Rhythm & Booze An online music webzine created by music lovers for music lovers.

6 February, 2015

Hanne Kolstø-Forever Maybe

Filed under: electronic,indie,pop,Recorded Reviews — Tags: forever maybe, hanne Kolstø, new album — willmunn @ 11:15

Norwegian native Hanne Kolstø straddles the divide between glacial pop and contagious electronica to create a sound that’s unique and infectious. Her last couple of albums have seen Hanne receive recognition from the Norwegian Grammy Awards (both nominated for best pop album), as well rave reviews across both the Norwegian and British press (Guardian, Sunday Times, Q, etc).

Forever Maybe, Hanne’s fourth album, set’s to continue this trend, whilst perhaps expanding even further musically.

The album opens with Blanko and from the off Hanne’s ethereal vocals are very much at the forefront of a gorgeous dreamy slice of glacial synth-pop, the beat moves from an understated heartbeat to a more euphoric throb around the minute mark, but never becomes obtrusive, whilst waves of synths (and is that an electric guitar?) further pepper the track before the programmed beats are replaced with a more organic sound as the track heads off into a harmony enriched and somewhat shoe-gaze like outro.

Synnecrosis adds acoustic guitars to the mix of bleeps, rolling beats, barely audible spoken word samples and synths creating a lush trippy take on electro-pop. We Don’t See Ourselves is a striking slice of pure radio friendly pop, complete with a dazzling hook-laden chorus and strummed acoustics, all complimented by a subtle electronic tinge, giving the track a perhaps more, commercial Imogen Heep feel that you could imagine becoming both a 6Music and Radio 2 staple in the future.

The album continues to twist and turn from the ethereal to synth-pop and then onto the likes of  The Urge To Repeat, which sees Hanne’s previously hinted indie rock influence come to the fore with crunchy (even feedback enriched) riffs, pounding drums and a delicious combination of chanted and melodic pop like vocals bring to mind fellow Scandinavian’s (and personal favourites) The Sounds.  Whilst, the likes of All Is Contagious and True Story use of multi-vocal harmonies lift the album even further into the ethers as Hanne expands on the beautiful synth-pop frame work.

Forever Maybe is another beautiful addition to Hanne’s ever impressive pop portfolio, it’s varied, inventive and oh so contagious, with enough hooks to hopefully snare the rest of Europe into appreciating Norway’s finest.

Rhythm & Booze Rating 9

www.hannekolstoe.com

9 January, 2015

Diagrams-Chromatics

Filed under: alternative,electronic,indie,pop,Recorded Reviews — Tags: chromatics, diagrams, new album — willmunn @ 11:55

Before I begin this review I should say right from the onset that I’m something of a fan of Sam Genders and his previous work under both the Diagrams monicker as well his work with Tunng, so I guess before hitting play my expectations for Chromatics, were pretty high.

Since Sam’s debut album as Diagrams, 2012’s Black Light, he’s upped sticks from his previous London home and settled in Sheffield and with the move brings new friendships, relationships and indeed influences and Chromatics reflects all of that and more. Whilst the previous album fizzed with electronics, programmed beats and funk grooves, the new album has an altogether more organic sound, as Sam collaborates with a number of musicians to create a rich tapestry, combining folk, indie and pop elements to dazzling effect.

Chromatics fizzles into life with Phantom Power, a track that begins with a combination of strummed acoustic guitar and keyboards alongside Sam’s delicate soulful croon before reaching a wonderfully infectious pop-laden hook, that’s again reprised throughout the duration of the delightful three and half minute opener.

Gentle Morning Song, showcases Sam’s use of subtle electronics to pepper his material, layering effects and keyboards alongside electric guitar and distorted harmonies to form a wonderful, dreamy slice of indie-pop again with that all important vocal hook present and correct. The title track is a gentle, lulling, folky number that’s fused with a morse code like coda, bubbling away beneath the song’s surface, whilst Sam build’s a glorious keyboard led melody around his softly caressed vocals.

Both Shapes and Dirty Broken Bliss bring something new to the mix, with the former adding bird song, viola and wordless siren like harmonies as Sam offers a psychedelic tinged opus, whilst in direct contrast Dirty Broken Bliss, is an addictive, pulsating synth-led slab of electronic indie pop that could have been lifted directly out of Apples In Stereo’s songbook. The Light And The Noise could have been beamed straight from the sixties, with it’s phased vocals and retro melody, whilst the albums closing number, Just A Hair’s Breadth sees Genders crooning over an almost orchestral arrangement, again showcasing his widescreen approach to writing and arranging.

Chromatics hasn’t just matched my expectations, it’s blown them out the water, the eleven track affair is the first must have album of 2015, it’s a diverse, seductive and intoxicating look into the eclectic psyche of one of music’s modern day mavericks. Sam Genders has more realised and captivating ideas on Chromatics, than most groups muster in a lifetime.

Rhythm & Booze Rating 10

www.diagramsmusic.co.uk

4 January, 2015

James Robinson-Start A Fire

Filed under: indie,pop,Recorded Reviews,singer-songwriter — Tags: james robinson, New EP, start a fire — willmunn @ 17:50

Singer-songwriter James Robinson first made waves in the music industry as the frontman of Brighton based alt-pop band Two Spot Gobi, a combo who managed a great deal of success, touring the US, UK and Europe and supporting the likes of household names Jason Mraz and Bruno Mars, but for James something just didn’t sit right and with a desire to express himself further he decided to break away from the band.

James resurrected lyrics written on napkins and forgotten melodies on old garage band files as he set about writing and recording a new four-track EP, showcasing a new maturity away from the screaming Mars and Mraz crowds.

Start A Fire is an impressive affair, the opening, title track is an instantly catchy affair complete with busy percussion an infectious vocal refrain and a melody that could have been ripped straight from the pages of Mumford And Sons songbook, whilst James vocal tones are rich and soulful with a lovely (native) Devon twang.

Demons is a slowburning, understated jazz-tinged number build around James expressive vocals, wonderful bubbling bass line and a simplistic yet effective beat, proving that James is no one trick pony and sounds equally at home, stripped right back. Holes In The Sky straddles that divide between indie and the more typical singer-songwriter sound, as busy drums and electric guitar joins, an already evocative mix bringing to mind the likes of Noah And The Whale, whilst the EP’s closing number, Smoke & Ashes is a hushed, subdued, reflective number with James crooning gently against a piano melody further highlighting the stunning arrangements contained within the four tracks on offer.

James is perhaps brave to venture out solo as there are numerous singer-songwriters out there, however the four tracks on here put him in good stead to make an impact, he has an obvious talent at writing infectious pop melodies (Start A Fire and Holes In The Sky) but it’s the bruised ballads that really help James standout from the crowd, along with that distinctive, soulful voice.

Rhythm & Booze Rating 8

www.jamesrobinson-music.com

21 November, 2014

Stuart Woolfenden-Are You Vulnerable Or Just Insane?

Filed under: indie,pop,Recorded Reviews,rock — Tags: are you vulnerable or just insane?, New EP, stuart woolfenden — willmunn @ 21:59

Stuart Woolfenden in a sixteen year old singer-songwriter hailing from Redditch, who  to date has played in and around Worcestershire, taking in a number of venues, whilst honing his sound.

Are You Vulnerable Or Just Insane? is Stuart’s debut EP, a four track affair that combines a love of rock, indie, pop and beyond forming an instantly likable and at times unique sound that belies Stuart’s tender years, he also showcases an impressive ability to craft a catchy melody and an infectious chorus or two.

The EP open’s with The Union Jack, a short yet memorable tune, that should find favour with both fans of edgy pop and breezy rock. The song opens with a crunchy stomping riff, before the vocals join the mix with Stuart delivering a bright melodic croon, whilst the chorus up the ante further with some tasty harmonies and an instantly addictive chorus, as Stuart delivers the perfect introduction to his brand of power-pop.

Both Latex, Glitter & Flesh and Blood On Your Hands both straddle that rock/pop divide effortlessly, with each track featuring the obligatory hook-laden chorus, the former is a more melodic affair, with Stuart weaving acoustic strums into an already potent mix, whilst Blood On Your Hands is a more bombastic affair with its use of pounding drums and buzzing riffs, each of the two tracks have their individual charm, whilst both contain that all important allure that urges repeat spins.

No-One Ever Has Ambition Anymore is somewhat aptly named as Stuart pulls out all the stops with a stunning take on near chamber pop, beginning with a solo piano and an aching vocal combination before developing into a sweeping, majestic number complete with strings and chiming guitars, whilst Stuart’s lyrics are both stirring and compelling proving himself to already be a writer of depth and passion on his first tender steps in the world of music.

This EP genuinely took me by surprise, its well crafted, it shows ambition and Stuart already knows how to pen a memorable hook, this is a seriously impressive debut from start to finish.

Rhythm & Booze Rating 9

www.facebook.com/stuartwoolfenden

 

29 October, 2014

These Reigning Days-Opera Of Love

Filed under: electronic,indie,Recorded Reviews,rock — Tags: new album, opera of love, these reigning days — willmunn @ 20:04

These Reigning Days are a three-piece hailing from Devon, over the past couple of years the band have been busy honing their craft and playing up and down the country taking in numerous high profile support slots (Metronomy, Echo And The Bunneymen, etc) and festivals along the way (Glastonbury, Hop Farm, Liverpool Sound City, etc). This year has also seen the band venture abroad performing in front of 60,000 fans at the San Siro in Milan as well as playing in Eastern Russia (Vladivostock Rocks), Mumbai, Dehli and Bangalore in support of their debut album Opera Of Love.

The band have also found favour with the likes of BBC Introducing, Janice Long (Radio 2) and the Daily Mirror among others to the sing the band’s praises.

So has all the hard work paid off? The opening track Stand Down quickly answers with a resounding yes, the track begins with Dan Steer’s vocals ringing clear before a marching beat and shimmering guitars join the mix before pulsating synths join the mix around the two minute mark to create a dazzling indie-electro crossover, all topped with a vocal hook that’ll keep nagging you to the point of submission.

Changes continues the electro peppered indie as the band layer infectious synths over a barrage of riffs, beats and vocal croons creating a brooding epic in the process. Too Late, was an early pick for a single and it’s easy to hear why, a hand-crafted indie club floor filler where swaggering urgent riffs and urgent drums collide with a big hook-laden chorus. In direct contrast I Need Time sees the band strip their sound back for a stunning reflective number featuring Jazmyn Mary sharing lead cooing duties with Dan, showcasing a sensitive and more restrained side to the bands craft (further showcased on the piano led closer In The End). Further album highlights include the future stadium rock classic Fishbowl and the mesmeric Living It Up, a track that starts slowly before exploding into a dazzling indie classic, with it’s stomping riffs and killer chorus encapsulating the band’s impressive use of rise and fall to captivate the listener.

Opera Of Love is an incredible statement of intent from a band very much on the cusp of a wave, the clever use of light and shade throughout the album’s duration is intoxicating, whilst the combination of epic towering indie riffs with simmering shards of synth and Dan Steer’s instantly infectious deliver should see band destined for big things in the very near future.

Rhythm & Booze Rating 8

www.thesereigningdays.co.uk

 

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