The Stroll- EP

Trying to make it 'big' as a band? Well, all you need is to come from either Camden or Manchester, have at least a 75% leather jacket-human ratio and provide enough controversy to make the Bible seem like a children's nursery rhyme. So, prepare to gasp and recoil in astonishment when I tell you that not only do The Stroll appear to lack in their leather quota, but they are also from Durham; a quiet cathedral city in the north of England for those of you too stunned to recall. Even more amazingly Heslop--Lead Guitar and backing vocals-- proclaims without hesitation or sarcasm that they AREN'T like "those Topman models you see in NME these days". Controversy at its finest right there.

Whilst refreshingly the instruments aren't all autotuned to perfection, much is the style of some of those "Topman Models", there also isn't the feeling that all sense of time signatures in their songs will collapse without warning. They aren't anywhere near the half-arsed approach reminiscent of The Libertines who had a habit of taking the term 'rough around the edges' and  beating the shit out of it. Reassuringly you also don't get the feeling that The Stroll will indulge in some casual narcotics or throw a television at a prostitute; so we may actually hear much more following Searching and Different Tune, Different Mood before they are pursued by the mobs of sensationalised Journo-Nazis.

Now before the Doherty and Barat cognoscenti descend upon my blog proclaiming "The Libertines were not half arsed they were perfect", I would like to tell them they are wrong, they are the very definition of half-arsed. Which is what gave them their appeal, but consequently was their biggest downfall. Now, The Stroll seem to have masterfully balanced that raw sound which us Brits so desire in our music, with a professional finish. Their EP is full of individualism and attitude, but at the same time doesn't get too carried away in the moment. 

Searching is a rejuvenation of 90's Rock'n'Roll, too involved in how British it actually is to care what anyone thinks of it. Again the singer Josh Pringle doesn't care if the inadequacies in the vocals are there for all to see (not that there are any in particular), the vocal range in this specific song is belt it out in the chorus, and sing a tad quieter everywhere else. Not to suggest that the track in itself is too simplistic to grab your attention. Much like the Oasis of yesteryear Searching isn't designed for Saturday night antisocial antics, yet its reflective-English-acoustic attitude will appeal to the proprietors of such acts. The kind of music that the 'original' teenage Smiths fans of this generation will enjoy, and take great pleasure in pretending to be infuriated over the internet when a deconstructed cover of it is used in an advert for furniture, plunging the song into mainstream popularity.

Different tune, Different Mood on the other hand is something altogether more frolicsome and mischievous. With a name so apt that it virtually grins at itself in self-satisfaction, in the context of the EP, the track doesn't want to be perfect or emotive, it achieves in preying on even the most pretentious of music snob's guilty pleasures. Everything from the ingeniously crafted Strokes inspired guitar work, combined with the hazy overexcited influences of The Strolls  estranged father-in-law (you guessed it) Mr Doherty himself, screams teenage rebellion. The lyrics aren't written by an artist who's enveloped in displaying an English Literature degree, or one trying to craft a puzzle so mephistophelean not even he knows the real meaning anymore. No, Different tune, Different mood simply wants to be the soundtrack to doing something childish, like going to the beach for the sole purpose of consuming vast quantities of alcohol and pelting all of your chips at fellow beach-goers and local wildlife.

To date The Stroll have crafted what has to be one of my favourite EP's that I have reviewed. Purely for the reason of the feelings of boisterous convivial immaturity to which it provokes. The musicianship is evident throughout both tracks but it is not this which gives the EP such a strong appeal. The identity of the Band is clear, and they don't take themselves too seriously, the downfall of many "indie Topman models" which they try, and achieve, in separating themselves from. Unfortunately for them I can see them increasing in popularity given some more attention, which may cause The Stroll to break into a brisk walk or even a jog, dare I say, but "The Jog" as a name is somewhat less charming.

Seek:  Facebook   SoundCloud 

 

Early Maze - Were Our Bodies Ever Found? (Album Review)

As you may have gleaned from the title, here at Hidden Sounds we have delved into the world of album reviews. So be prepared for attempted witty comments and unreasonably preposterous statements with little or no relation to the matter in hand, all done on a slightly larger scale than usual. More to the point I would like to introduce Early Maze's 2nd album, Were Our Bodies Ever Found? (Due for release early February) which is so drenched in its psychedelic rock genre that it will literally tie dye your soul.

May I praise Early Maze's decision to record the whole album from start to finish in an echoey tunnel, unconventional but times are hard 'ey. Beside the blatant sarcasm intended, the point I am getting at is they certainly have gone to town on the reverb effects for the vocals, which plays a prominent part in both distinguishing the albums genre, but also inducing a trippy feel for the listeners. So have this group of auditory drug dealers hit musical gold, or are they just too high to realise their downfalls?

I'd like to feel it's a bit of both, which is a good thing. In previous times Early Maze have released a somewhat melancholy take on a Christmas song (See here), of which probably won't be making its way onto a John Lewis advert any time soon, quite reassuringly. In fact, after a bit of background listening you can't really escape the feeling of daunting misery with some of this bands creations. The album title 'Were Our Bodies Ever Found?' doesn't exactly conjure feelings of glee or warm the heart. All of this being somewhat perplexing given the lackadaisical and relaxed sound of the band.

Opening with a lengthy chaotic symphony was certainly a brave move, possibly offending fans expecting an easy listen, and disheartening new listeners who may be slightly confused by the whole thing. The introduction for the album is openly dark, a culmination of whining and whaling of guitars. It is difficult to distinguish whether guitarist and vocalist Jamie Harwood is playing is guitar, or whether he is torturing it. Either way Deadlight asserts itself as an explosive experience for the listener. 

 With the reoccurrence of echoing vocals from both Jamie Harwood and Michelle Gunton the album progresses into something altogether more pleasant with the second track Miles Away. The inclusion of Gunton's choral vocals stamping out any suspicion that the album may be entirely dark.

In fact during Miles Away, Show Some Speed, Waves and Collide the album seems to have taken some Manchester influence. Slightly distorted guitars and changeable bass lines add a whole new dimension to the bands already impressively distinguished music. There is a definite divide between the hypnotic psychedelic sounds resonating in the large majority of Were Our Bodies Ever Found?, and these previously mentioned tracks, which stand out like a bouquet of Stone Roses. Evidently Early Maze are not concerned in displaying their vast collectic influences in their own music.

Were Our Bodies Ever Found? is an intricate puzzle of dark and seductive themes woven beautifully with the relaxed charm which seems omnipresent in everything that Early Maze create. To suggest that this band is obsessed with a forgotten era of music would be blissfully ignorant. Forget indie, forget rap, forget blues; gone are the days of bands trapped in the confides of specific genres, Early Maze are escape artists from the trap of musical normality, and I for one am fucking glad about it. Fantastic band, even better prospect.

Seek: Wix.com/EarlyMaze
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Shadow Of Doubt - EP

It certainly is fulfilling to see a band creating original music which directly reflects the sound of their influences, whilst still maintaining a strong sense of personal identity. Shadow Of Doubt's debut EP combines piano sections which echo Fightstar and Muse, with harmonies between vocalist Hannah Brown and backing vocalist come guitarist Thomas Williams which supply a distinct pop-punk feel, drawing the obvious parallels to Paramore. Interestingly they combine the usually harsh and edgy sounds of the previously mentioned bands with their own acoustic melodic approach, consequently resulting in a band, and an EP, which has appeal across many musical tastes. 


Shadow Of Doubt have quite brilliantly executed the increasingly popular acoustic genre, emphasising the deconstructed dimension of the band. This natural feel only highlights the vocal quality of vocalist Hannah Brown, who in any case could hold her own as a musician, but in this case is backed by what appears to be an entourage of equally talented individuals. The key to this band's success is through their recording dynamic. Where other bands may use a piano or synth to reinforce their tracks, Shadow Of Doubt have taken an altogether different approach. Even in their 'heaviest' song Hide the piano is equally as, if not more prominent than the distorted guitar, the song as a whole reflecting and revealing an altogether different side of their unique acoustic roots.

The EP's opening track Let Me is more of a tale of teenage infatuation than an indie/pop song. The vulnerability in the lyrics made clearer by the delivery, accompanied by a backing track which is slightly left of folk and slightly right of pop. Similar sentiments are repeated in Through Time where the perspective seems to shift from teenage infatuation to a story overwhelmed in regret and missed chances, any subtle emotions implied in Let Me now set alight.  So is the EP a soppy field of flowery lyrics, decorated with equally flimsy acoustics? A delicately fragile candle in the wind? In short, no. It's a minefield of talent and creativity, more of a missile in a hurricane. And just when you think you and the EP are ready to settle down for a cuppa, it decides to hurl the kettle at you and shamelessly run away with your best friend, such is the surprise provided by closing track Hide.


The introduction of distortion or any effects for that matter, on the guitar almost seems perverse. However much like the rest of the EP it is exactly the right decision. And it's not just guitarist Williams who has decided to rebel, Reed now practically abusing his keyboard leaving bassist Luke Walker having to adjust to this apparent wave of insanity taking over his bandmates. As for drummer Dylan Walker it all seems to have got too much, deepest sympathies go out to his cymbals during the chorus, well what's left of them anyway.


Hide is most definitely the EP's alter ego, everything in this track from the somewhat exaggerated abusing of instruments; still musically tidy somehow, to the shift from the soft vulnerable delivery in vocals to a more powerful post-punk delivery, also still maintaining an immaculately clean execution. For me this is definitely the highpoint of the EP as a whole because it showcases that Shadow Of Doubt can contend with their peers in both the acoustic sense and the electric sense, and deliver equal prestige in both. I certainly look forward to seeing how the band can emulate their recordings into live shows. It is clear there is ample amounts of promise for Shadow Of Doubt and equally high expectations for what this band can, and undoubtedly will deliver. All in all, a stunning debut EP from a powerful and youthful collective.


Seek: Facebook

The Pavestones - EP

In reviewing new music, specifically bands and solo artists, I tend to refrain from commenting or dissecting the production quality of the tracks. Solely because it is often difficult to find and afford high quality recording equipment, therefore concentrating on the musical content is more beneficial. However in the case of The Pavestones the authenticity and high standards of their recordings are particularly notable. Not only have they created four top quality  tracks, but they have utterly nailed the nostalgic 60's and 70's sound with unprecedented accuracy. So much so that during She Don't Feel or Today, it wouldn't be too surprising to hear singers Les Kay and Dan Stringer confess to being the walrus or indeed inhabiting a certain yellow submarine...


Upon further inspection it is apparent that conforming to modern conventions of music is not in the bands interest. Being a three piece you would expect the typical one guitar, one bass guitar and a drummer. Well expect again. Drop the bassist and add another guitar and you have the formula for some of The Pavestones masterfully retro symphonies. Usually the lack of bassist would result in a sound which lacks depth. This band however  has used the two guitars to create tracks like the exquisitely named Like Rolling Thunder which emanates a nonchalant and yet gripping atmospheric; any fans of The Doors will feel a sense of immediate familiarity. Not only do you feel that the song does not need a bass guitar, it almost convinces you that it sounds better without one...and that's coming from a bass player.

Although each individual song on the EP boasts high class musicianship and sticks to the 70's rock 'n' roll genre expertly, as a collective I feel that it may be missing something. The EP cries out for  a shorter more upbeat track to contrast with the rest, in order to keep the listener enthused. After listening I found the general sound of the band, being as distinctive as it is in terms of modern music, stayed in my head rather pleasantly, but at the same time I found it difficult to differentiate between the songs even after several listens. Quite ingeniously though The Pavestones have an ace up their sleeves, or more fittingly their waistcoats. You will go back and listen multiple times, such is the quality of the EP.

You must understand that The Pavestones are not a band which dwell in a past era as may be unintentionally implied through this review. They are at the forefront of revitalising the sounds of yesteryear, and thrusting them into a modern context. Their sound is contemporary making them a captivating prospect for bringing the past, to the future. In times where pop music largely fills the charts week in week out, couldn't we all do with a bit of blues inspired "Rock n Roll loveliness".

Seek: Facebook ; SoundCloud

Our Time Is Now

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Just this past week Kasabian, the new Oasis-come-beacon of hope for fresh sounding guitar wielding music in many peoples opinion, declared that all other bands are scared of their own creative talents (See NME article here). In their eyes others are fearful that they might actually conjure something which diverts from the typical 'norms' of their given genre. Despite the minor over-exaggeration and somewhat bigheaded self promotion, I cant help but partially agree with them. I say partially because the main issue is not that the bands are whimpering shadows of the 'glory days of music', but because  fans have become so critical, band's must produce the sounds that are 'expected of them'. This, in effect, means that no band can experiment with different sounds without the mob turning up at their door and calling for their heads on a stake. Rant over, this brings me nicely onto our new subjects for review; Our Time is Now, who are by any stretch of the imagination, different.


 Their new EP 'If you can drink big mans beer, you can solve big mans problems' (obviously never having witnessed a drunkard attempt to fill in his tax returns) is  a colourful audible experience. The only possible way of describing it is similar to that feeling when your drinking a bottle of water which you decide to put down for a brief moment; then when you pick it back up it's mysteriously been replaced with someone else's bottle of vodka masquerading in an identical water bottle. In short, when you take a drink, or a listen if you insist on returning back to the actual review, its a surprise. But in the words of kasabian, we could all do with some surprises.

First of all their EP does not even contain a title track, those edgy bastards. Our Time is Now have actually chosen to keep the EP relatively short and sweet with only two tracks; Made Mistakes, Got Regrets and Smoke Out The Window. This could be due to some lucrative promotional tactic of wetting the musical lips of their fans with a taster of what's to come. However I feel that it is far more probable that the band, in creating the EP, wanted the whole process to be over as fast as physically possible in order to get their music out there, which unfortunately may be reflected in the latter of the tracks Smoke Out The Window.

Under no circumstances am I saying that the track is bad, quite the opposite in fact. Each band members individual influence and idea of what the track should sound like has been considered and asserted resulting in more of a musical evolution rather than one specific genre. In that sense it is rather impressive that the song progresses, with a contrast between melodic vocals, reggae and ska inspired drums and guitar and catchy bass in the earlier stages, then finishing with a guitar solo which is so British it arguably deserves a place in Noel Gallagher's back catalogue. Whilst I am completely open to, and encourage combinations of genres, I feel that this particular song lacks a sense of direction, which in all fairness is only to be expected from a young band's first EP.

Rather than dwelling on this criticism, I believe it is vitally important to highlight what is truly impressive about this band's work to date, which appears in the form of their main track Made Mistakes, No Regrets. The attention to detail for this track, which was presumably created within a limited space of time, is remarkable. Everything from the very britpop sound of the outdoors preceding the songs start (contextually pointless but a very nice touch nonetheless), to the addition of atmospheric synth in the chorus makes this an altogether more cohesive track. The tracks foundations also seem more stable, each individual band member displaying their ability to create catchy rhythms which interlink to make an altogether more precise listening experience.

If this band do feel a crippling sense of indignation towards their critics, they do a very good job of hiding it. Through If you can drink big mans beer, you can solve big mans problems they have displayed a willingness to experiment with sounds which others may steer well clear from. Both their name and their sound suggest that this band feel its the dawn of a new musical era, and if they're at the forefront of it I'm sure they will take great delight in pissing all over my, and in fact everyone else's disparaging comments. Our Time Is Now certainly have the potential and ability to develop their sound into something which is quite unique. 2012 will almost certainly be the year where we will undoubtedly find out if there time is indeed now...unforgivable ending I know.

Seek: Facebook ; ourtimeisnow.co.uk

Emergency Door Release

Unfortunately, in this modern era of music, upon  hearing a band has proclaimed themselves as 'indie' the general routine is to roll your eyes and let out a lengthy, disapproving sigh. The immediate mental image tends to be  moronic hipsters who can only be differentiated by the tightness and the colour of their jeans, making croaking noises down a microphone over a progression of two sounds which are supposedly chords... Luckily this opinion is only held by people who are equally as moronic as their imaginary hipster nightmares, but also have a sprinkle of blissful musical ignorance. My evidence? Welcome new kids on the block, Emergency Door Release. 

It is easy to take an immediate liking to the band, their name brimming with Alex Turner-ish charm. But their true attraction lies with their distinctive and memorable sound. Make no mistake this band is most definitely Indie, but pleasantly they are the right side of indie, a return to the old days of indie so to speak. In Emergency Door Release there are  sounds reminiscent of The Editors in their An End Has A Start (and in my opinion their best) days but without the catastrophically miserable lyrics, twinned with some Kings of Leon nostalgia inducing rock. All this being rather impressive for a band who have only released two full songs and are yet to play their debut gig...

Stand Up, with its combination of faded guitars, drum rolls and grunge bass lines sounds like its been plucked straight from a 'best of 90's' playlist. Singer James Rooney's lyrics are also inspired in their own unique and humorous way. If Morrissey is an expert at landing his lyrics just the right side of chronically depressing, then Rooney is certainly talented in landing his the right side of topically hilarious, with such verse closers as 'Close to my chest is where I'd like you to be. While watching family guy, on BBC3'. Lyrics which make sense? Who does he think he is?

However the bands true class in song creating prowess is displayed in Just Begun. Through a culmination of genres, inspirations, sounds and perhaps most vitally instruments in making such sounds, Emergency Door Release have created a track which would grace any established acts setlist. The paradox between moody bass and echoing guitars creates the sophisticated, and yet quite chilling introduction. Before upbeat drums and lead guitar reign the song back into its indie genre, all the time Rooney's voice remaining the distinctive talisman of the band.

In terms of future prospects in the local music scene it is difficult not to consider Emergency Door Release's role being a prominent one. The current lack of drummer has all but slowed progress in terms of live shows, but finding a replacement should not be a problem for a band of such high quality. Their debut performance is still currently set to be played at The Dog and Parrot on February 11th, which is highly anticipated by their already growing fanbase. If Indie rock is in your interest then both the bands music (see Facebook and Myspace links below) and any upcoming gig's are definitely one's to look out for. 'Yeah its only just begun' cries Rooney at the end of Just Begun. How very apt.


Seek: Facebook ; Myspace

Destined To Fall

At first sight of their name you cant help but think that the lads have been a bit pessimistic about their future prospects as a band. Luckily however, once hearing their music the realization that their future may not be as dark as their clothing is more than apparent.


If ever there was a band who fulfilled their given genre it would be Destined To Fall. By no means does this render them one-dimensional. In achieving their barbarically metal sound they have simultaneously encapsulated many of metals sub-genres. 


Their song, Played a Game, boasts gothic metal-esque synth immediately with its unusually clean intro. In this way it takes on the role of a predator, luring you into a calm sense of security, before striking with  trademark heavy guitar riffs, technically brilliant drumming and an underlying, but still wall shaking bass line. Make no mistake though, this band does not just play loudly, their immaculate musicianship implies both their musical talent and maturity.


Their talent is reflected in their fan base. Unlike so many other bands they have not needed extensive promotion. This is partly due to the sheer volume of their music which must help in 'getting themselves heard'...quite literally, but the quality and transition of their music from recordings to their live shows is certainly impressive. 


This popularity may also have developed due to the bands personality, reflected in their unique take on the metal genre. It doesn't take much contemplation to figure out the motive behind Bear Jew, another musically impressive track. With the chorus line containing the same Tarantino related character name used in the title (no more lyrics needed in this chorus obviously) I cant help but feel that the sole purpose of the song was an opportunity to shout 'Bear Jew' a substantial number of times. And in that sense it works perfectly.


Destined To Fall's approach to music is refreshing to say the least. Instead of dwelling on contextual themes and subtle pragmatics through lyric writing, they say it how it is...be it at an unrelenting volume. One, hysteria creating lead vocalist, two mighty guitarists, one masterful synth, an unhealthy amount of wall shaking bass and enough drums to supply the whole Beijing olympic opening ceremony, Destined To Fall are certainly an omnipotent force in the local scene of metal. If headbanging metal is for you, I unreservedly suggest giving them a look. In their own words their 'So fuckin metal they bleed rust'. Cant say I'd disagree with 'em.


Seek: Facebook ; Reverbnation