay@thesoundofconfusion.co.uk

Stepping into the world of Americana, you must have to instantly realise that there always is a short, stocky shadow lingering over you. For some it can be overbearing (Brian Fallon from The Gaslight Anthem certainly seemed to tire of it a few years ago). But the shadow cannot be ignored, and if you did ignore it, or even more foolishly not acknowledge his influence... then more fool you. So let's just say it and be done with it. Sam Marine & County has broad and strong Springsteen influences. This does not detract from an album mining that blue-collar vein in a impassioned and mature style that rewards by standing up to those Boss comparisons Opener and title-track 'Lacktown' grabs you and stomps you into line. It taps into that seemingly endless seam of American small town broken dreams. 'Lacktown' takes you to that endlessly repeating Friday night where the conversations never change and the barmaid never seems to age. It's a bar-room romp of a start, on foundations of a rippling Hammond and wailing harmonica. Marine's ragged, warm voice emboldens the song.

'Simple Life' hangs on a chorus of "time is never enough" which stays in your head long after the song has finished. A more mid-paced song, with those hometown blues laid bare, Marine's voice is more measured and gains a touch of colour with a female harmony on that chorus. Third track 'That's All' opens with lyrics pitching us into the "promised land". As the song unfolds it paints a tale of man on his journey into the city. 'That's All' is a rich track, closer to latter day Soul Asylum or The Hold Steady. With a welcome change of pace, 'Silent Kinda Night' is a smokey, 4am song. Its gentle strum reminiscent of a long ride into the night, watching the headlights blur by. Marine's vocals are almost whispered, and the song has a strength in its lack of bombast. It comes close towards the end to falling into AOR cliche, but manages to stay the right side of the tracks and evolves, like a young Steve Earle, to a mature conclusion. 'I Got You (Little Darlin')' is a wake-up after the twilight of 'Silent Kinda night'. Another strong track, taking you into the sunlight and dancing around "honey". 'I Got You (Little Darlin')' becomes an unexpected confession; our man proclaiming his faults, a stripped-down break allowing you to hear the doubts with clarity. 'I Got You (Little Darlin') then rises up with the Hammond powering you to its end.

Follower 'Sneaking Up On You' is one of the least successful tracks on the album. It has all the right ingredients, but it doesn't seem to mix as well as those before it. It ends with a fizzle and not a bang, perhaps an indicator of its disposable nature. 'Fastest One Here' brings the quality back. Almost tribal drums lead a swaggering, bluesy, dirty track. 'Fastest One Here' has an air of menace, with a loose sax underpinning this and "fuck you" spat out. Marine then re-introduces you to his whiskey-soaked side. 'Say It Out Loud' starts sweetly, then loosens into a expansive track. 'Say It Out Loud' is an standout on the album. Marine paints an eloquent picture, "bloodshot eyes" questioning our man's worth; which choices to make. And as the song grows we hear our man's thoughts and actions. 'Say It Out Loud' stands up alongside fellow journeymen Ryan Adams or Jeff Tweedy. Heading to 'Lacktown''s close, 'I'll Soon Be Gone' blinks in the harsh light and deals with the hangover. Another warm, strong, mid-paced ride of a track. Closer 'Until The Fall' sees a dark scene drawn out; broken dreams lain shattered amongst the trash. Our man running from his mistakes, hiding in alcohol and regret, from "that man". Then, as it is all about to spiral into darkness, the song lifts with a urgent guitar and organ to lead out 'Lacktown' on a high.

I Got You (Little Darlin') by Sam Marine and County
Silent Kinda' Night by Sam Marine and County
Simple Life by Sam Marine and County
Sam Marine & The County's website

Catch him live:

06/01/13 New York at The Studio At Webster Hall

For more news, reviews and downloads follow The Sound Of Confusion on Facebook or Twitter

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Edelweiss - Withering Heights

2013-05-20T14:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

First point: this is not a cover of the Ryan Adams song of the same name. Second point: it's nothing to do with the similarly-named novel or Kate Bush song. At least as far as we can tell, perhaps they're being mega cryptic somewhere here. 'Withering Heights' is the first single from the forthcoming 'Honduras' EP by Pennsylvanian guitar experimenters Edelweiss (whose name is probably nothing to do with anything else called Edelweiss either). It's often interesting to see people mess around with styles and combine them and play about with the boundaries.

On the surface, you'd probably say that 'Withering Heights' is a math-rock song; that's the overriding sense you get on first listen. Nothing too fancy or intense, but it has that sound. However, if you strip away the neat guitar work and the hectic rhythm section you're left with a song that would easily fit categorisation as either dreampop or chillwave. In fact, it could be ripe for a remix from some of you bedroom music noodlers out there. So were treated to a nice contrast of two seemingly opposite ends of the indie/alternative spectrum. And that's pretty good going in our book.

Edelweiss's website

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JAN - Work For The City

2013-05-20T13:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

With a video that's best described as "a bit creepy" and probably represents the constant hassle of crowded city life and rush-hour commutes (do you realise just how many people you share your personal space with living that lifestyle?), JAN launches her debut solo single, 'Work For The City'. One half of Los Angeles duo Eagle & Talon, this solo work was recorded in Brooklyn and the album was initially given a limited release in the autumn, with a full scale release just recently in the UK and US. The video is an interesting concept, but the song is what steals the show.

For a quick idea of the ballpark we're in then we'll throw in names like Cat Power and PJ Harvey; 'Work For The City' is what could be called an indie-rock track, but it has a foot in the world of pop too, albeit far from the mainstream realm. It's more in the classic tradition of guitar bands who've made music with universal appeal like, for example, Blondie or maybe Belly. JAN has the potential to sell records is what we're getting to here, and she has the ability to do so while retaining every bit of credibility she's ever had. This is a wonderful single. Over to you, public.

JAN - Work For The City from Enclaves Music on Vimeo.

JAN's website

Buy the single

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Hunter Johnson - Angel Of Greatness

2013-05-20T12:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

Hunter Johnson is a US artist, and you'd be hard-pushed to imagine this music coming from any other country (barring poor imitation of course). From South Dakota but now based in Phoenix, Arizona, Johnson makes alt-rock that shares the same blue-collar DNA with the likes of Springsteen, The Gaslight Anthem and so on. The latter would be the closest comparison, as 'Angel Of Greatness' shares the punk bite that that band have used to become so highly regarded. We should know more come August when his album is released, but the single bodes well.

Cliches are only cliches if they're used out of context, and this track is about packing up and hitting the road to leave a failed relationship. Something which works in the expanses of the US, but probably not if you're from Luton. So despite the familiar storyline, Johnson makes this song work with the sheer passion and determination in his voice which is at full stretch, adding quite a force. The music doesn't hold back either. This is US alt-rock that falls apart if the passion and authenticity are lacking. Both are firmly intact here.

Hunter Johnson's website

Catch him live:

All shows are full band unless stated "solo"
MAY 24 2013
Hunter Johnson (solo), Copper Blues 5:30pm - 7:30pm
MAY 24 2013
Hunter Johnson w/Ghetto Cowgirl, Last Exit Live 9:30pm - 10:30pm
MAY 26 2013
Hunter Johnson w/Sour Diesel Train Wreck, Yucca Taproom (Valley Fever) 9:00pm - 10:00pm
MAY 27 2013 Hunter Johnson (solo), The Rogue Bar 9:00pm - 10:00pm
JUN 08 2013
Hunter Johnson w/American Longspurs, Sail Inn (Tempe Arizona) 9:00pm - 10:00pm
JUN 11 2013
Hunter Johnson w/truckstop Darlin, Yucca taproom 9:10pm - 10:10pm
JUN 13 2013
Hunter Johnson w/Decker and Water liars, Last Exit Live 9:00pm - 11:00pm
JUN 21 2013
Hunter Johnson, Rogue Bar 10:00pm - 11:00pm
JUN 25 2013
Hunter Johnson w/ Radar Bros, Crescent Ballroom 8:00pm - 11:00pm
JUL 23 2013
Hunter Johnson (solo), Spirit room Jerome Arizona 6:00pm - 7:00pm

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Wild Combination - Whole Lotta Truth

2013-05-20T11:00:00.000+01:00

Single review by kev@thesoundofconfusion.co.uk

We've waited a while for new material from Chelmsford's Wild Combination. Well, in truth it's only been since December and the single 'Great Expectations', but time goes slower when waiting to hear from a band you like. So here's the news then: the guys have a new EP out in July and in the lead-up to that they're putting out a single, 'Whole Lotta Truth', on June 10th. Without masses of material to compare it to, it may be less of a compliment than it may appear if we say this is probably the best song we've heard from them so far, but it is, so we'll say it anyway.

It is totally summer o'clock in the indie world at the moment and if you normally head for the various mediums that promote "alternative" or guitar music then you won't have been able to escape the lively jangle that's hitting us from around the globe. It's great to have some homegrown talent who are keeping pace with the leaders of the pack too (see also Big Wave) and this song is bounding with energy and joy. If you'll pardon the pun, we have great expectations for the rest of the EP when it arrives in a few weeks, just in time for that massive heatwave, yeah?

Wild Combination's website

Pre-order the EP

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